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100096 


MUSIC  LOVERS'  ENCYCLOPEDIA 


MUSIC    LOVERS' 
ENCYCLOPEDIA 

Containing  a  pronouncing  and  defining 

DICTIONARY  OF  TERMS,  INSTRUMENTS,  etc.,  including 

a    KEY   TO    THE    PRONUNCIATION    of   sixteen    Lan- 
guages, many  CHARTS;  an  EXPLANATION  OF  THE 

CONSTRUCTION  OF  Music  for  the  UNINITIATED; 

a    pronouncing    BIOGRAPHICAL    DICTIONARY; 

the  STORIES  OF  THE  OPERAS;  and  numer- 
ous BIOGRAPHICAL  and  CRITICAL  ESSAYS 

by  distinguished  AUTHORITIES. 

Compiled  by 

RUPERT  HUGHES 
Completely  Revised  and  Newly  Edited  by 

DEEMS  TAYLOR 

and 
RUSSELL  KERR 


GARDEN    CITY    BOOKS 

Garden  City,  New  York 


COPYRIGHT, 
BY   MCCLURK,   PlUIJMi*S  &    OK 
COPYRIGHT,    1913,    1939,    1947,    H6^    *»'54 

BY  DOUBLKDAY   &   COMPANY,   2Ni', 

ALL  RIGHTS   KKSKRVKD 

PRINTED  IN  THE  UNITED  STATIC 

AT  THE  COUNTRY  UKK  ?KK^?  CL\EPKX   4lTV»    N.Y* 


PUBLISHER'S  PREFACE 
TO  THE  REVISED  EDITION 

n  <g  o  ,3 


WHEN  THE  MUSIC  LOVERS'  ENCYCLOPEDIA 
was  first  compiled  it  was  Rupert  Hughes'  effort  to  make 
it  the  most  nearly  complete  desk  reference  work  of  its 
kind.     In   this    he    succeeded    admirably.     Time   has,    however, 
changed  the  whole  world  gallery  of  musicians  and  music  lovers 
and  we  have  therefore  invited  the  outstanding  authority  in  the 
field,   Mr.   Deems  Taylor,   to  work  with  Mr.   Russell  Kerr,   of 
Musical  America,  in  the  present  complete  revision  of  the  book 
which  has  been  the  standard  desk  reference  book  on  Music  for 
nearly  fifty  years. 

We  wish  to  make  particular  acknowledgment  to  Simon  and 
Schuster  for  permission  to  reprint  THE  MONSTER  by  Deems 
Taylor,  an  excerpt  from  OF  MEN  AND  Music,  and  to  acknowl- 
edge that  RECOLLECTIONS  OF  My  LAZY  CHILDHOOD  by  Maurice 
Ravel  is  copyrighted  by  Opera  Mundi,  Paris.  For  permission  to 
reprint  a  short  passage  from  THE  MAGIC  MOUNTAIN  by  Thomas 
Mann  we  make  acknowledgment  to  Alfred  A.  Knopf,  Inc.,  New 
York,  and  Martin  Seeker  and  Warburg,  Ltd.,  London.  For  the 
permission  to  quote  from  THE  STORY  OF  Music  by  W.  J.  Hen- 
derson we  make  acknowledgment  to  Longmans,  Green  &  Co. 

We  have  included  the  synopses  of  ninety  operas.  These,  be- 
cause of  exigencies  of  space,  represent  the  barest  outline  of  plot. 
We  therefore  encourage  the  reader  to  refer  to  the  complete  li- 
brettos (in  English)  available  from  the  following  music  pub- 
lishers : 

Chas,  E.  Burden  for  Carmen,  Lucia  di  Lammermoor,  H£rodi- 
ade,  The  Tales  of  Hoffmann;  Oliver  Ditson  for  Mefistofcle, 
La  Gioconda,  Lakme,  Romeo  and  Juliet,  Les  Huguenots,  Thi 
Tales  of  Hoffmann,  Don  Giovanni,  The  Marriage  of  Figaro,  Mi* 
gnon,  The  Flying  Dutchman,  Der  Meister  singer,  Martha,  LaJuive, 
Tristan  und  Isolde,  Tannhduser,  Das  Rheingold,  Die  Walkure, 
Gotterdammerung,  Parsifal;  J.  Fischer,  The  King's  Henchman, 
Peter  Ibbetson;  Ricordi  for  La  Bohtme,  Tosca,  Madame  Butter- 
fly, The  Girl  of  the  Golden  West,  Gianni  Schicchi,  La  Rondine, 
Turandot,  UAmore  dei  Tre  Re,  Falstaff,  Manon  Lescaut;  F,  Rull- 
man  for  Fidelio,  Norma,  La  Sonnambida,  Ariadne  and  Bluebeard, 


v 


PUBLISHER'S  PREFACE 


Orfeo  ed  Euridice,  Faust,  Hansel  und  Gretel 
Valeria  Rusticana,  Manon,  L'  African,  Le  Prophet  c,  The 
Flute,  The  Barber  of  Seville,  William  Tell,  The  Bartered  Bndc 
Salome,  Aida,  Otelli,  Rigoletto,  La  Tratiata,  II  Trwtore  .Lo- 
hengrin, Siegfried,  Der  Freischuts,  Wertter  ^ffl^^ 
peror  Jones,  La  Juive,  Boris  Godunoff,  Cos:.  Fan  Tutte  L  Heure 
Espagnole,  Sadko,  Simon  Boccanegra  Scteanda,  The  Snow 
Maiden,  Le  Ccq  d'Or,  Le  Rossignol;  G.  Schemer  for  The  Jj^s 
of  the  Madonna,  Le  Donne  Curiose,  I  Paghaca,  Secret  of  6»- 
zanne  The  Mm  Without  a  Country,  Cyrano,  Natoma,  Marouf; 
Stein^ay  &  Sons  for  Louise,  Pelleas  ct  Mclisandc,  Le  Jongleur 
de  Notre  Dame,  Thais,  Elektra,  The  Tales  of  Hoffmann. 

For  the  use  of  the  Bach  Family  Tree  facing  page  482,  we  make 
acknowledgment  to  the  Macmillan  Company,  pubhshers  of  Dic- 
tionary of  Music  and  Musicians,  by  Sir  George  Grove,  edrted  by 
J.  A.  Fuller  Maitland. 


INTRODUCTION 

By  Deems  Taylor 


ONE  OF  MY  EARLY  recollections  is  that  of  poring  de- 
lightedly over  the  pages  of  my  father's  encyclopaedia. 
It  was  entitled,  as  I  recall,  Chambers'  Library  of  Uni- 
versal Knowledge,  and  had  been  published,  in  several  volumes, 
some  time  in  the  early  seventies.  My  father  had  acquired  it  as 
a  young  man.  I  mention  it  here  because  of  a  phrase  from  it  that 
still  sticks  in  my  memory.  It  occurred  in  the  course  of  the  article 
on  appendicitis,  conveying  the  information  that  the  only  remedy 
for  this  malady  was  "the  application  of  leeches  to  the  abdomen." 
Which  statement  is,  I  think,  a  fairly  vivid  illustration  of  the 
reason  why  it  is  advisable,  from  time  to  time,  to  issue  revised  edi- 
tions of  reference  works.  Not,  I  hasten  to  add,  that  the  earlier 
editions  of  the  Music  Lovers*  Encyclopedia  contained  such  howlers 
as  the  one  I  have  quoted.  Music  is  a  vaguer  and  at  the  same  time 
more  exact  science  than  medicine.  Its  laws  may  be  more  in- 
tuitive than  rational,  but  they  are  less  liable  to  repeal.  An  elder 
generation  of  musicologists  seldom  needs  to  blush  in  the  presence 
of  its  juniors. 

None  the  less  this  work  has  needed  revision  in  order  to  repair, 
not  its  mistakes,  but  its  omissions.  Lamentable  as  these  omissions 
were,  they  are  pardonable,  in  view  of  the  fact  that  the  events  that 
should  have  been  chronicled  had  not  yet  occurred.  Musical  his- 
tory has  moved  fast  during  the  past  fifty  years.  In  1903,  the 
year  the  first  edition  of  this  book  appeared,  Verdi  had  been  dead 
just  two  years.  Giacomo  Puccini  had  finished  his  sixth  opera, 
based  on  John  Luther  Long's  play,  "Madame  Butterfly*'  and  was 
arranging  for  its  production  at  La  Scala  in  Milan;  Richard 
Strauss  had  started  work  on  an  operatic  version  of  Oscar  Wilde's 
Salome;  and  Claude  Debussy  had  just  written  to  his  publishers 
that  he  was  busy  with  a  trio  of  symphonic  sketches  to  be  called 
La  Mer*  Arnold  Schonberg,  who  was  later  to  horrify  the  con- 
ventional musical  world  with  his  harmonic  theories,  had  not  yet 
composed  his  pleasant  but  innocuous  "Verklarte  Nacht" ;  Jan 
Sibelius  had  published  his  first  symphony  two  years  before;  and 

vii 


INTRODUCTION 

a  young  Russian  named  Igor  Stravinsky  was  studying  orches- 
tration with  Rimsky-Korsakov. 

Even  in  1912,  when  the  second  edition  appeared,  Strauss's  "£>& 
Rosenkavalier"  existed  only  as  a  mass  of  sketches ;  Montemezzi's 
"UAmore  Dei  Tre  Re"  was  promised  for  the  following  year,  but 
no  one  had  heard  it.  Maurice  Ravel's  "Daphnis  et  Chloe"  had 
just  had  its  first  performance,  in  Paris,  by  the  Diaghileff  Ballet 
Russe.  '  The  young  Russian,  Stravinsky,  was  putting  the  finishing 
touches  to  another  ballet  for  Diaghileff,  "Le  Sacre  du  Printemps" 
that  was  destined  to  make  musical  history.  Jan  Sibelius  had  just 
published  his  fourth  symphony.  Phonographs  were  using  a  me- 
chanical pickup ;  the  sound-film  was  unthought-of ,  and  radio  was 
a  dream. 

Hence  the  need  for  this  new  edition  of  a  work  that  has  been 
proving  its  usefulness  for  many  years.  As  in  the  earlier  editions, 
:t  is  divided  into  two  main  sections:  a  dictionary  of  musical 
terms,  and  a  biographical  dictionary  of  musicians.  This  seems 
to  me  to  be  a  sensible  and  convenient  differentiation.  One  is  not 
likely  to  be  anxious  for  information  concerning  "Mendelssohn" 
and  "metronome"  at  the  same  instant.  The  bulk  of  the  revision, 
naturally,  has  been  done  in  the  biographical  section;  and  in  this 
department  the  revised  edition  of  the  Music  Lovers?  Encyclopedia 
may  venture  to  claim  to  be  tbe,most  completely  up-to-date  work 
in  this  or  any  other  country.  Eight  hundred  new  names  have  been 
added,  making  the  chronology  and  necrology  complete  up  to  1954* 
and  encompassing  a  completely  new  "Supplementary  List  of  Mod- 
ern Composers.*' 

As  a  rule,  biographical  dictionaries  grade  musicians  according 
to  their  purely  academic  importance.  This  practice  results  in  the 
inclusion  and  over-emphasising  of  many  persons  whose  work  is 
no  actual,  important  contribution  to  music  as  a  living  art.  In  this 
edition  we  have  attempted  to  indude  new  personalities  that  are 
playing  an  important  part  in  the  modern  world  of  music,  not  only 
in  the  field  of  composition,  but  also  in  that  of  production  and  per- 
formance* 

I  say  "we."  As  a  matter  of  fact,  the  merits  of  the  revised  bio- 
graphical dictionary  are  almost  entirely  due  to  the  extraordinarily 
conscientious  and  expert  labours  of  Mr.  Russell  Kerr,  of  the  staff 
of  the  New  York  Musical  America,  and  whose  share  in  the  pro- 
duction of  this  work  is  hereby  gratefully  acknowledged* 


INTRODUCTION  ix 

The  charts  and  tables  of  the  earlier  editions  have  been  retained 
and  revised.  They  should  be  useful,  particularly  the  table  show- 
ing the  pronunciation  of  the  various  letters  of  the  alphabet  as  they 
occur  in  sixteen  modern  languages.  There  may  be  a  similar  chart 
published  elsewhere;  if  there  is,  I  am  unfamiliar  with  it.  Like- 
wise retained,  verbatim,  is  the  prefatory  An  Introduction  to  Music, 
by  this  book's  first  editor,  Rupert  Hughes.  Mr.  Hughes,  who  is 
chiefly  known  to  the  world  as  a  novelist,  is  a  musical  amateur  in 
the  finest  sense  of  the  word,  a  music-lover  who  has  studied  and 
practiced  the  art  of  music  all  his  life,  purely  for  the  fun  of  it, 
To  realise  that  profound  scholarship  can  be  coexistent  with  an 
amateur  standing,  you  have  only  to  read  his  chapter.  Naturally 
the  science  of  music  has  progressed.  The  past  quarter  of  a 
century  has  seen  the  development  of  theories  concerning  harmony, 
counterpoint,  melody,  and  rhythm  that  were  unthinkable  in  1903. 
Nevertheless  the  fundamentals  of  music  remain  constant,  and  al- 
most any  literate  and  intelligent  lay  music-lover  should  be  able  to 
obtain  the'  foundation  of  a  musical  education  by  reading  this 
Introduction  to  Music.  Written  nearly  fifty  years  ago,  it  remains 
a  sound  and  useful  little  treatise. 

The  section  entitled  Stories  of  the  Operas  originally  contained 
synopses  of  the  plots  of  sixty  operas  in  the  standard  repertoire. 
Since  the  last  edition  of  this  book  was  published,  a  few  have  so 
definitely  joined  the  limbo  of  forgotten  things  that  there  seemed 
to  be  no  further  use  in  including  them.  They  have,  accordingly, 
been  dropped  from  the  present  roster.  "In  revenge/'  as  the 
French  say,  we  have  added  the  stories  of  thirty-four  additional 
operas  that  have  been  either  added  or  restored  to  the  repertoire 
during  the  past  twenty  years. 

One  of  the  most  admired  features  of  the  Music  Lovers9  Ency- 
clopedia has  been  its  series  of  contributed  essays  by  eminent 
musical  authorities,  discussing  various  branches  of  music  and  the 
lives  of  famous  composers.  The  best  of  these  have  been  retained, 
and  many  more  added.  Moreover,  instead  of  being  scattered  al- 
phabetically through  the  dictionary  sections  of  the  book,  they  have 
been  brought  together  in  two  special  sections  of  their  own,  to  the 
great  enhancement  of  their  readability  and  accessibility, 

"The  marriage  of  completeness  with  conciseness,"  writes  Rupert 
Hughes  in  his  preface  to  the  first  edition  of  this  book,  "is  a  hard 
knot  to  tie."  That  statement  has  lost  none  of  its  truth.  It  is 


x  INTRODUCTION 

manifestly  hopeless,  in  a  single  volume,  to  cover  every  phase  of 
music  in  the  detail  that  is  offered  by  the  great  musical  encyclo- 
paedias and  the  countless  biographies  of  individual  composers  that 
have  appeared  within  the  past  decade.  On  the  other  hand,  we 
offer  discussions  of  more  subjects,  biographies  of  more  musicians, 
than  any  other  single  volume  that  I  know,  Our  definitions  and 
biographical  sketches  may  be  brief,  but  they  present  the  main  facts ; 
and  they  are,  so  far  as  is  humanly  possible  to  make  them  so,  ac- 
curate. It  is  our  hope  that  this  new  edition  of  the  Music  Lovers' 
Encyclopedia  may  continue  to  be  what  it  has  always  been,  a  store- 
house of  information  to  the  layman,  and  a  useful  reminder  to  the 
expert. 

DEEMS  TAYIX>R 


CONTENTS 


Deems  Taylor 


PUBLISHER'S  PREFACE   . 

INTRODUCTION    .... 

LIST  OF  CHARTS  .... 

PHONETIC  MEANING  OF  THE  LETTERS  AND  SYMBOLS  USED  IN 
THE  PRONUNCIATION  OF  NAMES 

PRONOUNCING  DICTIONARY  OF  GIVEN   NAMES,   TITLES,  EPI- 
THETS, ETC 

ABBREVIATIONS,  TITLES,  DIGNITIES,  INSTITUTIONS,  ETC.   . 

AN  INTRODUCTION  TO  Music  FOR  THE  UNINITIATED 

Rupert  Hughes      .... 

BIOGRAPHICAL  DICTIONARY  OF  MUSICIANS 

SHORT  BIOGRAPHIES  OF  MUSICIANS  Special  Articles 


Bach,  Johann  Sebastian 
Beethoven,  Ludwig  Von  . 
Berlioz,   Hector 
Bizet,  Georges  .... 
Brahms,  Johannes  . 
Chopin,  Frederic  Francois 
Debussy,  Claude     . 
Falla,  Manuel  de    « 
Franck,  Cesar  .... 
Gershwin,  George  . 
Herbert,    Victor     . 
Liszt,    Franz    .... 


Sir  Charles  Hubert  H.  Parry 
H.  E.  Krehbiel  .... 
Ernest  Newman  .... 
Edward  E.  Ziegler  . 
James  Huneker  .... 
James  Huneker  .... 
Richard  Anthony  Leonard  . 
Richard  Anthony  Leonard  . 
Richard  Anthony  Leonard  „ 

Ferde   Grofe 

Deems  Taylor 

Henry  T.  Finck    .... 
Richard  Anthony  Leonard    . 


MacDowell,  Edward    * 
Mendelssohn-Bartholdy,  Felix 

Vernon    Blackburn 

Meyerbeer,  Giacomo     .      .     Irenaeus   Prime-Stevenson 
Moussorgsky,  Modest  Petrovich 

Richard  Anthony  Leonard    . 
Mozart,  Wolfgang  Amadeus 

Vernon   Blackburn 
.     W.  J.  Henderson  . 

John   F.   Runciman     . 

Richard  Anthony  Leonard    . 

Richard  Anthony  Leonard    . 
Lazy  Childhood 

Maurice  Ravel 

Richard  Anthony  Leonard    . 

Irenacus  Prime-Stevenson     . 


Palestrina,  Giovanni 
Purcell,  Henry  . 
Rachmaninoff,  Sergei 
Ravel,    Maurice 
Recollections  Of  My 

Rimsky-Korsakoff  . 
Rossini ,    Gioacchino 


v 

vii 
xvii 

xviii 

xix 
xxiii 


482 
485 


489 

490 
492 

495 
496 

498 

499 
50* 

503 

504 
505 

506 

508 
509 


Schonberg Richard  Anthony  Leonard 


5*° 
5** 

5*4 
5*6 

5*7 
5*8 


xii  CONTENTS 

Schubert,  Franz    .      .      .     H.  A.  Scott 521 

Schumann,  Robert      .      .     Richard  Aldrich    ....  523 

Sibelius,  Jean  ....     Richard  Anthony  Leonard     .  526 

Strauss,  Richard    .      .      .     James  Huneker     ....  5^9 

Stravinsky,  Igor    .      .      .     Richard  Anthony  Leonard     .  5JO 

Sullivan,  Arthur  Seymour     Eric  Hodgins ^jj 

Tschaikowsky,  Peter  Ilyitch 

Ernest  Newman    .      .      .      .  557 

Verdi,  Giuseppe                 .      W.  /.  Henderson        .      .      .  55$ 

Wagner,  Richard  .      .      .     Henry  T.  Finck    .      ,      .      .  538 

Wagner  The  Monster.      .     Deems  Taylor       ....  543 

Williams,  Vaughan      .      .     Richard  Anthony  Leonard     .  544 

A  PRONOUNCING  AND  DEFINING  DICTIONARY  OF  MUSICAL 

TERMS  AND  INSTRUMENTS 546 

SPECIAL  ARTICLES  ON  PARTICULAR  PHASES  OF  Music 

Acoustics J.  S.  Shedlock       .      .      .      .  7/<? 

Altered  Chords      .      .      .     Charles  W.  Pearce     *      .      .  720 
The  Conductor  and  His  Art 

Deems  Taylor       .  723 

Counterpoint    ....     Homer  A  „  N orris       .      .      .  7-?7 

Electric  Organ,  The    .      .     Rudolph  Ganz.      .      .      ,      .  728 

Folk-Song B.  E.  Krehbid     .      .      .      .  731 

Form John  C.  Runciman    .      .      . 

Fugue Jlomer  A ,  N orris        .      .      . 

Grace Rupert  Sughes     . 

Harmony  in  Practice  .      .     ^4  *  J.  Goodrich      * 
Harmonic  Warnings  for  Composers 

A*  J,  Goodrich      ,      ...  74% 

Hymnology      .      .      *      .     H.  E.  Krehbid     .  7^9 

Jazz Robert  C.  Bagar    „  750 

Leading-Motives   .      .      .     Gustaoe  Kobbi      .  756 

Modern  Harmony.      .      .     Quincy  Porter       *  75<? 

Modes Rupert  Hughes     ....  762 

Notation Rupert  Hughes     *      .      ,      .  7<57 

Opera,  The ^&er<  E.  JSrodty  ....  ;t5p 

Oratorio,  The  .      .      .      .     i/,  £.  KreJ&id     .      ...  776 
Orchestra  and  Orchestration,  The 

W.  y.  Henderson  .  //<? 
Orchestration  of  Theatre  and  Dance  Music 

Robert  Russell  Bennett     .      »  ^0 
Orchestras  in  America      .     Leonard  Liebling        .      „      . 


CONTENTS  xfii 

Organ Rupert  Hughes      ....  792 

Phonograph  Music      .      .     R.  D.  Darrell 7^4 

Pianoforte Rupert  Hughes      ....  800 

Piano  Studies  ....  James  Huneker     .      .      .  802 

Radio  Music    ....  Lawrence  Abbott   .      .      .      .  802 
Story  of  Orchestra  and  Band  Instruments,  The 

H.  W.  Schwartz    ....  Sir 

Swing  Music    ....  James  A.  Poling  ....  8i'8 

SYNOPSES  OF  NINETY  OPERAS  CURRENT  IN  PRESENT-DAY 

REPERTOIRES 

Beethoven Fidelio 828 

Bellini         Nor  ma        '. 84.5 

Bellini La  Sonnambula    ,      .      .      .  859 

Berg Wozzeck 865 

Bizet Carmen 823 

Boito Mephistofele 843 

Borodin Prince  Igor 849 

Charpentier      ....      Louise 838 

Damrosch Cyrano 823 

Damrosch The  Man  Without  a  Country  84.1 

Debussy Pellias  and  MSlisande     .      .  848 

Delibes Lakm6 837 

Donizetti Lucia  di  Lammermoor     .      .  838 

Dukas Ariadne  and  Bluebeard    .      .  821 

Flotow Martha 842 

Gluck Orpheus  and  Eurydice     .      .  846 

Gounod Faust 828 

Gounod Romeo  and  Juliet       .      .      .  854. 

Gruenberg The  Emperor  Jones    .      .      -  827 

HalSvy La  Juive    ......  835 

Herbert Natoma 845 

Humperdinck  ....  Die  K&nigskinder .      .      .      .  836 

Humperdmck  ....  H&nsel  und  Gretel      .      .      .  832 

Leoncavallo      ....     Pagliacci 847 

Mascagni Cavalleria  Rusticana  .      .      .  823 

Massenet HSrodiade 833 

Massenet    .           ...  The  Juggler  of  Notre  Dame  .  833 

Massenet          ....     Manon 840 

Massenet Thai's 86* 

Massenet Werther 864 

Meyerbeer UAfricaine 8xg 

Meverbeer Les  Huguenots      ....  834 


riv  CONTENTS 

Meyerbeer Le  Propkete 849 

Montemezzi     ....     UAmore  dei  Tre  Re  .            .  820 

Moussorgsky    ....     Boris  Godunoff     ....  823 

Mozart Cosi  Fan  Tuttc     ....  824 

Mozart Don  Giovanni       ....  825 

Mozart        .....     The  Magic  Flute  ....  839 

Mozart The  Marriage  of  Figaro  .      .  842 

Nicolai The  Merry  Wives  of  Windsor  844 

Offenbach The  Tales  of  Hoffmann    .      .  859 

Ponchielli La  Gioconda    .....  $31 

Puccini La  Boheme 822 

Puccini Gianni  Schicchi    .  830 

Puccini The  Girl  of  the  Golden  West  .  832 

Puccini Madame  Butterfly      .      .      .  83$ 

Puccini Manon  Lescaut     ....  840 

Puccini La  Rondine 854 

Puccini Tosca 861 

Puccini Turandot 863 

Rabaud-MSxouf    .      .      .  Savetier  Du  Caire       „      .      .  841 

Ravel UBeure  Espagnole    .      .      .  833 

Rimsky-Korsakov.      .      .  Le  Coq  D'Or 824 

Rimsky-Korsakov.      .      .  Sadko 856 

Rimsky-Korsakov.      .      .  Snegourotchka 838 

Rossini The  Barber  of  Seville       .      .  821 

Rossini Wittiam  Tett  .....  864 

Smetana The  Bartered  Bride    .      .      .  Aa? 

Strauss Elektra 826 

Strauss  ......  Der  Friedenstag    .      .      .      ,  830 

Strauss Der  Rosenkavalier      .      .      .  ^55 

Strauss Salome #56 

Stravinsky        .      .      .      .  Le  JRossignol 855 

Taylor The  King's  Henchman     .      .  836 

Taylor Peter  Ibbctson       ....  848 

Thomas Mignon     ......  844 

Verdi A'ida 8ig 

Verdi Falstaff 827 

Verdi OteUo 846 

Verdi Rigoletto 850 

Verdi Simon  Boccanegra      „      .      .  858 

Verdi La  Traviata 862 

Verdi II  Travatore     .....  863 

Wagner The  Flying  Dutchman     .      ,  829 

Wagner       .....  Lohengrin 837 

Wagner Die  Afeistersinger .      ,      .      .  843 


CONTENTS  xv 

Wagner Parsifal 847 

Wagner Rienzi,  The  Last  of  the  Trib- 
unes      850 

Wagner Ring    of  the    Nibelung 

Das  Rheingold  ....  851 

Die  Walkure      ....  852 

Siegfried 852 

Gotterdammerung    .       .       .  853 

Wagner Tannhauser 860 

Wagnei                ....      Tristan  and  Isolde      .       .       .  862 

Weber Der  Freischutz       ....  829 

Weinberger       .  Schwanda      der      Dudelsack- 

Pfeifer 857 

Wolf-Ferrari                               Le  Donne  Curiose       .       .      .  826 

Wolf-Ferrari     ....      The  Jewels  of  the  Madonna  .  834 

Wolf-Ferrari     ....      The  Secret  of  Suzanne      .       .  857 

SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 866 

A.  TABLE  OP  PRONUNCIATION  OF  SIXTEEN  LANGUAGES  .      ,      .  887 


LIST  OF  CHARTS 


BACH  FAMILY  TREE 

DANCE-RHYTHMS 

SIGNS  AND  SYMBOLS 

TIMES  AND  RHYTHMS 

GRACES  AND  EMBELLISHMENTS 

GREEK  MODES 

CHURCH  MODES jit 

THE  KEYBOARD,  SCALES,  AND  INTERVALS <ty? 

ABSOLUTE  PITCH,  AND  RANGES  OF  VOICES  AND  INSTRUMENTS  .  por 


PHONETIC  MEANING 

OF  THE  LETTERS  AND  SYMBOLS  USED 
IN  THE  PRONUNCIATION  OF  NAMES 


&  as  in  father;  a  as  in  fate;  U  as 
in  fat;  cLii  and  Un  as  in  French 


b  as  in  bob. 

c  used  only  in  ch,  as  in  church. 

The  Scotch  and  German  gut- 

tural   as    in    loch   and    ich    is 

indicated  by  kh. 
if  as  in  deed;  dh  as  th  in  these; 

dj  as  in  adjoin. 
e  as  in  bean;  £  as  in  pet  —  at  the 

en4  of  words  it  is  almost  like 

ft. 

f  as  in  fife. 
g  as  in  gig. 
A  as  in  hate. 
5  as  in  fight;  $  as  in  pin. 
j  as  in  jug. 
k  as  in  kick;  kh  is  used  here  to 

indicate  the  German  or  Scotch. 

ch  or  g. 


indicates   the 


m  as  in  mum. 
n  as   in   nun; 

French  nasal  n  or  w. 
£  as  in  note;  oi  as  in  noise;  00  as 

in  moon  or  foot;  S  as  in  wrong; 

ow  as  in  cow;  6n  as  in  French 


/>  as  in  pop* 

r  as  in  roar. 

^  as  in  sense. 

t  as  in  tot;  th  as  in  think;  the 

sound  of  th  in  these  is  indi- 

cated by  dh. 
u  always  with  the  sound  of  you; 

the  French  u  and  the  German 

long  il  are  both  indicated  by  U. 
v  as  in  revive. 
w  as  in  will. 
x  as  in  fix. 
y  as  in  yoke, 
z  as  in  zone. 


PRONOUNCING  DICTIONARY  OF 
GIVEN  NAMES,  TITLES,  EPITHETS,  ETC. 


abbate  (ab'-ba-te"),  /.  abb§  (abba),  P. 
Abbot  (often  honorary). 

PainS  (ten-a),  F.  The  elder,  cadet 
(ka-da),  F.  The  younger.  Usually 
of  brothers. 

camerlingo  (ka-m£r-l€n'-g6),  /.  Cham- 
berlain* 

cantab(rigiensis).  Of  Cambridge  Uni- 
verity. 

cavaliere  (k&-val-ya'-r«),  /.  Knight, 
sir. 

chevalier  (shtt-vai-ya),  F.     Knight. 

de,  F.    Company;  et  de  (a  sS).    &  Co. 

comte  (k6nt),  F. 

conte  (koV-te*),  J.     Count. 

detto  or  -a  (d$t'-t6).     "Called." 

doc  (dttk),  F.  dwca  (doo'-ka),  1. 
Puke. 

Edler  von  (ftt'-ler  fta).     Nobleman  of. 

fils  (f«s),  F.     Son. 

Ftau  (frow),  G.  Mrs.  IFritulein  (frf'- 
lin).  Miss. 

Fteiherr  (frf'-Mr),  G.     Baron. 

Geheimratti  (gS-ilm'-rat),  G.  Privy 
counsellor* 

Gesettschaft  (g£-z£l '-shaft),  (?.  Asso- 
ciation, society. 

Graf  (graf),  G.  Count.  Orfifcx  (gra- 
fTn).  Countess. 

Herr  (har),  G.     Mr. 

Hauptfcirche  (howpt-fcCr^khfi),  G. 
Cfiief  church* 

HofkapellmeisteT  (ml-shtftr).  Court- 
conductor,  Hofmusik'intendant 
(moo-2ekx),  <?.  Supt.  of  court-music. 

le  jeune  (It!  zhtSn),  F.     The  younger, 

Justorath  (yoos'-tsts-r&t),  G.  Coun- 
sellor of  justice;  often  honorary. 

Kammersanger  (z«ngk-6r^,  G.  Cham- 
ber-suager  (to  the  court). 

maestro  (ma-as'-tro),  Z.     Master* 

11  xnaggiore  (el  mad-j6'-r€),  J.  The 
greater. 

maistre  (old  French),  or  maitre 
(mfitr),  P.  Master. 

marchesa  (mar-ka'-za),  /.  Marchion- 
ess* 

0  mincare  (Cl-mC-nO'-rS),  /.    The  lesser. 

mus.  bach(elor)  and  mus*  doc(tor). 
Vide  the  J>.  ». 

oxon(ensis).     Of  Oxford  University. 

pite  (par),  F-     Father, 

Eeichsfreiiierr  (rikhs'-frt-Mr),  G. 
Baron  of  the  empire, 

Bitt«r  (rXt'-te*)*  G.     Knight,  chevaUer. 


sieur  (s'ytu:),  F.     Sir,  Mr. 

und  Sohn  (oont  zon),  G.  &  Son.  tind 
S6hne  (oont  za'-ne1),  G.  &  Sons. 

van  (van),  Dutch.  von  (fOn),  G.  de 
(du),  F.  di  (ds),  J.  and  S£.  From, 
of. 

vicomtesse  (ve-k6n-t$s).     Viscoiintess. 

le  vieux  (la  v'yu),  F.     The  elder, 

y  (e),  5^.  "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. 

zu  (tsoo),  G.     To. 

(Others  will  be  found  in  the  D.  D.) 

NOTE.  —  In  the  Biographical  Xtfction- 
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'-bra-m5),  /. 

Adam  (a'-dam),  G. 

Adalbert  (a'-dal-bSrt),  G. 

Adelaide  (a-da-la-e^-de*),  /-  *nd  G. 

(Ad.)  Adolf  (a'-dtff),  G. 

(Ad.)  Adolph,  G. 

(Ad.)  Adolphe  (&d-6lf),  F, 

(Adr.)  Adriano  (a-drX-a'-nO),  /. 

Adrien  (ad'-rl-an),  F. 

Agathon  (a'-ga-tOn),  G. 

(Ag.)  Agostino  (a-g6s-te'-n5),  I. 

Aixnable  (Sm-ab'l),  F. 

(Alb.)  Albrecht  (al'-br£kht),  G. 

(Ales.)  Aleseandro  (a 

(Alex.)  Alexander. 

(Alex.)  AJexandre  (ai-ex-aadrO,  F. 

Alexis  (^l-€x-5s),  F. 

Aloys  (a-lois). 

Aloysia  (a-loi'-25l-a),  G, 

Amadeo  (am-a-da'-C),  I. 

oos),  G. 

Amalie  (a^-mai-6),  G. 
Ambroise  (a6-bwaz),  F. 
Am6d6e  (am'-a-da),  F. 
AmSlie  (am'-a-le),  F. 
Anatole  (an-a-t61),  F. 
Andre*  (aft-dra),  F. 
(And.)  Andrea  (an'-dra-ii),  J, 
(Ands)  Andreas  (an'-dra-as),  G. 
Ange  (aftzh),  F. 
Angelica  (an-ja'-l€-ka),  7. 
(Ang.)  Angelo  (an'-ja-lo),  /. 
(A.  or  AntO  Antoine  (aft'-twan).  F, 
(Ant.)  Anton  (an'-tSn),  G. 


-deus 


PRONOUNCING  DICTIONARY 


(A.  or  Ant.)  Anto'nio,  7. 

(ApO  Apollon  (ap-61-16n),  F. 

Anstide  (ar-Is-ted),  F. 

Armin  (ar'-men),  G. 

Arnaud  (£r-n5),  F. 

Arrigo  (ar'-r6-go),  7. 

Arsene  (£r-sSn),  F. 

Arthur  (ar-tiir),  F. 

Attilio  (St-te'-ll-a),  7. 

(Aug.)  August  (ow'-goost),  G. 

Auguste  (o-gust),  F. 

Augustin     (ow'-goos-ten,     G.)    (6-gtts- 

tan,  F.). 
(Aug.)  Augusto  (a-oo-goost'-a),  7. 

Baldassare  (bal-das-sa'-re*),  7. 

E)  Balthasar  (bai-ta-z&r'),  F. 
.)  Baptiste  (ba-t€st),  F. 
:.)      Bartolommeo      (bar-t5-lAm- 
ma'-o),  7. 

<Bat.)  Battista  (bat-ts'-sta),  7. 
Benedikt  (ba'-nS-dekt),  G. 
Beniamino  (ban-y€-mS'-n5),  7. 
CBv.)  Benvenuto  (ban-vS-noo'-tO),  7, 
(Bdo.)  Bernardo  (bSr-nar'-dO),  7. 
CBdO  Bernhard  (barn'-hart),  G. 

^^^f*Yfl*^T^  o.  (bax~*ti*anj«  *^. 

Bianca  (bS-an'-ka),  7, 
Blasius  (bla'-zi-oos),  G. 
Bonaventure  (b6n.-av-au-tQj')>  F. 
Bonifacio  (bO-nS-fa'-cha),  7. 
Bonafazio  (b5n-5-fa'-tsI-a),  7. 
Brigida  (brS'-jS-da),  7. 

•aroille  (kam-€'-yd),  F. 
Carlo  (kar'-ld),  7. 
Casimir  (kas-i-m5r),  F. 
Catherine  (kat-tfcr-rS'-na),  7. 
Caytan  (ka'-S-tan),  Sp. 
O^sar  (sa-z^r),  F. 
Cesare  (cha-za'-rS),  7. 
(Chas.)  Charles  (sharl),  F. 
Ghrisostomus  (kr5-s6s -t5-moos).  G. 
Christian  (kr5st'-X-an),  GL 
i  Christoph  (kre*s'-tApii),  G. 

Claude  (fcl5d),  F.  " 
Otfonent  (kla-man),  F. 
Olotilde  (kla-t6l'-d€),  G. 
Colin  (k6-ian),  F. 
Constanze  (kdn-stan'-tsS).  G. 
Cornelius  (kAr-na'-lX-oos),  G. 
Costanzo  (ka-stan'-tse),  7. 


Damaso  (da-ma'-sa),  Sp+ 

(D.*)  David  WW»  G. 
Delphin  (del-faft),  F. 
JJietncJji  \oj5t  "•rUkjjLjf  Cr* 
jjieudonne  Cd  y\i"Kliin"*Dia7*  JP» 
Diogenio  (d€-3-ja-n6'-8),  7. 
Dioma  (d6-6'-ma),  7. 


(Dion.)   Dionisio    (dfc-o-nt'-sI-«),    Sp. 
Dionys  (dS'-o-nCs),  G. 
(Dom.)  Domenico   (dS-m&'-nf-kd),   7. 
(Dom,)    Dominique    (d6m-I-n€k),    F. 
DufrSsne  (da-fr€n),  F. 


)  Edmond  (^d-m6fi),  F. 
)  Edmund  (at'-moont),  €?. 
Lw.)  Edward  (ad-var),  F. 
Jdio  (a-je'-dX-a),  7. 


7* 


eonore 
El^onore  (&-l&-$-norX 

culine  name. 
Elias  (a-le'-fis),  ^?. 
Eligio  (a-lg'-ja),  7. 
Eliodoro  (a-H-d-d6 
Eliseo  (S-lg'-za-C),  7. 
Eliza  (a-te'-za),  7. 
(Em.)  Emanuel  (ft-m£n-wel), 
Emil  (a-m6l),  G. 
EmiUe  (a'-mM5),  F. 
OSm.)  Emilio  (fi-ipel'-ydX  7. 
(Emm.) 


Also  a  mas- 


(Eng.) Engelbert  i,_._^ 
&uSo  (fe-rt^to),  7. 
Jsrasmo  \a*~3ras  ~m^)«  7* 
Ercole  (ar'-k^laO*  ^« 
(Erh.)  Erhard  (ar;-hirt),  G. 
Ernst  (S-rnst),  <?. 
Errico  (Sr'-rX-k^S),  7* 

«)  Btienne  (ftt'-y«a),  F, 
L(oi-gto)»r 


{?. 


Felix  (fa-lex), 
Fcrrdinand 


(&r'~dl-n*&t»  G.) 
--,     .. 
(Fdo.)  Ferdinando  (f«r-dfr-tJLn'-<i6),  7. 
Ferencz  (f*r'-«ns), 


Fernandez 

Feanando  rr-ixan-<6,  7. 

Femxccio  (f*r-root'-dbd),  /, 

Finnin  (f«r-man),  F. 

Florence  (fi6r-&6s),  F,      Commonly 

masculine  name. 

Florian  (fidr-yftjBu  F.)     (fldrM-ta,  G. 
OPt)  Fortunate  (f6r-too-nt'-t6)»7- 


. 

Itaraceseo 

Ftandtoco  (fraja-tiita'-kC),  Sp* 
(Fran.)  Franpois  (frafi-swi), 
FrantLsek 


PRONOUNCING  DICTIONARY 


(Fz.)  Franz  (f  rants),  G. 
CFr.)  Fted€ric  (f  ra-da-rSk),  F. 
Ftidolin  (fre'-de-l5n),  G. 
(Ft.)  Friedrich  (fret'-rlkh),  G. 

Gabriele  (ga-brf-a'-ie),  G. 
(Gaet.)  Gaetaao  tea-a-ta'-n5),  I. 
(Gasp.)  Gaspare  (gas-pa'-ro1),  /. 
Geffio  Oa'-lf-a),  I. 
j&eminiano  O^1^-^11"^-^7-^^)*  !• 
Gennaro  (gfcn-na'-rS),  /. 

Geoig  (ga-drkh'),  G. 

George,  J£. 

Georges  (zh6rzh),  F. 
tGer*)  Gerolamp  (jS-r5'-lS-m6),  /. 
{Geron.)  Geronimo  (jS-r6'-nX-m6),  /. 
Gervais  (zliSr-vS'),  F. 
Gesu  (ha'-zoo),  Sp. 
Giiislein  (ges-lan)?  J7. 
Giacinto  ya-ch6n/-to),  I. 
Giacomo  oak'-d-mC),  /. 
Gialdino  Qai-dfi'-nd),  I. 
Gioacchino 
Giordano 
Gioseiffo 

(Giov*)  CMovanne 
Giaditta  (joo-dlt'-ta),  J. 
Giulia  (jool'-ya),  /. 
GitiHo  Qool'-yO),  J. 
(Gius-)  Giuseppe  (joo-s^p'-pfi), 


Gottfied  (g6tMr«t),  G. 
Gotthard  (gdt'-hUrt),  G. 
(Gh.)  Gotllilf  (g6t/-hnf),  G. 
(GL)  Gottlieb  (got'-lep),  G- 
Gotttob  te6tMGp)f  G, 
Gxworio  (grt-gC'-rX-O),  /. 
Guide  <goo~*'-dS),  /• 
(GuiL)  Guillaume  (g€-ySm),  j 
CGv.)  Gtistav  (goos^tM).  G. 
(Ore.)  Gustave  (gUs-tav),  F. 


Hamish 
Hans  (bans),  G* 
~  f  Heimicli  ( 
f  Henri  <&d-r«), 
Hen'ry. 
.)  Hermann 
ronymus  (h«- 

(«p-9-let)»  F. 
G.) 


Jiace  (€n-y&s): 
lazlo  05H""ylit' 
(«kh'-rats),  i 
iitch  («'-13Ctsh),  " 
BJa  (el'-j*),  ,R* 


I. 


Jacob  (yak'-op),  G. 

Jacopo  (yak'-6-p5),  /. 

(Jac.)  Jacques  (zMk),  J?. 

Jan  (yanV  Dutch. 

Jan  (yS,n),  Polish. 

Javier  (hav-yar),  Sj>. 

(J.)  Jean  (zhan),  F. 

Jefte  (y&'-tS),  J. 

Jerome  (zha-rAm),  F. 

(Joa.)  Joachim  (yS'-a-khSm),  G. 

Joaquin  (wa'-k€n),  5^>. 

§n.)  Johann  (yS'-han),  G. 
ns.)  Johannes  (yO-han'-nfis),  G* 
.)  John. 

Jos6  (h5-zaO,  Sp. 
(Jos.)  Josef,  or  Joseph  (y<tf-*Sfy  G.) 


F. 


Josquin  (zh6s-kan), 
Juan  (hoo-an'),  Sp. 
Jules  (zhUl),  -F. 
Julie  (zhii-lS),  F. 
JuHen  (zhul-ya&)? 
Juliette  (zhul-ySt),     . 
Julius  (yooMX-oos),  G. 
Juste  (zhtist),  F. 
Justin  (zhtis-tan),  F. 

Karl  (karl),  G. 

Karoline  (ka-r5-l6'-n6),  G. 

Kasper  (kas'-per),  G. 

(Kd.)  Konrad  (k^n'-rat),  G. 

(Konst.)  Konstantin  (k5n-stan-t6n), 

Ladislaw  (lad'-ls-iaf),  PoL 
Laure  (l5r),  F. 
Laurent  (l$-ran),  F. 
Leberecht  (la'-b^-rSkht),  G. 
L6on  (la'-^n),  F. 
Leonard  (la-6-nar),  JP. 
L^once  (la-6As),  F. 
Leone  (la-a'-ne;,  /. 
(Ld.)  Leopold  (la-tt-pold),  F. 

la-6-pOlt),  G* 

),  Sp. 

Is'-rfints),  G. 


(Ld.)  Leopold 
Lopez  (la'-pSt 
Lorenz 


(L.)  Louis  (loo-e), 

Louise  (loo-6z),  /?. 

Luca  (loo'-ka),  JT. 

Lucien  (lUs-y&n),  F. 

Lucrezia  (loo-kra'-tsfi-a),  J. 

(Lud.)  Ludovico  (Ioo-d0-v€/-k5)»  /. 

CL.)  Ludwig  (loot'-vXkh),  G. 

(L.)  Luigi  (loo-a'-j«)9  *• 

Luigia  (loo-S'-j^),  /. 

Luise  (loo-S'-ze),  G. 


to 


Manfredo 

Manuel  (man'-oo-el), 
MarceUo  (mar-ch^lMc,    . 
Marco  (mar'-ks),  /- 
Marguerite  (mar-gtt-r€t')»  &• 
(MO  Maria  (ma-rC'-a),  G,,  /.  and 
Commonly  a  masculine  name* 


xxn 


PRONOUNCING  DICTIONARY 


Marie  (mi-rS),  F.     Commonly  a  mas- 
culine name. 

Mathias  (ma-t5'-as),  F.  and  G. 
Mathieu  (mat-ytt),  F. 
(Mat.)  Matteo  (mat-ta'-6),  7. 
MatthSus  (mat-ta'-oos),  G. 
Mattia  (mat-tS'-a),  7. 
Maturin  (m3,t-ii-ran),  F. 
Maurice  (mo-rSs),  F. 
Max  (max),  & 

Maximilian  (max-X-mSl'-X-an),  G. 
Melchior  (mSL-shl->6r),  F. 
Melchiore  (mfil-kW-re'),  7. 
Michael  (me'-ka-el),  7. 
Michel  (mg-shgl),  .P. 
Michele  (mfc-ka'-le"),  /. 
Miroslaw  (me'-rS-slaf),  Russian. 
Modeste  (mo-d£st),  F. 
Moritz  (m5'-r6ts),  <?. 
Muzio  (moo'-tsl-S),  7. 

Napoteon  (na-p5'-la-6n),  F. 
Natale  (na-ta'-lS),  7. 
Wepomuk  (nS'-po-mook),  G. 
TOccola  (n§k'-k5-la),  7. 
~      Nidi'olas,  £. 

Nicolas  (ne-k6-Ias),  F. 
r.)  Wicold  (n€-kd-l5'),  /- 

lai  (ne'-k^-laO,  (?. 

Nikolaus  (ne;-k5-lows),  G. 

Octave  (6k-tav),  F. 
Orazio  (C-rS'-tsI'-S),  J. 
Otto  (dtMtf),  G. 
Ottokar  (dt'-to-kar),  Pol. 

Pantaloon  (pan-ta-la-6n).  J?. 
Paolo  (pa'-O-IS),  /. 
Pascal  (p&s-kal),  F. 
Pasquale  (pfis-kwa'-le*),  /, 
Paul  (pdl),  F. 
Pedro  (pa'-dhrS),  Sff. 
Peregriao  (pa-ra-gr«**-  no),  /. 
CP»)  Peter. 

(P.)  Peter  (pa'-ter),  G, 
PhiHbert  {f6-lX-bar),  F. 

~  '  "'pp  (feMip),  G. 

ippe  (f5-lep),  F. 
^   (p3-ar-loo-S'-j6),  I. 
i.    Pierre  (pt-arO,  F. 
(P.)  Pietro  (p^a'-tro),  /. 
Polibio  (po-le'-be-d),  7. 
Pompeo  (pdm-pa'-C),  /. 
Primo  (pr€'-m«),  7. 
Prosper  (prds'-par),  F. 
Prudent  (prtt-da6),  F. 

Rafael  (ra'-fa-el).  7.  and  5>. 
Regnault  (r^n-y6)*  F. 
B^icbardt  (rtkh'-art),  G* 
Reinhold  (rin'-hOlt),  G. 


(ra-na),  F. 
(R.)  Rob'ert^  JS.  (in  F.  ifc'-bfcr,  ia  GL 


Roberte  {r5-bArt),  F, 
(R.)  Roberto,  7. 
Romano,  7. 
Romualdo  ' 
Rose  (r6z), 
(Rud.)  Rudolf  i 
Ruggiero  (rood-j**  -*v/>  ,«» 
Ruprecht  (roo'-pi£kht),  G. 

Sabine  (z&'-be'/~ni5}>  <£» 

(S.)  Salvatore  (sal-vft-tC'-rt),  J* 

(Sml.)  Samuel  <z&m'-oo-*i),  C. 

Scipione  (shc-plf-d'-ii^),  7. 

Sebald  (za'-bfilt),  C. 

(S^b.)  Sebastian  (sa-bast-yftn),  F. 

(Seb.)  Sebastiano  <sft~b&*-tl'-l.*-a5)f  >. 

and  5/». 

Siegfried  (z€kh'-fr5t),  G. 
Siegmund  (zikh'-moont),  G. 

(Sim.)  Simone  (S€'-E 
Splro  (spC'-rd). 
Steffano  (st«-ftt.  -nC/,  /» 
Sylvain  (sftl-vaa),  F» 

Teodulo  (ta-e-doo'-lo)t  /* 
Teresa  (t&-rfi/-«a),  7. 
Theobald  (ta'-<5-balt),  C. 
Xbeodor  (ta'-5-d6r),  6* 
(The.)  Theodore  (UL-fi-ddr), 
(T,)  Thomas, 
Thueskon  <too«a'-kSn),  67. 


7. 


(trow'-gdt),  C?* 
'        440UO,G. 


%.)  Tommasso  (tdjcn-nx&s'-ao),  7 
augott  (trow'-w 
Turlogh  (toorM6k 

(Val.)  Valentin  ^ 
*>  Viaoeat  (va6-kn),  >. " 


(V.)  Vincent  (f*n'-U«nt) 
<y.)  Vincenzo  (ven-chan 
Vincesleo  (vftn-dh^s-Ul'-o),  7. 

Vlolante 


l  (vta'-tsel), 
Werner  (var^aar),  <. 
(Wm.)  WUhttlm  (v«r-h«in),  G. 
WHhelzaine  (v^-hil-me'-ni),  ffi, 
WIHbald  (v€MM»llt)9  C?. 
Willem 


Hi6-mEr),  G* 
<v61f-gtjag),  <?. 


A  LIST  OF  ABBREVIATIONS,  TITLES, 
DIGNITIES,  INSTITUTIONS,  ETC. 


Acad.,  Academy. 

a  capp.  (/.,  a  cappetta),  unaccompanied. 

ace.,  according  (ly). 

accomp.,  accompaniment. 

allg.,  aUgem.  (<?.,  allgemein),  universal, 

general. 

app.,  appointed, 
apt.,  appointment. 
Arab.,  Arabian. 
Archbp.,  Archbishop, 
am,  arranged,  arrangement, 
asst.,  assistant. 

b.,  born* 

bandm.,  bandmaster. 

bar.*  barytone. 

B*  £>.»  used  of  the  Biographical  Die- 

tionary  in  this  volume, 
biog.,  biography,  biographical. 

c,,  composed. 

ca,  circa  (£.),  about. 

cath,,  cathedral. 

Cav.  ( I.r  Cavaliers),  Chevalier. 

cent.,  century,  as  x8th  cent. 

cf*  (jL,  confer),  compare* 

ch.,  church,  chorus,  choir. 

chapelle  (F.),  chapel,  choir. 

Chev*,  Chevalier. 

cho^rra,,  choirmaster. 

clar,»  clarinet* 

coll.,  collected,  collection,  collector, 
college. 

collab.,  collaborated,  collaboration. 

comp(s).,  composition(s), 

cond.,  conducted,  conductor  (this  ab*( 
breviation  is  here  used  for  the  equiv- 
alents in  various  languages,  Kapell*- 
master,  maestro  di  cappeUa,  mattre 
d*  ckapttte,  etc*)* 

Cons.,  Conservatory  (Conservatoire, 
Conservator^  Conservatorium). 

cpt.,  counterpoint* 

cptist.,  contrapuntist  (used  of  an  early 
composer  of  highly  contrapuntal 
works), 

tt«j  court;  ct*-cond.»  court-conductor; 
cL-Tli^  court-theatre;  ct,-opera, 
court-opera* 

d*»  died. 

D»  D,»  used  of  the  Dictionary  of  Defi* 

nltions  in  this  volume. 
diet*,  dictionary. 


dir.,  (Krector. 

do,,  ditto. 

dram.,  dramatic. 

Dr.  jur.   (L.9  doctor  juris),  Doctor  of 

Law(s). 
Dr.  phil.  (L.,  doctor  philosophic^^  Doc- 

tor of  Philosophy,  h,  c.  (X.  honoris 

causa,  i.e.,  honorarily.) 

eccl.,  ecclesiastical. 
ed.,  edited,  editor,  edition. 
e.  g.  (£,,  exempli  gratia),  for  example. 
eng.,  engaged. 
Engl.,  England,  English. 
est.,  establ.,  established. 
et  seq.  (L.,  ei  sequent  es,  sequential  and 
the  following, 

y.>  Ft..  French. 

Fest.,  Festival. 

fl.,  flute. 

fragm..  fragmentary;  fragment  (s). 

F.   (R.)  C.  O,,  Fellow  of  the  (Royaty 

College  of  Organists,  London. 
EriL  (<?.,  Fr&ulein),  Miss. 


G.9  Ger.,  German. 
gen.,  general. 
Govt.,  Government. 
Gr.,  Greek. 
gr.,  grand. 
grossherzo^lich 

GL),  Granddncal. 
Gym.,  Gymnasium 


Harm.,  harmony* 

harps.,  harpsichord. 

h.  c.  (X.,  honoris  causa),  used  of  hon- 
orary titles* 

Heb.,  Hebrew. 

herzSglich  (G.),  Ducal. 

H.  M.'s  Tfcu,  Her  Majesty's  Theatre, 
London. 

Hochschule'  (h^kh'-shpo-l^  <?.),  "Higji 
School,"  college,  university. 

ifitof  (hof,  <9.),  court;  a  frequent  prefix 
as  in  Hof-kapelle,  court-chapel,  or 
court-orchestra;  Hof  Kapellmeis- 
ter, court-conductor;  Hofmusiki** 
tendant,  superintendent  of  the  court- 
music,  etc. 

hon.,  honorary. 

Hun.,  Hungarian* 


XXIV 

L,  It.,  Ital.,  ItaHan. 

ib.,  ibid.  (L.,  ibidem},  in  the  same  place. 

id.  (£.,  idem),  the  same. 

L  e.  (£.,  id  est),  that  is, 

Imp.,  Imperial.  ^ 

lnlSdrwSni§rariacrdental  music   (to  a 

drama). 
incl.,  including. 
inst.,  institute,  institution, 
instr(s).,  instrument(s),  instrumental, 
introd.,  introduction,  introduced. 
inv.,  invented,  inventor. 

Jap.,  Japanese. 

L.,  Latin. 
libr.,  librarian. 
lit.,  literally. 
lyr.,  lyric. 

in.,  married. 

M(aestro)  (/.),  teacher,  conductor; 
in.  al  cembalo,  the  conductor,  who 
formerly  sat  at  the  harpsichord;  m. 
dei  pwtti,  Master  of  the  choir-boys. 

m.  de  chap.  (7?.,  mattre  de  chappeUe), 
coia<itictor. 

BX,  di  capp.  (/.,  maestro  di  cappella) 
conductor. 

M.  E.,  ^Methodist  Episcopal. 

melodr.,  melodrama. 

Met.  Op.,  Metropolitan  Opera  House, 
New  York. 

mfr.,  manufacturer. 

mgr.,  manager. 

mid.,  middle. 

miii.,  minor. 

mod.,  moderately. 

m.-sopr.,  mezzo-soprano. 

M.^T.  <JT)  A.,  Music  Teachers*  (Na- 
tional) Association. 

mus.,  music,  musical,  musician. 

Mus.  Antiq.  Soc.,  Musical  Antiqua- 
rian Society,  London. 

JM&s.  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. 

a,  s.,  new  style  (referring  to  the  use  of 
our  calendar  in  place  of  the  Russian 
or  old  style). 

Nt  Y,,  New  York,  TJ.  S.  A. 

O.,  Ohio,  U.  S.  A. 
Obbl.,  obbligato. 
obs.,  obsolete. 


A  LIST  OF  ABBREVIATIONS 


op.,  opus,  opera.  r^*_ 

Op.  com.,  op&ra-comique;  or  tne  Opera 

Comique  at  Paris. 
Oper  (GO,  opera. 
Opera,  used  of  the  Grand  Qpe'ra  at 

Pans. 

orch.,  orchl.,  orchestra,  orchestral, 
org.,  organ,  organist. 
o,  s.,  old  style,  see  n,  s.  above. 
Ozon.  (£.,  Oxoniae),  of  Oxford. 

p.,  part. 

i>cs.,  pieces. 

P.  E.,  Protestant  Episcopal. 

perf.,  performed. 

pf.,  pianoforte. 

Phim.,  Pfailharxn.,  Philharmonic. 

Pol.,  Polish. 


pop.!  popular. 
Port.,  Portuguese. 


pres.,  president. 

Presb.,  Presbyterian. 

prod.,  produced. 

Prof.,  Professor  (a  special  title  of  great 

distinction  in  Germany). 
pseud,,  pseudonym. 
pt..  pianist. 
pub.,  published,  publisher. 

R.,  Royal. 

R.  A.  M.,  Royal  Academy  of  Music, 

London. 

R.  C»  Roman  Catholic. 
R.   C.   M.,   Royal   College  of   Music, 

London. 

Regius  musicus,  Royal  musidaa, 
ret.,  retired,  retiring,  returned* 
rev*,  revised. 
Rev.,  Reverend. 
RusM  Russian* 


school. 

secretary. 
soc-,  society. 
sopr*.  soprano. 
Sp.,  Spanish. 

st.,  studied,  studying,  student, 
succ.,  successfully,  success. 
supt,  superintendent. 
symph.,  symphonic,  symphony* 

t.,  teacher,  taught. 

th.,  theatre. 

th.,  theorist  (writer  of  treatises). 

tiu-cond.,  conductor  of  theatre-orches- 

tra. 

transcr,,  transcribed,  transcription. 
transl**  translated*  translat!o{i«  trans* 

later, 
Tur.,  Turkish* 


A  LIST  OF  ABBREVIATIONS  xxv 

var.(s),  variation(s). 

TJ,  S.,  United  States.  via.,  viola. 

U.,  Univ.,  university.  vln.,  violin. 

.  vt.,  violinist. 
c-.,  i,  (JL.,  mdey  see;  as  v.  B.  D.,  see  the 

Biographical  part  of  this  volume,     v.  w.,  with. 
D.  !>.,  see  the  Defining  Dictionary.  WisM  Wisconsin,  TJ.  S.  A. 
2.  very,  as  v.  succ.f  very  successful- 
ly)- Ztg-  (G.,  Zeitung),  Gazette. 


AN  INTRODUCTION  TO  MUSIC 
FOR  THE  UNINITIATED 

A.  Free  Translation  of  its  Technicalities  into  Untedhnical  Language 

(especially  for  those  who  do  not  Read  Music  and 

do  not  Care  to  Study  it). 

By  Rupert  Hughes 


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  earnestly  try,  can  learn  to  do  the  one  as 
easily  as  the  other.  And  there  are  thousands  of  professional  com- 
posers 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  aU 
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  spark  (divine,  prenatal,  accidental  or  howsoever  secured) — the 
spark  of  magnetism,  felicity,  and  eloquence,  that  number  is  small 
and  is  no  more  superabundant  than  on  the  day  when  little  Hermes 
found  the  old  tortoise-shell  and  made  the  first  harp  out  of  it. 

The  reason  the  Editor  is  desirous  of  taking  the  veil  from  certain 
of  the  arcana  of  music  is  not  that  he  wishes  to  increase  the  number 
of  composers — Heaven  forbid  I  The  one  object  is  to  increase  the 
number  of  those  who  will  listen  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  the  enjoyment  of  so-called  classic  music 
is  the  hearing  of  it  in  large  quantities.  There  is  a  short  cut  for 
those  who  lack  the  time  or  the  inclination  for  this  long  training — 
and  it  is  by  wav  of  learning  the  elements  of  musical  form.  For  it 


2  AN  INTRODUCTION  TO  MUSIC 

is  the  crystallisation  of  human  passion  into  some  graceful  and  power- 
ful form  that  gives  music  long  life.  Many  wretched  pedants  think 
that  the  number  of  forms  is  limited;  but  this  is  a  fallacy  that  is  dis- 
proved every  day. 

Some  form,  however,  is  as  necessary  in  music  as  in  sculpture. 
And  though  the  number  and  variety  of  forms  available  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  audience. 

If  you  do  not  already  know  the  skeleton  that  underlies  the 
shapely  contours  and  full,  fair  flesh  of  melody  and  harmony,  you 
can  find  some  enlightenment  in  the  anatomical  lecture  that  follows, 
provided  you  will  use  your  own  scalpel,  and  carry  out  the  suggestions 
made.  It  is  not  easy  to  avoid  asking  the  reader  to  master  the 
language  and  symbols  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  stating 
its  exceptions,  and  if  permission  be  granted  to  arrive  at  certain  facts 
in  a  homely  and  button-hole  manner* 


FIRST,  turn  to  a  piano  or  organ — either  of  these  is  more 
convenient  for  illustration  than  a  bow  or  wind-instrument. 
The  highly-organised  instrument  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  veiy  music  the  instrument  is  intended  to  send 
out  upon  the  air. 

If  you  will  simply  glide  your  finger-nail  along  tlie  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  page  877  of  this  book  will  be  found  a  chart  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  convenience  it  might  be  well  to  transfer 


AN  INTRODUCTION  TO  MUSIC  3 

the  letter-names  to  the  white  keys  with  ink,  which  will  be  easily 
washed  off  with  a  wet  doth. 

The  first  thing  noteworthy  about  the  diagram  is  that  this  series 
of  letter-names  is  made  of  only  seven  letters  and  begins  over  again 
at  every  eighth  tone*  This  is  because  the  eighth  tone  (or  octave) 
is  produced  by  a  string  or  a  column  of  air  making  just  twice  as 
many  vibrations  as  the  original  tone;  the  i$th  tone  by  4  times  as 
many,  etc.,  and  because  each  group  of  seven  steps  plus  the  octave 
or  8th  step,  is  built  on  a  uniform  model  of  ratios.  The  series  from 
one  letter-name  to  its  reappearance,  as  from  c  to  c',  is  subdivided 
into  12  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  discovered  on  studying  this  array  of  whole-steps  (white  keys 
— except  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  b  ("flat")  for  the  key  next  below  or  the  symbol 
#  ("sharp")  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  black  key  is  said  to 
"flatten"  the  note  g  by  a  half-step  (or  a  " chromatic"  degree), 
The  same  black  key  serves  conveniently  then  both  as  f$  (f  "  sharp  ") 
and  gb  (g  "  flat ")  in  our  system  of  music*  Tones  not  thus  "  chromati- 
cally altered"  by  a  sharp  or  flat  are  said  to  be  "natural."  If  you 
have  struck  gb  or  £$  and  wish  to  reassert  the  white  key,  the  tone  is 
now  called  gfc(  (g  "natural")  or  f  natural. 

The  signs,  $*  s,  b's  and  fcj's  are  called  "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  tone  you  sounded 
first,  you  do  not  feel  a  willingness  to  stop  till  you  reach  a  certain 
tone  or  one  of  itsoctaves.  That  tone  will  invariably  be  one  of  the 
notes  lettered  C- 


4  AN  INTRODUCTION  TO  MUSIC 

If  now  you  begin  at  random  on  any  note  and  move  upward 
keeping  to  the  white  keys  except  in  the  case  of  f,  for  which  you 
substitute  £#,  you  will  find  that  the  letter  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  bb,  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  c;  a  scale  with  one  sharp  (which  is 
always  f)  is  based  on  the  note  g;  a  scale  with  one  flat  (b  flat)  is 
based  on  the  note  f .  Hence  one  speaks  of  the  scale  of  C,  or  of  G, 
or  of  F. 

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  bb  and  eb,  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  construct  symmetrical  scales  reposing  always  on  the  next 
to  the  last  flat  added. 

By  substituting  sharps  for  the  natural  tones  of  the  original  scale 
of  C,  you  build  scales  satisfactorily  only  by  heaping  up  sharps  m 
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  loosdy  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 
certain  note,  as  the  "key  of  C,"  the  "key  of  G"  (which  contains 
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 
Jt  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  «>mp<xrftfoa  a  list  of  the  sharp* 
or  flats  in  that  key  which  predominate*,  and  these  sharps  or  fiats  affect  every 


AN  INTRODUCTION  TO  MUSIC  5 

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.  This 
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  another  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  progression  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  instance,  of  ab  and  a#,  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 
next  but  one  is  called  a  third  (the  original  note  being  always  num- 
bered one),  the  skip  to  the  third  white  digital  is  called  a,  fourth,  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  fifths;  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  interval 
which  is  either  greater  or  less  than  the  nearest  interval  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  eb  is  called  a 
lesser  or  minor  third.  C  to  eft  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  d$,  an 
augmented  second,  c-fbb  a  diminished  fourth,  b#-d$  a  minor  third, 
etc.  The  name  of  the  interval  depends  upon  the  key  we  happen 
to  have  most  in  mind  at  the  time. 


6  AN  INTRODUCTION  TO  MUSIC 

It  is  a  curious  fact  that  all  major  scales  are  made  up  of  exactly 
the  same  intervals  in  the  same  order.  Try  over  any  of  the  scales 
you  wish,  and  you  will  find  that  you  move  upward  by  the  following 
degrees,  in  the  following  order:  (i)  a  whole  step,  (2)  a  whole  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  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. 

n 

"1C  "IT  TE  HAVE  now  had  a  bird's-eye  view  of  the  natural  arrange- 

%/%/  ment  of  tones,  one  at  a  time.     But  we  grow  tired  of  one 

T    T    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  melodies  and  naturally  avoid  singing  in  unison.     They 

spontaneously  sing  in  chords.     These  chords  are  formed  individually 

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  cf  and 
strike  this  tone  with  the  right  thumb  while  another  finger  strikes 
another  tone  above,  c'  and  c'#  do  not  sound  well  together,  nor 
yet  c'  and  d';  c'  and  d'#  (or  e'b)  is  not  unpleasant,  but  rather  sombre 
(it  is  indeed  a  minor  harmony,  the  interval  c'-e'b  being  a  minor 
third);  c'  and  e'  mate  a  pure,  sweet  concord,  however.  Let  us 
keep  c'  and  e7  and  see  if  we  can  add  another  tone,  c'  +  e'  +  f '  is 
very  bad;  c'  +  e'  +  f'#  is  also  rough;  c7  +  e'  4-  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  sth  degrees  o' 
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 


AN  INTRODUCTION  TO  MUSIC  7 

the  triad  d'-f'-a'  is  pleasant  but  sombre  (it  is  minor),  the  only  clear 
harmony  is  d'-f'#-a';  but  as  f$  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'^-b'  pleasant;  this  again  is  outlawed  by  the  g#.  On  f,  how- 
ever, 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'  again,  only  now  arranged  differ- 
ently, 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  oH  riend 
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'-d#"-fi#"  is  doubly  ruled  out;  while 
b'-d"H?"  is  doubly  minor,  the  fifth  (b'-f")  being  imperfect  and  the 
third  (b'-d")  being  minor. 

It  may  be  well  to  state  here  a  bandy  way  of  telling  the  majority  or  minority 
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,  there- 
fore b-dl?-f  fci  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',  f7  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  subdominant,  and  its  chord  the  subdominant 
chord;  the  note  c  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  sth)  and  the 
subdominant  (or  4th). 

Try  another  Key,  F  for  instance,  which  has  b(?-  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'-b'b-d"  (since  bl?  is  a 
characteristic  of  the  key  of  F),  and  this  is  a  minor  chord;  a'-c"-e" 
Is  also  minor,  but  b'k>~d"-f"  is  a  major  triad;  it  is  indeed  a  chord 


8  AN  INTRODUCTION  TO  MUSIC 

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"-e"-g",  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  remaining  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  £#,  we  find  all  of  them  outlawed  as  unpleasant  or 
at  least  minor,  except  two,  which  again  axe  on  the  subdominant 
and  the  dominant  tones  of  the  key  of  G,  and  are  c"-V-g",  and 
d"-f"#-a". 

Taking  the  sum-total  of  the  chords  of  these  three  keys,  c,  f ,  and 
g,  we  have  the  following  chords:  (C)  e-e-g,  f-a-c,  g-b-d;  (F)  f-a-c, 
bb-d~f,  c-e-g;  (G)  g-b-d,  c-e-g,  d-f$-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  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  relationship. 

Add  another  flat  and  another  sharp,  that  is,  taJke  the  key  of  Bb 
and  the  key  of  D,  and  we  find  the  following  principal  chords: 
(Bb)  bb-d-f,  eb-g-bb  and  fr-*-*;  (D)  d-i$ha,  g-b-d,  a-c#-e- 
Each  of  these  keys  has  only  one  of  the  chords  belonging  to  the  key 
of  C.  These  keys  are  then  related^  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  (Eb)  eb-g~bb,  ab-o-eb,  bb-d-f;  (A)  a~c$-e» 
d-f#-a>  e-g#~bb.  None  of  these  chords  occur  in  C,  and  these  keys 
are  said  to  be  remote  from  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 
belonging  to  the  key  with  one  sharp  less,  viz.,  D.  We  may  general- 
ise, then,  by  saying  that  the  most  closely  related  keys  are  those 
that  differ  by  one  flat  or  one  sharp;  the  pext  nearest  relations  are 
those  differing  by  two  flats  or  sharps* 


AN  INTRODUCTION  TO  MUSIC 


III 

WHILE  we  are  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  find  that  moving  downward  by  fifths  we  add  one  flat  every 
step.  Ab  has  4,  Db  has  5,  and  Gb  has  6  flats. 

Now  counting  upwards  from  our  starting  point  on  c',  we  find 
that  the  key  based  on  the  fifth  (g7)  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  F$  with  six  sharps. 

But  the  key  of  F#  on  our  piano  or  organ  passes  over  the  very 
same  digitals  as  the  key  of  Gb,  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  proce- 
dure in  chords  a  player  can  move  through  them  all  in  succession 
with  the  greatest  smoothness.  The  more  modern  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  prefer  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  aot  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  important 


10  AN  INTRODUCTION  TO  MUSIC 

subject  of  key-relationships.  Reverting  for  a  moment  to  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, 

f-a-c-e-g~b-d. 

I (          L _J 

subdominant  doEodnant 

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  in- 
verted when  any  note  except  its  root  is  in  the  bass*  The  second 
inversion  places  the  fifth  in  the  bass,  as  g'-c"-e"  or  g-c'-e'-g*  or 
g-e'-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  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  indefinitely.  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'~e'~gf 
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 


AN  INTRODUCTION  TO  MUSIC  11 

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  Bb-  How  shall  one  find  chords  to  accompany  it?  Build  a 
major  triad  on  b'b ;  it  will  be  b'b-d'-f;  build  a  triad  on  the  dominant 
or  fifth  (f),  f— a'— c";  build  another  on  the  subdominant  or  fourth 
(eb),  e'b-g'-b'b-  Play  these  three  notes  (Bb,  f,  eb)  with  the  left 
hand,  and  use  triads  with  the  right,  rearranging  the  three  notes  in 
any  of  the  inversions  ELS  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  accom- 
paniment; 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  painful  the  operation  may  be  to  yourself 
and  your  neighbors.  (Familiar  songs  requiring  only  these  three 
chords  are  "The  Star  Spangled  Banner,"  "God  Save  the  King," 
"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  domi- 
nant 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  f"#.     But  £#  does  not  belong  to  the  key 
of  C*     The  minor  third  f "fc|  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  chord  of  the  seventh  or  seventh  chord, 
because  the  interval  between  the  first  and  last  tones  is  a  seventh 
(g'~f").  This  chord,  gf-b'-d"-t"9  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  yth,  however,  is  far  the  more 
useful.  In  fact  it  is  the  most  energetic  chord  in  all  music,  and 


12  AN  INTRODUCTION  TO  MUSIC 

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  musical  term  for  the  necessity  and  process 
of  merging  it  into  another  is  called  resolution.  The  word  dissonant 
does  not  necessarily  mean  "ugly"  or  " harsh"  in  music,  but  merely 
implies  lack  of  stability. 

This  dominant  7th  chord  has  magical  powers  for  transition* 
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  gf  and  place  it  on  bV  Instantly 
you  find  it  undesirable  to  go  back  to  the  c'-e'-g'  triad  arid  you  are 
impelled  to  lower  that  b'b  to  a7,  bring  the  e'  up  to  f,  keep  the  c" 
where  it  is  and  lower  the  g  in  the  left  hand  to  f.  Now  you  feel 
at  rest;  if  you  will  pause  and  look,  you  will  find  that  the  b'b,  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  foreigner  b'b  entered  the  peaceful  key 
of  C,  you  will  find  that  the  chord  formed  by  its  entrance  could  be 
arranged  to  read  c'-e'-g'-bV  This  is  a  ?th  chord  on  the  tone  c. 
But  while  the  tone  c7  is  tonic  of  the  key  of  C,  it  is  the  fifth  or  domi- 
nant 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  domi- 
nant 7th  chord. 

It  is  possible  by  a  slight  diversion  to  throw  the  resolution  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  in  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  13 


VI 

NOW  if  we  take  our  dominant  7th  of  the  key  of  C,  that  is, 
g'~b'-d"-f",  and  raise  the  g7  a  half-step  so  that  the  chord 
reads  g7#~b7-d/7~f ",  it  will  most  naturally  resolve  itself  into 
this  chord,  a'— c"-e77,  a  sombre  chord  which  is  minor  because  its 
third  from  a-c  is  minor  (the  major  third  being  a-c#,  as  eft  would 
be  characteristic  of  the  key  of  A).  This  chord,  a'-c"-c",  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 
ft)  but  g#.  The  chord  g'-b'-d"-f "  had  been  a  minor  7th  (the  inter- 
val from  g7  to  f77  being  less  than  the  major  interval,  which  would 
be  g7  to  f7#),  but  this  chord,  g'#-b7-d'7-f",  is  even  narrower  than 
minor.  It  is  hence  called  a  diminished  7th  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 
3$-b~d-f;  a-c-e  gives  us  a-b-c-d-e~f-g#-a  as  an  octave  scale. 
This  scale,  which  is  closely  related  to  the  C  major  scale,  is  founded 
on  a7,  which  is  a  minor  third  below  c77.  So  it  will  be  found  that 
every  major  key  has  one  of  these  disappointed  relative  keys  a  minor 
third  below  and  differing  from  it,  for  harmonic  purposes,  only  in 
the  fact  that  the  7th  tone  of  this  minor  scale  is  raised  a  half-step 
above  the  tone  of  the  same  name  in  the  major  scale  (in  the  scale  of 
A  minor,  the  7th  tone,  g#,  is  the  only  tone  foreign  to  the  scale  of 
C  major,  and  it  is  a  half-tone  higher  than  the  tone  g;  the  key  of 
C  minor  corresponds  exactly  with  the  major  key  a  minor  third 
above,  that  is  Eb,  except  that  where  b  is  flattened  in  the  key  of 
Eb  major,  it  is  made  natural  in  the  scale  of  C  minor).  This  is  the 
case  with  every  major  and  minor  key;  the  related  minor  key  is  a 
minor  third  below  and  raises  the  7th  tone  of  its  major  scale  a  half- 
otep  (as  g  to  g$;  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  cheerful  repose,  a  feeling  of  resigned  despair.  These 
purposes  are  subserved  by  the  minor  key- 


14  AN  INTRODUCTION  TO  MUSIC 

In  looking  at  scales  and  intervals  we  find  that  certain  of  the  inter- 
vals 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  Catholic  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  ir,ajor. 
There  is  abundance  of  minor  material  then  in  music.  Its  arrange- 
ment into  scales  and  keys  cannot  be  so  easily  explained  as  that  of 
the  major  mode;  indeed  upon  this  subject  scientists  are  mutually 
discordant  and  commonly  as  "troubled"  (betrtibf)  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  indeed  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. 

Those  who  wish  to  pursue  the  subject  of  chord  construction  and  progression 
will  find  further  information  in  such  articles  as  Chord,  Harmony,  Thorough* 
bass,  Parallel,  Covered,  Anticipation,  Suspension,  Interval,  Altered,  etc.,  in 
the  Dictionary  of  Definitions. 

VII 

GtVEN  the  scales  for  melody  and  the  chords  for  harmony, 
with  an  unlimited  variety  of  progressions,  the  subject  of 
rhythm  enters*     There  was  a  time  when  the  music  of  the 
scholars  was  all  in  notes  of  equal  length;  such  music  was  well  called 
plain-song  (plarnts  meaning  literally  " smooth").     But  popular  in- 
stinct and  popular  music  still  had  drum-rhythms  and  dances  and 
finally  forced  the  music  of  the  scholars  to  return  to  humanity;  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  depends  on  the  relative  accent  and 
duration  of  notes  following  a  pattern  more  or  less  closely*  The 
rhythm  of  a  composition  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*  Struxn  out  in  this  way 
such  tunes  as  "Comin'  Thro'  the  Rye,"  "Yankee  Doodle,"  "We 


AN  INTRODUCTION  TO  MUSIC  15 

Won't  Go  Home  Until  Morning,"  or  the  like,  or  airs  of  more  dignity. 
If  you  mark  the  accents  forcefully,  the  regularity  of  the  rhythmical 
pattern  becomes  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  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'  thro'  the    rye- 


-2,  3>  4-5,  6,  7-8,  9>  I_2Tl2^  I2>  I3~i4>  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,  28-29,30,31-32, 33/34-35,36,37-3S, 39?  40-41, 42, 43>  44, 45 


This  covers  two  lines  of  the  song,  the  rest  of  which  follows  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  be- 
gins 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  numer- 
als and  cut  off  with  a  line  every  group  of  6,  we  shall  have  the  song 
pictured  in  as  simple  a  pattern  as  that  of  thermaid's  own  print  gown. 

If      a    body    meet  a  body       corn-in*  thro'  the    rye 

/x-2,  3,  4,  5,  6/1-2,  3,  4-5,    6/1-2,  3,  4-5,  6/1,  2,  3,  4,  5,  6/ 

Call  each  of  these  groups  a  measure,  the  slanted  line  a  bar,  take  a 
certain  time  or  note- 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  time  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  axe  two 
accents  to  each  measure,  consequently  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  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 


1£  AN  INTRODUCTION  TO  MUSIC 

common-time.  Very  quick  inarches  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  measure) ;  6—4  time  (a  slower  form  of  6-8 
measure,  differing  from  3-2  only  in  having  two  accents  to  the  meas- 
ure); 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,  half,  quar- 
ter, 8th,  1 6th,  32d,  and  64th  notes. 

The  larger  divisions  of  music  also  fail  to  follow  the  decimal  sys- 
tem. In  the  analysis  of  "Comin'  Thro'  the  Rye"  the  measures 
themselves  can  be  collected  into  groups  of  2,  4  and  8.  There  is  a 
-slight  pause  after  every  other  measure,  a  perceptible  pause  at  the 
2nd  of  the- 4th  measure,  a  longer  pause  at  the  end  of  the  8th,  Th* 
aext  group  of  8  measures  is  likewise  divisible  into  groups  of  2  and  4. 

This  quality  of  divisibility  into  4  and  8  measures  is  a  fundamental 
kiw  of  musical  structure.  Because  it  is  such  a  law  many  coxnpoaers 
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. 

A  group  of  eight  measures  is  called  a  period;  this  period  contains 
two  phrases  of  four  measures  each;  each  phrase  contains  two  sections, 
ef  2  measures;  and  each  section  is  generally  divisible  into  Its  melodic 
or  rhythmic  motive  or  subject.  The  song  "Coimn*  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  thle  second  br  third.  So  the  first  accent  of  the  first  measure  of  a 
period  should  receive  a  greater  stress  than  the  first  accent  of  the 
first  measure  of  a  phrase,  and  so  on.  In  the  proper  distribution  of 
accents  'He$  the  larger  part  of  musical  punctuation,  or,  as  it  is  called, 


AN  INTRODUCTION  TO  MUSIC  17 


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  begins  on  a  high  note  (at  the  words ct  Ilka  body  ")  and  has 
a  downward  tendency.  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  trie 
(from  the  fact  that  it  was  actually  in  old  times  given  to  a  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  thi 
subsidiary  theme  into  a  different  key,  to  emphasise  the  contrast. 
The  key  naturally  chosen  would  be  a  closely  related  key.  This  is 
usually  the  case,  and  the  contrast  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  varia- 
tions." "  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  manipulation.  Take 
the  first  2  measures  of  "Comin'  Thro'  the  Rye"  as  a  theme;  i.e., 
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  in- 
dicated from  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  follow  the  leading 


\  18  AN  INTRODUCTION  TO  MUSIC 

voice  in  singing  such  a  round  as  "Three  Blind  Mice"),  you  will  use 
the  frequent  device  called  for  evident  reasons  imitation,  as  here* 

Right  hand/c'  c'  c'  e'  /  d'  c'  d'  e'/g  g  a  g/c'  -  -  -  /&c. 
Left  hand  /  .....    /  ---------  /c  c  c  e/d  c  d  e/&c. 

This  is  imitation  at  the  octave  and  at  two  measures*  distance;  imitation 
may  be  at  a  different  interval  and  distance,  at  the  fifth,  for  instance: 

Right  hand/  c'  c'  c'  e  /  d'  c7  d?  e7  /  &c. 
Left  hand  /  -  /  f    £   f   a  /  &c. 


Imitation  need  not  be  so  sJrwtf  as  this;  it  may  be/r^,  the  intervals 
being  slightly  changed  to  enrich  the  harmony,  for  it  Is  not  every  air 
that  can  be  treated  smoothly  and  strictly  at  the  same  time*  Here, 
for  instance,  the  a  in  the  left  hand  might  be  reduced  to  a  g.  Imita- 
tion 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  gurgingly,  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  com- 
position 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*1* 


X 


f  |  ^HE  devices  for  varying  a  theme  are  infinite.  It  can  be 
I  played  in  longer  notes  while  another  theme  chosen  from 

JL  another  part  of  the  song  ripples  about  it;  or  the  duration 
of  the  notes  can  be  shortened.  The  new  treatment  of  a  theme  by 
lengthening  its  notes  is  called  augmentation;  the  shortening  of  the 
notes  is  diminution. 

The  upper  of  two  themes  can  be  made  the  lower  at  different  in- 
tervals than  the  octave;  this  is  called  tmemtm.  Another  form  of 
inversion  is  the  turning  of  a  theme  upside  down,  so  that  whenever  it 


AN  INTRODUCTION  TO  MUSIC  19 

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  fragments  of  it 
tossed  to  and  fro  with  the  skill  of  a  juggler  (and  about  as  much  im- 
portance). The  first  4  notes  of  "Comin?  Thro7  the  Rye"  could  be 
taken  as  a  figure  and  repeated.  Thus: 

c'  c'  c'  e',  e'  e'  e'  g'fc  g'#  g'#  g'#  b',  etc. 

This  would  be  called  a  sequence.  The  themes  could  be  played  ia 
octaves,  or  in  varied  and  key-changing  chords  as: 

If  a  bod      -y 

eb-g-c1,   f-ab-c1,  g-bb-c1,  g-bb-e1 

It  could  be  ornamented  as: 

If  a  bod       -y 

c7   c7   d7   c'   b7   c'   d7   c7   e7   e7   e'   e7 

C  ,  t,  ,  U  9   C  ,    U,C,tL,C,C,C,C,e* 

In  fact,  there  is  no  hinting  here  the  dissection  and  reconstruction 
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  "development,  elaboration,  variation,  working- 
out,  free  fantasy,"  &c.,  &c.,  the  Germans  calling  it  Durchfiihrung, 
"going  through," 

XI 


highest  and  noblest  form  of  strictly  academic  and 
I  formal  composition  is  the  sonata,  for  the  symphony  is  only 
1  a  sonata  for  orchestra.  We  have  now  arrived  hastily  at  a 
point  where  a  rough  explanation  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  in- 
dividual tastes. 

First  you  select  a  melody,  one  with  an  elocutionary  and  sen- 
tentious 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  select  some  more  lyrical  and  song-like 
air,  and  for  contrast  you  put  it  in  another  key,  naturally  one  of  the 
related  keys,  most  naturally  the  nearest  related  key,  or  the  domi- 
nant. Or  you  might  put  the  second  melody  in  the  relative  minor. 
Having  stated  your  two  subjects,  you  may  choose  to  repeat  them 


20  AN  INTRODUCTION  TO  MUSIC 

word  for  word,  or  note  for  note,  so  that  there  shall  be  no  mistaking 
them;  you  may  then  add  a  concluding  reflection  more  or  less  elabo- 
rate. This  is  the  first  section  of  the  sonata. 

Having  stated  the  two  texts,  the  principal  and  the  subsidiary, 
you  now  propose  to  show  their  true  profoundness,  and  your  own  true 
skill  as  an  orator.  You  employ  the  devices  of  elaboration  mentioned 
above,  and  you  play  battledore  and  shuttlecock  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;  from  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  ike  first  theme  >  in  order  that 
a  definite  key  may  be  left  in  the  mind  to  give  an  effect  of  unity.  A 
short  peroration  or  coda  ends  the  sermon  like  a  welcome  benediction. 

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  movement 
as  it  is  called.  Three  or  usually  four  contrasted  movements  are 
strung  together.  They  usually  have  some  faint  suggestion  of  simi- 
larity of  theme,  but  variety  of  mood  and  key  is  the  chief  endeavor, 
A  slow  movement  (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) 
a,n  optimistic  and  prettily  braided  Rondo  with  one  chief  theme  and 
two  attendant  themes;  (b)  a  gallant  Minuet;  or  (c)  a  witty  and 
jocose  scherzo. 

The  sonata  ends  with  a  Finale  of  stormy  and  brilliant  character 
generally  built  on  the  same  scheme  as  the  first  movement  and  writ- 
ten in  the  same  key. 

The  whole  group  of  three  or  four  movements  makes  up  a  sonata. 
The  first  movement  of  the  sonata  is  often  also  called  the  "  sonata- 
form." 


AN  INTRODUCTION  TO  MUSIC  21 

An  overture  (excepting  one  that  is  a  medley  of  airs)  is  merely  the 
first  movement  of  a  sonata,  written  out  for  an  orchestra.  A  sym- 
phony is  merely  a  whole  sonata  written  to  take  advantage  of  the  en- 
larged opportunities  of  a  great  orchestra  of  from  50  to  120  instru- 
ments. 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  orches, 
tration  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  pro- 
gramme for  instance  representing  musically  a  storm  or  the  tragedy 
of  "Romeo  and  Juliet" — such  a  composition  is  said  to  be  programme 
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  unconvincing 
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. 

This  hasty  and  incomplete  sketch  will  have  failed  in  its  purpose 
if  it  leads  its  reader  to  the  delusion  that  he  need  investigate  no  fur- 
ther 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  nature,  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  can  hope  to  embody  all  that  is  good  and  solid  in  the  art. 

The  classic  masters  were  once  living,  breathing,  passionate  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.  But  once  he  has  had  the  inestimable  de- 
light of  their  acquaintance,  he  must,  above  all  things,  avoid  the  be- 
lief that  art  and  glory  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 


TOISIC 


it  is  tie  rk  of  the  art,  may,  after  all,  be 


ran, 


I  I 


reams, 
we, 


nor 


lift  us,  but  only  itt  tie  great  nev  wder-kd  be  sees  bejwl, 


1C, 


I    I  i      * 


« wly  stilled,  E  t  idd  not  ke  it  a  dead  language 

toleani 


BIOGRAPHICAL  DICTIONARY 
OF  MUSICIANS 


N.B.  The  German  modified  vowels 
a",  5,  u,  are  often  spelled  ae,  oe,  ue. 
For  convenience  they  will  here  be  ar- 
ranged alphabetically  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  (S'-ron),  (i)  d.  Cologne,  1052; 
abbot  and  theorist.  (2)  (or  Aron), 
Pietro,  Florence,  1480  or  '90 — bet. 
1545-62;  theorist. 

Abaco  (d6l  S'-bS-k5),  E.  Fel.  dall», 
Verona,  July  12,  1675 — Munich, 
July  12,  1742;  court-conductor  and 
composer. 

Abblt-Coraaglia  (ab-ba'  kAr-nal'-ya), 
Alessandria,  Piedmont,  1851 — 1894; 
composed  operas  and  church-music. 

Abbadia  (fi.b-ba-d5'-a),  (i)  Natale, 
Genoa,  1792 — Milan,  ca.  1875;  dram, 
and  ch.  composer.  (2)  Luigia,  daugh- 
ter of  above,  b.  Genoa,  1821;  mezzo- 
soprano, 

Abbatini  (&b-b£L-te'-nS),  A.  M.,  Cas- 
tello,  ca.  1595 — 1677;  composer. 

Abb6  (ab-ba),  (i)  Philippe  P.  de  St. 
Sevln,  lived  iSth  cent.;  'cellist. 
(2)  Pierre  de  St.  Sevin,  bro.  of  above; 
'cellist. 

AbTbey,  (i)  J,,  Northamptonshire, 
1785 — Versailles,  1859;  organ- 
builder.  (2)  Henry  Eugene,  Akron, 
O,,  1846 — New  York,  1896;  impre- 
sario; manager  of  Met.  Op.,  N.  Y., 
1883-4,  1891-2,  and  1894-6. 

Abbott,  (i)  Emma,  Chicago,  1850 — 
Salt  Lake  City,  1891;  operatic  so- 
prano; toured  America  with  great 
popular  success.  (2)  Bessie  (Abbott), 
Riverdale,  N.  Y.,  1878— New  York, 
191:0;  soprano;  pupil  of  Mrs,  Ashford, 
N.  Y.,  and  of  Koenig,  Paris;  cl£but 
1902  at  the  Ope"ra  there,  after  sing- 
ing in  ballad  concerts  in  England; 
1906,  U.  S. 


Abeille  (a-bi'-lS),  Jn.  Chr.  L.,  Bay- 
reuth,  1761 — Stuttgart,  1838;  com- 
poser and  court-conductor. 

Abel  (a'-bel),  (i)  Clamor  H.,  b.  West- 
phalia 1 7th  cent,;  court-mus.  (2) 
Chr.  Fd.,  gambist  at  K6then,  1720- 
37.  (3)  Ld.  Aug.,  b.  KQthen,  1717, 
son  of  above;  court- violinist.  (4) 
K.  Fr.,  Kothen,  1725 — London, 
1787;  bro.  of  above  and  the  last 
virtuoso  on  the  gamba,  (5)  L., 
Eckartsberga,  Thuringia,  Jan.  14, 
1834 — Neu-Pasing,  Aug.  13,  1895; 
violinist. 

AbelT,  J.,  London,  ca.  1660 — (Cam- 
bridge (?)  ca.  1724;  alto  (musico) 
and  lutenist;  collector  and  composer. 

Abendroth  (a'-b£nd-r6t),  Hermann, 
b.  Frankfort,  Jan.  19,  1883;  conduc- 
tor; pupil  of  Thuille;  cond.  in  Munich, 
1903-4;  Ltibeck,  1905-11;  Essen, 
1911;  after  1915,  civic  music  dir. 
and  head  of  Cons,  at  Cologne;  in 
1922-3  also  led  concerts  of  Berlin 
State  Op.  and  as  guest  in  London 
and  other  European  cities;  cond. 
Gewandhaus  Orch.,  Leipzig,  after 

I934- 

Abenheim  (S'-bfin-hlm),  Jos.,  Worms, 
1 804 — Stuttgart,  1 89 1 ;  conductor 
and  violinist. 

Abert  (S/-b£rt),  (i)  Jn.  Jos.,  Kocho- 
witz,  Bohemia,  Sept.  21,  1832 — 
Stuttgart,  April  i,  1915;  double-bass 
virtuoso  and  important  composer 
for  the  instr.;  also  composed  operas, 
etc.  (2)  Hermann,  Stuttgart,  March 
25,  1871 — Aug.  13,  1927;  son  of  (i); 
noted  musical  historian;  Ph.  IX, 
Tubingen  Univ.;  1902,  decent  in 
mus.  science,  Halle  Univ.;  1909, 
prof.;  1919,  do.,  Heidelberg  Univ,; 
1920,  Leipzig  Univ.  (vice  Riemann); 
1023,  Berlin  Univ.;  author  of  biog. 
pjf  Schumann  and  large  number  of 
important  historical  and  scientific 
works  on  music;  after  1914  ed.  the 
"Cluck- Jahrbuch." 

Abora  (a'-b$rn),  (i)  Milton,  Marysville, 
Cal.,  May  18,  1864 — New  York, 
Nov.  13,  1933;  impresario;  early  in 
life  an  acton  after  1902  managed 
Aborn  Op.  Co.,  in  productions  in 
English;  1913-15,  seasons  at  Century 


23 


24 


DICTIONARY  OF  MUSICIANS 


Theat.,    N.    Y.;    later   Gilbert    and 
Sullivan  productions.     (2)   Sargent, 
b.  Boston,  1866;  brother  of  Milton, 
assoc.  in  his  work  as  impresario  and 
in  Aborn  Op.  Sch.,  N.  Y. 
Abos  (a'bas)  (or  Avos,  Avos'sa),  Gir., 
Malta,  ca.  1708— Naples,  1786  (?); 
composer  of  operas,  etc. 
A'braharn,  Gerald,  b.  1904;  Eng.  writer; 
wrote  "Stouties  of  Russian  Music  "  etc. 
Abr&nyi,    (i)    Kernel,    d.    Budapest, 
Dec.  20,  1903;  nobleman;  editor  and 
composer.    His    son     (2)    Emil,    b. 
Budapest,  Sept.  22,  1882;  c.  operas. 
Abra'vanel,  Maurice,  conductor;  mus. 
dir.,  Utah  Symph.  Orch.,  after  1947. 
Abt  (fipt),  Franz,  Eilenburg,  Dec.  22, 
1819 — Wiesbaden,  March  31,  1885; 
court-conductor  at  Bernburg,  Zurich 
and    Brunswick;    visited    America, 
1872;  immensely  popular  as  a  writer 
in  the  folk-song  spirit,  of  such  simple 
and  pure  songs  as  "When  the  Swal- 
lows   Homeward  Fly,"   etc.;   c.    500 
works  comprising  over  3,000  numbers 
(the  largest  are  7  secular  cantatas) 
and   numerous  choruses   and   other 
cantatas. 
AVyngdon,  Henry,  d.  Wells,  England, 

1497;  composer. 
Achenbach.  Vide  ALVARY. 
Achron  (S,kh'-r5n),  Joseph,  b.  Losd- 
seye,  Russia,  May  i,  1886;  composer; 
studied  Petrograd  Cons.,  violin  with 
Auer  (grad.  gold  medal),  harmony 
with  Liadoff,  orchestration  with 
Steinberg.  Toured  Russia  at  age 
of  n;  head  of  vln.  and  chamber 
music,  Kharkov  Cons.,  1913-16; 
later  toured  widely,  Russia,  Pales- 
tine and  Europe.  Since  1925,  res. 
in  New  York.  C.  chamber  music 
and  vln.  works,  d.  Calif.,  1943. 
Achscfcarumov  (Ssli-tsh§/-roo-ra6f), 
Demetrius  Vladimirovitscli,  b. 
Odessa,  Sept.  20,  1864;  violinist  and 
c.:  pupil  of  Auer. 

Ack'ermann,  A.  J.,  Rotterdam,  April 
2,  1836— The  Hague,  April  22,  1914; 
composer. 

Acktg   (ak'-ts),  Aino,   b.   Helsingfors, 

Finland,    April    23,    1876;   soprano; 

sang  at  Paris  Op6ra;   1904-5.  Met. 

Op.,  N.  Y.j  d.  Helsinki,  1944. 

Ac'ton,  J.  B.,  b.  Manchester  (?),  1863; 

singing-teacher  and  composer. 
Adalid  y  Gurrea  (ft-dha'-led  h-5-goo- 
rS'-&),  Marcel  deL,  Coruna,  Aug. 
26,  1826 — Longara,  Dec.  16,  1881: 
pianist;  pupil  of  Moscheles  and 
Chopis-  c.  opera,  etc. 


Adam  (5-d-an),  (i)  Louis,  Muttersholtz, 
Alsatia,   1758 — Paris,   1848;  teacher 
and  composer.     (2)  Adolphe  Charles, 
Paris,  July  24,  1803 — May  3,  1856: 
son   of   above;    c,    many   successful 
operas;    Pierre   et   Catherine   (1829), 
Le     Chalet     (1834),     Postmen     de 
Longjumeau  (1836),  Le  Fidele  Berger, 
Le  Brasseur  de  Preston  (1838),   Le 
Roi  d9  Yvetot  (1842),  La  Poupte  de 
Nuremberg,  Cagliostro,  and  Richard 
en     Palestine     (1844),     the     ballets 
Giselle,   Le  Corsaire,  Faust  7  etc.;  in 
1847  he  founded  the  Theatre  Na- 
tional, but  was  made  bankrupt   by 
the  revolution  of  1848,  and  entered 
the  Conservatoire  as  prof,  of  com- 
position to  succeed  his  father. 
Adam    (fit'-fim)    K.    F.,    Constappel, 
Saxony,     Dec.     12,     1806 — Leisnig, 
1867;  cantor  and  composer. 
Adam  de  la  Hale  (or  Halle)   (&d~&& 
dti  la  a"!),  Arras,  ca.  1240 — Naples, 
1287;    called    "Le    bossu    d' Arras*1 
(Hunchback  of  Arras);  a  picturesque 
trouv&re  of  great  historical  impor- 
tance; c.  chansons,  jeux  (operettas) 
and   motets;   his  works   wer%  pub. 
1872. 

Adamberger  (St'-am-b«rkh-«r),  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  Boisena  (or  da  Volterra) 
(fi^dS-mfi  d«  bdl-s&'-nl),  And*,  Bo- 
logna, 1663 — Rome,  174^;  theorist. 
Adamon'ti.    Vide  ADAHBEKOEIC. 
AdamowsM       (^d-M.mdf'*shkO,       (i) 
Timotfc6e,  Warsaw,  March  34,  tSsjH 
—Boston,  Apr.  18,  1943;  vln.  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    <i88fc). 

(2)  Joseph,  Warsaw,  ift6j— Boston, 
May  8,  1930;  bro.  of  above*;  'cellist; 
member  of  the  same  quartet;  married 
Szumowska;  3903,  New  Engl.  Cons. 
teacher. 

Ad'aros,  (x)  Th..  London,  * 785— 1858; 
organist.  (2}  Charles  &*,  Charleston, 
Mass.,  ca.  1834— July  ,*>  i ooo;  tenon 

(3)  Suzanne,  b.  Cambridge,  Mas*., 
1873*  soprano;  studied  with  liouhy 
in    Paris;   sang   at    the   Op.    there, 
1894-7;  then  in  Nice;  from  1808  to 
1006    at     Covent     Garden;     1808, 


DICTIONARY  OF  MUSICIANS 


25 


Chicago;  1899  at  Met.  Op.  House; 
m.  Leo  Stern,  'cellist;  lived  in 
England,  1903;  d.  London,  1953. 

Ad'cock,  Jas.,  F-ton,  England,  1778 — 
Cambridge,  1860;  choir-master  and 
composer. 

Ad'dison,  J.,  London,  ca.  1766 — 1844; 
double-bass  player,  dram,  composer. 

Adelburg  (fon  a'-dfil-boorkh),  Aug., 
Ritter  von,  Constantinople,  1830 — 
(insane)  Vienna,  1873;  violinist. 

Adler  (at'-lSr),  Guido,  Eibenschiitz, 
Moravia,  Nov.  i,  1855 — Vienna,  Feb- 
ruary, 1941;  pupil  at  Academic 
Gym.  in  Vienna,  and  Vienna  Cons.; 
('78)  Dr.  jur.,  and  (J8o)  Ph.  D.;  1885 
prof,  of  mus.  science  Prague  Univ.; 
('95)  prof,  of  mus.  history,  Univ.  of 
Vienna  (vice  Hanslick);  from  1894, 
ed.-in-chief,  "Denkmitter  d.  Ton- 
kunst  in  O  ester  r  eich"  \  after  1913,  ed. 
"Studien  zur  Musikwissenschoft™  ; 
author  of  many  valuable  essays  on 
music. 

Aolgasser  (at'-'l-gSs-ser),  Anton  Ca- 
jotan,  Innzell,  Bavaria,  1728 — 1777; 
organist. 

Adlung  (at'-loongk),  or  A'delung,  Ja- 
kob, Bindersleben,  near  Erfurt, 
1699 — 1762;  organist,  teacher  and 
writer. 

Adolf ati  (a-d6l-fS/-tg),  And.,  Venice, 
17x1 — Genoa  (?)  1760;  composer. 

Adriano  di  Bologna.     Vide  BANCHXEKI. 

Ad'xiansen  (or  Hadrianus) ,  Emanuel; 
lived  Antwerp  i6th  cent.;  lutenist 
and  collector. 

Adrien  (&d-rX-an)  or  Andrien.     Martin 

Joseph  (called  la  Neuville,  or  PAin§), 
i6ge,  1767 — Paris,  1824;  bass  and 

composer. 
^Bgid'ius    de    Muri'no,     isth    cent.; 

theorist,     (Coussemaker.) 
.flBlsters  (Sl'-stSrs),   Georges  Jacques, 

Ghent,  1770 — 1849, 
Mtts   (Srts),  Egide,   Boom,   Antwerp, 

1822 — Brussels,  1853. 
Afanassiev     (a-fa-nS,s'-s*-Sv),    Nikolai 

Jakovlevich,      Tobolsk,      1821 — St. 

Petersburg,  June  3,   1898;  violinist 

and  c. 
Affer'nl,  TTgo,  b.  Florence,  Jan.  i,  1871; 

pianist  and  cond.;  studied  at  Frank- 
fort and  Leipzig;  m.  the  violinist 

Mary  Brammer,  1872;  c.  operas,  etc. 
Affilard  (laf  '-ffi-l&r'),  Michel  F,  1683— 

1708;  singer  to  Louis  XIV. 
Afranio  (&-fra/-nI-3),  b.  Pavia,  end  of 

iSth  cent.;   canon  at  Ferrara;  inv. 

the  bassoon. 
Afzelius     Ciif-tsa'-lr-oos),     Arvid     A- 


EnkSping,  Sweden,  1785 — 1871;  col- 
lector. 

Agazza'ri  (a-gad-za'-re),  Ag.,  Siena, 
1578 — 1640;  church-conductor. 

Agnelli  (a,n-y  61 '-!€),  Salv.,  Palermo, 
1817 — 1874;  pupil  of  Naples  Cons.; 
lived  Marseilles  and  c.  operas,  can- 
tata "Apotheose  de  NapoUon  7.," 
etc. 

Agnesi  (dSn-yS'-se),  (i)  M.  Theresia 
d',  Milan,  1724 — 1780;  pianist  and 
dram,  composer.  (2)  Luigi  (rightly 
F.  L.  Agniez),  Erpent,  Namur,  1833 
— London,  1875;  bass. 

Agniez  (an-yez).     Vide  AGNESI  (2). 

Agostini  (ag-6s-t6'-ne),  (i)  Paolo, 
Vallerano,  1593 — Rome,  1629;  won- 
derful contrapuntist,  some  of  his 
works  being  in  48  parts.  (2)  P. 
Simone,  b.  Rome,  ca.  1650.  c.  an 
opera,  etc. 

Agrel  (a'-grel),  J.,  Loth,  Sweden,  1701 
— Niirnberg,  1765;  court-violinist 
and  conductor. 

Agric'ola,  (i)  Alex.,  Germany  (?)  ca. 
1446 — Valladolid,  Spain,  1506;  court- 
singer  and  church-composer.  (2) 
Martin,  Sorau,  Saxony,  1486 — 
Magdeburg,  June  10,  1556;  eminent 
writer  and  theorist.  (3)  Jn.,  b, 
Niirnberg  ca.  1570;  prof,  and  com- 
poser. (4)  Wolfgang  Chp.,  German 
composer  (1651);  (5;  G.  L.,  Gross- 
furra,  1643 — Gotha,  1676;  conductor. 
(6)  Jn.  Fr.,  Dobitschen,  1720 — 
Berlin,  1774;  court-cond. 

Agthe  (akh'-tS),  K.  Ch.,  (i)  Hettstadt, 
1762 — Ballenstedt,  1797;  composer. 
(2)  W.  Jos.  Albrecht,  Ballenstedt, 
1790 — Berlin,  1873;  son  of  above, 
teacher.  (3)  Fr.  w.,  Sangershausen, 
1796 — (insane)  Sonnenstein,  ca. 
1830;  cantor. 

Aguado  (a-gwa'-dhC),  Dionisio,  Ma- 
drid, 1784 — 1849;  performer  and 
composer  for  guitar. 

Aguiari,  Lticrezia.     Vide  AGXTJAKI. 

Aguilar  (&/-g5-lar),  (i)  Emanuel  Abra- 
ham, London,  Aug.  23,  1824 — 
London,  Feb.  18,  1904;  pianist  of 
Spanish  origin;  c.  2  operas,  3  symph. 
(2)  Elisa,  (3)  Ezequiel,  (4)  Francisco, 
(S;  Jose",  lute  players,  comprising 
Aguilar  Lute  Quartet;  toured  widely 
in  Europe  and  America,  New  York 
d6but  1929-30. 

Aguilera  de  Heredia  (JL-gwMa'-rS  da 
a-ra'-dH5-a)T  Seb.,  b.  Sargossa,  I7th 
cent.;  monk  and  composer. 

Agujari  (a-goo-ha'-rS) ,  Lucrezia  (called 
La  Bastardina,  or  Ba^tardella,  being 


26 


DICTIONARY  OF  MUSICIANS 


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  or  PITCH)  ;  she  m.  Colla, 
1780,  and  retired  from  the  stage. 
Able  (a'-lS),  (i)  Jn.  Rud.,  Mulhausen, 
1625 — 1673;  theorist  and  church- 
composer.  (2)  Jn.  G.,  Mulhausen, 
1651 — 1706;  son  of  above;  organist, 
poet  and  theorist. 

AhlstrBm  (al'-shtr§.m),  (i)  Olof,  Stock- 
holm, Aug.  14,  1756 — Aug.  ii,  1835; 
organist.  (2)  Jkkob  Niklas,  Wisby, 
Sweden,  June  5,  1805 — Stockholm, 
May  14,  1859;  son  °f  above;  dram, 
composer. 

Anna.     Vide  DE  AHNA. 
Aibl    Ci'-bl),   Jos.,  founded  publishing 
firm,  Munich,  1824;  later  heads  were 
Eduard  Spitz weg  (1836)  and  his  sons. 
Eugen  and  Otto. 

Aiblinger  (I'-bling-Sr),  Jn.  Kasper, 
Wasserburg,  Bavaria,  1779 — Munich, 
1867;  court-conductor,  collector  and 
composer. 

Aichinger         (I'-khing-e'r),         Gregor, 
Regensburg     ca.      1564 — Augsburg, 
1628;  canon  and  composer. 
Aigner   (ikh'-nSr),  Engelbert,   Vienna, 

1798 — 1851;  dram,  composer. 
Aimo  (a'-€-in5).     Vide  HAITM,  N.  r. 
Aimon   (Sm-6n),  Pamphile  Ld.  Fran., 
b.  L'Isle,  near  Avignon,  1779;  'cellist, 
conductor,  theorist. 
Ajolla.     Vide  IAYOLLE. 
A  Kem/pis,  Nicholas,  organist  and  c., 

at  Brussels,  ca.  1628. 
Akinien'ko,  Theodore,  composer;  b. 
Kharkov,  Russia,  Feb.  8,  1876; 
studied  St.  Petersburg  Cons.,  1895 — 
jpoo,  harmony  with  Rimsky- 
]£orsakoif  and  Liadoff,  piano  with 
Balakireff.  C.  two  symphonies, 
orchestral  poems,  chamber  music 
works,  opera  "Rudy."  Resident  in 
France. 
Ala  (a'-l&J,  Giov.  Bat.,  Monza,  1580 — 

1612  (?);  organist  and  composer. 
Alabieff    (a-l&-bl-ef),    Alex.,    Moscow, 
Aug.     1 6,     1787 — March     6,     1851; 
composer. 

Alaleona  (al-Sll-5/-5-na)  Domenico, 
composer,  musicologist;  Montegior- 
gio,  Italy,  Nov.  16,  1881 — Dec.  29, 
1928;  grad.  St.  Cecilia  Acad.,  Rome, 
1906;  studied  piano  with  Bustini, 
composition  with  De  Sanctis  and 


Renzi;  cond.,  Augusteo  concerts, 
Rome,  and  prof.,  Rome  Conserva- 
tory, after  1910.  C.  opera,  "Aftrra," 
choral  works,  chamber  music,  songs; 
author  articles  on  Cavalieri  and 
other  early  Italian  composers. 
Alard  (£l-&r),  J.  Delphln,  Bayonne, 
March  8,  1815 — Paris,  Feb.  22,  1888; 
violinist,  teacher  and  composer. 
Albanese  (al-ba-n&'-ze) ,  Lida,  soprano; 
studied  in  Milan;  Met.  Op. sifter  1939. 
Albanesi  (al-ba'-na'-ze) ,  Luigi,  Rome, 
March  3,  1821 — Naples,  Dec.  4* 
1897;  pianist  and  composer. 
Albani  (3l-ba'-nl)  (stage  name  of 
Marie  Louise  Cecilia  Emma  La 
Jetmesse),  Chambly,  near  Montreal, 
Nov.  i,  1852 — London,  April  3, 
1930;  operatic  soprano;  sang  in 
Cathedral,  Albany,  N.  Y.,  whence 
her  name  was  mistakenly  supposed 
to  have  been  taken;  pupil  of  Duprez, 
and  of  Lamperti;  d€but  at  Messina 
in  1870;  sang  much  in  England,  at 
Covent  Garden  and  a  favourite  in 
concert;  1878,  m.  Ernest  Gye, 
impresario;  retired  from  stage,  1906. 
Albani,  Mathias,  Bozen,  1621 — 1673; 
famous  father  of  more  famous  son  of 
same  name  and  trade,  violin-making; 
the  younger  A/s  violins  (1702-9) 
rival  Araati's. 

Albeniz  (ai-bfi'-nSth),  (i)  Pedro,  Lo- 
grono,  1795 — Madrid,  1855;  court- 
organist.  (2)  Pedro,  b.  Biscay,  San 
Sebastian,  1755;  monk,  church- 
cond.  and  composer.  (3)  Isaac, 
Camprodon  (Gerona),  Spain,  May 
29,  1860 — Cambo-les-Bains,  June 
1 6,  1909;  eminent  composer;  a  lead- 
ing representative  of  the  "New 
Spanish"  school  of  nationalistic 
composers.  He  was  markedly  pre- 
cocious as  a  child  and  appeared  as  a 
pianist  at  the  age  of  4  in  Madrid. 
At  6  he  was  taken  to  Paris,  where  he 
studied  with  Marmontel,  and  from 
ix  to  15  appeared  as  a  concert  player 
in  North  and  South  America.  He 
attended  the  Leipzig  Cons,  for  a 
short  time,  and  later  the  Brussels 
Cons,  with  the  aid  of  funds  provided 
by  Alfonso  XII.  He  studied  at 
various  times  with  Brassin  and 
Jadassohn,  and  also  with  Liszt  at 
Weimar  and  Rome.  His  life  was  one 
of  continuous  uncertainties.  As  a 
comj>oser  he  was  prolific,  his  com- 
positions falling  into  two  separate 
groups,  the  first  extending  from  1883 
to  about  1890,  during  which  time  be 


DICTIONARY  OF  MUSICIANS 


composed  over  200  piano  works 
including  concertos  and  sonatas  and 
many  smaller  pieces;  after  1890  he 
undertook  the  study  of  composition 
in  Paris  with  d'Indy  and  composed 
the  operas  "Pepita  Jiminez"  "  Henry 
Clifford,"  a  trilogy  "King  Arthur"- 
and  the  orch.  suite  "Catalonia" 
Among  other  compositions  are 
"Iberia"  suite  for  piano  (several 
numbers  orch.  by  Arbos),  an  oratorio 
"Cristo,"  and  many  songs.  His 
piano  music  carries  on  the  traditions 
of  Chopin  and  Liszt,  but  is  endowed 
with  quite  individual  folk-colour  and 
intensity  of  feeling,  and  also  has 
many  impressionistic  influences. 
His  trilogy  "King  Arthur"'  was  left 
unfinished  at  his  death.  In  1923  his 
"Pepita  Jiminez"  was  restored  with 
success  at  the  Paris  Op.-Comique. 

Albergati  (dal-ber-ga'-teO,  (i)  Pirro 
Capacelli,  Conte  d*.  Lived  in  Bo- 
logna, 1 7th  cent.;  composer.  (2)  Al- 
dobrandini,  lived  in  Bologna,  iyth 
cent.;  dram,  composer. 

Al'bert,  Prinz  von  Sachsen-Coburg 
Gotha,  Schloss  Rosenau,  1819 — 1861; 
consort  of  Queen  Victoria,  patron  of 
music  and  composer  of  an  opera, 
"Jean  le  Fol"  (Bagnidres  de  Bigorre, 
1865),  an  operetta,  masses,  etc. 

Albert  (Sl'-bSrt),  (i)  H.,  Lobenstein, 
Saxony,  1604 — KSnigsberg,  1651; 
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 
Schultz,  one  of  the  founders  of  Ger- 
man opera.  (2)  Charles  L.  W.  d% 
Nienstetten,  near  Hamburg,  1809 — 
London,  1886:  dancing  master  and 
composer.  (3)  Eugen  d%  rightly 
EugSne  (Francis  Charles)  (dSl-bar, 
or  dal'-b&rt),  Glasgow,  April  10, 
1864 — Riga,  March  3,  1932;  son  and 
pupil  of  above;  pianist;  Newcastle 
scholar  in  the  London  Nat.  Training 
School,  1876;  pupil  of  Pauer  (pf.)  and 
Stainer,  Prout  and  Sullivan  (harm, 
and  comp.);  1881,  Mendelssohn 
scholar  and  pupil  of  Richter  and 
Liszt,  who  called  him  "the  young 
Tausig";  1881,  he  played  the  Schu- 
mann concerto  at  the  Crystal  Palace, 
London;  Oct.  24,  a  concerto  of  his 
own,  at  a  Richter  concert;  he  per- 
formed 5  Beethoven  sonatas  (op.  31, 
53,  90,  109,  no)  at  a  Gewandhaus 
recital,  1893;  he  married  the  pianist 
Carreno  in  1892  (divorced  1895);  first 


conductor  at  Weimar,  vic«  Lassen, 
but  soon  resigned;  composed  a  sym^. 
phony,  2  overtures  ("Hyperion"  and 
" Esther"),  2  pf. -concertos,  libretto 
and  music  of  the  operas  "Der  Rubin" 
(Carlsruhe,  Oct.  12,  1893),  "Ghis- 
monda"  (Dresden,  1895),  "Gernot" 
(Mannheim,  1897),  i-act  mus.  com- 
edy "Die  Abreise"  (Frankfort,  1898); 
operas  "  Kain"  and  "Der  Improvi- 
sator"- (both  Berlin.  1900),  "Tief- 
land"  (Prague,  1903),  "Flauto  solo"' 
(Prague,  1905),  "Tragaldabas"' 
(Hamburg,  1907),  "Die  Verschenkte 
Frau"  or  "The  Bartered  Wife"  (1912, 
Munich).  His  opera  "Tieftand** 
(based  on  Guimera's  play,  "Marta 
of  the  Lowlands")  has  had  immense 
success;  in  Berlin  alone  (prod.  1907) 
it  reached  its  4ooth  performance  in 
Feb.,  1912;  it  was  sung  at  the  Met. 
Op.,  1908,  and  throughout  Europe: 
also  c.  tie  operas  "  Liebesketten>> 
"Izeil,"  "Die  Toten  Augen"  (1917); 
perf.  also  in  N.  Y.  by  German  Op. 
Co.,  1924);  "Der  Stier  von  Oliveir&"< 
(Leipzig,  1918);  *  *  Revolutionshoch* 
zeit"  (do,  1019);  "Scirocco"'  (Darm- 
stadt, 1921);  "Mareike  von  Nym- 
wegen"'  (1923);  "Der  Golem" ';  "Di* 
Schwarze  Orchidee"  (musical  detec- 
tive drama,  using  jazz  effects) :  and 
a  posth.  work,  T<Jkfr.  Wu,"  (prod. 
1932);  string  quartets,  violin  con- 
certo;  pf.  pieces,  etc.  His  later 
marriages  were  to  Hermine  Finck, 
singer  (1895-1910);  Ida  Theumann 
(1910-12);  he  is  esj>.  remembered  for 
his  piano  transcriptions  of  Bach 
organ  works;  his  revision  of  the 
"Well^Tempered  Clavichord";  his  edi- 
tions of  various  Liszt  works  and  of 
the  sonatas  of  Beethoven. 

Albertazzi  (Sl-bSr-tad'-z5),  Emma  (nee 
Howson),  London>  x8i4 — 1847; 
operatic  contralto. 

Alberti  (Sl-b€r'-te),  (i)  Jn.  I^r.,  Ton- 
ning,  1642 — Merseburg,  1710;  organ- 
ist. (2)  Giusi  Matteo,  Bolognar 
1685 — 174^5  violinist  and  composer. 
(3)  Domenico,  Venice,  ca.  1717 — 
Formio,  1740;  singer  then  pianist; 
in  his  piano  music  he  made  use 
of  the  since-called  "Alberti  bass"- 
(vide  r>.  p.). 

Alberti'ni  (Sl-bSr-te'-ne-),  (i)  Gioac- 
chino,  b.  1751 — Warsaw,  April,  1812; 
conductor  and  dram,  composer. 

Albicas'tro,  Hemico  (rightly,  Weis- 
senburg),  b.  Switzerland,  I7th  cent,} 
court-  violinist. 


DICTIONARY  OF  MUSICIANS 


28 

Albino'ni,  Tommaso,  Venice,  1674  — 
1745;  violinist. 

Albo'ni,  Marietta,  Cesena,  Romagna, 
March  10,  1823—  Villa  d'Avray,  near 
Paris,  June  23,  t8Q4;  eminent  dram. 
contralto,  compass  g-g"  (vide  PITCH, 
D.  D.);  pupil  of  Rossini;  d6but  La 
Scala,  Milan,  1843;  **.  Count  Pepoli, 

Albreditsberger  (Sl-brSkhts-bgrkh-er), 
Jn.  G.,  Klosternenburg,  near  Vienna, 
Feb,  3,  1736  —  Vienna,  March  7, 
1809;  eminent  composer,  court- 
organist,  theorist  and  teacher  (Bee- 
thoven was  his  unappreciated  pupil). 

Albri'ci  (al-brS'-che),  V.,  Rome,  1631— 
Prague,  1696;  court-conductor. 

Alcarrot'ti,  Giov.  Fran.,  lived  in  Italy 
1  6th  cent.;  organist,  1740-91. 

Al'cock,  (i)  John,  London,  171$  — 
Lichfield,  1806,  organist.  (2)  J.,  son 
of  above;  organist. 

Alda,  Frances  (rightly  Davis),  b.  Christ- 
church,  New  Zealand,  May  31,  1883; 
soprano;  studied  with  Mathilde  Mar- 
ches! ;  d€but  as  Manon  (Massenet), 
Paris  Op.-Comique,  1905;  sang  in 
Brussels,  London,  Warsaw,  Milan, 
and  Buenos  Aires;  d6but  with  Met. 
\Op.  Co.,  New  York,  1908,  as  Gilda; 
$ang  more  than  30  r61es  with  this 
company.  Retired  from  opera,  1929; 
also  active  in  concert  and  radio;  m. 
Giulio  Gatti-Casazza,  1910;  divorced 
19295(2)  Ray  Vir  Den;  d.  Venice,  1052. 

Aldovrandini  (al-d5-vr&n-d5'-n5)7  Gins. 
A.  V.,  b.  Bologna,  1665;  court- 
•conductor  and  dram,  composer. 

ATdrich,  (i)  H.,  Westminster,  1647  — 


-Oxfordj  1710,  theorist  and  composer. 
(2)  Richard,  Providence,  R,  I., 
July  31,  1863  —  Rome,  June  2,  1937; 
graduated  Harvard,  1885,  won  schol- 
arships 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  tne  musi- 
:al  and  other  critical  departments  of 
the  paper;  1888  he  spent  in  study 
abroad,  chiefly  of  music;  1889  to 
1891,  private  secretary  to  IT.  S.  Sena- 
tor N.  F.  Dixon;  1891  —  1902  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  Soci- 
ety" 1  $902-24,  music  critic,  N.  Y. 
Times;  author  of  various  magazine 
-articles.  «uad  editor  of  a  series  of 
musical  biographies;  also  guides  to 


Wagner  music-dramas,  etc.  (3) 
Mariska,  b.  Boston,  1881;  soprano; 
pupil  of  Giraudet  and  Henschel; 
d6but,  New  York,  1908;  sang  with 
Met.  Op.  Co.,  1900-13;  Brfinnhilde 
at  Bayreuth,  19*4-  <4)  Perley  D«nn, 
Blackstone,  Mass.,  1863— New  York, 
Nov.  21,  1933;  singer  and  teacher; 
pupil  of  Shakespeare,  Trabadello  and 
Sbriglia;  taught  at  Univ.  of  Kansas, 
1885-7;  Utica  Cons.,  1889-91;  after 
1003  in  Philadelphia. 

Alembert  (dal-an-bfir),  J.  Le  Road  d% 
Paris,  1717—  * 783;  theorist. 

Alessan'dri,  (i)  Giulio,  c.  an  oratorio 
(ca.  1690).  (2)  Felice,  Rome,  1747 
— Casalbino,  1798;  pianist  and  con- 
ductor. ^ 

Alessan'dro  Merlo  (or  AUess.  Ro- 
mano), called  Delia  Vlola»  b.  Rome 
(?)  ca.  1530;  monk,  singer  and  com- 
poser. 

Alfano  (fil-f&'-no),  Franco,  composer; 
b.  Naples,  March  8,  1877;  studied  at 
Naples  and  Leipzig  COBS.;  succeeded 
Busoni  as  dir.  Bologna  Liceo,  19*7; 
later,  at  Liceo  Verdi,  Turin,  Toured 
as  pianist.  C.  (operas),  "Miranda," 
Leipzig,  1897;  "La  Font*  d* EnskirJ* 
Breslau,  1898;  " Risurrtxto tie "  (based 
on  Tolstoy's  work),  Turin*  1004, 
Chicago,  1935,  with  Mary  Garden 
as  Katiusha;  "//  Printipe  Ml**." 
Genoa,  1909;  "ISQmbra  di  Don 
Giovanni"  x^is;  "L<*  Lezgcnda  di 
Sakuntota"  xpa*;  "Madcmna  Im- 
perial 1925  (Met.  Op-,  New  York, 
1937*8);  "II  Piccolo  Lord,"  comic 
opera  (based  on  "  LMe  Lord  Faunl- 
leroy")*,  "Cyrano  de  BerRttac"  (based 
on  Rostand  drama),  *93$-6-  Chosen 
to  complete  final  act  of  Puccini's 
posth,  opera,  "Turandot**  Also  c. 
symphony,  suites,  ballet  and  piano 
works* 

Alfarabi  Oil-fii-rft'-b*).  or  Alphara  Trias, 
properly  El  Farftbi  (abbr.  F&HIbi} 
Far4b  (now  Othrax),  QOO  <?)— 
Damascus,  050;  Arabian  theorist  who 
vainly  advocated  Greek  theories. 

Aideri  (iU-fa-ft'-ra)t  Abbate  Pietro, 
Rome,  iSox — 1863;  CamaduKan 
monk;  teacher  and  theorist. 

AlfvSn  (alf '-v*n),  Hugo,  b,  Stockholm, 
May  i,  1872;  violinist;  studied  at 
the  Cons,  and  with  C*sar  Thomson; 
xgoo  received  Jeanjr  Lind  scholar- 
ship for  3  years  foreign  study;  from 
2904  prof,  of  c.omp.  Stockholm  Uni- 
versity: from  IQXO  mus.  dir,  Upaala 
Univ.,  in  2912  conducting  a  concert 


DICTIONARY  OF  MUSICIANS 


29 


of  Upsala  students  in  Berlin;  c.  3 
symphonies;  symph.  poem  "Aus  den 
SchZren":  cantata  "The  Bells,"  "The 
Lord's  Prayer,"-  for  chorus;  scene 
with  orch.,  male  choruses,  etc. 

Algarot'ti,  Count  Fran.,  Venice,  1712 — 
Pisa,  1764;  writer. 

Alipran'di,  (i)  Bdo.,  b.  Tuscany,  Ba- 
varia, ca.  1730;  his  son  (2)  Bdo., 
'cellist  at  Munich,  1 780. 

Alkan  (al-kan),  (i)  Chas.  H.  VaL 
(Faint),  Paris,  Nov.  30,  1813 — 
March  29,  1888;  pianist,  teacher,  and 
brilliant  composer  for  piano. 

AHacci  (al-larche),  Leone  (or  Leo 
AllAtius),  Chios,  1586— Rome,  1669; 
writer. 

All 'chin;  conductor  Oxford  Music  So- 
ciety, 1869-81. 

Allegran'ti,  Maddalena;  dram,  so- 
prano; d6but,  Venice,  1771. 

AUegri  (al-la'-gre),  (i)  Gregorio,  Rome, 
I5&4 — Feb.  18,  1652;  pupil  of  Nanini; 
composed  a  celebrated  Miserere  in 
9  parts,  sung  during  Holy  Week  at 
the  Sistine  Chapel;  its  publication 
was  forbidden  on  pain  of  excommuni- 
cation; but  Mozart  after  twice  hear- 
it,  wrote  it  out,  and  it  has  since  been 
frequently  published.  (2)  Dora.; 
lived  1610-29  at  Rome;  one  of  the 
first  to  write  instrumental  accom- 
paniments not  in  mere  unison  with 
the  voices. 

Allen,  (i)  H.  R.,  Cork,  1809 — London, 
1876^  bass.  (2)  G.  B.,  London,  1822 
— Brisbane,  Queensland,  1897;  singer, 
organist,  conductor,  manager,  and 
composer.  (3)  Nathan  H.,  Marion, 
Mass.j  1848 — 1925;  pupil  of  Haupt, 
Berlin;  organist,  teacher  in  Hart- 
ford, Conn,;  composer  of  cantatasr 
etc.  (4)  Sir  Hugh  Percy,  b.  Read- 
ing, KngL,  1869 — Oxford,  Feb.  20, 
1046;  1887,  org.  Chichester  Cathe- 
dral; 1901  at  Oxford,  where  he  was 
made  Mus.  Doc.  1898,  and  Uni- 
versity Choregus  1909;  1908,  mus. 
din  Reading  University  College; 
1909,  mus.  dir.,  Oxford;  1918-3^ 
dir.  R.  C.  M.,  London. 

Aliihn  (ai-len'),  H.  Max.,  b.  Halle-on- 
Saale,  Aug.  31,  1851 — Nov.  15,  1910; 
writer  on  organ-building. 

Al'Hsont  (i)  Richard,  teacher  at  Lon- 
don, 1502.  (2)  Robt.,  member  of 
Chapel  Royal  till  1609.  (3)  Horton 


and  organ  music,  songs;  d.  (?). 


Almeida  (dal-ma'-e-dha),  Fernando 
d',  Lisbon,  ca.  1618 — 1660;  monk 
and  church-composer. 

Almenrader  (al'-mSn-ra-der),  Karl, 
Ronsdorf,  1786 — Nassau,  1843; 
virtuoso  and  manufacturer  of  the 
bassoon. 

Alois  (3/-l5-es),  Ladislaus,  Prague, 
1860 — Russia,  1917;  'cellist;  pupil 
Paris  Cons.;  soloist  Royal  orch.,  St. 
Petersburg;  c.  concertos,  etc. 

ATpaerts,  Flor,  b.  Antwerp,  Sept.  12, 
1876;  composer;  pupil  of  Cons,  in 
native  city,  and  after  1902  its  dir.; 
also  active  as  orch.  cond.;  c.  operas, 
orch.,  chamber  and  choral  works, 
piano  pieces. 

Al  sager,  Thos.  Massa,  Cheshire,  1779 
— 1846;  English  amateur  and  patron, 

ATsen,  Elsa,  b.  Germany;  early  sang 
as  contralto,  later  dram,  soprano; 
d6but  as  Fidelio,  sang  rdle  in  several 
German  op.  houses,  also  Isolde;  came 
to  U.  S.  1923  with  German  Op.  Co., 
singing  leading  Wagner  r61es  with 
succ.;  Chicago  Op.,  1926-8;  also- 
widely  in  concert. 

Alsleben  (alsMa-b£n),  Julius,  Berlin,. 
1832 — 1894;  editor  and  writer. 

Alsted(t)  (al'-shtat),  Jn.  H.,  Herborn, 
Nassau,  1588 — Weissenburg,  1638; 
writer. 

Altenburg  (al'-tSn-boorkh),  (i)  Mi- 
chael, Alach,  near  Erfurt,  1584 — Er- 
furt, 1640;  pastor  and  composer.  (2) 
Jn.  Ernst,  Weissenfels,  1736 — Bitter- 
field,  1801;  trumpet- virtuoso;  son  of 
(3)  tn,  Kasper,  do. 

Altds  (Sl-tes),  (i)  Jos.  H.,  Rouen,  1826 
— Paris,  1895;  flutist.  (2)  Ernest- 
EugSne,  Paris,  March  28,  1830 — St. 
Dye,  July  8,  1899;  bro.  of  above; 
pupil  Paris  Cons.;  violinist  and  con- 
ductor; 1871  deputy  conductor  of 
the  Op6ra;  1879-87,  conductor* 

Alfhouse,  Paul,  tenor;  b.  Reading,  Pa., 
Dec.  2,  1889;  grad,  Bucknell  Uni- 
versity; d6but,  Met.  Op.  Co.,  1913, 
as  Dmitri  in  "Boris  Godounof";  sang 
Berlin  State  Op.,  Stockholm  Royal 
Op.,  Landestheatre,  Stuttgart;  Phila- 
delphia Civic  Op.,  Chicago  Civic  Op. 
(1930-31),  returned  to  Met.  Op.  Co., 
as  singer  of  Wagner  roles,  1934.  Alsa 
heard  widely  in  concert,  oratorio, 
festivals;  d.  N.  Y.,  Feb.  6,  1954. 

Alt 'man  n,  WUhelm,  b.  Adelnau,  Ger- 
many, April  4,  1862;  editor  and  mu- 
sical historian;  from  1000,  chief 
librarian  of  Berlin  Royal  Library; 
aft^r  1914,  chief  of  mus.  section,. 


30 


DICTIONARY  OF  MUSICIANS 


Prussian  State  Library;  1906,  dir. 
of  jDeutsche  Musiksammlung;  1904, 
critic,  "  National-Zeitung"*,  a  prolific 
and  scholarly  writer  on  a  great  num- 
ber of  musical  subjects;  ed.  letters  of 
Wagner  and  Brahms,  etc. 
Altnikol  (Slt'-nS-k61),  Jii,  Chp.,  d. 
Naumberg,  1759;  son-in-law  and 
pupil  of  J.  S.  Bach;  organist  and  com- 
poser. 

Altschuler  (alt'-sh65l-£r),  Modeste, 
conductor;  b.  Mohilev,  Russia,  Feb. 
*5>  TS73;  studied  Moscow  Cons., 
'cello,  orch.,  with  Arensky,  Safonoff, 
TaneiefT;  European  tour  with  Mos- 
cow Trio;  came  to  America  us  'cellist 
and  teacher,  1900;  founded  Russian 
Symph.  Orch.,  New  York,  1903; 
cond.  many  first  perf.  of  Russian 
works  with  this  group,  now  dis- 
banded. Res.  Los  Angeles. 

Alvarez  (&l-v£'-r£th),  (i)  Ferznin 
Maria,  b.  Saragossa;  d.  Barcelona, 
1898;  c.  popular  songs,  etc.  (2) 
(al-va-rez),  stage  name  of  Albert 
Raymond  Gouxron;  Bordeaux,  1861 
— Nice,  Feb.  i,  1933;  tenor;  pupil  of 
A.  de  Martini;  d6but  at  Ghent,  later 
at  Paris  Op6ra  as  leading  tenor  for 
many  years;  1898  Met-  Op.  House, 
New  York. 

Alvary  (al-vS,  '-r€),  Mar  (rightly  Achen- 
bach),  Dtisseldorf,  1856 — Datenberg, 
Thuringia,  Nov.  8,  1898;  eminent 
Wagnerian  tenor;  de"but  at  Weimar. 

Alvsleben,  Melitta.      Vide  OTXO-ALVS- 

LEBEN. 

AmadS  (S,nHL-da),  (x)  Ladislaw,  Baron 
von,  Kaschau,  Hungary*  1703 — 
Felbar,  1764;  poet  and  composer, 
(a)  Thaddilus,  Graf  von  Presaburg, 
1783 — Vienna,  1845;  pianist* 

Amadei  (am-a-dfi/-*),  &.,  Loreto,  Italy, 
Nov.  ao,  1840 — Dec.  13,  1913;  suc- 
ceeded his  father  as  organist  and 
conductor. 

Amati  (g-m&'-te'),  a  family  of  famous 
violin- makers  at  Cremona,  Italy. 
(i)  Andrea,  1530  (?) — 1611  (?), 
evolved  the  violin  from  the  viol;  hia 
younger  bro.,  (a)  Nice  old,  made  fine 
baas- viols  1568-86.  A»fs  2  sons*  (3) 
Antonio,  1555 — 1638,  and  (4)  Gero- 
nimo,  d.  1630,  produced  violins  of  the 
.same  style.  The  most  famous  was 
Geronimo's  son,  (5)  lOccold*  Sept.  3, 
1596 — Aug.  xa,  1684,  who  built  the 
''Grand  AmatiSj"  large  violins  of 
powerful  tone;  his  label  Is  "Nicolaus 
Amati  Cremonens.  Hierommi  fiUus 
Antonii  nepos.  Fecit  anno  i6-n; 


he  trained  Andrea  Guam  en  and 
Antonio  Stradivari.  (6)  His  son 
Giralomo,  the  last  of  the  family,  was 
inferior.  (7)  Giuseppe  A.t  b»  2  7th 
cent.,  Bologna,  a  violin-  maker,  may 
have  been  of  the  same  family.  (8) 
V.  (called  Amarus),  Cimmina,  Sicily. 
1629  —  Palermo,  1670,  conductor  and 
composer.  (Q)  Antonio  and  (10) 
Angelo,  brothers,  and  organ-builders 
at  Pavia,  ca.  i.\>o. 

Amato  (&-mS'-t0),  Pas^uale,  Naples^ 
Mar.  21,  1878  —  X.  \  .,  Aug.  1042: 
barytone;  deb,  Naples,  1000;  ;sang 
Milan,  then  at  Trieste,  etc.;  igoo» 
Manhattan  Opera:  from  IQII  Met. 
Op.7  singing  leading  roles  in  variety 
of  operas  for  a  decade:  heard  widely 
in  concerts  and  oj>era  in  U.  S.  and 
Europe;  taught  Louisiana  Univ. 
Ambrogetti  (am-bro-j<!t'-t*),  G.,  sang 

1807  —  1838,  basso-buffo. 
Ambros  (ilm'-brds),  Aug.  W.,  Mauth, 
near  Prague,  Mov,  17,  i&;6  —  Vienna, 
June  28,  1876,  eminent  historian  and 
critic* 

Ambrose  (Ambro'sius),  Troves  A.  D. 
333  —  Milan  April  4*  307;  Bishop  of 
Milan,  regulated  (384)  And  devel- 
oped Western  church-music  by  intro- 
ducing ritual  as  practised  in  the 
Eastern  Church;  the  adoption  of  the 
lour  authentic  church-  modes  was 
probably  due  to  htm;  he  has  been 
called  "The  Father  of  Christian 
Hymnology,"  though  his  authorship 
of  the  so-called  Ambroslma  Hymn  is 
discredited  further  than  the  trans* 
lation  of  the  text  into  the  "TV  £>f*i«"; 
it  is  improbable  thai  he  WAS  ac- 
quainted with  the  use  of  letters  for 
notation, 

Am(m)erbmch     (lm'-£r-blkh), 

Nikolaut,  ca.    1530  —  Lripxtg* 

organist,  theorist  and  composer, 

Amfitheitrov,  I>mcti«!0t  b*  Russia,  1001; 

assoc.    cond.    Minneapolis    Symph. 


Amiot  (am-yo),  Father,  b,  Toulon, 
1718;  Jesuit  missionary  and  writer 
OR  Chinese  music. 

Ajea(m)on  (am-mOn)»  (i)  Blaslos,  b.  in 
the  Tyrol  —  d.  Vienna,  June,  i5oo» 
court-sopranist*  later  Franciscan 
friar,  composer*  (a)  Jn.  And87  I$am* 
berg,  1763  —  Otlingen,  18.5;  virtuoso 
on  the  Waldhom. 

Am'ner,  (i)  John,  b.  Ule  i6th  cent  — 
d.  1641  ;  organist,  (a)  Hit  son  Ralph, 
bass  at  Windsor,  10*3—1663* 


DICTIONARY  OF  MUSICIANS 


31 


Amorevoli  (a-mo-ra'-vo-le),  Angelo, 
Venice,  1716 — Dresden,  1798;  singer. 

Anacker  (a'-nak-er),  Aug.  Fd.,  Frei- 
berg, Saxony,  1790 — 1854;  cantor 
and  composer. 

Ancot  (ah-ko)  a  family  of  pianists  and 
composers  at  Bruges,  (i)  Jean 
(p&re),  1779 — 1848.  His  two  sons, 

(2)  Jean  (Jils),  1799 — Boulogne,  1829, 

(3)  Louis,  1803 — Bruges,  1836. 
Ander  (an'-der),  Aloys,  Liebititz,   Bo- 
hemia, 1824 — Bad  Wartenberg,  1864; 
tenor. 

An'ders,  Gf.  Eng.,  Bonn,  1795 — Paris, 
1866;  writer. 

Andersen  (i)  Joachim,  Copenhagen, 
April  29,  1847 — May  7,  1909.  Solo- 
ist at  13.  Toured  widely;  court 
musician,  Copenhagen,  Petersburg 
and  Berlin;  for  8  years  solo  flutist  and 
assistant  conductor  of  Berlin  Phil. 
Orch.,  of  which  he  was  one  of  the 
founders;  1895 — 1909,  the  ruling 
musical  force  in  Copenhagen,  as  con- 
ductor of  the  Palace  concerts,  the 
Tivoli  Orchestra,  the  Municipal 
Summer  concerts,  his  orchestral 
school,  and  Inspector  (with  rank  of 
Captain)  of  all  the  military  music  of 
Denmark.  Made  Knight  of  Danne- 
brog  Order  by  King  Charles  IX; 
received  the  "Palms*  of  the  Acad. 
from  the  Pres.  of  France,  and  was 
made  "Prof."  .by  King  Frederik  of 
Denmark.  (2)  Vigo,  Copenhagen, 
April  21,  1852 — Chicago,  Jan.  29, 
1895;  solo  flutist  with  Thomas  orch.; 
brother  of  (i). 

An'derson,  (i)  Lucy,  ne'e  Philpot,  Bath, 
1790 — London,  1878;  pianist.  \z) 
Geo.  FT.,  King's  bandmaster  in  Eng- 
land, 1848.  (3)  Tfcomas,  Birming- 
ham, England,  April  15,  1836 — Sept. 
1 8,  1903;  critic,  organist  and  c.  (4) 
Marian,  b.  Philadelphia;  eminent 
Negro  contralto;  studied  with  Giu- 
seppe Boghetti;  first  gained  promi- 
nence as  soloist  with  Philadelphia 
Phil.  Symph.,  and  in  New  York 
recital  d£but;  winner  of  contest  to 
appear  with  N.  Y.  Phil,  at  Stadium 
concerts,  1925 ^  European  appear- 
ances, 1030-5,  incl.  Berlin,  Vienna, 
Paris,  wnere  she  gained  remarkable 
triumphs  and  returned  to  U.  S.  in 
latter  year,  giving  several  N.  Y. 
recitals  with  outstanding  succ* 
Chosen  to  sing  in  Brahms'  alto  rhap- 
sody with  Vienna  Phil,  under  Bruno 
Walter  during  festival  there  in  1936. 

Andrade  (ciftn-dra-dhe1^  Fran.  d%  Lis- 


bon, 1859 — Berlin,  Feb.  8,  1921; 
barytone;  studied  with  Miraglia  and 
Ronconi;  sang  leading  r61es  in  many 
European  cities. 

Andre"  (an-dra).  a  musical  family  of 
Offenbach,  (i)  Jn.,  1741: — *799, 
publisher  and  pianist;  he  originated  in 
1783  the  durchkomponirte  Ballade 
(vide  D.  p.)-  (2)  Jn-  Ant.,  1775 — 
1842;  third  son  of  above;  pianist, 
publisher,  theorist.  (3)  Karl  Aug., 
1806— -Frankfort,  1887;  publisher 
and  writer.  (4)  Julius,  1808 — 
Frankfort,  1880;  organist.  (5)  Jn. 
Aug.,  1817 — 1887;  publisher;  his  2 
sons,  (6)  Karl  (b.  1853)  and  (7)  Adolf 
(b.  1885),  were  later  the  proprietors. 
(8)  JeanBaptiste  (de  St.  Gilles),  1823 
— Frankfort,  1882;  pianist  and  com- 
poser. 

An'dreae,  Votkmar,  b.  Berne,  July  5, 
1879;  conductor  and  composer; 
studied  Cologne  Cons.;  led  choruses 
in  Winterthur  and  Zurich;  after  1906, 
led  symph.  concerts  of  the  Tonhalle 
Soc.;  1914,  dir.  of  Zurich  Cons.: 
president  of  the  Swiss  Composers' 
Soc.  after  1920;  has  appeared  as 
guest  cond.  in  other  European  cities; 
c,  (operas)  "Ratcliff"  and  "Aben- 
teuer  des  Casanova";  also  orch.  and 
chamber  music. 

Andreoli  (an-dra-6'-lg),  (i)  Evanga- 
lista,  1 8 10 — 1875;  organist  at  Mi- 
randola;  his  two  sons,  (2)  Guglielmo 
(Modena,  1835 — Nice,  1860)  and  (3) 
Carlo  (Mirandola,  J?4o — Regio 
Emilia,  1910  ?),  were  pianists,  the 
latter  also  organist  and  composer. 
(4)  Giuseppe,  Milan,  1757 — 1832; 
double-bassist  and  harpist. 

Andreozzi  (&n-dra-6d'-zS),  Gaetano, 
Naples,  1763 — Paris,  1826;  dram, 
composer. 

Andre*sen  (an-dra'-zSn),  Ivar,  b,  1895; 
bass;  sang  Dresden  Op.,  1925-33; 
Bayreuth,  1927;  Met.  Op.,  1930; 
Berlin  Op.,  1931. 

Andreva  (an-dra'-va),  Stella,  b.  Lon- 
don, of  Scotch-German  ancestry, 
coloratura  soprano;  studied  singing 
at  R.  A.  M.;  sang  in  operettas,  then 
engaged  for  three  years  at  Stock- 
holm R.  Op.;  1934-5,  Co  vent  Gar- 
den; Met.  Op.,  N.  Y.,  1936-37. 

Andrevi  (Sn-drS/-v5),  Fran.r  Sanabuya, 
near  Lerida,  1786 — Barcelona,  1853; 
critic  and  writer. 

Andrien*     Vide  AE>KIEN. 

An 'dries,  Jean,  Ghent,  1798 — 1872; 
teacher  and  writer. 


DICTIONARY  OF  MUSICIANS 


Androt  (an-drC),  Albert  Augusta,  Paris, 
1781 — Aug.  9,  1804;  c.  opera,  re- 
quiem, etc. 

Anerio  (a-n§/-re-5),  (i)  Felice,  Rome, 
1560 — Sept.  26,  1614;  successor  to 
Palestrina.  (2)  Giovanni  Fran., 
Rome,  ca.  1567 — 1621  (?),  bro.  of 
above;  conductor  and  church-com- 
poser. 

Anfos'si,  Pasquale,  Taggia,  near 
Naples,  1727 — Rome,  179?;  pupil 
and  rival  of  Piccinni;  composed  54 
operas,  etc. 

Angelet  (an'-zhti-la) ,  Chas.  Pran., 
Ghent,  1797 — Brussels,  1832. 

Angeli  (dan-jfi'-te),  Andrea  d%  b. 
Padua,  Nov.  9,  1868;  historian;  c. 
opera  " L' Innocente"  (Bologna),  etc, 

Angelini  (JLn-ja-te'-nX),  Bontempi  Giov, 
And.,  Perugia,  ca.  1624 — 1705;  court- 
singer  and  dram,  composer. 

Angeloni  (£n-ja-l6'-n*),  Ltdgi,  Frosi- 
none,  Papal  States,  1758 — London, 
1842;  writer. 

An'gerer,  Gottfried,  Waldsee,  Feb.  3, 
1851 — Zurich,  Aug.  19,  1909;  c,  male 
choruses. 

Anglebert  (da&-glti-bar);  J.  Bapt.  H. 
d%  1628  (?) — Paris,  1691;  court-cla- 
vicembalist  to  Louis  XIV* 

Animuccia  (ftn-S-moot'-cha),  (i)  Giov*f 
Florence,  ca.  1500 — Rome,  March, 
1571;  wrote  the  first  Laudi  spiritual* 
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  BANKERS,  GHISELIN. 

Annibale  ^n-nf-ba"-le*),  (i)  (called  B 
Padova'no,  or  Patavi'mis,  from 
Padua,  where  he  was  born  1527) 
d.  Groz  3:575;  organist  and  composer. 
(2)  Domenico,  Italian  sopranist  in 
London, 1756, 

An'rooy,  Peter  van,  b.  Zalt-Bommel, 
Holland,  Oct.  13,  1870;  conductor; 
composer;  pupil  of  Joh.  Wngenaar 
and  Tanexev;  conc|L  orchestras  in 
Amsterdam,  Groningen,  Arnhem, 
and  after  1917  of  the  Residentie 
Orch,  in  The  Hague;  hon.  doctorate 
from  Univ.  of  Gronigen;  c,  chamber, 
orch.,  and  choral  works. 

Ansani  (an-sa'-nft)  Giovanni,  b.  Rome, 
i8th  cent,;  dram,  tenor, 

Anschiltz     riln'- shuts),    K.,     Coblcnz, 


5^ — New  York,  1870;  cond.   and 
composer. 

Ansermet  (fin-sSr-maOi  Ernest,  b, 
Vevey,  Switzerland,  Nov.  i\,  1883; 
conductor;  studied  with  Den^reaz^ 
Ge"da!ge,  Barblan,  Bloch;  after  1912, 
cond.  of  concerts  at  Montreux  Kur- 
saal;  cond.  Geneva  subscription 
concerts,  1915-18;  founder^  Or- 
chestre  de  la  Suisse-Romande, 
Geneva,  1918;  conductor  after  2915 
with  Diaghileff  Ballet  Russe,  in 
Paris,  London,  Italy,  Spain,  Amer- 
ica. Made  guest  tours  of  other 
countries,  also  America.  C.  sym- 
phonic poem  "Feuiltes  au  printemps** 
and  other  works, 

Ansorge  (&n-s6r'-g«)v  (x)  Max,  b 
Striegau,  Silesia,  Oct.  i.  i86a;  organ- 
ist; son  of  a  cantor;  studied  at  Berlin; 
c.  songs,  motets,  etc.  (a)  Konrad 
(Eduard  Reinhold),  Buchwald, 
Silesia,  Oct.  15,  1862 — Berlin,  Feb 
23, 1930;  pianist;  pupil  Leipzig  Cons 
and  of  Liszt;  toured  Amenca;  c 
for  orchestra,  and  piano. 

Ant'cllffe,  Herbert,  b.  Sheffield,  Engl. 
July  30,  1875;  writer  on  music;  an 
thor  of  studies  of  Schubert,  Brahms, 
etc. 

Antegnati  (&n*ULn-y&'~tY),  Costmnzo, 
Brescia,  1557 — ca.  1620;  organ- 
builder,  etc. 

Antheil  (fin'-tll),  George,  b.  Trenton, 
N.  J.,  July  8, 1900;  composer;  studied 
Sternberg  Cons.,  Philadelphia;  res. 
in  Europe  for  some  years;  c.  (opera) 
"Trjnsailaniic'^  based  on  modern 
American  **Jaxz  age"  theme  (Frank** 
fort  State  Op.,  ^930);  Symphony  in 
F  (Paris,  SQj6);  Piano  Concerto  in 
A  (Paris,  1917);  music  to  Sophocles9 
44O*tfi>ww  (Herlsn  State  Theat.. 
1929}:  (ballet)  "t-ttkiin*  the  H'dwj'* 
(text  by  W.  B,  Yeat»)t  Abbey  Thea- 
tre, Dublin;  (opera)  «« Hrte*  Rftirn" 
(book  by  Er*kme),  N.  Y.,  1934;  two 
string  quartets,  orchestral,  chamber 
musk.  Earlier  manner  radical  to 
extent  of  introducing  noise* making 
instruments  as  in 4*  Bait  ft  ZUeaniquc^ 
c,  ojH'ra,  Volpune  (N\  Y.,  1054), 

Aa'tiDOV,  CoasUntiii,  b,  Russia,  Jan. 
jH,  1850;  c.  symph.  al!c«ro  fur  orth., 
and  piano  |»U*CCA;  d*  (•»), 

Antokxe  (iint-wan').  Josepfeine,  b,  Buul- 
ucr,  l*uiu.;  soprano;  h tut! led  juilliard 
Sch,;  Met.  <>p.  after 

Ape!  Wi*\i,  Ja.  Aug., 
i«i6;  writer, 


DICTIONARY  OF  MUSICIANS 


33 


Ape*l,  Willi,  b.  Konitz;  Ph.D.,  Berlin 
Univ.;  ed.  "Harvard  Diet,  of  Music." 

Apell (a-p£l') ,  Jn.D.von,  Cassel,  1754 — 
1833;  conductor  and  dram,  composer. 

Appel  (Sp'-pel),  K.,  Dessau,  1812 — 
Dec.  9,  1895;  violinist,  court-leader, 
composed  opera  "Die  Rauberbraut" 
(Dessau,  1840),  and  humorous  male 
quartets. 

Appun  (ap-poon'),  O.  A.  I.,  Hanau, 
1816 — 1885;  versatile  performer  on 
nearly  every  instr.;  writer  on  and 
experimenter  in  acoustics;  made  an 
harmonium  of  53  degrees  to  the 
octave. 

Aprile  (a-prS'-le*),  Gius,  Bisceglia,  1738 
— Martina,  1814;  celebrated  con- 
tralto musico  and  vocal  teacher; 
writer  and  composer. 

Ap 'thorp,  W.  Foster,  Boston,  Mass., 
Oct.  24,  1848 — Vevey,  Feb.  19,  1013; 
Harvard,  '69,  studied  piano,  har- 
mony, cpt.  with  J.  K.  Paine  and 
B.  J.  Lang;  teacher  of  theory,  and 
for  many  years  distinguished  critic 
and  writer  on  music;  author  of 
"Hector  Berlioz19;  "Musicians  and 
Music- Lovers,  and  other  Essays"; 
"By  the  Way,  About  Music  and  Mu- 
sicians"; "Opera  and  Opera  Singers", 
etc. 

Aptoxn'mas*  (i)  John,  (2)  Thomas, 
brothers;  b.  Bridgend,  England, 
2826,  and  1829;  harp-players  and 
teachers* 

Ar'a,  Ugo,  Venice,  1876 — Lausanne, 
1936;  pupil  of  Tirindelli,  Thom- 
son and  Fuchs;  1903-17,  viola  player 
in  Flonzaley  Quartet. 

Araja  (a-rfc'-ytt),  Fran.,  Naples,  1700— 
Bologna,  ca.  1767;  dram,  composer; 
composed  the  first  opera  written  in 
Russian. 

Arauxo  (&-r&-ooks'-3)  (or  Araujo  (&- 
rfi-oo'-hd)},  Francisco  Correa  de,  ca. 
1581 — Segovia,  1663;  bishop,  the- 
orist. 

Arbeau*  Thoinot  (twa-nS  &r-bs).  Vide 
TABOUROT. 

Arb6s  (&r'-vSs),  B.  Fernandez,  b.  Ma- 
drid, 1863 — San  Sebastian,  1939; 
violinist;  grandfather  &  father  were 
bandmasters  in  army;  pupil  Madrid 
Cons.;  took  prizes  at  12;  then  studied 
with  Vieustemps,  GevaSrt  and 
Joachim;  cond.  lierlin  Phil.  Society: 
taught  at  Hamburg,  Madrid,  and 
Royal  College,  London;  c.  comic 
opera »  "JKl  Cieniro  de  la  Tierra,"- 
Madrid,  J^QS;  also  for  violin  and 
o\ch.;  after  1908,  cond.  Madrid 


Orquesta  Sinfonica;  guest  cond.  in 
Europe  and  U.  S. 

Ar'cadelt,  Jacob  (or  Jachet  Arkadelt, 
Archadet,  Arcadet,  Harcadelt),  ca. 
1514 — after  1557;  distinguished 
Flemish  composer  and  teacher;  1540, 
singer  in  Paris;  1557,  Regiusmusicus; 
composed  masses,  etc. 

Archadet  (ar-chii-da ') .    Vide  ARCADELT. 

Archambeau  (ar'-shan-bo),  Iwan  d% 
b.  Li6ge,  1879;  'cellist;  pupil  of  his 
father,  Massau  and  Jacobs;  after 
1903  mem.  of  Flonzaley  Quartet. 

Archangel'ski,  Alexander  A.,  Pensa, 
Russia,  Oct.  23,  1846 — Prague,  1924; 
organist  and  cond.;  c.  masses,  a 
requiem,  much  church  music. 

Ar'cher,     Fredk.,     Oxford,     England, 

Sane  16,  1838 — Pittsburgh,  Pa. 
ct.  22,  1901;  pupil  of  his  father; 
studied  in  London  and  Leipzig; 
organist  and  opera-director  in  Lon- 
don; 1 88 1,  organist  of  Plymouth 
Church,  Brooklyn,  later  in  New 
York;  1887,  conductor  of  Boston 
Oratorio  Soc.;  1895-98,  Pittsburgh 
(Pa.)  Orchestra;  composed  cantata, 
organ-pieces,  etc. 

Arditi  (ar-d5'-te),  (i)  Michele,  Mar- 
chese,  Naples,  1745 — 1838;  composer. 
(2)  Luigi,  Crescentino,  Piedmont, 
July  1 6,  1822 — Hove,  England  May 
i,  1903;  pupil  of  Milan  Cons.;  violin- 
ist, then  director  of  opera,  1843, 
Milan,  Turin,  and  Havana.  He 
visited  New  York  with  the  Havana 
opera  company,  1847,  aru*  at  *nter" 
vals  thereafter  until  1856.  Com- 
posed 3  operas,  vocal  waltzes,  "II 
Bacio"  etc.;  wrote  "My  Reminis- 
cences" ( London,  1896). 

Arens  (a  -r£ns),  Fz,  Xaver,  Neef, 
Germany,  Oct.  28,  1856 — Los  An- 
geles, Jan.  28,  1932;  came  to  America 
early  in  youth;  pupil  of  his  father, 
and  of  Rheinberger,  etc.;  conductor, 
organist;  composer  of  symphonic 
fantasia,  etc. 

Arenskv  (a-r5n'-shk3t),  Anton  Step- 
anovitch,  Novgorod,  Russia,  July  31, 
1 86 1 — Tarioki,  Finland,  Feb.  25. 
1906;  composer  and  pianist;  pupil 
of  Johanssen  and  Rimsky-Korsakov; 
Prof,  Imp.  Cons.  Moscow,  and  con- 
ductor Imperial  Court  Choir;  com- 
posed a  symphony,  4  suites  for  orch., 
x-act  opera  "Rafaello"  string  quar- 
tets, concerto  for  piano,  etc.,  includ- 
ing "Essais  sur  des  rythmes  oubltes" 
f.  pf.  4  hands. 

Aretino.     Vide  GUIDO 


34 


DICTIONARY  OF  MUSICIANS 


Argentina  (arkh-Sn-te'-na),  La  (stage 
name  of  Antonia  MercS)  Buenos 
\ires — Bayonne,  France,  July  18, 
1936;  noted  dancer,  esp.  famed  for 
her  perf.  of  Spanish  dances  and 
remarkable  skill  in  playing  on  casta- 
nets; her  parents  were  members  of 
the  R.  Op.  ballet,  Madrid,  of  which 
she  became  prima  ballerina  at  19; 
later  made  world  tours  with  great 
succ.,  incl.  United  States 

Aria  (a'-rf-ft),  Cesare,  Bologna,  1820 — 
1894;  singing- teacher. 

Aribo  (a-re'-bS),  Scholas 'ticus,  d.  ca, 
1078;  probably  from  the  Nether- 
lands; writer.  (Gerbert.) 

Arien'zo  (diir-X-eV-tsS),  Nicolft  d% 
Naples,  Dec.  24,  1842 — April  25, 
1915;  composed  5  operas  in  Nea- 
politan dialect,  "Monzu  Gnassie" 
(Naples,  1860),  and  "I  Due  Mariti" 
(Naples,  1866),  the  most  successful, 
realistic  and  original;  also  an  ora- 
torio, a  "Pensiero  Sinfoitico"  over- 
tures, etc. ;  wrote  a  treatise  advocating 
pure  intonation  instead  of  tempera- 
ment, and  a  third  mode  (the  Minor 
Second),  besides  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  i§  operas;  1716  a 
rival  of  Buononcim,  and  of  Handel; 
in  London  in  1720,  the  three  com- 
posed the  opera  "Muzio  Scaevola." 

Aristi'des  QuintiHa'nus,  Greek  teacher 
and  writer  on  music,  ca.  160* 

Ar'istotle,  (r)  Stagyra,  384  B,c, — 
322  B«  c.;  Ureek  philosopher,  whose 
works  include  valuable  information 
concerning  Greek  music.  (2)  Pseu- 
donym of  a  writer  on  mensurable 
music,  i2th — *3thcent, 

Aristox'enos,  b»  Tarentum,  ca.  354 
B.C.;  one  of  the  first  Greek  writers 
on  music. 

Arrberg,  Georg  Ephraim,  F,,  Leksand, 
Sweden,  1830 — Christiania,  Feb.  ax, 
1896;  barytone. 

Armbrust  (ftrm'-broost),  K*  F*,  Ham- 
burg, 1849 — Hanover,  1896;  teacher 
and  critic. 

Armbruster  (arm'-broo-stSr),  K*> 
Andernacb-on- Rhine,  July  *3,  1846 
— London,  June  xo,  3:9x7;  pupil  of 
Hompesch;  pianist  ana  lecturer; 
Hans  Richter's  assistant  conductor 
at  the  Wagner  concerts,  1882-84; 


later  conducted  at  various  London 
theatres. 

Armes,  Philip,  b.   Norwich,   England, 
1836;  Mus.  Doc.  Oxon,  1864;  organ 
composer;  d.  Durham,  Feb*  10,  1908* 
Armmgaud    (ar-maB-gd),    Jules,    Ba- 
yonne, May  3,  1820 — Paris,  Feb.  27, 
1900;  was  refused  admission  to  the 
Paris  Cons,  at  19  since  he  was  "toe 
far  advanced";   leader  of   a   string 
quartet     enlarged     to     the    Soci&t 
Classique;  said   to  have  introduced 
Beethoven's  quartets  into  Paris. 
AnnsTieiiner,  Ivan  Ivanovitch,  b.  St. 
Petersburg,   March   19,  iS6o;  pupil 
at  the  cons.;  c.  i-act  opera  "Sous  la 
fevillte"  (French  text);  2-act  opera 
"£>«r    Oberf&rstcr"    (German    text). 
3-act     opera     "Jatgerliv"     (Danish 
text);  cantatas,  songs,  etc, 
Araaud  (ar-nd),  (i)  Abb6  Fran.,  Au- 
bignan,    $72* — Paris,    1784;   writer. 
(a;  J*  Et.  Guil,,  Marseilles,  1807 — 
Jan.,  1863:  composer. 
Axne  (ara),  (r)  Dr.  Thomas  Augustine, 
London,  March  12,  1710— March  s> 
2778;  by  secret  nightly  practice  he 
learned   the  spinet  and   violin,  his 
lather  wishing  him   to  study  law; 
3:736,  m.  Cecilia  Yjung,  a  favourite 
singer   of    Handel's;    3738,   he   was 
composer  to  the  Drury  Lane  Th.  and 
set  Dalton's  adaptation  of  Milton's 
"C0mitf";  in  his   masque  "Alfred** 
(1740)  is  "Rule  Britannia'*;  in  Dublin 
(3742-44)  he  produced  two  operas, 
" Britannia"  and  "£/**»'%  and  a  musi- 
cal farce  "Thomas  a*4  Sally";  1745, 
composer  to  Vau  shall  Gardens,  Lon- 
don ;  set  to  music  the  songs  in"  As  Fe* 
Uke  /lf"  "Wkm  ike  B*?  S*tk$,"  in 
"The    Tempest"    etc.;    Mus.    Doc. 
Oxon,  I75Q;  he  was  the  first  to  use  fe- 
male voices  in  oratorio-choruses  ("/K* 
diik")\  composed  J  oratorios,  many 
masques,     orch.     overtures,     vla.- 
sonatas,    organ- music,    harpsichord- 
sonatas,  glees,  catches,  canons,  etc 
(2)  Michael,  London,  1741  —  Ian.  14, 
1786  (not  1806);  natural  son  of  above; 
conductor  and  dram,  composer* 
Arneiro  (d&r-nar-*-rdj,  Jose  Aug.  F«r~ 
reira   Veiga^    Viscount   d%    Macao, 
China,   Nov.   22,   1838 — San  Re  mo, 
July,  190,3;  of  Portuguese  parents; 
composed  2  operas. 

Arnold  (ar'-n6ltyt  (i)  G.,  b.  Wfidsberg, 
Tyrol,  1 7th  cent.;  organist,  (2) 
Stmuel,  London,  1740-1809;  organ* 
1st  Westminster  Abbey.  (3)  Jo* 
Gottf,,  near  Oehringen,  1773— Frank* 


DICTIONARY  OF  MUSICIANS 


35 


fort,    1806;   'cellist,   etc.     (4)   Ignaz 
ErnstFd.,  Erfurt,  1774 — 1812;  writer. 

(5)  K.,  near  Mergentheim,  Wtirtem- 
berg,    1794 — Chris  tiania,    1873;    son 
of  (3)  J-  Cr.;  pianist  and  composer. 

(6)  K.,  b.  St.  Petersburg,  1820;  son 
of  (5);  'cellist  in  Royal  Orch.;  studied 
Stockholm.     (7)  Fr.  W.,  near  Heil- 
bronn,    1810 — Elberfeld,    1864;    col- 
lector   and    composer.     (8)    Yourij 
von,  St.  Petersburg,  1811 — Simfero- 
pol,   Crimea,    1898;    singing-teacher 
and  dram,  composer.     (9)  Richard, 
Eilenburg,  Jan.  10,  1845 — New  York, 
June  21,  1918;  at  8  taken  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 — New  York, 
1937;  pupil  of  the  Cincinnati  Coll., 
1883;    Vierling   and   Urban,   Berlin; 
Cologne    Cons,    and    Max    Bruch, 
Breslau;  lived  St.  Louis,  then  New 
York  as  teacher  in  the  Nat.  Cons* 
and    pupil    of    Dvorak;    composed 
notable     "Plantation     Dances,"     a 
"Dramatic  Overture"  2  comic  operas, 
etc.     Wrote  "Some  Points  on  Mod- 
ern Orchestration" 

Ar'noldson,  (i)  Oscar,  Stockholm, 
1839— Carlsbad,  1881;  tenor.  (2) 
SIgrid,  b.  Stockholm,  1864;  daughter 
of  above;  operatic  soprano;  pupil  of 
Maurice  Strakosch  and  DesirSe 
Artotj  d£but,  Moscow,  1886;  has 
sung  in  Europe  and  America  (1894) 
with  success;  m.  Alfred  Fischof. 

Arnould  (Ar-noo),  Madeleine  Sophie, 
Paris,  1744 — 1802;  soprano,  created 
Gluck's  "ipkigtnic." 

Ar'rau,  Claudio,  b.  Chilian  (Chile) 
Feb.  6,  1003;  pianist;  pupil  of  Paoli, 
Martin  Krause;  made  first  appear- 
ances as  piano  prodigy,  winning 
international  prize;  later  toured 
Europe  and  U.  S,,  developing  into 
mature  artist  of  strong  powers. 

Arres'ti,  GiuHo  Cesare,  ca.  1630 — 
ca  1695:  organist  and  c.  at  Bologna. 

Arriaga  y  Balzola  (dUr-rf-a'-gft  e  bal'- 
tha-ffi),  Juan  a  J,  A.  dT,  Bilboa, 
1806— 18,26. 

Arrieta  (&r-rl-a'-tl0,  J.  Emilio,  Puenta 
la  Reina,  18*3 — Madrid,  1894;  dram* 
composer. 

Arrigoni  (lir-rfi-Kft'-nd),  Carlo,  Flor- 
ence, ca.  1705 — Tuscany  (?)  ca.  1743; 
lutenist  and  composer,  rival  in  Lon- 
don to  Hfcndel, 


Arronge  (I&r-r6nzh),  ^dolf  1%  Ham- 
burg, March  8,  1838 — Berlin,  1908; 
pupil  of  Gene"e,  and  at  Leipzig  Cons. ; 
1 8  74,  theatre-manager,  B  reslau ; 
composed  comic  operas,  "  Sings piele,'-9' 
etc. 

Artaria  (ar-ta-rg'-a),  music  publishing 
house  in  Vienna,  founded  by  Carlo 
A.,  1780, 

Arteaga  (ar-ta-£g'-a),  Stefano,  Madrid, 
1730 — Paris,  1799;  Span.sh  Jesuit; 
theorist. 

Artot  (&r-t6),  (i)  Maurice  Montagney 
(ancestor  of  a  line  of  musicians 
named  Montagney),  Gray  (Haute- 
Sa6ne),  1772 — -Brussels,  1829;  band- 
master. (2)  J.  Desire1  M.,  Paris, 
1803 — St.  Josse  ten  Noode,  1887; 
son  of  above;  horn-player  and 
teacher.  (3)  Alex.  Jos.,  son  of 
Maurice,  Brussels,  1815 — Ville- 
d'Avray,  1845;  notable  violinist  and 
composer.  (4)  Marguerite  Joseph- 
ine D6sir6e,  Paris,  July  21.  1835; 
Vienna,  April  3,  1907;  daughter  of 
(2)  Jean-D6sire';  dram.-soprano,  pu- 
pil of  Viardot-Garcia  (1855-57);  d6- 
but  Brussels,  1857;  sang  Grand 
Opera,  Paris,  1858,  etc.,  m.  the 
Spanish  barytone,  Padilla,  in  1860. 
(5)  Lola  (A.  de  Padilla),  Sevres,  1885 
— Berlin,  1933;  daughter  of  the  pre- 
ceding, also  a  noted  operatic  so- 
prano. 

Artusi  (ar-too'-z5),  Giov.  M.,  Bologna 
ca.  1545 — 1613;  canon  and  theorist. 

Asantchevski  (Asantschewski,  Assant- 
chevski)  (a-sfint-shSf'-shkS:),  Michael 
Pavlovitch,  Moscow,  1838 — 1881; 
composer. 

Aschenbren'ner  (a'-sh€n-)  Chr.  H., 
Altstettin,  1654 — Jena,  1732;  violin- 
ist and  court-conductor. 

Ash/ley,  (i)  John,  d.  1805;  bassoonist 
and  manager;  his  three  sons  were  (2} 
General,  d.  1818,  violinist.  (3; 
Chas.  Jane,  1773 — 1843,  'cellist  and 
manager.  (4)  J.  Jas.,  3:771 — 1815, 
organist  and  singing  teacher.  (5)  J., 
"Ashley  of  Bath,"  1780—1830,  bas- 
soonist. (6)  Richard,  1775 — 1837, 
London  viola-player. 

Ash 'ton,  Algernon  Bennet  Langton,  b* 
Durham,  Dec,  9,  1859 — London, 
April  ii,  1937;  pupil  Leipzig  Cons., 
pf.  teacher,  R.  C.  M*,  London:  after 
1913  at  London  and  Trinity  Colleges; 
composer. 

Ash 'well,  Thos.,  i6th  cent.,  organist 
and  composer  in  England. 

Asioli  (fts-e-o'  '-15),  Bonifacio, 


DICTIONARY  OF  MUSICIANS 


1769 — 1832;  at  the  age  of  8  he  uad 
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,  improviser;  his 
first  opera  buffa, '  La  Volubile"  (i  785), 
was  successful;  his  opera  "Cinna," 
favourably  received  in  1793;  prof,  of 
cpt,  at  Milan  Cons. 

Asola  (or)  Asula  (S'-s5-lS),  Giov.  Mat., 
Verona     ca.      1560 — Venice,      1609; 
church-composer. 
Aspa  (as'-pa),  Mario,  Messina,  1799 — 

1 868;  composed  42  operas. 
Assantsheffsky.     Vide  ASANTCHEVSKI. 
Assmayer  (as x-mI-Sr),  Ignaz,  Salzburg, 

1790 — Vienna,  1862;  conductor. 
Astaxit'ta,  Gennaro,  Naples,  ca.  1749 — 

1803;  composed  20  operas. 
As 'ton,   Hugh,    English    organist   and 

composer  in  reign  of  Henry  VIII. 
Astorga  (dSs-t6r'gS)»  Emmanuele, 
Baron  d%  Sicily,  1680— Madrid  (?), 
1736;  church-composer. 
Ath'erton,  Percy  Lee,  Roxbury,  Mass., 
Sept.  25,  1871 — Atlantic  City,  Mar., 
1944;  grad.  Harvard,  1893,  studied 
music  under  Paine;  studied  two  years 
in  Munich  with  Rheinberser  and 
Thuille,  then  a  year  in  Berlin  with 
O.  B.  Boise;  1900  studied  with  Sgam- 
bati  and  Widor;  c.  symph.,  tone 
poem  for  orch.,  "  Noon  in  the  Forest," 
opera-comique  "The  Maharaja," 
comic  opera,  and  many  songs. 
At'kins,  Sir  Ivor  Algernon,  b.  Cardiff, 
Nov.  20,  1889;  organist  and  cond.; 
son  and  pupil  of  an  organist;  later 
pupil  and  assistant  of  C.  L.  Williams; 
since  1897,  org.  Worcester  Cath.; 
cond.  of  three  Choirs  Festivals  in 
that  city,  Mas.  D.,  Oxford;  knighted 
1921;  d.  1953* 

Attaignant  (fit-tin '-van),  Pierre  (also 
Attaingnant,  Attefgnant),  i6th  cent, 
music-printer. 

Attenfcofer  (at'-tSn-haf-er),  K.,  Wet- 
tingen,  Switzerland,  May  s»  2837 — 
Zurich,  May  22,  1914;  pupil  of  Leip- 
zig Cons.;  cond.,  organist,  and 
teacher;  notable  composer  of  male 
choruses. 

At'terberg,  Kurt;  b.  Gothenburg, 
Sweden,  Dec.  12,  1887;  composer, 
conductor;  studied  to  be  electrical 
engineer;  also  'cello  and  composition; 
detiut  with  Gothenburg  Symph. 
Orch,,  1912;  pres,,  Swedish  Soc.  of 
Composers;  c,  six  symphonies,  2 
ot>eras,  2  ballets,  violin  and  'cello 


concertos,  chamber  music  works; 
winner,  Intern.  Prize,  Schubert  Cen- 
tennial Contest,  1928. 
Attrup  (lit'-troop),  K.,  Copenhagen, 
March  4,  1848 — Oct.  5,  1892;  pupil 
of  Gade,  whom  he  succeeded  as 
organ-teacher  Copenhagen  Cons.; 
composed  studies  for  organ  and 
songs. 

Att'wood,  Thos.,  London,  Nov.  23, 
1765 — Chelsea,  March  24,  1838;  im- 
portant English  composer;  chorister 
and  court-organist;  pupil  of  Mozart; 
1796  organist  St.  Paul's  Cathedral; 
composed  19  operas,  anthems,  sona- 
tas for  piano,  etc. 

Auber  (6-b&r),  Daniel  Francois  Esprit, 
Caen,    Normandy,    Jan.    29,    1782 
— Paris,  May  12  (13?),  1871;  notable 
opera-composer;  his  father  an  art- 
dealer  in  Paris,  sent  him  to  London 
to  learn  the  trade;  but  in  2804  he  re- 
turned   to    Paris;    composed    opera 
"/**/*>,"  produced  by  amateurs  in 
1812  with  an  orch.  of  six  stringed  In- 
atrs.;  Cherubim  beard  of  it,  recognised 
A,*&  talent  and  taught  him;  1842  din 
the  Cons,  of  Music,  Paris,  as  Cheru- 
bini's  successor;  1857  imperial  con- 
ductor to  Napoleon   III.     A.'s  first 
public  productions  were  2  unsuccess- 
ful operas;  'lLa  &erg£re  CkaUlaine^ 
(1820)  was  a  success;  before  1869,  he 
composed  over  forty  operas;  his  one 
serious    opera,    "MasanitUo    ou    la 
Muclte    de    P&rliti"    (1828),     with 
Meyerbeer's  "Robert  It  DiMe"  and 
RossinPs   "GuiUaume    TtUJ*    estab- 
lished French  grand  opera;  its  vivid 
jx>rtrayai    of   popular   fury   caused 
riots  in  Brussels;  his  comic  operas 
(to   Scribe's  librettos)  are  the  best 
of    France;    his  last   opera,  "Rto*s 
d* Amour  "  was  produced   when  he 
was  87  years  old.    Other  operas  are: 
"La  Marquise  de  BrinviUiers"  (1831 
with   eight   other    composers),   "£4 
Domino    Noir"    (1837),    "Zanetta" 
(1840),  "Lfs  Diaments  de  la  Cour- 
onne"  (1841),  "La  Sirinc"  (1844), 
"Haydte"   <J847>,   "L* Enfant    Pro- 
digue"   (1850),    "Zerlinc"    "Manen 
Le$tavt"  (1856), 

Aubert  (a-bftr)t  (i)  Jac.  ("!e  vieux"), 
b.  1678— -Belleville,  1753;  violinist, 
(a)  Louis,  3720 — after  1770;  son  of 
above;  violinist,  etc,  (3)  T.  Fran. 
Olivier*  b.  Amiens,  1763;  'cellist 
and  composer.  (4)  Louis,  b.  Pa- 
rame1,  France,  Feb.  19,  1877:  studied 
Paris  ConsM  mem.  jury.  Pans  Cons., 


DICTIONARY  OF  MUSICIANS 


37 


music  critic;  Chevalier,  Legion  of 
Honour;  c.  (opera)  "LaForgt  Bleue", 
(Boston,  1913);  (symphonic  poem) 
"Haoanera"  (Paris,  1919);  (ballet) 
"La  Nuit  Ensorcelee"  (1922);  cham- 
ber music  works,  songs,  choruses, 
piano  pieces. 

Aubery  du  Boulley  (6-bS-re'  du  bool- 
16') ,  Prudent-L.,  Verneuil,  Eure, 
1796 — 1870;  teacher  and  composer. 

Aubry  (5-br€),  Pierre,  Paris,  Feb.  14, 
1874 — Dieppe,  Aug.  31,  1910;  his- 
torian of  liturgical  music. 

Audran  (6-dran),  (i)  Marius-P.,  Aix, 
Provence,  1816 — Marseilles,  1887; 
ist  tenor  at  the  Paris  Op6ra- 
Comique.  (2)  Edmond,  Lyons,  April 
ii,  1842 — Tierceville,  n.  Gisors,  Aug. 
17,  1901;  son  of  above;  pupil  of 
Ecole  Niedermeyer,  Paris;  Mar- 
seilles, 1862,  his  first  opera;  produced 
36  others,  chiefly  of  a  light  character. 
Among  his  most  pop.  works  are, 
"Olivette,"  "La  Mascotte"  (1880), 
given  over  1700  times;  "Miss  Hel- 
yett,"  "La  Poupee,"  etc. 

Auer  (ow'-€r),  (i)  Ld.,  Veszprem,  Hun- 
gary, June  7,  1845 — near  Dresden 
July  16,  1930  (of  pneumonia);  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  hereditary  nobility;  from 
7868  violin- Prof,  at  the  St.  Peters- 
burg Cons.;  1887-92,  dir.  Imp.  Mus. 
Soc. ;  teacher  of  many  eminent  violin- 
ists; after  1918  he  lived  principally  in 
New  York,  author  book  on  vln.- 
playing  (1921). 

Au'gener  &  Co*,  London  firm  of  music 
pub.,  founded  by  G.  A.,  1853. 

Auiin  (ow'-lfin),  Tor,  Stockholm,  Sept. 
xo,  1866 — March  t,  1914:  violinist; 
pupil  of  Sauret  and  Ph.  Scharwenka; 
from  1889  Konzertmeister  Stock- 
holm, court-opera;  1887  organised 
the  Aulin  Quartet. 

Auric  (&'-r€k),  Georges,  b.  Lodfcve, 
France,  Feb.  15,  1899;  composer; 
pupil  of  Paris  Cons.,  and  of  d*Indy; 
c.  ballets,  orchestral  and  chamber 
music  works,  piano  pieces,  songs; 
member  of  former  Group  of  Six:  his 
ballets  "Les  Facheux"  and  "Les 
Matelote"  had  particular  succ.  when 
given  by  DiaghilefL 
s  der  Ohe  (ows'-d£r  6"-€),  Addle, 
Hanover,  Germany,  Dec.  n,  1864 — 
Berlin,  Dec.  8,  1937;  noted  pianist; 
pupil  of  KuliaV  und  Liszt;  composed 


2  piano  suites,  concert  €tude,  etc.; 
toured  widely  with  great  success. 

Aus'tin,  (i)  Frederic,  b.  London,  Mar» 
30, 1872 — Agr.  10,  i952jorg.atLiver- 
pool  for  some  years;  then  teacher  at 
the  College  of  Music,  there  till  1906; 
then  studied  voice  with  Lunn;  de"butr 
1902,  favourite  in  oratorio  and  in 
Wagner  operas;  c.  overture  "Richard 
IP9  (Liverpool,  1900);  rhapsody 
"Spring"  (Queens  Hall,  1907), 
symph.  poem  "Isabella,"  also  arr. 
music  of  "Beggar's  Opera"  by  Gay 
and  Pepusch,  which  had  1463  con- 
secutive perfs.  in  London,  1920-3. 
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  orch.;  piano 
sonata,  etc. 

Aus'tral,  Florence  (rightly  Wilson); 
b.  Richmond  near  Melbourne,  Aus- 
tralia, April  26,  1894;  studied  Mel- 
bourne Cons,  and  London;  d6but  in 
opera  as  Briinnhilde,  London,  1922; 
toured  with  British  Nat'l.  Op.  Co., 
and  heard  as  soloist  with  orchestras 
and  in  oratorio,  London;  d6but, 
Co  vent  Garden  Op.,  1929;  concert 
tours,  England,  Australia,  New 
Zealand,  South  Africa,  and  America. 
M.  John  Amadio,  flutist. 

Auteri-Manzocchi     (fi-oo-ta'-rf     mSn- 


lini  at  Florence;  composed  successful 
operas,  among  them  "Graziella" 
(Milan,  1894). 

Auvergne  (d5-vSrn),  A.  d%  Clermont- 
Ferrand,  Oct.  4,  1713 — Lyons,  Feb. 
12,  1797;  violinist  and  drarn.  com- 
poser. 

A'verkamp,  Anton,  Willige  Langerak, 
Holland,  Feb,  18,  1861 — Bussum. 
Holland,  June  i,  1934;  composer  and 
conductor;  pupil  or  Daniel  de  Lange, 
Kiel,  Rheinberger,  Messchaert;  our. 
of  a  singing  school  in  Amsterdam  and 
(1890-1914)  of  a  famous  a  cappella 
choir  with  which  he  perf.  old  church 
music;  c.  orch.,  chamber  music, 
choral  works,  songs,  etc. 

A'very,  J.,  d.  England,  1808;  organ- 
builder. 

Av'ison,  Chas.,  Newcastle-on-Tyne, 
1710 — May  9,  1770;  organist,  writer 
and  composer;  vide  Robert  Brown- 

PARLEYINGS," 


38 


DICTIONARY  OF  MUSICIANS 


Aylward   (Sl'-wSrd),  Hi.,   ca.    1730 — 

1801;  teacher  and  composer. 
Ayrton    (&r'-tiin),    (i)    Edm,,    Ripon, 

Yorks,     1734 — Westminster,     1808; 

composer.     (2)  "W.,  London,  1777 — 

1858;  son  of  above;  writer  and  editor. 
Azzopardi    (ad-z5-par'-d5),   Francesco, 

conductor    and    theorist    at    Malta, 

1786. 
Azevedo  (ath-S-vfi'-dhS),  Alexis  Jacob, 

Bordeaux,  1813 — Paris,  1875;  writer. 


Babbi  (bab'-be),  Christoph  (or  Cristo- 
foro),  Cesena,  1748  —  Dresden,  1814; 
violinist  and  composer. 

Babbini  (ba-b5'-n6),  Mat.,  Bologna, 
1754  —  1816;  tenor,  dSbut,  1780. 

Ba'oell,  Wm.,  ca.  1690  —  Canonbury, 
England,  1723;  organist,  teacher  and 
composer;  son  of  a  bassoon-player. 

Bacc«  lord  (bak-£-l5'-n6)  ,  Salvat6re, 
noted  Ital.  buffo-bass;  Met.  Op., 


Bac'f  ark  (or  Bacfarre),  Valentin  (rightly 
Gnraew  (grfcv),  Kronstadt,  1507 
—  Padua,  1576;  lutenist  and  writer. 

Bach  (bfckh),  the  name  of  a  Thuringian 
family  prominent  for  two  centuries 
in  music  and  furnishing  so  many 
organists,  Kapellmeisters  and  cantors 
that  town  musicians  were  called  "the 
Bachs,"  after  them.  Outstanding 
were:  (x)  Bach,  Jn.  Sebastian,  Else* 
nach,  March  21,  1685  —  Leipaag, 
July  28.  1750;  youngest  son  of  Jn. 
Ambrosms  B.  and  Elizabeth  (nee 
Lammerhit),  of  Erfurt;  early  left  an 
orphan;  both  parents  died  when  he 
was  ID,  his  father  having  begun 
teaching  him  the  violin.  He  went  to 
the  home  of  his  brother  Jn.  Chris- 
toph, who  taught  him  the  clavichord, 
but  forbade  him  inspection  of  a  MS. 
vol.  of  works  by  Frohberger,  Buxte- 
hude,  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 
Ltineberg  (he  having  already  at-* 
tended  tne  Ohrdruff  Lyceum).  He 
went  on  foot  on  holidays  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  B$hm,  organist  at  Luneberg, 
and  practised  violin,  clavichord  and 
org.   often  all   night"    1703,   in   the 
Weimar  ct.-orch.;  1724,  organist  at 
Arnstadt;  1705,  walked  50  miles  to 
Lubeck    to    hear    Buxtehude,    and 
stayed  till  a  peremptory  recall  from 
the  Church  at  Arnstadt;  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  be- 
low.)    2708,   he   played   before   the 
Duke  at  Weimar,  and  was  made  ct,- 
organist;   2714  Konzertmeister.     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,  1717, 
he  challenged  Ma  re  hand,  a  French 
organist  of  high  reputation,  who  was 
afraid    to    compete.     1717    Kapell- 
meister to  Prince  Leopold  of  Anhalt, 
at    Kdthen,    and    composed    much 
orch.-  and  chamber-music.     In  1710 
he  revisited  Halle,  to  meet  Handel, 
but  he  had  just  gone  to   England. 
2720,  his  wife  died.     He  applied  for 
the  organ  of  the  Jacobskirche,  Ham- 
burg*   B.  was  now  famous,  but  a 
young  rival   offered   to   pay  4,000 
marks  for  the  place  and  got  it.    In 
1721  he  m.  Anna  Magdalene  WUlken, 
daughter   of    the   ct. -trumpeter    at 
Weissenfels.    She  bore  him  13  chil- 
dren, o.  of  them  sons,  ol  whom  only 
a  survived  him:  Jn.,  Christoph,  Fr*, 
and  Jn.  Christian.     His  second  wife 
had  a  fine  voice  and  musical  taste* 
and  wrote  out  the  parts  ol  many  ol 
his  cantatas;  lor  her  be  prepared 
2  books  of  music*    In  May,  1723, 
cantor  at  the  Thomasachule,  Leipzig. 
vice  Jn.  Ku&nau;  also  organist  ana 
dir.  of  cans,  at  the  Thomaskirche  and 
the     Nicolaikirche,     continuing     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  Leip- 
zig 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  WUhelm  Fneoemaiux 


DICTIONARY  OF  MUSICIANS 


39 


B.  arrived  at  Potsdam.  He  impro- 
vised 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  in  6  parts, 
several  canons  inscribed  "Thematis 
regii  elaborationes  canonicae,"  and 
a  trio  for  flute,  violin,  and  bass, 
dedicating  the  "  Musikalisches  Opfer" 
to  the  king.  1749,  two  operations  to 
restore  his  sight,  weakened  by  copy- 
ing 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  dictated  the  choral  "Vor  deinen 
Thron  ire?  ich  kiemit,"  shortly  before 
bis  death* 

Among  his  distinguished  pupils  were 
Krebs,  Homilius,  Agricola,  Kirnber- 
ger,  Goldberg,  Marpurg;  J*  Kasper 
Vogler;  Altmkol,  his  son-in-law,  and 
his  sons  for  whom  he  wrote  the 
"  Klavierbuchlein,"  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 
writing  "Das  Wohltemperirte  Kla~ 
t»«%**  to  further  the  cause.  This 
work  (known  in  English  as  "The  well- 
tempered  Clavichord,"  or  "The  48- 
Fugues**)  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 
eaharmonically.  Some  of  his  im- 
provements in  fingering  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  Mendelssohn  took  up 
lus  cause,  in  1839;  Franz  was  also  an 
important  agent  in  preparing  his 
scores  for  general  use.  In  1850,  a  hun- 
dred years  after  his  death,  the  BACH- 
GESELLSCHAFT  began  to  publish 
bis  complete  works.  Many  other 
Bach  societies  now  e*!at,  B*s.  enor- 
mous list  of  works  includes:  VOCAL, 
5  sets  of  cfcureh  Cantatas  for  Sundays 
and  feast-days,  "Gottts  ZeU  ist  die 


beste  Zeit,"  etc.,  various  secular 
cantatas,  2  comic  cantatas,  the 
"Bauern  Cantate"  and  "Cofee-Can- 
tate,"  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.  Matthew, 
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"; 
the    remarkable     "Goldberg     Varia- 
tions" $  pf. -sonatas  with  instrs.,  incl. 
6  famous  sonatas  for  pf.  and  vln.; 
solo  sonatas  for  vln.  and  'cello;  solos, 
trips,  etc.,  for  various  combinations 
of  instrs.,  concertos  for  i  to  4  pf s.  vln. 
and    other    instrs.,    concertos    with 
orch.;     6     notable     "Brandenburg" 
concertos;  overtures  and  suites,  and 
fantasias,  toccatas,  preludes,  fugues, 
and  chorale-arrangements  for  organ. 
The  modern-minded  musicians  of  the 
twentieth  century  have  found  new 
formal  and  harmonic  interest  in  B's. 
works,  and  an  entire  school  has  used 
as  its  slogan,  "Back  to  Bach,"  in  an 
effort  to  throw  off  the  influence  of 
Romantic  styles  of  thought  and  feel- 
ing.    Such  a  work  as  his  monumental 
"Art  of  the  Fugue"  has  gained  wide 
popularity  in  the  concert-room,  the 
latter  arr.  for  orch.  by  W.  Graeser, 
heard  in   Europe   and   U.    S.    often 
after    1926.    The  best  biography  of 

B.  is  by  Spitta   (Leipzig,    1873-80, 
2  vols.:  Eng.  transl.,  London,  1884- 
85)*     Other     memoirs     by    Forkel, 
Schweitzer,     Parry,     Pirro,     C.     S. 
Terry,     Boughton,     Buhrraaa.     and 

C,  F.     A.     Williams.     The     Bach 
"Jahrbucher,"  pub.  by  Breitkopf  & 
Hartel,  also  hold  much  material  of 
value.     Books  on  B»s.   music  have 
been  issued  in  great  numbers,  incl. 
works    by    Fuller-Maitland,    Grace, 
Iliffe,  Prout,  Riemann,   Schweitzer, 
Whittaker  and   C.   S.  Terry,     (See 
article,  page  482.) 

(2)  Karl  Philipp  Ematmel  ("the 
Berlin"  or  "Hamburg  Bach"),  Wei- 
mar, March  (8?)  14,  17*4— Ham- 
burg (Sept.  ?)  Dec.  14,  1788.  Son  of 
above  (Johann  Sebastian  Bach)* 
Studied  philosophy  and  law  at  L«ip- 


DICTIONARY  OF  MUSICIANS 


zig-  and  Frankfort;  cond.  a  singing 
society  at  Frankfort,  for  which  he 
composed.  1737  (38?)  in  Berlin. 
Chamber-mus,  and  clavecinist  to 
Frederick  the  Great,  1746-57  [or 
1740-67?].  1757  Hamburg  as  Ch. 
mus.-dir.;  1767  as  Musik-director  of 
the  principal  church  there,  vice  Tele- 
mann,  a  position  held  till  death. 
He  was  one  of  the  chief  virtuosos  of 
the  day.  He  was  the  founder  of  the 
modern  school  of  piano-playing,  and 
a  pioneer  of  greatest  importance  in 
the  sonata  and  symphony-forms  and 
orchestration,  his  works  having  a 
graceful  modernity  not  possessed 
even  by  most  of  his  father's.  He 
wrote  "Versuch  tiber  die  wahre  Art 
das  Clavier  zu  spielen"  (2  parts, 
1753—62),  an  important  work  con- 
taining detailed  explanations  con* 
cerning  ornaments.  His  very  numer- 
ous comps.  include  210  solo  pieces; 
52  concertos  with  orclu;  quartets, 
trios,  duets,  sonatas,  sonatinas,  min- 
uets, polonaises,  solfeggi,  fugues, 
marches,  etc.,  for  clavier;  18  sym- 
phonies; 34  miscellaneous  pieces  for 
wind-instrs*,  trios;  flute-,  'cello-,  and 
oboe-concertos;  soli  for  flute,  viola 
di  gamba,  oboe,  'cello,  and  harp, 
etc.,  and  a  oratorios  ("Die  Israelites 
in  der  Waste,"  and  "Die  Aufersteh- 
ung  und  Himmclfakrt  Jesu"),  22 
Passions;  cantatas,  etc. 

(3)  Johann    Chr.     ("the    London 
Bach")*  Leipzig,  Sept.  7  (?),  173$ — 
London,  Jan.  i,  1702;  youngest  son 
of  J.  S.  Bach;  pupil  of  his  brother 
Emanuel  and   Martini  in  Bologna; 
1760-2,  org.  Milan  Cathedral;  after 
1762    lived    in    London    as    music 
master,     C.  over  xs  operas,  choral 
works,   many  symphonies  or  over- 
tures,clavier  concertos  and  sonatas. 

(4)  wllhelm  Friedemann,  Weimar, 
1710 — Berlin,    1784;    eldest    son    of 
J.    S*    Bach;    gifted    but    dissolute; 
*733>    org.    in    Dresden;     1747-64, 
Halle;    c.    25   cantatas,    many  con- 
certos, etc. 

Baefce  (bach),  (r)  Rands  Edwn  Bir- 
mingham, 1833 — 1858;  violinist,  (a) 
Walter*  Birmingham,  1842 — London. 
1888,  bro.  of  above;  pianist  and 
teacher.  (3)  Constance,  Edgbaston, 
March  ri,  1846 — Montreux,  June 
28,  1903;  sister  and  pupil  of  above; 
pupil  of  EUind worth  and  Hartvigson; 
teacher,  translator,  and  composer  in 


Baclxelet  (bash-la),  Alfred,  b.  Paris. 
Feb.  26,  1864  —  194-;  studied  at 
Cons,  in  Paris;  won  Prix  de  Rome; 
from  1919  dir.  of  Nancy  Cons*:  after 
almost  a  quarter  century  of  obscur- 
ity, he  prod,  several  lyric  dramas  that 
placed  him  in  front  rank  of  con- 
temporary French  composers,  esp. 
"Quand  la  Cloche  Sonnera"  (Paris 
Op.-Comique,  1922)  and  "Scemo" 
(Paris  Op.,  1914*  later  revived). 

Bachmann  (bfikh-man),  (2)  Anton, 
1716  —  1800;  court-musician  at  Ber- 
lin, instr.-maker;  inv.  the  machine- 
head.  His  son  and  successor,  (2) 
Karl  L^  1743  —  i8ooe  court-  violinist, 
player,  married  the  pianist  and  singer 
(3)  Charlotte  Karoline  WiHielmlne 
Stowe,  Berlin,  1757  —  1817.  (4)  Pa- 
ter Sikttts,  Kettershausen,  Bavaria, 
July  18,  1754  —  Marchthai,  near 
Vienna.  1818;  organist  and  pianist  of 
unusual  precocity,  and  memory;  said 
to  have  played  by  heart  over  2oc 
pieces  at  9;  at  12  equalled  Mozart, 
then  xo  years  old,  in  organ-competi- 
tion, at  Biberach;  became  a  Premon- 
strant  monk,  composed  Masses,  etc* 
(5)  O*  Chr-^  Paderborn,  1804  —  Brus- 
sels, 1842;  clarinet-maker,  soloist  and 
teacher.  (6)  Georges,  ca*  1848— 
Paris,  1894,  (7)  Gottlob,  Bornitz, 
Saxony,  1763  —  Zeitc,  2840,  organist* 
(8)  Alberto  (rightly  Abraham),  b. 
Geneva,  Switzerland,  March  20, 
1875;  violin  virtuoso;  pupil  of  Thom- 
son, Hubay  and  Petri;  lived  ia  Paris 
as  teacher:  made  many  tours  of 
Europe  and  after  xox6  in  U.  S.;  ed» 
4<  Encyclopedia  cf  tk*  VMi*"  (1923). 

Bachofeu  (b&kli'-ol-en),  Jn.  Kasper, 
Zurich,  x6$7  —  X7ss;  organist* 

Bachrich  (bfikh'-rlkh),  Sigismund, 
Zsambokreth,  Hungary,  Jan.  23, 
1841  —  Vienna,  July  16,  1^*3;  vioHn- 
ist,  pupil  and  then  teacher  at  Vienna 
Cons.;  composed  4  comic  operas  incl. 
"D*r  Fucks-Major"  (Prague,  1889), 
etc, 


Agathe,  Holmestrand,  Norway,  Dec. 
it  1847  —  Christiania,  June  6,  1007; 
pianist  and  composer;  pupil  of  Kje- 
rulf,  Billow  and  Liszt;  she  married 
1375,  Grondahl,  singing-teacher  in 
Chnstiania, 

Backers,  Americus.  Vide  BROADWOOD. 

Bac{k)haws  (bak'-hows),  WHheim*  b. 
Leipzig,  March  26,  1884;  eminent 
pianist;  pupil  of  Reckendorf  and  at 
the  Cons-*  later  of  d*A!bert;  from 


DICTIONARY  OF  MUSICIANS 


£900  toured;  1905,  piano  teacher 
R.  C.  M.,  Manchester,  but  won  the 
Rubinstein  prize  and  toured  again; 
1911  the  U.  S.;  1907  taught  master- 
courses  at  Sondershausen  Cons. 

Back'ofen,  Jn.  G.  H.,  Durlach,  Baden, 
1768 — Darmstadt,  1839;  virtuoso 
and  manufacturer  of  wind-instrs.  at 
Darmstadt;  writer  and  composer. 

Ba'con,  (i)  Richard  Mackenzie,  Nor- 
wich, Engl.  1 776 — 1844.;  teacher  and 
writer.  (2  Catherine,  b.  Chester- 
field, EngL,  June  2,  1896;  pupil  of 
Arthur  News  tea  d,  whom  she  married 
1916;  toured  United  States  and 
Canada,  including  series  of  Beetho- 
ven and  Schubert  sonatas,  New 
York;  member,  faculty,  Juilliard 
School  of  Music,  New  York. 

Bader  (ba'-dSr),  K.  Adam,  Bamberg, 
1789 — Berlin,  1870:  cathedral-organ- 
ist, Bamberg  (1807);  later  first  tenor 
Berlin  court  opera  (1820-45). 

Badia  (ba-de'-a),  (i)  Carlo  Ag.,  Venice, 
1672 — Vienna,  1738;  court-composer 
at  Vienna.  (2)  Luigi,  Tirano,  Na- 
ples, 1819 — Milan,  1899;  composed 
4  operas. 

Badiali  (ba-dl-a'-le),  Cesare,  Imola, 
1810 — Nov.  17,  1865;  basso;  d£but, 
Trieste,  1827;  sang  throughout  Italy; 
1659  in  London, 

Bagge  (bag'-ge"),  Selmar,  Coburg,  1823 
— Basal,  1*896;  editor  and  composer. 

Bai  (or  Baj)  (ba'-S),  Tonamaso,  Cre- 
valcuore,  near  Bologna,  ca*  1650 — 
Rome,  Dec.  22,  1714;  tenor  at  the 
Vaticaa;  conductor,  1 7 1 3 ;  composed  a 
"Mistrere,"  sung  in  the  Papal  Chapel, 
during  Holy  Week,  alternately  with 
those  by  Allegri  arid  Baini. 

Baif  (blf),  Jn,  A.  de,  Venice,  1532 — 
Paris,  1589;  composer. 

Bailey  Apfelbeck,  Marie  Louise,  b. 
Nashville,  Tenn.,  Oct.  24,  1876; 
Leipzig,  Cons.  Pupil  of  C.  Reinecke, 
winning  a  scholarship,  and  with 
Leschetizky;  d£but,  1893,  Gewand- 
haus,  Leipzig;  former  chamber- 
virtuoso  to  King  Albert  of  Saxony; 
after  1900  toured  Europe  and  U.  S. 

Bailly  (bJ'-ye)»  Louis,  b.  Valenciennes, 
France;  violist;  pupil  of  Paris  Cons., 
first  prize  for  viola;  played  with 
Capet,  Geloso,  Flonzaley,  Elman 
ana  Curtis  Quartets;  soloist  with 
leading  Amer.  orchestras;  head  of 
dept.  of  viola  and  chamber  music, 
Curtis  Inst.,  Philadelphia;  cond.  at 


Pittsfield   Fest.,    1918,    and    also   of 
chamber  ensemble  of  Curtis  school. 

Baillot  (bi'yo),  (i)  P.  M,  Fran,  de 
Sales,  Passy,  Oct.  i,  1771 — Paris, 
Sept.  15,  1842;  eminent  violinist, 
pupil  of  Polidori,  Sainte,  Marie,  and 
Pollani;  later  prof,  of  vln.  at  the  Paris 
Cons.;  toured  Europe;  1821,  leader 
at  the  Grand  Opera;  1825,  solo 
violinist,  Royal  Orch.;  wrote  famous 
"L'Art  du  Violon"  (1834)  and 
"M&thode  dtt  Violon*';  composed  10 
vln.  concertos,  3  string-quartets,  24 
preludes  in  all  keys,  etc.  (2)  Re*n£ 
Paul,  Paris,  1813 — 1889;  son  of 
above,  Prof,  at  Paris  Cons. 

Baini  (ba-S'-ne"),  Abbate,  Gins,,  Rome, 
*775 — 1844;  composer  and  conductor 
at  St.  Peter's;  wrote  famous  life  of 
Pales  trina. 

Bain 'ton,  Edgar  Leslie,  b.  London, 
Feb.  14,  1880;  composer;  studied 
R.  Coll.  of  Music,  under  Davies, 
Stanford  and  Wood,  winning  several 
state  prizes;  after  1912,  dir.  of  Cons, 
at  Newcastle-on-Tyne,  and  led  Phil, 
Orch.  there,  retiring  in  1918;  ap- 
peared  as  guest  cond.  with  Amste*^ 
dam  Concertgebouw;  c.  symph., 
choral*  piano  works,  etc. 

Baj  (ba'-S).     Vide  BAI. 

Bajetti  (bS-ygt'-tg),  Giov.,  Brescia,  ca. 
1815 — -Milan,  1876;  violinist,  con- 
ductor and  dram,  composer. 

Ba'ker,  (i)  G.,  Exeter,  England,  1773 
— Rugeley,  1847;  organist,  violinist, 
and  composer.  (2)  Benj.  Franklin^ 
Wenham,  Mass.,  July  10,  xSxi-— 
Boston,  1889;  singer,  teacher,  and 
editor.  (3)  Theodore,  New  York, 
June  3,  1851 — Leipzig,  Oct.  13,  1934; 
editor  and  author;  Ph.D.s  Leipzig 
Univ.,  1882,  with  thesis  on  music  or 
North  American  Indians;  also  stud- 
ied with  Oscar  Paul  there;  after  1892. 
literary  ed.  for  publishing  house  of 
G.  Schirmer,  N.  Y.;  ed.  Baker's 
'Dictionary  of  Musical  Terms"  and 
"Biographical  Dictionary  of  Musi- 
cians ;  tr.  many  technical  works  on 
music. 

Baklanoff  (bak-lan'-of),  Georges,  b. 
St.  Petersburg,  1882 — Basle,  1938; 
barytone;  LL.  H.,  Petersburg  Univ., 
1904;  studied  singing  with  Vittorio 
Vanzo;  debut  in  Rubinstein's  *'Z?«- 
mon,"  1905;  sang  Co  vent  Garden 
Op.,  Berlin  Royal  Op.,  Vienna  Imp. 
Op*,  Moscow,  Petrograd,  Monte 
Carlo,  Budapest,  Stockholm,  Mu- 
nich; first  visited  U.  S.,  1909;  membex 


42 


DICTIONARY  OF  MUSICIANS 


Boston  Op.  Co.,  and  after  1917  of 
Chicago  Op.  Co. 

Balafcirew  (ba-la-k5'-rSf),  Mily  Alexe- 
jevitch,  Nijni-Novgorod,  Jan.  2,  1837 
— St.  Petersburg,  May  28,  1910; 
eminent  composer,;  member  Group 
of  Five;  studied  at  Kasan  Univ.,  as 
a  musician,  self-taught;  dSbut  as 
pianist  in  St.  Petersburg,  1855; 
Sounded  the  "Free  Music  School/' 
1862;  1866,  opera-conductor  Prague; 
1867-70,  conductor  Imj>.  Music 
Society,  St.  Petersburg,  retired  1872; 
composed  sympbu  poems  "Russia9* 
and  "Tamara";  music  to  "King 
Lear9';  4  overtures;  an  Oriental  fan- 
tasia, "Islamey,"  for  pf.,  also  sym- 
phonies in  C  and  in  D  minor;  piano 
concerto,  many  smaller  works  for  the 
instrument  and  two  collections  of 
songs.  His  letters  to  and  from 
Tschaikowsky  were  ed.  by  Liapunov 
(1912,). 

Balart  <b&-lart'),  Gabriel,  Barcelona, 
1824 — 1893;  studied  in  Paris;  conduc- 
tor, later  director,  Barcelona  Cons.; 
composed  zarzuelas  (Vide  D.  :>.)• 

Balafka,  Hans,  Hoffnungsthal,  Mora- 
via, 1827 — Chicago,  1899;  stu^ied 
at  Vienna;  i84p,  Amenca;  1851, 
founded  the  Milwaukee  Musikve- 
rein:  1860,  conductor  of  Chicago 
Philh.  Soc.;  composed  cantatas,  etc. 

Balbtoe  or  Balbastre  (bal-batr), 
Claude  Louis,  Dijon,  1720- — Paris, 
1799;  pupil  and  friend  of  Rameau; 
organist  and  composer. 

Balbl  (bar-b5),  (x)  Ludovico,  composer 
and  conductor  at  S,  Antonio,  Padua; 
d*  1604,  Franciscan  monastery, 
Venice.  (2)  (Cav.)  Melchiore,  Ven- 
ice, 1796 — Padua,  1879;  church- 
conductor,  theorist  and  composer. 

Baldewin  (bal-dS-ven).  Vide  BAtn> 
DEWIJN. 

Bald'win,  (x)  Ralph  Lyman,  East- 
hampton,  Mass.,  March  27,  1872; 
educator  and  composer;  active  as 
organist,  choir  director  and  music 
supervisor  in  Northampton,  Mass., 
and  Hartford,  Conn;  after  1900  fac- 
ulty member  of  Inst.  of  Music 
Pedagogy  at  former  city.  (2)  Sam- 
uel Atkinson,  b.  Lake  City,  Minn,, 
£tn.  22,  1862;  organist;  studied  at 
re&den  Cons.;  active  as  org.  in 
Chicago,  St.  Paul,  Minneapolis,  and 
after  1895  in  New  York,  where  he 
taught  at  City  College  and  gave  a 
memorable  series  of  recitals  during 
many  years. 


Balfe  (balf),  Michael  Wm,,  Dublin, 
May  15,  1808 — Rowney  Abbey, 
Hertfordshire,  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  pa- 
tron Count  Mazzara,  and  studied 
comp.  with  Frederici  at  Rome,  and 
singing  with  F.  Galli  at  Milan;  his 
ballet  "La  Ptroust,"  prod,  there 
(1826);  pupil  of  Bordogni,  and  first 
barytone  at  the  Ital.  Opera,  Paris 
(1828),  and  elsewhere  till  1835;  com- 
posed several  Italian  operas;  m.  the 
Hungarian  singer  Lina  Rosen  {1808 
— London,  1888);  he  ret.  to  England 
3835,  *Bd  P^od-  "Tkc  •?*>£*  °J  R°- 
cheUe^  (Drury  Lane);  failed  as  man- 
ager; went  to  Paris,  returned  1843, 
and  prod.  "  The  Bohemian  Girl"  very- 
successful  everywhere;  prod.  Paris, 
1850,  in  s-act  version  as  "La  Bok&~ 
miennc."  In  1857,  his  daughter 
Victorie  made  her  d£but  in  Italian 
opera;  1864,  he  retired  to  his  country- 
seat,  Rowney  Abbey:  he  composed 
31  operas  in  all,  including  "Tbe  Rose 
of  Castile"  (1857);  "Satantlla"- 
(1858):  "11  Talismano'*  (1874);  biog. 
by  C.  L.  Kenny  (London,  2878),  and 
W.  A.  Barrett  (do.  1882). 

Ballantirie,  Edward,  b.  Oberlin,  O., 
Aug.  S,  1886;  pianist  and  composer; 

Eupil  of  Schnaoel  and  Ganz  (piano); 
palding  and  Converse  (comp.); 
alter  19x2  taught  theory  at  Harvard; 
c.  orch.  works  tncl.  "The  Eve  0} Saint 
Agnts"  (Boston  Symph.,  1917); 
chorus,  piano,  violin  pieces,  etc. 
Ballard  fc*l-l&r'),  a  family  of  French 
music-printers;  founded  2552  by 
Robert  B.,  with  a  patent,  from  Henri 
II.,  as  "Seul  imprimeur  de  la  causique 
de  la  chambre,  chapelle  et  menus 
plaisirs  du  roy."  The  patent  expired 

Bal^lLg,  Michael,  Heidingsfeld,  Bava- 
ria, Aug.  28,  1866 — Darmstadt, 
Sept.  i,  1925;  noted  conductor;  pupil 
of  Wilrzburg  Mus.  Sch,;  at  28  played 
'cello  in  Mainz  City  Orch.;  and  later 
in  Schwerin  and  Bayreutb  orchs.; 
founded  inns.  &cb.  in  Ne2Bon«  Aus- 
tralia; later  a  viola  virtuoso  in  Eng- 
land; 7896,  assistant  cond.  at  Bay- 
reuth;  choral  dir.  at  Hamburg  Op.; 
1898,  first  cond.  at  LObeck;  alter 
1906,  regularly  cond.  at  Bayreuth; 
19x1*24,  succeeded  Richter  as  cond. 
is  Manchester,  Engl.;  alter 


DICTIONARY  OF  MUSICIANS 


gen.  mus.  dir.  in  Darmstadt;  one  of 
the  leading  Wagner  conductors  of  Ms 
day  and  ed.  that  composer's  works 
for  the  Breitkopf  and  HSLrtel  com- 
plete edition. 

Baltzell,  Winton  J.,  Shiremanstown, 
Penn.,  Dec.  18,  1864— -New  York, 
Jan.  10,  1928;  graduated  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  editor;  taught  musi- 
cal history  and  theory  at  Ohio 
Wesleyan  University  one  year,  then 
returned  to  Philadelphia;  edited  a 
"Dictionary  of  Musicians"  (1911). 

Bamp'ton,  Rose,  b.  Cleveland,  O., 
1910;  soprano;  studied  at  Curtis 
Inst.  of  Music,  Philadelphia,  with 
Horatio  Connell  and  Queena  Mario; 
sang  with  Chautauqua,  N.  Y.,  Op. 
Assrn.,  1929;  with  Philadelphia 
Grand  Op.  Co.  for  three  seasons;  with 
Philadelphia  Orch.,  in  Schonberg's 
"Gurrelieder" ;  and  after  1933  with 
Met.  Op.  Co.;  toured  Europe  with 
succ.,  1937. 

Banchieri  (b£n-kX-3/-rg),  Adr.,  Bologna, 
1565  (?) — 1634;  theorist  and  organist. 

Banck  (b£nk),  K.,  Magdeburg,  1809 — 
Dresden,  1889;  critic  and  vocal 
teacher. 

Banderali  (ban-dS-rfi/-lS),  Davidde, 
Lodi,  1780 — Paris,  1840,  buffo  tenor, 
then  teacher  at  Paris  (Jons. 

Bandini  (b&n-dS'-neO  (i)  Prime,  Parma, 
Nov.  29,  1857 — Piacenza,  May  3, 
1028,  where  he  was  dir.  of  Cons, 
after  1886;  pupil  R.  School  of  Music 
there;  composed  successful  operas 
"Eufemiodt  Messina"  (Parma,  1878), 
"Fausta"  (Milan.  1886),  "Janko^ 
(Turin,  1897).  (2)  Uberto  Rieti,  Um- 
bria,  March  28,  1860 — near  Naples, 
Nov.  20,  1919;  pupil  of  Giustimani, 
Boldoni,  Rossi  Tergiani,  and  Sgam- 
bati;  composed  prize  overture  <tEleo- 
nora"  symphony,  etc. 

Bandrowsfa  (bSn-drdf'-shkX),  Alex.  Rit- 
tervon,  Lubackzow,  Galicia,  April  22, 
1860 — Cracow,  May  28,  1913;  oper- 
atic tenor,  studied  Cracow  University, 
then  with  Sangiovanni,  Milan,  and 
Salvi,  Vienna;  d6but  Berlin,  for  some 
years  leading  tenor  Cologne  opera, 
also  in  Russia,  and  oratorio  in  Eng- 
land; sang  Paderewski's  "Manru"  at 
Warsaw  and  in  New  York,  1902. 

Baa 'ester,  Gilbert,  x6th  cent.:  Eng- 
lish composer  of  Flemish  influences. 


43 


w  Mala,  b.   Norway,  April  1877; 

T  Y.  Oct.  1940;  violinist.  Dedagogue; 
pupil  of  Leipzig  Cons.,  Marteau  and 
Auer;  d6but  in  Oslo,  1900,  where  she 
founded  a  music  school;  1919  taught 
in  Auer's  Academy  in  New  York; 
has  toured  and  lectured  extensively 
and  is  author  of  methods  for  violin. 
Banister,  (i)  J.,  London,  1630 — 1676 


— 1831;  composer.  (4)  Hy.  Joshua, 
London,  1803 — 1847.  (5)  Sy«  Chas., 
London,  1831 — 1897,  son  of  (3); 
pianist,  teacher,  and  writer,  pub. 
"Lectures  on  Musical  Analysis."  etc. 

Banti-Giorgi  (b&n'-tg-j6r'-je).  Brigida, 
Crema,  Lombardy,  1759 — Bologna, 
Feb.  1 8,  1806;  dram,  soprano;  first  a 
chanteuse  in  a  Paris  cafe",  later  en- 
gaged 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,  Sir  Granville,  b.  London, 
1868 — d.  1946;  studied  R.  A.M.,  took 
i st.  Macfarren  Prize  for  comp.;  his 
first  work,  dram,  cantata  "The  Fire- 
Worshippers"  successfully  prod., 
1889;  successful  i-act  romantic  opera 
"Caedmar"  (London,  1892),  conduc- 
tor of  Gaiety  Theatre  Troupe:  1898 
he  founded  the  New  Brighton  Choral 
Society;  1900  Principal  Birmingham 
and  Midland  Inst.  School  of  Music 
and  cond.  various  societies;  1908 
succeeded  Elgar  in  Peyton  Chair  of 
Music  at  Birmingham  Univ.;  1898 
he  married  Helena  von  Schweitzer. 
He  c.  "Omar  Khayyam"  for  voices 
and  orch.  Part  I  (Birmingham  Festv 
1906),  Part  II  (Cardiff  Fest.,  1907), 
Part  III  (Birmingham  Fest.,  1909); 
comedy  overture,  "The  Pierrot  of  the 
Minute"  overture  to  "Oedipos  at 
Kolonos"  (Worcester  Fest.,  1911); 
mass  for  male  voices;  chamber  music; 
choral  symphs.,  "Atcdanta  in  Caly- 
don"  and  "Vanity  of  Vanities"  i  festi- 
val symph.,  "Christus"-,  choral  suite, 
"Pageant  of  Human  Life"*  tone- 
poems,  "Thalabra,"  "Dante*  "&u- 
dibras,"  "Witch  of  Atlas,"  "Lalla 
Rookh,"  "Great  God  Pan,"  "Dante 
and  Beatrice,"  "Fifine  at  the  Fair" 
"  Hebridean"  Symph.:  overtures 
"Saul,"  "Cain,"  "Bdshazzar,"  "Ei*- 
gene  Aram,"  "To  a  Greek  Tragedy"} 
suites,  "Russian  Scenes,"  "English 


DICTIONARY  OF  MUSICIANS 


Scenes"  "Dances  and  Scenes  from 
Scottish  Highlands,"  * '  Pagan" 
Symph.;  ballets,  songs,  etc.;  symph. 
overture  "Saul";  dram,  symphony  in 
24  parts,  "The  Curse  of  Kehama" 
etc. 

Bap 'tie,  David,  Edinburgh,  Nov.  30, 
1822 — Glasgow,  March  26,  1906; 
composed  anthems,  etc.;  compiled 
hymn-books. 

Barbacola.     Vide  BARBIREAU. 

Barbaja  (b£r-b£'-y&),  Domenico,  Mi- 
lan, 1778 — Posilippo,  1841;  impre- 
sario. 

Barbarieu.     Vide  BARBIREAU. 

Barbedette  (b&rb-dSt)  H.,  Poitiers, 
1827 — Paris,  1901;  writer  and  com- 
poser. 

Barbella,  Emanuele,  d.  Naples,  1773; 
violinist  and  composer. 

Barker,  Samuel,  b.  West  Chester,  Pa., 
1920;  composer;  nephew  of  Mme. 
Louise  Homer;  grad.  Curtis  Institute 
of  Music;  awarded  fellowship  at 
American  Academy  in  Rome  and 
Pulitzer  Prize,  1955;  c.  (orch.) 
"Music  for  a  Scene  from  Shelley"* 
(N.  Y,  Phil.,  1935);  'cello  and  piano 
sonata;  "Dover  Beach"  for  voice  and 
string  quartet;  songs  and  piano 
works,  etc* 

Bar'bi,  Alice,  b.  Brodena,  1862;  mezzo- 
sopr,;  pupil  of  Zamboni,  Busi,  and 
Vannucceni;  de*but,  Milan,  1882; 
toured  Europe  in  concert;  also  a 
violinist  and  poet;  (i)  m.  Baron 
Wolff -Stomersee;  (2)  Marchese  della 
Torretta,  Italian  ambassador  to 
London,  1920* 

Barbier  (bfcrb-ya),  (x)  !Fr.  fit*,  Mets, 
1829 — Paris,  1889;  teacher  and  lead- 
er; composed  over  30  operas,  (2) 
Jules  Paul,  Paris,  1825 — Jan.,  19015. 
collaborator  with  Carre*,  in  the  li- 
bretti of  many  operas,  including  "Les 
Noces  de  Jeannette"  (Mass*):  "I* 
Pardon  de  Plo'ermcl"*  (Meyerbeer); 
"Faust"  '(Gounod);  "Philemon  et 
Baucis"  (Gounod):  "Romeo  et  Juli- 
ette"- (Gounod);  /c Hamlet"-  (Ambr. 
Thomas). 

Barbieri  (bSr-bX-a'-re),  (i)  Carlo  Emm. 
di,  b.  Genoa,  1822 — Pesth,  1867; 
conductor  and  dxam,  composer. 
(2)  Francisco  Asenjo,  Madrid,  1823 
— 1894,  very  pop.  composer  of 
"Zarsuelas"  (Vide  »•  *>.)• 

Barbireau  (b&r-bX-r$)  (or  Barbiriau, 
Barbarieu,  Barbyria'nus,  Barberau, 
Barbingaut  (bar-b&fc-gO),  or  Bar- 


baco'la),  d.  Aug.  8,  149*; 
choirmaster  of  N6tre-Dame;  notable 
cptist.,  composed  masses,  etc. 

BarbirolH  (b8.r-be-r61'-€) ,  Sir  John,  b. 
London,  1899;  'cellist  and  conductor; 
of  Italian-French  parentage;  studied 
atR.  Acad.of  Music;  de"  but  as  'cellist, 
Queen's  Hall,  1911;  member  of  In- 
tern. String  Quartet,  with  which 
toured  Europe;  founded  Barbirolli 
Chamber  Orch.,  1925;  cond.  Brit. 
Nat'l.  Op.  Co.,  1926;  later  appeared 
with  London  Symph.  and  Royal 
Phil.;  cond.  Scottish  Orch.  and  Leeds 
Symph.;  guest  appearances  in  Rus- 
sia; 1936-7,  cond.  N.  Y.  Phil,  for 
5  season  term;  conductor,  Halle*  Orch . , 
Manchester,  2942;  knighted,  1949. 

Barbot  (b&r-bC),  Jos.  Th.  D6sire", 
Toulouse,  1824 — Paris,  1897,  tenor; 
created  "Faust,9*  1859;  1875,  P^o* 
Paris  Cons. 

Barcewicz    (bar'-ts£-v!ts),    Stanislaus, 
Warsaw,   April    26,    1858 — Sept.    a, 
1929;    violinist;    pupil    ol    Moscow 
ons.;  opera  cond.  at  Warsaw;  from 


1885  violin  prof,  at  the  Cons*;  a 
violm  pieces. 

Bardi  (bar '-de),  Giov.,  conte  del  Ver- 
nio,  Florentine  nobleman  and  patron 
of  the  1 6th  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.) 

Barge  (b&r'-g*),  Jn,  H.  WJQOU,  Wulfsahl, 
Hanover,  Nov.  23,  1836 — Hanover, 
July  x6>  192,5;  self-taught  flutist; 
1867-95  first  flute,  Leipzig  Gewand* 
haus  Orch,,  retired  on  pension; 
teacher  Leipzig  Cons.;  wrote  **Meth- 
od  for  Flute*';  composed  4  orchestral 
flute-studies,  etc. 

Bargheer  (bar'-khfir),  (i)  K.  Louis, 
BUckeburg,  Dec.  31,  xSajt — Ham- 
burg, May  *9»  2902;  violinist;  pupil 
of  Spohr,  David,  and  Joachim;  2863, 
court-conductor  at  Detmold;  made 
concert-tours;  1879-89,  leader  Ham- 
burg Phil.  Soc.,  teacher  in  the  Cons.; 
later  leader  in  Billow  orch.  (a)  A,, 
BUckeburg,  Oct.  21,  1840 — Basel, 
March  10,  1901;  brother  of  above, 
pupil  of  Spohr;  court- violinist  I/et* 
mold;  1866,  Prof.  Basel  Sch.  of 
Music. 

Bargiel  (bfir'-g*!),  Woldemar,  Berlin, 
Oct.  3,  1828— Feb.  23,  1897;  com- 
poser; pupil,  Leipzig  Cons.;  later 
Prof.  In  Cologne  Cons,;  1865,  dir. 
and  cond.  of  the  M«s.  Sch.,  Am&ter- 


DICTIONARY  OF  MUSICIANS 


45 


dam;  1874  Prof,  R,  Hochschule, 
Berlin;  1882,  Pres.  "Meisterschule 
fur  musikalisrhe  Komposition" ;  com- 
posed 3  overtures  "Zu  einem  Trauer- 
spiel  (Romeo  and  Juliet)"  "Prome- 
theus" "Medea";  a  symphony;  2 
psalms  for  chorus  and  orchestra;  pf.- 
pcs.  etc. 

Bar'ker,  Chas.  Spackmann,  b.  Bath, 
1806 — Maidstone,  1879;  organ- 
builder;  invented  the  pneumatic 
lever. 

Barlow,  Howard,  b.  Plain  City,  Ohio, 
May  i,  1892;  conductor;  grad.  Reed 
College,  Portland,  Ore.;  studied 
music  with  Lucien  Becker,  also  with 
Frank  E.  Ward  and  Cornelius  Ryb- 
ner  (at  Columbia  Univ.,  NT.  Y.); 
cond.  Reed  Coll.  choral  soc.;  after 
1915,  Riverdale  Choral  Soc.,  N.  Y.; 
then  at  Neighborhood  Playhouse 
N*  Y.,  and  in  recent  years  active  as- a 
leading  cond.  of  radio  programmes. 
Bfirman  (bar'-m^n),  (i)  H.  Jos.,  Pots- 
dam,, 1784 — Munich,  1847;  clarinet- 
virtuoso  and  composer.  His  brother 
(2}  K.,  1782 — 1842,  was  a  bassoonist; 
3)  K.  (Sr,),  (1811-1885),  son  of 
L  J.  B.,  was  a  clarinettist;  his  son 
(4)  K,  (Jr.),  Munich,  Ju^jr  9,  1839 — 
Newton,  Mass.,  Jan.  17,  1913;  pupil 
of  Liszt  and  Lachner;  teacher  at 
Munich  Cons,;  later  lived  in  Boston, 
Mass.,  as  pianist  and  teacher;  com- 
posed piano  pieces. 

dar'nard,  Mrs.  Chas.  (n6e  Alington), 
1830 — Dover,  1869;  composed  popu- 
lar songs,  etc.,  under  name  "Clari- 
bei." 

Barnt>y,  (i)  Rob.,  York,  England, 
1821 — London,  1875:  alto-singer, 
Chapel  Royal.  (2)  Sir  Jos,,  York, 
EngL,  Aug.  12,  1838 — London,  Jan. 
28,  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,  "Rebekah^- 
a  sacred  idyll;  Psalm  97;  Service  in 
E7  etc. 

Barnekov,  Christian,  St.  Sauveur, 
France,  July  28,  183^ — Copenhagen, 
March  20,  19^3;  musician;  of  Danish 
parentage;  pianist  and  organist;  pu- 
pil of  Helfstedt,  Copenhagen;  c. 
women's  choruses  with  orch.;  cham- 
ber music  ai>4  songs. 
Barnes,  Robt*,  (i)  violin-maker,  Lon- 


don, 1760 — 1800.  (2)  Edward  Ship- 
pen,  b.  Seabright,  N.  J.,  Sept.  14, 
1887;  organist,  composer;  studied 
Yale  Univ,,  with  Parker  and  Jepson; 
ass't.  org.  there;  later  pupil  of  Paris 
Schola  Cantorum  with  d'Indy, 
Vierne  and  Decaux;  org.  at  various 
N.  Y.  churches;  c.  organ  and  choral 
works,  songs. 

Barnett,  (i)  J.,  Bedford,  England,  July 
i,  1802 — Cheltenham,  April  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  "Farinelli" 
(London,  1838);  1841,  singing  teacher 
at  Cheltenham;  left  2  unfinished  ora- 
torios, a  symphony,  etc.  (2)  Jos. 
Alfred,  London,  1810  (?},  1808;  bro. 
of  above;  composer.  (3)  J.  Francis, 
London,  1837 — 1916;  nephew  of 
above;  studied  with  Dr.  Wylde;  and 
at  R.  A.  M.,  and  Leipzig  Cons.; 
d6but  as  pianist,  1853;  1883,  prof, 
at  R.  Coll.  of  Mus.;  composed  ora- 
torio "The  Raising  of  Lazarus" 
symphony  in  A  mm.,  "Ouverture 
symphonique,"  overture  to  "  Winter's 
Tale,"  cantatas,  etc. 

Barome'o,  Chase,  b.  Augusta,  Ga., 
Aug.  19,  1893;  bass;  grad.  school  of 
music,  Univ.  of  Michigan;  studied 
singing  in  Italy;  sang  at  La  Scala,  in 
Buenos  Aires;  with  Chicago  Op.,  and 
after  1935  with  Met.  Op.  Co.,  N.  Y. 

Baron  (b£'-r$n),  Ernst  GL,  Breslau> 
1696 — Berlin,  1760;  court-lutenist 
and  theorist;  writer  and  composer. 

Barre*  (or  Barra)  (b&r-rfi  or  bar'-ra1), 
(x)  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. 

Barrere  (bfcr-ar'),  Georges,  b.  Bor- 
deaux, France,  Oct.  31,  1876;  flutist, 
conductor;  studied  Paris  Cons.,  ist 
prize,  1895;  member  orchestra,  Paris 
Op.,  Colonne  Orch.;  teacher,  Schola 
Cantorum,  Paris;  founder,  Modern 
Society  of  Wind  Instruments,  Paris, 
1895;  member  N.  Y.  Symph.  Orch., 
1905-1928;  taught  Inst.  of  Musical 
Art,  New  York,  after  1910;  founded 
Barrere  Little  Symphony  Orchestra, 
1914;  member  trio  with  Carlos  Sal- 
zedo  and  Horace  Britt;  c.  cham 
wks.,  d.  Kingston,  N.  Y.,  June,  iq44 


46 


DICTIONARY  OF  MUSICIANS 


Barret  (b&r-ra),  A.  M.  Rose,  Paris,  1808 
— London,  1879;  oboist. 

Bar'rett,  (i)  J.,  1674— London,  1735 
(8?);  organist.  (2)  Thos,,  violin- 
maker,  London,  1710-30.  (3)  Wm. 
Alex.,  Hackney,  Middlesex,  1836 — 
London,  1891;  editor  and  writer;  co- 
editor  with  Sir  John  Staiuer  of  a 
"Diet,  of  Music.  Terms." 

Barrien'tos,  Maria,  b.  Barcelona, 
1885 — d.  1946;  coloratura  soprano; 
sang  with  success  in  Rome  at  jcx 
years;  took  two  medals  for  violin- 
playing;  later  heard  in  Madrid  and 
various  Italian  theatres  as  a  singer; 
at  Met.  Op.,  N.  Y.,  for  several  seasons 
after  1916;  also  in  South  America, 

Bar'rington,  Daines,  London,  1727 — 
1800;  lawyer  and  musical  essayist. 

Bar'ry,  Chas.  Ainslie,  London,  June  xo. 
1830 — March  21,  1915?  PUP&  °* 
Cologne  Cons,  and  Leipzig  Cons.; 
editor  and  organist;  composed  a  sym- 
phony, 2  overtures,  etc. 

Barsanti  (bar-s&n'-te),  Rran.,  Lucca, 
ca.  1690 — 1760;  flutist,  oboist,  and 
composer;  1750,  viola-player  at  Lon- 
don. 

Barsot'ti,  Tommaso  G.  F*,  Florence, 
1786 — Marseilles,  1868;  teacher  and 
composer. 

Bartav  (bfir'-ta-S),  (x)  Andreas,  Sse*~ 
plat,  Hungary,  1798 — Mayence, 
1856;  1838  dir.  Nat.  Th,,  Pesth; 
composed  Hungarian  operas,  etc. 
(a)  Ede*  Oct.  6T  1825 — Sept.,  xoox, 
son  of  above;  pupil  Nat.  Mus.  Acad- 
emy, Pesth;  founded  pension-fund 
for  musicians;  composed  overture, 
"Peridts,"  etc. 

Bartel  <bar-ta'-«),  Girolamo,  general  of 
Augustinan  monks  at  Rome;  pub- 
lisher and  composer  (i 607-38)* 

Earth  (bart),  (i)  Chr.  Samuel,  Giau- 
cheau,  Saxony,  1735 — Copenhagen, 
1800;  oboist.  (2)  F.  Phil*  K*  Ant*, 
b.  Cassel,  ca  1775;  son  of  above; 
composer.  (3)  Jos*  Jnu  Aug.,  b* 
Grosslippcn,  Bohemia,  178*;  x8xo- 
30*  tenor,  Vienna.  (4)  Gustav, 
Vierma,  1800 — Frankfort,  1897;  son 
°T  J^L.  P*an*st  an<*  conductor. 
(5)  Kl  jBt*,  PHlau,  Prussia,  July  12, 
1:847— Berlin,  Dec.  33*  1933;  pianist, 
gupil  of  Von  Billow,  Bronsart,  and 
Tausig;  187  x,  teacher  at  R.  Hoch- 
schtlle  fur  Musik,  conductor  of  the 
Philh,  concerts  at  Hamburg  (vice 
von  Bulow),  (6)  Richard,  Gros- 
swanzleben,  Saxony,  Tune  5,  1850^ — 
Hamburg,  1033:  left-handed  violin- 


virtuoso;  Univ.  Mus.  Dir.  Marbui& 
till  1894;  then  Dir.  of  Hamburg 
Philh.  Concerts;  1908,  dir.  Cons, 
there;  sonatas,  string  quartet,  etc. 

Barthe,  Grai-Norberi  tgr&-n6r-be"r- 
b£rt),  Bayonne,  1828 — Asai£res,  Aug. 
1898;  pupil  Paris  Cons,,  1854.  woo. 
the  Grand  Pri*  dc  Rome;  wrote  can 
tata  "Franttsca  da  Rimini"  \  com- 
posed operas  "Don  Carlos"  and  "La 
Fiantte  d'Abydes"  (1865);  oratorio, 
"Judith,"  etc. 

Barthel  (bar'-tel),  Jxu  Cfer.,  Plauen. 
Saxony,  1776 — Altenburg,  1831: 
cou  rt-organist . 

Barthelemon  (bar-ta-i3-m6n)  (in  Eng- 
lish Bar'tleman),  Fran.  Hip.,  Bor- 
deaux, 1741 — London,  i8o#:  violin- 
ist and  composer. 

Barthol'oxnew,  Wm.,  London,  1793— 
1867;  translator. 

Bartlett,  (x)  J.»  X7th  century 
composer,  (a)  Homer  1 
Olive,  N.  Y.,  Dec.  aS,  1846— Hobo- 
ken.  N.  L,  April  3,  1920;  pupil  of 
S.  B.  Mills,  Max  Braun,  Tacoosonf 
etc*  From  14  organist  New  Yorlr 
churches,  including  Madison  Av 
Bapt.  Ch.;  published  a  sextet,  a  can- 
songs,  etc.:  opera.  "La  VaUi&rc* 
oratorio,  " Samuel }"  etc. 

Bart'muss,  Richard,  Bitterfeld,  Dec, 
a3»  S?S9 — Dessauy  Dec.  35,  191^" 
organist;  pupU  of  Grell,  Haupt, 
Ldsdbhorti;  1896  royal  music  director ; 
xooa,  professor;  c.  oratorio  "Der 
Tag  des  Pfin^sUn"  4  organ  sonatas 
and  much  sacred  music. 

Bart6k7  Bela  (b&'-iA  blr-tOk'),  b.  Nagy 
Sxent  Miklos,  Hungary*  March  25 
xSSx — d*N.  V.f  Sept.  a6,  1045;  no  ted 
lor  researches  in  folk -music  and  for 
compositions  in  originul  modem 
idiom;  studied  with  Kocft&ler  and 
Erkelv  and  at  Budapest  Acad,;  prof, 
at  latter  school  alter  1906;  his  must*, 
employs  various  ancient  scales  and 
harmonies,  abandoning  traditional 
diatonic  and  chromatic  system,  and 
treating  twelve  tones  of  chromatic 
scale  as  separate  entities;  the  influ 
ence  of  archaic  folk  music  was  noted 
in  B's*  turning*  about  1007,  to  thl* 
new  style,  which  then  sounded  ex* 
tremcly  formidable  to  listeners  and 
roused  considerable  opposition;  for  a 
time  he  retired  from  active  composi- 
tion, visiting  Biskra  to  collect 
Arabian  folk  music;  his  first  major 
recognition  came  in  1917  when  the 


DICTIONARY  OF  MUSICIANS 


47 


dance-play  "Der  Holzgeschnitzte 
Prinz"  was  prod,  at  Budapest  Op.; 
since  that  £ime  his  works  have 
aroused  keen  interest  among  modern- 
minded  musicians,  his  greatest  succ. 
probably  coming  with  the  perf.  of 
his  "Dance  Suite"  for  orch.,  based 
on  folk  airs,  at  Prague  in  1925;  B. 
has  visited  the  U.  S.  as  lecturer  on 
music  and  for  concerts  of  his  chamber 
music;  c.  (opera)  "Ritter  Blaubarts 
Burg'9  (1918);  (pantomime)  "Der 
wunderbare  Mandarin"  (1924);  or- 
chestral and  chamber  music  works, 
among  which  several  string  quartets 
have  had  international  hearings;  two 
violin  sonatas,  and  many  piano 
works,  incl.  collection,  "Mikro- 
kosmos";  3  Piano  Concertos;  Con- 
certo for  Orch.;  Concerto  for  Vln. 
and  Orch.;  Viola  Concerto  (posth.). 

Bartoli  (bar-t5'-ls),  Padre  Erasmo, 
Gaeta,  1606 — Naples,  1656;  church- 
composer  under  the  name  "Padre 
Raimo." 

Barzin  (bar-zan'),  L€on,  b.  Brussels; 
conductor  and  violist;  brox\ght  to 
U.  S.  at  age  of  two;  had  early  lessons 
from  his  father,  who  was  first  violist 
in  Met.  Op.  orchestra:  later  a  pupil 
of  Henrotte,  Deru,  Megsrlin  and 
Ysaye;  harmony  and  counterpoint 
with  Lilienthal;  was  mem.  of  Nat'L 
Symph.  Orch.,  N.  Y.7  1919;  the  next 
year,  second  violinist,  N,  Y,  Phil. 
Orch.;  first  violist  in  same,  and  mem- 
ber of  Phil.  Quartet,  1925;  after  1929 
cond.  American  Oxcfe.  Soc.,  N.  Y., 
which  was  reformed  as  the  Nat'L 
Orch.  Ass'n.,  1930. 

Baselt  (bS'z&t),  J&Wtz;  (Fr.  Gv.  O.), 
Oels,  Silesia,  May  26, 1863 — Nov.  12, 
1931;  pupil  of  K&hler  and  Bussler; 
music-dealer,  teacher,  and  conductor 
Breslau,  Essen  and  Nttrnberg;  1894, 
director  of  Philh,  Verein,  and  "San- 
gervereinigung"  (ca.  1,200  voices), 
Frankfort-ou-Main;  composed  9  op- 
erettas,  nearly  100  male  choruses, 
etc. 

Bftsevi  (bti-fia'-ve"),  Abraxno,  Leghorn, 
18x8 — Florence,  1885;  journalist  and 
composer. 

Ba'sil  (S*unt),  The  Great.  Caesarea, 
339 — Cappadocia,  379;  bishop  j  re- 
puted introducer  of  congregational 
(antiphonal)  singing  into  the  Eastern 
Ch..  preceding  St.  Ambrose  in  the 
Western* 

BaslH  (ba-z€Me),  (i)  Dom.  Andrea. 
S7*o — Loreto,  7773;  conductor 


composer;  his  son  (2)  Fran.,  Loreto, 
1767 — Rome,  1850;  prod,  n  operas, 
and  several  dram,  oratorios  in  Rome; 
1837,  conductor  at  St.  Peter's,  Rome; 
composed  also  symphonies,  etc. 

Basiron  (ba'-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,  1 7th  cent.;  singer, 
teacher,  and  composer. 

Bassevi   (bas-sa/-ve"X  Giacomo.     Vide 

CERVETTO. 

Bass'ford,  Wm.  Kipp,  New  York, 
April  23,  1839 — Dec.  22,  1902;  pupil 
of  Samuel  Jackson;  toured  the  U.  S. 
as  pianist;  later  organist  at  East 
Orange,  N.  T.;  also  composer. 

Bassi  (bas'-s5),  Luigi,  Pesaro,  1766— 
Dresden,  1825;  barytone  and  direc- 
tor; Mozart  wrote  the  r61e  of  "Don 
Giovanni"  for  him. 

Bassiron  (b3,s-sX-r6n),  Ph.,  isth  cent.; 
Netherland  contrapuntist;  composed 
masses. 

Bastardella.     Vide  AGTIJARI. 

Bastiaans  (bas'-t6-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  composer. 

Baston  (b&s-t6n),  Josqtun,  lived.,  1556, 
Netherlands;  contrapuntist. 

Bates,  (i)  Joah,  Halifax,  1741— Lon- 
don, 1799;  conductor;  promoter  and 
conductor  of  the  famous  "HSndel 
Commemoration"  festivals  in  Lon- 
don (1784-91).  (2)  His  wife  was  a 
singer.  (3)  Win.,  1720 — 1790  (?); 
English  opera  composer. 

Ba'teson,  T.,  England,  ca.  1575 — after 
1611;  organist  and  composer  of 
madrigals. 

Bath,  Hubert,  Barnstaple,  Kng.,  Nov. 
6>  1883 — 1945;  *Qoi ,  pupil  of  Beringer 
and  Corder  at  R.  A.  M.,  London; 
1904,  won  Goring  Thomas  scholar- 
ship; c.  i-act  opera,  "The  Spanish 
Student";  symph.  poems;  cantata 
"The  Wedding  oJShon  Maclean";  also 
"Cornish  Rhapsody"  from  film  score. 

Bathe  (bath),  Wm.,  Dublin,  1564— 
Madrid,  1614;  writer. 

Batiste  (bfil-tSst),  A.  £d.,  Paris,  1820- 
1876;  organist,  teacher,  and  com- 
poser. 


48 


DICTIONARY  OF  MUSICIANS 


Bat'ka,  Richard,  Prague,  Dec.  14,  1868 
— Vienna,  April  24,  1922;  critic,  his- 
torian, and  librettist. 

Batta  (bat'-ta*),  (i)  Pierre,  Maastricht, 
Holland,  1795 — Brussels,  1876; 
'cellist  and  teacher.  His  sons  were 
(2)  Alex.,  Maastricht,  July  p,  1816 
— Versailles,  Oct.  8, 1902;  'cellist  and 
composer.  (3)  J»  Laurent,  Maas- 
tricht, 1817 — Nancy,  1880;  pianist 
and  teacher. 

Battaille  (bat-tl'-yii),  Chas.  Aimable, 
Nantes,  1822 — Paris,  1872;  dram, 
bass. 

Battanchon  (bat-tfifc-shon),  F.,  Paris, 
1814 — 1893;  'cellist;  inv.  (1846)  a 
small  'cello,  the  "barytone." 

Bat 'ten,  Adrian,  ca.  1585 — ca.  1637; 
English  organist. 

Bat'tishill,  Jonathan,  London,  1738 — 
Islington,  1801;  conductor  and  dram, 
composer. 

BatUsta  (bat-teV-ta),  V.,  Naples,  1823 
— 1873;  dram,  compose*. 

Battistini  (bat-t5s-t€'-n€),  Mattia, 
Rome,  Feb.  27,  1857 — Rieti,  Nov.  7, 
1928;  dram,  barytone;  d6but,  Rome. 
1878;  sang  at  Buenos  Aires  ana 
principal  theatres  in  Europe;  one  of 
most  accomplished  "bel  canto"  sing- 
ers of  his  period;  was  often  reported 
to  be  contemplating  tour  of  u.  S., 
for  which  he  rece?ved  tempting  offers, 
but  his  terror  of  seasickness  is  said 
to  have  caused  him  to  refuse  them; 
he  knew  about  eighty  r61es,  princi- 
pally Italian;  a  notable  "Don  Gio- 
vanni," etc. 

Batton  (b&t~t6ft\  Desire*  Alex»»  Paris, 
3797 — Versailles,  1855;  teacher  and 
dram,  composer* 

Battu  (b&t-ttt),  Pantaleon,  Paris,  1799 
—1870;  violinist  and  composer. 

Baudiot  (bSd-yS),  Chas.  $".,  Nancy, 
1773 — Paris,  1849;  'cellist. 

Baudoin    (or    Baudouyn)     (ba-dwa&). 

Vide  BAtJLDEWIJN. 

Bauer  (bow'-e'r),  (i)  Harold,  b, London, 

April  »8, 1873,  of  English  mother  and 
German  father;  eminent  pianist: 
played  violin  in  public  at  9;  studied 
with  Gorski,  Paris;  then  the  piano, 
in  1892,  under  Paderewski;  deout  as 
pianist,  Paris,  1893;  has  toured  Eu- 
rope and,  since  190*0,  America,  with 
great  success;  res.  in  New  York  for 
many  years;  he  has  long  been  ranked 
as  one  of  leading  solo  and  ensemble 
players;  pres.,  Beethoven  Ass'n*  of 
New  York;  also  active  as  master 
teacher;  d.  Miami,  Fla.,  Mar.  1 2,  1051  . 


(2)  Marion,  b.  Walla  Walla,  Was*.. 
Aug.  15,  1887;  composer ;incid.  music 
for  "Prometheus  Bound, "  string  quar- 
tet, songs,  etc.;  asst.  prof,  of  music, 
N,  Y.  Univ.,  1926;  mem.  bd.  of  dirs., 
League  of  Comps. 

Batildewijn  <b5d-w&n)  (or  Baulduin, 
Baldewin,  Baldwin,  Baudoin,  Ban- 
douyn),  Noel  (Natalis),  Antwerp, 
1513  (or  1518?) — 1529;  conductor  at 
N6tre  Dame;  and  composer. 

Baumf elder  (bowm'-ffclt-e'r),  Fr.,  Dres- 
den, May  28,  1836 — Aug.  8,  1916; 
pianist;  pupil  of  J.  Otto,  and  Leipzig 
Cons. 

Baumgarten  (bowm/-gHrt-€n}t  K.  Wr^ 
Germany,  1740  (?) — London,  1824; 
violinist  and  dram,  composer. 

Baumgixtner  (bowm'-g$rt-ne'r)>  (i) 
Aug.,  Munich,  18x4 — 1862;  writer  OR 
4 'musical  shorthand,**  etc,  (2)  WJQOL 
(Guillaume),  tSao — Zurich,  1867; 
composer  and  mus.  dir.  at  St.  Galien. 

Banmker  (blm'-k«r),  Wm.,  Elberfdd* 
Get*  25,  ^842^ — Rurich,  1905;  chap- 
lain and  school-inspector,  Nieder- 
fcrfichten;  wrote  biogs,  of  Palestrina, 
Lassus,  etc. 

Bausch  (bowsh),  (i)  L*  Cixr.  Ao^^ 
Naumburg,  1805 — Leipzig,  1871; 
maker  of  violins  and  bows.  His  a 
sons  were  also  v  In. -makers:  (2) 
Lndwig  (1820 — Leipzig,  1871),  lived 
New  York,  then  la  Leipzig;  and  (3) 
Otto,  1841-1874. 

Bausznera  (bows'-n€rn),  Wtldettiar 
vo»,  Berlin,  Nov.  09,  x866 — Pots* 
dam,  Aug.  20,  1931;  studied  at 
Ba-onstadt,  Bu<iapest,  Vienna,  and 
with  Bargiel  and  Fr.  Kiel  at  the 
Berlin  Hochscbuie;  1894  In  Dresden,, 
as  dir*  Singakademle  and  Liederta- 
fel;  1003,  decent  at  Cologne  Cons. 
and  dir.  of  Soc.  of  Musicians  there; 
xoo&  din  of  Weimar  School  of 
Music;  1916,.  din  of  Hoch  Cons., 
Frankfort;  c.  4  symphonies;  operas. 
**£^rffr  in  Vtncdit*  **  Herbert  und 
BUda,"  "Ddf  Bundsckuk."  **5ul^ 
ros":  choral  works,  chamber  music, 
song  cycles,  etc. 

Bajc  (b&ks),  Sir  Arnold,  b.  London. 
Nov.  8,  i8»j-~ Cork,  Oct.  3, 19531  pup" 
R.A.M.,  studying  piano  with  Matt  hay 
and  comp.  with  Frederick  Corder; 
one  of  leading  contemporary  British 
creative  figures,  with  Celtic,  neo» 
Romantic  spirit  and  clarity  of  form 
among  h^s  salient  characteristics. 
individual  type  of  chromaticism  and 
reticence  of  expression;  c.  (orch,)  five 


DICTIONARY  OF  MUSICIANS 


symphonies;  Festival  Overture;  Four 
Pieces;  Symphonic  Variations  for 
piano  and  orch.;  "Tintagel,"  "Sum- 
mer Music,"  "Mediterranean,"  "The 
Happy  Forest,"  "The  Garden  of 
Fand,"  "Overture  to  a  Picaresque 
Comedy,"  "The  Tale  the  Pine  Trees 
Knew,"  "In  the  Faery  Hills"',  "En- 
chanted Stimmer"  for  two  sopranos, 
chorus  and  orch.;  "Christmas  Eve  in 
the  Mountains,"  "Spring  Fire,"  "In 
Memoriam"  "November  Woods,"' 
"Moy  Mell"  (chamber  music)  trio; 
sonata  for  violin  and  piano;  quintet; 
string  quartet;  quintet  for  strings 
and  harp;  quartet  for  piano  and 
strings;  quintet  for  oboe  and  strings; 
sonata  for  violin  and  piano;  'cello 
sonata;  sonata  for  two  pianos;  sonata 
for  viola  and  harp;  (ballet  scores) 
"Between  Dusk  and  Dawn,"  "The 
Frog-skin,"  "The  Truth  about  the 
Russian  Dancers  "  also  piano  music 
and  songs.  Knighted,  1937. 

Bayer  (bl'-Sr),  Josef,  Vienna,  Mar.  6, 
1852 — March  12,  1913;  composer  of 
ballets  and  operettas;  studied  at 
Vienna  Cons.;  cond.  at  Court  Opera. 

Bazin  (ba-z&n),  Fran.  Em*  Jos.,  Mar- 
seilles, 1816 — Paris,  1878;  dram, 
composer. 

Bazzixu  (bad-zS'-ne1),  A.,  Brescia, 
March  n,  1818 — 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 
gave  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. 

B6,  Le.     Vide  LE  B£. 

Beach,  Mrs*  H.  H.  A.  (ne'e  Amy  Marcy 
Cheney),  Henniker,  N.  H.,  Sept.  5, 
1867 — N.  Y.,  Dec.,  1944;  pupil  of 
E.  Perabo  and  K.  Baermann  (pf.), 
and  Tunius  W.  Hill  (harmony);  self- 
taugnt  in  cpt,,  comp.  and  orchestra- 
tion, having  transl.  Berlioz  and  Ge- 
vaert  for  her  own  use;  Pres.  Board 
of  Councillors,  N.  E.  Cons.,  Boston; 
composed  "Godic">  symphony,  Mass 
with  orch.,  piano  Quintet,  piano  con- 
certo, choral  works,  a  number  of 
attractive  aon*s,  ate. 

Beale,  (i;  Wnx.,  Landrake,  Cornwall, 
178*; — London,  1854;  famous  glee- 
composer.  (2)  J.,  London,  ca.  1796; 
pianist. 


Beard,  J.,  England,  ca.  1717 — Hamp- 
ton, 1791;  eminent  tenor  for  whom 
Handel  wrote  the  tenor  r61es  in  his 
chief  oratorios. 

Beauchamps  (bo-shan),  P.  Fran.  God- 
ard  de,  Paris,  ca.  1689 — 1761;  writer. 

Beaulieu  (rightly  Martin)  (b5l-yu',  or 
m£r-t£n),  M.  D§sire,  Paris,  1791 — 
Niort,  1 863 ;  patron,  writer,  and  com- 
poser. 

Beauquier  (b5k-ya),  Chas.,  1833 —  ?; 
writer  of  "Philosophic  de  musique^ 
(1865),  and  librettist. 

Beauvarlet  -  Charpentier  (bo-v£r-la- 
sh&r-pafit-ya),  (i)  Jean  Jacques, 
Abbeyville,  1730 — Paris,  1794;  organ- 
ist and  comp.  (2)  Jacques  Marie, 
Lyons,  July  3,  1776 — Paris,  Nov., 
1834;  organist  and  comp.,  son  of  (i). 

Becher  (bSkh'-er),  (i)  Alfred  Julius, 
Manchester,  1803 — Vienna,  2848; 
editor.  (2)  Jos.,  Neukirchen,  Ba- 
varia, Aug.  i,  1821 — Sept.  23,  1888; 
composed  over  60  masses,  etc. 

Bechstein  (bSkh'-shtln),  Fr.  Wm.  K.$ 
Gotha,  June  i,  1826 — Berlin,  March 
6,  1900;  1856,  worked  in  German  fac- 
tories, later  established  the  well- 
known  piano  factory  in  Berlin. 

Beck,  (i)  David,  Germany,  ca.  1590: 
organ-builder.  (2)  Reichardt  K-i 
lived  in  Strassburg,  ca.  1650;  com- 
poser. (3)  Jn.  Philip,  1677;  editor. 

(4)  Michael,  b.  Ulm,  1653;  writer. 

(5)  Gf.   Jos.,   Podiebrad,   Bohemia, 
*723 — Prague,  1787,  Dominican  (la- 
ter  Provincial)   friar,   organist;     (6) 
Chr.   Fr.,   b.    Kirchheim,    ca.    1755; 
composer.     (7)  Fz.,  Mannheim,  1730 
— B  ordeaux,     1 809 ;     court- violinist. 
(8)  Fr.  Ad.,  pub.  at  Berlin,  "Dr.  M. 
Luther's  Gedanken  ilber  die  Musib,9*' 
1825.     (9)  K,?  1814 — Vienna.  1879; 
tenor;  created  "Lohengrin"    (10)  Jn. 
Nepomuk,    Pesth,    1827 — Pressburg, 
1904;    dram,    barytone,     (n)    Jos., 
Mainz,    June    n,    1850 — Pressburg, 
Feb.  15,  1903;  son  of  above,  bary- 
tone, sang  in  Austria,  Berlin  (1876), 
and  Frankfort  (1880).     (12)  Johann 
Heinrich,  Cleveland,  Sept.  12,  1856 
— May    26,     1924;    violinist;    pupil 
Leipzig  Cons.;  founded  the  Cleveland 
"Schubert  Quartet";  composed  over- 
tures to  Byron's  "Lara,"  to  "Romeo 
and    Juliet" ';    cantata    "DeukMon" 
(Bayard  Taylor),  etc.     (13)  Conrad, 
b.   Schaffhausen,   Switzerland*   June 
x6,    1901;    composer;    studied    with 
Andreae  and  at  Zurich  Cons.;  res.  in 
Berlin,    later    Paris,    where   studied 


50 


DICTIONARY  OF  MUSICIANS 


with  Honegger;  c.  in  neo-classic 
manner,  but  modern  harmonisation, 
cantata  "Death  of  ^Oedipus";  four 
symphonies,  concertino  for  piano  and 
orch.,  concerto  for  string  quartet  and 
orch.;  three  string  quartets,  choral 
works,  etc. 

Beck'er,  (i)  Dietrich  (1668),  composer 
at  Hamburg,  1668.  (2)  Jn.,  Helsa, 
near  Cassel,  1726 — 1803;  court- 
organist.  (3)  K,  Fd.,  Leipzig,  1804 
— 1877;  organist  and  writer.  (4) 
Konstantin  Julius,  Freiberg,  Saxony, 
1811 — Oberiassnitz,  1859;  editor. 

(5)  Val.    Ed,,    WUrzburg,     1814— 
Vienna,      1800;     dram,     composer. 

(6)  Georg,  Frankenthal,  Palatinate, 
June    24,    1834 — Geneva,    July    x8, 
1928;   pianist  and    writer;    lived  in 
Geneva;     pub.     "La     Musique     *» 
Suisse,"  etc.     (7)  Albert  Ernst  Ant., 
Quedlinburg,  June  13,  1834 — Berlin, 
fan.  10,  1899,  puptt  °f  Bonicke  and 
Dehn;    1881,   teacher  of  comp,   at 
Scharwenka's  Cons.;  also  conductor 
Berlin  cathedral  choir;  composed  a 
noteworthy     symphony,     a     Grand 
Mass  in  Bj?  min.  (1878),  and  oratorio 
"Selig  aus  Gnade,"  etc.     (8)  Jean, 
Mannheimt  May  xi,  1833 — Oct.  10, 
1884;    violinist,    leader    Mannheim 
orch.;  after  concert-tours,  lived  in 
Florence   and  founded   the   famous 
"Florentine  Quartet";  toured   with 
His     children,     (p)     His     daughter 
Jeanne,  Mannheim.  June  9,  2850 — 
April  6,  1893;  pianist,  pupil  of  Rei- 
necke    and     BargieL     (10)     Hans., 
Strassburg,  May  12,  1860 — May  x, 
19x7;  viola-player,  pupil  of  Singer, 
(xx)  Hugo,  b.  Strassburg,  Feb.  13, 
1864:  'cellist;  son  of  Jean  B.;  pupil 
of  ms  father,  Grtttzmacher,  Piatti, 
etc.;  'cellist  at  the  Opera  Frankfort, 
1884-86  and  1890-1906;  1806,  Royal 
Prof.;  succeeded  Piatti  as  ^cellist  at 
London  Monday  concerts;  1909-29, 
taujf ht  Berlin  Hochschule;  later  livea 
in  Switzerland;  made  many  concert 
tours,  including  XJ.  S.»  1900.     (12) 
Rheinhold,   Adorf,    Saxony,    1843 — 
Dresden,    Dec.    4,    1924;    violinist; 
lived   in   Dresden;   composed   succ. 
operas  "Fraucnfob"  (Dresden,  1892), 
and    "Ra&oW*    (Mayeace,    1896), 
x-act:  symph.  poem  "Z>er  Print  von 
gomburg*    etc.     (13)  K.»  Kirrweiler, 
near   Trier,   June   5,   X5$3 — Berlin, 
Aug,  3X,  1928;  teacxxer  at  Neuwied; 
pub.  songbcHDks.    (14)  Jafeob,  founder 
(1841)  of  large  Russian  pf.-factory. 


Beck'mann,  Jn-  FT.  GL,  1737— CeOe, 
1792;  organist,  harpsichord- virtuoso, 
and  dram,  composer. 

Beck 'with,  J,  Christmas,  Norwich, 
England,  1750-1809;  organist  and 
writer. 

Becquie*  (bfck-yft),  (z)  A.  (?),  Toulouse, 
ca.  1800 — Paris,  1825;  flutist.  His 
brother  (2)  ("De  Peyre  Ville"), 
Jean  Marie,  Toulouse,  1797 — Parisf 
1876;  violinist. 

Be6raf ovsky  (bech '-  var-shdf  '-shkl), 
Ant.  F.»  Jungbunzlau.  Bohemia, 
1754 — Berlin,  1823;  organist  and 
composer. 

Bed 'ford,  Herbert,  b.  London,  Jan,  23, 
1867;  composer;  lectured  on  un- 
accompanied vocal  music  and  pub- 
lished an  essay  on  this  subject;  c. 
(opera)  "  KU  Marlow,"  syraph. 
chain,,  vocal  mus.,  m.  Liza  Lehrnann 
d.  London.  March  16,  10,45. 

Bedos  de  Celie*  <bfc-d6  du  -sel),  Caua> 
near  B&dfcres,  1706 — St.  Maur,  1779; 
Benedictine  monk  and  writer. 

Beech 'am,  (*)  Sir  Thomas,  b.  near 
Liverpool,  EngL,  April  29,  1879; 
eminent  conductor;  son  of  Sir  Joseph 
Beecham;  educated  at  Rossafl  Sen.; 
studied  comp.  with  Dr.  Sweeting, 
later  with  Varley  Roberts  at  Oxford 
Univ.;  from  1899  founder  and  leader 
of  amateur  orch.  soc.  at  Huyton;  also 
substituted  for  Rtchter  ID  a  concert 

t'vea  by  his  father;  2902,  cond.  of 
elsoa  'iruman's  touring  op,  co.; 
studied  comp*  for  a  year  and  prod* 
three  operas;  1905,  led  his  first  orch. 
concert  in  London;  1906-8  founded 
New  Syraph.  Orch.  there  and  in 
latter  year  formed  Beecham  Symph. 
Orch.;  1910  organised  season  of  opera 
at  Covent  Garden,  following  this 
with  others  until  191  $«  in  which  a 
number  of  first  perfs.  in  England 
were  given,  esp.  Strauss  operas, 
Wagner  and  works  in  English;  later 
cond.  of  Royal  Op.  Syndicate  and 
after  29x5  of  London  Phil.  Soc.; 
knighted  1916;  in  recent  years  artis- 
tic dir.  of  Covent  Garden  Op.;  has 
appeared  widely  as  guest  cond*  in 
other  countries,  incl.  N*  Y.  Phil. 
Orch.  and  Philadelphia  Orch.  in 
U.  S.  (2)  Adrian,  b.  London v  Sept. 
4,  1904;  son  of  (x);  composer  of 
music  to  "Tfa  Merchant  of  Vtnitt" 
songs,  etc. 

Beecke  (ba'-k£)»  1&&&  von,  1733 
•—Wallerstein,  1803:  captain  of  dim* 
goons,  then  "Muslkiiitendan!"  to 


DICTIONARY  OF  MUSICIANS 


51 


Prince  of  Ottingen-WaUerstein;  harp- 
sichordist;   composer    of    7    operas, 
etc. 
Beellaerts     (bal-larts),     Jean.       Vide 

BELLERE. 

Beer  (bar),  (i)  Jacob  Liebmann.  Vide 
MEYERBEER.  (2)  Josef,  Grunwald, 
Bohemia,  1744 — Potsdam,  1811; 
player  of  the  clarinet,  for  which  he 
invented  the  fifth  key.  (3)  Max 
Josef,  Vienna,  Aug.  25,  1851 — Nov. 
25,  1908;  pianist;  pupil  of  Dessoff; 
lived  in  Vienna;  composed  4  operas, 
incl.  the  succ.  "Der  Striek  der 
Schmiede"  (Augsburg,  1897)',  etc. 

Beer-Walbrunn,  Anton,  Kohlberg, 
June  29,  1864 — Munich,  March  22, 
1929;  studied  with  Rheinberger, 
leader  in  Regensburg  orch.,  later 
lived  in  Munich;  taught  piano  and 
theory  at  Akad.  there  after  1901; 
prof.,  1908^  c.  operas,  many  orch., 
chamber,  piano  works,  etc. 

Beethoven  (bat'-h5-fSn,  not  bs-tQ'- 
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  Clem- 
ens August,  at  Bonn),  2d  child  of 
Jn.  van  B.  (a  tenor  singer  in  the 
Electoral  choir),  who  had  m.  a 
widow,  Magdelena  Laym  (ne'e  Kev- 
erich),  a  daughter  of  the  chief  cook 
at  Ehrenbreitstein.  B.  studied  at 
the  public  schools  at  Bonn  till  14. 
From  his  fourth  year,  his  father 
taught  him  music  with  great  severity 
till  1^79.  He  played  the  vln.  weft 
at  8;  at  i%  he  knew  Bach's  "Wohltem- 
perirte  Clavier"  Became  pupil  of 
Pfeiffer,  a  music-dir.  and  oboist;  and 
Van  der  Eeden,  court-organist,  who 
predicted  that  he  would  be  "a  second 
Mozart";  1785,  studied  vln.  with 
Franz  Ries;  1787,  took  a  few  lessons 
of  Mozart;  1792,  Haydn,  passing 
through  Bonn,  praised  a  cantata  of 
his  (now  lost).  The  Elector  sent  B, 
to  Vienna,  where  he  studied  cpt. 
with  Haydn,  who  seemed  to  neglect 
him,  s^  that  he  secretly  studied  with 
Schenck;  later  he  went  to  Albrechts- 
berger,  who  said  "he  has  learnt  noth- 
ing, and  will  never  do  anything  in 
decent  style";  he  studied  the  vln. 
with  Schuppanzigh  and  consulted 
Salieri  and  Aloys  FSrster;  1781,  he  is 
believed  to  have  written  a  Funeral 


Cantata  in  memory  of  the  English 
charg^  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.  organist  at  an  annual  salary 
of  150  florins  (about  $63);  from  1788 
also  ad  viola  of  the  theatre  orch. 
Visited  Vienna,  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  con- 
sumption; his  father  lost  his  voice 
and  became  a  sot.  B.'s  only  home 
was  in  the  family  of  the  widow  von 
Breuning,  to  whose  daughter  and 
son  he  gave  lessons.  Here  he  ac- 
quired his  passion  for  English  litera- 
ture. He  now  made  acquaintance  of 
young  Count  Waldstein,  who  became 
his  life-long  patron,  and  in  1792  sent 
him  to  Vienna,  where  he  hencefor- 
ward lived.  The  decade  1782-92 
does  not  show  much  fertility  in  com- 
position, half  a  dozen  songs,  a  rondo, 
a  minuet,  and  3  preludes  for  pjE., 
3  pf  .-quartets,  a  pf  .-trio,  a  string-trio, 
°P-  3?  4  sets  of  pf.  variations;  a  ron- 
dlno  for  wind;  the  "Ritter  Ballet"* 
with  orch.  (pub.  1872);  "The  Baga- 
telles," 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,  ne  was  sent  to 
Vienna  by  the  Elector,  who  paid  him 
his  salary  for  2  years;  he  had  growing 
royalties  from  his  comps.,  also 
600  florins  annually  from  Prince 
Lichnowsky,  his  warmest  admirer. 
March  20,  1795,  he  played  his  C 
major  pf.-concerto  in  the  Burg- 
theater,  his  first  public  appearance; 
1796,  he  played  before  King  Fr,  Wm. 
II. ;  1708,  at  Prague,  he  gave  2  sen- 
sational concerts  and  met  two  piano 
virtuosi:  Steibelt  who  challenged  B. 
to  extemporise  and  was  sadly  worsted, 
and  Wmffl,  who  became  his  friend. 
1800  ends  what  is  called  (after  von 
Lenz's  book  "B.  et  ses  trois  styles") 
his  "first  period"  of  composition; 
the  "second  period,"  extending  to 
1815;  the  "third"  to  1827,  This 
first  period  includes  op.  1-18,  pf .  and 
string-trios,  string-quartets,  o  pf.- 
sonatas,  7  variations  on  "God  Save 
the  Queen"  and  5  on  "Ride  Britan- 


DICTIONARY  OF  MUSICIANS 


n£a,"  the  aria  "Ah  perjido,"  etc. 
Now  a  severe  and  early  venereal 
trouble  affected  his  liver,  and  began 
to  ruin  his  hearing,  which  by  1822 
was  entirely  gone.  Though  he  had 
always  been  brusque  (especially  with 
the  aristocracy,  among  whom  he  had 
an  extraordinarily  long  list  of  friend- 
ships and  love-affairs),  his  former 
generosity  and  geniality  speedily  de- 
veloped into  atrocious  suspiciousness 
and  violence  toward  his  best  friends. 
The  wild  life  of  a  nephew  whom  he 
supported  brought  him  great  bitter- 
ness* Until  the  beginning  of  the 
"third  periodj"  however,  heTbad  large 
stores  of  joy  in  life,  open-air  Nature, 
and  the  details  of  his  compositions 
which  were  worked  up  with  utmost 
c&,re  from  "sketch-books,"-  always 
carried  with  him,  and  still  extant  as 
a  unique  example  of  genius  at  work. 
In  the  arbitrary  but  somewhat  con- 
venient von  Lenz  classification  the 
sd  period  includes  the  symphonies 
III— VIII;  the  opera  "Fidelia"*,  the 
music  to  "Egmont"*,  the  ballet 
"Prometheus";  the  Mass  in  C,  op.  86. 
the  oratorio  "Christus  am  Oefberg- 
(1803);  the  "Coriolanus"  overture; 
a  pf.-concertos,  i  vim-concerto;  3 
quartets;  4  pf. -trios  and  14  pf> 
sonatas  (among  them  op*  27,  op*  38, 
31,  No.  2,  53,  57,  and  81);  the 
"Lledcrkrcis,"  etc.  The  "third  pe- 
riod" incl.  the  five  pf  .-sonatas,  op.  xoi , 
nt,  the  "Missa  solennis,"  the  Ninth 
Symphony,  the  overture  "Ruins  of 
Athens,"  the  overtures  op*  115,  124; 
the  grand  fugue  for  string-quartet, 
and  the  string-quartets  op,  127,  130, 
131*  *3*>  *35  (F). 

"Fidelio"  first  named  "Ltonore" 
w*s  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 
1814,  very  successfully;  the  present 
overture  is  the  result  of  various  ver- 
sions known  as  the  Leonore  overtures 
i,  2,  and  3*  The  "Eroica"-  sym- 
phonv  (No-  3)  was  called  "Sinfonia 
grande  Napoleon  Bonaparte"  in  hon- 
our of  his  advocacy  of  "liberty, 
equality,  and  fraternity."  When 
Napoleon  proclaimed  himself  em- 
peror, B«  tore  up  the  title-page  in 
wrath  and  changed  the  name  to 


"Sinfonia  eroica  composta  per 
teggiare  il  sowenire  d*un  gron 
(Heroic  symphony,  composed  to 
celebrate  the  memory  of  a  great 
man.)  In  the  Ninth  Symphony,  a 
choral  Finale  is  used  as  the  final 
addition  to  the  orchestra!  climax  of 
ecstasy  (the  words  from  Schiller's 
"Hymn  to  Joy").  In  1809  Jerome 
Bonaparte  invited  B.  to  become  con- 
ductor at  Cassel  with  a  salary  of  600 
ducats  (about  $1,500);  but  his  Vien- 
nese patrons  Archduke  Rudolf  and 
the  Princes  Lobkowitz  and  Kinsfcy, 
settled  on  him  an  annuity  of  4,000 
florins  ($2,000),  Etec-i-  1826,  a  vio- 
lent cold  resulted  in  pneumonia; 
dropsy  followed,  B.  saying  to  the 
doctors  who  tapped  him  three  times 
and  drew  out  the  wuter,  "Better  from 
my  belly  than  from  my  pen."  After 
an  illness  of  3  months  he  took  the 
Roman  Catholic  sacraments,  a  two- 
days'  agony  of  semi-consciousness 
followed  and  he  died,  just  after  shak- 
ing his  clenched  fist  in  the  air.,  during 
a  terrific  thunderstorm,  the  evening 
of  March  26,  1827.  20,000  persons 
attended  his  funeral. 
His  complete  works  comprise  138 
opus-numbers  and  about  70  annum* 
bered  corop.  The  following  are 
those  published.  INSTRUMENTAL. — 
9  Symphonies — No.  i,  op.  ax,  in  C; 
a,  op,  36,  in  D;  3,  op.  55,  in  £fr  (the 
"Erotea.")\  4,  op.  60,  In  Bb;  s,  op. 
67,  in  C  min.;  6,  op.  68,  in  F  ("Pa?~ 
toral"),  7,  op.  02,  in  A;  8,  op.  93,  in 
F;  o,  op,  125,  in  D  mm.  ("CtoroJ"), 
"The  Battle  of  Wfctoria"  (op.  91): 
music  to  the  ballet  "  Promttkeusi'* 
(op.  43),  and  to  Goethe's  "Bgmon?* 
(op.  84),  both  with  overtures,  be- 
sides, nine  overtures — "Ceriofafutt"; 
"Leon**?*  (Nos,  if  a,  and  3);  *W- 
cfeto";  "King  Stephen" \  "Ruins  of 
Athens" •>  "  Namensteicrf*  op*  115; 
" Wtikc  dt$  Hauses** (op.  1 24).  Also 
for  orch.;  Allegretto  in  E^;  March 
from  "Tarpeiaf*  in  C;  "Military 
March"  in  D;  "Jtf4fer»Balf«J";  x*, 
Minuets;  ia,  "deutsche  Tftnjje";  **, 
Contretfinze;  vioiin-concerto,  op,  6x. 
Five  pf  .-concertos,  the  last  op.  73,  in 
£  ("&mperorn)\  also  a  pf, -concerto 
arranged  from  the  violin-concerto. 
A  triple-concerto,  op.  $6,  for  pf.» 
vln.,  'cello  and  orch.;  a  "Ck&nxi 
Fantasia"  for  pf.,  chorus  and  orch.; 
a  Hondo  in  £,  for  pf,  and  orch.; 
cadences  to  the  pf  .-concertos. 


DICTIONARY  OF  MUSICIANS 


53 


Two  Octets  for  wind,  both  in  Eb. 
Septet  for  strings  and  wind.  Sextet 
ior  strings  and  2  horns.  One  sextet 
for  wind,  Eb.  Two  quintets  for 
strings;  fugue  for  string-quintet;  also 

fuintet  arr.  from  pf .-trio  in  C  min. 
ixteen  string-quartets;  Op.  18, 
Is  os.  1-6  in  F,  G,  D,  C  min.,  A  and 
Bb  (first  period);  op.  59,  Nos.  1-3; 
op.  74,  in  Eb  (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  Bb  (third  period).  One  pf.- 
quartet  (arr.  from  the  pf  .-quintet) ; 
3  juvenile  pf. -quartets;  five  string- 
trios;  eight  pf  .-trios,  that  in  Eb  being 
juvenile;  an  arr.  of  the  "Eroica" 
symphony.  Grand  trios  for  pf., 
clar.  and  'cello  op,  n;  in  Bb  and  in 
Eb  (arr.  from  septet,  op.  20) ;  trio  for 

2  oboes  and  cor  anglais,  in  C  op.  87. 
Ten  sonatas  for  pf .  and  violin,  incl. 
op.  47   ("  Rreutzer");  rondo  for  pf. 
and  vln.;  12  variations  for  do.     Five 
sonatas  and  31  variations  for  pf.  and 
'cello.     Sonata    for    pf.    and    horn. 
Sonata  for  pf.,  4  hands. 

38  Sonatas  for  piano,  incl.  op.  27. 
Nos.  i  and  2  (* 'Quasi  Fantasia"), 
op.  28  ("Pastorale")  in  D;  op.  53 
("Wcldstein")  in  C;  op.  57  ("Appas- 
sionato") in  F  min.;  op.  81  ("Carac- 
teristique" — "Les  adieux,  I' absence,  le 
retour")  in  Eb.  Also  6  easy  sonatas, 

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     Q'Favori  **);    7    minuets;     13 
L&ndler,  for  4  hands;  3  marches;  14 
variations. 

VOCAL. — Opera  "Ftdelio,"  in  2  acts, 
op.  72.  2  Masses,  in  C  and  D 
(f*Solennis").  Oratorio  "Christus  am 
Oelberg,"  op.  85.  Cantata  "Der 
glorreicke  Augenblick,"  op.  136 
(1814);  also  arr.  as  Preis  der  Ton- 
kunst.  Meeresstitte  und  Gliickliche 
Fahrt,  op.  112  (poem  by  Goethe). 
Scena  and  aria  for  soprano,  "Ah 
Perfido"  with  orch,,  op.  65.  Trio 
for  soprano,  tenor,  and  bass,  "Tre- 
male,  Em  ft,  Tremate,"  op.  116. 
"Opferlied"  for  soprano  solo,  chorus, 
and  orch.  "Bundeslied"  for  2  solo 
voices.  3-part  chorus  and  wind. 
"Eltgischtr  Gesang"  for  4  voice-parts 
and  strings;  66  songs  with  pf-- 
accomp.;  one  duet,  "Gesang  der 
";  3  voice-parts  a  capp.  18 


vocal  canons.  7  books  of  English, 
Scotch,  Irish,  Welsh,  and  Italian 
songs,  with  pf.,  vln,  and  'cello.  A 
symphony  supposed  to  be  a  youthful 
work  of  his  was  discovered  1911  in 
the  library  of  the  University  of  Jena, 
by  Prof.  Fritz  Stein,  was  performed 
there  Jan.  17,  1910,  and  published 
1911;  performed  in  Leipzig,  Nov., 
1911,  and  by  Boston  Symph.,  1912. 
It  is  not  generally  accepted  as 
Beethoven's  but  is  found  weak  and 
uninteresting,  of  Haydnlike  simplic- 
ity, with  echoes  of  Mozart.  The 
best  biography  is  Alex.  W.  Thayer's. 
Partial  collections  of  Beethoven's 
letters  are  pub.  and  his  sketch-books 
are  discussed  in  Ignaz  von  SeyfriecTs 
ttLudivig  van  Beethoven9  s  Studien 
im  GeneralbasSy  Kontrapunkt  und  in 
der  Kompositionslehre."  Selections 
from  these  have  been  published;  a 
complete  edition  projected  (1935)  in 
Germany.  Biogs.  also  by  Schindler, 
Nohl,  Crowest,  etc.  Wagner  wrote 
an  estimate.  The  vast  Beethoven 
literature  includes  studies  of  the 
composer  by  Bekker,  Grace,  Grove, 
Kalischer,  Kerst,  Herriot,  Kullak, 
Mason,  d'Indy,  Mies,  Newman,  Rol- 
land,  Marion  Scott.  Sonneck,  Specht, 
J.  W.  N.  Sullivan,  Ernest  Walker, 
etc:  Studies  of  his  sonatas  by 
Behrend,  Elterlein,  Harding,  Marx, 
McEwen,  Milne,  Shedlock  and  To- 
vey;  of  the  symphonies,  by  Berlioz, 
Edwin  Evans,  Sr.,  Grove,  Tovey,  and 
Weingartner;  the  string  quartets  by 
J.  de  Marliave  (1928).  A  thematic 
index  of  his  works  was  made  by 
Nottebohm.  (See  article,  page  485.) 

Beffara  (bef-fa-ra),  Louis  Fran$ois> 
Nonancourt,  Eure,  1751 — Paris,  1838; 
1792-1816,  commissaire  de  police,  at 
Paris;  musical  historian. 

Begnis  (ban '-yes),  (i)  Gius  or  Win. 
ae,  Lugo,  Papal  States,  1793 — 
Bath(?),  England,  1849;  buffo  singer; 
in  1816,  he  m.  (2)  Signora  Ronzi, 
Paris,  1800  (?) — Italy,  1853;  comic 
soprano. 

Behaim  (bS-hlm'),  Michel,  Sulzbach, 
1416 — murdered  there,  1474;  soldier 
and  minnesinger. 

Behm  (bam),  Eduard,  b.  Stettin,  April 
8,  1862;  studied  with  Paul,  Weiden- 
bach,  Reinecke,  Hfirtel,  Raif  and 
Kiel;  pianist  and  teacher  in  various 
cities,  then  at  Berlin  as  dir.  (until 
1901)  Schwantzer  Cons.;  composed 
an  opera,  "Schelm  von  Bergen"  (Dres- 


54 


DICTIONARY  OF  MUSICIANS 


den,  1899),  a  symphony,  pf  .-concerto, 
etc. 

Behnke  (ban'-ks),  Emil,  Stettin,  1836 
— Ostend,  1892;  teacher  and  writer. 

Behr  (bar),  (i)  Fz.,  Lubtheen,  Meck- 
lenburg, July  22,  1837 — Dresden, 
Feb.  15,  1898;  composed  pf. -pieces, 
under  pseud.,  of  "William  Cooper," 
"Charles  Morley,"  or  "Francesco 
d'Orso."  (a)  Therese,  b.  Stuttgart, 
Sept.  14,  1876;  alto;  pupil  of  J.  Stak- 
hausen,  of  Scnulz-Dornberg  and  of 
Etelka  Gerster;  m.  Artur  Schnabel, 
pianist. 

*3eier  (bl'-er),  Fz,,  Berlin,  April  18, 
1857 — Cassel,  June  25,  1914;  son  of 
a  military  band-masterj  pupil  Stern 
and  Kullak  Cons.;  cond.  at  the  Royal 
Theatre;  composed  succ.  opera  "Dcr 
Posaunist  von  Sckerkingen"  (Cassel, 
1889),  a  parody  on  Nessler's  well- 
known  "Der  Trompeter  von  $&kkin- 
gen";  succ.  comic  operetta  "der 
GauncrkVnig"  (Cassel,  1890),  etc, 

BekTcer,  Paul,  Berlin,  Sept.  u,  1882— 
New  York,  Feb.,  *937;  writer; 
originally  a  violinist;  pupil  of  Reh- 
feld,  Sormann,  and  Horwits;  became 
critic  of  Berlin  Neueste  Nachrichten, 
1906;  Allgemeine  Zeitung,  1909; 
Frankfurter  Zeitung,  1911-23;  inten- 
dant  of  Cassel  Stadttheat.,  1925-7; 
and  of  Wiesbaden  Op.,  1927-32; 
after  1934  critic  of  Staats-Zeitung, 
New  York;  author  of  many  books  on 
music,  incl.  "Beethoven "  (19*  x); 
"Das  Deutsche  Musikleben"  (19x6): 
"Die  Symphonien  Gustav  Maklers** 
(1921);  "Richard  Wagner"  (1925); 
"Die  Oper,"  etc. 

Belaiev,  (x)  Mitrofan,  St.  Petersburg, 
Feb.  10,  1836 — Jan.  10,  1904;  noted 
music  patron  and  eccentric  million- 
aire, who  sponsored  the  work  of  the 
Russian  Nationalist  group  of  com- 
posers, also  establishing  in  1885  the 
important  pub.  house  in  Leipzig  for 
works  by  his  countrymen*  ( 2}  vic- 
tor Michailovitch,  b.  Uralsk,  Russia, 
Feb.  $,  1888;  eminent  musicologist 
and  writer  on  music. 

Belce*    Vide  REUSS-BELCE, 

Belcke  (beT-kS)>  (i)  iffr*  Atig.,  Lucka, 
Altenburg,  1795 — 1874:  the  first 
trombone  virtuoso.  (2)  Chr.  Gl«» 
Lucka,  1796 — 1875;  bro.  of  above; 
flutist. 

Beldomaa'dis  (or  Beldeman'dis,  Bel* 
deman'do),  Prosdo'cimus  de,  b. 
Padua,  i$th  cent,;  prof,  of  philoso- 
phy, ca.  1422:  theorist. 


Beliczay  (ba'-ll-cha-fi),  Julius  von, 
Komorn,  Hungary,  1835 — Pesth. 
1893;  violinist. 

Belin  (or  Bellin)  (bu-!an),  (i)  Guil., 
ca.  1547;  tenor  Chapelle  Royaie, 
Paris.  (2)  Julien,  b.  Le  Mans,  ca. 
1530;  lutenist. 

Bell,  William  Henry,  b.  St.  Albans, 
Aug.  20,  1873;  pupil  at  the  R.  A.  M.; 
won  Goss  scholarship,  1889;  1903, 
prof,  of  harmony  there;  c.  sympho- 
nies "Walt  Whitman"  and  "  The  Open 
Road"  3  symph.  poems  to  the 
"Canterbury  Ttiles";  symph .  poems, 
"Love  Among  the  Ruins"  \  "The 
Shepherd"  etc.  19 12,  dir.  of  Cape 
Town  Cons. 

Bellaigue  (bel-leg),  Camilla,  Paris, 
May  24,  1858 — Oct.  4*  *Q3?;  critic 
and  essayist;  pupil  of  Paladilhe  and 
Marmontel. 

Bellasio  (bel-la'-sl-o),  Paolo,  J579-95. 
pub.  madrigals,  etc.,  at  Venice. 

Bel  lasts,  Bdw.,  b.  Jan.  28*  1852;  Eng- 
lish writer  and  composer;  wrote  biog, 
of  Cherubini  (29x2). 

BelPavexe  (or  Beiltiaver)  (bel-ft-va'- 
r«),  V.,  Venice,  1530  (?)— 1588  (?), 
organist  and  composer, 

BeUazad  (b*Mad '-*€),  Jtrwai.  C.,  at 
Venice,  1618-28. 

Bellere  (bfil-Ifir')  (or  Belle *rus»  rightly 
Beellaerts)  (bftl-Urts*),  (i)  Jean,  d. 
Antwerp,  ca.  1595;  publisher.  His 
son  ana  successor  was  (2)  Balthasar. 

Bellermann,  (i)  Konstantii^  Erfurt. 
1696 — MUnden,  1758;  rector  and 
composer.  (2)  Jau  Jftr^  Erfurt*  1705 
— Berlin,  1874;  writer  on  Greek 
music.  His  son  (3),  Jn.  GI.  fl», 
Berlin,  March  10,  i832—Potsdaraf 
April  10,  1903;  pupil  R.  Inst.  for  ch.- 
muslc,  1866:  prof,  of  mus.  Berlin  U. 
(vice  Marx.);  theorist  and  composer* 

Bellet'ti,  Giov.  Bat.,  Sarzana.  Feu.  17, 
i8r,j — Der,  27,  1890;  barytone; 
pupil  of  Pilotti  at  Bologna;  d£but, 
1838,  Stockholm;  sang  with  Jenny 
Lind  on  tour;  retired,  1862. 


Bellezza.  Vincenxo  (vln-ch*n'-ts6 
l«ts'-ft)»  b,  Bitonto,  Italy,  Feb.  «7> 
1888;  operatic  conductor;  studied 
Naples  Cons.;  has  conducted  at 
Met.  Op.  House,  N.  Y,;  Covent 
Garden  Op,,  London;  Teatro  C'olon^ 
Buenos  Aires;  also  in  various  opera 
houses  of  Italy,  Spain,  Portugal,  and 
South  America* 

Believer,  V*    Vide  BELt'Avm 
Belli  (bcT-l*),  (i)  Gir*,  pub.t 


DICTIONARY  OF  MUSICIANS 


55 


madrigals,  etc.  (2)  Giiilio,  b.  Lon- 
giano,  ca.  1560;  ch.-composer  and 
cpnd.  ($\  Dom.,  1616;  court-musi- 
cian at  Parma. 

Bellin,  G.     Vide  BELIN. 

Bellincioni  (bel-lin-chS'-ne),  Gemma, 
Monza,  1864 — Naples,  Apr.  23, 1950; 
Italian  soprano;  toured  U.  S.  in 
opera,  1899;  after  1911  taught  in 
Berlin;  and  later  at  Academy  of 
Sta.  Cecilia,  Rome;  pub.  a  vocal 
method;  she  created  Santuzza  in 
"Cavalleria  Rusticana" 

Bellini  (bel-lg'-nS),  (i)  Vincenzo,  Cata- 
nia, Sicily,  Nov.  3,  1 80 1 — Puteaux, 
near  Paris,  Sept.  23,  1835;  opera 
composer;  son  and  pupil  of  an  organ- 
ist; a  nobleman  sent  him  (1819)  to 
the  Cons,  at  Naples;  studied  under 
Furno,  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,  "Adelson  e  Sal- 
mni"  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,  "//  Pirate*;  1829,  "La  Stra- 
niera."  The  librettist  of  the  latter 
2  was  Felice  Romani,  who  wrote  the 


written  in  forty  days  (1830),  was  a 
great  succ.:  "La  Sonnambida,"  and 
ftNorma"  (1831),  with  Malibran  in 
the  title-rdle,  established  his  fame; 
"Beatrice  di  Tenda"  (Venice,  1833) 
failed;  "/  Puritan?*  (libretto  by 
Count  Pepoli),  written  to  order  1834, 
for  the  Theatre  Italien,  Paris,  was  a 
great  success,  and  his  last  finished 
work.  B.'s  work  abounds  in  delight- 
ful, spontaneous  melodies,  though 
the  lack  of  variety  in  his  rhythmic 
scheme  and  orchestral  accompani- 
ments makes  his  scores  today  sound 
rather  pale;  Norraa  remains  a  great 
role  for  sopranos  of  a  heroic  vocal 
equipment.  He  died  youngest  of  aU 
prominent  composers — at  the  age  of 
33,  from  dysentery  due  to  overwork. 
Biog.  by  Scheriflo  (Milan,  1885), 
Pougin  (Paris,  1868),  etc.  Other 
studies  by  Cicconetti,  Amore,  Voss, 
Lloyd  ana  Parodi;  collections  of  B/s 
letters  ed.  by  Scherillo  and  Salvioli. 
(2)  Carmelo,  Catania.  1802 — 1884; 


brother  of  above;  composed  church- 
music. 

Belloc  (bSl-]6k'),  Teresa  (G.  Trom- 
bet'ta-Belloc),  San  Begnino,  Cana- 
vese,  1784 — S.  Giorgio,  1855;  mezzo- 
soprano;  repertoire  of  80  operas. 

Belloli  (bel-l6'-le),  (i)  Luigi,  Castel- 
franco,  Bologna,  1770 — Milan,  1817; 
horn-player  and  composer.  (2)  Ag,, 
b.  Bologna;  first  horn  (1819—29)  at 
La  Scala,  Milan,  and  dram,  composer. 

Bemberg  (ban-bSrg),  Henri,  b.  Paris, 
March  29,  1861;  pupil  of  Dubois, 
Franck  and  Massenet,  Paris  Cons.; 
1887  took  Rossini  prize;  composed 
i -act  opera  "Le  Baiser  de  Suzon" 
(Paris,  Op.-com.,  1888),  mod.  succ.; 
opera  "Elaine"  (London,  1892:  New 
York,  1894),  cantata,  "Mort  de 
Jeanne  d* Arc"  and  songs. 

Bemetzrieder  (ba'-me'ts-re'-de'r),  A.,  b. 
Alsatia,  1743;  Benedictine  monk; 
composer  and  writer. 

Ben'da,  (i)  Franz,  Alt-Benatek,  Bo- 
hemia, Nov.  25,  1709 — Potsdam, 
March  7,  1786;  court-violinist  to 
Frederick  II. 2  whom  he  accompanied 
for  40  years  in  flute-concertos;  com- 
posed symphonies,  etc.  His  3  broth- 


ers (2)  Jn.,  Alt-Benatek,  1713 — 
Potsdam,  1752;  violinist.  (3)  G., 
Jungbunzlau,  Bohemia,  1722 — Koes- 
tritz,  Nov.  6, 1795;  court-cond.,  1748 
(Gotha);  1764-66,  Italy;  prod,  at 
Gotha  10  operas  in  which  he  origi- 
nated the  idea  of  spoken  words  with 
orchestral  accompaniment,  literal 
''melodrama."  (4)  Jos.,  1724 — Ber- 
lin, 1804;  violinist.  His  sister, 
(5)  Anna  Frangiska,  1726 — Gotha, 
1780;  singer.  (6)  FT.  Wm.  H« 
Potsdam,  1745 — 1814;  son  and  pupil 
of  (i);  composed  operas^  etc.  (7) 
Fr.  L.,  Gotha,  1 746— Kdnigsberg, 
1 7931  son  of  (3);  cond.  and  composer. 
(8)  K.  Hermann  H.,  Potsdam,  1748 
-71836;  son  of  rich  father;  court- 
violinist  and  composer. 

Ben'del,  Fz,,  SchQnlinde,  northern 
Bohemia,  March  23,  1832 — Berlin, 
July  3,  1874;  pianist;  composed 
symphonies,  4  masses,  songs,  and 
piano  pieces. 

Ben'deler,  Jn.  Ph.,  Riethnordhausen, 
near  Enurt,  ca.  1660 — Quedlinburg, 
ca.  1712;  clavecinist,  organist,  ana 
writer. 

Ben'der,  Paul,  b.  Driedorf,  Germany, 
July  28,  1875;  op?1"8-^  bass;  first 
studied  medicine;  singing  with  Luise 


56 


DICTIONARY  OF  MUSICIANS 


Ress  and  Baptist  Hoffmann;  member 
Breslau  Op,,  after  1900;  Munich  Op. 
after  1903;  sang  at  Bayreuth  Festi- 
vals, beginning  1902;  was  member  of 
Metropolitan  Op.,  N,  Y.,  in  1922-6. 

Ben'dix,  (i)  Victor  E.,  Copenhagen, 
May  7,  1851 — Jan.  5,  1926;  pianist, 
pupil  and  protlgS  of  Gade;  lived  in 
Copenh.  as  pf. -teacher  and  cond.; 
composed  4  symphonies,  incl.  "Zur 
Htihe,"  in  C  (also  named  "Felsen- 
steigung");  and  "Sommerkl&nge  aus 
Sildrussland"  in  D.  (2)  Max,  b. 
Detroit,  Mich.,  March  28,  1866; 
violinist;  early  played  in  orchestras; 
studied  with  Jacobsohn;  1886,  con- 
certm.  at  Met.  Op.  House;  also  of 
Thomas  Orch.,  of  which  ass't.  cond.; 
founded  Bendiac  Quartet;  cond.  at 
Manhattan  Op.  House,  1906;  at 
Met.  Op.,  1909-10;  19x5*  San  Fran- 
cisco Exp.;  later  teacher  in  New 
York. 

Ben'dl  (b«nt'-'l),  K.,  Prague,  April  16, 
1838 — Sept.  20,  1807;  important 
Czech  composer;  pupil  of  Blalok  and 
Pitsch,  at  Prague;  chorus-master, 
Amsterdam  (1864;;  1866,  cond. 
Prague  choral  society,  "Hlahol"; 
composed  Czech  operas  incl.  "Dito 
Tdb&ra"  (Child  of  the  Camp),  1892 
(3  »ots);  given  at  Prague;  3  masses, 
cantktas,  an  overture,  a  "Dithyramb,  • 
"Slavonic  Rhapsody,"  for  orch.,  etc. 

Bto'edict,  Sir  Julius,  Stuttgart,  Nov. 
27,  1804 — London,  June  s,  1885;  son 
of  a  Jewish  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  buff  a;  1837 
at  Drury  Lane,  there  his  first  English 
opera,  "The  Gypsy's  Warning,"  was 
prod,  (1838);  he  accompanied  Jenny 
kind  to  America,  then  cond*  at  Her 
Majesty's  Th.,  and  Drury  Lane;  1859 
at  Co  vent  Garden,  and  ''Monday 
Popular  Concerts";  cond.  also  Nor- 
wich festivals*  and  (1876^80)  the 
Liverpool  Phimarmonic;  knighted  in 
1871;  composed  n  operas;  a  orato- 
rios, "S*.  Cecilia"  (1866),  and  "S*. 
JPeitr"  (1870);  a  symphonies,  2  pf.- 
concertos,  etc.;  wrote  a  biog.  of 
Weber. 

Benedic'tus  Appenzelders  (ap'-pSn- 
ts&t-fcrs)  (B*  of  AppexxzeU),  b.  Ap- 
penzelh  Switzerland;  choir-master  in 
Brussels  (1539-55)  ai*d  composer; 


often     confused     with     Benedictoj 
Duels. 

Benelli,  (i)  Alemanno.  Vide  HOT- 
TRIG  A  RJ.  (2)  A.  Peregriuo,  Forli, 
Romagna,  1 771 — Bornichau*  Saxony, 
1830;  tenor. 

Benevoli  (bfi-n&'-vd-Ie),  Orazxo,  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. 

Ben 'jamin,  Arthur,  b.  Sydney,  pup.  Stan- 
ford; res*  Can.;  comp* 

Ben'net*  (i)  J«  English  composer 
(*590v*  (2)  Saundexs,  d.  1809; 
English  organist  and  composer*  (3) 
Theodore.  Vide  TH.  BITTEE. 

Ben'nett,  (x)  Wm^  b.  Teignmoutk, 
ca.  1767;  organist,  (2)  Tfaos.,  ca. 
1774-1848;  organist.  (3) 
1805—1830;  English  organist. 
Sir  wra*  Sterndale,  Sheffield,  i 
13,  1816 — London,  Feb.  x.  i875> 
son  of  an  organist  (who  died  x8xo); 
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  Broad  woods  to  Leip- 
zig for  one  year;  friend  of  Schumann 
and  Mendelssohn;  1844  m.  Mary 
Anne  Wood,  founded  the  Bach  So- 
ciety, 1840;  cond.  Philh.  Society, 
1856-66;  1856,  Mas.  Doc,  Cambridge 
and  prof,  of  mus.  there;  1866,  Princi- 
pal there;  1871,  knighted;  buried  in 
Westminster  Abbey;  composed  * 
symphony)  an  oratorio  llTkc  Woman 
of  Samana^*  music  to  Sophokles' 
**4/<wp**:  5  overtures*  "Pwrisina," 


jn,j\++*     •       >       w«.i  i,v**v>iB)  M   «*r»a*iv«#f 

The  Naiads,"  "Tk*  Wood-npmpk* 
Parodist   and  ike    Peri,"    f*M*ny 


Wives 
(s) 


of    Windsor,"    sonatas,    etc. 
Berkeley,  Gloucestershire, 


ov.  29,  131  —  une  xa»  1911;  or- 
ganist of  Westminster  Chapel;  then 
music  critic  for  various  London  news- 
papers; finally  The  Telegraph;  wrote 
various  libretti;  pub.  "letters  from 
Bayrcuih"  (1877);  "The  Musical 
Year"  (X883),  etc.  (6)  Eobert 
Russell,  b,  Kansas  City,  Mo,,  1894; 
composer;  early  pupil  of  Carl  Kusch; 
res.  in  New  York  after  zox6*  where 
active  as  orchestratar  ana  arranger: 
won  Guggenheim  Fellowship;  studied 
with  Nadia  Bouianger,  1'aris;  c* 
(opera)  "Maria  Malibra*?*  text  by 


DICTIONARY  OF  MUSICIANS 


57 


Robert  A.  Simon,  prod,  by  Juilliard 
School,  N.  Y.,  1935;  (ballet)  "Endy- 
mion"  (orch.)  symphony;  "Charles- 
ton Rhapsody,"-  "Sights  and  Sounds" 
(won  RCA- Victor  Co.  prize);  "Abra- 
ham Lincoln";  concerto  grosso; 
March  for  two  pianos  and  orch.; 
Six  Variations  on  a  Theme  of  Jerome 
Kern;  chamber  music,  incl.  "Toy"- 
Symphony  and  string  quartet. 

Bennewitz  (bgn'-nS-vets),  (i)  Win., 
Berlin,  1832 — 1871;  dram,  composer. 
(2)  Anton,  Privat,  Bohemia,  March 
26,  ^833 — Hirschberg  near  Leipzig, 
May  30,  1926;  violinist;  1882-190:1:, 
dir.  of  Prague  Cons. 

Benoist  (bttn-wa),  Francois,  Nantes, 
1794 — Paris,  1878;  organ-prof.  Paris 
Cons.;  composed  operas,  etc. 

Benoit  (bttn-wS),  (i)  Pierre  Leonard 
Ld.>  Harlebecke,  Belgium,  Aug.  17, 
1834 — Antwerp,  Mar.  4,  1901;  Flem- 
ish 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";  studied  at  Leipzig, 
Dresden,  Munich,  and  Berlin,  and 
wrote  a  thesis  for  the  Brussels 
Academy  "Vecole  de  musique  fla- 
ntande  et  son  avenir."  In  1861  his 
opera  "Le  Roi  des  Aulnes"  was 
accepted  by  Tn€&tre  Lyrique,  Paris, 
but  not  given;  cond.  at  the  Bouffes- 
Parisiennes;  from  1867,  dir.  Antwerp 
Cons.;  1882,  member  of  the  R.  A., 
Berlin;  composed  "Messe  solennelle" 
(*B62}'9"TeDeum"  (1863)'," Requiem"' 
11863):  a  oratorios,  "Lucifer"  and 
"Zte  Scheldt";  2  operas,  " Het  Dorp 
int  Gebergte"  and  "Isa"-,  "Drama 
Christi,"  a  sacred  drama  in  Flemish; 
a  ca*tata  "De  Oorlog  War";  "Chil- 
dren** Oratorio" ;  a  choral  symphony, 
"De  Maaiers"  (The  Reapers);  music 
to  "Charlotte  Corday,"  and  to  "Wil- 
lem  de  Zwijger"  (1876);  the  "Rubens 
cantata"  "Plunder  ens  kunstroem"; 
"Antwerpen"  for  triple  male  chorus 
(1877);  vocal  works  with  orch.  'incl. 
"Joncfrou  Kathelijne"  scena  for 
alto  (1879);  *'Muse  der  Geschiednis" 
(1880);  and  "Hucbald,"*  "Triomf- 
marsch*'  (1880);  grand  cantata  "De 
Rhyn"  (1889);  a  mass,  etc.  Wrote 
*^De  vtaamsche  Mustek-school  van 
Antwerpen"  (1873),  "Verhandelung 
voer  de  nationale  Toonkunde"  (2  vols., 
)»  etc.  (2)  Camille,  Roanne,  • 


Nov.  7,  1851 — Paris,  July  i,  1923; 
pupil  of  C6sar  Franck;  1888-1895, 
assistant  conservator  at  the  Louvre; 
1895,  conservator;  c.  overture,  1880; 
text  and  music  of  opera  "Cl€opatre," 
etc.;  author  of  "Souvenirs,"  1884,  and 
"Mitsiciens,  poetes  et  philosophes,"* 
1887;  also  translator. 

Bentonerii,  Joseph  (rightly  Bentort), 
b.  Oklahoma;  tenor;  grad.  Okla. 
State  Univ.;  studied  with  Jean  de 
Reszke  in  France,  coached  operatic 
rdles  in  Italy  for  three  years,  and 
made  d6but  at  Bologna  as  Alfredo; 
sang  in  Italian  theatres,  also  in 
Austria,  France,  Belgium,  and  Hol- 
land; mem.  Chicago  Op.  Co.,  1934-5, 
singing  with  this  company  'in  latter 
year  leading  tenor  r61e  in  Am.  prem. 
of  Respighi's  "La  Fiamma"  also 
with  Philadelphia  Orch.  in  its  stage 
prod,  of  Gluck's  "Iphig6nie  &n 
Aulide";  concert  tour  in  U.  S.;  audi- 
tion with  Met.  Op.  Co.  was  followed 
by  sudden  call  two  days  later  to  take 
place  of  indisposed  tenor  as  Des 
Grieux  in  "Manon"  1936,  which  he 
sang  with  succ.  and  was  engaged  as 
regular  mem.  of  company. 

Benvenuti  (bSn-va-noo  -tfi),  Tommaso, 
Venice,  1838 — Rome,  1906;  dram, 
composer. 

Berardi  (ba-rar'-d5),  Ang.,  b.  Bologna, 
1681;  conductor  and  theorist. 

Ber'ber,  Felix,  Jena,  March  n,  1871 — 
Nov.  2,  1930;  violinist;  pupil  of 
Dresden  Cons,  and  Leipzig  Cons.; 
concertmaster  in  various  cities;  1904- 
1907  prof.  Royal  Acad.,  London; 
1907  at  Frankfort-on-Main;  .1908  at 
Geneva  Cons.;  toured  widely,;  1910, 
America;  after  1912  in  Munict;  1920, 
teaching  at  Cons,  there. 

Berbiguier  (bSr-blg-ya),  Benoit  'Tran- 
quille,  Caderousse,  Vaucluse,  I^T&B — 
near  Blois,  1838;  flute- virtuoso  -amd 
composer. 

Berchem  (or  Berghem)  (bSrkh'-fini), 
Jachet  de  (also  Jaquet,  Jacquet,  ami 
Giachetto  di  Mantova),  Berchem  {??) 
near  Antwerp,  ca.  1500 — 1580;  con- 
trapuntist and  conductor. 

Berens  (b§/-r£ns) ,  (i)  Hermann,  Ham- 
burg, 1826 — Stockholm,  iB&c^;  son 
and  pupil  of  (2)  K.  B.  (180^-03857); 
court-conductor  and  composer. 

Beret'ta,  Giov.  Batt,  Verona,  1819 — 
Milan,  1876;  theorist,  editox,  and 
composer. 

Berezowsky  (b6r-5-s6f'-skg),  Nicolai, 
b.  St.  Petersburg,  May  17,  1900; 


58 


DICTIONARY  OF  MUSICIANS 


d.  N.  Y.s  Aug,  26, 1953;  entered  Imp. 
Capellaand  grad.  witn  honours;  1918, 
concertm.  Saratov  Nat'l.  Op.;  1921, 
dir.  Sch.  of  Mod.  Art,  Moscow;  after 
1922  in  U.   S.;  studied  with  Josef 
Borisoff,   then   at  Juilliard   Sch.   of 
Mus.   with   R.    Goldmark   and   Ko- 
chanski;  played  in  N.   Y.  Phil.;  c. 
sextet  for  strings,  piano,  and  clarinet 
(heard  Washington   Chamber  Mus. 
Fest.,    1926);   four  string  quartets; 
quartet    for    soprano    and    strings; 
piano  trio;  quintet  for  wind  instru- 
ments; (orch.)  two  symphonies  (the 
first  played  by  Boston  Symph^  as 
well  as  his  'cello  concerto);  "  Hebrew?* 
Suite    (N.    Y.    Phil.);    Siafonietta; 
violin   concerto    (played   by   Flesch 
with  Dresden  PhiL  under  composer's 
baton);  (opera)  "Prince  Batrak."- 
Berg  (b«rkh),  (x)  Adam,  1^40 — 1599; 
music-printer,  Munich.     (2)  Jnu  von, 
1550;   music-printer,   Ghent,   Nftrn- 
berg.     (3)  O.,  German  composer  iaa 
England,  1763-71.     (4)  Konu  Mat, 
Colmar,   Alsatia,    1785 — Strassburg, 
1852;  violinist,  pianist,  and  writer, 
(5)  Alban,  Vienna,  Feb.  9,   1885— 
Dec.   24,   X93$;  eminent  composer; 
studied    with    Schtfnber^,    1904-08, 
whose  radical  doctrines  in  harmony 
and  tonality  he  combined  in  his  work 
with  an  original  capacity  of  expres- 
sion that  makes  him  the  outstanding 
member  of  that  composer's  school; 
served  as  director  of  concerts  given 
by  Private  Performing  Society  organ- 
ized  by   SchSr.berg    in    Vienna;   c. 
S no  sonata  (xpoS);  string  quartet 
10);  songs  with  piano  and  orches- 
tra (1908-09);  four  pieces  for  clarinet 
and  orchestra  {1913};  three  orches- 
tral pieces  (1914);  cnamber  concerto 
for  piano,  violin,  and  13  wind  instru- 
ments   (1924);    the    expressionistic 
music-drama  "Woxxeek**  (based  on 
play  by  Georg  Buchner,  nineteenth- 
century  German  poet),  which  is  writ- 
ten in  novel  style,  partly  atonal,  and 
utilizing  antique  forms  such  as  suite, 
passacaglia,  etc.,  in  its  operatic  tex- 
ture (premiere  after  many  rehearsals 
evoked    sensational    impression    at 
Berlin  State  Op.j  Dec.   14,   1935); 
Lyric  Suite  for  stnng  quartet  (1926); 
concert  aria,  "Le  Vin>"  for  soprano 
and  orchestra  (1929);  partially  com- 
pleted music  drama,  "Lulu"  (based 
on  Wedekind  dramas,  "Erdgeist"  and 
"Pandoras  Box"),  which  after  his 
aroused  wide  interest  when 


premiered,  Zurich,  1937;  also  posth* 
violin  concerto  (Barcelona,  1936, 
Intern.  Society  for  Contemp.  Music 
Festival).  One  of  the  most  original 
figures  in  early  twentieth-century 
music,  B.  in  his  "IVoztttk"  relates 
the  heart-rending  tragedy  of  an  ig- 
norant soldie*  who,  oppressed  by  his 
superiors,  murders  his  sweetheart 
and  drowns  himself;  this  work  made 
a  definite  contribution  to  post- 
Wagnerian  music  drama.  The  opera 
was  given  its  American  premiere  by 
the  Philadelphia  Orch.  and  Grand 
Opera  Co.,  under  Stokowski,  both 
in  Phila.  and  N.  Y.,  with  impressive 
effect  in  1931-  B.  also  served  as 
editor  of  the  Vienna  publication 
"MusikUWtr  de$  A*br»tk»  for  a 
period  after  1020. 

Bexger  (ber'-ger),  (i)  L.»  Berlin,  1777— 
1839; from  ^8x5  pf .-teacher  and  com- 
poser, (a)  Francesco,  London,  June 
10,  1834— April,  25*  1933;  pupu  ol 
Ricci  and  Lickl  (pf,),  Hauptmarm 
and  Piaidy;  from  1855  pf«-prof,  JR. 
A.  M.,  and  Guildhall  Sch.  of  Mus.; 
for  years  din,  and  1884-1911,  see., 
Philk;  composed  an  opera,  a  mas* 
(prod,  in  Italy),  etc.;  wrote  "FiVtf 
Step*  at  tkt  PiaHofortoK  {3)  Wmu, 
Boston,  Maaa.,  Aug.  8,  1861— Jena, 
Germany,  Jan.  *6,  1911;  taken  by 
parents  to  Bremen;  pupil  of  Kiel, 
etc.;  lived  Berlin  as  teacher  and  com- 
poser; 1898  won  a  prize  of  2,000 
marks,  with  a  setting  of  Goethe's 
"Jfa*,w  Gattin"  (op,  72);  composed 
"Octane  dtr  Geisttr  «ixr  den  Was- 
$*ri*f"  for  mixed  choir  and  orch.  (4) 
Erna,  b.  Dresden,  1901;  coloratura 
soprano;  Dresden  State  Op.  and  after 
103^  at  Berlin;  London,  1047;  Met. 
Op.  de*but,  1949,  as  Sophie  (Strauss). 
Berggreea  (betrkh'-granj,  Andrea*  P., 

Copenhagen,  1801—1880;  teacher. 
Bergfcem.  Vide  BEKCHEM. 
Bergmaim  (b^rkh'-nitn),  3K.f  Ebers- 
bach,  Saacony.  1821— New  York, 
Aug.  x6»  1876;  m  America,  1850,  with 
"Germania*'  Orch.,  later  its  cond., 
tiU  3854;  cond.  **Htndel  and  Haydn'* 
Soc.t  Boston,  i8sa~$4;  in  1855  alter- 
nate cond.  Phith.  Soc.f  New  York, 
1863-76,  sole  cond,;  also  coad. 
"Anon"  Society;  active  in  introduc- 
ing Wagner.  Lis«t»  etc.,  to  America. 
Bexgnear  (barkh'-niJr),  Wm.,,  Riga,  Nov. 
4>  if 37— June  o,  1907;  organist; 
founded  a  Bach  Society  and  a  cathe- 
dral choir. 


DICTIONARY  OF  MUSICIANS 


59 


Bergonzi  (b&r-gdn'-tsg),  (i)  Carlo, 
d.  1747;  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,  Cremonu, 
1790 — 1840;  horn-player  and  in- 
ventor. 

Bergson  (bSrkh'-zSn),  Michael,  War- 
saw, May  20,  1820 — London,  March 
9,  1898;  pianist  and  composer;  pupil 
of  Schneider,  Rungenhagen,  and 
Taubert,  Paris  (1840);  Italy,  1846, 
where  his  opera  "Louisa  di  Montfort"- 
was  succ.  (Florence,  1847);  Paris, 
1859,  prod,  a  i-act  operetta;  1863, 
ist  pf.-teacher  and  for  a  time  dir. 
Geneva  Cons.;  later  in  London  as 
teacher. 

Bergt  (bSrkht),  Chr.  GL  Aug.,  b. 
Oderan,  Saxony,  1772 — Bautzen, 
1837;  organist,  violinist,  and  con- 
ductor. 

Beringer  (ba'-rfoag-e'r),  Oscar,  Furt- 
wangen,  July  14,  1844 — London, 
Feb.  21,  1922;  pupil  of  Plaidy, 
Moscheles,  Leipzig  Cons.,  1864-66; 
later  of  Tausig,  Ehrlich,  and  Weitz- 
tnann,  Berlin;  teacher  there,  1860; 
London,  1873-97;  after  1885,  P*«- 
prof,  in  R*  A.  M.;  composed  Techni- 
cal Exercises,  etc* 

S&iot  (da  b&r-ya),  (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  d€but,  Paris;  chamber- 
violinist  to  the  King  of  France,  solo- 
violinist  to  the  King  of  the  Nether- 
lands (1826-30);  1830-35  toured 
Europe  with  Mme.  Garcia-Malibran, 
whom  he  m.  in  1836;  from  1843-52, 
prof*  at  Brussels  Cons.;  became  blind 
and  paralysed  in  left  arm;  pub. 
method  and  7  concertos,  etc.,  for 
vln.  (a)  Chas,  Vilfride  de,  Paris, 
Feb.  12,  1833 — near  Paris,  1914;  son 
;>f  above;  pupil  of  Thalberg:  prof. 
;>f  pf.,  Pans  Cons.;  composed  sym- 
phonies, etc.;  wrote  with  his  father 
a  "M tthode  d'accompagnement" 

Berlijn  (or  Berlyn)  (baV-len),  Anton 
(or  Aron  Wow  ?),  Amsterdam,  1817 
— 1870;  conductor. 

Berlin',  Irving  (rightly  Baline),  b. 
Russia,  May  xi,  1888;  composer  of 
popular  music;  was  largely  responsi- 
ble for  start  of  "ragtime"  craze  with 
his  "Alexander's  Ragtime  Band" 


several  years  before  the  war;  has 
since  c.  more  elaborate  scores  for 
musical  comedies  and  the  radio; 
pres.  of  his  own  publishing  firm, 
Irving  Berlin  Inc.,  New  York;  m. 
Ellin  Mackay,  daughter  of  Clarence 
H.  Mackay. 

Berlioz  (bSr-li-5s  not  b&r-H-o),  Hec- 
tor (Louis),  C6te~Saint- Andre",  near 
Grenoble,  France,  Dec.  n,  1803 — 
Paris,  March  8,  1869:  "Father  of 
modern  orchestration  <;  conductor, 
critic,  writer  of  verse  and  electric 
prose;  sent  to  Paris  to  study  medi- 
cine, 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  Gyrnnase  Dramatique; 
left  the  Cons,  in  disgust  with  Reicha's 
formalism,  and  plunged  with  charac- 
teristic energy — or  rather  fury — into 
the  cause  of  romanticism;  1825,  an 
orchestral  mass  given  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  overtures,  "Waverley"  and  "Les 
Frances- Juges">  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  B.  r>.)  and  a 
marvellous  virtuoso  in  instrumenta- 
tion. He  reSntered  the  Cons,  under 
Lesueur,  in  spite  of  Cherubim,  who 
fought  his  admission;  1830,  he  took 
the  Prix  de  Rome  with  a  cantata, 
"Sardanafale"y  after  18  months  in 
Italy  he  returned  to  Paris  and  took 
up  journalism  with  marked  success. 
His  symphony  "Harold  en  Italic9* 
(1834),  tne  "Messe  des  Morts"  (1837), 
the  dram,  symphony  "Rom6o  et  Juli- 
ette" with  vocal  soli  and  chorus 
(1839),  and  the  overture  "Carneval 
romain"  were  well  received,  but  the 
2-act  opera  semi-seria  "Benvenuto 
Cellini"  failed  both  in  Paris  and  in 
London,  1838.  In  1839  Ae  was  made 
Conservator  of  the  Cons.;  librarian, 
1852,  but  was  never  made  professor 
as  he  desired.  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  Phillu 
Concerts";  prod,  comic  opera  " 


60 


rice  et  Benedict  (1862,  Baden-Baden); 
1865,  member  of  the  Academic,  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  Troy  ens  d  Carthage" 
(1863)  was  a  failure.  His  son  Louis 
died  1867.  "Les  Troyens,9'  in  two 
parts; "La  Prise de  Troie,"  3 acts,  and 
'Les  Troyens  d  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 
"Trait*  d* instrumentation"  is  a  clas- 
sic in  orchestration,  though  its  then 
sensational  modernity  is  lost.  B. 
strangely  despised  Wagner,  who, 
however,  confessed  his  large  indebt- 
edness to  B.  Other  books  are 
"Soirees  d'orckestre"  (1853),  "Gro- 
tesques de  la  musique"  (1859),  "A 
travers  chants"  (1862),  and  an  auto- 
biography, "Mtmoircs,"  from  1803- 
65.  In  original  verse  are  the  text 
to  the  sacred  trilogy  "L'Enfance  du 
Christ"  (Part  /.,  Le  songe  &  Her  ode; 
//.,  Lafuite  en  £gypte;  ///.,  UAr- 
rfaie  d  Sais);  and  his  operas  "Lfs 
Troyens"  and  "Beatrice  et  Benedict." 
He  composed  also  a  "Te  &eum**  for 
3  choirs^  orch,  and  org.;  a  "Grand 
symphonie  Junebre  et  triompkale*'  for 
full  military  band,  with  strings  and 
chorus  ad  lib.;  overture  to  "Le 
Corsaire":  "Le  Cinq  Mai,"  for  chorus 
and  orcn.  (on  the  anniversary 
of  Napoleon's  death),  etc.  Recent 
studies  of  B.  have  been  published 
in  English  by  W.  J.  Turner  (1934) 
and  Tom  S.  Wotton  (1935);  co- 
inciding with  a  resurgence  of  interest 
in  this  composer  on  the  part  of  a 
modern-minded  coterie  of  musicians 
in  Britain.  Revivals  of  Beriioz 
operas  have  also  taken  place,  notably 
of  "Le$  Troyens"  and  "Beatrice  and 
Benedict,"  at  Glasgow.  (See  article, 
page  488.) 

Berlya,  Anton,    Vide  BERLIJN. 

Bermudo  (bSr-moo'-dhS),  Juan,  As- 
torga,  ca.  15x0;  writer, 

Bemabel  (b*r-na"-ba'-€),  (i)  Gitis,  Er- 
oole,  Caprarola,  ca*  1620— Munich, 
xtf&H  1672  cond.  at  the  Vatican: 
1674  cond.  at  Munich;  composed 
three- operas  (prod*  in  Munich),  etc. 
(3)  Gius.  An  Rome,  1649 — Munich, 


OF  MUSICIANS 

1732;  son  of  above  and  his  successor 
at  Munich. 

BernaccH  (ber-na*k'-kS),  A,,  Bologna, 
1685 — 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-nar,  in  JP.},  BraHe, 
Marseilles,  Nov.  28,  1843 — Paris, 
Sept.  ii,  1902;  until  1895  organist 
of  Notre-Dame-des-Champs,  Paris; 
composer  of  vln.-concerto;  concert- 
stack  for  pf.  with  orch.;  overture 
"Beatrice";  cantatas;  much  chauvber- 
music,  etc. 

Bernardel.     Vide  I.VPOT. 

Bernar'di,  (i)  Ste&ano,  ca.  1634;  canon 
at  Salzburg;  theorist  and  composer. 
(a)  Francesco.  Vide  SENESIKO.  (3) 
Enrico,  Milan,  1838 — 1900;  con- 
ductor and  dram,  composer. 

Bernardini  (be>-nar-d*'~n*),  MarceUo 
("Marcello  di  Capua**),  b.  Capua, 
ca.  2762;  dram,  composer. 

Bernasco'ni,  (i)  Andrea,  Marseilles, 
1706 — Munich,  1784;  court-conduc- 
tor, (a)  P.,  d.  Varese,  May  27, 1895: 
organ-builder. 

Bexn'eker,  Constanz,  Dark  eh  men,  L. 
Prussia,  Oct.  31*  1844 — K5ntgsberg& 
June  9,  2906:  conductor  and  comp, 

Ber'ner,  #rw  Wm*,  Breslau,  1780--*. 
1827;  organist. 

Bcr'ners,  Lord  (Gerald  Tyrwhitt),  b. 
Bridgnorth,  EngI.T  Sept.  18,  1883*, 
d.  London,  Apr,  19,  1950;  studied  i«* 
Dresden.  London;  self-taught  in  music, 
but  orchestration  with  Stravinsky, 
some  of  whose  modern  musical  de- 
vices are  reflected  in  his  work;  en- 
tered diplomatic  service.  1900;  after 
1913  connected  with  British  Em- 
bassy in  Rome;  succeeded  to  British 
peerage,  1918;  c.  (opera  in  one  act) 
*'Le  C&rrosse  de  $ain*-Safrf»ttnt"} 
(orchestra)  "Fantaisie  Espagnolt** 
(1919);  "Funeral  JfanArcs  for  a 
Statesman,  a  Canary,  and  a  Rick 
Aunt"  (for  two  pianos);  "Vatsc 
Bourgeoise"  (Sabburg  Festival,  1933); 
Fugue  for  Orchestra  (danced  by 
Diaghileff  Ballet,  London,  1925);  also 
an  amusing  nautical  ballet,  "Tfo 
Triumph  of  Nrptune,"  suggested  by 
Rowland  son  prints,  from  which  a 
succ.  orch.  suite  has  been  drawn. 
Bernliard  (b^rn'-httrt),  (i)  der  Deutsche 
(d€r  doit'-sh*);  orgaoist,  Venice. 
1445-50;  known  as  "Bernardo  di 
Ste&a&iao  Mumr**;  perhaps  inv., 


DICTIONARY  OF  MUSICIANS 


61 


certainly  introduced,  into  Italy,  the 
organ-pedal.  (2)  Chr.,  Danzig,  1627 
— D  resden,  1692;  court-conductor 
and  notable  contrapuntist. 

Ber'no,  Augien'sis,  d,  Riechenau,  1048; 
abbot  and  theorist. 

Bernoulli  (bar-noo'-ye"),  (i)  Jn.,  Basel, 
1667 — 1747-  His  son  (2)  Daniel, 
Groningen,  1700 — Basel,  1781,  also 
was  prof,  and  writer  on  acoustics. 

Bern'stein, Leonard, b  .Lawrence ,  Mass . , 
1918;  studied  Harvard,  Curtis  Inst.; 
ass't.  to  Koussevitzky,  Berkshire 
Fest.;  cond.  as  guest  in  Europe;  c. 
symphs.,  "Jeremiah,"  "Age  of  Anx- 
iety." 

Bernuth  (b3,r'-noot) ,  Julius  von,  Rees, 
Rhine  Province,  Aug.  8,  1830 — 
Hamburg,  Dec.  24, 1902;  studied  law 
and  music  at  Berlin,  1854;  studied 
at  Leipzig  Cons,  till  1857;  founded 
the  "Aufschwung  Society,"  and  1859 
"Dilettante's  Orchestral  Society"; 
also  cond.  3  other  societies;  later 
cond.  at  Hamburg;  1873,  dir.  of  a 
cons,  there;  1878,  "Royal  Prussian 
Professor." 

Berr  (b£r),  FT.,  Mannheim,  1794 — 
Paris,  1838;  bandmaster;  1831,  prof, 
of  clar.,  Paris  Cons.;  1836,  dir.  School 
of  Military  Music;  composer. 

Bertali  (b€r-tSM«),  Ant.,  Verona,  1605 
— Vienna,  1669;  court-conductor  and 
dram,  composer. 

Bertelsmann,  K.  Aug.,  Gtitersloh, 
Westphalia,  1811 — Amsterdam,  1861 ; 
director  and  composer. 

Berthaume  (b6r-t5m),  Isidore,  Paris, 
1752 — St.  Petersburg,  1802;  violinist 
and  conductor. 

Berthold  (b$r'-t61t),  K.  Fr.  Theodor, 
Dresden,  1815 — 1882;  court-organist. 

Bertin  (b&r'-t&n),  Louise  AngSIique, 
Roches,  near  Paris,  1805 — Paris, 
187 7;  singer,  pianist,  and  dram,  com* 
poser. 

Bertini  (bSr-te'-n5),  (i)  Abbate  Gius., 
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  com- 
poser; at  12,  toured  the  Netherlands 
and  Germany;  retired,  1859;  wrote 
technical  studies.  (4)  Dom.,  Lucca, 
1829 — Florence,  1890;  teacher,  critic, 
theorist,  and  director. 

Bertittot'ti,  Teresa,  Piedmont,  1776 — 
Bolojzna,  1854;  operatic  soprano;  m. 


Felix  Radicati,  a  violinist  and  com- 
poser. 

BertolU  (t61'4X),  Fran.,  Italian  con- 
tralto in  Handel's  operas,  London, 
1729-37. 

Berton  (b£r-t6n),  (i)  P.  Montan,  Paris, 
1727 — 1780;  conductor  grand  opera 
and  dram,  composer.  (2)  H.  Mon- 
tan, Paris,  1767 — 1*844;, 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. 

Bertrand  (ber-tran),  J.  Gv.,  Vaugirard, 
near  Paris,  1834 — Paris,  1880;  writer 
and  critic. 

Berwald  (bSr'-vSlt),  (i)  Jn.  Fr.,  Stock- 
holm, 1787 — 1861;  precocious  violin- 
ist, etc.;  pupil  of  Abb 6  Vogler;  com- 
posed a  symphony  at  9.  (2)  ,Fz,, 
Stockholm,  1796 — 1868;  nephew  of 
above;  dram,  composer. 

BeseMrsby  (bs-z£-k5r'-shk*),  (i) 
Vasilly  vasilevitch,  Moscow,  1835 — 
St.  Petersburg,  1910:  concert  violinist 
and  composer.  (2)  Vasilly,  b. 
Moscow,  1879;  son  °f  C1)*  violinist; 
pupil  of  his  father;  1910-13,  prof. 
Odessa  Cons.;  after  1914  toured, and 
taught  in  U.  S. 

Besler  (bas'-l&r),  (i)  Samuel,  Brieg, 
Silesia,  1574 — Breslau,  1625;  rector 
and  composer.  (2)  Simon,  cantor 
at  Breslau,  and  composer,  1615-28. 

Besozzi  (bS-sdd'-z5),  the  name  of  4 
brothers,  all  oboists  except  (3).  (i) 
Ales.,  Parma,  1700 — Turin,  1775- 
(2)  Antonio,  Parma,  1707 — Turin, 
1781;  (3)  Girolamo,  Parma,  1713 
— 1786,  bassoonist.  (4)  Gaetano, 
b.  Parma,  1727.  (5)  Carlo,  b. 
Dresden,  1745;  oboist,  son  of 
(6)  Hieronixao,  d.  1785;  S01?  of 
oboist.  His  son  (7)  Henri  was  a 
flutist,  and  father  of  (8)  Louis  D6- 
sire",  Versailles,  1814 — Paris,  1879; 
teacher  and  composer. 

Bessems  (beV-sams),  A.,  Antwerp, 
1809 — 1868;  violinist  and  composer. 

Besson  (btts-s6n),  Gv.  Aug.,  Paris, 
1820 — 1875;  improver  of  valves  in 
wind-instruments. 

Best,  Wm.  T.,  Carlisle,  Engl.,  Aug. 
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  accented  Civil-List  pen- 


62 


DICTIONARY  OF  MUSICIANS 


slop,  of  £100  per  annum;  1894, 
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.; 
and  pf.-«pcs.;  wrote  "Tke  Art  of 
Organ-playing"  etc. 

Bestflndig  (bS-stSii'-dXkh),  Otto,  Strie- 
gau,  Silesia,  Feb.  21,  1835  —  Wands- 
beck.  Feb.,  1917;  cond.  and  comp.; 
pupil  of  Mettner,  etc.,  in  Breslau; 
tounded  a  conservatory  in  Hamburg: 
c.  oratorio  "Der  Tod  Baldurs"  and 
"Victoria  Crucis,"  etc. 

Bet'ti,  Adolfo,  b.  Bagni  di  Lucca,  Italy. 
March  21,  1875;  violinist;  studied 
with  C6sar  Thomson,  Liege  Cons., 
ist  prize,  harmony  and  chamber 
music,  1895;  gold  medal  ia  violin, 
2896;  d£but  Vienna,  1897;  toured  in 
solo  recitals  in  various  European 
countries;  assist,  prof,,  Brussels 
Cons.,  1900-03;  first  violinist,  of 
Flonzaley  Quartet,  1903-29,  touring 
widely  in  Europe  and  0,  $.;  then 
made  home  in  Italy;  was  Podesti 
of  Bagni  di  Lucca,  1945;  edited 
and  arranged  early  Italian  music  for 
orchestra,  including  works  of  Gemi* 
niani;d.  Bagni  di  Lucca,  Dec.  a,  1950. 

Bett  (b£ts),  Fa:.,  Mayence,  March  39, 
1835  —  Berlin,  Aug*  12.  1900;  bary- 
tone; created  "Wotan/*  and  "Haas 
Sachs." 

Ber'an,  FT.  Chas»»  b.  London*  July  3, 
1856  —  Adelaide,  1939;  pupil  of  Wil- 
ling and  Hoyte;  organist;  then 
studied  singing  with  Schira,  Deacon, 
and  Walker;  1877  Gentleman  of  the 
Chapel  Royal;  composed  pop.  songs* 

Ca 


Bevignanl  (ba-vSn-yit'-ae),  Cavallere 
Enrico,  Naples,  Sept.  29,  1841  — 
Aug.  29,  1903;  pupil  of  Albanese, 
LiUo,  etc.,  ist  opera,  "Catering 
Bloom,"  succ.;  Czar  made  him 
Knight  of  the  Order  of  St.  Stanislas, 
and  conferred  a  life-pension;  noted 
as  cond.  in  London,  Moscow,  and 
New  York;  after  1894  at  Met,  Op., 

y,  Wales,   1560  (-70?)— 
?);  Gentleman  or  the  Chapel 
;  organist,  writer,  and  composer. 
Wm*  Rd,,    Norwich,    1824 
a,  1853;  orgauist  and  com- 


i64o 

R 
Bex 

—  Lo 

poser. 
ttaggi  (bWd'-je),  Gir.  Ales,,  Milan, 

i8x$  —  Florence^  1897;  prof.,  drain, 

composer,  writer  under  pseudonym 


Bianchi    (b£-£n'-ke%    (i)   Fran,,    Cre- 
paona,  1752 — London,  xSio;  organ- 
ist; composed  47  operas,     (a)  Valen- 
tine, Wifna,  1839 — Candau,  Rutland, 
1884;  dram,  soprano;  d£but,   1855. 
(3)    Biaxtea    (rightly    Schwarz),    b. 
Heidelberg,   Jan,    28,   1855;   dram.- 
soprano;     pupil     of     Wilczek     and 
Viardot- Garcia;    Poll  Ins    (whom   she 
m.,  1894)  paid  her  tuition  and  then 
engaged    her   for    10    years;    d£but 
Carlsruhe,     1873;     taught     Munich 
Akad.,    1902-25;   later  at   Salzburg 
Mozarteum.     (4)    Eliodoro,    1773 — 
1848,  a  tenor  singer  who  composed 
operas;  "Gara  d* Amort"  (Ban,  1873); 
"Sarak";  "Almantor,"     (5)   Renzo, 
b.  Maggianico,  Italy,  July  39,  1887; 
composer;  grad.  of  Milan  Cons.;  c. 
(operas)  "Fausta"  (Florence),  "Gkis- 
monda"     (La    Scala,     19x8),    "£&*- 
bcttina"    (Costanzi    Thcat.,    Rome, 
1924),  also  orch.  works, 
Bib«r  (be"-ber),  (i)  H*  Jnu  3?fc.  von, 
W&rtenberg,   Bohemia,    1644 — Sals- 
burgf  May  3,   1704;   violinist,  and 
one  of  the  founders  of  the  German 
school   of    vln. -playing;    Leopold    I. 
ennobled  him.     (2)  Aloys,  Ellingen, 
%8o4— Munich,  1858;  piano-maker. 
Bib!    (beb-»l),    (i)    Attdreii,    Vienaa, 
2797 — 18?8  organist  and  composer. 
His    son    and    pupil     (a)    Rudolf, 
Vienna,  Jan.  6,  1832^ — Aug.  2,  looa; 
pupil  of  Lechter;  organist  and  com- 
poser of  organ  sonata,  etc. 
Bie  (b€),  Oskar,  b.   Breslau,  Feb.  9, 
1864;  critic;  pupil  of  Ph.  Scharwenka; 
x8B6t  Dr.  Phi!.:  1800,  Privat  Docent 
at  Technical  High  School,  Berlin; 
author  of  books;  also  comp. 
Biehr  (b€r)f  Oskajr,  Dresden,  1851— 
Munich,   March   7,    xgaa;   violinist; 
pupil  of  David;  for  twenty-five  years 
member  of  Munich  court  orchestra. 
m»y  (b*r'-I),  OL  Bm^dlikt.  Dresden, 
1773— Breslau,  1840;  conductor  and 
dram,  composer. 

Bieruadd  (b€-er'ntt'^ke)T  Michael 
Marian,  b*  Lublin,  Sept.  o,  1855; 
comp.;  pupil  of  Warsaw  Cons.;  later 
director  there;  comp.  a  masses, 
Prolotu*  for  orc'i.#  etc. 
Bignami  (bin-yt'-mi),  (i)  Carlo,  Cre- 
mona, Doc*  6,  1808— Voghcra,  Aug 
a,  1848;  cond.,  violinist  aui  dii., 
Cremona;  Paganini  called  him  "the 
fast  violinist  of  Italy/*  (a)  Enrico, 
1836— Genoa,  1894;  violinist,  dram, 
composer. 
Bigot  (b*-*e)»  it,  (n6e  Klme)t  Colmar. 


DICTIONARY  OF  MUSICIANS 


63 


Upper    Alsaiia,    1786— Paris,    1820: 
pianist. 

Bifiion  (or  Billon)  (be-y6n),  J.  de,  i6th 
cent.;  composer  and  singer  in  the 
Papal  Chapel. 

Billings,  Wm.,  Boston,  Mass,,  Oct.  7, 
1746 — Sept.  29,  1800;  composed 
hymns;  introduced  the  pitch-pipe 
and  the  'cello  into  American  church- 
choirs,  and  is  said  to  have  given  the 
first  concert  in  New  England. 

BilOington,  (i)  Th.,  pianist,  harpist,  and 
composer,  latter  part  of  iSth  cent. 
(2)  Elizabeth  (ne'e  Weichsel),  Lon- 
don, ca.  1768— near  Venice,  Aug.  23, 
1818;  pupil  of  her  father,  a  clarinet- 
tist; then  of  J.  Chr.  Bach;  handsome 
operatic  soprano,  had  a  compass  of 
3  octaves,  a-a'"  (Vide  PITCH,  D.  D.), 
1784,  Dublin;  1786,  Covent  Garden; 
retired,  1818. 

Billrot(h)  (bel'-r5t),  (i)  Jn.  Gv.  FT., 
Halle,  near  Liibeck,  1808— Halle, 
1836;  composer  and  writer.  (2) 
Tfceodor,  Bergen,  Isle  of  Riigen,  1829 
— Abbazia,  1804;  surgeon  and  writer. 

Bilse  (bfil'-sfi),  Benj.,  Liegnitz,  Aug. 
17,  1816— Berlin,  July  13,  1902, 
where  1868-84  he  cond.  notable 
popular  series  of  orch.  concerts; 
originally  "Stadtmusikus"  at  Lieg-  * 
aitz,  and  trained  a  remarkable  or- 
chestra; retired  1894  as  "Hofmusi- 
kus." 

Binchois  (Gilles  de  Binche,  called 
Bincfeols)  (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  (bfcit'-«r),  (i)  K.  Wm.  Fd., 
b.  Dresden,  1764;  harp-maker  at 
Weimar,  ca.  1797*  (2)  IE.,  Vienna, 
1816 — 1860;  conductor  and  dram, 
composer. 

Bini  (bS'njS),  Pasqualino,  b.  Pesaro,  ca. 
1720:  violinist. 

Bioni  (b5-3'-ne-),  A.T  b.  Venice,  1698; 
composed  26  operas. 

Birch 'all,  Robt.,  d.  1819;  music-pub- 
lisher, London. 

Bhckenstock  (bSr'-k£n-sht6k),  Johann 
Adam,  Alsfeld,  1687 — Eisenach,  1733; 
conductor. 

Bird,  (x)  Wm.  Vide  BYRD.  (2)  Arthur, 
Cambridge,  Mass.,  July  23,  1856 — 
Berlin,  Dec.  22,  1923;  pupil  of 
Haupt,  Ldschhorn,  and  Ronde,  Ber- 
lin, 1875-77;  organist  and  teacher  at 
Halifax^  N,  S.;  founded  the  first  male 
chorus  in  N.  S,,  1881;  studied  comp. 


and  orchestration  with  Urban,  Ber- 
lin; 1885—86  with  Liszt  at  Weimar; 
1886,  gave  a  successful  concert,  and 
lived,  later,  in  Berlin- Griinewald; 
composed  symphony  and  3  suites  for 
orch.;  various  pieces  for  piano;  comic 
opera  "Daphne"  (New  York,  1897); 
and  a  ballet,  "RilbezM."  (3;  Henry 
Richard,  Walthamstow,  Nov.  14, 
1842 — London,  1915;  organist;  son 
of  George  B.,  an  organist;  at  9,  be- 
came org.;  pupil  of  Turle;  since  1872 
org.  at  St.  Mary  Abbots,  London; 
conducted  concerts,  and  won  promi- 
nence as  accompanist. 

Birnbach  (bSrn'-bakh),  (i)  K.  Jos., 
K.6pernick,  Silesia,  1751 — Warsaw, 
1805;  conductor.  (2)  Jos.  Benj. 
H.,  Breslau,  1795 — Berlin,  1879, 
pianist  and  composer;  son  and  pupil 
of  above. 

Bischoff  (besh'-6f),  (i)  G.  Fr.,  Ellrich, 
Harz  Mts.,  1780 — Hildesheim,  1841; 
conductor;  founded  the  German  mus. 
festivals.  (2)  L.  Fr.  Ch.,  Dessau, 
1794 — Cologne,  1867;  translator;  son 
of  (3)  K.  B.,  court-mus.,  Dresden. 

(4)  Kasper  Jakob,  Ansbach,  1823 — 
Munich,  1893;  teacher  and  composer. 

(5)  Hans,     Berlin,     1852 — Nieder- 
schSnhausen,  near  Berlin,  1889;  pf.- 
teacher,  conductor,  and  editor. 

Bish'op,  (i)  Sir  H.  Rowley,  London, 
Nov.  1 8,  1786 — April  30,  1855;  noted 
Engl.  composer;  pupil  of  Bianca;  his 
first  opera,  "The  Circassian  Bride/9 
was  prod.  Drury  Lane,  when  he  was 
20;  1810— ii  comp.  and  cond.  at  Co- 
vent  Garden;  1813  alternate  cond. 
Philh.  Soc.;  1825  cond.  at  Drury 
Lane;  1830  musical  dir.  at  Vauxhall; 
1841—43,  prof,  music,  Edinburgh; 
knighted,  1842;  1848  prof,  of  music 
at  Oxford;  1853,  Mus.  Doc.  (Oxon); 
prod,  over  So  operas,  farces,  ballets, 
an  oratorio,  cantata,  etc.  (2)  J., 
b.  Cheltenham,  1814;  organist,  editor, 
and  composer.  (3)  Ann,  or  Anna, 
London,  1814 — New  York,  March 
1 8,  1884;  soprano;  daughter  of  Jules 
Rivi&re;  married  Sir  Henry  Bishop, 
1831,  deserted  him  for  the  harpist 
Bochsa,  with  whom  she  toured  the 
world  in  concert;  after  his  death,  in 
1856,  she  married  a  Mr.  Schulz. 

Bispham  (bfep'-h£m),  David,  Philadel- 
phia, Jan.  5,  1857 — New  York,  Oct. 
2,  1921;  dram,  barytone;  sang  in 
church  and  oratorio;  1885-87  pupil 
of  Vannuccini  and  Wm*  Shakespeare; 
from  1891  in  opera  at  Covent  Gar- 


DICTIONARY  OF  MUSICIANS 


den,  and  America,  with  much  success 
and  versatility;  and  also  in  recitals, 
in  both  of  which  fields  his  high 
dramatic  intelligence  played  an  un- 
usual part;  brilliant  in  comic  or  tragic 
roles;  he  had  a  huge  repertoire,  In- 
cluding 50  operatic  r61es,  more  than 
100  oratorio  parts,  and  some  1500 
recital  numbers.  After  1909  he 
withdrew  from  opera  and  sang  in 
concerts.  A  brilliant  teacher. 

Bitt'ner,  Julius,  b.  April,  1874,  Vienna, 
d.  there  Jan.  9,  1939;  composer  and 
jurist;  active  for  many  years  as  a 
judge  in  Vienna,  he  was  a  pupil  in 
music  of  Josef  Labor  and  also  for  a 
time  of  Bruno  Walter.  He  is  best 
known  for  a  series  of  popular  operas 
many  of  which  are  written  to  his 
own  texts,  including  "Der  Musi- 
kant"  (Vienna,  19x0),  "Der  Bergsee" 
(Vienna,  1911),  "Der  Abenteurer" 
(Cologne,  1912)." Das  HVllisck  Grid'* 
(Dresden,  1910;,  usually  considered 
his  most  successful  work  i"Die  Kohl- 
haimerin"  (Vienna,  1921);  and  "Das 
Rosengar&ein"  (Mannheim,  19*3); 
also  dance  plays,  piano  works,  songs, 
etc. 

Bizet  (b5-zft),  G.  (Alex.  C$sar  Leopold),  ( 
Paris,     Oct.     25,     1838 — Bougival, 
June    3,    1875;    distinguished    com- 
poser.    At  9,  pupil  at  Paris  Cons,  of 
Marmontel    (pf.),    Benoist    (org.), 
Zimmerman    (narm,)*   an4    Halevy 
(whose  opera  "Notf*  he  finished,  and 
whose  daughter  Genevteve  he  m.); 
1857,  too,  Offenbach  xst  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  a-act  ItaL  opera  buffa 
"Dan  Procopio"i  a  movements  of  a 
symphony,  "La  Chasse  D'Qssian?* 
an    overture;    and    "La    Ousta    de 
VRmir"  a  comic  opera,    1836,   his 
grand     opera,     "Les     Pechenrs     de 
Perles,"  was  prod,  Paris  (Th.  Lyr- 
ique);    it   failed,    as   did   "La   Julie 
Fille  de  Perth"  (1867),  and  the  i-act 
"Djamileh"  (1872)*  In  all  his  music 
B.  revealed  a  strong  leaning  to  wan! 
Wagner,     then     so     unpopular     in 
France;     but     1873     his     overture 
"Patrick   the    2   symphonic    move- 
ments,    and    incidental     music     to 
Daudet's    " L'ArUsitnneS'    brought 
him  success;  and  "Carmen"  (<)p£ra- 
Com.,  March  3,  1875)  brought  him  a 
fame,  which  he  hardly  knew,  as  he 


died  three  months  later  of  heart  dis- 
ease; c.  Symph.  in  C;  2  operas, 
"Nvma"  (1871)  and  "/**»  le  Terri- 
&«";  150  pf.-pcs.,  songs,  etc.;  collab- 
orated with  Delibes,  Jonah  and 
Legouix  in  opera  "Malbrough>  s*en 
va-t-en-guerre.h  Biog.  by  Hgot,  1886, 
and  D.  C.  Parker,  1926.  (See  article, 
page  488.) 

Bj&rfiog,  Jussi  (Y6S'-s*  byfirMing),  b. 
Dalarna,  Sweden,  February  2,  1910; 
eminent  tenor;  son  of  operatic  singer; 
one  of  three  brothers,  all  singers,  who 
with  father  formed  quartet  and  made 
American  concert  tour  when  B.  wa? 
eight  years  old,  singing  in  churches, 
etc.;  on  return  to  Sweden  B.  began 
vocal  study  with  Julia  Svedeiius;  ia 
1929  admitted  to  Royal  Op.  Sen., 
Stockholm,  where  in  one  3?ear  of  in- 
tensive study  under  John  Forsell, 
Opera  director,  he  prepared  for  his 
d£but  as  Don  Ottavio  (Don  Gio- 
vanni); won  permanent  contract 
there  and  sang  some  fifty  r6!es  in  lear 
than  decade;  ^935,  made  guest 
appearances  in  Vienna,  Prague  an^ 
Dresden  with  sensational  success;  e& 
gaged  for  America;  d£but  N.  Y.  a. 
soloist  on  Genera!  Motors  Radio 
Hour,  with  symphony  orchestra, 
1937-8;  same  season  sang  in  "La 
Votemc"  and  "Rig&ktto"  with  Chicago 
Op.  Co.,  and  gave  concerts;  engaged 
for  Met.  Op*,  1938-9. 

Black,  Frank,  b.  Philadelphia;  con- 
ductor; studied  to  be  chemical 
engineer,  but  after  graduation  de- 
cided on  musical  lareer;  studied 
piano  with  Joseffy;  active  in  radio 
programmes,  esp.  as  cond.;  appointed 
mus.  dir,  of  Nat*!.  Broadcasting  Co., 
1930,  in  which  post  has  taken  leading 
part  in  direction  of  musical  pro- 
grammes; he  has  appeared  as  guest 
cond.  with  other  Amer.  orchs.;  hon. 
Mus.  D.,  and  Officer  with  Palms  of 
the  French  Academic. 

Blahag  (bia'hakh)  (or  Blahak),  Jostl, 
Raggendorf ,  Hungary,  1 779-— Vienna, 
1846;  tenor,  conductor,  and  com- 
poser, 

Blahetta  (or  Piahefka),  Marie- 
L^opoldiae,  Gumtramsdorf,  near 
Vienna,  1811 — Boulogne,  18^7;  pi* 
anist  and  dram,  composer. 

Blainville  (blflifi-vft'-yQ),  Chas.  H.f 
near  Tours,  1711 — Paris,  1769,  *cel 
list,  writer,  and  composer* 

Blanchet  (DlSn-ahftO,  Emile,  b,  Lau- 
sanne, Switzerland,  July  17,  1877; 


DICTIONARY  OF  MUSICIANS 


pianist  and  composer;  studied  at 
Cologne  Cons,  and  with  Busoni; 
ttas  for  three  years  dir.  of  Cons,  in 
native  city  and  taught  there  after- 
ward; c.  piano  works  rich  in  colour 
and  of  refined  harmonic  style. 

Blanckenburgh  (blank'-Sn-boorkh), 
Gerbrandt  van,  organist  at  Gouda, 
1 7th  century. 

Bland  (blant),  (i)  Maria  Theresa  (n6e 
Romanzini),  1 769 — 1838;  pop.  Italian 
singer  in  England;  married  an  actor, 
Bland,  and  had  two  sons.  1(2)  Chas., 
tenor.  (3)  James,  1798 — 1861,  bass. 

Blangini  (blSn-je'-ne),  Giu.  Marco,  M. 
Felice,  Turin,  1781 — Paris,  1841; 
organist. 

Blankenburg  (blSr»k-Sn-boorkh),  (i) 
Quirin  van,  Gouda,  Holland,  1654 — 
The  Hague,  ca.  1740;  probably  son  of 
GERBRANDT  VAN  BLANCKENBURGH 
(q.  v.);  organist  and  writer.  (2) 
Ciur.  !Pr.  von,  Kolberg,  Ppmerania, 
1744 — Leipzig,  1796;  Prussian  officer 
and  composer. 

Maramberg  (bl&'-ram-bSrkh),  Paid  L, 
Orenburg,  Russia,  Sept.  26,  1841 — 
Nice,  Feb.  28,  1907;  pupil  of  Balaki- 
rew;  lawyer,  then  editor;  composed 
succ.  operas,  "Maria,  Tudor"  (St. 
Petersburg,  1883);  "The  First  Rus- 
sian Comedian"}  "  Tusckinsky"* 
(Moscow,  1895). 

Blaser'na,  Pietro,  Fiumicello,  Feb.  29. 
1836 — Rome,  1917;  teacher  and 
theorist. 

Blasius  (biaz'-yiis),  Mathieu  Fr., 
Lauterburg,  Alsatia,  1758 — ^Ver- 
sailles, 1829;  cond.  Op.  Comique, 
Paris;  composer. 

Blassmann  (bl&s'-m&n),  Ad.  Jos.  M., 
Dresden,  1823 — Bautzen,  1891;  pi- 
anist, court-conductor,  and  wnter. 

Blauvelt  (blou'-fSlt),  LilHan,  b.  Brook- 
lyn, N.  Y.,  March  16,  1873;  soprano; 
studied  Nat.  Cons.,  N.  Y.,  and  in 
Paris;  after  years  of  success  at  home, 
toured  Europe,  1900;  decorated  in 
Italy  with  the  order  of  St.  Cecilia; 
she  made  her  debut  in  opera  in 
"Faust"  at  Covent  Garden,  1903, 
with  success;  until  1914  sang  mucn 
in  Europe;  d.  Chicago,  Aug.  31,  1947. 

Blauwart  (blow'-vart),  Emil,  St. 
Nicholas,  Belgium,  1845 — Brussels, 
1891;  barytone. 

Blavet  (bla-va),  Michel,  Besancon; 
Man  13,  1700— Paris,  Dec.  28,  1768, 
composer  of  comic  operas,  etc. 

Blaze  (b&z),  (i)  (Called  Castil-Blaze), 
Fran.  H.  Jos.,  Cavaillon  Vaucluse, 


1784— Paris,  1857;  "The  father  of 
modern  French  musical  criticism"; 
son  and  pupil  of  Henri  Sebastian  B., 
wrote  scathing  "L'Opfra  en  France*'* 
(1820);  was  made  critic  on  "Journal 
des  Debats"  where  his  articles  were 
signed  "XXX";  transl.  libretti  ot 
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. 

Blech  (blakh),  Leo,  b.  Aachen,  April 
22,  1871;  conductor;  pupil  of  Berlin 
Hochschule;  1893 — 1896,  cond.  at 
Municipal  Theatre,  Aachen,  and 
pupil  of  Huraperdinck;  1899 — 1906, 
cond.  German  Landestheatre  at 
Prague;  1906,  Royal  Opera,  Berlin; 
1908,  cond.  first  East-Prussian  Festi- 
val at  KQnigsberg;  c.  3  symph. 
poems,  successful  i-act  opera,  "Das 
War  Ich"  (Dresden,  1902);  3-act 
opera,  "Aschenbrodel"-  (Prague,  1905); 
"Versiegelt"  (Hamburg,  1908;  New 
York,  1912);  operetta  "Die  Stroh- 
witwe"',  orch,  works,  etc.;  1925,  cond. 
in  Stockholm;  after  1949  again  at  Ber- 
lin Opera. 

Bleichmann  (bllkh'-man),  Julius 
Jvanovitch,  St.  Petersburg,  Dec.  5, 
1868 — Jan.  10,  1909;  conductor; 
pupil  at  the  Cons.,  and  of  Reinecke 
and  Jadassohn;  cond.  various  orchs. 
at  St.  Petersburg;  c.  2  operas,  cham- 
ber music,  etc. 

Bleuer  (bloi'-er),  L.,  Budapest,  3863 
— Berlin,  1897;  violinist;  1883-03, 
leader  of  Philh.  orch.,  Berlin;  1894., 
of  Philh.  Club,  Detroit  (Michigan). 

Blew'itt,  (i)  Jonathan,  London,  1782^ 
1853;  organist  and  director;  son  and 
pupil  of  (2)  Jonas,  organist  and 
writer. 

Bleyle  (blT-le),  Karl,  b.  Feldkirch, 
May  7,  1880;  pupil  of  Wehrle  and  de 
Lange;  later  at  Stuttgart  Cons,  and 
of  Thuille;  gave  up  violin  on  account 
of  nervous  affliction  of  the  arm;  lived 
in  Munich;  c.  symph.,  "An  den 
Mistral"  (from  Nietzsche),  for  mixed 
chorus  and  orch.,  "Lernt  lachen" 
(from  Nietzsche's  "Zarathustra")l 
do.;  symph.  poem  "Flagellantenzug,'* 
etc. 

Bliss,  Sir  Arthur,  b.  London,  Aug.  2, 
1891;  educated  at  Pembroke  Coll.; 
Cambridge,  and  R.  Coll.  of  Mus.: 
pupil  of  Stanford,  Charles  Wood  and 
Vaughan  Williams;  his  early  string 
quartet  in  A  and  piano  quartet  in 


66 


DICTIONARY  OF  MUSICIANS 


A  minor  were  perf.  during  his  period 
of  war  service,  but  though  pub.,  were 
later  withdrawn  by  him;  incid.  xnus. 
to  "As  You  Like  It"  heard  at  Strat- 
ford, 1919;  his  rhapsody  for  soprano 
and  tenor,  flute,  "cor  anglais,"  string 
quartet,  and  bass  (winning  Carnegie 
Pub.  Fund  award  and  heard  at 
Salzburg  Fest.,  1922)  and  his  "Rout" 
(for  soprano  and  chamber  orch.) 
both  date  from  1920;  also  c.  "Colour 
Symphony"  (the  movements  portray- 
ing different  colours),  heard  Three 
Choirs  Fest.,  1922;  "Mel&e  Fan- 
Basque"  and  "Madame  Noy"  Pasto- 
rale, string  quartet;  concerto  for  two 
pianos  and  orch.:  (orch.)  *'Two 
Studies,"  "Battle  Variations," 
"Hymn  to  Apollo";  Introduction 
and  Allegro:  Serenade  (for  barytone 
and  orch.);  songs,  piano  pieces,  etc.; 
"Morning  Heroes,  for  orator,  cho- 
rus, orch.  (1930):  ballets,  "Check- 
mate," "Miracle  in  the  Corbals"  (both 
for  Sadler's  Wells  Ballet,  London); 
grand  opera, "TheOlympians"  (Covent 
Garden,  1949),  libretto  by  Priestley; 
mus.  dir,  of  B.  B.  C.  radio,  England; 
lived  in  U.  S.T  1923-5;  arr.  suite  by 
Jfurcell;  knighted,  1950. 

Blitesteia  (bllts'-stin),  Marc,  b.  Phila- 
delphia, March  2,  1905;  composer; 
studied  piano  with  Siloti;  comp.  with 
Scalero  at  Curtis  Inst.  of  Mus.; 
Nadia  Boulanger  and  SchSnberg; 
composer  of  modern  tendencies;  c. 
(orch.)  "Romantic  Piece"!  piano 
concerto:  music  for  film  "Surf  and 
Seaweed" ;  (chamber  works)  "Geds" 
for  mezzo-soprano  and  chamber 
orch.;  "Serenade" ;  string  quartet; 
(opera-farce)  "Triple-Sec";  (short 
operas)  "Parabola  and  <?ircvla'*t 
"Ear pies"; "The  Condemned"  (latter 
written  for  four  choruses);  (ballet) 
"Cain";  (son*  cycle)  "Is  Five"; 
"Percussion  Music"  and  other  pieces 
for  piano;  mus.  play*  "The  Cradle 
Witt  Rock," 

Block  (b!6kh)  (i)  G->  Breslau,  Nov.  a. 
1847 — Berlin,  Feb.  xi,  1910;  pupil 
of  Hainsch,  J.  Schubert,  Taubert, 
and  F*  Geyer;  teacher  in  Breslaur's 
Cons.,  Berlin;  founded  Opera  So- 
ciety, 1879;  composer.  (2)  Ernest, 
b.  Geneva,  Switzerland,  July  24* 
1880;  now  American  citizen;  studied 
violin  with  Ysaye;  composition  with 
Dakrase,  Rasse,  and  Knorr;  acted 
as  lecturer  at  Geneva  Cons,;  con- 
ducted symphony  concerts,  Lausanne 


and  Neuchatel;  made  first  Americas 
tour  as  conductor  for  Maud  Allan, 
dancer,  1916;  has  led  owr  works  with 
various  American  orchestras;  direc- 
tor of  Cleveland  Institute  of  Music. 
1920-25;  also  of  San  Francisco  Conss.. 
1925-30;  received  fuid  with  annual 
income  of  $5,000  for  ten  years,  begin- 
ning 1930,  from  family  of  late  Jacob 
and  Rosa  Stern,  San  Francisco,  on 
agreement  that  he  devote  himself 
to  creative  work  entirely;  c.  sym- 
phony in  C  sharp  minor  (1902): 
(Symphonic  poems) "  Winter-Spring** 
(1905):  (opera)  "Macbttk"  (Paris 
Op.  Comique,  1910);  Prelude  and 
Two  Psalms,  for  sopr.  or  ten.  and 
orch.  (1914);  "Psalm  aa"  for  bar, 
or  alt-  and  orch.  (19x6);  "Israel" 
Symphony  with  5  soio  voices  (1915); 
"Sckelomo"  Hebrew  rhapsody  for 
*cello  and  orch.  (1916);  **  JVtfM  Poe- 
tries JtOfs,"  for  orchestra;  Suite  for 
viola  and  piano  or  orch,  (Coolidge 
Prize,  19x9)5  "Baal  Stem"  for 
violin  and  piano  (1923);  Concerto 
Grosso  for  strings  and  piano  (1095); 
"America™  epic  rhapsody  for  orches- 
tra (won  Musical  America  $3,ooc 
prize,  1927-28),  string  quartets, 
piano  quintet,  violin  and  piano 
works;  also  sacred  service  for  bary- 
tone, mixed  chorus  and  orchestra,  a 
setting  of  Jewish  liturgy  (1935), 
B»  combines  a  strong  sense  of  modern 
orchestral  colour,  forma!  ingenuity, 
and  emotional  fervour.  Racia* 
colouring  predominates  in  many  of 
his  works. 

Blockx  (bids),  Jan.,  Antwerp,  Jan, 
25,  1851— May  aa,  191  a;  pianist  ami 
composer;  pupil,  Flemish  Mus. 
School;  from  1886,  teacher  of  harm, 
there;  iocx  succeeded  Bgnolt,  at 
Antwerp  Cons.:  composed  succ. 
operas,  inch  "MaUrc  Martin,"  etc. 

Blodek  (bl6d-*k),  (OP-  Aug.  L-,  Paris, 
1784 — 1856;  viola-player  and  dram, 
composer,  (a)  Wm*,  Prague,  1834— 
1874:  prof,  and  dram,  comporer, 

Blon  (bl6n),  Franz  von,  6.  Berlin, 
July  1 6,  1861;  cond.;  pupil  of  Stern's 
Cons.;  *8o8,  c.  operettas  **$»&  ri»sa" 
ttLiibeck,  1887);  **#«>  Amazon*" 
(Magdeburg,  1905),  etc. 

Blondeau  (bioft-do),  Pierre  August* 
Louis,  Paris,  Aug.  15,  1784—1865: 
viola-piayer  at  the  Op£ra;  pupil  of 
the  Cons,,  taking  the  Pro:  de  Rome, 
1808;  c.  opera,  ballet,  etc. 

Bloom  'field-Zeisler  (UtaMir),  Fanny, 


DICTIONARY  OF  MUSICIANS 


67 


Sielitz,  Austrian  Silesia,  July  16, 
1863 — Chicago,  Aug.  21,  1927;  pi- 
anist; at  2  was  brought  to  Chicago, 
where  she  lived;  played  in  public  at 
10;  was  pupil  of  Ziehn  and  Karl 
Wolfsohn,  and  1876-81  of  Lesche- 
tizky;  from  1883  toured  America 
with  distinction;  from  1893,  Ger- 
many, Austria,  England,  and  France 
with  great  success. 

Blow,  Jolm  (Mus.  Doc.  Oxon.),  Col- 
lingham,  Nottinghamshire,  1649 — 
Westminster  (London),  Oct.  i,  1708; 
organist  Westminster  Abbey,  1680; 
was  superseded  by  Purcell,  whom  he 
in  turn  succeeded;  he  is  buried  in 
the  Abbey;  1674,  organist  and  (1699) 
composer  to  the  Chapel  Royal;  be- 
ginning to  compose  as  a  boy,  he 
achieved  a  vast  amount  of  church- 
music. 

Blum  (bloom),  K-  L.,  Berlin,  1786 — 
July  a,  1844;  actor,  singer,  poet, 
organist,  'cellist,  cond.,  and  com- 
poser: chamber-musician  to  the 
Prussian  Ct.,  1822;  stage  mgr.;  prod, 
nearly  30  operas,  ballets,  songs,  etc.; 
also  vaudevilles,  which  he  introduced 

'     to  the  German  stage. 

Blumenfetd  (bloo'-m«n-fSlt}7  Felix  M., 
Kovalevska,  Russia,  April  19,  1863 
— Moscow,  Jan,  23,  1931;  pianist, 
pupil  of  Th.  Stein;  took  gold  medal 
at  St.  Petersburg  Cons.;  composed 
"Alltgre  de  Concert,"  with  orchestra, 
etc.;  many  pf.  works;  1898-1912 
cond.  Imperial  Opera,  St.  Peters- 
burg; also  after  1885  prof,  at  Cons. 
<here.  His  brothers  (a),  Stanislaus, 
j£Zev,  x8$o-97t  pianist  and  teacher; 
(3)  Sigisraundf  Odessa,  Dec.  27, 
i8$a— St,  Petersburg,  1920;  song- 
composer. 

Slumentbal  (bloo'-xn8n~tal),  (i)  Jos. 
von,  Brussels,  1782— Vienna,  1850, 
violinist  and  dram,  composer.  (2) 
Jacob  (Jacques),  Hamburg,  Oct. 
4,  1820— Chelsea,  May  17,  *Qo8; 
pupil  of  Grund,  Bocklet,  and  Sechter 
(Vienna),  and  1846  of  Hera  and 
Hal£vy;  after  1848  in  London; 
pianist  to  the  Queen,  and  composer. 
(3)  Paul,  Steinau-on-Oder,  Silesia, 
Aug,  *3,  1843— Frankfort-on-Oder, 
May  9,  1930;  pupil  of  R.  A.,  Berlin, 
1870;  organist,  Frankfort-on-Oder: 
from  1870,  "R,  mus.  air.";  composed 
masses,  motets,  etc. 

Bfumner  (bloom  '-ncr),  Martin,  Ftir- 
stenberg,  Mecklenburg,  Nov.  21, 
*8a7 — Serlia,  Nov.  6,  lo^;  pupil 


of  S.  W.  Dehn;  1876,  cond.  of  Berlin 
Singakademie;  titles  "R.  Musik-dir," 
and  "Prof.";  composed  2  oratorios, 
"Abraham"  and  "Der  Fall  Jerusa- 
lem*"';  cantata  "Columbia";  "Te 
Deum"  etc. 

Bluthner  (bliit'-ner),  Julius  Fd., 
Falkenhain,  near  Merseburg,  March 
ii,  1824 — Leipzig,  April  13,  1910; 
piano-maker,  Leipzig,  from  1853. 

Boccabadati  (b6k-ka-bS,-da'-te) ,  Ltii- 
gia,  Parma — Turin,  1850;  soprano. 

Boccherini  (bdk-kg-rg'-ng),  Luigi, 
Lucca,  Italy,  Feb.  19, 1743* — Madrid, 
May  28,  1805;  'cellist;  toured  with 
success;  1797,  made  chamber-corn" 
poser  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  of- en  fascinatingly 
graceful  compositions  include  20 
symphonies,  an  opera,  an  orchestral 
suite,  a  'cello-concerto,  2  octets 
16  sextets,  125  string-quintets,  12 
pf.-quintets,  18  quintets  for  strings 
and  flute  (QJ,  oboe),  91  string-quartets, 
54  string-trios,  42  trips,  sonatas  and 
duets  for  vln.,  etc.;  biog.  by  Picquot 
(Paris,  1851),  and  Schletternd 
(Leipzig). 

Bochsa  (bdkh'-sa),  (i)  K.,  Bohemia — 
Paris,  1821:  oboist;  music-seller. 
(2)  Rob.  NIC.  Chas.,  Montmedy, 
Meuse,  Aug.  9,  1789 — Sydney,  Aus- 
tralia, Jan.  6,  1856;  son  and  pupil  of 
above;  composed  a  symphony  at  9, 
an  opera  at  16;  pupil  of  Fr.  Beck; 
harpist  to  Napoleon  and  »x>  Louis 
XVIII,;  he  eloped  with  Sir  Henry 
Bishop's  wife,  made  tours  in  Europe 
and  America,  and  finally  to  Aus- 
tralia; composed  9  French  operas, 
prod,  in  Lyons  (1804),  and  in  Paris 
(1813-16);  4  ballets;  an  oratorio, 
etc.;  wrote  a  standard  method  for 
han>. 

Bock'elmann,  Rudolf,  b.  Bodenteich, 
Germany,  April  2,  1892;  barytone; 
studied  at  Leipzig  Univ.;  voice  with 
Oscar  Lassner  in  that  city;  sang  at 
Neues  Theat.  there,  1921-26;  after 
latter  year  heroic  r61es  at  Hamburg 
Stadtheat.;  also  guest  engagements 
at  Covent  Garden,  with  Chicago  Op... 
etc.;  esp.  noted  for  his  Wotan  and 
other  Wagnerian  portrayals. 

Bocksfcora  (b6ks'-h6rn)  ("Capricor- 
xms")>  Samuel,  Germany,  1629 — 
Stuttgart,  1665;  compoper  and  con- 
ductor. 


68 


DICTIONARY  OF  MUSICIANS 


Bodanzky  (b5-dantz'-shkl)?  Artur,  b. 
Vienna,  Dec.  1877 — N.  Y.,  Nov.  23, 
*939;  grad.  Vienna  Cons.,  1896; 
dlbut,  Budweiss,  Bohemia,  1900; 
from  1896  violinist  at  the  Vienna 
Op.;  in  1901,  took  up  baton  activi- 
ties in  native  city;  in  1903  assistant 
to  Mahler  at  the  Op6fa;  1904,  cond. 
Theater  an  der  Wien,  Vienna; 
1905,  at  Lortzing  Theatre,  Berlin; 
1906-09,  orchestra  and  theatre  cond., 
Prague;  1909-15,  Grand  Ducal 
Theatre,  Mannheim,  also  appearing 
widely  as  guest  conductor;  1912, 
Mahler  Fest.,  in  Mannheim;  1914* 
London  premiere  of  "Parsifal";  en- 
gaged Met.  Oj>.,  N.  Y.,  in  1915, 
where  he  has  since  served  as  prin- 
cipal conductor  and  leader  of  Ger- 
man opera  performances;  in  1919 
conducted  National  Symphony  Or- 
chestra (since  merged  with  N,  Y. 
Philharmonic);  cond.  New  York 
Friends  of  Music  Society  in  pro- 
grammes of  rare  music  by  older  com- 
posers, Bruckner,  Mahler,  etc. 

Bodenschatz  (bs'-d'n-shats),  Exftard, 
XAchtenberg,  Saxony,  1576 — Gross- 
Osterhausen,  near  Querfurt,  1636; 
publisher. 

Boedecker  (ba'-de*k-er),  Ixmis,  Ham- 
burg, 1845 — *8p9;  teacher,  critic, 
and  composer. 

Boehm,  Boehme.     Vide  BdHM  (E). 

Boekelman  (ba'-kgl-inanX  Berncrdus, 
Utrecht,  Holland,  1838— New  York, 
Aug.  a,  1930;  pupil  and  son  of  A.  J. 
B*;  director,  studied  with  Moscheles, 
Richter  and  Hauptmann,  at  Leipzig 
Cons,;  von  Billow,  Kiel,  and  Weite- 
mann,  at  Berlin;  from  1866,  lived  in 
New  York;  founded  and  cond,  (till 
1888)  the  N.  Y.  Trio  Club;  1883-97, 
xnub.  dir  Mis?  Porter's  School, 
Farmington,  Conn,:  later  pianist 
and  teacher  in  New  York;  composed 
orch.-pcs.,  etc,;  ed-  an  analytical 
edition  of  Bach's  "Well-tempered 
Clavichord"  in  colours,  etc. 

BoSUraann  (bwel'-man),  Le*on»  Ensi- 
sheim,  Alsatia,  1863 — Paris,  1897; 
composer  and  teacher. 

Bo61y  (bwtt'-e),  Alex,  P.  Fran.,  Ver- 
sailles, 1785 — Paris,  1858;  pianist 
and  composer. 

Boers  (boors),  Jos.  Karel,  Nymwegen, 
Holland,  1812 — Delft,  1896;  cond, 
and  writer. 

Boesset  (bwte-sa),  (i)  A.,  Sieur  de 
Villedieu,  ca,  1585 — 1643;  intcndant 
of  music  to  Louis  Kill*  (a)  J*  B.f 


i6i2 — 1685;  son  and  succt^sor  of 
above;  and  in  turn  succeeded  by  his 
son.  (3)  C,  J.  B.,  b.  ca.  1636* 

Boe'tius  (or  Boethius),  Am'ciu& 
Man'lius  Torqua'tus  Severi'nus, 
Rome  ca.  475 — executed  524  (?);  emi- 
nent poet  and  writer  on  music. 

Bohlmann  (bal'-man),  Th.  H,  Fr.» 
Osterwieck  am  Harz,  Germany,  June 
23,  2865 — Memphis,  Ten.!.,  Feb., 
1926;  pianist;  pupil  of  Dr.  Stade, 
Barth,  Klind worth,  Tiersch,  d*  Albert, 
and  Mosakowski;  de*but  Berlin, 
1890;  toured  Germany  1890,  of  .-prof. 
Cincinnati  Cons.;  later  head  of  his 
own  school  in  Memphis. 

Bohm  (b6m),  K.,  Berlin,  Sept.  ix,  1844 
— April  4,  1920;  pupil  of  LSschhorn, 
Reissmann,  and  Geyer;  pianist  and 
composer  in  Berlin. 

BShm  (bam),  (i)  G.,  Goldbach, 
Thuringia,  1661 — Liineburg,  17337 
organist  and  clavichord  ist;  com- 
posed important  organ  preludes  and 
suites.  (2)  Elizabeth  Riga,  1756 — 
1797:  soprano,  m.  the  actor  B* 

(3)  Theobald,  Munich,  April  9,  1793 
— Nov.   15,   1881;  inv.   the  **B6hni 
flute"  (vide  0.  ».);  flutist  and  com- 
poser for  flute;  "HofmusSkua,"  and 
player  in  royal  orch,    (4)  Jos,,  Pesth, 
*795 — Vienna,  1876;  son  and  oupil 
of    above;   violinist    and   prof.     (5) 
Heinrich,    Blatu,    Bohemia,    1836 — 
(?);  composed  35  operas  in  Bohemian. 
(6)  Jos.,  Klihnitz,  Moravia,  1841 — 
Vienna,  1893;  organist,  cond.,  and 
director,     (7)  K^rl,  b.  Gras,  Aug.  28* 
1894;    cond.    Munich,    1921;    ZO27» 
Darmstadt;  1933,  din  Dresden  Op, 

Bfthxne  (bft'm«),  (i)  Jn.  Aug.,  1794; 
founder  of  pub.  house  at  Hamburg. 
His  son,  (2)  Justus  Eduard,  suc- 
ceeded him  in  1830;  and  his  grand- 
son, (3)  August  Eduard,  in  1885. 

(4)  Aug.   Julius  Fd.,   Ganderheira, 
Brunswick,   1815 — 1883;  conductor. 
(<)  Fz.  Magnus,  WeUerstedt,  near 
^A^eiInar,       1827 — Dresden,       1898; 
teacher,  Dresden,  later  prof.;  com- 
poser, writer,  and  collector. 

Boomer  (b&'-m&r),  &«  (Hermann 
Khrfried),  The  Hague,  1799 — Berlin, 
3:884;  dram,  composer* 

Bohn  (bdn),  Bmil,  IBidau,  near  Neisse, 
Jan.  *4, 1839 — Breslau,  July  5, 1909; 
organist,  1884,  founded  the  Bofan 
Choral  Society,  giving  historical 
concerts;  lecturer,  writer,  critic,  and 
composer;  R.  Prof,  of  Music. 


DICTIONARY  OF  MUSICIANS 


69 


b.  Keulen,  Germany,  Jan.  23,  1888; 
opera  bass;  studied  Cologne  Cons., 
d6but  in  "Der  Freischutz,"  Diissel- 
dorf;  has  sung  in  opera  at  Berlin, 
Bayreuth,  London,  Vienna,  Barce- 
lona, Stockholm,  and  New  York 
(member  of  Met.  Op.  Co.  for  a 
number  of  years  after  1923);  also  has 
appeared  in  motion  pictures  in 
Germany;  m.  Mary  Lewis,  soprano; 
divorced. 

Boliner  (bS/-ne*r),  Jn.  L.,  Tdttelstedt, 
Gotha,  1787 — near  Gptha,  1860; 
composer;  led  a  roving  life  of  drunk- 
enness and  talent;  said  to  be  the 
original  of  Hofmann's  "  Kreisler" 
(vide  SCHUMANN);  composed  opera, 
etc. 

Bonrer  (bQ'-rer),  (i)  Antony  Munich, 
1783 — Hanover,  1852;  violinist;  com- 
poser for  vln»;  a  co-member  of  the 
Bavarian  Court-orch.  and  concert- 
giver  with  his  brother,  (2)  Max, 
Mannheim,  1785 — Stuttgart,  1867; 
'cellist. 

Boleldieu  (b5-£d-yu),  (i)  Fran.  Adrien, 
Rouen,  Dec.  16  (not  15),  1775 — 
Jarcy,  near  Grosbois,  Oct.  8,  1834; 
son  of  secretary  of  Archp.  Laroche- 
loucauld  and  a  milliner;  apprenticed 
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. 
4*j6a  Jttlc  coupable"  (Rouen,  1793); 
*79S»  "Rosalie  et  Myrza"  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  Suzette,"- 
in  one  act,  was  prod,  with  succ. 
(Qp£ra-Com.);  1797,  "La  famille 
Suisse"  (ran  30  nights  at  the  Th. 
Feydeau);  1798,  he  pub.  sonatas, 
and  a  pf. -concerto,  etc.;  1800,  prof. 
of  piano,  Paris  Cons.  "Zoraime  et 
Zulnare"  (1798),  "Beniowski"  and 
"Le  Calife  de  Bagdad'9  (1800)  were 
succ.  and  ended  his  first  period,  one 
of  light  gracefulness.  He  now  studied 
cpt.  seriously,  probably  with  Cheru- 
bim, who  had  criticised  him.  After 
3  years'  silence,  he  reappeared  with 
enlarged  powers,  succ.  in  "M a  Xante 
Aurore"  (Th.  Feydeau,  1803).  In 
1803  he  m.  Clotilde  Mafleuroy,  a 
twdlet-dancer;  1803,  he  went  to  St. 


Petersburg,  partially  perhaps  (but 
not  surely)  because  of  domestic  un- 
happiness,  and  became  cond.  of  the 
Imperial  Opera,  writing  by  contract 
3  operas  annually  and  a  number  of 
marches.  He  returned  to  Paris, 
181 1 ;  had  immense  succ.,  particularly 
with  "Jean  de  Paris,"  1812;  1817 
prof,  of  comp.  at  the  Cons,  and 
member  of  Institut;  1821,  Chevalier 
of  the  Legion  of  Honour;  1818,  "Le 
Petit  Chaperon  rouge"  was  succ.,  fol- 
lowed, after  7  years'  silence,  by  "La 
Dame  Blanche"  his  masterpiece. 
His  last  opera,  "Les  Deux  Nuits" 
(1829),  failed.  His  wife  d.  1825,  and 
1827  he  m.  Mile.  Phillis,  a  singer, 
who  was  a  devoted  wife.  The  pov- 
erty of  their  last  years  was  relieved 
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  great  vivacity  and  vitality 
combined  with  musical  sweetness, 
and  rhythm  without  jingle.  His 
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  times 
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- 
rubim in  "La  Prisonniere"  (i799)j 
with  M6hul,  Kxeutzer,  and  others, 
in  "Le  Baiser  et  la  Quittance"  (1802); 
with  Cherubini,  Catel,  and  Niccdlu 
Isouard,  in  "Bayard  d  Mezieres", 
with  Kreutzer  in  "Henri  IV.  en, 
Voyage"  (1814);  with  Mme.  Gail, 
in  ** Angela"  (1814);  with  Harold  in 
"Charles  de  France";  with  Cherubini, 
Berton,  and  others,  in  "La  Cour  des 
Fees"  Ci82i)  and  "Pharamond"; 
with  Auber,  in  "Les  Trois  Genres"; 
wJth  Berton,  and  others,  in  "La 
Marquise  de  Brinwlliers."  Bipg. 
by  A.  Pougin,  1875.  (2)  Adrien 
L.  V.,  b.  Paris,  1816— near  Paris, 
1883;  son  and  pupil  of  above;  dram. 
composer. 

Boisdeffre  (bwa-dSfr),  Chas.  H.  RSne* 
de,  Vesoul  ;Haute-Savoie}7  1838 — 
V6zelise,  Dec.,  1906;  Chev.  of  Legion 
of  Honour;  composer  of  religious 
and  chamber  music,  the  latter  taking 
Chartier  prize,  1883. 

Boise  (bois;,  Otis  Bardwell,  Oberlin, 
Ohio,  Aug.  13,  1844 — Baltimore, 


70 


DICTIONARY  OF  MUSICIANS 


M<L,  Dec.  1 6,  1912;  organist;  1861 
pupil  of  Hauptmann,  Richter,  Mos- 
cheles,  etc.,  Leipzig;  1864,  of  Kullak, 
at  Berlin;  1864-70,  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. 

Boismprtier  (bwa-mdrt-ya),  Josef 
Bo  din  I>e,  Perpignan,  ca.  1691 — 
Paris,  ca.  1765;  c.  ballet  operas, 
cantatas,  etc. 

Boisselot  (bwas-15),  (i)  J.  Lotus, 
Montpellier,  1785 — Marseilles,  1847; 
piano-maker  at  Marseilles;  his  eldest 
son  (2)  Louis  (1809 — -1850)  was 
the  manager.  His  grandson,  (3) 
Francois,  was  later  the  proprietor* 
(4)  Xavier,  Montpellier,  1811 — Mar- 
seilles, 1893;  second  son  of  above; 
composer. 

Bolto  (bc-e'-td),  Arrigo,  Padua,  Feb. 
24,  1842 — Milan,  June  10,  1918; 
poet,  soldier,  novelist,  editor,  essay- 
ist, librettist,  and  composer;  son  of 
an  Italian  painter  and  a  Polish 
woman.  Pupil,  1853-62,  of  Milan 
Cons.,  almost  dismissed  fot-  mus. 
incompetence  (cf.  VERDI);  composed 
2  cantatas,  "II  4  di  Giueno"  (x86o), 
and  «Le  Sorelle  d'Italia?*<  (1862),  in 
collab.  with.  Faccio;  they  met  with 
such  great  succ.  that  the  Govt.  gave 
F.  and  B.  funds  for  z  years  in  Paris 
and  Germany.  B.  had  already 
taken  up  Goethe's  "Faust,"  long 
before  Gounod,  at  the  suggestion  or 
his  bro,  Camillo,  an  eminent  archi- 
tect. B.  brought  back  from  Germany 
a  passion  for  Beethoven,  then  little 
heeded  in  Italy,  1:867  at  Paris,  as 
journalist;  then  Poland,  where  he 
sketched  out  text  ana  music  of 
"Mcfistofele,"*  which  was  prod,  at 
Milan,  1868  (La  Scala),  after  52 
rehearsals,  and  with  great  hopes;  but 
it  was  then  in  a  rather  shapeless 
state,  and  Gounod's  "Faust"  having 
meanwhile  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, 
"Etro  e  Leandro^  was  never  prod., 
B*  lending  his  own  libretto  to  Botte- 


sini,  and  later  to  MancinellL  Other 
libretti  of  his  are,  Ponchielli's  "GtV- 
condar  Verdi's  "Otello"  and  "Fal- 
staff,"  Faccio's  "Amleto"  and 
Coronaro's  "  Un  Tramonio."  His 
opera,  "  N crone,"  on  which  he  worked 
for  many  years  and  which  was  re- 
peatedly announced  for  production, 
finally  saw  the  stage  posthumously 
when  Toscanim  cond.  the  work  at 
La  Scala,  with  great  scenic  splendour 
of  production,  May  i,  1924,  before  a 
distinguished  international  audience. 
Its  succ.  proved  not  to  be  lasting. 
B.  translated  2  of  Wagner's  \Ibretti 
into  Italian,  and  wrote  often  under 
the  pseud.  **Tobia  Gorrio."  The 
King  made  him  "Cavaliere"  and 
"Commendatore";  1892,  Inspector- 
Gen,  of  Technical  Instruction  in  the 
Italian  Cons,  and  Lyceums;  2895 
Chevalier  of  the  Legion  of  Honour, 

Bok,  Mary  Louise  Curtis  (Mrs.  Edward 
Bofc),  b.  Boston,  Aug.  6,  1876;  music 
patron;  d.  of  Cyrus  H.  $L  Curtis  and 
Louisa  (Knapp);  founder  (1923)  and 
pres.  Curtis  Institute  of  Music, 
Philadelphia,  est,  in  memory  of  her 
father,  the  prominent  publisher;  also 
active  in  many  other  musical  and 
civic  philanthropies. 

Bolck  (bolk),  Oskar,  Hobenstela,  2830 
— Bremen,  1888;  dram*  composer. 

Bolm,  Adolph,  b.  St.  Petersburg,  Rus- 
sia, Sept.  25,  1884;  dancer  and  ballet 
director;  educated  Imp.  Ballet 
School;  d£but,  Maryinsky  Theatre, 
St.  Petersburg,  2904;  soloist,  Diaghi- 
leflf  Ballet  Russe,  1900^*7;  org.  his 
own  ballet  company,  19x7;  bas  also 
directed  ballets  and  appeared  as 
soloist  at  Met.  Op.:  d,  1951, 

Bblscfce  (bel'-she1),  Fraaz,  b.  Wegen- 
stedt,  Aug.  ao.  1869^ — Bad  Oeyn- 
hausen,  2935;  theorist;  pupil  Berlin 
Royal  Hochschule;  1896,  teacher  Co- 
logne Cons.;  c.  overture  JudUk%  etc. 

Bomtempo  (bOm-tam'-p^),  Jofto  Do~ 
mingos,  Lisbon,  1775 — 1842;  pianist, 
director,  and  writer. 

Bona  (b5'-na),  Giov?  Mondovi,  1609 — 
Rome,.  1674;  cardinal  and  composer. 

Bonawitz  (bO'-na*v€ts)  (or  Bonewitz), 
Jn.  H.,  DUrkheim-on-Rhine,  Dec. 
4f  1839— London,  Aug*  15,  19x7; 
pupil  Liege  Cons,  till  1852,  then 
brought  to  America;  2873-73  cond. 
"Popular  Symphony  Concerts/*  New 
York;  1873*  toured  U*  S.;  prod.  2 
operas  in  PhOadelphia;  1876,  ret.  to 
Europe;  liv«xi  in  Vienna  aad  London. 


DICTIONARY  OF  MUSICIANS 


71 


Bond  (b6n'cheO,  Alessandro,  b.  Cesena, 
Feb.  10,  1870 — Milan,  Aug.  10,  1940- 
lyric  tenor;  at  7  sang  in  choir,  studied 
singing  with.  Coen  at  Pesaro  Lyceum 
for  5  years;  then  member  of  choir 
at  Loreto;  operatic  d6but  in  "Fal- 
staff"',  sang  with  great  success  at 
Co  vent  Garden,  1900,  and  in  1908 
at  Metropolitan  Opera  House;  toured 
U.  S.,  1911-12;  1912-13,  Chicago 
Op.  Co. 

Bond,  Carrie  Jacobs,  b.  Janes ville, 
Wis.;  composer;  studied  with  Bisch- 
off;  c.  many  songs  of  ballad  variety, 
usually  with  sentimental  texts, 
among  which  wide  popularity  has 
been  won  by  "A  Perfect  Day,"  "Just 
A-Wearyin'  For  You'9  and  "7  Love 
You  Truly17;  also  composed  scores  for 
films;  d.  Los  Angeles,  Dec.  28,  1946. 

Bonel'li,  Richard,  b.  Port  Byron, 
N.  Y.;  barytone;  educated  Syracuse 
Univ.;  studied  voice  with  Arthur 
Alexander  and  William  Vilonat; 
d£but  as  Valentine,  Brooklyn,  N.  Y., 
1915;  member  San  Carlo  Opera, 
in  America;  later  sang  with  Monte 
Carlo  Op.,  La  Scala  Op.,  Milan  and  in 
Germany;  member  Chicago  Civic  Op., 
1925-31;  since  1933  with  Met.  Op. 
Co.;  m.  Pauline  Cornelys,  soprano. 

Btfnicke  (ba'-nl-ke1),  Hermann,  En- 
dorf,  1821 — Hermannstadt,  Transyl- 
vania, 1879;  conductor,  composer, 
and  writer. 

Bo'niforti,  Carlo,  Arona,  Sept.  25, 
1818 — Trezzo  d'Adda,  Dec.  10, 1879; 
organist  and  comp. 

Benin!  (b3-ne'~ne),  Severe,  b.  Flor- 
ence, 1 7th  century;  Benedictine 
njonk,  one  of  the  first  writers  in  mono- 
die  style;  c»  madrigals,  etc.,  1607-13. 

Boniventi  (bo-n*-vSn'-t5)  (or  Bone- 
venti),  Gius,  b.  Venice,  ca.  1660; 
conductor  and  dram,  composer. 

JJonnet  (bttn-na),  (i)  Jacques,  Paris, 
1644 — 1724;  writer.  (2)  J.  Bap., 
b.  Montauban,  1763:  organist  and 
composer.  (3)  Josepn,  b.  Bordeaux, 
France,  March  17,  1884;  organist; 

•  studied  with  Tournemire,  GSdalge, 
and  Guilmant;  ist  prize,  organ  play- 
ing and  improvisation,  Pans  Cons., 
1906;  won  competition  in  1906  as 
organist  at  St.  Eustache,  Paris; 
organist  Soci£t6  des  Concerts  du 
Conservatoire,  1911-20;  soloist  with 
various  European  and  American 
orchestras;  made  many  tours  of  Can. 
and  U.  S.j  d.  Can.,  Aug.,  1044- 

Bonno  (b6n -no)  (or  Bono)t  Jos.,  Vi- 


enna,   1710 — 1788;   court-cond.   and 
dram,  composer. 

Bononcini  (bo-n6n-chS'-n5),  (i)  Giov. 
M.,  Modena,  1640 — Nov.  19,  1678; 
conductor,  composer,  and  writer  of 
Bologna.  (2)  Who  usually  wrote  it 
Buononcini  (boo-6-n6n-chg'-ne), 
Giov.Bat.,  Modena,  1660  (?) — Venice 
(?),  1750  (?);  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,  "Tidlo  Ostilio"  and 
"Serse";  1699-1701  prod.  2  operas 
at  Vienna;  1703-05,  at  Berlin  as 
court-composer;  prod.  "Polifemo" 
(1703);  ret.  to  Vienna,  where  6  new 
operas  were  prod.  In  I7i53  invited 
to  London  as  r.ond.  and  composer  for 
the  new  King's  Theatre,  and  to  rival 
Handel;  this  provoked  a  famous  and 
bitter  war  with  some  success  for  B., 
who  prod.  8  operas,  1702-27;  but  in 
1731  he  was  caught  in  a  plagiarism 
from  A.  Lotti  (a  crime  of  which 
Handel  was  by  no  means  guiltless 
himself);  1733  an  alchemist  swindled 
him  from  affluence  to  bankruptcy. 
Later  he  appeared  in  Paris  and 
prod.  a.  motet  for  the  "Chapelle 
royale,"  playing  the  'cello-accomp. 
before  the  King;  1737  his  opera 
"Alessandro  in  Sidone,"  and  an  ora- 
torio, "Ezechia"  were  prod,  in  Vi- 
enna; 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)  Marc  An., 
Modena,  1675  (?) — 1726;  bro.  of 
above;  court-cond.  there;  prod,  u 
operas  highly  rated  by  Padre  Mar- 
tini; also  composed  an  oratorio. 

Bonporti  (bon-pdr'-tS),  F.  A.,  Trent, 
ca.  1660;  Imperial  Counsellor  and 
composer. 

Bontem^i  (bdn-te'm'-pe')  (surnamed 
Angeuni),  Giov.  Andrea,  Perugia, 
ca.  1624 — Bruso,  near  Perugia,  1705, 
dram,  composer  and  writer. 

Bonvin  (b$n-v&n),  L.,  b.  Siders, 
Feb.  17,  1850 — Buffalo,  Feb.  18, 
1939;  self-taught;  studied  medicine, 
Vienna;  entered  Jesuit  novitiate  in 
Holland;  became  organist  and  choir- 
master; from  1887,  mus.  dir.  Canisius 
College,  Buffalo,  N.  Y.;  pub.  masses, 
etc. 

Boom  (b6m),  (i)  Jan.  E.  G,  van 
(Senior),  b.  Rotterdam,  April  17* 


72 


DICTIONARY  OF  MUSICIANS 


1783:  flutist  and  composer  for  flute. 
(2)  Jan.  (Jns,)  van,  Utrecht,  1807 — 
Stockholm,  1872;  son  of  above; 
pianist,  professor,  and  dram,  com- 
poser. (3)  Hermann.  M.  van, 
Utrecht,  1809 — 1883;  son  and  pupil 
of  (i);  flutist. 

Boo'sey,  Thos.  (1825).  founded  the 
London  pub.  house  of  Boosey  &  Co. 

Boott,  Francis,  Boston,  Mass.,  June 
21,  1813 — Cambridge,  Mass.,  March 
2,  1904;  pupil  of  L.  Picchianti,  in 
Florence;  lived  in  Cambridge,  Mass.; 
composed  under  pseud.  "TelforoV* 

Bopp,  Wilhelm,  Mannheim,  Nov.  4, 
1863 — Biihler  Hdhe,  June  n,  1931; 
pupil  of  Leipzig  Cons.,  and  of  Emil 
JPaur;  1884,  dir,  in  Freiburg;  1886, 
assistant  to  Mottl  at  Bayreuth; 
1889,  teacher  at  Mannheim  Cons.; 
1900^  opened  a  High  School  of 
Music;  1907-19,  dir.  Royal  Cons., 
Vienna;  cond.  His  wife,  born  Glaser, 
a  court  opera  singer  at  Stuttgart. 

Bordes  (b6rd),  Charles,  Vouvray-sur- 
Loire,  May  12,  1863 — Toulon,  Nov. 
8,  1909;  composer;  important  figure 
in  the  revival  of  French  church 
music;  pupil  of  C6sar  Franck;  1887, 
church-conductor  at  Nogent-sur- 
Marne;  1880  commissioned  by  the 
govt.  to  collect  Basque  folk  music; 
from  1890  chapel-master  at  St.  Ger- 
vais>  Paris;  founder  of  the  ** Associa- 
tion of  the  Singers  of  St.  Gtrvais"  and 
of  the  "Schola  Cantorum  de  Si.  GJ* 
1898  with  d'Indy  and  Guilmant: 
1905  retired  to  Montpellier  ana 
founded  a  Schola  there;  1909  went 
to  Nice  to  give  a  concert  and  died 
on  his  waynome.  He  resuscitated 
many  forgotten  master  works,  and 
wrote  many  articles  on  them;  c. 
"Pkaniasie"  and  "Rapsodi*  B&$g$te"- 
for  orch.;  opera  *'Le$  trots  V  agues  ^ 
religious  music,  choruses,  and  songs 
ana  piano  pieces. 

Bordese  (bojr-dft'-ze'),  LuigiT  Naples, 
1815 — Paris,  1886;  singing  teacher 
and  dram,  composer. 

Bordier  (b6rd-ya),  (i)  L*  Chas.,  Paris, 
1700 — 1764;  abbe%  conductor,  com- 
poser, and  writer.  (2)  Jules,  1846  (?) 
— Paris,  1896;  dram,  composer. 

Bordogni  (bdr-dSn'-yft),  Giulio  Marco, 
Gazzaniga,  Bergamo,  1788 — Paris, 
July  31,  1856;  distinguished  tenor 
and  singing  teacher:  prof.  Paris 
Cons.;  pub.  standard  "Vocalises" 

Bordo'ni,      Faustina.    Vide      BASSE, 

EAtTSTXNA. 


Borghi  (b6r'-g5)>  Luigi,  Italian  violin- 
ist, came  to  London,  ca.  1774;  pub. 
symphonies,  excellent  music  for  vln., 
etc, 

Borghi-Mamo  (m&'-mo),  (i)  Adelaide, 
Bologna,  1 8  26 — 1 901 ;  mezzo-so- 
prano; d£but,  1846,  at  Urbino,  where 
she  was  engaged;  then  in  Vienna 
and  Paris;  later  lived  in  Florence; 
her  daughter  (2)  Ermmia,  soprano; 
d£but  1874,  Bologna;  sang  in  Italy 
and  Paris. 

Borgioli  {b3r-j&'-l6),  I>ino,  b.  Florence* 
Italy;  operatic  tenor;  became  mem- 
ber of  Dal  Verme  pp.,  Milan,  1918, 
following  war  service;  has  sung  at 
Costanzi,  Rome;  San  Carlo,  Naples; 
Co  vent  Garden,  London;  Monte 
Carlo,  Lisbon.  Madrid,  and  La 
Scala  Op.,  Milan,  also  as  assisting 
artist  to  Dame  Nellie  Melba  in  tour 
of  Australia,  1924;  came  to  America, 
1928,  making  dlbut  in  California: 


jDon  v»o  -rejj  juucrezia.  ingnuy  jsoxgiA;, 
b.  Valencia,  Spain,  Dec.  24,  1888; 
noted  soprano;  pupil  of  Vidaf:  made 
d£but  at  Rome,  in  "Carmen?*  xooS 
singing  i61e  of  Micaela:  appeared  in 
other  leading  opera  theatres  with 
siicc.,  £ncl.  Naples,  Milan,  Buenos 
Aires,  and  at  Paris  in  1910  when  the 
Met.  Op.  Co*  made  a  guest  appear- 
ance there;  1912-13,  made  d£but  with 
that  company  in  "Afanon"  in  the 
autumn  at  New  York;  quickly  be- 
came one  of  most  popular  members 
of  forces;  owing  to  vocal  indisposi- 
tion, retired  for  brief  period  in  19x5, 
but  returned  to  New  York  several 
seasons  later  and  resumed  place  as 
an  important  singer,  eap.  in  lyric 
*6les;  member  of  Met*  Op.  until 
*93$-36,  portraying  large  variety  of 
French,  Italian,  Spanish,  and  English 
parts;  a  distinguished  actress  and 
an  exemplary  vocalist;  she  took 
active  part  in  assisting  company  to 
raise  fund  to  cover  deficit  in  1933-34, 
and  was  elected  a  member  of  the 
Met.  Op,  board  of  directors. 

Borodin  (bd'-r&-d£n),  Alex*  Porphyr- 
jevitch,  St.  Petersburg,  Nov.  i», 
1834 — Feb.  29,  1887;  composer  of 
the  neo-Russian  school;  Prof,  at 
the  St.  P.  Medico-surg.  Institute; 
Counsellor  of  State;  Knight;  pres. 
Mus.  Soc.  of  Amateurs;  at  BaUki- 
rev's  suggestion  studied  music;  com- 
posed opera,  ** Prince  fgorn  (finished 


DICTIONARY  OF  MUSICIANS 


73 


after  his  death  by  Rimsky-EIorsakov, 
and  prod.  succ.  1891);  3  symphonies, 
A  fiat,  B  minor,  and  A  minor  (last 
left  incomplete,  ed.  by  Glazounov), 
symphonic  poem,  "On  the  Steppes 
&f  Central  Asia"-,  scherzo  for  orch., 
2  string-quartets,  piano  quintet; 
string  trio;  pf.  pcs.,  etc.;  biog.  by 
A.  Habets,  in  English,  London,  1895. 
Memoirs  by  Stassov  and  Gerald 
Abraham  also  published, 

Boroni  (b5-r6'-nS)  (or  Buroni),  A., 
Rome,  1738  —  1792;  court-conductor. 

Borovsky  (bSr-Sf'-skg),  Alexandra,  b. 
Libau,  Russia,  March  19.  1889; 
pianist;  studied  at  Petersburg  Cons. 
with  Essipov.;  studied  to  be  lawyer; 
won  gold  medal  and  Rubinstein 
prize  as  pianist,  1912;  taught  at 
Moscow  Cons,  after  1915;  following 
1920  he  made  tours  of  France,  Eng- 
land, Germany,  and  U.  S. 

Borowski  (bSr-Sf'-skeO,  Felix,  b.  Bur- 
ton, EngL,  March  10,  1872;  studied 
Cologne  Cons,  and  London;  taught 
composition  and  history,  Chicago 
Musical  College,  1897;  pres.  of  this 
school,  1916-24;  music  ed.,  Chic. 
Mve.  Post)  1908,  and  Chic.  Herald, 
1909-17;  ed.  programme  book,  Chic. 
Symph.  Orch.;  c.  orchestral  and 
chamber  music  works,  organ,  piano, 
and  other  pieces:  (ballet)  "Boudour" 
(Chic.  Op.,  19*9)- 

BortniansM  (bart-nyan'-shkX)  (or 
Dimitry  Stepanovitcn, 


GJttchov,  Ukraine,  1751  —  St.  Peters- 
burg, Sept.  28  (Oct.  9),  1825;  choir 
dir.  ana  dram,  composer,  called 
**the  Russian  Palestrina";  pupil  of 
Galuppi,  under  patronage  of  Empress 
Catherine,  1770-96  dir.  of  her  choir; 
then  of  her  orchestra. 

Bor'wick,  Leonard,  Walthamstow, 
Essex,  Engl.,  1868  —  Le  Mans, 
France,  Sept.  17,  1925;  pianist; 
pupil  H.  R.  Bird,  and  Clara  Schu- 
mann, B.  Scholtz,  and  Ivan  Knorr 
at  Frankfort  Cons.;  d£but,  at  Lon- 
don PhlUi.  Concert,  1890;  toured 
Europe,  1895-96;  1914,  U.  S. 

Bos  (b6s),  Coenraad  V.,  b.  Leiden, 
Dec.  7,  1875;  pianist;  studied  Am- 
sterdam Cons.;  played  in  Berlin,  a 
member  of  the  **Dutch  Trio"  with 
J.  M*  van  Veen  and  J.  van  Lier; 
after  1908  toured  U.  S,  as  accompa- 
nist to  noted  singers;  also  active  as 
vocal  coach. 

Boschetti  (b6s-k«t'-t€),  Viktor,  Frank- 
fott-on-Maxn,  Aug.  13,  1871  —  April 


X2,  1933;  pupil  of  Prague  Cons.; 
organist  at  Vienna  (1896-1921, 
St.  Stephen's  Cath.);  and  Dir.  Court 
Opera,  1900-03;  c.  5  operas,  church 
music,  etc. 

BiSsendorfer  (ba'-zgn-d6rf-er),  firm  of 
Vienna  pf. -makers  founded  by  (i) 
Ignaz  B.,  Vienna,  1796 — 1859,  _later 
managed  by  his  son  (2)  Ludwig,  b. 
Vienna,  1835. 

Bosio  (b6'-zi-6),  Angiolina,  Turin, 
1830 — St.  Petersburg,  1859;  mezzo- 
soprano. 

Bos'si,  (b6s'-se),  (i)  Pietro  B.,  Mor- 
begno,  1834 — 1896;  organist.  (2) 
Marco  Enrico,  Sale,  Brescia,  Italy, 
April  25,  1861 — Feb.  21,  1925,  while 
returning  from  America;  son  and 
pupil  of  above,  1881-91,  conductor 
and  organist  at  Como  Cath.;  then 
till  1895,  prof,  of  org.  and  harm. 
Naples;  1896,  dir.  and  j>rof.  Liceo 
Benedetto  Marcello,  Venice;  1902- 
12,  dir.  Bologna  Liceo;  after  1916, 
dir.  Liceo  of  Santa  Cecilia,  Rome; 
member  of  the  permanent  goyt. 
commission  for  musical  art,  Chevalier 
of  the  Jtalian  Crown  and  of  the 
Spanish  order  of  Isabella  la  Catolica; 
composed  2  i-act  operas,  "Paquitd" 
and  "//  Veggente"}  4-act  melodrama 
"L9  Angela  Delia  Notte"  (Comp); 
symph.  poem  "II  Cieco"  (1897),  with 
tenor  solo,  and  chorus;  "Westminster 
Abbey,"  Inno  di  Gloria,  for  chorus 
and  organ,  Requiem  Masses,  etc.; 
wrote  important  "Metodo  di  Studio 
per  VOrgano  utodemo,"  with  G. 
Tebaldini  (Milan,  1893).  (3)  Renzo, 
b.  Como,  Italy,  April  o,  1883;  com- 
poser, pianist;  son  of  (2);  active  as 
conductor  in  Italy,  Germany,  and 
Austria;  later  prof,  of  organ  and 
comp.  at  Parma  Cons.;  and  then  of 
comp.  at  Milan  Cons.:  appeared 
widely  with  the  Polo  and  Bolognese 
Quartets;  c.  orch.,  chamber  and 
vocal  works,  also  stage  music,  ind. 
"Volpino,"  which  won  a  national 
lyric  prize  and  was  given  at  the 
Carcano  Theat.,  Milan,  1924. 

Bote  und  Bock  (b5'-tfi  oont  b6k), 
firm  of  mus.  pubs.,  Berlin,  est.  1838 
by  Eduard  Bote  and  Gustav  Bock. 

Bott  (b6t),  Jean  Jos.,  Cassel,  March 
9,  1826 — New  York,  April  30,  1895; 
violinist;  son  and  pupu  of  a  court- 
muskian;  1852,  court-conductor; 
1878  pensioned:  1885  came  to  New 
York;  composed  a  operas,  etc. 

Bot'ta,  Luca,  Italy,  1882— New  York, 


74 


DICTIONARY  OF  MUSICIANS 


1917;  tenor;  sang  with  Pacific  Coast 
Op.  Co.,  1912;  after  1914  until  his 
death,  mem*  of  Met.  Op.  Co.,  also 
appearing  in  South  America  with 
success. 

BottSe,  de  Toulxnon  (dti  toom6ii  b6t- 
ta),  Aug.,  Paris,  1797 — 1850;  'cellist 
and  writer. 

Bottesini  (b6t-tS-sS'-n5),  Giov.,  Crema, 
Lombardy,  1821 — Parma,  1889: 
double-bass  virtuoso;  conductor  and 
dram,  composer. 

Bottrigari  (b6t-tr€-ga'-rS),  Ercole, 
Bologna,  Aug.  1531 — S.  Alberto, 
Sept.  30,  1612;  wrote  3  learned  theo- 
letical  treatises,  each  called  by  the 
name, of  a  friend  (a)  Patrizio,  (b)  De- 
siderio,  and  (c)  Melone. 

Boucher  (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, 
playing  duets  with  one  hand  on  harp 
ana  one  on  a  piano. 

Boughton  (bow'-ttfn),  Rutland,  b,  Ayles- 
bury,  England,  Jan.  33,  1878;  com- 
poser; educated,  Royal  College  of 
Music,  London;  studied  with  Stan- 
ford and  Walford  Davies;  teacher 
at  Birmingham  School  of  Music; 
founder,  Glastonbury  Festival,  19x4, 
aim  of  which  was  to  produce  music 
dramas  based  on  Arthurian  legend: 
c,  (operas)  "The  Immortal  Hour* 
(London,  1922)  which  had  a  long 
run  and  subsequent  revivals,  also 
having  brief  New  York  production 
without  pronounced  success;  "Beth- 
lehem" (London,  19*3);  "Alke$tis"> 
(Covent  Garden  Op.,  1924);  also 
choral  works  "The  Birth  of  Arthur," 
"The  Skeleton  in  Armor,"  "The 
Invincible  Armada,"*,  in  igax-aa  B, 
founded  the  Bristol  Fest.  School;  he 
has  also  c.  chamber  music. 

Bouhy  (boo '-6),  Jacques,  Pepinster, 
Belgium,  1848 — Paris,  1929;  bary- 
tone; pupil  at  Liege  Cons*,  then  Paris 
Cons.;  1871  the  Opera  Paris;  after 
1872  at  Ope"ra  Comique  creating 
the  Toreador  r6le  in  "Carmen"  etc.; 
1885-89,  director  of  New  York  Con- 
servatory; returned  to  Paris  Op£ra; 
later  a  famous  teacher;  c.  songs* 

Botticbere  (bw«-shar),  Bmile,  1860 
(?)—  Paris,  Sept.  4,  1895;  pupil  of  G. 
Lefevre's  Acad.;  eat.  a  vocal  acad. 
1893;  composed  valuable  sacred  and 
chamber  music. 


Boulanger  (boc-lSn-zh&),  (i)  Marie 
Julie  (nee  Haffiger),  1786 — 1850; 
dram,  singer.  (2)  Henri  Alex,  An- 
dre" Ernest,  Paris,  Dec.  16,  1815 — 
April  14, 1900.  Son  of  above.  Pupil 
of  Lesueur  and  Hal£vy  at  the  Cons., 
taking  Grand  Prix  de  Rome,  1835; 
prof,  there  1871.  Composed  many 
operettas  for  Ope*ra  Comique. 
Legion  of  Honour,  2868.  (3)  Nadia, 
b-  Paris,  Sept.  16,  1887;  studied 
Paris  Cons.,  ist  prizes  in  harmony, 
organ  and  accompanying,  fugue  and 
counterpoint;  third  Rome  Prix; 
teachers  inch  Chapuis,  Guilmant, 
VIerne,  Vidal,  Faure*  and  Widor; 
prof,  of  harmony,  counterpoint, 
nistpry  of  music,  at  Ecole  Normale, 
Paris;  prof,  history  of  music  and 
harmony,  American  Cons.,  Fontaine- 
bleau;  has  had  among  her  pupils 
many  of  the  younger  American  com- 
posers. (4)  Liii,  Paris,  Aug.  ax, 
1893 — March  15,  19x8;  composer; 
sister  of  (3);  trained  at  Paris  Cons*; 
won  Prix  de  Rome,  1913;  composed 
various  orch,,  chamber  music,  and 
vocal  works  of  considerable  promise 
and  left  Incomplete  at  her  early  death 
the  opera  "La  Princess*  Malfine." 

Boult  (bait),  Sir  Adrian,  b.  Chester, 
Engl.,  April  8, 1889;  ed,  Westminster 
School.  Christ  Church,  Oxford; 
studied  Leipzig  Cons.;  Mus.  D., 
Oxford;  d£but  as  conductor,  Covent 
Garden  Op.,  19x4;  ted  Birmingham 
Orch.,  x 9 23-36;  London  Bach  Choir, 
after  2938;  guest  cond.,  Royal  Phil- 
harmonic Soc.,  London  Symphony 
and  Queens  Hall  Orch.;  prof,  con- 
ducting at  Royal  College  of  Music 
since  19x9;  cond.,  Patron's  Fund 
Concerts  and  of  British  Broadcasting 
Corp.  Orch.;  visited  America  as 
guest  cond.  of  Boston  Symph.  Orch., 
1935.  Knighted,  1937. 

Bouman  (boo'-man),  Martin  G., 
Herzogenbusch,  Holland,  Dec*  29* 
1858 — Gouda,  May  xi,  zoos;  pupil 
of  Bree  and  Holl;  city  director  at 
Gouda;  c.  operas,  masses,  etc. 

Bourgault-Ducoudray  (boor-g6-dtt- 
koo-dr*),  Louis-Albert*  Nantes,  Feb. 
a,  1840 — VernouiUet,  July  4,  xgxor 
pupil  of  Thomas  at  Paris  Cons., 
taking  Grand  Prix  de  Rome,  1862; 
prof,  of  rnus.  hist,  at  the  Cons.  1878; 
wounded  as  volunteer  at  siege  of 
Paris;  later  visited  Greece  and  wrote 
on  Oriental  music. 

Bourgeois     Oxwr'-zhwa),     (i)     Loy» 


DICTIONARY  OF  MUSICIANS 


75 


(Lotus),  Paris,  ca.  1510 — (?);  disciple 
of  Calvin;  1545-5 7>  Geneva;  one  of 
the  first  to  harmonise  the  French 
melodies;  wrote  "Le  droict  ckemin 
de  musique"  proposing  the  naming 
the  tones  after  solmisation-syllables, 
a  system  since  prevalent  in  France. 
(2)  Louis  Thomas,  Fontaine  1'Evfcque, 
1676 — Paris,  1750;  tenor  and  com- 
poser; d.  in  poverty. 

Bourges  (boorzh),  (i)  ClSmentine  de, 
d,  1561;  notable  woman-composer. 
(2)  J.  Maurice,  Bordeaux,  1812 — 
Paris,  1881;  critic  and  dram,  com- 
poser. 

Bousquet  (boos-ka),  G.,  Perpignan, 
1818 — St.  Cloud,  1854;  conductor  at 
the  Paris  OpeYa  (1847);  critic  and 
dram,  composer. 

Bovery  (b5-vft-re),  Jules  (rightly  Bovy 
(b6r-v6),  A,  Nic.  Jos.),  Ltege,  1808— 
Paris,  1868;  self-taught  violinist, 
conductor  and  dram,  composer. 

Bovy  (b5'-v€),  (x)  Chas.  Sml.  (known 
under  pseud.  Lysberg),  Lysberg, 
near  Geneva,  1821 — Geneva,  1873; 
composer.  (2)  Vina,  b.  Ghent; 
soprano;  d6but  Met.  Op.,  1936. 

Bo 'wen,  York,  b.  London,  Feb.  22, 
1884;  composer  and  pianist;  1898 — 
1905,  pupil  of  the  R.  A.  M.;  then 
piano  teacher  there;  c.  3  pf  .-concertos; 
symph.  fantasia  for  orch.,  concerto 
and  sonatas  for  the  viola;  Phantasy 
Trio;  string  quartet,  pf.-pieces,  etc. 

Bow 'man,  Ed.  Morris,  Barnard,  Vt., 
July  18,  1848 — Brooklyn,  N.  Y., 
Aug.  27,  1913;  pupil  Wm.  Mason, 
and  J.  P.  Morgan,  at  New  York, 
2866;  1867-70,  organist  St.  Louis, 
Mo.;  studied  in  Berlin  and  Paris, 
£873;  1874.  St.  Louis;  1881  studied 
under  Bridge,  Macfarren,  Turpin, 
and  Guilmant;  was  the  first  Amer- 
ican to  pass  the  examination  of  the 
London  K.  ColL  for  Organists:  1884, 
one  of  the  founders  of  Amer.  Coll.  of 
Musicians;  organist,  Brooklyn,  N.  Y.; 
1891-05,  prof,  of  music  Vassar  Coll.: 
1895  founded  the  "Temple  Choir,'* 
Brooklyn  (200  voices);  cond.  also  the 
Newark  Harmonic  Soc.  and  the 
Cecilian  Choir. 

Boyce  (bois),  Wm.,  London,  1710 — 
Kensington,  1779;  organist  and  com- 
poser. 

Boyd,  Chas.  N.,  Pleasant  Unity,  Pa., 
Dec.  2,  1875 — Pittsburgh,  April  24, 
1937;  pupil  of  Fred  K.  Hodge,  Leo 
Qenmler,  and  von  Kunits;  grad. 
XIalv*  of  Pittsburgh:  Mus.  D..  1026; 


beginning  1894  active  in  that  city  as 
conductor  and  organist;  after  1903, 
instructor  in  church  music,  Western 
Theol.  Sem.;  1915  appointed  dir. 
Pittsburgh  Mus.  Inst.;  after  1924, 
treasurer,  Nat'l  Ass'n.  of  Schools 
of  Music;  ass't.  ed.  Amer.  vol., 
Grove's  Dictionary,  author  of  articles 
on  music, 

Boyle,  Geo.  Frdk,  b.  Sydney,  Australia, 
June  29,  1886;  pianist,  composer  and 
teacher;  1910,  at  Peabody  Cons., 
Baltimore;  later  at  Curtis  Inst.  of 
Music;  then  at  Inst.  of  Musical  Art, 
Juilliard  School,  N.  Y.;  c.  piano 
concerto,  which  he  cond.  with  suc- 
cess Feb.  1912  at  New  York  Phil, 
concert;  also  chamber  works,  can- 
tatas, etc.;  d.  Philadelphia,  1948. 

Brade  '(bra'-de1),  Wm..,  b.  England, 
lived  and  died  at  Frankfort,  1630; 
player  of  the  viol,  etc. 

Bradford,  Jacob,  London,  June  3, 
1842 — April  19,  1897;  organist;  pupil 
of  Goss  and  Steggal;  Mus.  Doc- 
Oxford,  1878;  1892  organist  at  St. 
Mary's,  Newington;  c.  oratorio 
"Judith"}  "Sinfonia  Ecclesiastica" 
with  double  chorus:  overtures,  etc. 

Bradsky  (brat'-shke),  Wenzel  Th., 
Rakovnik,  Bohemia,  1833 — i88x; 
dram,  composer. 

Braga  (bra '-git),  Gaetano,  Giulianova, 
Abruzzi,  June  9,  1829 — Milan,  Nov. 
21,  1907;  'cellist,  pupil  of  C.  Gaetano 
(1841-52);  lived  at  Florence,  Vienna, 
Paris,  and  London  and  toured 
Europe;  dram,  composer;  also  wrote 
"Metodo  di  Violoncello.'* 

Bra  ham  (rightly  Abraham) ,  J.,  London, 
1774 — Feb.  17,  1856;  noted  tenor; 
compass  3  octaves;  composed  pop. 
ballads. 

Brahms  (brSms),  Johannes,  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; 
d6but  Hamburg,  at  14,  playing  his 
own  variations  on  a  folk-song;  1853, 
toured  with  Remenyi.  Joachim 
heard  him  and  sent  him  to  Schu- 
mann, at  Dfisseldorf.  Schumann, 
with  characteristic  openness  of  mind 
and  enthusiasm,  pub.  an  article  in 
the  Neue  Zeitschrift  filr  Musik, 
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  elephant  on  his 


DICTIONARY  OF  MUSICIANS 


hands;  for  lie  forsook  the  romanti- 
cism which  Schumann,  and  later 
Liszt  expected  of  him,  and  took  up 
a  determined  classicism  in  the  matter 
of  form,  in  which,  however,  he  made 
many  modifications  to  suit  his 
enormous  intellectuality  and  tech- 
nical resource.  This  early  welcome 
also  gave  him  over  to  be  bandied 
between  believers  like  Hanslick  who 
were  frantic  to  find  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  SingakademU  there; 
1864-69  Hamburg,  Zurich,  Baden-* 
Baden,  etc.,  and  made  tours  with 
Stockhausen;  1869,  Vienna,  which 
was  afterward  his  headquarters. 
In  1871-74,  cond.  "Gesellschaft  der 
Musikfreunde,"  In  1877  Cambridge 
University  offered  him  the  degree  of 
Mus.  Doc.,  which  offer  he  ignored, 
accepting,  *88t,  Dr.  Phil,  from 
Breslau  and  writing  in  acknowledg- 
ment the  "Akadcmische  Festeuwr- 
Wre"\  1886,  a  knight  of  the  Prussian 
Ordre  pour  le  Me*rite,  with  voting 
privilege,  and  a  member  of  the  B«r- 
Kn  Acad.  of  Arts,  1889  presented 
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,  *868,  and  estab- 
lished him  on  a  peak  where  he  has 
since  remained  while  the  storms  of 
de-bate  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.*7  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 
pianist  in  his  youth;  in  his  aoth  year, 
at  a  concert  with  Remenyi,  the  piano 
was  discovered  to  be  a  semitone 
below  concert-pitch;  BM  playing 
without  notes,  transposed  the  ac- 
companiment to  Beethoven's 
"  Kreutzcr  Sonata"  a  semitone  higher 
throughout.  (Beethoven  similarly 
transposed  his  own  concerto  in  C  to 
C#  at  a  rehearsal.) 
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,  "Akadtmische  Pest- 
overt&rc"',  op.  81,  "Pragistfa  Ouver- 
t#re";  op.  xx-x6t  serenades;  op.  56, 
variations  on  a  theme  of  Haydn's. 
CHAMBER  Music.  Op.  8,  tno  for 
pf.z  vln.,  'cello;  x8,  *6,  sextet  for 
strings;  40,  trios,  pf.,  vln.,  horn;  *X4» 
pf.,  clan  and  'ceUo;  51,  two  string- 
quartets;  67,  stringnquartet;  88,  in, 
string-quintet;  115,  quintet  for  clar. 
and  strings. 

For  piano,  op.  z,  a  and  $,  sonatas,  4, 
scherzo;  variations  on  a  theme  by 
Schumann;  so,  four  ballads;  15,  83, 
concertos;  ai»  35,  variations;  54, 
variations  and  fugue  on  theme  by 
Handel;  op.  76,  8  DCS.*  79,  a  Rhap- 
sodies; 1x0,  Faniasien;  117,  3  Inter- 
mezzi;  xs8,  6  Clavierstucke  (3 
Intermezzi,  Ballades,  Romanze);  1x9, 
4  Clavierstacke  (3  Intermezzi,  Rhap- 
sodic;— unnumbered — Gluck'a  ga- 
votte, and  a  studies).  For  piano,  4 
hands,  op.  23,  variations  on  a  theme 
by  Schumann;  34,  sonata  air.  from 
op.  34;  39»  *6  walUes;  op.  as,  a6»  60, 
pf.-quartels;  34,  pf.-quintet;  87,  io*» 
pf.-trio*.  For  piano  and  'cello,  op. 
38,  and  99;  sonatas;  for  vln.,  77, 
concerto;  78,  too — 108,  sonatas  pf. 
and  vln.;  for  vln.  and  Velio,  op.  ioa. 
concerto;  for  clarinet  (or  viola)  and 
pf.,  op.  1 20,  a  sonatas;  for  organ > 
Prelude  and  fugue,  and  fugue  (un- 
numbered). For  voices,  op.  50, 
"Rinddo"  cantata  (Goethe);  63, 
Rhapsodic  (from  Goethe's  "#or*- 
rwr  *),  for  alto  solo,  male  chor,  and 
orch.;  $4>  "Stki(k$al*tifd**  (Song  of 
Destiny),  for  chor.  and  orch*;  55, 
"Triumpklied"  (Revelations,  chap, 
XIX.),  for  8- part  char,  and  orch.: 
82,  "  tftfuwr"  (Schiller),  for  chor.  and 
orch.;  80-  "Cesang  dfr  par&r** 
(Goethe),  for  6-part  rhor.  and  orch.; 
op.  ia>  *Mve  J/0riW  female  chor. 


DICTIONARY  OF  MUSICIANS 


77 


with  orch.  (or  org.)j  13,  funeral 
hymn,  109.  Deutsche  Fest-und  Ge- 
denkspruche,  for  double  chorus,  also 
numerous  works  for  choruses  of  all 
sorts  accompanied  or  a  cappella. 
Brahms'  songs  are  generally  admired 
even  by  those  opposed  to  him;  they 
are  very  numerous  and  are  pub.  in 
sets,  op.  121  being  his  last  published 
work,  except  for  several  posth.  songs 
for  Ophelia  in  Shakespeare's  "Ham- 
let" which  were  pub.  in  1936  by 
Schirmer. 

Memoirs  and  studies  of  the  com- 
poser's music  have  been  written  by 
Deiters,  Kohler,  Mesnard,  Reimann, 
Dietrich,  Widmann,  Kalbeck  (most 
imp.  biography,  in  8  vols.),  Erb, 
Antcliffe,  Jenner,  Imbert,  Henschel, 
Pauli,  Leyen,  Von  Perger,  Colles, 
Fuller-Maitland,  Thomas-San  Galli, 
Evans,  Lee,  Niemann,  FriedlSnder, 
May,  Murdoch,  Parker,  Pulver, 
Specht,  and  Eugenie  Schumann. 
His  letters  pub.  in  part  by  the  Ger- 
man B. — Gesellschaf  t;  thematic  cata- 
logue of  his  works,  by  Simrock. 
(See  article,  page  489.) 

Brailowsky  (bra-e-18f'ske),  Alexander, 
b.  Kiev,  Russia;  pianist;  studied  with 
his  father  and  after  1911  with  Les- 
chetizky,  Vienna;  res*  in  Switzerland 
19x4-18;  thereafter  in  Paris,  where 
made  his  d€but  with  striking  succ.; 
toured  Europe,  South  America,  Aus- 
tralia, and  after  1926  in  U.  S.;  one 
of  most  brilliant  younger  virtuosi, 

Brambach  (bram'-bakh),  (i)  Kaspar 
Jos.,  Bonn,  July  14,  1833 — June  19, 
1902;  pupil  in  comp.  of  A.  zur 
Nfieden,  then  of  Cologne  Cor 3.;  won 
Mozart  scholarship,  and  studied 
under  Fd.  Hiller,  Frankfort;  1858-61, 
teacher  Cologne  Cons.;  1861-69,  dir. 
at  Bonn,  where  he  composed  im- 
portant secular  cantatas;  also  an 
opera  "Ariadne99,  concert-overture 
"  Tasso";  pf  .-concerto,  etc.  (2)  Win., 
Bonn,  Dec.  17,  1841 — Carlsruhe, 
Feb.  26,  1932;  where  from  1872, 
librarian;  writer. 

Barambitta  (bram-bSl'-la),  (i)  Paolo, 
Milan,  1786 — 1838;  dram,  composer, 
(a)  Marietta,  Cassano  D'Adda,  1807 
— Milan,  1875;  singer,  teacher,  and 
composer;  contralto  and  eldest  of 
five  singers.  (3)  Teresa,  Cassano 
d'Adda,  1813 — Milan,  1895;  sister  of 
above,  soprano;  she  created  "Gilda" 
in  "Rizotetto,"  1851. 

Branca  (bran'-ka),  Guglielmo,  b,  Bo- 


logna, April  13,  1849;  pupil  of  A. 
Busi,  Bologna  Cons.,  where  he 
taught  after  1890;  composed  succ. 
operas  "La  Catalana"  (Florence, 
1876);  "Hermosa,"  (Florence,  1883); 
and  "La  Figlia  di  Jorio"  (Cremona, 
1897). 

Brancaccio  (bran-kat'-cho),  A.,  Naples, 
1813 — 1846;  dram,  composer. 

Brandeis  (bran'-dls),  Fr.,  Vienna,  1835 
— New  York,  1899;  toured  the  U.  S., 
then  lived  in  N.  Y.,  later  Brooklyn, 
as  organist  and  prolific  composer. 

Brandenburg  (bran'-d&a-boorkh),  Fd., 
b.  Erfurt — d.  Rudolstadt,  1850; 
violinist  and  dram,  composer. 

Brandl  (brant'-'l),  (i)  Jn.,  Kloster 
Rohr,  near  Ratisbon,  1760 — Carls- 
ruhe,  1837;  dir.  and  dram,  composer, 
(2)  Johann,  Kirchenbirk,  Bohemia, 
Aug.  30,  1835 — Vienna,  June  10, 
1913;  c.  operettas. 

Brandstetter.     Vide  GARBRECHT. 

Brandt  (brant),  Marianne  (rightly 
Marie  Bischof),  Vienna,  Sept.  12, 
1842 — July  9,  1921;  dram,  contralto; 
pupil  Frau  Marschner  and  of  Viardot- 
Garcia;  1868-86  at  Berlin  Ct.  Opera; 
created  "Kundry"'  in  "Parsifal99  at 
Bayreuth,  1882;  1886-90,  sang  in 
New  York,  at  Met.  Op.;  later  active 
as  teacher  in  Vienna. 

Brandts-Buys  (brant-bois),  (i)  Corne- 
lius Alex.,  Zait-Bommel,  April  3, 
1812 — Dordrecht,  Nov.  18,  1890; 
from  1840  lived  in  D  event  er  as 
organist  and  cond.  His  sons  are 
^2)  Marius  Adrianus  (b.  1840); 
(3;  L.  F.  (1847 — iQi?)  organist  and 
conductor  at  Rotterdam;  (4)  EL 
(1851 — 1905),  conductor  at  Amster- 
dam and  dram,  composer.  (5)  Jan 
(1868 — 1933),  son  of  (2);  composer  of 
operas,  songs,  etc.;  pupil  of  Frank- 
fort Cons.;  lived  in  Vienna  and  after 
1910  at  Bozen. 

Bran'dukov,  Anatol  Andrejevitch,  Mos- 
cow, Jan.  6,  1859 — Oct.,  1930;  'cel- 
list; pupil  Moscow  Cons.;  spent 
many  years  in  Paris;  founded  a  quar- 
tet there  with  Marsick;  1890  re- 
turned to  Moscow;  c.  for  'cello  and 
orch,,  etc. 

Brant  (br&rt),  Jobst  (or  Jodocus)  vom, 
Junior,  i6th  cent,  captain  and  gov. 
of  Liebenstein;  cptist. 

Branzell,  Karin  (kar'-in  brant-sel),  b. 
Stockholm,  Sept.  24,  1891;  mezzo- 
soprano;  studied  with  Thekla  Hofer 
and  Louis  Bachner  (Berlin);  debut 
Stockholm;  member  Berlin  State 


78 


DICTIONARY  OF  MUSICIANS 


Op.,  after  1919;  Met.  Op.  Co.,  N.  Y. 
after  1924;  has  also  sung  at  Buenos 
Aires,  and  in  various  European  cities; 
repertoire  includes  principal  Wagner 
contralto  rdles. 

Braslau  (br&s'-la),  Sophie,  New  York, 
Aug.  16,  1892— Dec.  22,  1935;  ccm- 
tralto;  studied  piano  with  Alexander 
Lambert  and  voice  with  A.  Buzzi- 
Peccia,  Gabriele  Sibella,  and  Dr. 
M.  Marafioti;  d6but  Met.  Op.  Co., 
1913,  as  Feodor  in  "Boris  Godounojf"; 
member  of  company  for  seven  years, 
singing  title  r6le  in  Cadman's  opera 
"Shawms,"  1918;  sang  in  concerts 
and  with  leading  orchestras;  toured 
Scandinavia,  Netherlands,  and  Eng- 
land, 193*- 

Brassart,  Johannes,  priest,  composer, 
and  singer;  in  Papal  Choir  in  1431; 
probably  same  as  Johannes  de  Ludo; 
c.  sacred  music. 

Brassin  (bras-s&n),  (i)  Louis,  Aix-ia- 
Chapelle,  1840— St.  Petersburg,  1884; 
pianist.  (2)  Ld.,  Strassburg,  1843 — 
Constantinople,  1890;  bro.  and  pupil 
of  above;  pianist.  (3)  Gerhard, 
Aix-la-Chapelle,  Tune  xo,  1844 — 
Constantinople  (?);  leader;  teacher 
at  Stern  Cons.,  Berlin;  i87S-8o» 
cond.  of  Tonkunsfleroerein  in  Bres- 
lau;  then,  St.  Petersburg  and  Con- 
stantinople. 

Brauer  (brow'eY,  Max,  Mannheim, 
May  9,  1855 — Carlsruhe,  Jan,  2, 
1918;  pupil  of  V.  Lachner,  Hiller, 
Jensen,  and  De  Lange;  1880-88,  dir. 
Kaiserslautern;  i88S,  dir.  court- 
church  at  Carlsruhe;  prod.  "Der 
Lotse,"  succ.  x-act  opera,  Carlsruhe, 
1885, 

Bratui,  (i)  Anton,  Cassel,  Feb.  6, 1720 — 
17851;  violinist  and  c.;  perhaps  the 
son  of  (2)  Braun,  whose  flute  com- 
positions were  pub*  in  Paris,  1729- 
40.  His  brother  (3)  Jphiuxn, 
Cassel,  1753 — Berlin,  1795,  violinist 
and  comp.  (4)  Johann  Fr.t  Cassel. 
1759 — Ludwigslust,  1824;  oboist  and 
comp.;  father  of  (5)  Karl  A.  Pn  b. 
Ludwigslust,  1788;  oboist;  and  of 

(6)  Wfihehn,  b.  Ludwigslust,  179?; 
oboist,   whose  wife  was  his  cousin 

(7)  Kathfalka  B.,  a  singer. 
Bratinfels     (brands),     Walter,     b. 

Frankfort,  Dec*  19,  1882;  composer 
of  neo-Roinantic  tendency,  with  sa- 
tiric elements  and  modern  outlook; 
grad.  Hoch  Cons*  in  native  city;  also 
pupil  of  Kwast,  Leschetizkyj  Navra- 
til  and  Thuille;  res.  in  Munich  after 


1903,  but  several  years  in  war  serv- 
ice; c.  (operas)  "Prinzessin  Bram- 
billa"  (1919),  "  Ulenspiegtl"  (*9*s)> 
"Die  Vogel"  (1920,  a  work  portray- 
ing denizens  of  birdland  and  enjoying 
popularity  when  prod,  in  Munich), 
"Don  GU  ^on  den  griinen  Hosen" 
(1924),  "Galatea";  (orch.)  Variations 
on  an  Old  Nursery  Song;  "Ariel's 
Song";  Serenade;  Fantastic  Varia- 
tions on  a  Theme  by  Berlioz;  "Don 
Juan"  (variations  on  the  champagne 
song  from  Mozart's  opera);  Praelud- 
ium  and  Fugue;  Symphonic  Suite; 
'cello  concerto;  "Funk"  (Radio) 
Music;  (choral)  "Te  Deum";  Mass; 
"Revelation  of  St.  John"  (tenor  solo 
and  orch.);  "  Neues  Federspiel"  for 
voices  and  orch.;  "Die  A  mmtn~lrkr" 
for  boys7  chorus  and  orch.;  orch. 
songs:  music  to  "As  You  Like  It" 
vult{Macbetk"i  "Witch***  Sabbath" 
for  piano  and  orch.;  piano  concerto 
and  many  pieces  for  this  lustrum.; 
songs,  etc.;  after  1925  dir.  (with  H» 
Abendroth)  of  Cologne  Cons. 

Bree  (bra)  (Jn.  Bernardus),  J.  Bernard 
van,  Amsterdam,  1801 — 1857;  violin- 
ist; 1840,  founded  the  "Cecilia.*' 

Brett  (bill),  Jos.  Carl,  Pittsburgh,  1870 
—Los  Angeles,  Cal.,  Jan.  23,  1926; 
composer  and  tenor;  studied  in  Leip- 
zig and  Milan;  sang  in  Juch  Op*  Co., 
later  at  Pittsburgh;  after  1897  theat 
cond.;  c.  comic  operas,  also  a  one-act 
grand  opera,  "The  Legend,"  given  by 
Met.  Op.  Co.,  1919. 

Breithaupt  (brlt-howpt),  Rudolf  Maria, 

b.  Braunschweig,    Aug.    n,    1875; 
critic    and    teacher;    pupil    Leipzig 
Cons.,   1897;  after   1918  taught  at 
Stern  Cons.,  Berlin;  author  of  in-* 
fluential  works  on  piano  technique, 
espousing   a   system    of    "weight"; 

c.  songs, 

Breitkopf  und  H&rtel  (brlt'-ktof  oont 
h«rt'-l),  mus.-publishers,  founded 
(as  a  printing-office)  17x9  by  B*  C* 
Breitkopf;  Klausthal,  Hars,  1695— 
1777.  His  son,  J-  G.  Immanuel 
Breitkopf  (1730— J7Q4>t  succeeded 
and  revived  Petrucci's  invention  of 
movable  types  and  took  up  music 
printing.  1795,  Ootte.  Cte.  Hftrtel 
(Schneeberg,  1763—1857)  added  a 
piano-factory,  founded  the  "Allg. 
musikalische  Zeitung"  (1708);  later 
heads  were  Florenz  KULrtei  (1827-35), 
Dr.  Hermann  Hfirtel  (d.  1875),  and 
his  bro.  Reimund  (d,  1888);  two 


DICTIONARY  OF  MUSICIANS 


79 


nephews,  Wm.  Volkmann  (1837- 
7*896  ?)  and  Dr.  Oskar  von  Hase 
(b.  1846). 

Brema  (bra '-ma),  Marie,  London,  Feb. 
28,  1856 — March  22,  1925;  notable 
dramatic  soprano;  d6but  in  opera, 
Shaftesbury  Theatre,  1891;  sang  in 
New  York,  1895-96;  1897  at  Bay- 
reuth;  long  a  favourite  in  oratorio 
perfs.  in  England;  later  prof.,  Man- 
chester Coll.  of  Music. 

Brem'mer,  Robt.,  Scotland,  1720 — 
Kensington,  1789;  teacher. 

Brendel  (brSnt '->!),  K.  Fz.,  Stolberg, 
1811 — Leipzig,  1868;  critic,  prof,,  and 
writer. 

Brenet  (brtt-na),  Michel,  Luneville, 
France,  April  n.  1858 — Paris,  Nov. 
4,  1918;  wrote  ilHistoire  de  la  sym- 
phonic a  orchestre  depuis  ses  origines"* 
(prize-essay),  etc. 

Brenner  (brSn'-ne'r),  L.,  Ritter  von, 
Leipzig,  1833 — 190*2;  pupil  of  the 
Cons.;  toured  the  Continent;  15 
years  member  of  the  Imp.  orch.; 
1872-76,  cond.  Berlin  Symphony 
Orch.;  1897,  cond.  M  cyder's  Concert 
Orch.,  Breslau;  composed  4  grand 
masses;  symphonic  poems. 

Brent,  Charlotte,  d.  1802,  Engl.;  so- 
prano; m.  Pinto,  a  violinist,  1766. 

Brescianello  (brS'-sha-ngl'-l5),  Giu- 
seppe Antonio,  Mus.  Director  at 
Stuttgart,  1717-57;  published  vio- 
iin  concertos,  etc. 

Breslaur  (br&s'-lowr),  Emil,  Kottbus, 
May  20, 1836 — Berlin,  July  26, 1899; 
pupil  Stern  Cons.,  Berlin;  1868-79, 
teacher  Kullak's  Acad.;  1883  choirm.. 
Reformed  Synagogue;  founder  and 
dir.  Piano-Teachers*  Seminary;  ed. 
'*  Klavierlehrer"*,  wrote  technical 
works,  etc. 

Bress'ler-Gianoli  (j£-nS'-l6),  Clotilde, 
b/ Geneva,  1875;  d.  there  after  opera- 
tion for  appendicitis,  May  12,  19x2. 
Operatic  mezzo-sopr.;  studied  Paris 
Cons.,  d6but  Geneva,  at  19;  1900, 
Paris  Op.  Com.;  1903  with  New 
Orleans  Op.  Co.;  from  1907  sang 
with  success  at  Manhattan  Opera, 
N.  Y.;  1910  with  Metropolitan 
Opera,  N.  Y.;  her  "Carmen"-  was 
famous. 

Breton  y  Hernandez  (bra-t6n  $  8r-n&n'- 
dfcth),  Tomas,  Salamanca,  Dec,  23, 
1850 — Madrid,  Dec.  10,  1923;  lead- 
ing Spanish  composer  of  zarzuelas, 
an  oratorio  "Apocalypsia";  for  orch. 


"Andalusian  Scenes";  funeral  march 
for  Alfonso  XII.,  etc. 

Breuer  (broi'-Sr),  Hans,  b.  Cologne, 
1869;  tenor;  studied  at  the  Cons. 
at  Stolzenberg.  Sang  "Mime"  and 
"David"  at  Bayreuth;  d.  Vienna, 
1929. 

Bretining  (broi'-nXng),  Fd.,  Brotterode, 
Thuringia,  1830  —  Aix-la-Chapelle, 
1883;  pf.  prof.,  Cologne  Cons.; 
1865,  director. 

BrSval  (bra-val),  (i)  J.  Bap.,  Dept.  of 
FAisne,  France,  1756 — Chamouille, 
1825;  'cellist  and  teacher.  (2)  Lu- 
cienne,  Berlin,  Nov.  4,  1869 — Paris, 
Aug.  15,  1935;  pupil  of  Warot  at 
Paris  Cons.;  notable  dramatic  so- 
prano at  Grand  Op&ra,  Paris,  for 
years;  de*but  there  in  " L'  Africaine"> 
1892;  created  "  Brttnnhilde"'  in 
French;  sang  at  Co  vent  Garden,  and 
1900  in  New  York. 

BrSville  (bra-vSl).  Pierre  Onfroy  de, 
b.  Bar-le-Duc,  France,  Feb.  21,  i86rj 
d.  Paris,  Sept.,  1049;  ^a<i  diplomatic 
career;  then  studied  at  Paris  Cons, 
and  with  C£sar  Franck;  teacher  at 
the  Schola  Cantorum;  c.  masses, 
sacred  chorus  with  orch.,  "Sainte  Rose 
de  Lima";  symph.  poem,  "  Nuit  de 
d&cembre"}  overture,  "Princesse  Ma- 
leine,"  music  for  "Les  sept  Princesses  ,"> 
and  "Sakuntala"  etc.,  orch.  fantasie 
"Portraits  des  Musiciens";  songs,  etc. 

Brew'er,  (i)  Thos.,  1609 — 1676;  viol.- 
player,  "father  of  the  glee."  (2)  J. 
Hyatt,  Brooklyn,  N.  Y.,  1856— 
Nov.  30,  1931;  for  7  years  boy- 
soprano;  studied  with  Dudley  Buck 
and  others;  1871  organist  various 
churches,  i88x  at  the  Lafayette  Av. 
Presby.  Ch.;  cond.  various  vocal 
societies;  composed  cantatas,  etc, 

"Brick'en,  Carl,  b.  Shelbyville,  Ky., 
1898;  comp.,  cond.  U. of  Chi.  Symph., 
1931;  Seattle  Symph.  after  1044. 

Bridge,  (i)  Sir  J.  Fr.,  Oldbury,  Worces- 
tershire, Engl.,  Dec.  5,  1844 — 
London,  March  16,  1924;  son  and 
pupil  of  J.  Bridge,  lay-clerk;  pupil 
later  of  J.  Hopkins  and  Sir  J.  Goss; 
organist  1869  Manchester  cathedral; 
1882  of  Westminster  Abbey;  1868 
Mus.  Bac.  (Oxford),  with  the  orato- 
rio "Mount  Moriah";  prof,  of  harm, 
and  cpt.  R.  A.  M.;  cond.  Western 
and  the  Madrigal  Societies;  1897, 
knighted;  composed  cantatas,  over- 
tures, etc.  1902,  made  member  of 
the  Victorian  Order;  1903,  King 
Edward  Prof,  of  Music,  London 


DICTIONARY  OF  MUSICIANS 


University  and  R.  C.  M.  (2)  Frank, 
b.  Brighton,  1879 — London,  Jan.  n, 
194,1;  Viola  pupil,  R.  A.  M.,  gaining 
a  scholarship  in  composition;  c. 
prize  quartet  in  E.  Minor  (Bologna 
competition);  string  quartet  "Three 
Idylls";  rhapsody  for  orch.  and 
symp.  poem,  * Isabella";  "Sea"  Suite; 
tfDanc*  Rhapsody";  "Dance  Poem"; 
piano  trio  and  many  chamber  works; 
member  of  various  quartets;  cond. 
Co  vent  Garden,  1013. 

Bridge'tower,  G.  A.  P.,  Poland,  1779 — 
ca.  1845;  son  of  an  African  father 
assd  European  mother;  brilliant  vio- 
linist. 

Briegel  (brg'gel),  Wg.  K.,  Germany, 
1626 — Darmstadt,  1712;  conductor 
and  composer. 

Brighenti  (or  Brighettl)  (br5-g$t'-t€), 
Maria  (n6e  Giorgi),  b.  Bologna,  179*; 
soprano;  created  "Rosina"  in  "Bar- 
biere  di  Siviglia" 

Bright,  Dora  Estella,  b.  Sheffield, 
Aug,  16,  1863;  pianist;  pupil  R.  A. 
M.,  London;  1892  married  Capt. 
Knatchbull;  c.  2  piano  concertos; 
variations  with  orch,,  etc. 

Brink,  Jules  Ten  (tan  brSnk),  Amster- 
dam, 1838 — Paris,  1889;  director  and 
dram,  composer. 

Brms'mead,  (i)  J.,  North  Devon, 
Oct.  13,  1814 — London,  Feb.  17* 
1908;  1835,  founded  piano-factory, 
London;  inv.  "Perfect  Check  Re- 
peater Action";  in  1863  his  sons 
(2)  Thomas  and  (3)  Bdgar  were 
taken  in  partnership  J 

Brfe'tow,  (i)  W,  R,,  England,  1803 
— N*  Y,,  1867;  cond.  in  New  York, 
(2)  G.  !Pr*»  Brooklyn,  N.  Y.,  Dec.  19, 
1835— New  York,  Dec.  13,  1898; 
son  of  above;  violinist  N.  Y.  Piulh, 
Soc.;  cond.  of  the  Harmonic  Soc,, 
later  of  the  Mendelssohn  Union;  or- 
ganist various  churches;  composed 
operas,  oratorios,  etc. 

Britt,  Horace,  b.  Antwerp;  'cellist; 
studied  Paris  Cons*  with  Delsart  and 
Lavignac,  ist  prize  at  ^14;  soloist 
with  Faris  orcha.;  U.  S.  tours. 

Brit'ten, Benjamin,  b.  Lowestoft,  Eng., 
1913;  pupil,  R.  C.  M.;  c.  operas, 
"Peter  Crimes"  (Berkshire  Fest,,  and 
Met.  Op,);  "&aP*  °f  Lucrctia" 


(Gisrndebourne  Fest.,  1946,  also  in 
N,  Y.);  u  Albert  Herring*  (Glynde- 
boume,  1947;  Berkshire  Fest.). 
(See  Composers*  List) 
Brlfton,  Tho«.,  i6<x—  ^714;  called 
"  -  *'  eause 


he  earned  his  living  by  hawking  coal; 
gave  concerts  in  a  room  over  Ms  shop, 
which  were  patronised  by  the  aristoc- 
racy; H&ndel  and  Pepusch  were  per- 
formers at  these  concerts. 

Bribd  (brfix'-g),  Fz.  •  Xaver,  Prague, 
1732 — 1771;  conductor  and  com- 
poser. 

BroadVood  &  Sons,  firm  of  London 
pf. -makers;  est.  1730  by  the  Swiss 
harpsichord-maker  fiurkhard  Tscbu- 
di  (or  Shudi),  succeeded  by  his  son- 
in-law  J,  Broadwood  (1732 — 1812), 
later  by  James  and  Thos.  Shudi; 
then  by  H.  Fowler  Broadwood  (d. 
London,  1893). 

Brock 'way,  Howard  A.,  b.  Brooklyn, 
"  Y.,  No  *  -«.'-» 


Musical  Small-coal  Man,*'  because 


(comp.)",  since  1895,  has  lived  in 
N.  Y.  teaching  and  touring;  his 
symphony  in  D  succ.,  prod.  Berlin: 
composed  also  cantata,  Ballade  and 
Scherzo  for  orch.;  d*  19$** 

B«>d  (br6)f  H.,  Paris,  xSox^ — 1839; 
oboist  and  conductor. 

Btodo  (br3'-de%  Max,  BerHa,  Feb.  25, 
1850 — KSnigsberg,  Dec.  30^  19x7; 
studied  with  Paul  Mendelssohn  and 
at  Stern  Cons.,  Leipzig  Cons,,  and 
Berlin  Hochschule;  dfebut  Frankfort- 
on-Main;  prof,  and  teacher  at 
KSnigsberg,  violinist,  conductor- 

Brodsky  (br6df-shkI)T  Adolf »  Taganrog, 
Russia,  March  21,  1851—  Manches- 
ter, Jan.  22,  1929;  violinist;  pupil  of 
J.  Hellmesberger  and  Vienna  Cons.; 
member  Heumesberger  Quartet; 
1868-70  Imp.  Opera  orch.;  pupil  of 
Laub,  Moscow,  later  prof,  at  the 
Cons.;  1870,  cond,  symphony  coiv* 
certs  at  Kiev;  toured,  x88x;  1883^ 
vln.-prof.  at  Leipzig  Cons.;  1891-94, 
N.  Y,;  1894  in  BcrBn;  1895,  prof*  of 
vln,,  later  dir,  R.  C.  M,,  Manchester, 
England. 

Bron*aer,  Georg,  Holstein,  1666 — 
Hamburg,  1724;  organist;  c*  for  the 
Hamburg  Opera  "Echo  and  Nar- 
cissus," **F«iiMrt"etc. 

Bronsart  (brdn'-x^trt)  (i)  voa  Schel- 
lendorf,  Hans  (Hans  voa  Bronsart), 
Berlin,  Feb.  xx,  1830 — Munich, 
Nov.  3,  1913;  pupil,  Dehn,  Kullat, 
Liszt;  concerts  in  Paris;  1867,  in* 
tendant  R.  Tfa,  at  Hanover;  1887-95, 
"Hof  musikintendant/*  Weimar;  com- 
posed opera,  cantata,  symphony  "/* 
den  Alp**"  etc.  (2)  Ingeborg,  Ton 
Starcfc),  St.  Petersburg,  Aug.  94,. 


DICTIONARY  OF  MUSICIANS 


81 


1840 — Munich,  June  17,  1913;  wife 
(since  1862)  of  above;  pupil  of  Liszt; 
composed  3  operas,  etc. 

Bro'sa,  Antonio,  violinist;  founder, 
1925,  in  London  of  noted  Brosa 
Quartet,  with  himself  as  ist  vln., 
David  Wise,  2nd  vln.,  Leonard 
Rubens,  viola,  and  Livio  Mannucci, 
*cello;  d£but,  1926,  London;  next 
year  heard  at  Siena  Fest.  of  I.  S.  C. 
M.;  toured  England,  Germany, 
France,  Holland,  Italy;  1930,  Amer. 
d€but  at  Coolidge  Fest.,  Washington, 
D.  C. 

Brosig  (br6'-z*kh),  Moritz,  Fuchs- 
winkel,  Upper  Silesia,  1815 — Bres- 
lau, 1887;  organist  and  theorist. 

Brossard  (dtt  br6s-sar),  Sebastien  de, 
1654 — Meux,  France,  1730;  conduc- 
tor, lexicographer,  and  composer. 

Brounoff  (broo'-n6f),  Platon,  Eliza- 
bethgrad,  Russia,  1869 — New  York, 
July  n,  1924;  composer;  pupil  of 
Rubinstein  and  Rimsky-Korsakov, 
St.  Petersburg  Cons.;  cantata  "The 
Angel,"  prod,  at  court;  lived  in  New 
York  as  cond.  of  Russian  choral 
society,  etc.;  c,  operas,  piano  suites, 
and  songs. 

Branstet  (broo-sta),  Ed.,  Toulouse, 
April  29, 1836 — Louchon,  Dec.,  1901; 
pupil  of  Stamaty,  Litolff,  and  Ravina; 
pianist  and  composer;  toured  Russia, 
etc.;  lived  in  Toulouse;  composer. 

Brown,  (i)  Dr.  J»,  Northumberland, 
*7*5 — 1766;  writer.  (2)  Eddy,  b. 
Chicago,  July  15,  1895;  violinist; 
studied  with  Hubay  and  Auer;  d6but 
with  London  Philh.  Orch,,  1909; 
toured  widely  in  Europe  and  America; 
active  also  in  chamber  music  groups, 
particularly  in  radio  programmes. 

Brown  lee,  John,  b.  Geelong,  Australia, 
1901;  operatic  barytone;  studied  with 
Gilly;  discovered  by  Melba  and  came 
to  England,  sang  at  her  Covent 
Garden  Op.  farewell,  1926;  d€but 
Paris  Op.  1927,  of  which  he  has  been 
a  member  since;  has  also  sung  at 
Monte  Carlo  and  Covent  Garden, 
principally  in  Italian  and  French 
roles;  engaged  for  Met.  Op.  Co., 

1036-37. 

Bruch  (brookh),  Max,  Cologne,  Jan.  6, 
1838 — near  Berlin,  Oct.  2,  1020; 
noted  pianist  and  composer;  at  nrst, 
pupil  of  his  mother  (n£e  Almenra- 
der),  a  singer;  later  with  Breiden- 
stein,  Bonn;  1853  he  gained  the 
four-year  scholarship  of  the  Mozart 
Foundation  at  Frankfort,  and  stud- 


ied with  Hiller,  Reinecke,  and 
Breuning;  at  14,  prod,  a  symphony, 
Cologne;  1858,  his  first  dram,  work, 
Goethe's  Singspiel,  "Scherz,  List  und 
Roche19  (op.  i);  1864,  prod,  opera 
"Loreley,"  etc.;  male  chorus  "Fr&h- 
jof";  1865-457,  at  Coblenz,  composed 
his  first  pop.  vln.-concerto  (G 
minor);  1867-70,  court-cond.  at  Son- 
dershausen;  in  1878  cond.  Stern 
Choral  Union,  Berlin;  in  1880,  coad. 
Liverpool  Philh.  Soc,;  1883,  dir. 
Breslau  Orchestral  Soc.;  iSSi,  m. 
Frl.  Tuczek,  of  Berlin,  a  singer;  lived 
in  Breslau  till  1890;  1892—1910,  at 
JEC.  Hochschule  in  Berlin;  he  Deceived 
in  1908  the  Prussian  order  €or  merit 
in  art  and  learning,  and  many  honours 
from  England,  France,  etc.;  prod. 
1872,  ""  Hermione"  based  on  "Win- 
ter's Tale";  1873-78,  prod,  the 
chorals  "Arminius"  and  "Lied  <9on 
derGlocke,"  and  the  2d  vln.-coacerlo; 
1883,  came  to  U.  S.  and  prod,  hie 
"Arminius,"  Boston.  The  epic  oan> 
tata  is  his  special  field;  among  his 
works  of  this  sort  are  w^^-- -- «-  " 


"Arminivs,"  "Lied  von  der  Gleck*," 
and  "AchillGus"*,  for  male  chorus, 
"F*M#cf,"  "Salamis,"  "  Noriwinncn- 
zug"  and  "Leonidas"  (op.  66).  He 
arranged  the  old  Hebrew  melody 
Kol  Nidre,  and  composed  a  cantat* 
"Das  F&uerkreud*  (<>P-  $*,  iSS8); 
three  symphonies;  oratorio,  "Af<w*s" 
(1895);  3  vln.-concertos,  which  have 
won  great  popularity^  secular  orato- 
rio, "Gustav  Adolf9;  "  Nal  und  Dwma- 
janf;  "Die  Macht  des  Gesawges,"  for 
barytone,  mixed  chor.  and  orch.y  etc. 

Briickler  (brUkM&r),  Hugo,  Dresden, 
1845  —  *8ri;  composer. 

Bruclmer  (brook  '-n€r)7  Anton,  Aus- 
felden,  Upper  Austria,  Sept.  4,  1824 
—  Vienna,  Oct.  it,  1396;  emment 
composer;  mainly  self-taught  as  or- 
ganist; 1867,  court-organist  at  Vien- 
na; prof,  of  org.,  harm,  and  cpt.  at 
Vienna  Cons.;  1875,  "Lektor"  of 
music  at  Vienna  Univ.;  1891,  Dr. 
hon.  causa;  noted  organ-  virtuoso  and 
a  disciple  of  Wagner;  he  composed 
nine  symphonies:  i,  C  minor 


2,  C  minor  (1873);  3»  3D  minor  (1877): 
4,  E  flat,  known  as  the  "Romantic* 


(1881);  5,  B  flat  (1894);  6   A 

7,  E  (1884);  8,  C  minor  (1892)^0, 

left  inconaplete  but  often  play&d  with 

his  "Te  Deum"  as  concluding  choral 

movement. 

In    1936    the    publication    of 


82 


DICTIONARY  OF  MUSICIANS 


original  version  of  Bruckner's  sym- 
phonies by  the  Musikwissentschaft- 
liche  Verlag,  Vienna,  led  to  a  con- 
troversy as  to  whether  the  previously 
known  copies  had  been  indefensibly 
altered  and  ed.  by  his  pupils  Ferdi- 
nand Loewe  and  the  brothers  Franz 
and  Josef  Schalk,  But  evidence  was 
adduced  to  show  that  B.  approved 
these  changes. 

His  choral  works  include  three 
Grand  Masses,  a  "Te  Deum,"  a 
Requiem,  motets,  psalms,  and  vari- 
ous church  music,  pcs.  for  male 
chorus.  C.  also  a  stnng  quintet. 
The  fame  of  B.  has  grown  to  great 
proportions  since  his  death,  not  only 
in  Germany  and  Austria,  where  he  is 
considered  a  classic  in  the  great  line 
of  Romantic  composers,  but  also  in 
other  countries.  An  International 
Bruckner  Soc.  devotes  itself  to  fur- 
thering perfs.  of  his  music.  The  best 
passages  in  his  works  are  undoubt- 
edly of  noble  fervour  and  breadth, 
some  even  approaching  sublimity, 
but  other  pages  are  clumsy,  repeti- 
tious, and  lacking  in  contrast.  The 
influence  of  Wagner  is  evident  m  Eis 
scores,  also  of  baroque  organ  style, 
Biog.  by  Fz.  B  runner  (Linz-on- 
Danube,  1895).  Other  memoirs  by 
Louis,  Funtek,  Gr&flinger,  Morold, 
Halm,  Krug,  Grunsky  and  Goll- 
erich, 

Briickner  (bruk'-nSr),  Oscar,  Erfurt, 
Jan.  2>  1857 — Wiesbaden,  June  8> 
1930;  'cellist:  pupil  of  GrUtzmacher 
and  Draeseke;  toured  Germany, 
Russia,  etc.;  Ducal  chamber-virtuoso 
at  Strelitz;  1889  teacher  in  the 
Wiesbaden  Cons.,  and  composer* 

Brugnoli  (brSdn-yS'-la),  Attllio,  b. 
Rome,  Sept*  7,  1880 — Bolzano,  July 
io»  1937;  won  ist  prize  in  inter- 
national Rubinstein  contest,  Paris, 
1905;  appointed  prof,  of  piano  at 
Parma  Cons,  in  competition  same 
year;  1007,  Naples  Cons.;  xox6,  at 
Kome  Cona*  and  after  1921,  Florence 
Cons.;  has  c.  music  for  orch.,  piano, 
violin^  also  ed.  complete  works  of 
Chopin. 

Bruhns  (broons),  Nikolaus,  Schwab* 
stadt,  SchleswJg,  1665  —  Husum, 
1697:  organist  and  violinist. 

Brflll  (brtf),  Ignaz,  Moravia,  Nov.  7, 
1846 — Vienna,  Sept.  17,  1907*5  pian- 
ist; pupil  of  Epstein,  Rufinatscha 
and  Dessoff;  1872-78,  pf»-prof.  Ho- 
rak  Institute,  Vienna;  his  first  opera 


"Die  BetHer  von  Sami*arkand"  (1864) 
was  not  succ.,  but  "Das  Goldene 
Kreuz"  (Berlin)  (1875)  was  very 
pop.;  followed  by  6  other  operas  and 
the  succ.  comic  opera  "Der  Husar" 
(Vienna,  March  2,  1898);  composed 
also  hunting  overture  "Im  Weldc,"- 
etc. 

Brume!  (broo'-mSl),  Anton,  ca*  1480—* 
ca.  1520;  Flemish  cptist. 

Bruneau  (brti-n5)  (Louis  Chas,  Bona- 
venture),  Alfred,  Paris,  March  3, 
1857 — ^June  15,  1934;  pupil  of 
Franchomme  at  the  Cons.;  took  first 
'cello  prize,  2876;  studied  with  Savart 
and  Massenet;  1882,  took  first  prize 
with  cantata  "Sainte  Genev&vc"; 
composed  operas  "  Kcrim"  (Op^ra- 
Populaire,  1887),  "Le  K&ve**  (Paris, 
1892),  and  the  very  succ.  drame 
Ivrique  "L'AUague  du  Moulin'** 
(OpSra-Comique,  Paris,  1893);  un- 
succ,  drame  lyrique  "Me 
(Paris,  Or.  Opera,  Feb.  3:9, 
the  last  three  are  on  texts  from  , 


incid-  music 


a.,  1903);  i -a 
drama  "iLasare"  (1905);  incic 

to    "La   Faute   de   I9 Abb*    2 

(Od&m,  1007);  lyric  drama  "Nats 
Nicoulitf*  (Monte  Carlo,  1907);  "Le 
Rot  Candavle"  (1920);  "Le  Jardin 
du  Paradis"  (1921);  ballets,  orch. 
and  choral  works:  songs  set  to 
Catulle  MendeV  "Lieds  en  prose"; 
1803-05,  critic  of  "Oil  Bias."  1895  of 
"Le  Figaro**  officier  of  Legion  ol 
Honour. 

BrunelH  (broo-nfcl'-le),  A.,  i7th  cent.; 
conductor  to  Duke  of  Florence; 
writer  and  composer, 

Brunetti  (broo~n£t'-te"),  Gaetano,  Pisa, 
1740? — Madrid,  xSoB;  composer. 

Bruni  (broo'-na),  A,  Bart,  Coni,  Pied- 
mont, 5759 — 1823;  violinist,  cond. 
and  dram,  composer. 

Brun'skill,  Muriel,  b,  Kendall,  Eng- 
land* Dec.fci8,  i Spp ; contra! to j  d^but, 
London,  m  recital.  1920;  jneniber 
British  Nat'!.  Op.  Co.,  2922-27;  hits 
sung  with  leading  British  orchs.  and 
at  festivals;  also  appeared  in  United 
States. 

Bruyck  (broik),  K.  Debrois  van,  BrQnn, 
March  14,  1828 — Wiidhofen,  Aug. 
i,  1902;  studied  law.  Vienna,  1850; 
and  theory  with  Rufinatscha;  writer 
on  Bach,  etc* 

Bryen'nius,  Manuel,  lived  cat*  1320; 
last  Greek  theorist. 


DICTIONARY  OF  MUSICIANS 


83 


Buchholz  (bookh'-h61ts),  (i)  Jn.  Sim- 
eon, Schlosswippach,  1758 — Ber- 
lin, 1825;  founded  firm  of  organ- 
builders;  succeeded  by  his  son 

(2)  K.  Aug.  (1796 — 1884),  whose  son 

(3)  K.  FT.,  d.  Feb.  17,  1885. 
Buchner     (bookh'-ner),     Philipp    Fr., 

Wertheim,  1614 — Wiirzburg,  1669; 
cond.  and  comp. 

Biichner  (btikh'-nSr),  Emil,  Osterfield, 
near  Naumburg,  Dec.  25,  1826 — 
Erfurt,  June  9, 1908;  pupil  of  Leipzig 
Cons.;  1865,  court-conductor;  com- 
posed 2  operas,  etc. 

Buck,  (i)  Zechariah,  Norwich,  Eng- 
land, ^708 — Newport,  Essex,  1879; 
organist  Norwich  Cathedral;  teacher 
and  composer.  (2)  Dudley,  Hart- 
ford, Conn.,  March  10,  1839 — 
Orange,  N.  J.,  Oct.  6,  1909;  pupil 
W.  J-  Babcock  (pf.)»  then  of  Plaidy 
and  Moscheles  (pf.)?  Hauptmann 
(comp.)  and  J.  Reitz  (instrumenta- 
tion), 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; 
organist  of  Holy  Trinity  Ch.,  Brook- 
lyn; director  Apollo  Club;  composed 
comic  opera  "Descret"  (prod.  1880): 
symphonic  overture  *<Marmion  * 
(xSSo),  many  cantatas;  the  46th 
Psalm;  "The  Christian  Year,"  a  se- 
ries of  5  cantatas;  wrote  2  books  of 
Pedal-phrasing  Studies,  and  "Illus- 
trations on  Choir-accompaniment,  with 
Hints  on  Registration*;  pub.  "The 
Organist's  Repertoire"  (with  A.  P. 
Warren);  "The  Influence  of  the  Organ 
in  History"  (1882);  and  a  "Diction- 
ary of  Musical  Terms  *  (3)  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  Wells  Cathedral,  1899-1901. 
Bristol  Cathedral;  1910,  prof,  of 
music  Dublin  University,  vice-pres.; 
1927,  prof,  of  music,  Univ.  of  Shef- 
field; c.  overture  tfCoeur  de  Lion"; 
chamber  music,  etc. 

Buhl  (btil)*  Joseph  David,  b.  Amboise, 
1781;  famous  trumpet-player  at 
Paris:  author  of  trumpet-method. 

Bfihler  (btt'-lSr),  Fz.  P.  Gregorius, 
Schneidheim,  1760 — Augsburg,  1824; 


Benedictine  monk,  1794;  conductor 
at  Botzen;  dram,  composer  and  theo- 
rist. 

Buhlig,  Richard,  b.  Chicago,  Dec.  21, 
1880;  pianist;  studied  in^native  city 
and  with  Leschetizky  in  Vienna; 
after  1901  taught  in  Berlin,  and 
toured  in  Europe  and  U.  S.  as  recital- 
ist;  Amer.  d6but,  1907,  with  Phila. 
Orch.;  1918-20,  taught  at  Inst.  of 
Mus.  ~Art,"N.  Y.;  later  lived  on 
Pacific  Coast;  d.  Los  Angeles,  1952. 

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;  1617,  organist  Notre 
Dame,  Antwerp;  an  early  English 
composer  whom  Oscar  Bie  credits 
with  remarkable  originality  in  the 
midst  of  over-ornamentation. 

Bull  (bool),  Ole  (Bornemann),  Bergen, 
Norway,  Feb.  5,  1810 — Lysoen, 
Aug.  17,  1880;  enormously  popular 
and  brilliant  violin-virtuoso,  a  whit 
charlatanic;  pupil  of  Pauls  en;  then 
self-taught,  using  a  bridge  almost 
level  and  a  flat  fingerboard;  studied 
theology,  but  failed  in  examinations; 
1828,  dir,  Philh.  and  Dram.  Soc.f 
Bergen;  1829,  studied  with  Spohx 
briefly;  1832,  d6but,  Paris,  after  Hy- 
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  char- 
acteristic solos;  biog.  by  Sara  C. 
Bull,  his  second  wife,  Boston>  1883, 
and  by  Vlik  (Bergen,  1890). 

Billiard,  Fred.  F.,  Boston,  Mass., 
Sept.  21,  1864 — June  24,  1904; 
1888-92,  studied  comp.  under  Rhein- 
berger,  Munich;  teacher  of  comp., 
critic  and  composer,  Boston;  pub. 
many  successful  ballads  and  four- 
part  songs  for  male  voices,  also  sacred 
music. 

Billow  (fOn  bti'-l6),  Hans  Guido  von, 
Dresden,  Jan.  8, 1830 — Cairo,  Egypt, 
Feb.  12,  1894;  versatile  and  influen- 
tial musician;  pianist  and  conductor 
of  remarkable  accuracy  and  memory, 
popularising  the  custom  of  conduct- 
ing without  score;  often  called  the 
best  interpreter  of  Beethoven,  but 
rather  cola  as  a  pianist;  at  9,  studied 
pf,  with  Fr.  Wieck;  harmony  with 


84 


DICTIONARY  OF  MUSICIANS 


Ebewein;  1848,  entered  Leipzig  Univ. 
aslfc^studemt,  but  studied  cpt.  with 
Hauptmann;  1849,  Wagner's  "Die 
und  die  Revolution"  stirred 


him     deeply,     and     having     heard 
"  under  Liszt's 


at  Weimar  under  Liszt's 
direction,  he  joined  Wagner,  then 
exiled  at  Zurich,  1850-51;  studied 
conducting  with  him,  and  acted  as 
corwL  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  Stern  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.  hon.  causa, 
TJniv.  of  Jena;  1864,  court-pianist, 
Mtajaich;  1867-69,  court-conductor 
aad  dir.  School  of  Music;  1869-73, 
teacher  and  pianist  in  Florence; 
18  75-76  >  gave  139  concerts  in  Amer- 
ica; 1878-80,  court-conductor  at 
Hanover;  then  till  1885,  Hofmusik- 
intendant,  Saace-Meiningen;  i88a,  m. 
Marie  Schanzer;  1885-88,  teacher 
Ra£E  Cons..  Frankfort,  KHad  worth 
Cons.,  Berlin,  and  dir.  Berlin  Philh. 
Concerts;  in  1888,  founded  the  succ. 
"Subscription  Concerts*"  Composed 
music  to  "Julius  Casar"  (op*  10);  a 
Ballads  for  orch.,  "Des  S&ngers 
FfaeW  (op,  16);  "Nirvana,"  a  sym- 
phottic  Stimmungsbild  (op.  20);  4 
Cha*akterstttcke  for  orch.  {op.  23); 
a  few  pf.-pcs,  and  songs;  also  many 
piamo  arrangements*  His  critical  ed, 
of  Beethoven's  sonatas,  and  Cramer's 
,  Etudes,  are  standard;  biog.  by  his 

*d  wife  (Leipzig,  x8o$). 
Btitas  (book),  Paul,  Birkholz  Manor, 
Priegnits,  Dec.  19,  1847  —  Temeavar, 
Hungary,  March  20,  19025  pupil  of 
G.  Engel;  barytone  at  Dresdea 
(1876-89),  later  at  Berlin  court 
opera. 

(boolt'-howpt),  H.»  Bremen, 


Qct,  26,  1849—  Aug.  21,  1905;  wrote 
a  valuable  "Dramaiurgie  der  Optr"- 
(Leipzig*  1887). 
Btuogert  (boong'-Srt),  August,  Mtthl- 
hwm-on-Ruhr,  March  i4>  *%4f>  — 
Leutesdorf-on-Rhine,  Oct.  26,  1915; 
pupil  of  Kufferath  (pf.)»  iater  at 
Cologne  Cons,;  for  4  years  at  Paris 
Cons.;  then  (1869)  with  Mathias; 
lived  (1873*81)  at  Berlin,  and  stud- 
kd  cpt-  with  Kiel;  lived  near  Genoa. 
€*  *rJDs$  Kfimcrisch*  Wettf  in  a 
Homeric  opera-cycles,  occupying  6 


"evenings"  (Abende),  each  -with  a 
"Vorspiei";  The  Iliad  ("Die  Ilias"y 
is  unfinished:  (a)  Antilles;  (b)  Kly- 
temnestra.  The  Odyssey  (* '  Die  Odys- 
see***)  consists  of  Circe;  Nausikaa; 
Odysseus'  Heimkekr  (Berlin,  March 
31,  1898;  succ.),  and  Odysseus'*  Tod 
7Dresaen7  1902).  Other  comp.  are 
(comic  opera)  "Die  Studenien  von 
Salamanca"  (Leipzig,  1884);  symph. 
poem,  "Aufder  Wartburg";  "  Hohes 
Lied  der  Licbe"  with  orch.;  overture, 
"Tasso,"  pf,  quartet,  op.  18;  Floren- 
tine quartet  (prize,  1878);  "Italie- 
nishe  Reisebilder"  etc.,  for  pf.;  songs 
to  Carmen  Syiva's  "Lieder  einer 
K8*igin,"  etc. 

Bun'nett,  Edw.,  near  Norwich,  England, 
1834 — 1923;  articled  to  Dr.  Buck, 
1849;  organist  various  churches, 
Mus.  Doc,  Oxon,  1869;  1871-92, 
cond.  Norwich  Mus.  Union;  2872 
organist  of  the  Norwich  Festivals; 
composed  cantata,  etc. 

Bnn'nxng,  Herbert,  b.  London,  May  2, 
1863 — Thundersley,  1937;  pupii  of  V. 
Ferroni;  c.  Italian  scenat  "Ludavico 
41  Moro"  (proci.  with  succ.t  1892), 
also  2  symphonic  poems,  opera  "The 
Last  Days  of  Pompeii"  (NLS.) 


.. 

t  w.,  Armagh,  Feb.,  1773 — 
Belfast,  2843;  historian  and  collector 
of  Irish  music. 

Buonamente  (boo-o-nfi-me'n  -t«),  Glov* 
Bat.r  cond*  Franciscan  monastery  at 
Assisi;  early  and  important  composer 
£or  violin,  also  cornefcti  (1623-36); 
confused  by  F£tis  with  Bonometti. 

Buoocuunici  (boo-o-nt-mft'-ch*),  (x)  Giut.» 
Florence.  Feb.  12,  1846 — March  18, 
1914;  pianist;  pupil  of  his  uncle 
Ceccherini,  and  of  BUlow  and  Rhcin- 
berger  at  Munich;  1873,  cond.  Flor- 
entine Choral  Society  "Chenibini"; 
founded  the  Fior,  **Trio  Society*'; 
pub.  Etudes,  etc,  (a)  Carlo,  Flor- 
ence, June  20,  187$ — Boston  (?}, 
1920;  pianist;  son  and  pupil  of  Gtu~ 
seppe  (q.  v.),  later  studied  at  Wiirr- 
burg  Royal  Musicach.,  with  Van 
ZeyT,  taking  first  prine;  after  year  in 
tbe  army,  settled  in  Boston,  1896, 
as  teacher  and  pianist  with  Boston 
Symph.  Orch.,  etc.;  1908  toured 
Europe. 

Buongiorno  (boo-$n-j6r  -n6),  Ores- 
censco,  Bonito,  1864— -Dresden,  Nov. 
7>  ^9<>3;  «•  operas* 

Buoaonoii,     vide  soscoNcnct. 

Burburd  de  Wesexnbeck  (Hr-btlr  dtt 

»  Chevalier 


DICTIONARY  OF  MUSICIANS 


85 


de,  Termonde,  1812 — Antwerp,  1889; 
Flemish  nobleman;  writer  and  com- 
poser. 

Burde-Ney  (bttr'-dS-ni7) ,  Jenny,  Graz, 
1826 — Dresden,  1886;  soprano;  1855, 
m.  the  actor  K  Biirde. 

Burette  (bu-ret),  P,  J.,  Paris,  1665— 
1747;  Prof,  of  Medicine,  Paris  Univ.; 
writer  on  Greek  music. 

Burgk  (boorkhO,  Joachim  M  oiler  (or 
Muller),  called  Joachim  A.  Burgk  (or 
Burg,  or  Burck),  Burg,  near  Magde- 
burg; ca.  1541 — Miilhausen,  Thu- 
ringia,  May  24,  1610;  organist  and 
eminent  composer  of  Protestant 
music. 

Burgmein,  J.,  pen-name  of  "Giulio 
Ricordi." 

Burgmiiller  (boorkh'-mttl-lSr) ,  Norbert, 
Diisseldorf ,  1 8 1  o — Aix-la-  Chapelle, 
1836;  pianist  and  composer. 

Btirgstaller    (boorkh'-shtal-lSr),    Alois, 

b.  Hplzkirchen,  Sept.  27,  1871;  tenor; 
studied  with  Bellurth  and   Kniese; 
sang  small  r6les  at  Bayreuth  from 
1894,  "Siegfried"  (1897);  "Siegmund"- 
(1899);  sang  Met.  Op.,  from  1903. 

Bnrleigh,  (i)  Cecil,  b.  Wyoming,  N. 
Y.,  April  17,  1885;  violinist;  studied 
in  Berlin  with  GrUnberg  and  Witek 
(vin.),  Leichtentritt  (comp.)  and  in 
Chicago  with  Sauret,  Hugo  Heer- 
mann  and  Felix  Borowski;  made 
concert  tours,  and  taught  after  1909 
in  Denver,  Sioux  City  and  Missoula; 
res.  in  N.  Y.,  1919-21;  thereafter 
taught  at  Univ.  of  Wis.  (vin.);  c. 
viohn  works  and  songs.  (2)  Harry 
Thacker,  b.  Erie,  Pa.,  Dec.  2,  1866; 
Negro  barytone  and  composer;  stud- 
ied Nat'l.  Cons,  in  N.  Y.,  where  he 
has  lived  since  1892;  active  as  con- 
cert singer  in  U.  S.  and  Europe;  has 

c.  or  arr.  more  than  100  songs,  esp. 
spirituals;  d.  Stamford,  Conn.,  1949. 

Burmeister  (boor'-ml-shtSr) ,  (x)  Rich- 
ard, Hamburg,  1860 — Berlin,  Feb.  9, 
1044;  pupil  Liszt,  accompanying  him 
as  he  travelled;  teacher  Hamburg 
Co  is.;  for  12  years  head  of  pf.  dept., 
Pea'>ody  Frist.,  Baltimore;  1898,  dir. 
\,  Y,  Scharvvenka  Cons.;  X903~o6, 
f  )p  sd^n  Cons.;  1906-25,  lived  in 
lie  i' 11  a;  1925-33  in  Merano;  c.  pf.~ 
concerto  (op.  i),  "The  Chase  after 
Fortune"  ("Die  Jagd  nach  dem 
<*/*&•&"),  a  symphonic  fantasy  in  3 
movements;  rescored  Chopin's  F 
minor  concerto,  and  wrote  orch. 
accomp.  for  Liszt's  "Pathetic"  con- 
certo. (2)  Dory  (n£e  Peterson),  b. 


Oldenburg,  1860;  pianist;  wife  of 
above. 

Burmester  (boor'-ma-sliter),  Willy, 
Hamburg,  March  16,  1869— Jaa,  16, 
*933',  violin- virtuoso;  studied  with 
his  father  and  Joachim;  toured  with 
his  sister,  a  concert-pianist.  Von 
Billow  aided  him  and  brought  public 
attention  to  his  abilities;  toured 
Europe,  and  1899,  America.  Long  a 
leading  virtuoso,  but  in  later  years 
also  a  serious  interpreter;  revisited 
America  a  few  years  before  his  death. 

Bur'ney,  Chas.,  Shrewsbury,  England, 
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.  (1773);  "General 
History  of  Music"  (4  vols.,  1776—89), 
etc. 

Bur'rian,  Carl  (rightly  Karel  Buiiaa), 
Rausinow  near  Rakonitz,  Jan.  12, 
1870 — Senomat,  Sept.  25,  1924; 
opera  tenor;  pupil  of  Pivoda  in 
Prague;  d6but,  1891,  in  Briinn;  sang 
in  Reval,  Cologne,  Hanover,  Ham- 
burg; 1898-1911  at  the  Dresden  Op*; 
then  several  years  in  Vienna  and 
Budapest;  at  Met.  Op.,  N.  Y.,  and 
at  Bayreuth. 

Bur'rowes,  J.  Freckleton,  London, 
1787 — 1852;  organist,  pianist  and 
writer. 

Bur'tius  (orBtirciCboor'-che})  orBurzio 
(boor'-ts£-5),  Nicolaus,  Parma,  1450 
— 1518;  wrote  the  earliest  specimen 
of  printed  mensural  music. 

Bur 'ton,  Frederick  R.,  Jonesville,  Mich., 
1 86 1 — Lake  Hopatcong,  N.  J.,  1909; 
graduated  at  Harvard;  1.  Yonkers, 
N.  Y.;  founded  there,  1896,  a  choral 
society;  c.  pop.  cantata  "  Biawat&a" 
etc. 

Bus 'by,  Thos.,  Westminster,  Eaglaad,, 
1755 — London,  1838;  Mus.  Doc.; 
composer  and  writer. 

Busch,  (i)  Adolf,  b.  Siegen,  <*ermamy,. 
Aug.  8,  1891 — Guilford,  Vt.,  June  9, 
1952;  studied  at  Cologne  Cons.;  first 
vin.,  Vienna  Orch.,  1912-1^;  toured 
as  solo  performer  in  European  cities, 
1918-22;  in  sonata  recitals  with 
Rudolf  Serkin,  pianist,  and  in  tario 
with  Serkin  and  H.  Busch;  suc- 
ceeded Marteau  as  teacher  at  Berlin 
Hochsch.,  1919,  where  formed  string 
auartet;  has  toured  in  U.  S.,  as  solo- 
ist with  leading  orchs.;  c.  orchestral 
and  chamber  works,  songs.  (2)  Carl, 


86 


DICTIONARY  OF  MUSICIANS 


Bjerre,  Denmark,  March  29,  1862 — 
Kan.  City,  Dec.,  1943;  pupil  Brussels 
Cons.,  with  Gade,  Svendsen,  Godard 
and  others;  res.  in  Kansas  City,  Mo., 
since  1887;  org.  and  cond.  Symph.. 
Orch.  there  for  some  years,  beginning 
1912;  knighted  by  Danish  Gov't. 
same  year;  c.  cantatas,  orchestral 
and  chamber  music  works,  anthems 
and  part-songs.  (3)  Fritz,  b.  Siegen, 
Mar.  13, 1890 — London,  Sept.  14, 1951; 
conductor;  bro.  of  Adolf;  studied  at 
Cologne  Cons.,  conductor  Riga  Op., 
1909;  summer  concerts,  Bad  Pyr- 
mont,  1910—12;  choral  director, 
Gotha  Musikverein,  1911-12;  court 
music  director,  Stuttgart,  and  cond. 
Opera  there,  1918;  conductor  Dres- 
den Op.  and  Symph.  Concerts,  1922 
until  1933,  during  which  time  he 
made  guest  tours  to  other  countries 
including  U.  S.,  where  led  N.  Y. 
Symph.  Orch.  as  guest  in  1925-26; 
has  conducted  opera  and  concerts  in 
Buenos  Aires,  1933  and  subsequent 
years;  also  led  Mozart  opera  festivals 
at  Glyndebourne,  Sussex,  beginning 
1034;  with  Met.  Op,,  after  1946. 

Bus!  (boo'-ae"),  (i)  Giu.,  Bologna,  1808 
— 1871;  Prof,  (a)  Alessandro,  Bo- 
logna, 1833 — 1895;  SOB  of  above; 
'cellist  and  conductor. 

Busnois  (btln-wa),  A.  (rightly  de  Btisne 
(du  bun)  ),  d.  1481;  Netherland  con* 
trapuntlst. 

Bttsoni  (boo-ss'-nfc),  Femicdo  B«HTO- 
ntrto,  Erapoli,  near  Florence,  April  i, 
1866 — Berlin,  July  37,  1924;  noted 
comp*  and  pianist;  pupil  of  his  father 
(FdoA  clarinettist,  and  his  mother 
(nte  Weiss),  a  pianist;  at  8,  dfebut 
at  Vienna;  then  studied  with  W.  A* 
Remy:  *88x,  toured  Italy;  at  *$, 
elected  a  member  of  the  Reale  Acca- 
demia  Filarmonica,  Bologna;  2886, 
Leipzig,  where  he  c.  a  fantastic  opera, 
a  string-quartet  (D  min.),  sym- 
phonic suite,  etc.;  1888-89,  Prof. 
Helslngfors  Cons.;  1890,  won  Rubin- 
stein prizes  for  comp.  and  pf  .-playing, 
with  a  Concertst&ck  for  pf .  and  orch.f 
op.  3ia;  sonata  for  pf.  and  vln.;  pf. 
arr*  of  Bach's  Eb  Organ  Prelude,  and 
Pugu*;  and  other  pf.  pcs.  incl.  2 
Cadenzas  to  Beethoven's  Concerto  in 
G;  1890,  Prof,  in  the  Moscow  Imp. 
Cons.j  1891-93  at  Hew  England 
Cons.,  Boston;  in  1907  he  succeeded 
Sauer  as  teacher  of  the  master  class 
at  Vienna  Cons.;  1911  toured 
America;  X9i.v-xs,  dlr*  Bologna 


Liceo;  1915,  took  up  residence  in 
Zurich;  after  1920,  taught  master 
class  in  comp.  at  Berlin  Acad.  of 
Arts.  He  made  notable  transcrip- 
tions of  Bach  organ  works  for  piano, 
which  have  held  a  place  in  the 
repertoire;  also  Liszt  piano  pieces; 
mem.  Legion  of  Honour,  1913.  Wrote 
treatise  on  notation  (1910);  edited 
Bach's  "Well-tempered  Clavichord" 
with  fitudes;  other  comps.,  "Lust- 
spiel  OuvertUre";  4  choruses  with 
orch.;  a  suites  for  orch.;  a  *'Sym~ 
phonisckes  Tongcdickt"  for  orch., 
symph.  tone-poem  "  Pojokla*$  Tech- 
ier" festival  overture,  1897;  music 
to  "Berceuse  tUgiaqueJ*  for  orch.; 
wrote  "Eniwurf  finer  neuen  Aesthe- 
iik  der  Tonkunst"  His  opera,  "Der 
Braut-wahl"  was  prod.  Hamburg, 
April  13,  1912,  based  on  Hoffman's 
"Serapeons*  BHider."  His  operas 
"Turandof*  and  "Arletchino"  were 
planned  on  old  Italian  "Commedia 
dell*  Arte"  (latter,  Zurich,  19x8).  He 
left  unfinished  an  opera,  "Doktor 

'  Faust,"  on  which  he  had  worked  for 
many  years;  completed  by  Jarnach, 
it  was  prod,  with  succ.  (Dresden, 
1935)*  Wrote  memoirs. 

Biisser  (biis-aa),  Henri,  b.  Toulouse, 
Jan.  1 6.  1872;  pupil  of  Guiraud  ana 
Gounod;  took  first  Grand  Prix  de 
Rome,  with  cantata  "Antigone"; 
1892,  organist  at  St.  Cloud;  after 
1902,  cond.  at  Op.-Comique;  c*  succ. 
i-act  pastorale  ^Dapknis  et  Ckloc" 
(Paris,  Op.  Com.),  1807;  cantata 
"Amodis  de  Gavle>"  1802  (taking  ad 
Gra.  i  Prix  de  Rome);  bauets 
"Colomba"  and  "Les  Notes  Corin~ 
ikitnnes";  "SommeU  de  V  Enfant 
Jesus"  for  vln.  and  orch*;  also  over* 
tures,  suites,  organ  works,  harp  and 
orch.  comp.  Member,  Institut  de 
France. 

Busslftr  (boos'-l$r),  L.,  Berlin,  Nov.  26, 
1838 — Jan.  18,  1901;  theorist;  son  of 
the  painter- author,  Robert  Bussler; 
pupil  of  von  Hertz  berg,  Dehn.  Grell, 
and  Wieprecht;  1865,  teacher  of 
theory,  Ganz  School  of  Music;  from 
1879,  at  ^  Stern  Cons.,  Berlin; 
critic  and  writer  of  various  treatises* 

Bussraeyer  (boos'-ml-^r),  (i)  Hugo, 
Brunswick,  1842 — ^Rio  de  Janeiro,  ?; 
pianist;  pupil  of  K.  Richter.  Litom 
<pf.)t  and  Methfesse!  (comp,);  1860, 
toured  in  South  America;  1860,  N. 
Y.;  settled  in  Rio  de  Janeiro;  com- 
poser aad  writer,  (a)  Harts,  Bruns- 


DICTIONARY  OF  MUSICIANS 


87 


wick,  1853 — Poecking,  Sept.  21, 1930; 
bro.  of  above;  pianist;  pupil  of  Royal 
School  of  Music  at  Munich,  and 
teacher  there,  1874;  also  studied  with 
Liszt;  toured  S.  America,  1872—74; 
1879,  founded  Munich  Choral  So- 
ciety. 

Bustini  (boos-te'-ne),  Aless.;  b.  Rome, 
Dec.  24,  1876;  Italian  composer, 
prod.  succ.  opera  "Maria  Didcis" 
Rome,  1902;  libretto  by  Luigi  Ilica. 

Buths  (boots),  Julius,  Wiesbaden, 
May  7,  1851 — Diisseldorf,  March  12, 
1920;  pianist;  pupil  of  his  father  (an 
oboist),  also  of  Gernsheim,  Hiller  and 
Kiel;  1871-72,  cond.  the  "Cecilia," 
at  Wiesbaden;  1873,  won  Meyerbeer 
Scholarship,  and  lived  in  Milan  and 
Paris;  1875-79,  cond.  in  Breslau;  in 
Elberfeld,  1879-90;  cond.  Mus.  Soc. 
at  Elberfeld;  1890-1908,  civic  mus. 
dir.,  Diisseldorf  and,  1902,  head  of 
Cons,  there;  c.  concerto,  etc.,  for  pf . 

Butt,  Clara,  Southwick,  Sussex,  Feb.  i, 
1873 — near  Oxford,  Jan.  23,  1936; 
eminent  English  contralto;  won 
scholarship  at  London  R.  C.  M.; 
pupil  of  Bouhy  and  Mme.  Gerster; 
deout,  London,  1892;  toured  Amer- 
ica several  times  after  1899;  l°nS  a 
favourite  soloist  at  festivals  in  Great 
Britain,  and  one  of  the  most  popular 
concert  singers  of  her  day;  made 
world  tour  in  1913-14  with  her  hus- 
band, R.  Kennedy  Rumford,  bary- 
tone; works  esp.  written  for  her  in- 
cluded Elgar's  ftSea  Pictures";  Dame 
Commander  of  the  British  Empire. 

But' terwortn,  George,  London,  July  12, 
1885 — died  in  battle,  at  Pozifcres, 
Aug.  $>  1916;  composer;  grad.  of 
Oxford  Univ.,  studied  music  pri- 
vately; a  short  time  at  R.  College  of 
Music;  c,  orch.  works  incl.  "A  Shrop- 
shire Lad,"  chamber  music  and  songs. 

Buttstedt  (boot'-shtSt),  Jn.  H.,  Bin- 
dersleben,  1666 — Erfurt,  1727;  writer 
of  a  famous  defence  of  sol-mi-sa-tion; 
also  organist  and  composer. 

Buus  (boos).  Jacket  (Jacques)  de, 
Bruges  (?),  1510— Vienna,  1565; 
Flemish  cptist;  1541,  asst.  organist, 
San  Marco. 

Buartehude  (boox'-tS-hoo-de*),  Dietrich, 
Helsmgar  (Elsinore),  Denmark,  1637 
— LUbeck,  1707;  organist:  1673,  he 
established  the  "Abendmusiken," 
which  J*  S.  Bach  walked  50  miles  to 
hear;  great  composer  of  fugues  and 
suites* 

(Byrde,  Bird,  or  Byred),  Wm.; 


according  to  his  will,  discovered  in 
1897,  he  was  born  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?  or- 
ganist; 1563,  choirmaster  and  organ- 
ist Lincoln  Cathedral;  1575,  procured 
with  Tallis,  his  former  teacher,  an 
exclusive  patent  for  the  privilege  of 
printing  music  and  selling  music- 
paper;  has  been  called  "English 
Palestrina"  for  his  supreme  church 
choral  music;  also  celebrated  for 
his  harpsichord  comps. 


Caballero  (ka-ba-ya'-r5),  Manuel  Fer- 
nandez, Murcia,  March  14,  1835 — 
Madrid,  Feb.  20,  1906;  pupil  of 
Fuertes  (harm.)  and  Eslava  (comp.), 
Madrid  Cons.;  c.  pop.  Zarzuelas 

£r.  D.  D.)  and  church-music. 
el  (kS.-bel),  rightly  Cabu,  (i)  Ed., 
singer  Op.  Com.,  Paris.  (2)  Marie 
Josephe  (n6e  Dreulette),  Li6ge, 
1827 — 1885;  sister-in-law,  or  perhaps 
mother,  of  above;  soprano. 
Cabezon  (ka'-ba-th6n),  (i)  (Felix), 
Antonio  De,  Santander,  March  30, 
1510 — May  26,  1566;  composer; 
cembalist  and  organist  to  Philip  II; 
called  "The  Spanish  Bach";  blind 
from  birth;  c.  harp  and  lute  pieces, 
published  in  1578  by  his  son  (2) 
Hernando,  who  succeeded  him. 
Cabo  (ka'-bO),  Francisco  Javier,  Na- 
guera,  near  Valencia,  1768 — Valen- 
cia, 1832;  organist,  conductor  and 
composer. 

Caccinl  (kat-che'-ne*),  Giulio  (called 
Romano),  Rome,  ca.  1546 — Florence, 
1618;  a  revolutionary  composer 
well  called  "The  father  pf  a  new  style 
of  music";  studied  singing  and  flute- 
playing  with  Scipione  della  Palla. 
Wrote  and  sang  "Musica  in  Stile 
Rappresentativo*  and  c.  "II  Rapti- 
mento  di  Cefalo"  (Oct.  o,  1600),  the 
first  opera  ever  publicly  prod.;  he 
had  also  set  to  music  other  works  by 
Bardi  (q.  v.),  and  collaborated  with 
Peri  (q.  v.)  in  "Dafne,"  the  first 
opera  ever  composed.  He  c.  also 
a  novel  set  of  madrigals  justly  called 
"Le  nuove  musiche"  and  other  works 
of  notable  originality  and  importance 
to  progress. 

Cad'inan,  Charles  Wakefield,  b.  Johns- 
town, Pa.,  Dec.  24,  1881;  at  13  be^an 


88 


DICTIONARY  OF  MUSICIANS 


piano  studies,  at  10  composed  a 
comic  opera,  prod,  at  Pittsburgh,  but 
did  not  study  composition  till  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.  Songs9';  1909  spent 
summer  among  the  Omaha  Indians, 
taking  phonograph  records  and  tran- 
scribing them;  gives  lecture-recitals 
on  Indian  music.  C.  "Three  Moods" 
for  symph.  orch.;  chamber  music; 
cantata  for  male  voices  "The  Vision 
Sir  Launfal"  Japanese  romance 


of 
fo; 


for  two  voices,  "Sayonara";  three 
"Songs  to  Odysseus";  Indian  songs, 
operas,  "Skanewis"  (Met.  Op.,  19*8); 
"Witch  of  Salem"  (Chicago  Op., 
1026);  "Sunset  Trail"  (Denver,  CoL, 
1922);  "Garden  of  Mystery"  (N.  Y,, 
1923);  song  cycle,  "White  Enchant- 
ment"] also"Z>ar&  Dancers  of  the  Mardi 
Gras"  for  piano  and  orcfcu,  in  which 
the  comp.  has  played  as  soloist  with 
orchs.:  d.  Los  Angeles,  Dec.  50, 1946* 

Cafaro  (kfi,-fa/-r$),  Pasq.  (called  Caf- 
fariel'lo),  San  Pietro,  Glatina,  Italy, 
1706 — Naples,  1787;  noted  composer; 
c.  operas,  oratorios,  a  notable  "Stabat 
mater  "  etc. 

Caffarelli  (rightly  Gaetano  Majorano) 
(kaf-fa-relMX),  Ban,  April  x6,  1703— 
Santo-Dorato,  near  Naples,  Nov.  30, 
1783;  famous  male  soprano;  discov- 
ered as  a  peasant  boy,  by  Cafifaror  a 
musician,  he  took  the  name  Caffa- 
relli  out  of  gratitude;  he  studied  < 
years  with  Porpora;  was  a  skilful 
sight-reader  and  harpsichordist,  a 
marvellous  singer  of  florid  music,  and 
also  gifted  with  pathos;  had  most 
successful  debut,  Rome,  1724,  in  a 
female  role,  and  sang  with  enormous 
success  everywhere  except  London; 
made  money  enough  to  buy  a  duke- 
dom. 

Caffi  (kat'-te),  Fran.,  Venice,  1780— 
Padua,  1874;  writer. 

Cagnoni  (kan-y6'-n*),  A.,  Godiasco, 
1828 — Bergamo,  1896;  conductor 
and  dram,  composer. 

Cahen  (ka-an),  (t)  Ernest,  Paris,  1828 
— 1803;  pianist  and  dram,  composer, 
(a)  Albert,  Paris,  Jan.  8,  1846— Cap 
d'Ail,  March,  1903;  pianist;  pupil  of 
Mme.  S&arvady  and  Cesar  Franck; 
c.  "Jeanl*  Pr&curseur"  biblical  poem 
(1874);  com,  opera  "Le  Bois"  fiSSo, 
Op.  Com.);  fairy  opera  "La  Bell*  au 
Bois  j&ormant"  (Geneva,  *886);  4- 


act  opera  "Lc  Venitien"  (Rouen,, 
1800);  unsucc.  opera  "La  Femme  de 
Claude"  (Paris,  Op.  Com.,  1*06),  etc 

Cahier  (ka-ya),  Mme.  Charles  (ne'e 
Walker),  b.  Nashville,  Tenn.,  Jan.  6, 
1875 — Manhattan  Beach,  Cal,,  Apr. 
15,  1 051;  sang  in  concerts,  then  stud- 
ied with  Jean  de  Reszke;  d£hut  in  op- 
era as  "Orfeo"  (Nice,  1004);  sang  in 
other  cities  and  from  i<>og  at  Vienna 
Royal  Opera.  1912  at  Met.  Op.f 
N.  Y.;  also  widely  in  concert;  a  noted 
contralto  and  teacher. 

Caimo  (kfi/-e"-m6),  Joseffo,  b.  Milan,, 
ca,  1540;  composer. 

Caland  (k&M&nt),  Elizabeth,  Rotter- 
dam, Jan.  30,  1862 — Berlin,  Jan.  26, 
1929;  teacher  and  author  of  piano* 
methods. 

Caidara  (kal-d&'-ra),  A,,  Venice,  1670 
— Vienna,  Dec.  28,  1736;  court- 
conductor  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.  Ste- 
phen's Church,  Worcester,  and  Cor- 
poration organist;  1883,  prof*  at 
R.  C.  M.,  London;  from  1885,  cond. 
at  the  Albert  Palace;  c.  cantatas,  13 
operettas,  etc. 

Calegari  <kal-ft~gfc'-r*)»  (i)  (or  Calle- 
gari)  Fraa.  A.,  d.  Padua,  1740?;  a 
Franciscan  monk,  1702-24;  conduc- 
tor and  writer  at  Ven*ce,  then  Padua, 
(a)  A.,  Padua,  1757 — 1826;  draix. 
composer  and  writer. 

Cal 'kin,  I,  Bapt.,  London,  March  x6, 
1827 — May  15,  1905;  pianist,  organ- 
ist and  composer;  prof.  Guildhall 
School  of  Mus.;  pub.  services,  etc. 

Cattaartfi  (IcJU'-lftru),  tos.,  Antwerp, 
Aug.  22,  1838 — March  3,  1301;  pupi/ 
of  Lemniens  at  Brussels  Cons,;  01- 
ganist  at  Antwerp  Cathedral,  and 
teacher  at  the  Music  School  from 
1867;  c-  a  prize  symphony  and  pf. 
trio,  comic  opera;  "Lc  Rctour  Im- 
prtvu"  (Antwerp,  1889),  etc. 

CaU'cott,  (i)  J,  Wail,  Kensington, 
Nov.  aof  1766 — May  15,  1811; 
mainly  self-taught;  organist;  *7&g  he 
won  all  the  prizes  oftered  by  the 
"Catch  Club";  1790,  pupil  of  Haydn; 
1800,  Mus.  Doc,  (Oxon);  1806,  lec- 
tured at  the  Royal  Institute;  pro- 
jected unfinished  musical  dictionary; 
mental  disorder  overtook  him  be- 
fore it  was  coneluHH;  his  "Grawwiir 
of  Musu"  (i.SoO)  is  fitandftror. 


DICTIONARY  OF  MUSICIANS 


89 


€2)  Wm.  Hutchins,  Kensington,  1807 
— London,  1882,  son  of  above;  or- 
ganist and  pianist. 

Calliope  (kal-H'-C-pS  or  kal-lS'-6-pa), 
the  Greek  muse  of  heroic  verse. 

Calo'ri,  Angiola,  Milan,  1732 — 1790; 
soprano. 

Calsabigi  (kSl-sa-b5'-je),  Raniero  da, 
Livorno,  1715  —  Naples,  1795; 
Gluck's  librettist  and  aide  in  opera- 
reformation. 

Calve"  (kal-va),  Emma  (de  Roquer), 
D€cazeville,  France,  1863  (1866?) 
— Millau,  France,  Jan.  6  (?)  1942;  so- 
prano; pupil  of  Marches!  and  Pugets; 
1882,  oUbut  in  Massenet's  "  Hfro- 
diade"  Th.  de  la  Monnaie,  Brussels; 
1884,  Paris  Th.  Italien;  1885,  Op. 
Com.;  also  in  London;  after  1893 
sang  in  New  York,  making  great 
furore  with  her  inimitable  and  rakish 
"Carmen";  also  feted  for  her  "San- 
tuzza,"  "Juliette,"  etc.,  at  Met.  Op.; 
a  concert  singer  of  note;  she  was 
an  Officier  d' Academic  and  lived  in 
Paris. 

Calvis'ius,  Sethus  (rightly  Seth  Kall- 
witz  (kaT-v€ts)  ),  Feb.  21,  1556 — 
Leipzig,  Nov.  24,  1615;  son  of  a 
peasant;  singer  for  alms,  then  as  a 
teacher  obtained  funds  to  study; 
(1581)  mus.  dir.;  writer  of  important 
treatises  and  composer. 

Calvocores'si,  Michel  D.,  b.  Marseilles 
<of  Greek  parents),  Oct.  2,  1877; 
critic  and  musicologist;  studied  Paris 
Cons.;  writer  and  lecturer  on  French 
and  especially  Russian  music;  wrote 
biogs.  of  Liszt*  Moussorgsky,  Glinka, 
Schumann,  and  author  of  "La 
Musique  Russe";  has  contributed  to 
many  periodicals,  and  translated  into 
French  Rimsky-KLorsakofFs  treatise 
on  orchestration,  as  well  as  mus. 
texts  into  various  languages;  lived 
London,  where  d.  Feb.  i,  1944- 

Calvdr  (kai'-far),  Kaspar,  Hildesheim, 
1650 — Clausthal,  1725;  theorist. 

Camar'go,  (t)  Felix  Antonio,  b.  Guada- 
lajara, r6th  cent.;  cathedral  cond. 
at  Valladolid;  c.  remarkable  bymn 
to  St.  lago,  etc*  (2)  see  COTIS. 

Cambert  (kad-bar),  Rob.,  Paris,  ca. 
1628 — London,  1677;  first  composer 
of  French  operas;  organist  at  St. 
Honore";  1659,  "La  Pastorale"  was 
succ.  prod,  at  the  Chateau  d'Issy; 
and  followed  by  others  on  the  texts  of 
Perrin,  who  received  letters  patent 
for  establishing  the  "AcadSmie  roy- 
ale  de  musique"  (now  the  Gr. 


Op6ra);  with  Perrin  he  also  wrote 
the  first  genuine  opera,  "Pomone," 
prod.  1671,  before  Lully,  who  later 
took  the  patent  for  himself ;  he  went 
to  England  where  he  died  as  Master 
of  the  Music  to  Charles  II. 

Cambini  (kam-be'-ne),  Giov.  Giu., 
Leghorn,  1746 — Bicfctre,  1825  (?); 
cond.  at  Paris,  and  prolific  but  cheap 
composer  of  over  60  symphonies,  144 
string-quartets,  several  operas,  etc.; 
he  died  in  the  almshouse. 

Cam'eron,  Basil,  b.  Reading,  England, 
1885;  conductor;  sang  as  choir  boy; 
began  vln.  study  at  8  with  Otto 
MUani,  harmony  and  comp.  from 
Tertius  Noble;  1902,  studied  with 
Joachim  in  Berlin,  conducting  with 
Hausmann;  played  in  Queen's  Hall 
Orch.  as  violinist,  also  studying  with 
Auer;  1913  cond.  Munic.  Orch., 
Torquay,  where  gave  a  Wagner 
Fest.;  after  war  in  charge  of  music 
at  Harrogate  and  Hastings;  guest 
cond.  R.  Phil.  Soc.,  London;  1930, 
cond.  San  Francisco  Symph.  with 
Dobrowen^  re-engaged  for  2nd 
season;  after  1932,  cond.  Seattle 
Symph.;  later  again  in  England. 

Camet'ti,  Alberto,  b.  Rome,  May  5, 
1871 — 1935;  pupil  at  Academy  of 
St.  Cecilia;  organist  of  the  French 
church  of  St.  Louis  at  Rome;  histo- 
rian of  music  and  comp. 

Cam'idge,  (i)  J-,  ca.  1735— YOTK, 
EngL,  1803;  organist  York  cath.,  47 
years;  composer.  (2)  Mat.,  York, 
1764 — 1844;  son  and  successor  of 
above.  (3)  J.,  York,  1790 — 1859; 
son  and  successor  of  (2) . 

Caxnpagnoli  (kam-pan-y6'-leO,  Bart.- 
Cento,  1751 — Neustrelitz,  1827;  vio 
linist  and  court-conductor. 

Campana  (kam-pa'-na),  Fabio,  Leg- 
horn, 1819 — London,  1882;  singing- 
teacher  and  dram,  composer. 

Campanari  (kam-pa-na'-r5),  (i)  Lean- 
dro,  b.  Rovigo,  Italy,  Oct.  20,  1857; 
pupil  at  Milan  Cons.;  toured  Europe 
2  years;  America,  1879;  lived  in 
Boston;  organised  "C.  String-quar- 
tet"; 1883  ist  prof,  of  vln.  in  N.  E. 
Cons.;  1890,  ist.  prof,  of  vln.  and 
head  of  orch.  dept.  Cincinnati  Cons.; 
1897-1905,  conductor  at  Milan; 
1906,  at  Manhattan  Op.  House,  N. 
Y.;  after  1907,  taught  in  San  Fran- 
cisco; where  d.  April  23,  1939-  (2) 
Giuseppe,  Venice,  Nov.  17,  1858 — 
Milan,  May  31,  1927;  eminent  dram, 
barytone;  at  first  a  'cellist  at  La 


90 


DICTIONARY  OF  MUSICIANS 


Soda;  engaged  to  play  in  Boston 
Symph.;  also  in  Adamowski  Quar- 
tet; 18^3,  after  vocal  study,  sang 
with  Hinrichs  Op.  Co.;  also  with 
Juch  and  Grau  companies;  1895-08, 
Met.  Op.;  later  in  Europe. 

Campanini  (kam-pa-nS'-nS),  (i)  Italo, 
Parma,  1846 — Vigatto,  near  Parma, 
Nov.  22,  1806;  operatic  tenor,  a 
blacksmith  wnen  discovered;  dSbut, 
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  Nilsson,  Patti, 
etc.  (2)  Cleofoiite,  Parma,  Sept.  i, 
1860 — Chicago,  Dec.  19,  1919;  con- 
ductor; pupil  Milan  Cons.,  later 
teacher  there;  cond.  at  La  Scala, 
Co  vent  Garden,  and  1906-09,  at 
Manhattan  Opera  House,  New  York; 
married  Eva  \Tetraszini,  operatic  so- 
prano (sister  and  teacher  of  Luisa); 
from  1910  he  was  cond.  and  after 
1913  artistic  dir,  of  the  Chicago  Op. 
Co.  He  was  instrumental  in  found- 
ing the  Edith  Rockefeller  McCor- 
mick  Prize  for  opera  composers  at 
the  Milan  Cons. 

Campbell-Tiptop  Louis,  Chicago,  Nov. 
21.  J&77 — Paris,  May  i,  1921;  stud- 
ied in  Chicago,  Boston  and  Leipzig; 
lived  in  Pans;  his  important  com- 
positions played  abroad,  notably  his 
"Heroic"*  sonata  for  piano,  piano 
suites,  "The  Four  Seasons/'  *%S**te 
Pastorale,"  for  piano  and  violin;  also 
c,  striking  &0£SS- 

Cam/pion.  (x)  Thos.,  d.  London,  Feb., 
1630;  English  physician,  poet,  dram- 
atist and  noteworthy  writer  and 
composer;  pub*  two  books  of  Ayres, 
etc,  (1610);  2  more  (1613).  (2) 
Fran.,  1703-19,  thcorbist,  Paris  Gr. 
Op£ra. 

Campio'ni,  Carlo  A.,  Leghorn,  ca,  1720 
—-Florence.  1793;  court-conductor. 

Camporese  (ka.m-p<5-ra'-zS),  Violante, 
b.  Rome,  178^;  operatic  sopr.  of 
Napoleon's  private  music;  a£but, 
London.  18x7;  retired,  1829. 

Campos  (k&m'p$s),  Jofto  Ribeiro  de 
Almeida  de,  Tx  Vizen,  Portugal,  ca, 
1770;  cond,  and  professor. 


operas  under  his  bro/s  name  and 
gave  up  church-mus.;  cond*  Royal 
Orch.  and  c,  iS  operas,  (a)  Jos.f 
bro,  of  above;  double-bass  player. 


Camps  y  Soler  (k&mps  5  s5'-l5r),  Oscar, 
Alexandria,  Nov.  21,  1837 — Madrid, 
?;  Spanish  pianist;  pupil  of  Dshler 
and  Mercadaate;  played  in  public 
at  13;  lived  in  Madrid;  writer  and 
theorist. 

Canal  (ka'-nal),  Abbate  Pietro,  Cres- 
pano,  April  13,  1807 — Dec.  15,  1883; 
historian  and  com  p. 
Canale    (or    Canali)    (fca-n&'-ls),   FIo- 
riano,    organist    at    Brescia,    1585- 
1603;  c.  church-music. 
Candeille    (kan-dfi'-yii),   (i)   P.   Jos., 
Estaires,     1744  —  Chantiily,    1827; 
dram,    composer.          (2)    (Simons- 
Candeille)  Amfilie  JiUie,  Paris,  1767 
— 1834;  operatic  sopr.,  actress,  and 
composer;  daughter  of  above;  lived 
in  Paris  as  teacher;  she  wrote  libretto 
and  music  of  the  succ.  operetta  **£<* 
Belle  Fermiere"  (1792);  she  played 
the  leading  role  and  sang  to  her  own 
accomp.  on  piano  and  harp* 
Cange    (dti    k&j&zh),    Ch&s.-Dttfrfesne, 
sieur  du,  Amiens,  16x0 — Paris,  1688; 
lawyer  and  lexicographer, 
Cannabich    (kan'-na-blkh),    (x)    Chrn 
Mannheim,   1731 — Frankfort,  1798; 
noteworthy  violinist  and  conductor, 
a  pioneer  in  orchestra)  diminuendo; 
son  of  (2)  Mathias,  a  flutist  in  the 
Electoral    Orch.    at    Mannheim    of 
which  €hr.  C.  became  leader  in  1765, 
and  cond.  1775.     (3)  K.,  Mannheim, 
1764^ — Munich,    1806;    son    of    (x); 
court-conductor*     (4)  Rose,  b.  about 
1762  according  to  Mosart,  whose  pu- 
pil  she  was;  daughter  of  (2);  pianist, 
Caonfciarl  (kan~n*-chfc'-r«),  Don  Pom- 
*  ~  P^o*^.  Rome,  i744;concJuctor;conm. 
Caatelli,  Guido,  b.  Novara,  1920;  guest 
cond.,  N.  Y.  Philh-Symphony,  1051. 
Capet  XkA-pftO,  Luden,  PanX>»- \ 
1873— Dec.  ip,  ioaS;  violinist  and 
chamber  music  performer;  pupil  of 
Paris  Cons.,  where  won   sst  prize: 
taught  at  Bordeaux;  After  1007  lee! 
chamber  music  classes  at  Paris  Cons., 
and  after  1024  artistic  din  of  Paris 
Jnst.  de  Vioion;  founded  noted  Capet 
Quartet  in  2903,  with  which  he  ap- 
peared with  succ*  In  many  European 
cities. 

Captet  (kftp-ls),  Andr^  Havre,  Nov. 
*$>  3:878 — Paris,  April  34,  xoas; 
eminent  composer;  pupil  of  Woifctt; 
violinist  at  Havre  Theatre,  1896; 
pupil  of  Leroui  at  Paris  Cons., 
winning  first  harmony  prize,  1808, 
and  Prix  de  Rome,  1001;  lived  in 
Rome,  then  in  Germany;  acted  as 


DICTIONARY  OF  MUSICIANS 


91 


assistant  to  Colonne,  1898;  igoo,  was 
the  first  to  cond.  Debussy's  "Martyre 
de  San  Sebastien99;  1911-12  cond.  at 
Boston  Op.;  also  at  Covent  Garden, 
London;  c.  piano  quintet;  "Legend9* 
for  harp  and  orch.  after  Poe's 
"Masque  of  the  Red  Death99-,  "Suite 
Persane"  for  wood-winds;  Septet  for 
three  women's  voices  and  strings; 
Mass  for  three-part  women's  chorus; 
Sonata  for  voice,  'cello  and  piano; 
"Le  Miroir  de  JSsus,"  15  pieces  for 
soloists,  chorus  and  orch.,  which  has 
been  perf.  frequently  in  France;  a 
number  of  songs  and  choruses. 
Capocci  (ka-p6t-che),  (i)  Gaetano, 
Rome.  Oct.  16,  1811— Jan.  n,  1898; 
notable  teacher;  pub.  much  sacred 
music.  (.2)  Filippo,  Rome,  May  n, 
1840 — July  25,  1911;  son  of  above; 
Italian  organist;  1875  organist  of 
San  Giovanni  at  the  Lateran;  c. 
works  for  organ. 

Capoul  (ka-pool)  (Jos.  Am&tee),  Vic- 
tor, Toulouse,  Feb.  27, 1839 — Pujan- 
dran-du-Gers,  Feb.  18,  1924;  tenor; 
pupil  of  R 6 vial  and  Mocker,  Paris 
Cons.;  1861-72  at  the  Op.  Com.; 
1892  prof*  of  operatic  singing  in  Nat. 
Cons*,  New  York;  1897,  stage  man- 
ager, Paris  Op6ra* 

Capuzfci  (ka-jjood'-zS),  Giuseppe  An- 
tonio, Brescia,  1753-1818;  c,  5  operas, 
etc* 

CaracdoU  (ka-rSt-chS-le*),  Luigi,  Andria 
(Bari),  1849 — London,  1887;  dram, 
composer* 

Carado'ri-Allan?  Maria  C.  R.  (n£e  de 
Munck),  Milan,  1800  —  London, 
1865;  soprano. 

Carafa  de  Colobrano  (k£-rS/-fa  da 
kS~l6-bri,'-n6),  Michele  Enrico,  Na- 
ples, Nov.  17,  1787 — Paris,  July  26, 
1873;  son  of  Prince  Colobrano;  while 
very  young  c.  an  opera,  2  cantatas, 
etc.,  with  much  success;  1837,  mem- 
ber of  the  Academy;  1840,  prof,  of 
comp.  at  Cons,;  c,  also  ballets,  can- 
tatas, and  good  church-music. 
Cardoat  (k£r-d6n),  (i)  Louis,  Paris, 
1747 — Russia,  x8o$;  harpist.  (2)  P., 
b»  Paris,  1751;  'cellist  and  singer. 
Cardo'so,  Manuel,  Fronteira,  1569; 

Spanish  priest  and  composer. 
Caresana  (kar-ft-sa'-na),  Cristoforo,  b. 
Tarentum,  165$;  lived  in  Naples  as 
composer. 

Carestbi  (ka-ras-tC'-nS),  Giov.  (stage 
name  Cusanino),  Mente  Filatrano 
(Ancona),  ca-  1705 — 1760;  male  so- 
prano (n*»tsico). 


Ca'rey,  (i)  Henry,  1685  (?) — London, 
Oct.  4, 1743;  a  reputed  natural  son  of 
Marquis  of  Halifax,  and  disputed 
composer  of  "God  Save  the  King"\ 
c.  the  song  "Sally  in  Our  Alley99; 
ballad  operas,  etc.  (2)  Bruce,  b. 
Hamilton,  Ontario,  1877;  conductor; 
studied  at  R.  Coll.  of  Music,  London, 
also  in  Florence  and  Munich; 
founded  and  cond.  Hamilton  Elgar 
Choir  for  17  years;  later  Phila. 
Mendelssohn  Club  and  music  dir.  at 
Girard  Coll.  there;  succeeded  the 
late  Dr.  J.  Fred  Wolle  as  cond.  of 
Bethlehem  Bach  Choir,  1933-8 

Carissimi  (ka-rls'-s5-mS),  Giacomo, 
Marino,  near  Rome,  ca.  1604 — 
Rome,  Jan.  12,  1674;  ca.  1624, 
church-conductor  at  Rome;  impor- 
tant ch.-composer  and  writer;  many 
of  his  MSS.  are  lost;  5  oratorios  and 
other  pieces  remain. 

Carl,  "Win.  Crane,  Bloomfield,  N.  J., 
March  2,  1865 — New  York,  Dec.  8, 
1936;  pupil  of  S.  P.  Warren,  Mad 
Schiller  fpf.)  and  Guilmant,  Paris; 
after  1892,  organist  First  Presby. 
Ch.,  N.  Y.;  made  tours  as  concert- 
organist;  1899,  founded  Guilmant 
Organ  School,  New  York;  had  pub. 
collections  of  organ  music;  active  as 
lecturer. 

Car'michael,  Mary  Grant,  Birkenhead, 
EngL,  1851 — London,  March  17, 
*935;  pupil  of  O.  Beringer,  W.  Bache, 
and  F.  Hartvigson  (pf.)  and  E. 
Prout  (comp.);  accompanist;  c.  oper- 
etta, "The  Snow  Queen'9;  a  pf.-suite-f 
and  many  pop.  songs. 

Carnicer  (kar'-nS-th&r),  Ramon,  Tar- 
egga,  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.). 

Caro  (kS/ro),  Paul,  b.  Breslau,  Dec.  25, 
1859;  pupil  of  Sch&ffer  and  Scholz, 
and  Vienna  Cons.;  c.  2  operas,  5 
symphs.;  str-qts.;  etc.;  d.  (?). 

Caron  (ka-r6n"),  (i)  Philippe,  i$th  cent., 
cptist.  (of  Netherlands  ?).  (2)  Rose 
Lucile  (ne'e  Meuniez),  Monerville, 
France,  Nov.  17,  i&57 — Paris,  April 
9,  1930;  soprano;  after  her  marriage 
entered  Paris  Cons.,  1880,  as  pupil  of 

.  Tharset,  later  of  Marie  Sasse;  d6but 
Brussels,  1883;  1885-88,  Op€ra  Paris; 
1888-90,  Brussels;  from  1890,  Op6ra 
Paris;  also  at  the  Op.  Com.,  from 
1902  prof,  at  the  Cons.  She  created 
many  of  the  chief  r6les  in  modern 


92 


DICTIONARY  OF  MUSICIANS 


French.  Opera  and  in  French  versions 
of  Wagner.  She  sang  "Salammbo" 
at  the  Op6ra,  1908. 

Carpani  (k&r-pS'-n€),  Giu.  A.,  b,  Vilal- 
bese  (Como),  1752 — Vienna,  1825; 
writer. 

Car'penter,  John  Alden,  b.  Park  Ridge, 
I1L,  Feb.  28,  1876 — May,  1951;  grad. 
Harvard  Univ.;  studied  with  Ber- 
nard Ziehn  and  Seeboeck;  a  promi- 
nent business  executive  in  Chicago, 
he  has  made  much  more  than  an 
avocation  of  music,  taking  his  place 
among  the  most  accomplished  Amer- 
ican comps.j  his  musical  idiom  is 
modern  and  his  output  fairly  large. 
C.  (ballets)  "The  Birthday  of  the 
Iitfanto"  (Chicago  Op.,  1919-20); 
"JKraxy  Kri"\  "Skyscrapers"  (Met. 
Op.,  *$»6);  the  orch.  works,  "Adven- 
tures in  &  Per ambulator** $  symphony 
(Norfolk  Fest.,  19x7);  concertino 
with  piano;  "$e*  Drift"  (N-  Y. 
Philh.,  1935);  also  a  string  quartet 
(Coolidge  Fest,,  Washington);  vioiin 
sonata;  "Water  Odors*'  for  mezzo- 
soprano  and  chamber  orch.j  "Jf»- 
proving  Songs  for  Anxious  Children"; 
and  many  songs  incl.  the  cycle 
"GttanjM." 

Carpentras    (H    Carpentras'so).     Vide 

ELEAZER  GENET. 

CarrS  (k&r-ra),  (i)  Lotds,  Clofontaine 
Brie,  1663 — Paris,  1711;  writer.  (2) 
Albert,  b.  Strassburg,  June  22,  1852; 
1898-1913,  dir.  Op.  Com.,  Paris; 
librettist;  d.  Paris,  Dec,  12,  1938, 

Carrefio  (kar-rftn'-yo1),  Teresa,  Cara- 
cas, Venezuela,  Dec.  22,  1853— New 
York,  Tune  13,  19x7;  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.  Tagiiapietra;  1892-95,  wife  of 
Eugeu  dTAlbert;  1902,  *».  Arturo 
Tagiiapietra,  bro.  of  Giov.  T.;  c.  a 
string-quartet  and  pf.  salon  pieces. 
Her  daughter  Teresita  Xagliapietr*, 
also  a  pianist. 

Carreras  (ka-ra'-ras),  Maria,  b.  Italy; 
pianist;  at  six  awarded  m  prize  at 
Acad,  of  Santa  Cecilia,  Rome,  by 
Liszt,  then  hon*  pres.  of  this  school; 
studied  with  Sgambati,  under  whose 
baton  at  15  she  played  his  concerto 
with  Rome  Philh.  with  much  succ.; 
immediately  engaged  for  concerts  in 
Russia  with  Imp,  Music.  Soc,  under 
Safo&off;  toured  widely  in  Europe 


and  South  America;  later  in  U.  S., 
where  she  has  been  res.  for  some 
years  and  has  given  master  classes. 

CarriHo  (kSr-5'-y5),  Julian,  b.  Mexico, 
1875;  composer  who  has  embodied 
novel  harmonic  system  in  his  orch., 
chamber  musk:  and  choral  works; 
also  author  of  "Synthetic  Treatise  of 
Harmony." 

CarroMus,  J.  Tiplady,  Keighley  (York- 
shire), 1836 — London,  1895;  violinist. 

Car'ron,  Arthur  (rightly  Cox),  b.  Eng- 
land; tenor;  pupil  of  Florence  Eas- 
ton;  sang  with  Old  Vic.  Op.  Co., 
London;  d£but,  Met.  Op.  Co., 
summer  popular  season,  1936,  as 
Canio;  engaged  for  regular  roster  of 
company  following  unusual  succ.  in 
this  rdle. 

Carse,  Adam,  b.  Newcastle-on-Tyne, 
May  19,  1878;  pupil  R.  A.  M.,  with 
the  Macfarren  scholarship;  made  an 
associate  there  in  1902;  c.  symph.  in 
C  minor;  symph.  in  G  minor,  symph* 
poem,  **tn  a  Balcony";  concert  over- 
ture, etc.;  writer  on  music. 

Car'ter,  (x)  Thos^  Ireland,  ca.  1735— 
London,  x  804;  composer.  (2)  Ernest 
Trow^,  b.  Oraiage,  N.  J.,  xS66;  organ- 
ist, conductor,  composer;  studied' 
New  York  and  Berlin:  org.  of  Amer. 
Ch.  In  latter  city,  ana  1899-1901  at 
Princeton  Univ.;  c.  comic  op.,  "The 
Blonde  Donna" \  operat  "The  Wktte 


Cartl«r  (k&rt-yft),  J.  Bap«»  Avignon. 
1765^ — Paris,  2841;  vioiimst  ana 
dram,  composer. 

Caruili  (k&-rool'-l€),  (x)  Fdo..  Naples, 
x  770 — Paris,  2841 ;  self-taught  guitar- 
virtuoso  and  teacher;  c.  400  con-' 
certos.  (2)  Gustavo,  Leghorn,  xBoz 
— Bologna,  1876;  son  of  above; 
teacher  ana  dram,  composer* 

Caruso  (ka-rop'-zo),  Luigi,  Naples, 
x  754— Perugia.  x8ai;  conductor,  c. 
69  operas,  (a)  Enrico,  Naples,. 
Feb.  a$,  x873-*Aug.  2,  1921:  famous 
Italian  tenor;  pupU  of  Vergine; 
d6but,  xdgc,  winning  gradual  success 
in  Italy  (Naples,  1898;  1809  3L* 
Scaia),  and  creating  the  teaor  r6lcs 
ia  Giordano's  "FetioraJ*  Cilea's 
"Lttfiuwcur,"  and  Franchetti's  4*Grr- 
»«z»wt";  x  800- 1003  sang  in  Stu 
Petersburg,  and  Buenos  Aires;  xooa, 
appeared  with  Melba  at  Monte 
Carlo,  began  his  tremendous  vogue; 


DICTIONARY  OF  MUSICIANS 


93 


1902-  at  Covent  Garden;  1903-21, 
Met.  Op.  House,  N.  Y.;  1908,  his 
voice  was  threatened,  but  an  opera- 
tion restored  it.  He  created  the 
tenor  r61e  in  Puccini's  "Girl  of  the 
Golden  West,"  in  addition  to  a  large 
number  of  first  Amer.  perfs.  His 
xepertohe  incl.  more  than  50  r61es, 
•chiefly  in  Italian  and  French  works, 
both  old  and  modern.  In  his  later 
years  the  voice  which  was  unique 
among  singers  of  his  period  for  ro- 
bustness of  timbre  and  fine  cultiva- 
tion, changed  slightly  from  its  earlier 
lyric  quality  to  a  darker  dram,  colour. 
His  powers  of  characterisation  de- 
veloped also  and  he  made  a  deep  and 
poignant  impression  as  Eleazar  in 
**£#  Juive9"  the  role  he  last  sang  at 
the  Met.  Op.,  Christmas  Eve,  1920, 
when  stricken  with  a  hemorrhage  of 
the  throat.  An  emergency  opera- 
tion later  performed  to  relieve  an 
abscessed  condition  of  one  lung  re- 
sulted in  a  partial  convalescence  and 
he  sailed  for  Naples,  but  passed 
away  suddenly  there  during  the 
summer.  He  was  for  long  the  most 
ffited  vocalist  throughout  the  world 
and  sang  for  the  highest  fees  in 
European  capitals,  but  from  1903 
made  N.  Y,  his  headquarters.  A 
clever  cartoonist,  he  pub.  a  book  of 
Ms  drawings  and  also  c.  several 
popular  songs. 

CanraUtxo  (k&r-v&l'-5)  (rightly  Car- 
vaille),  (x)  L6on,  in  a  French  colony, 
1825 — Paris,  1897;  from  1875  dir.  Op. 
Com,  (2)  Carvalho-Miolan  (m6-6- 
ULn),  Caroline  M.-F&ix,  Marseilles, 
1827 — Puys,  near  Dieppe,  1895;  so- 
prano; wife  of  above;  d6but  1849. 
Ca'ry,  Annie  Louise,  Wayne,  Kennebec 
County*  Me.,  Oct.  22,  1842 — Nor- 
walk,  Conn.,  April  13,  1921;  noted 
operatic  and  concert  contralto;  stud- 
ied in  Boston  and  Milan,  and  with 
Viardot-Garcia,  etc.;  d6but  1868,  at 
Hamburg;  later  Stockholm,  Copen- 
hagen, Brussels,  London,  New  York 
(1870),  St.  Petersburg  (1875);  1882, 
m.  C.  M.  Raymond,  Cincinnati. 
'Casadesus  (cas-a-dSs-fisO,  (i)  Francis, 
b.  Paris,  Dec.  2,  1870;  conductor, 
composer;  studied  Paris  Cons.,  with 
Lavxgnac  and  Franck  (harmony 
prize);  Tremont  Prize,  French  Inst.; 
cond.  symphu  concerts,  Trocadero, 
Paris,  3918-24;  dir.  American  Cons., 
Fontainebleau,  1921-23;  has  cond. 
radio  concerts  and  been  active  as 


music  critic;  among  his  dram,  works, 
"  Un  Beau  Jar  din  de  France"  was 
given  at  Paris  Op.  Comique,  1918; 
also  c.  orchestral  works  and  songs. 
(2)  Henri,  b.  Paris,  Sept.  30,  1879; 
violist;  dir.  Socie'te'  des  Instruments 
Anciens,  which  he  founded  in  collab- 
oration with  Saint-Sae"ns,  1901;  of 
which  members  are  Henri,  viole 
d'amour;  Marius  C.,  quinton;  Mau- 
rice DeviUiers,  basse  de  viole; 
Lucette  C.,  viole  de  gambe,  and 
Regina  C.-Patorni,  clavecin;  this 
group  has  toured  widely  in  Europe, 
also  visiting  U.  S.,  and  presenting 
programmes  of  rare  interest  from  his- 
torical standpoint;  C.  has  also  been 
a  collector  of  old  music  and  insts.; 
Chev.  of  the  Legion  of  Honor;  d.  in 
Paris,  May  31,  1947.  (3)  Marius, 
b.  Paris,  Oct.  24,  1892;  composer, 
violinist;  studied  Paris  Cons.,  ist 
prize,  1914;  c.  works  for  vln.,  orch., 
voice,  'cello,  also  chamber  music;  has 
appeared  as  vln.  soloist  with  Boston 
Symph.  Orch.  (4)  Robert,  b.  Paris, 
April  7,  1899;  pianist;  received  early 
training  from  Mrne.  Marie  Simon, 
an  aunt;  at  13  entered  Paris  Cons., 
winning  ist  prize  in  piano;  has  ap- 
peared widely  in  concerts  in  France, 
Belgium,  Holland,  etc.,  after  1935-36 
in  U.  S.,  where  made  d6but  as  soloist 
with  N.  Y.  Philh.;  dir.  piano  dept., 
Amer.  Cons.,  Fontainebleau. 

Casali  (ka-sS'-lS),  Giov.  Bat.,  d.  1792; 
conductor  and  dram,  composer. 

Casals',  Pablo,  b.  Vendrell,  Spain, 
Dec.  30,  1876;  eminent  'cellist;  pupil 
of  Jose  Garcia,  Rodereda  and  Breton; 
1897,  prof,  at  Barcelona  Cons.; 
toured  widely;  c.  "La  Vision  de 
Fray  Martin"  for  chorus  and  orch.; 
'cello  pieces,  etc.;  after  1919  cond. 
of  Orquesta  Pau  Casals,  Barcelona, 
and  made  few  concert  appearances  as 
'cellist;  member  of  noted  trio  includ- 
ing Cortot  and  Thibaud;  m.  Guil- 
hermina  Suggia.  'cellist,  1:906;  di- 
vorced, 1912;  (2)  Susan  Metcalfe, 
singer;  lived  in  France  after  1938, 

Casamorata  (ka-sa-mS-ra'-ta),  Luigi 
Fdo.,  Wiirzburg,  1807 — Florence, 
1881;  editor,  writer,  and  composer. 

Casati  (ka-s§/-tS),  Gasparo,  d.  Novara, 
1643;  cond.  at  Novara  Cathedral; 
c.  church  music. 

Casa'vola,    Franco,    b.     Ban,     Italy, 

ey  13,   1892;   composer;  pupil  of 
Rotella,   Mapelli  and  Respighi; 
his  music  has  been  called  "futuristic" 


DICTIONARY  OF  MUSICIANS 


and  includes  various  ballets  and  a 
comic  opera,  "//  Gobbo  del  CaKjpo," 
which  won  ist  prize  in  a  nat'l.  con- 
test and  was  given  at  the  Rome  R. 
Op.,  1929. 

Case,  Anna,  b.  Clinton,  N.  J.,  Oct.  29, 
1889;  soprano;  studied  with  Augusta 
Ohrstrom-Renard;  mem.  Met.  Op. 
Co.,  1909-16;  has  also  sung  in  con- 
certs and  at  festivals;  m.  Clarence  H. 
Mackay,  chm.  board  of  directors, 
N.  Y.  Philh.  Soc. 

Casel'la,  P.,  (i)  Pieve  (Umbria),  1769 
— Naples,  1843;  dram,  composer. 
(2)  Alfredo,  b.  Turin,  Italy,  July  25, 
1883 — Rome,  March  3,  1947;  com- 
poser; studied  with  Dimmer,  Leroux  and 
Faur6,  Paris  Cons.,  ist  piano  prize, 
1899;  d6but,  Paris,  1911;  cond.  pop- 
ular concerts,  Trocadero,  Paris,  1912; 
prof,  advanced  pf.,  Paris  Cons., 
1912-15;  also  at  Liceo  Musicale  di 
S.  Cecilia,  Rome,  1915;  has  served  as 
guest  cond*  of  many  orchs.  in  various 
Eur.  and  Amer.  cities;  leading  spring 
concert  series  with  Boston  Symph. 
Orch.,  1927-29;  is  best  known  as 
a  versatile,  somewhat  eclectic  but 
highly  accomplished  composer  of 
works  in  modern  idiom,  incl.  "Italia^* 
rhapsody  for  orch.;  the  ballet,  "La 
Gicra"  fMet,  Op.  House  production, 
1926-27);  a  symphonies;  "Prologue 
pour  vn*  Tragfdie,"  "  Notte  di 
Maggio**  (with  chorus),  string-quar- 
tet, *ceflo  sonata,  and  other  chamber 
music,  songs,  piano  pieces;  Serenata 
lor  small  chamber  ensemble,  etc. 
C.  in  10  T  7  founded  a  Societa  di 
Musica  Moderna  in  Rome;  he  has 
lectured  in  America  and  also  ap- 
peared here  with  the  Trio  Italiano; 
winner  in  1928  of  ist  prize  of  Phila- 
delphia Musical  Fund  Soc.  for  com- 
position. Has  also  c.  an  opera,  "La 
Donna  Serpenie*'  after  a  fairy  tale 
by  Goszi  (1932);  symph,  suite.  "L* 
Convent  sur  l*Ew"  from  a  ballet  of 
the  same  name:  "JRlegia  Eroica"  and 
"Pagin*  di  Gucrra"  for  orch.;  «Pu- 
paxzetti"  5  pieces  for  marionettes: 
"Concerto  Romano"  for  organ  and 
orch,;  "Sicilians  e  Burlcsca"  for  vln., 
'cello  and  pf,;  "Cin&u*  Pte*i"  for 
string-quartet,  etc.  His  earlier  style 
was  markedly  dissonantal  as  shown 
in  his  "A  NMe  Alta"*,  later  comps, 
show  a  reversion  to  a  simpler  manner 
based  on  pre-dassic  models.  Author, 
"Tte  Evolution  of 
sky,"  etc. 


Caser'ta,  Philippe  de,  Neapolitan  the- 
orist, isth  century. 

Casixniro  (k&-s€-m5'~r5),  da  Silva 
Joaquizn,  Lisbon,  May  30,  1808 — 
Dec.  28,  1862;  Portuguese  comp.  of 
church  music. 

Casini  (kS-s5'-n5),  G.  M.,  b.  1670  <?); 
Florentine  priest;  he  tried  to  revive 
Greek  modes. 

Cassado  (cfi-sa'-d&),  Caspar,  b.  Barce- 
lona, 1898;  'cellist;  pupil  of  Casals; 
has  toured  widely  as  outstanding 
virtuoso,  incl.  Spain,  France,  Ger- 
many, Austria,  and  in  1936  for  first 
time  in  U.  S.;  also  active  as  com- 
poser; his  Rapsodia  Catalana  played 
by  N.  Y.  Philh.  under  Meageiberg, 
1^28;  c.  3  string  quartets,  trio  for 
piano,  v!n.  and  Tceflo;  ed,  works  of 
Mozart,  Weber  and  Schubert. 

Castagaa  (k&s-tSn'-yfi),  Bruaa;  Jtal. 
mezzo- sopb.;  sang  Met.  Op*  after 
1935. 

Castel  (k&s-t*l)»  Louis  Bertrand,  Mont- 
pellier,  1688 — Paris*  1757;  a  Jesuit 
writer  who  attempted  without  sue* 
cess  to  construct  a  "Clavecin  ocu- 
laire,"  to  prod,  colour  harmonies. 

Castellan  (k&s-tel-l&n),  Jeanne  A.,  b. 
Beaujeu,  Oct.  26,  1819;  retired,  1859; 
singer. 

Castel li,  (i)  Ignaz  Fz.,  Vienna,  1781 
— 1862;  editor* 

Castebnary  (kas-t*l-mft-rt)  (stage 
name  of  Comte  Annand  da  Castaii), 
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  *rMartka." 

Castelnuovo-Tedesco  (cfts-Ul-n<3o-o'- 
vO  t*-d*3'-ito),  Mario,  b*  Florence. 
April  3,  2895;  composer;  studied 
Cnerubini  Cons.,  Florence;  composi- 
tion with  Pizxetti;  c.  opera  "La 
Mandragola"  which  won  national 
lyric  prize  in  1925  and  had  premiere 
at  Venice,  1926;  "Italian"  Concerto 
for  v!n,  and  orch.,  concerto  for 
piano  and  orch.  (2926);  Symphonic 
Variations  for  vln.  and  orch.  (N.  Y, 
Phllh.,  under  Toscanini,  1330);  also 
many  madrigals,  part-songs,  songs 
and  piano  works;  in  the  last  category 
are  some  30  "Poemetti"  and  3  "Poemi 
Campc$tri"\  he  is  known  for  his 
"  Three  Chorales  on  Hebrew  Mtlodits" 
for  voice  and  piano;  also  about  100 
settings  of  lyrics  in  various  languages, 
incl.  original  series  of  "Shakespeare 
3ong$"i  a  trio,  a  quartet;  **Ct>rs«Y' 
an  orch.  sonata;  "Tre  FioreUi  di 


DICTIONARY  OF  MUSICIANS 


95 


Santo  Francesco"  for  voice  and  orch  • 
and  "Bacco  in  Toscana,"  a  "dith- 
yramb in  one  act"  for  soloists, 
chorus,  orch.  and  dancers,  to  a  poem 
by  Redi;  has  written  extensively 
on  music. 

Castil-Blaze.     Vide  BLAZE,  p.  H.  T. 

Castiilon  (kas-tS-y6n),  Alexis  de, 
Vicomte  de  Saint  Victor,  Chartres, 
Dec.  13,  1838 — Paris,  March  5,  1873; 
composer;  pupil  of  Mass6  and  C6sar 
Franck;  c.  symphony;  overture, 
Torquato  Tasso,  Psalm  84  with 
orch.;  piano  concerto  and  important 
chamber  music. 

Cas'tro,  (i)  Jean  de,  played  Lyons, 
1570;  composer  and  lutenist.  (2) 
Juan  Jose,  b.  Buenos  Aires,  March 
7,  1895;  composer;  pupil  of  d'Indy 
at  Pans  Schola  Cantorum;  cond.  of 
orch.  at  Colon  Theatre,  in  native 
city,  introd.  many  modern  scores: 
o.  of  orch.  works,  incl.  "Biblical** 
Symphony. 

Castrucd  (kSs~troot'-ch5),  (i)  P.,  Rome, 
1670 — Dublin,  1752;  violinist;  leader 
of  Handel's  opera-orch.;  inv.  and 
played  the  violetta  marina.  His 
bro.  (a)  Prospero  (d.  London,  1769); 
violinist  and  composer. 

Catalani  (kat-S.-la'-ne),  (i)  Angelica, 
Sinigaglia,  Oct.,  1780— -Paris,  June 
X2,  1849;  famous  operatic  soprano  of 
great  beauty;  her  voice  was  notably 
flexible  and  reached  to  g"'  (v.  CHART 
OP  PITCH);  in  1806,  at  London,  she 
earned  over  £16,000  ($80,000)  in  one 
year;  1814-17,  she  took  up  manage- 
ment of  the  Th.  Italien,  Paris,  with- 
out succ.  After  final  appearance, 
York  festival,  in  1828,  she  retired  to 
her  country-seat,  near  Florence. 
(2)  Alfredo,  Lucca,  June  19,  1854 — 
Milan,  Aug.  6,  1893;  pupil  of  his 
father,  an  organist;  at  14,  c.  a  mass 
sung  at  the  cathedral;  pupil  of  Magi, 
and  of  Paris  Cons,  and  Milan  Cons.; 
c.  operas  "La  Falcc"  (Milan.  1875); 
"Elda"  (Turin,  1880;  revised  as 
"Isorcley,"  1890);  "Dcjanice"  (1883): 
"Ero  e  Leandro  (1885),  "Edmea'* 
(1886),  "La  Wally"  (La  Scala,  1892); 
symph,  poem  "Ero  e  Lcandro"  etc. 

Catel  (kfc-tel),  Chas.  Simon,  L'Aigle, 
Orne,  1773 — Paris,  1830;  dram. 
composer  and  writer. 

Catelani  (k&t-£-l&'-ne)»  Angelo,  Guas- 
talla,  1811 — S.  Martino  di  Mugnano, 
1866;  dram,  composer  and  writer. 

Catolre  (kfiLt~w&r),  Georg  L.,  Moscow, 
April  27*  1861 — May*  1926;  pupil 


of  Klindworth,  Willborg,  and  Liadov; 
c.  symphony;  symph.  poem,  "Mzyri"; 
cantata,  "Russalka,"  piano  concerto, 
quintet,  quartet  and  trio  for  strings, 
"Po&me"  for  vln.,  choruses,  songs, 
etc. 

Catrufo  (ka-troo'-f6),  Giu.,  Naples, 
1771 — London,  1851;  dram,  com- 
poser. 

Caurroy     (k5r-wa),     Fran.     Eustache 
du,  sieur  de  St.-Fremin,   Gerberoy, 
1549 — Paris,  1609;  singer  and  con 
ductor. 

Cavaccio  (ka-vat7-ch5),  Giovanni, 
Bergamo,  ca.  1556 — Rome,  1626; 
conductor. 

CavaillS-ColL  (ka-vl'-yS-k610,  Aristide, 
Montpellier,  1811 — Paris,  1899;  fa- 
mous organ-builder;  son  of  Hya- 
dnthe  Cavaille,  c.  1771 — 1862,  org.- 
builder  and  inv.  of  separate  wind- 
chests  with  different  pressures,  etc. 

Cavalieri  (del  ka-val-yaVre),  (i)  EmiHo 
del,  Rome,  ca.  1550 — March  n, 
1602;  appointed  "Inspector- Gen.  of 
Art  and  Artists"  to  the  Tuscan  court; 
advocated  non-polyphonic  music;  his 
"  Rap  present  azione  di  Anima  e  di 
Corpo"  (Rome,  1600)  is  the  first  ora- 
torio. (2)  Katherina,  Vienna,  1761 
— 1801;  singer,  whom  Mozart  wrote 
for  and  praised.  (3)  Lina,  b.  Rome, 
Dec.  24,  1874;  soprano;  won  noto- 
riety as  beauty  and  singer  in  caf  6s 
chantants;  studied  with  Mme.  Mari- 
ani-Maesi;  succ.  d^butin  "Pagliacci," 
Lisbon,  1900;  sang  Naples,  Warsaw, 
and  1902,  at  Dal  Verme  Th.,  Milan; 
1906,  Met.  Op.;  1908-9,  Manhattan 
Op.;  1915-16,  Chicago  Op.;  m. 

Lucien  Muratore,  te:         v 

Italy,  Feb.  8,  1944. 


Lucien  Muratore,  tenor;  d.  (air  raid) 

ily,  "  •     * 
Caval'U,  Fran.,  Crema,  Feb.  3:4, 1602— 


«ATC4Jk    JUk,    ATAfiUU**,     N^JkbJULLCIt,    J,*~\J.     A^J     4-WW* 

Venice,  Jan.  14,  1676  (rightly  Pier 
Francesco,  Caletti-Bruni),  son  of 
Giambatt.  Caletti,  called  Bruni, 
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;  1668,  conductor;  he 
was  a  pupil  of  Monteverde  and 
developed  M.'s  principles,  composing 
41  operas,  the  most  succ.  being 
"Giasone"  (Venice,  1649);  "Serse" 
(1654);  "Ercole  Amante"  (Paris, 
1662);  he  c.  also  a  notable  requiem, 
and  other  church-music. 

Cavallini  (le'-nS),  Ernesto,  Milan,  1807 
— 187-1;  clarinettist  and  composer. 

Cavos    (ka'-vQs),    Catterino,    Venice, 


DICTIONARY  OF  MUSICIANS 


96 


1776 — St.    Petersburg,    1840; 
court-conductor;     c.      13      Russian 
operas;  also  others. 

Cazzati  (kSd-za'-t€),  Maurizio,  Man- 
tua, ca,  1620 — 1677;  composer  and 
conductor. 

Cecil'ia  (Saint),  d*  Rome,  A.D.  230,  in 
Christian  martyrdom;  her  feast-day 
is  Nov.  sad;  legendary  inventor  of 
the  organ,  and  patron  saint  of  Chris- 
tian music. 

Ceffier  (s&'-yer),  Alfred,  Hackney, 
London,  Dec.  i,  1844 — 3D«c-  28, 
1891;  conductor  in  London,  etc.;  c. 
15  operettas,  incl.  the  very  succ. 
"Dorothy"  (1886);  "The  Mounte- 
banks" (London,  1802),  etc. 

Cerone  (cha-ra'-ne4),  Bom*  P.,  b.  Ber- 
gamo, ca.  1566;  theorist. 

Cerreto  (ch«r-r&'-te),  Sdpione,  Naples, 
1551— ca.  1652;  lutist  and  theorist. 

Certon  (sfcr-t$n),  P.,  i6th  cent.,  con- 
trapuntist; choir m.  Sainte  Chapeile, 
Paris. 

Cert  (cha-rooO,  Dom.  Ag.,  b.  Lucca, 
Aug.  28,  1817;  engineer  and  writer. 

Cerveny  (char'-va-ne"),  V*  F*  (Wes?«* 
Ffc*)t  Dubec,  Bohemia,  18x9 — KOaig- 
grfctz,  Jan.  19,  1806;  maker  and 
improver  of  brass  instrs.  and  inv. 
of  the  important  "roller"-  cylinder 
mechanism,  also  of  the  contrabass 
(1845),  metal  contrafagotto  ('56), 
althorn  obbligato  ('59),  primhorn 
(*73)»  and  the  complete  waldhom 
quartet  (primhorn,  £fc>  alto,  waldhorn 
in  F,  tenor  In  Bf>,  basso,  n  in  Di>), 
subcontrabass  and  subcontrafagotto; 
improved  the  family  of  cornets,  the 
euphonion,  the  screwdrum,  and  the 
church-kettledrum,  etc. 

Cervetti.     Vide  CBLXNEK* 

Cervetto  (ch$r-v«t'-t6),  (i)  Giacomo 
(rightly  Bassevi),  Italy,  ca,  1682 — 
London,  Jan.  14,  1783;  'cellist,  (a) 
Giacomo,  London*  1749  (?} — Feb. 
$,  1837;  son  of  above;  'cellist  and 
composer* 

Cesi  (chft'-ze*),  Benlamino,  Naples, 
Nov.  6,  1845 — Jan.  19,  1907;  pupil 
of  Naples  Cons,  under  Mercaaante 
.-and  Pappalardo,  pf.-pupil  of  Thai- 
berg;  i866t  prof,  Naples  Cons.;  c.  an 
opera,  "Vittor  JPisani9*  (not  prod,)* 
etc 

Cestif  (chas'-ta),  Marc  A.t  Areszo, 
1618 — Venice,  1669;  Franciscan 
monk;  conductor  and  tenor  singer; 
first  opera,  "Qrontea"  succ.  at  Ven~ 
ice,  1649;  wrote  xo  other  operas 


mainly  succ.;  all  lost  now  except  "La 
Dori"  (Venice,  1663);  his  cantatas 
are  better  preserved;  he  wrote  them 
for  the  stage, 

Chabran  (sh&-br£n),  or  Ciabrano 
(cha-br&'-no),  Francesco,  b*  Pied- 
mont, 1733;  violinist  and  comp.; 
1751,  toured  Europe  with  success. 

Chabriex  (shJLb-rT-a),  Alexis  Emm., 
Auvergne,  Jan,  18,  1841 — Paris, 
Sept.  13,  1894;  studied  law  in  Paris, 
then  music;  1881,  choirm.,  under 
Lamoureux;  c.  operettas,  rhapsodic 
"Espa&a"  for  orch.,  etc.  After  his 
death  in  2894  his  unfinished  opera, 
"Briseis,"  was  given  at  the  Oplra 
Paris,  1809;  his  opera  "Gwendoline** 
(text  by  Catulle  Mendes),  at  the  Op. 
Com.,  3911.  C.  also  opera  *'£* 
Roi  malfrt  lui"  (1887);  scena,  "£a 
Sulamits';  choral,  orch.  and  piano 
works.  Memoirs  pub.  by  Sere  and 
Services. 

Chad 'wick,  George  "Whitefield,  LowelL 
Mass.,  Nov.  13,  1854 — Boston,  April 
7,  2931;  studied  organ,  etc.,  under 
Eugene  Thayer  at  Boston;  1876 
head  of  mus.  dept.  of  Olivet  CoU,, 
Mich.;  1877-78  studied  Leipzig 
Cons.  (Reinecke,  Jadassohn),  bis 
graduation  piece  being  an  overture  to 
*Kip  Van  W**M**>  studied  at 
Munich  with  Rhetnberger;  1880,  or- 
ganist Boston  and  teacher  of  harm,, 
comp.  and  instrumentation  at  the  N. 
E.  Cons.;  1897-1931,  dir.;  cond 
the  Worcester  Mus.  Festivals,  re- 
signed, 1002;  c.  3  symphonies,  over* 
tares,  "Rip  Van  WinkW*  (>7$> 
c*r*alw"  ($3),  "Mdpomtn*"  ('87), 
**r**  MW*r*s  Daughter"  (*88);  3 
symphonic  sketches  for  orch.;  comic 
opera  "r*fcuw"  (New  York,  '94); 
many  choral  works;  "The  Colum- 
bian Ode"  (Chicago,  '03);  overtures 
"AdeneW  (XQOO);  "EitUrpf* 
(1904);  "Cleopatra"  (1906);  sym- 
phonic sketches  ( 1 908);  theme,  varia- 
tions and  fugue  for  organ  and  orch. 
^909);  "Sittfoaittt*"  (1910);  *45«to 
Symphoniavc"  for  orch.  winning  $700 
prite  of  Nat.  Federation  of  Clubs 
fipto);  c.  also  "Afarf"  (1909): 
**  JLockimarS*  ballad  for  barytone  ana 
orch.,  1909.  "Juditk"  lync  drama, 
Worcester  Fest.,  1900;  incid.  music 
to  ^Ewywoman"  don);  symph. 
poem  "Apkrodfa"  (Norfolk,  XQIJ), 
*'Tam  trSkanttr"  (19x7);  opera 
"£MW**  Sacrifice"  (i9is)»  S  string 
quartets,  trio,  piano  quintet, 


DICTIONARY  OF  MUSICIANS 


97 


music,  songs,  etc.;  wrote  a  text-book 
on  "Harmony"  (Boston,  1898). 

Chaliapine  (shal-yH'-pgn),  Fedor 
Ivanovich,  Kazan,  Feb.  n,  1873 — 
Paris,  April  12,  1938.  Eminent 
Russian  bass;  pupil  of  Oussatov,  in 
Tiflis;  sang  in  various  cities,  finally 
at  Moscow,  and  with  immense  suc- 
cess in  European  capitals;  1908, 
New  York,  at  Met.  Op.  in  Italian 
r61es,  but  on  his  return  in  1921  to 
U.  S.  he  established  his  full  artistic 
stature  as  a  powerfully  eloquent 
protagonist  in  "Boris  Godounojf," 
and  as  Mephistopheles,  King  Philip 
in  "Don  Carlos,"  etc.;  also  a  highly 
individual  concert  singer,  mostly  of 
Russian  songs. 

Challier  (shal'-U-Sr),  Ernst,  Berlin, 
July  9,  1843 — Giessen,  Sept,  19, 
1914;  music-publisher,  Berlin. 

Cham'beilain,  Houston  Stewart,  Ports- 
mouth, England,  Sept.  9,  1855 — 
Bayreuth,  Jan.  9,  1927;  son-in-law 
of  Richard  Wagner,  whose  daughter, 
Eva,  he  m.  1908;  renounced  British 
citizenship  and  became  German 
subject;  son  of  a  British  Admiral, 
took  doctor's  degree  in  Germany,  and 
lived  at  Vienna  because  of  his  health; 
pub.  famous  book  "Richard  Wagner" 
(Leipzig,  1892),  followed  by  others. 

Chambonniferes  (shan-btin-yar), 
Jacques  Champion  (called  "Cham- 
pion de  Chamb."),  d.  ca.  1670;  first 
chamber  cembalist  to  Louis  XIV, 

Chaminade  (sh&m'-I-n&dO,  CScile 
(Louise  Stephanie),  Paris,  Aug.  8, 
x86i — Monte  Carlo,  April  18,  1944; 
noted  composer,  pianist;  pupil  of 
Lecouppey,  Savard,  Marsick  and 
Godard;  c.  the  succ.  "ballet-sym- 
phonie"  "Callirho't"  (Marseilles, 
1888);  the  "symphonie  lyrique'' 
4iLes  Amasones"  (Anvers,  1888): 
a  suites  for  orch.;  "Concert-stlick'5 
for  pf.  with  orch.  and  many  pop. 
songs  and  pf. -pieces:  opera  comique, 
"La  Sevillancf*  etc. 

Cham  lee  (chamMe),  Mario,  b.  Los 
Angeles,  1892;  tenor;  Mus.  M.,  Univ. 
of  Calif.,  1924;  studied  with  Achille 
Albert!  and  Ricc&rdo  Dellera;  debut 
Met.  Op.  Co.,  1920,  as  Cavaradossi 
in  "Tosca";  also  sang  with  Scotti  and 
Ravinia  Op.  Cos.,  and  has  made 
appearances  in  concerts  and  radio 
programmes;  m.  Ruth  Miller,  soprano. 

Champeln,  (sh£n~p£n),  Stanislas, 
Marseilles^  1753 — Paris,  1830;  dram, 
composer* 


Champion  (shanp-y6n),  Jacques.  Vide 
CHAMBONNI  ±KJ:S. 

Chanot  (shl-no),  Fran.,  Mirecourt, 
1787 — Brest,  1823;  retired  as  a  naval 
engineer;  designed  a  violin  which 
the  Academy  pronounced  equal  to 
Stradivari's;  his  bro.,  a  Paris  luth- 
ier,  manufactured  it,  but  found  it  im- 
practicable. 

Chapi  (y  Lorente)  (cb£-pe'  e  16  rSn'-t«), 
Ruperto,  Villena,  March  27,  1851 — 
Madrid,  March  25,  1909;  pupil 
Madrid  Cons.;  c.  operas  and  78 
zarzuelas;  also  a  symph.;  oratorio, 
etc. 

Chap 'man,  William  Rogers,  Hanover, 
Mass.,  Aug.  4,  1855 — Palm  Beach, 
Fla.,  March  27,  1935;  composer, 
choral  conductor;  founded  and  led 
Apollo  Club  of  New  York;  after 
1897,  the  Maine  Festivals  in  Bangor 
and  Portland;  and  the  Rubinstein 
Club,  a  N.  Y.  women's  chorus, 
which  had  a  continuous  existence 
under  his  baton  from  1887. 

Chap 'pell  &  Co.,  music-publishers, 
London;  founded  1812  by  (i)  Sam- 
uel C.,  the  pianist,  Cramer,  and  F. 
T.  Latour  (1809 — 1888).  (2)  Wm. 
C.  became  the  head  of  the  firm;  in 
1:840  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 'pie,  Samuel,  Crediton  (Devon), 
i?75 — Ashburton,  1833;  organist  and 
pianist,  blind  from  infancy;  com- 
poser. 

Chapuis  (sh&p-we1),  Aug.  Paul  J. 
Bap.,  Dampierre-sur-Sa6ne,  France, 
April  20,  1862 — Paris,  Dec.,  1933; 
pupil  of  Dubois,  Massenet,  and 
C6sar  Franck,  Paris  Cons.,  took 
first  prize  in  harm.,  ist  prize  for  org., 
and  the  Rossini  prize;  organist  at 
Saint  Roch.;  from  1894,  prof,  of 
harm,  at  the  Cons.;  1895,  inspector- 
gen,  of  music  instruction  in  Paris 
schools;  c.  unsucc.  lyric  drama 
"  Enguerrande"  (Op.  Com.,  1892); 
lyric  drama  "Tancred"  (Op.  Com., 
1898  ?);  an  oratorio;  a  pf, -suite  "on 
the  oriental  scale/'  etc.;  pub.  a 
treatise  on  harm. 

Char  (khar),  Fr.  Ernst  ("Fritz"), 
Cleves-on-Rhein,  May  5,  1865 — 
Velden,  Sept.  21,  1932;  pupil  of 
C.  JCistler,  Wullner  and  Neitzel; 
cond.  opera  at  Zwickau,  Stettin,  and 


98 


DICTIONARY  OF  MUSICIANS 


St.  Gallen;  later  at  Ulm;  wrote  book 
and  music  of  succ.  opera  "Der 
Schelm  von  Bcrgen"  (Zwickau,  1895); 
c.  cantata  "Spidmann"  etc. 

Chard,  G.  W.9  ca.  1765 — May  23, 
1849;  English  organist  and  com- 
poser. 

Charpentier  (sh&r-pant-y5),  (i)  Marc 
A.,  Paris,  1634 — March,  1704;  con- 
ductoi  to  the  Dauphin;  c.  16  operas 
for  the  stage  and  many  "tragedies 
spirituelles"  for  the  Jesuits,  masses, 
etc.  (2)  Gustave,  b.  Dieuze,  Lor- 
raine, June  25,  1860;  pupil  of  Mas- 
sart,  Pessard,  and  Massenet,  Paris 
Cons.;  1887,  took  grand  prix  de 
Rome;  c.  orch.  suite  "Impressions 
d'ltalie";  scene  Ivrique  "Dido*"i 
symphonic  drama  (or  concert  opera) 
<fLa  Vie  du  Poete"  (Grand  Opera, 
1892),  and  "Italic*"  (Hamburg, 
1902):  symph*  poem  **  NapolF 
(1891);  book  and  music  of  succ, 
opera  "  Louise^'  impressionistic 
stud^r  of  poet  life  in  Montmartre. 
premiere  Op.-Comique,  1900,  ana 
heard  at  Manhattan  Op.7  N.  Y., 
1907,  with  Mary  Garden,  and  with 
Farrar  at  Met.  Op.,  1921;  he  wrote 
a  sequel.  "Jitlicn**  Op.-Com*,  19x3, 
also  at  Met.  Op.,  with  Farrar  and 
Caruso,  but  not  succ.;  also  c* 
"Marie"  "Orpk6e>"  and  "T&c 
Rouge,'*  unprod.;  and  songs,  **Le$ 
Fleurs  du  Mai,"  "Quin**  primes**- 
some  of  them  with  chorus  and  orches- 
tra. He  founded  Cercle  Mimi  Pin- 
son  and  Cons,  of  same  name  for 
working  girls. 

Chasing  (ch&s'-tas),  Abram,  b.  New 
York,  Aug.  17,  1903;  pianist,  com- 
poser; studied  piano  with  Hutcheson, 
Hofmann  and  others;  composition 
with  Rubin  Gold  mark;  debut  as 
soloist  with  Phila.  Orch.,  1929,  play- 
ing his  own  concerto;  member  of 
piano  faculty,  Curtis  Inst.,  Phila.; 
has  composed  numerous  piano  pieces, 
some  of  which  he  has  arranged  tor 
orch.;  his  "Parade"  and  "In  a  Chines* 
Garden"  played  by  N.  Y.  Philh. 

Chat'terton,  J»  B.,  Norwich*  x8o$  — * 
London,  1871;  court-harpist  and 
composer. 

Chauxnet  (sha-ma),  J.  B.  Waou,  Bor- 
deaux, April  26,  1843— Gajac, 
Gironde,  Oct,  a8,  *0<>3;  won  the 
Prix  Cressent,  with  the  comic  opera 
"Baltafo"  (prod.  1877),  also  the 
Prix  Rossini;  c,  comic  operas;  lyric 
drama  "Mauprat"  (MS.),  etc. 


Chausson  (sh5s-s6n),  Ernest,  Paris, 
June  21,  1855 — (killed  in  bicycle 
accident),  Limay  n.  Mantes,  June 
xo,  1899;  pupil  of  Massenet  and 
C6sar  Franck;  c.  symph.;  symph. 
poems  "Vimaae"  and'^JLes  caprices  de 
Marianne";  operas  "  8dcnt,"  "Le  roi 
Arthus"  (Brussels,  1903;  text  by 
the  composer);  songs  and  piano 
pieces;  "jPv&me  de  I' Amour  et  de  la 
Mcr,"  and  "Chanson  PtrpetucUc," 
dram,  scenas;  lyric  scene,  "Jeanne 
d'Arc";  "Un  Soir  de  «/«"  and 
"Solitude  dans  le  Bets"  for  orch.; 
piano  and  vln.  concertos;  string 
quartet;  piano  quartet;  string  trio; 
and  popular  "Poime9*  for  via.  and 
orch.  A  highly  individual  genius. 
Memoir  by  §§r& 

Chauvet  (sh6-va),  Chas.  Aleuris, 
Mamies,  June  7,  1837 — Argentaa, 
Jan.  28,  2871;  organist;  c.  note- 
worthy org.-music. 

Cfcavanne    (shfi-vJLn'-n*),    Irdne    von, 
b-    Gratz,    1868;    contralto;    pupil 
Vienna  Cons.,  1882-85;  1885  at  the 
Dresden  Court-opera. 

Chavez  (ch&'-v£th),  Carlos,  b.  Mexico 
City,  June  13,  1899;  composer,  con- 
ductor; studied  with  Manuel  Ponce 
and  Pedro  Ogazon,  also  in  Europe; 
founded  and  led  Symph.  Orch.  of 
Mexico  after  4928:  same  year  ap- 
pointed dir.  of  Nat'l.  Cons,  of 


extco,  resigned  1034;  guest  cond, 
of  Boston  and  Phil**  Ore  ha.,  1936; 
N*  Y,  Philh.j  4937;  c,  modern  style 
works  of  originality,  incl,  (ballet) 
"B.  P."  ("Horsepower"),  staged  by 
Stokowskl  in  Phila.,  2932;  (orch.) 
"Sinfonia  de  Anti&ona**  sonatinas 
for  various  chamber  combinations; 
piano  sonata,  etc. 

Chaath'axn,  Kitty,  b.  Nashville*  Tenn., 
merxo-soprano;  esp.  known  for  her 
concerts  of  folk  music  and  children's 
songs;  ed»  two  collections  of  these 
works;  res,  in  New  York  for  some 
years;  d.  Greenwich,  Conn,,  2946. 

Chelard  (shtt-l&r),  Hippolyte  Andr* 
J.  Bap,,  Paris,  Feb.  i,  1789— Wei- 
mar, Feb.  ia,  tS6i;  1815,  prod*  his 
first  opcr&>  "La  Casa  a  Vtndcre" 
Naples;  entered  the  Paris  Operatic 
orch  as  violinist:  in  1827  Bis  opera 
"M acbcik"  (text  by  Rouget  de  Lisle) 
was  prod »  but  failed;  he  went  to 
Munich,  and  x8aS  prod,  a  revised 
version  of  "Mat folk"  with  such 
succ.  that  he  was  made  court* 
conductor,  he  returned  to  Pari*. 


DICTIONARY  OF  MUSICIANS 


99 


1829,  and  failed  with  3  other  operas; 
conducted  the  German  Opera  in  Lon- 
don, which  failed;  returned  to  Mu- 
Aich,  and  prod,  his  best  work,  "Die 
Hermannsschlackt"  1835;  ^836, 
court-conductor  at  Weimar,  where 
he  prod.  2  comic  operas. 

Chelleri  (kSl'4€-r€),  Fortunato  (rightly 
Keller),  Parma,  1686 — Cassel,  1757; 
court-conductor  and  dram,  com- 
poser. 

Chemin-Petit  (shu-m3,n-pti-te'),  Hans, 
d.  Potsdam,  1917;  c.  operas,  including 
"Der  Licbc  Augustiri"  (Brandenburg, 

Che?!  (sha-rS),  Victor  (rightly  Cizos), 
Auxerre,  1830 — suicide,  Paris,  1882; 
cond.  and  dram,  composer. 

Gherkass'ky,  Shura,  b.  Odessa,  Oct. 
7,  191 1 ;  pianist;  studied  with  Josef 
Hofmann;  d6but  as  youthful  pianist 
prodigy;  developed  into  excellent 
performer  of  mature  ability;  has 
appeared  with  leading  orchs.  and  as 
recitalist,  in  many  Eur.  and  Amer. 
cities,  also  extensive  tours  of  Russia 
and  Far  East. 

Cherniav'sky,  (i)  Jan,  b.  Odessa, 
Tune  «£,  1802;  pianist;  pupil  of 
Leschetifcky^  Vienna;  founded  Cher- 
nlavsky  Trio  with  his  brothers,  (2) 
Leo  (b.  Odessa,  Aug.  30,  1890), 
violinist,  who  was  pupil  of  Wilhelmj; 
and  (3)  Michel  (b.  Odessa,  Nov.  2, 
1893),  'cellist,  pupil  of  Popper. 
Tours  in  U.  S.  and  other  countries. 

Chernbini  (k£-roo-be"-n6)  (M.)  Ltiigi 
(Carlo  Zenobio  Salvatore),  Flor- 
ence,  Sept.  14,  1760 — 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  i$,  another 
intermezzo;  1780,  "Quinto  Fabio"* 
was  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  Lonaon,  where  he  prod,  an  opera 
buff  a,  with  some  success,  and  another 
with  none;  he  was  court  composer 
for  one  year;  1788  he  prod.  *'Ifigenia 
in  Aulide"  at  Turin;  and  then  lived 
In  Paris,  where  his  French  opera 
"Dtmophon"  (Grand  Op£ra,  1788) 
{ailed;  ne  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  operas  and  a  ballet  followed, 
incl.  his  masterpiece  (1800),  "Les 
deux  journ$es"  (in  Germany  called 
"Der  Wassertr&ger";  in  England, 
"The  Water-carrier").  *795  be  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  resulted  in  the 
famous  3-part  mass  in  F.  He  wrote 
4  more  operas,  but  found  church- 
music  more  satisfactory.  1815, 
visited  London;  wrote  a  symphony, 
an  overture,  and  a  Hymn  to  Spring, 
for  the  Philh.  Soc.  After  many 
vicissitudes  he  became  in  1816  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,  n  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). 

Chessin  (chSs'-s$n),  Alexander  Boris-* 
sovich,  b.  St.  Petersburg  Oct.  19, 
1869;  conductor;  pupil  of  the  Cons., 
and  of  Nikisch  at  Leipzig;  1901, 
cond.  at  St.  Petersburg  and  1903  of 
Philharmonic  concerts  at  Moscow; 
c.  cantata,  etc. 

Chev6  (shu-va),  Ernile  Jos.  Maurice, 
Douarnenez,  Finistere,  1804 — 1864; 
a  physician;  wrote  pamphlets  attack- 
ing the  methods  at  the  Paris  Cons. 
His  wife  (ne'e  Manine,  Paris)  col- 
laborated with  him. 

Chevillard  (shu-vS-y&r) ,  Caanille,  Paris, 
Oct.  14,  1859 — ^ay  30,  1923;  pupil 
of  G.  Mathias;  took  2d  pf.  prize  at 
Cons.;  till  1886,  asst.-cond.  of  the 
Lamoureux  Concerts;  1897,  cond.; 
after  1907,  prof,  at  Paris  Cons.;  1913 
also  concert  master  at  the  Op6ra; 
1903,  won  Prix  Chartier  for  chamber 
music;  pres.,  Chamber  Mus.  Soc.; 
Officier  of  Public  Instruction  and 
mem.  of  the  Legion  of  Honour;  c.  a 
symph.  ballade,  "Le  Mne  ct  U 
toseau";  a  symph.  poem,  a  symph. 


100 


DICTIONARY  OF  MUSICIANS 


fantasie;  incid.  mus.  to  "La  Rous- 
salka,  (1903);  allegro  for  horn  and 
piano,  1905;  piano  pieces  and  songs; 
2  string  quartets,  trio,  piano  quintet, 
sonatas  for  vln.  and  for  'cello,  etc. 

Chiaromonte  (kS-ar-e-mdn'-te*),  Fran. 
Castrogofovanni,  1809  —  Brussels. 
1886;  tenor;  prof,  of  singing  and 
dram,  composer. 

Chick  'ering  &  Sons,  American  firm  of 
pf.-makers,  est.  1823,  by  (i)  Jonas 
Cbickering  (New  Ipswich,  K.  H., 


1798  —  Boston,  1853);  an<*  his  sons 
(2)  Col.  Thos.  E.  C.  (Boston,  1824  — 
1871),  (3)  Geo*  H.  (1830-06),  and 
(4)  C,  Frank  (1827-91).  Last  was 
named  Chev.  of  the  Legion  of 
Honour,  and  took  first  pf.-prize  at 
the  Paris  Exposition,  1867.  In 
1908  the  firm  was  merged  with  tke 
Amer.  Piano  Co. 

Cfcild,  Win-,  Bristol,  1606  —  Windsor, 
1697;  organist. 

Chilesotti  (ke-la-sot'-te),  Oscars, 
Bassano,  Italy,  July  xa,  1848  —  Jume 
00,  19x6;  law  graduate  Padua  Univ.; 
flutist  and  'cellist;  self-taught  in 
harm.;  lived  in  Milan;  wrote  impor- 
tant historical  works* 

Chipp,  Edm.  Thos.  (Mus.  Doc.), 
London,  1833  —  Nice,  1886;  organist. 

Chladni  (khl&t'-n*),  Ernst  Florens 
Fr.,  Wittenberg,  Nov.  3ot  2756  — 
Breslau,  April  3,  1827;  prof,  of  law 
and  investigator  in  physics  and 
%cou&tics;  discovered  the  sound- 
figures  which  sand  assumes  on  a 
vibrating  plate,  and  which  bear  bis 
name;  mv»  the  euphonium  and 
clavicylinder  (v.  D.D.). 

Chollet  (shol-Ia),  T.  B.  M,,  b.  Paris, 
May,  1798;  violinist  and  singer  in 
opera. 

Chop  (kh6p),  Max,  Grcuszen,  Thu- 
titigia,  May  17,  1862  —  Berlin,  Dec. 
20,  igso;  mus.  writer*  critic  in  Berlin, 
under  the  name  "Monsieur  Charles": 
c.  piano  concerto,  etc.  Was  ed.  of 
the  "5i£fM&r,"  Berlin  mus.  pub?i- 
^ation,  M.  Celeste  Groenvelt, 
pianist. 

Chopin  (sh6-pfi.fi)  (FrajQpoIs)  Fr£d£ric, 
Zelazowa  Wola  (Teliasovaya  Volia), 
near  Warsaw,  Feb.  22,  xHto  —  Paris, 
Oct.  17,  1840;  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  Gym- 
nasium), and  a  Polish  woman  (ne'e 
Justine  Kryxanowska).  C*  studied 


at  his  father's  private  school,  among 
young  Polish  noblemen;  Albert 
Zwyny  taught  him  pf.  and  Joseph 
Eisner,  harm.,  etc.  At  9  he  piayed 
in  public  a  pf.-concerto  and  im- 
provisations; c.  polonaises,  mazur- 
kas, and  waltzes;  in  1825,  pub.  as 
op.  i  a  rondo;  op.  2  a  fantasie  with 
orch.  He  played  in  German  cities 
and  had  at  xp  an  individual  style 
of  comp.,  having  written  his  2  pf.- 
concertos,  mazurkas,  nocturnes, 
rondos,  etc.  He  started  for  London, 
and  played  in  Vienna,  1820,  wixh 
such  success  that  a  critic  called  him 
"one  of  the  most  remarkable  meteors 
blazing  on  the  musical  horizon":  and 
at  Pans  he  had  such  succ.  in  his  first 
concert,  1831,  that  he  settled  there 
for  life  as  a  teacher  of  the  pi*  and 
occasional  giver  of  concerts.  His 
pupils  were  of  the  most  aristocratic. 
ana  his  friends  included  Liszt,  Ber- 
lioz, Meyerbeer,  Bellini,  Balzac,  and 
Heine.  Schumann  with  typical  spon- 
taneity (cf.  BRAHMS)  was  moved  in 
183?  by  Chopin's  op,  2  to  say,  "Hats 
off»  gentlemen: — a  genius";  and  ia 
1839,  in  reviewing  certain  of  his 
preludes,  mazurkas,  and  valses,  to 
say  "He  is  and  remains  the  keenest 
and  staunchest  poet-soul  of  the 
time."  C.'s  liaison  with  Mme. 
Dudevant  ("George  Sand"),  begun 
m  1836  and  ended  IB  1844,  has 
caused  endless  controversy.  111183$ 
an  attack  of  bronchitis  drove  him  to 
Majorca,  where  she  seems  tc  have 
been  a  devoted  nurse,  but  the 
peevishness  and  weakness  due  to  his 
developing  consumption  caused  bit- 
ter quarrels,  and  she  Is  believed  to 
have  caricatured  him  as  Prince  Karo! 
in  her  novel  "Lutrcxia  Fl&riam***- 
Concert  tours  and  social  life  in 
England  and  Scotland  in  1841-49 
destroyed  his  strength. 
His  comps.  include  beside  those 
mentioned  (74,  with  opus- number 
xa  lacking);  "Don  Gunanni,"  fan- 
tasia, op.  a;  "&ra£0wd£,"  rondo, 
op*  14;  j£b  Polonaise,  op.  22;  and  a 
fantasia  on  Polish  airs  for  pf.  with 
orch;  duo  concertant  on  themes 
from  "Robert  le  Diablc1*',  an  in  trod. 
et  Polonaise,  op.  3,  and  a  sonata*  o. 
65  for  pf.  and  'cello;  pf,  trio,  op, 
and  a  rondo  for  apis.  op.  73.  F 
PF.  SOLO:  Allegro  dc  C(mcrri;  4 
ballades;  barcarolle*  op,  60;  ber- 
ceuse,, op.  57;  bolero,  op*  19;  3  ecofi- 


DICTIONARY  OF  MUSICIANS 


101 


saises,  op.  72;  12  grandes  Etudes,  op. 
10;  12  6tudes,  op.  25;  3  Etudes;  4 
fantasies;  3  impromptus;  marche 
fun&bre,  op.  72;  52  mazurkas.  "Mor- 
ceau  de  concert  sur  la  Marche  des 
Puritains  de  Bellini"',  19  nocturnes, 
ii  polonaises;  24  preludes,  op.  28; 
pr61ude,  op.  45;  3  rondos;  4  scherzos; 
3  sonatas;  tarantelle,  op.  43;  13 
valses;  variations  on  "Je  vends  des 
scaptdaires"  op.  12;  "Variation 
dans  I*  Hexameron";  16  Polish  songs 
op.  74- 

A  collection  of  his  letters  was  pub. 
(Dresden,  1877).  A  collection  by 
Opienski  was  tr.  into  English  by 
Voynich  and  pub.  1931.  His  many 
biographers  include  Liszt,  M.  Kara- 
sowski  (Dresden,  1877),  M.  A.  Aud- 
ley,  Fr.  Niecks  (Leipzig,  1889). 
Other  studies  by  Iluneker,  Finck, 
Bidou,  Dry,  J.  P.  Dunn,  Hadden, 
Jachimecki,  Kelley,  Kleczynski, 
Maine,  Murdoch,  Pourtales,  Tar- 
nowski,  Niggli,  Schucht,  Willeby, 
Hoesick  (3  vols.),  Leichtentritt, 
Opienski,  Poire"e,  Redenbacher, 
Weissmann,  Ganche,  Scharlitt,  etc. 
(See  article,  page  490.) 

Chorley,  H.  Fothergill,  Blackley 
Hurst,  Lancashire,  1808 — London, 
1872;  critic  and  widely  travelled 
writer. 

Choron  (sh6-r6n),  Alex.  Et.,  Caen, 
Oct.  21,  1772 — Paris,  June  29,  1834; 
an  ardent  student  of  musical  theory 
and  practice,  historian  and  bene- 
factor who  devoted  his  fortune  to 
the  advance  of  the  art. 

Chotzinoff  (kh6t  '-zS-n6f ) ,  Samuel ,  pian- 
ist, critic;  toured  as  accompanist  with 
Heifetz  and  Zimbalist;  former  mus. 
critic.,  N.  Y.  "World";  critic,  N.  Y. 
"Post"  after  1934;  author  "Eroica," 
novel  based  on  life  of  Beethoven. 

Choudens  (shoo-dSLns),  A.,  Paris,  1849 
— 1902;  son  of  a  music  publisher;  c. 
2  operas,  "Graziella"  (Paris,  1877), 
and  "La  Jeunesse  de  Don  Juan"  etc. 

Chouquet  (shoo-ka),  Ad.  Gv.,  Havre, 
1819 — Paris,  1886;  teacher  and 
writer  of  historical  works. 

Chris'tiansen,  F.  Melius,  b.  Eidsvold, 
Norway,  April  t,  1871;  choral  con- 
ductor and  composer;  pupil  of  Oscar 
Hansen,  in  organ  and  conducting,  at 
Larvik;  came  to  America,  1888;  later 
studied  at  Northwestern  Cons,  and 
at  Leipzig  Cons.;  after  1903  dir.  of 
mus.  at  St.  Olaf  Coll.,  Northfi^ld, 
Minn.,  where  he  has  led  the  notable 


St.  Olaf  Choir;  c.   and  arr.  choral 
music;  wrote  books  on  theory. 

Chris'tie,  Winifred,  Scottish  pianist; 
studied  R.  Coll.  of  Music,  London, 
winning  Liszt  scholarship;  also 
studied  in  Leipzig;  and  with  Harold 
Bauer;  toured  in  Eur.  countries;  res. 
in  America  1915-19;  later  returned 
here  for  tours;  plays  double-keyboard 
piano  invented  by  Emanuel  Mo6r 
(1863 — 1931),  whom  she  married. 

Christ'mann,  Jn.  Fr.,  Ludwigsburg, 
Wiirtemberg,  1752 — Heutingsheim, 
1817;  composer  and  writer. 

Chrysander  (kre"-zant-e"r),  Fr.,  Liib- 
theen,  Mecklenburg,  July  8,  1826 — • 
Bergedorf,  Sept.  3,  1901;  editor  and 
writer  of  the  standard  biography  of 
Handel,  and  with  Gervinus  of  the 
monumental  H.-Gesellchaft  edition 
of  that  master's  works. 

Chrysan'thos  of  Madyton;  writer  i9th 
century;  teacher  of  church  singing, 
Constantinople,  later  Archbishop 
of  Durazzo  in  Albania. 

Chvala  (shva'-la),  Emanuel,  Prague 
Jan.  i,  1851 — Oct.  31,  1924;  pupil 
of  F5rster  and  Fibich;  historian  and 
c.  of  chamber  music,  etc. 

Chwatal  (khwa'-tal),  Fz.  Xaver,  Rum- 
burg,  Bohemia,  1808 — Eimen  (Sool- 
bad),  1879;  teacher  and  composer. 

Chybinski  (khe-ben'-yS-shkX),  Adolf, 
b.  Cracow,  March  29,  1880;  historian 
of  Polish  music;  after  1912  taught 
at  Lemberg  U.;  d.  Oct.  31,  1952. 
*  Ciaja  (cha'-ya),  Azzolino  Bdo.  della, 
b.  Siena,  1671;  organist,  amateur 
org.-builder,  and  composer. 

Ciampi  (cham'-p5),  Legrenzio  V.,  b. 
Piacenza,  1719;  dram,  composer. 

Cianchettini  (chan-kSt-tg'-ng),  (i)  Ver- 
onica (n6e  Dussek),  Czaslau,  Bo- 
hemia, 1779;  composer  and  teacher. 
(2)  Pio,  London,  1799 — 1840;  son  of 
above;  composer  and  pianist;  first 
appearance  at  5  years;  at  10  per- 
formed an  original  concerto  in  public. 

Gibber  (sflb'-bfcr),  Susanna  M.  (ne'e 
Arne),  1714 — 1766;  great  English 
actress  and  notable  singer,  sister  of 
Dr.  Arne. 

Ciconia  (ch*-kSn'-ya),  Johannes, 
canon  at  Padua  about  1400;  theorist 
and  comp. 

Cifra  (che'-fra),  A.,  Rome,  1584 — 
Loreto,  1629;  important  composer 
of  the  Roman  School;  pupil  of 
Palestrina  and  B.  Nanim;  court- 
conductor. 
Cigna  (chSn'-ya),  Gina;  dramatic  so- 


102 


DICTIONARY  OF  MUSICIANS 


prano,  of  French-Italian  ancestry; 
early  studied  piano,  composition 
and  theory  at  Paris  Cons.;  awarded 
gold  medal;  later  instruction  in  sing- 
ing; after  1928  active  as  vocalist; 
from  1930  mem.  of  La  Scala;  has 
also  sung  at  Paris  Op.,  Rome  Teatro 
Reale  and  Augusteo,  Budapest  Op., 
Teatro  Colon  (Buenos  Aires),  Teatro 
Municipal  (Rio  de  Janeiro),  and  in 
many  Italian  cities;  created  title 
role  in  Respighi's  "La  Fiamma"  at 
Milan;  sang  Norma  at  centenary 
festival  of  Bellini  in  Catania;  and 
Gioconcla  at  La  Scala  on  Ponchielli 
centenary;  engaged  for  Met.  Op., 
N.  Y.,  1936-37- 

Cilfea  (ch5M£-a),  Francesco,  b,  Palmi, 
July  29, 1866 — Vareza&e,  Nov.  20, 1950; 
comp.;  at  9  had  c.  a  notturno  and  a 
mazurka;  at  is  entered  the  Naples 
Cons.;  while  yet  a  student  he  Had 
success  with  a  suite  for  orch.,  and 
a  3-act  opera  "Gina"  (1889);  1896- 
1904,  professor  at  Royal  Institute, 
Florence;  1913-16,  air.  Palermo 
Cons,;  from  1917  of  Naples  Cons.; 
c.  operas  "La  Tilda*  (1892); 
"UArlcsiana"  (Milan.  1896);  "Adri- 
an™* Ltcouvreur"  (MUan,  1902, 
Covent  Garden,  1904);  "Gloria," 
(La  Scala*  Milan>  1907);  also  "JPoema 
Sinfemica";  orch.  suite,  piano  trio, 
'cello  sonata,  etc. 

Clmarosa  (cha-mfc-rS'-sa),  Domenico, 
A  versa,  near  Naples,  Dec.  17, 1749— 
Venice,  Jan.  n,  1801;  the  orphan  of 
a  poor  mason;  studied  at  Minorite 
charity-school,  his  first  teacher  being 
Polcano,  monastery  organist;  when 
x  a  years  old  was  given  a  scholarship 
in  the  Cons,  di  S.  Maria  di  Loreto, 
where  he  studied  singing  with  Manna 
and  Sacchini,  cpt.  with  Fenaroli, 
and  comp,  with  Piccinni,  1770  his 
oratorio  "Giuditta"  was  prod,  in 
Rome;  1772,  his  first  opera,  **£* 
Siravaganzo  del  Conte"  at  Naples, 
without  succ.,  which  was  won,  how- 
ever, next  year  by  "La  Finta  Pari- 
gina"  Of  phenomenal  facility,  he 
c.  76  operas  in  39  years.  He  lived 
alternately  in  Rome  and  Naples* 
1781,  he  prod,  two  operas  in  Naples, 
one  in  Kome,  and  two  in  Turin; 
invited  1789  to  be  court-composer  at 
St.  Petersburg  (vice  Paesxeilo),  he 
spent  5  months  of  triumphal  progress 
thither,  being  lionised  at  various 
courts;  he  stayed  there  3  years,  prod. 
3  operas  ana  wrote  500  pieces  of 


music  for  the  court;  but  he  could  not 
tolerate  the  climate,  and  was  re- 
luctantly released,  being  engaged 
as  cond.  to  Emperor  Leopold  at 
Vienna,  with  a  salarv  of  12,000 
florins.  He  prod.  3  operas  incl.  his 
masterpiece  "II  Matrimoniv  Segrcto" 
(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.  Particularly  in 
comic,  but  at  times  also  in  serious 
opera,  C*  almost  challenges  compari- 
son with  Mozart  for  fluency  of 
melody  and  orchestral  richness.  His 
best  operas  are  "La  Finta"  (Naples, 
*773)»  "L*  Italian*  in  Londra" 
(Rome,  1774),  **//  Fanatico  per  g*i 
Aniichi  Roman***  (Naples,  1777), 
In  which  were  introduced  dra- 
matically vocal-trios  and  quartets, 
"La  Ballerina  AmanU"  (Naples, 
1782),  "Le  Trame  Ddusc"  (Naples, 
1786),  "L'Impresario  in  Angustit" 
(Naples,  1786),  "Ciannina  e  Berxa- 
donS'  (Naples,  3788),  "La  Vergin* 
del  Sate"  (St,  Petersburg,  1791). 
"11  Matrimonio  Se^rrln"  (Vienna, 
3792),  "Le  Astusic  FtmminW  (Na- 
ples, 1794).  He  also  prod,  a  orato- 
rios, 7  symphonies,  several  cantatas: 
masses,  etc. 

Cimial  (ch!'-mt-nC)f  Pietro,  b.  Carpi 
(Modena),  Italy*  1876;  conductor; 
studied  at  the  Bologna  Liceo  with 
Sarti.  DatTOlio  and  Marlucci;  early 
active  as  violinist;  cond.  opera  m 
Italy,  Warsaw  (1910-14),  also  in 
Russia,  at  Madrid  Keale,  Chicago 
Auditorium,  Manhattan  Op.  House, 
New  York;  later  for  some  years  on 
the  Pacific  Coast. 

Cippllini  (ch£-p6M*'-n€)y  Gaetano, 
Tropea,  Italy,  Feb.  Sf  1857— Milan, 
Oct.  2,  2935;  pupil  of  Francesco 
Coppa;  lived  at  Milan  as  dram, 
composer. 

Cirri  (ch£r'-r€).  (t)  IgaazJo,  organist 
and  comp.;  his  son  (a)  Giovanni 
Baptista,  D.  Forli,  ca.  1740;  'cellist: 
spent  many  years  in  London,  then 


DICTIONARY  OF  MUSICIANS 


103 


returned  to  Italy;  c.  important 
'cello  music. 

Cisneros  (sfe-n&'-rSs),  Eleanora  de 
(n£e  Broadfoot),  New  York,  Nov.  i, 
1880 — Feb.  3,  1934;  soprano;  studied 
with  Mme.  Murio-Celli,  and  made 
d£but  as  Rossweise  in  "Die  Walktire" 
at  Met.  Op.  House,  1900;  later 
studied  with  Jean  de  Reszke,  Maurel, 
Trabadello  and  Lombardi;  after 
1902,  sang  widely  in  Europe,  South 
and  Central  America,  and  Australia; 
1906-08,  Manhattan  Op.  House, 
N.  Y.;  sang  "Clytemnestra*'  in  "Etek- 
fra"  at  Milan;  after  1910  with  Chi- 
cago Op. 

Claassen  (klSs'-sSn),  Arthur,  Stargard, 
Prussia,  Feb.  19,  1859 — San  Fran- 
cisco, March  16,  1920;  graduated 
from  Danzig  Gym.;  1875,  studied 
under  MuHer-Hartung,  Gottschalk 
and  Sulze,  Weimar  Music  School; 
1880-84,  cond.  Gottingen  and 
Magdeburg;  1884,  cond.  "Arion"- 
and  other  societies  of  Brooklyn, 
N,  Y.;  est.  the  "Claassen  Mus. 
Inst.";  after  1910  active  as  choral 
and  orch.  cond.,  San  Antonio,  Tex.: 
c.  choruses,  incl.  "Der  Kamerad" 
(prize),  and  symph,  poem  "  Hohen~ 
friedberg"  etc. 

dig 'get,  Chas.,  London,  1755 — 1820; 
violinist  and  inventor. 

Clapisson  (kl&-pfe-s6n),  Antoine  L», 
Naples,  1808 — Paris,  1866;  violinist, 
professor  and  dram,  composer. 

Clapp,  Philip  Greeley,  b.  Boston,  Aug. 
4,  1888:  composer,  educator;  grad. 
Harvard  Univ.,  magna  cum  laude; 
cond.  Pierian  Sodality  there;  studied 
in  Europe  as  Sheldon  Fellow  of  that 
Univ.;  Ph.D.;  dir.  of  music,  Dart- 
mouth Coll.,  1915-19;  after  latter 
year  prof,  of  mus.,  Univ.  of  Iowa: 
for  a  time  associated  with  Juilliard 
Foundation,  N,  Y.;  c.  symph., 
choral  works,  etc.,  two  of  former 
perf .  Boston;  d.  Apr.  9,  1954- 

Clari  (kla'-rS),  Giov.  M.,  Pisa,  1669— 
Pistoia,  ca.  1754;  conductor  and 
composer. 

Clar'ibeL     Vide  MRS.  CHAS.  BARNARD. 

Clark(e),  (x)  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,  (t)  Jas.  Peyton,  Scotland, 
1808 — Toronto,  Canada,  1877:  or- 
ganist and  professor.  (2)  Hugh 


Archibald,  Toronto,  Aug.  15  1839 — 
Philadelphia,  Dec.  16,  1927;  son 
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,  Eng- 
land, 1770 — Holmer,  1836;  organist, 
professor  and  editor.  (4)  James 
Hamilton  Smee,  Birmingham,  Eng- 
land, Jan.  25,  1840 — Banstead,  July 
9,  1912;  at  12  organist;  1866  at 
Queen's  College,  Oxford;  Mus.  Bac,, 
1867;  cond.  various  theatres:  1893, 
cond.  Carl  Rosa  Opera  Co.;  c. 
operettas,  2  symphonies,  etc.  (5) 
WHDU  Horatio,  Newton,  Mass.,  March 
8,  1840 — Reading,  Mass.,  1913; 
1878-87,  organist  at  Tremont  Tem- 
ple, Boston,  then  retired  to  Reading, 
Mass.,  where  he  had  an  estate  and 
a  chapel  of  music,  Clarigold  Hall, 
containing  a  large  4-manual  orgjan 
with  100  stops;  wrote  15  instructive 
works  "Outline  of  the  Structure  of  the 
Pipe-Organ"  (1877),  etc.  (6)  Maria 
Victoria  (Cowden-Clarke).  Vide 
NOVBLLO.  (7)  Rebecca,  b.  Harrow, 
England,  Aug.  27,  1886;  composer 
and  'cellist;  studied  with  Stanford 
at  R.  Coll.  of  Music;  after  1916  she 
visited  New  York  as  performer;  c. 
chamber  music,  her  piano  trio  being 
awarded  a  Coolidge  Prize. 

Clarus  (kla'-roos),  Max.,  Mtihlberg- 
on- Elbe,  March  31,  1852 — Bruns- 
wick, Dec.  12,  1916;  pupil  of  his 
father,  the  municipal  mus.  dir.  there, 
and  of  Haupt,  Schneider,  and 
L5schora,  Berlin;  cond.  in  various 
German,  Austrian  and  Hungarian 
theatres;  1890,  mus.  dir.  Bruns- 
wick court;  from  1884  cond.  the 
"Orpheus,"  and  from  1890  the 
"Chorgesangverein";  c.  "Patriotic 
spectacular"  opera,  "Des  Grossen 
KSnigs  Rekrut"  (Brunswick,  1889); 
succ.  romantic  opera  "Use"  (Bruns- 
wick, 1895);  *'Der  wunschpeter" 
(1910),  "Hans  Dauinling"  (1911), 
"Der  Zwerg  Nase"  (1912),  choral 
works,  ballets,  etc. 

Clasing  (kla'-zlng),  Jn.  H.,  Hamburg, 
1779 — 1829;  teacher  and  dram,  com- 
poser. 

Claudin  (kl5-dS,n),  (i).  Vide  SERMISY. 
(2)  Le  Jeune.  Vide  L&JEUNE. 

Claus'sen,     Julia,     (n£e    Ohlson),     b. 


104 


DICTIONARY  OF  MUSICIANS 


Stockholm,  1879-1941;  contralto; 
studied  R,  Acad.  in  native"  city; 
d^but  there  at  R.  Op.,  1903;  mem. 
Chicago  Op.,  1912-17;  after  1917 
sang  for  some  years  with  Met.  Op, 
Co.,  N.  Y.,  esp.  in  Wagnerian  r61es. 

Clausz-Szarvady  (klows'-shar-v&'-ds), 
WUhelmine,  Prague,  1834 — Paris, 
1907:  pianist. 

Clave"  (kl&-v5/)r  Jos6  Anselxno,  Barce- 
lona, April  21,  1824 — Feb.,  1874; 
founder  of  male  choral  societies  in 
Spain;  c.  very  popular  songs  and 
choruses. 

Clavijo  Del  Castillo  (kl^-vS'-hS  del 
kas-tel'-yd),  Bernardo,  d.  Madrid, 
Feb.  2626;  Spanish  organist  and 
comp. 

Clay,  Ft.  (of  English  parents),  Paris, 
1840 — Great  Marlow,  near  London, 
1889;  dram,  composer. 

CJegg,  J.,  Ireland  (probably),  *7t4 — 
Nisane,  1742;  remarkable  violhiist 
and  composer* 

Clem'ens,  Jacob  (called  **CL  Won 
Papa0)  (i.e.,  "not  the  Pope"  Clement 
VII.) ;  d,  ca»  1557  (?);  played  several 
instrs.  and  composed. 

Clem 'ens,  Charles  Edwin,  b.  Deven- 
port,  England,  March  is,  *8$8~ 
Cleveland,  O.»  Dec.  27,  1933;  organ- 
ist; 1889 — 1895,  organist  at  the 
English  church,  ana  to  Empress 
Frederick  in  Berlin,  and  teacher  at 
Scharwenka  Cons.;  then  moved  to 
Cleveland,  Ohio;  prof.  Western 
Reserve  Univ.;  author  of  organ- 
methods. 

Clement  (kl&'-mgnt),  FJC.,  Vienna, 
1780 — 1842;  violinist  and  dram. 
composer. 

Citexeat  (klft-mftft),  (i)  F61ix,  Paris, 
1823 — 1885;  organist,  (a)  Edmond, 
France,  1867— Nice,  Feb.  33,  1928; 
eminent  lyric  tenor;  early  made  succ. 
at  Paris  Op.-Cormque;  1909-10, 
sang  at  Met.  Op.  House;  3911-13, 
with  Boston  Op.  Co*;  after  the  war 
returned  to  U,  S.  for  concert  tour. 

Dementi  (kla-meV-t«),  Muzio,  Rome, 
*7$a — near  Evcsham,  England, 
March  xo,  1832;  son  of  a  goldsmith 
and  musical  amateur  who  had  him 
taught  by  A-  Buroni,  then  by  the 
organist  Condicclli.  At  9  he  was 
chosen  as  an  organist  in  competition 
with  older  players;  until  14,  studied 
under  G.  Carpani  (comp.)  and  Sar- 
tartelli  (voice);  1766,  an  Englishman 
tamed  Beckford  secured  permission 
\>  educate  him  in  England,  and  till 


1770  he  lived  and  studied  in  Dorset* 
shire;  then  made  a  sensation  as 
pianist  in  London.  1773,  pub.  pf.- 
sonatas  dedicated  to  Haydn,  and 
highly  praised  by  Emmanuel  Bach; 
1777-80,  cembalist  at  the  Italian 
Opera;  1781  toured  the  continent, 
meeting  Mozart  in  "f  riendly"  rivalry, 
without  victory  for  either;  lived  in 
London,  2783-1802;  he  amassed  a 
fortune  as  a  teacher,  pianist  and 
composer  in  spite  of  losses  from  the 
failure  of  Longman  and  Broderip, 
instr.- makers;  he  estab.  a  succ. 
piano-factory  and  pub.  house  (now 
Coilard's)  *  1 8oa,  he  made  a  brilliant 
tour  with  his  pupil  Field;  he  taught 
other  famous  pupils,  incl.  Moscheles, 
Kalkbrenner,  Meyerbeer,  His 
comps*  incl.  symphonies  and  over* 
tures;  106  pf, -sonatas  (46,  with  vln^ 
'cello,  or  flute);  fugues,  preludes, 
and  exercises  in  canon  form,  tocca- 
tas, etc.  His  book  of  Etudes,  the 
uCradu3  ad  Pam&ssum,"  18  it  7,  is  a 
standard;  biog.  by  Giov.  Fro  jo 
(Milan,  1878);  O.  Chilesotti  (Milan, 
x88a)f  and  Clement  (Paris,  1878). 

Ci&ambault  (kla-r*a-bo),  Lots!* 
Nicolas,  Paris,  1676—1749;  organist 
and  comp. 

Ol&ice  (klA-rts),  Justin,  Buenos  Aires, 
Oct.  *6, 1863 — Toulouse,  Sept,  1908; 
x88a,  pupil  of  D&ibes  and  Peseard, 
Paris  Cons.;  lived  in  Paris;  prod, 
comic  operas,  etc. 

€!*?«  (k!6v),  (0  Johannes  De,  Cleve 
(?)  1539— Augsburg,  isSa;  court 
tenor  at  Vienna  and  Prague;  c. 
church  music;  (a)  Half  dan,  b,  Kong** 
berg,  Norway,  Oci*  5,  1 879:  pianist: 
pupil  of  his  father  and  of  Kaif  ana 
the  two  Scharwenk&s  mt  Berlin;  c. 
pinno-conccrtoa,  etc. 

Clicquot  (kl*-k6),  Fran-  BL,  Paris,  1728 
—1791;  organ-builder, 

Cliffe  (kllf),  Frederick,  Lowmoor, 
May  2,  1857^ — Dec.,  1931;  organist; 
pupil  of  Sullivan,  Statner,  and  at 
K.  C.  M.;  toured  Europe  with  suc- 
cess; after  1901,  taught  R.  A.  M.; 
c.  a  symph.;  symph  poem  "Clouds 
and  £im*fti*«*";  alto  solo  with  crch., 
"Tfo  Triumph  r»/  AUtztixJ*  etc. 

Clifford,  Rev,  Jas.,  Oxford,  1622 — 
London,  1608;  comporcr. 

CUf'toa,  Chalmers,  b.  Jickson,  Miss., 
April  30,  1889:  conductor,  composer, 
grad.  Cincinnati  Cons,  and  Harvard 
Univ.;  studied  with  d'Indy  and 
G^dalge;  condL  Cecilia  Soc,, 


DICTIONARY  OF  MUSICIANS 


105 


1915-17;  Amer.  Orch.  Soc.,  N.  Y., 
1922-30;  also  guest  cond.  with  orch. 
in  Boston,  New  York,  Cincinnati, 
Baltimore  and  Conservatoire  Orch., 
Paris;  c.  orch.,  piano  works  and 
songs;  orchestrated  MacDoweU 
piano  works. 

Cfcve,  Catherine  (ne'e  Raftor)  (called 
"Kitty  Clive"),  London,  1711— 
Dec.  6,  1785;  famous  actress,  also 
zer. 


dough-Letter  (klttf-ll'-ter)  Henry,  b. 
Washington,  D.  C.,  May  13,  1874; 
composer  and  musical  editor;  pupil 
of  his  mother,  Edw.  Kimball,  H. 
Xande,  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. 
u'eTj  J.,  d.  London,  1729,  English 
publisher,  reputed  inventor  of  en- 
graving on  tin  plates. 

Coates,  (i)  John,  b.  Girlington,  June 
20,  1865 — Northwood,  Aug.  16, 1941; 
tenor;  sang  choir  at  5;  pupil  of 
IJurton  and  Bridge,  later  of  Shake- 
5,peare;  sang  in  light  opera,  London 
and  America,  as  barytone,  1893- 
1899;  decided  he  was  a  tenor;  studied 
and  made  de*but,  1900,  at  Co  vent 
Garden;  favourite  festival  tenor; 
also  in  opera  in  Germany  and  1910 
chief  tenor  at  Beecham's  season. 
(2)  Albert,  b.  St.  Petersburg,  Russia, 
1882 — -Capetown,  Dec.  u,  1953; 
versatile  conductor  and  composer; 
studied  piano  with  Carreno,  con- 
ducting with  Nikisch ;  after  baton  ex- 
perience in  opera  at  Elberfeld,  Dres- 
den, Mannheim  and  Covent  Garden 
(1914),  he  became  dir.  of  the  St. 
Petersburg  Op.,  1914-17,  and  con- 
tinued in  this  post  under  the  Soviets 
until  1918,  subsequently  returning 
to  Russia  for  many  engagements; 
has  also  appeared  with  Beecham 
and  British  Nat'l.  Op.  Cos.,  with 
Covent  Garden  Op.  Syndicate,  Royal 
Philh.  and  London  Symph.  Orchs.; 
in  Paris,  Berlin,  Vienna,  in  Spain, 
Italy  and  Scandinavia;  in  U.  S.  with 
N.  Y.  Symph.  (1921),  Rochester 
Philh.  (1921-22),  N.  Y.  Stadium  and 
Hollywood  Bowl  (1928-30);  c. 
(operas)  "Sardanapoius"  (St.  Peters- 
burg, 1916),  "Samuel  Pepys"  (Mu- 
nich, 1930);  "  Pickwick"  \  also  a 
"LaunceLot"  Symphony  (N.  Y.  Philh. 
Stadium  Concerts,  1930).  (3)  Eric, 
b.  Hucknall,  England,  Aug.  27,  1886; 


composer;  studied  at  R.  Coll.  of 
Mus.,  viola  with  Tertis.  comp.  with 
Corder;  played  with  Hamburg  String 
Quartet  and  in  Queen's  Hall  Orch.; 
after  1918  devoted  himself  increas- 
ingly to  composition,  esp,  orch. 
music  and  songs. 

Cobb,  Gerard  Francis,  Nettlestead, 
Kent,  Oct,  15,  "1838 — Cambridge, 
March  31,  1904;  Fellow  Trinity 
Coll.,  Cambridge,  1863;  studied 
music,  Dresden; '1877-92,  chairman 
Board  of  Music  Studies,  Cambridge; 
c.  Psalm  62,  with  orch.,  etc. 

Cob'bett,  Walter  Willson,  Blackheath, 
July  n,  1847 — London,  Jan.  22^ 
1937;  music  patron,  violinist,  author; 
organised  first  Cobbett  Competition, 
1905;  had  given  many  prizes,  par- 
ticularly for  chamber  music  works; 
also  annual  prizes  for  chamber  music 
performances  at  R.  Coll.  and  Acad. 
of  Mus.;  particularly  known  as 
editor  of  monumental  "International 
Encyclopedia  of  Chamber  Music" 

Cocchi  (k6k'-ke),  Gioacchino,  Padua* 
1715? — Venice,  1804;  dram,  com- 
poser. 

Coccia  (k6t'-cha),  Carlo,  Naple.,  1782 
— Novara,  1873;  cond.  and  dram, 
composer. 

Coccon  (k6k-k5n),  Nicole",  Venice, 
Aug.  10,  1826 — Aug.  4,  1903;  pupil 
of  E.  Fabio;  1856  organist,  1873 
conductor  at  San  Marco;  c.  over  450 
numbers,  an  oratorio,  "Saul"  8 
requiem  masses,  30  "messe  da 
gloria,"  2  operas,  etc. 

Cachiaus  (k6kh'4S-oos),  Jus.  (rightly 
Jns.  Dobnek,  pseud.  **Wendel- 
stein") j  1479 — Breslau,  1552;  writer; 
opponent  of  Luther. 

Cocks,  Robt.,  &  Co.y  firm  of  London 
mus.  publishers,  founded,  1827,  by 
(i^  Robt.  C.,  succeeded  by  his  sons, 
(2)  Arthur  Lincoln  C.,  and  (3) 
Stroud  Lincoln  C.,  d.  1868;  (4) 
Robt.  Macfarlajae  C.  in  charge  until 
1908 ;  on  his  retirement  it  was  bought 
by  Augener  &  Co. 

Coclico  (k6'-kl5-ko)  (Co'clicus),  Adrian 
Petit,  b.  in  the  Hennegau  (Hainaut), 
ca.  1500;  singer  and  composer. 

Coenen  (koo'-nSn),  (i)  Jns.  Meinar- 
dus,  The  Hague,  Jan.  28,  1824— 
Amsterdam,  Jan.  9,  1899;  bassoonist, 
pupil  of  Liibeck  Cons.  1864,  cond.  at 
Amsterdam;  later  municipal  mus. 
dir.;  c.  ballet- mus.,  2  symphonies^ 
cantatas,  etc.  (2)  Fz.,  Rotterdam 


106 


DICTIONARY  OF  MUSICIANS 


Dec.  26,  1826 — Leyden,  Jan.  24, 
1904;  violinist;  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)  Wfflem,  Rotter- 
dam, Nov.  17, 1837 — Lugano,  March 
1 8,  1918;  bro.  of  above;  pianist, 
toured  S.  America,  and  W.  Indies; 
1862,  concert-giver  in  London;  c. 
oratorio,  "Lazarus"  (1878),  etc. 
(4)  Cornelius,  The  Hague,  1838 — 
Arnhem,  March,  1913;  violinist; 
1859,  cond.  at  Amsterdam;  1860 
bandm.  Garde  Nationale,  Utrecht; 
c.  overtures,  etc. 

Coerne  (kfcr'-nfc),  Louis  Adolphe, 
Newark,  N-  J-,  1870 — New  London, 
Conn.,  Sept.  n,  192  2;  1876-80 
studied  at  Stuttgart  and  Paris,  then 
entered  Harvard  College  and  studied 
with  Paine  and  Kneisel,  Boston, 
XT.  S.  A.;  1890  studied  with  Rhein- 
berger  and  Hieber,  Munich;  1893 
organist  at  Boston,  also  at  the 
Columbian  Exposition;  1 893-96  dir. 
Liedertafel,  Buffalo;  1897,  in  Colum- 
bus, O.;  1902-03,  taught  Harvard; 
1003-04,  Smith  Coll.;  1907-09,  dir. 
of  mus.,  Troy,  N.  Y.;  1909-20,  dir. 
Olivet  ColL;  1910,  prof,  at  Univ.  of 
Wis.;  1915,  Conn.  Coll.;  his  opera, 
"Zenobia"  was  prod,  at  Bremen, 
1905;  author  of  "The  Evolution  of 
Modern  Orchestration"*,  c*  great  va- 
riety of  chamber,  orch.,  vocal  music: 
an  opera  "The  Maid  of  Marbleheadfl 
symph,  poem  "Hiawatha,"  etc. 

Co'gan,  P&illip,  b.  Cork,  1750;  organist, 
teacher  and  composer. 

Cohen  (kow'-£n  or  k5'-£n),  (t)  H.» 
Amsterdam,  1808 — Brie-sur-Marne, 
1880;  writer,  (a)  Jules  Exnile  David, 
Marseilles,  Nov.  2,  1830 — Paris, 
Jan.  14,  looi;  pupil  of  Zimmerman, 
Marmonfcei,  Benoist,  and  Hal6vy, 
Paris  Cons.;  won.  first  prize  for  t>f., 
organ*  cpt.  and  fugue;  1870,  teacher 
of  ensemble  singing  at  the  Cons.; 
since  1877  Chef  de  Chant,  and 
chorusmaster  Gr»  Op£ra;  prod.  4 
operas;  c.  3  cantatas,  several  sym- 
phonies, masses,  oratorios,  etc.  (3) 
1C  Hubert,  b.  Laurenzkirg  (near 
Aix)»  Oct.  18,  3851;  a  priest,  studied 
at  Aix  and  Raliston,  1879-87  cond. 
Bamberg;  1887-19x0  at  Cologne 
Cath.;  c.  masses,  etc.  ($)  Hamet, 
b.  London,  England;  pianist;  her 


father  a  composer,  mother  a  pianist; 
studied  with  them  and  with  Mat- 
thay;  won  Ada  Lewis  Scholarship, 
R.  Acad.  of  Mas.;  d6but,  London, 
at  13;  has  appeared  widely  in  Bach 
programs  and  works  of  modern 
school,  incl  Salzburg  Fest.;  soloist 
with  orch.,  London,  Vienna,  Barce- 
lona, Warsaw,  New  York;  also  in 
sonata  recitals  with  Joseph  Szigeti, 
Beatrice  Harrison,  Lionel  Tertis; 
Amer.  d£but,  1930,  Dame  Com- 
mander. 

Colasse  (k6-l£s),  Pascal,  Rheims,  Jan. 
22,  1649 — Versailles,  1709;  cond.  and 
dram,  composer. 

Col 'bran,  (i)  Gianni,  court- musician 
to  King  of  Spain,  i8th  century,  (a) 
Isabella  A*,  Madrid,  1785 — Bou- 
logne, 1845,  daughter  of  above; 
singer  and  composer. 

Cole,  Rossetter  G.,  b.  near  Clyde, 
Mich,,  Feb.  5,  1866— Chicago »  May 
x8t  1952;  grad.  of  Michigan  Univ., 
taking  musical  courses  also;  at  his 
graduation  the  Univ.  Mus.  Soc. 
performed  his  cantata  with  orch. 
**Tke  Passing  of  Summer";  1888-00, 
he  taught  English  and  Latin  in  high 
schools;  2890*92  in  Berlin,  winning 
competitive  scholarship  at  Royal 
Master-school,  and  studying  with 
Max  Bruch;  1892-94,  prof,  of  music 
Ripon  College;  1894 — igoi,  Iowa 
College;  from  1902  In  Chicago  as 
teacher,  and  from  1908  also  in  charge 
of  summer  music  classes  of  Columbia 
Univ..  N.  Y.  c.  "Kin*  Robert  of 
Sicily*'  and  "  Hiawatha^  Wooing 
as  musical  backgrounds  for  recita- 
tion, ballade  for  'cello  and  orch.; 
sonata  for  violin,  songs,  etc. 

Coleridge-Taylor,  Samuel,  London, 
Aug.  15,  1875^ — Thornton  Heath, 
Sept.  i,  19x2  (of  African  descent; 
his  father  a  native  of  Sierra  Leone, 
his  mother,  English);  composer; 
pupil  (vln.)  of  the  R.  A.  M.,  1890; 
won  composition-scholarship  in  1893; 
until  1896  pupil  of  V.  Stanford;  *3ga 
pub.  an  anthem;  c.  a  nonet  for  pf., 
strings,  and  wind  (1894);  a  sym- 
phony (1896);  a  quintet  for  clar.  and 
strings  (1897),  a  string-Quartet,  and  a 
Horning  and  Evening  Service;  pub. 
a  ballade  for  viola  and  orch.,  operetta 
"Dream  Lovers,"  4  walUes  for  orch.; 
be  was  made  cond*  Handel  Society., 
2904;  his  "  Hiawatha"  was  developed 
as  a  trilogy,  4*  H iawa*ha*s  Wedding 
Feast,"  (R.  C-  M.#  Londoa,  1898), 


DICTIONARY  OF  MUSICIANS 


107 


"The  Death  of  Mlnnehaha"  (North 
Staffordshire  Fest.,  1899);  "Hia- 
watha's Departure"  (London,  1900), 
the  overture  the  same  year;  c.  also 
for  voices  and  orch.,  "The  Blind 
Girl  of  Castel-Cuille"  (Leeds  Fest., 
1901),  "Meg  Blane"  (Sheffield  Fest., 
1902),  "The  Atonement'9'  (Hereford 
Fest.,  1903),  "Kubla  Khan"-  (Han- 
del Society,  1906);  incid.  music  to 
Stephen  Phillips's  plays,  "Herod,9* 
"Ulysses,"  "Nero*  and  "Faust"- 
(1908);  concert  march,  "Ethiopia 
Saluting  the  Colours";  5  ballads  by 
Longfellow,  with  orch.  (Norwich 
Fest.,  1905);  "A  Tale  of  Old  Japan,"- 
voices  and  orch.  (London,  1912;,  etc. 

Colin  (k6-&n),  P.  Gilbert  (Colinus, 
Colinaus,  Chamault),  singer  and 
notable  composer,  Paris,  1532. 

Colla,  Giuseppe,  cond.  at  Parma,  1780, 
m.  Agujari. 

Collard  (kai-l&rO,  a  London  family  of 
pf.-makers.  (i)  Fr.  W.  Collard 
(1772 — 1860),  in  partnership  with 
Clementi,  bought  out  Longman  & 
Broderip,  1798,  then  C.  bought  out 
dementi;  he  inv.  various  devices; 
the  firm  name  now  Collard  &  Collard, 
(2)  Chas.  Lukey  C.  being  the  head 
until  his  death,  1891;  then  (3)  J.  C. 
(Collard)  was  dir. 

Colles  (c&l'-tes),  Henry  Cope,  London, 
April  20, 1879 — March  4, 1943;  critic, 
editor;  educated  R.  Coll.  of  Mus., 
Worcester  CoU.  ^  Oxford;  M.  A.Oxon.; 
asst.  music  critic,  "London  Times," 
after  1906,  and  critic  since  1911; 
prof.,  R.  Coll,  of  Mus.;  ed.  new  edi- 
tion Grove's  Dictionary,  1928;  served 
as  guest  critic,  New  York  "Times," 
1923;  author,  "Brahms,"  "The 
Growth  of  Music." 

Colombani  (k5-16m-bar-n6),  Orazio, 
monk,  conductor,  and  cptist.  at 
Verona,  1576-92. 

Colonna  (k5-16n'-n2=Q,  Gioy.  Paolo, 
Bologna  (or  Brescia),  1637 — Bologna, 
1693;  organist,  conductor,  and  dram, 
composer. 

Colonne  (k6-lttnO>  Edouard  (rightly 
Judas),  Bordeaux,  July  23,  1838 — 
Paris,  March  28,  ipio;  pupil  of 
Girard  and  Sauzay  (vln.),  El  wart, 
and  A.  Thomas  (comp.),  Paris  Cons.; 
1874,  founded  the  famous  "Concerts 
du  Chatelet";  1878,  cond.  official 
Exposition  concerts;  1892  cond.  at 
the  Gr.  Op6ra;  cond.  often  in  Lon- 
don, and  1902,  Vienna  and  1905, 
New  York, 


Colyns  (ks-l&ns),  Jean  Baptiste,  Brus- 
sels,B  Nov.  25,  1834 — Oct.  31,  1902; 
violinist  and  comp. 

Combs,  Gilbert  Raynolds,  Philadel- 
phia, Jan.  5,  1863 — Mt.  Airy,  Pa., 
June  14,  1934;  son  and  pupil  of  a 
pianist,  organist  and  composer; 
organist  and  conductor  in  Philadel- 
phia; 1885  founded  the  Broad  St. 
Cons,  of  Mus.,  of  which  he  was  for 
many  years  the  enterprising  dir. 

Comes  (k6'-m&s),  Juan  Baptista,  Va- 
lencia, ca.  1560;  conductor  and  com- 
poser. 

Comettant  (k6m-St-tSn),  (J.  P.)  Oscar, 
Bordeaux,  Gironde,  1819 — Mont- 
villiers,  1898;  writer  and  composer. 

Commer  (k6m'-mer),  Fz.,  Cologne, 
1813 — Berlin,  1887;  editor  and  com- 
poser. 

Compere  (k6n-par),  Louis  (diminutive, 
Loyset),  Flanders,  isth  cent. — St. 
Quentin,  Aug.  16,  1518;  famous  con- 
trapuntist. 

Concone  (k6n-k5'-ne"),  Giu.,  Turin, 
1810 — June,  1861;  organist,  famous 
singing-teacher  in  Paris,  1832-48, 
later  court-organist  Turin;  c.  2  operas 
and  famous  vocal  exercises. 

Co'ninck,  Jacques  FSlix  de,  Antwerp, 
1791 — Schaerbeck-les-Bruxelles, 
1866;  conductor  at  Berlin,  and  com- 
poser. 

Conradi  (kSn-rS.'-de'),  (i)  Jn.  G.,  i7th 
cent.;  conductor;  one  of  the  first 
composers  of  German  opera,  his 
works  prod,  at  Hamburg.  (2)  Johan 
G.,  TSnsberg,  Norway,  1820 — 
Christiania?  1896;  composer.  (3) 
Aug.,  Berlin,  1821 — 1873;  organist 
and  dram,  composer. 

Conned  (kan'-r6d),  He'nrich,  Bielitz. 
Silesia,  Sej>t.  13,  1855 — Meran,  April 
27,  1909;  impresario;  came  to  New 
York  1878;  ipoi,  succeeded  Grau  aa 
manager  of  the  Metropolitan  Opera 
House,  where  in  1903  he  made  the 
first  production  outside  Bayreuth  of 
"Parsifal";  1905,  Franz  Leopold 
decorated  him  and  gave  him  the 
privilege  of  the  prefix  "von";  ill 
health  forced  his  retirement  in  1908. 

Con 'solo,  (i)  Frederigo,  Ancona,  1841 — 
Florence,  Dec.  14,  1906;  violinist  and 
comp.  (2)  Ernesto,  London,  Sept. 
15,  1864 — Florence,  March  21,  1931; 
noted  pianist;  pupil  of  Sgambati  and 
Reinecke:  toured  widely;  1906-09, 
taught  Chicago  Mus.  Coll.;  later  at 
Geneva  and  Florence  Cons.;  ed 
Beethoven  sonatas  for  pL 


£08 


DICTIONARY  OF  MUSICIANS 


Constantin  (kdn-stS6-t&n),  Titus  Chas., 
Marseilles,  Jan.  7,  1835  —  Pau,  Oct., 
1891;  pupil  of  Thomas,  Paris  Cons., 
1860;  cond.  of  the  "Fantasies  Parisi- 
ennes'*;  1875,  Op.  Com,:  c.  a  <x>mic- 
opera,  "Dans  la  For&*'  (1872)*  etc. 

Conti  (k6n'-t£),  (i)  Fran.  Bart*,  Flor- 
ence, 16812  —  1732;  court-theorbist 
and  dram,  composer.  (2)  ("Conti- 
ni")  Ignazio,  Florence,  1699  —  Vien- 
na, 3:759;  son  anc*  successor  of  above: 
composer*  (3)  Gioacchino  (named 
Gizziello,  after  his  teacher  Dom. 
Gizzi),  Arpino,  Naples,  1714  —  Rome, 
176*;  famous  male  soprano;  1739,  in 
London  with  Hfcndel;  retired  to 
Arpino  in  1753.  (4)  Carlo,  Arpino, 
Naples,  1796  —  Naples,  1868;  prof. 
ana  dram,  composer. 

Contino  (k6n-t«'-no),  Giov.,  d.  Mantua, 
1565;  conductor  and  contrapuntist. 

Co'nus  (or  Conius  or  Konius),  (i) 
George  Edwardovich,  composer; 
Moscow,  Get*  i.  1862  —  Aug.,  1933; 
theorist;  pupil  of  the  Cons.;  1891-00 
teacher  of  theory  there;  looa  prof. 
at  the  Gpera  School;  c.  syrnph.  poem 
"From  the  Realm  of  Illusions,"  orch* 
suite,  "Child-  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;  pu- 
pil at  the  Cons.;  later  founded  a 
school;  d.  Cincinnati,  Jan*  18,  1944. 

Converse,  ^Frederick  Shepherd,  b.  New- 
ton, Mass.,  Jan,  x,  x&yx  —  Westwood, 
Mass.,  June  8,  T04o;  grad.  Harvard 
and  studied  music  with  Bahrmann 
and  G.  W.  Chadwick;  1896-98  with 
Rhemberger,  then  taught  theory  and 
comp*  at  the  New  England  Cons.; 
1903;  -07,  Harvard  Univ.:  c.  operas 
"The  Pipe  of  Desire"  (in  concert 
form,  Boston,  1906,  as  an  opera, 
Met.  Op.,  N.  Y,,  19x0,  Boston  Op,, 
1911);  symph.  (1907);  overtures, 
"Youth*  and  "Euphro$v»e»\  orch* 
romance,  "The  Festival  of  Pan"\ 
orch.  fantasie,  "The  Mystic  Trum- 
peter"** symph.  poem  "OrmasdS* 
{Boston  Symph,  Orch,,  191:2);  violin 
concerto  and  sonata,  a  string  quar- 
tets, etc. 

Conver'sl,  Girolamo,  b.  Correggio, 
1  6th  cent*;  c*  madrigals,  etc. 

Cooke,  (i)  H.,  d.  July  13,  1672;  buried 
Westminster  Abbey;  court-composer 
and  teacher*  (2)  Nathaniel,  b.  Bos- 


ham,    1773;    organist.     (3) 
London,  1734—1793;  conductor  and 


composer.  (4)  Titos,  Simpson,  Dub* 
Un,  1782 — London,  1848;  conductor, 
later  tenor,  then  prof,  at  the  R.  A. 
M.;  prod,  nearly  20  operas  at  Drury 
Lane.  (5)  H.  Angelo  Michael 
(called  Grattan),  son  of  above;  oboist 
and  bandmaster.  (6)  James  Kan- 
cis,  b.  Bay  City,  Mich.,  Nov.  14, 
2875;  pianist,  composer,  editor, 
teacher;  studied  in  New  York  with 
W.  H.  Hall,  Woodman,  Eberhard 
and  Medorn;  also  at  Wiirzburg  R. 
Cons,  with  Meyer-Olbersleben  and 
Hermann  Ritter;  for  some  years 
active  as  piano  teacher  in  New  York, 
also  org.  and  vocal  teacher;  begin- 
ning 1907  ed.  "The  J£tvde**i  pres. 
Presser  Foundation,  Phila.,  after 
1917;  Mus.  B.,  Ohio  Northwestern 
Univ.,  1919;  c.  piano  pieces  and 
songs;  author,  "Great  Pianists  upon 
Piano  jP/aysȣ";  "Standard  History 
of  Music" -y  "Mastering  the  Scales  a*2 
Art*tgi*g"i  "Musical  P/tfW€fow; 
"Muw-Af asters  Old  and  New"  etc. 

Coolidge,  Elizabeth  Sprague  (Mrs* 
Frederick  ShurtlefF  Coolidge),  noted 
music  patron,  composer,  pianist; 
founder  and  sponsor  for  many  years 
of  the  Pittsfieid,  Mass.,  Music  Fests., 
on  her  estate,  where  invited  audiences 
attended  these  events;  in  recent 
years  transferred  to  auditorium  in 
Library  of  Congress,  Washington, 
which  she  donated  and  endowed  by 
means  of  trust  fund;  commissioned 
works  from  many  leading  contem- 
porary composers;  has  established  a 
Coolidge  Chamber  Music  Prixe  for 
such  awards,  and  has  sponsored  fes- 
tivals in  Chicago  (1930)  and  in  many 
European  cities,  in  which  eminent 
solo  artists  and  chamber  music  groups 
have  participated;  c.  chamber  mu&ic; 
d.  Cambridge,  Mass.,  Nov.  4,  1953. 

Coombs,  Chas.  Whitney,  b.  Bucksport, 
Me.?  Dec,  25,  1859 — Montclair,  Sf.I« 
Jan.  24,  IQIO;  pupil  of  Speide! 
(pf.)  ami  Max  Seifri*,  Draeaeke 
(comp,),  ih'rmunn  John,  P.  jansseu, 
and  Lamperti;  1^7-91,  organist 
Amer.  <,'h,,  in  Dresden;  1892,  as 
organist  Church  of  the  Holy  Com- 
ftanunion,  New  York,  1908.  St*  Luke*s; 
pub,  "The  Vision  n/ 51.  JvknJ9  can- 
tata with  orch.  and  org,»  songs,  etc. 

Coo 'per,  (x)  G.,  Lambeth,  London. 
3820 — London,  tft?6;  organist  ana 
composer,  (j)  Emil,  Russian  con- 
ductor; pupil  of  Taneyeff;  cond,  at 
Moscow  Imp.  Op*  and  Imp  Mus, 


DICTIONARY  OF  MUSICIANS 


109 


Soc.  of  Cons,  in  that  city  before  the 
world  war;  led  soth  anniversary  con- 
certs of  latter  organization,  present- 
ing works  of  Scriabin,  Taneyeff  and 
Rachmaninoff  in  presence  of  com- 
posers; 1909-14,  led  seasons  of  Rus- 
sian opera  in  London  and  Paris;  after 
1917  lived  in  Paris,  cond.  of  opera 
in  Champs- Elys£es  Theat.;  also  guest 
appearances  in  other  European  coun- 
tries; cond.  of  Chicago  Op.  Co., 
1929-31,  presenting  American  pre- 
mieres of  Moret's  *' Lorenzaccio"  and 
Hamilton  Forrest's  "Camille." 

Coperario  (k6-pSr-S/-r*-6)  (rightly  J. 
Cooper),  famous  English  lutenist  and 
viola-da-gambist,  i7th  century. 

Copland  (c5p'-l&nd),  Aaron,  b.  Brook- 
lyn, N.  Y.,  Nov.  14,  ipoo;  composer; 
studied  with  Rubin  Goldmark,  also 
with  Nadia  Bpulanger,  Fontaine- 
bleau;  piano  with  Victor  Wittgen- 
stein and  Clarence  Adler;  lecturer  on 
modern  music,  New  School  for  Social 
Research,  N.  Y,;  organized  and  pro- 
moted Copland-Sessions  Concerts  of 
Contemporary  Music,  N.  Y.  (with 
Roger  Sessions);  mem.  board  of  di- 
rectors, League  of  Composers;  c. 
ballets,  "Bitty  the  Kid,"  "Rodeo," 
"Appalachian  Spring";  "A  Lincoln 
Portrait3*  (with  speaker);  "Music  for 
Theatre"-,  orch.,  Piano  Concerto;  "El 
Salon  Mexico"',  opera,  "Tender  Land." 

Coppet  (k5-p&),  Edward  J.  de,  New 
York,  May  28,  1855 — April  30,  1916; 
of  Swiss  descent;  music  patron; 
founded  series  of  chamber  music 
programmes  at  his  home,  1886,  more 
than  a  thousand  being  given  before 
his  death;  in  1902,  the  Flonzaley 
Quartet  (Adolfo  Betti,  Alfred  Po- 
chon.  Ugo  Ara  and  Iwan  d'Archam- 
beau;  was  organised  to  play  at  these 
events,  being  named  after  his  sum- 
mer home  in  Switzerland;  this  group 
became  one  of  world's  leading  en- 
sembles and  made  many  Amer.  and 
Eur.  tours,  first  under  his  patronage 
and  later  as  a  public  concert-giving 
enterprise:  after  1917  Ara  being  suc- 
ceeded as  violist  by  Louis  Bailly. 

Cop'pola,  (i)  Giu.,  singer  in  London, 
1777*  (2)  P.  A.  (Pierantonio),  Cas- 
trogiovanni,  Sicily,  1793 — Catania, 
1877;  dram,  composer  and  con- 
ductor. (3)  Piero,  b.  Milan,  Oct.  n, 
1888;  conductor  and  composer;  grad. 
Cons.  Verdi,  in  native  city;  has 
appeared  as  cond.  in  Turin,  Milan 
(La  Scala),  Modena,  Florence,  Bo- 


logna, Brussels  (La  Monnaie),  Lon- 
don, Oslo,  Gothenberg,  Copenhagen, 
Palermo,  etc.;  after  1923  res.  in  Paris 
as  artistic  dir.  of  French  Gramophone 
Co.  and  as  cond.  of  concerts;  c.  of 
stage  and  orch.  music. 

Coquard  (k6-kar),  Arthur,  Paris,  May 
26,  1846  —  Noirmoutier,  Aug.  20, 
1910;  pupil  of  C€sar  Franck;  mus. 
prof.  Nat.  Inst.  of  the  Young  Blind; 
critic  for  "Le  Monde";  c.  operas 
"L>  Epee  du  Roi"  (Angers,  1884); 
"Le  Mari  d'un  Jour"  (Paris,  1886); 
lyric  dramas,  "Voiseau  bleu"  (Paris, 
1894);  "La  Jacquerie"  (Monte  Carlo 
and  Paris,  1895),  "Jahel"  (Lyons, 
1900),  "La  troupe  Jolicoeur"  (1902), 
etc.  Won  prize  from  French  Acad. 
for  his  study,  "De  la  Musique  en 
France  depuis  Rameau"  (1892). 

Cor'bett,  Wm.f  1669  (?)  —  London  (?), 
1748;  Engl.  violinist  and  composer. 

Cordans  (k6r-dans),  Bart.,  Venice,  1700 
—  TJdine,  1757;  Franciscan  monk, 
then  conductor  and  dram,  composer. 

Cordelia,  Giacomo,  Naples,  1783  — 
1847;  dram,  composer. 

Cor'der,  Fr.,  Hackney,  London,  Tan. 
26,  1852  —  Sept.  21,  1932;  pupil  of 
R.  A.  M.;  1875,  won  lie  Mendels- 
sohn Scholarship;  1875-78,  pupil  of 
Ferd.  Hiller;  1880,  cond.  of  Aqua- 
rium Concerts  at  Brighton  where  he 
lived  as  a  transl.  and  critic,  and 
composer  of  operas,  cantatas,  etc.; 
after  1886  prof,  at  R.  A.  M.,  London; 
1889,  curator  there;  wrote  "The 
Orchestra  and  How  to  Write  for  It" 
etc.,  ed.  a  musical  encyclopedia 


Corel  li,  Arcangelo,  Fusignano,  near 
Imola,  Italy,  Feb.  17,  1653  —  Rome, 
Jan.  8,  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  succ.  court-concert,  but  at 
a  second  made  various  blunders  and 
returned  to  Rome,  in  chagrin,  in- 
creased with  fatal  results  on  finding 
or  imagining  himself  supplanted 
there  by  a  poor  violinist  named 
Valentini.  His  masterpieces  "Con- 
certi  grossi"  were  pub.  just  before 
his  death.  Many  spurious  comps. 
were  issued  under  his  name, 


110 


DICTIONARY  OF  MUSICIANS 


Corfe,  (i)  Jos.,  Salisbury,  1740 — 1820; 
organist  and  composer.  (2)  Arthur 
T.»  Salisbury,  1773 — 1863;  son  of 
above;  pianist,  organist  and  writer. 

(3)  Chas.  W.,  son  of  above;  organist 
Christ  Church,  Oxford. 

Cornelius  (k6r-na'-II-oos),  Peter,  Ma- 
yence,  Dec.  24,  1824 — Oct.  26,  1874, 
unsuc^.  actor;  then  studied  cpt.  with 
Dehn  at  Berlin,  and  joined  the  Wag- 
nerian  coterie  at  Weimar.  His  opera 
'*Der  Bar  bier  von  Bagdad"  was  a 
failure  through  organised  opposition 
which  led  Liszt  to  ler.ve  the  town, 
but  in  1886-87  it  succeeded.  C. 
wrote  his  own  libretti  and  transl. 
others.  1886-87,  at  Dresden,  and 
oiher  cities;  1859,  with  Wagner  at 
Vienna,  and  Munich,  where  he  be- 
came reader  to  King  Ludwig,  and 
prof.;  prod,  the  opera  "Dcr  Cid>** 
Weimar,  x86$;  he  left  "Gunltid"  un- 
finished; Lassen  completed  it,  and 
it  was  prod.,  Strassburg,  1892;  he 
pub.  many  songs.  Biog.  by  Sand- 
berger  (Leipzig,  1887). 

Cornell',  J.  Hi,  New  York,  1828 — 1894; 
organist,  composer  and  writer. 

Cornet  (kor'-nat),  (i)  Julius,  S.  Can- 
dido,  Tyrol,  1793 — Berlin,  1860; 
tenor  and  din  His  wife,  (a)  Franz- 
iska  (x 806— -1870),  was  also  a  singer. 

Coronaro  (k5-r6-na'-r5),  (i)  Gaetano, 
Vicenza,  Italy,  Dec.  x8>  1852 — 
Milan,  April  5,  1908:  violinist;  till 
1873,  pupil,  Milan  Cons.,  then  In 
Germany:  prod,  the  succ.  opera  "  Un 
Tramonto**  (Milan  Cons,  Th.,  1873); 
3-act  **£«  Creole,"  (Bologna,  1878); 
r</l  MalacarnJ*  (Brescia.  1804);  for 
several  years  prof,  of  harm.,  and 
1894,  prof,  of  comp.,  Milan  Cons* 
(2)  Antonio,  Vicenza,  1851— March 
24,  1933;  brother  of  Gaetano  C.,  and 
co nip,  of  operas;  his  son  was  (3) 
Axrigo*  Vicensa,  1880 — October,  1906; 
c.  opera  "Turiddu"  (Turin,  1905), 

(4)  Gellio  Bv.,   Vicenza,  Nov.   30, 
1863 — Milan,  July  26.  1916;  pianist 
(prote"g6  of  Sonzogno);  d6but  at  8; 
at  9,  organist  in  Viccnza;  at  13,  th. 
cond.»  Marosteca;  at  x$,  chorusm,; 
at  1 6,  pupil  Bologna  Cons.,  gradual* 
ing  with  first  prizes:  c,  a  symphony; 
opera,  "Jolanda"  (1880  ?);  unsucc* 
"Claudia"  (Milan,  1895). 

Cord  (kto'-rft),  Dom.,  Korae,  1744 — 
London,  1825;  dram*  composer  and 
writer. 

Cor 'si,  Jacopo,  ca,  1560 — 1604;  Floren- 
tine nobleman,  in  whose  house  and 


in  Bardi's,  Peri,  Caccini,  Emilio  del 
Cavaliere,  Galilei,  Rmuccini,  and 
others  met  and  inaugurated  modern 
opera  (v.  PERI)J  C.  was  a  skilful 
gravicembalist. 

Corteccia  (kdr-tfit'-cha),  Fran.  Bdo.  di, 
Arezzp,  i6th  cent.,  Florence,  1571; 
organist,  conductor  and  composer. 

Corteilini  (k6r-tdl-te'-n$),  Camillo, 
called  **Ii  violino"  from  his  skill;  at 
Bologna,  1583,  as  municipal  musician 
and  comp. 

Cortesi  (k6r-ta'-z5),  Francesco,  Flor- 
ence, 1820 — Jan.  3,  1904;  conductor, 
composer  of  operas,  and  teacher  of 
voice. 

Cortot  (c6r-t6')>  Alfred,  b.  Nyon, 
Switzerland,  Sept.  26,  1877;  pianist; 
studied  at  Paris  Cons.,  with  De- 
combes  and  Dimmer;  dlbut,  Colonne 
Coucerts,  Paris,  1896;  served  as 
r&petitcur  at  Bayreuth;  founder  and 
leader  of  Assoc.  des  Concerts  Cortot 
in  Pans  (1902-04)  and  led  perform- 
ances of  Wagnerian  operas;  prof.. 
Paris  Cons.,  1907;  after  1904  toured 
as  pianist  in  many  Eur.  cities  and 
in  America  with  great  succ.;  also 
has  been  associated  with  Thibaud 
and  Casals  in  trio  of  exemplary 
merit,  and  with  these  musicians  has 
been  leading  factor  in  the  ficole 
Normale  de  Musique,  Park;  mem. 
of  the  Legion  of  Honor. 

Coss'ma&n,  B.»  Dessau,  May  17,  1822 
— Frankfort,  May  7,  1910;  'cellist; 
pupil  of  E&penhahn,  Dreehsler*  Theo. 
MUller  ana  Kummerj  1840,  member 
of  Gr.  Qpe*ra  Orch,,  Paris;  1847-48, 
solo  'cellist  at  Gewandh&us,  Leipzig; 
then  studied  comp,  under  Haupt- 
mann;  1850,  at  Weimar^  with  Liszt; 
2866,  proK  Moscow  Cons.;  1870-78 
at  Baden-Baden;  then  prof,  of  'cello, 
Frankfort  Cons.;  composer. 

Cossoul  (k^s'-sooi),  Guilherma  An-* 
tonio,  Lisbon,  April  22,  1828 — 
May  26,  1880;  Vellmt  and  comp. 

Cos'ta,  (2)  Sir  Michael  (rightly  Mi- 
cbele),  Naples*  Feb.  4,  1808 — 
Brighton,  England,  April  29,  1884; 
son  and  pupil  of  (2)  Vaaquale  C* 
(composer  ch.-mus.);  pupil  also  of 
TrittOt  Zingarelli  (cornp.),  and  Cres- 
centini  (singing)  at  the  Naples  Cons.; 
prod*  4  succ*  operas  at  Naples*  was 
aent  to  Birmingham,  England,  to 
cond.  a  psalm  of  Zingarclli's,  but 
through  a  misunderstanding,  had  to 
ding  the  tenor  part;  he  thereafter 
lived  in  England  as  dir.  and  cond* 


DICTIONARY  OF  MUSICIANS 


111 


of  King's  Th.,  London,  where  he 
prod,  three  ballets;  1846,  cond,  of 
the  Philh.  and  the  new  Ital.  Opera; 

1848,  Sacred  Harmonic  Society;  from 

1849,  cond.    Birmingham   festivals; 
from    1857,    the    Handel    festivals; 
knighted  in  1869;  1871  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;  composer  and  teacher. 
(4)     Carlo,    Naples,    1826  —  1888; 
teacher  Naples  Cons.     (5)  P.  Mario, 
Tarento,  July  26,  1858 — San  Remo, 
Sept.    27,    1933;   nephew   of   above; 
c.  chamber-music  and  pop.  songs  in 
Neapolitan    dialect;    also    2    panto- 
mimes, "Le  Modele  Reve"  and  the 
succ.     "L'Histoire     d'un     Pierrot?* 
(Paris,  1894  ?)• 

Costantini  (t5'-n5),  Fabio,  b.  Rome 
ca.  1570;  composer  and  teacher. 

Costanzi  (kS-stHn'-tsX),  Juan  (or  Gio- 
annino),  Rome,  1754 — 1778;  con- 
ductor, 

Cotes  (kd'-tSs),  Ambrosio  de,  d.  Seville, 
Sept.  9,  1603;  Spanish  composer  and 
cond. 

Cottlow,  Augusta,  b.  Shelbyville,  HI., 
April  2,  1878;  pianist;  pupil  in 
Chicago  of  Wolfsohn  and  Gleason; 
orch.  d6but  there,  1889;  N.  Y.,  under 
Seidl,  1891;  later  studied  in  Berlin 
with  Busoni  and  Boise;  toured  Eur. 
countries  and  after  1900  in  TL  S. 

Cot'to  (Cotto'nius),  Jus.,  nth  to  lath 
cent.;  writer. 

Cottrau  (k6t-tr5,  or  k6t-trS'-oo),  (i) 
Guillaume  (Guglielmo),  Paris,  1797 
— Naples,  1847:  composer.  His  sons 

(2)  Teodoro    (pen-name    Eutalindo 
MartelU)  (Naples,  1827 — 1879)  and 

(3)  Giulio  (Jules),  (Naples,  1831 — 
Rome,    1916)    also   song-composers; 
the  latter  c,  operas. 

Coucy  (dtt  koo-se),  Regnault,  Chate- 
lain,  de,  d.  Palestine,  1192;  trouba- 
dour to  Richard  Coeur  de  Lion;  his 
songs  are  in  MSS.  in  the  Paris 
Library,  and  have  been  re-published. 

Couperin  (koo-pu-r£n),  a  family  of 
French  musicians,  famous  for  two 
centuries.  The  first  known  were 
three  brothers:  (i)  Louis,  1626 — 
1661;  organist  of  St.  Gervais  and 
composer.  (2)  Fran.  (Sieur  de 
Crouilly),  1631 — 1698;  organist  and 
composer.  (3)  Chas.,  1638 — 1669; 
organist;  his  son,  (4)  Fran,  (called 
Le  Grand),  Paris,  1668 — 1733;  the 


composer  of  choral  and  chamber  wks . , 
much  music  for  harpsichord  (clave- 
cin);* pupil  of  Thomelin,  and  suc- 
cessor of  his  uncle  Francois,  at 
St.  G.,  1698;  1701,  clavecinist  and 
organist  to  the  King;  c.  brilliant  and 
fascinating  music  pub.  at  Paris,  and 
wrote  "U  Art  de  toucher  du  Clavecin" 
(1711).  (5)  His  son  Nicholas,  Paris, 
1680 — 1748,  was  organist.  (6)  Ar- 
mand  Louis,  Paris,  1725 — 1789,  son 
of  (5),  a  remarkable  org.-virtuoso. 
His  wife  (7)  filisabeth  Antoinette 
(n6e  Blancnet),  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)  Gervais  Fran., 
his  father's  successor. 
Courboin  (koor'-bwan),  Charles-Marie, 

b.  Antwerp,  April  2,  1886;  organist; 
pupil  of  Blockx  at  Cons,   in  native 
city;  also  at  Brussels  Cons,  of  Mailly, 
Gilson,     Huberti    and    Tin  el;    won 
prizes  in  several  fields,  also  internat'L 
competition;   after   1902,   org.   Ant- 
werp   Cathedral;    appeared    widely 
as   recitalist;   after   1904  in   U.   S., 
at  Syracuse,  Springfield,  Mass.,  etc.; 

c.  choral  and  organ  music. 
Courtois  (koor-twa),  Jean,  i6th  cent., 

French  contrapuntist;  conductor  and 
composer. 

Courvoisier  (koor-vw£s-yS,  or  koor'- 
foi-sSr),  (x)  K.,  Basel,  Nov.  12,  1864 
— 1908;  violinist;  pupil  of  David, 
R6ntgen  and  Joachim;  1871,  a  mem- 
ber of  the  Thalia  Th.,  orch.,  Frank- 
fort; then,  till  1875,  cond.  of  singing 
with  Gustav  Barth;  '76,  cond. 
Dtisseldorf  Th.,  orch.,  and  choral 
societies;  1885,  singing- teacher  at 
Liverpool;  c.  a  symphony,  2  concert- 
overtures,  a  vln.-concertp  (MS.), 
etc.;  wrote  "Die  Violintechnik" 
(transl.  by  H.  E.  Krehbiel;  N.  Y., 
1896);  an  "£cole  de  la  velocitt" 
and  a  "Methode"  (London,  1892). 
(2)  Walter,  near  Basel,  Feb.  7,  1875 
— Locarno,  Dec,  27,  1931;  pupil  of 
Bagge  and  Thuille;  after  1910,  prof, 
of  theory,  Munich  Akad. 

Coussemaker  (koos-m£-k&r'),  Chas,  Ed. 
H.,  Bailleul,  Nord,  April  19,  1805 — 
Boubourg,  Jan.  10,  1876;  a  remark- 
able sight-reader,  studied  cpt.  with 
V.  Lef£bvre;  while  serving  as  a  judge 
he  made  musical  research  his  avoca- 
tion, and  pub.  important  works  on 
Hucbald  and  mediaeval  instruments, 
theory  and  composers,  incL  his 


112 


DICTIONARY  OF  MUSICIANS 


"Scriptores  de  musica  medii  evi,  nova 
series"  (1864-76,  4  vols,),  a.  great 
collection  intended  as  supplement  to 
Gerbert. 

Cousser.     Vide  KXJSSER. 

Cow'ard,  (i)  Jas.,  London,  1834  — 
1880:  organist,  conductor,  composer. 
(2)  Sir  Henry,  Liverpool,  Nov.  26, 
1849  —  Sheffield,  1944;  noted  choral 
cond.ji889Mus.Bac.ji8o4Mus.DOC. 
Oxon;  Univ.  -teacher  and  cond.  at 
Sheffield;  after  1904,  docent  in  music; 
knighted,  1019.  (3)  Noel,  Engl.  com- 
poser for  stage;  c.  "Bitter  Sweet"  etc, 

Cow'ell,  Henry,  b.  Menlo  Park,  CaL, 
March  u,  1897;  composer,  pianist; 
studied  Univ,  of  Calif,  and  in 
Europe;  d£but,  Munich,  2023;  toured 
in  Europe  and  America;  his  composi- 
tions early  attracted  attention  be- 
cause of  use  of  "tone-clusters," 
groups  of  notes  which  might  be  per- 
formed on  the  piano  keyboard  with 
forearm  or  fist;  in  recent  years  has 
also  c.  orchestral  and  chamber  music; 
carried  on  research  under  Guggen- 
heim Fellowship  In  European  folk 
music;  dir.  New  Mus.  Soc*  of  Calif., 
which  issued  contemporary  Ainer* 
music  in  quarterly  form  and  record- 
ings* 

Cow7en,  Sir  Frederic  Hymen,  Kings* 
ton,  Jamaica,  Jan.  29,  1852  —  Lon- 
don, Oct.  6,  1935;  at  4  brought  to 
London  to  study,  pupil  of  Benedict 
and  Goss,  then  of  Hauptmann, 
Moscheles,  Reinecke.  Richter,  and 
Plaidy,  Leipzig;  and  Kiel,  Berlin; 
*88a,  dir*  Edinburgh  Acad.  of  Music; 
11887,  cond.  London  PhUh.;  3888-89, 
mus,-dir,  Melbourne  Centennial  Ex- 
hibition; 1896-1914,  cond.  Liverpool 
PhiL,  and  the  Manchester  Concerts: 
icoo,  of  Scottish  Orch.;  knighted 
1;  prod,  four  operas:  two  orato- 


, - 

rios,    TiThe     Deluge"     6878),    and 


(1887);  7  cantatas:  6  sym- 
phonies (No*  3  "Scandinavian** 
(1880),  4  "WdskP  6  "Idyllic");  four 
orchestral  suites,  "27ia  Language  of 
Flowers*"  "/»  the  Olden  Time,9*  "/» 
Fairyland,"  "Suite  de  Ballet,"  Sin- 
fonietta  in  A  for  orch.;  2  overtures; 
pf.  -concerto;  pf.-trio;  pf»~quartet; 
pf»-pcs.;  over  250  songs. 
Crabb£  (krab-a),  Artnand,  b*  Brussels, 
1884;  barytone;  pupil  of  Cons,  in 
native  city;  x  004-08,  sang  at  La 
Monnaie,  Brussels;  1908-10,  Man- 
hattan Op,  House,  New  York:  after 
T  oio  for  several  seasons  with  Chicago 


Op*   Co.,  also  at   Covent  Garden, 
Berlin:  d.  Buenos  Aires,  Jan,,  1048. 

Craft,  Marcelia,  b.  Indianapolis,  Aug. 
ii,  2880;  soprano;  studied  with 
Charles  Adams,  also  1901  in  Milan 
with  Guagni  and  Mottino;  op.  d6but, 
Morbegno,  7902;  sang  in  Italy,  at 
Mainz,  Kiel,  and  at  Munich  Op., 
1900-14;  in  America,  191 7-18;  after 
2993  lived  in  Germany  as  singer  and 
teacher. 

Cramer  (kFft'-nie>  or  krfc'-znSr),  (i) 
Wm*,  Mannheim,  1745  (1743?) — 
London,  1799  (1800?);  violinist  and 
conductor,  (a)  1C  Jfr.,  Quediinburg^ 
175^ — P«Eisf  Bee.  1807;  professor. 
(3)  Jn.  Bap.,  Mannheim,  Feb.  24, 
1771 — London,  April  16,  1858;  eldest 
son  and  pupil  of  (i).  Brought  tc 
London  when  a  year  old;  pupil  oi 
Bans**,  Schroeter,  then  of  dementi: 
in  comp->  chiefly  self -taught;  toured 
as  concert-pianifit  at  17;  xn  1828  est. 
a  mus.-pub.  firm  (now  Cramer  & 
Co.)  in  partnership  with  Addison- 
managed  it  till  1842:  1832-45.  lived 
In  Paris,  pub.  "a  Method  for  pf. 
("&OSM  prakiiscke  PJte.-SckM"),  in 
5  parts/  the  last  containing  the 
celebrated  "84  Studies"  (op.  50), 
still  a  standard;  c.  7  concertos,  105 
sonatas,  quartet,  quintet,  and  many 
pf,-pcs. 

Crmnz  (krAnts),  Augost.  Hamburg, 
rnus.-pub.  firm,  founded  18x3  by  A. 
H.  Cxmxiz  (1789-1870).  His  son  AI- 
wm  (b*  1834)  succeeded  him,  and  in 
2896  his  grandson  Oscar  became 
head, 

Cmywinckel  (krf'-vlnk^l),  Fd.  Manuel 
Martin  Ixmia  Barth6iemy  de,  Ma 
drid,  Aug.  24,  1820—?;  pupil  of 
Bellon;  cond,  St.  Bruno,  at  Bor- 
deaux, where  he  lived  from  1835;  c. 
excellent  masses  and  other  church* 
mus. 

Cre(c)qmllon  (krfk-we.ydft),  Thos., 
».  Ghent  (?)— H^lhunc,  1557;  ca. 
1544-47  conductor  and  composer. 

Creacentkd  (krft-shdn-l*'-nC),  Giro- 
lajoio,  Urbania,  near  Urbino,  Feb.  j, 
1766— Naples,  April  34,  1846;  fa- 
mous male  soprano  and  composer. 

Cre'ser,  William,  York.  Sept,  9,  1844— 
1933]  organ Ut,  composer;  pupil  of 
Macfarren;  1880,  Mus.  Doc,  Ox- 
ford; 1881,  i^qt-iQO^,  org.  Chapel 
Royal:  St.  Jamc?,  and  cornp,  to 
Chapel  Royal;  married  Amelia 
Clarke  rocsxo-soprano;  c.  oratorio, 
caautaa 


DICTIONARY  QF  MUSICIANS 


113 


(Leeds,     1882);    "The    Sacrifice    of 
Freia"  (Leeds,  1889),  etc. 

Cressent  (kr£s-san),  Anatole,  Argen- 
teuil,  1824 — Paris,  xSyo;  lawyer  and 
founder  of  the  triennial  prijae  **prix 
Cressent,"  endowed  with,  *  20,000 
francs,  to  be  equally  divided  between 
the  librettist  and  composer. 

Creston,  Paul,  b.  N.  Y.,  1906;  comp.; 
1938  Guggen.  fellow;  c.  symph.,  etc. 

Creyghton  (kra'-ttin),  Rev.  Robt.,  b.  ca. 
1639;  English  composer. 

Crist,  Bainbridge,  b.  Lawrenceburg, 
Ind.,  1883;  composer;  pupil  of  Juori, 
Emerich  and  Shakespeare;  after  1914 
was  active  as  teacher  in  Boston;  c. 
dance-drama,  "Le  Pied  de  la  Momie," 
orch.  and  chamber  music,  and  songs. 

Cristofo'ri,  Bart,  (wrongly  Cristofali 
and  Cristofani),  Padua,  May  4,  1^655 
— Florence,  Jan.  27,  1731;  inv.  the 
first  practical  hammeivaction  to 
which  he  gave  the  name  * 'piano- 
forte" (v,  D.  B.);  in  1711  he  substi- 
tuted for  the  plucking  quills  "a  row 
of  little  hammers  striking  the  strings 
from  below,"  the  principle  adopted 
by  Broad  wood,  and  called  the  "Eng- 
Msh  action." 

Crivel'H,  (i)  Arcangelo,  Bergamo,  1546 
— 1617;  tenor  and  composer.  (2) 
Giov.  Bat.,  Scandiano,  Modena  (?) — - 
Modena,  1682;  organist  and  con- 
ductor. (3)  Gaetano,  Bergamo,  1774 
— Brescia,  1836;  famous  tenor.  (4) 
J>om.,  b.  Brescia,  1793;  son  of  above, 
dram,  composer. 

Croce  (krd'-chS),  Giov.  della  (caUed 
**•!!  Chiozzotto"),  Chioggia,  ca.  1557 
— Venice,  1609;  conductor  and  com- 
poser. 

Croes  (kroos),  H.  Jas.  de,  Antwerp, 
*7o$ — Brussels,  1786;  violinist  and 
conductor. 

Croft(s),  Win,,  Nether-  Eatington,  War- 
wickshire, Engl.,  1678 — Bath,  1727 
(buried  Westm.  Abbey);  1704,  joint 
organist,  1707,  sole  organist  Westm. 
Abbey;  pub.  "Musica,  sacra11  (the 
first  English  church-music  engraved 
in.  score  on  plates). 

Crooks,  Richard,  b,  Trenton,  N.  J.; 
tenor;  sang  as  boy  soprano  in  church 
choir  at  S;  pupil  of  Sydney  H. 
Bourne;  concert  appearances  at  12; 
following  war  service,  was  soloist  at 
First  Presbyterian  Church,  N.  Y.; 
first  came  into  prominence  as  soloist 
with  N.  Y.  Symph.,  1922;  made 
U.  S.  concert  tours,  also  of  Englandr 


Scandinavia  and  Central  Europe, 
1927;  as  Cavaradossi,  Hamburg  Op,, 
same  year;  also  at  Berlin  Op.;  soloist 
with  leading  Amer.  orchs.;  mem. 
Met.  Op,  Co.,  after  1933,  singing 
leading  French  and  Italian  r^les* 

Cr os 'dill,  J.,  London,  1751 — Escrick, 
Yorkshire^  5825;  'cellist. 

Cross,  Michael  Hurley,  Philadelphia, 
*&33^— 1897;  composer  and  director. 

Cvossl-ey,  Ada,  near  Bairnsdale,  Aus- 
tralia, March  3,  1874 — London, 
Oct.  17,  1929;  noted  mezzo-soprano; 
dSbut,  Melbourne  as  a  girl;  after 
i8'94  lived  in  London,;  studied  with 
Santley  and  later  with  Marchesi; 
sang  at  many  English  festivals;  1904 
toured  Australia;  later  also  U.  S.;  m. 
F.  E.  Muecke. 

Crotch,  Wm.,  Norwich,  Engl.,  July  5, 
1775 — Taunton,  Dec,  29,  1847;  at 
the  a$e  of  2i  he  played  on  a  small 
organ,  built  by  his  father,  a  master- 
carpenter;  at  10  played  in  public  at 
London;  at  the  age  of  n  asst.  organ- 
ist of  Trinity  and  King's  Colleges 
Cambridge;  at  14  c.  on  oratorio, 
"The  Captivity  of  Judah"  (perf. 
1 789) ,  became  organist  of  Christ  Ch., 


Crouch,  (i)  Mrs.  Anna  M.  (n6e  Phil- 
lips), 1763 — Brighton,  1805;  Engl. 
operatic  singer.  (2)  Fr.  Nicholls, 
London,  July  31,  1808 — Portland, 
Me.,  Aug.  1 8,  1896;  basso,  'cellist 
and  singing-teacher;  c.  2  operas,  and 
songs,  incl.  "Kathleen  Mavourneen." 

Cro'west,  Fr.  J.^  London,  Nov.  30, 1850 
— Birmingham,  June  14,  1927;  emi- 
nent organist,  writer  and  composer. 

Criiger  (kru/-ge'r),  Jns.,  Gross-Breese, 
near  Guben,  1598 — Berlin,  1662;  or- 
ganist. 

Crusell  (kroos '-sel),  Bernhard,  Fin- 
land, 1775 — Stockholm,  1838;  com- 
poser. 

Cruvel'li  (rightly  CrtiweU)   (krti'-vel), 

(1)  Friederifce  M.,  Bielefeld,  West- 
phalia, 18^4 — 1868;  noted  contralto 
in    London,     but    lost    her    voice. 

(2)  Jne.  Sophie  Charlotte,  Bielefeld, 
Mar,  12,  1826 — Nice,  Nov.  6,  1907; 
sister  of   above;   also   contralto,  ill- 
trained,  but  had  enormous  success  at 
Paris.  Gr.  Op6ra,  1854,  at  a  salary  of 
100,000  francs;  in  1856   m.   Comte 
Vigier,  and  left  the  stage. 

Cui   (kwS),  CSsar  Antonovitch,  Vttna* 


114 


DICTIONARY  OF  MUSICIANS 


Russia,  Jan.  18,  1835 — d*  at  Vilna, 
September  14,  1918;  one  of  the  most 
important  of  Russian  composers; 
pupil  of  Moniuszko  and  Balakirev; 
a  military  engineer;  Prof,  of  fortifica- 
tion at  the  St.  Petersburg  Engineer- 
ing AcadL;  from  1864-68,  critic  of  the 
St.  P.  "Gazette";  1878-79,  pub.  arti- 
cles in  Paris,  on  "La  musique  en 
Russie";  c.  operas,  "William  Rat- 
dijfe"  (St.  P.,  1869);  "The  Prisoner 
in  the  Caucasus"  (1873);  "Angela" 
(1876);  "The  Mandarin's  Son"- 
(1878);  lyric  comedy,  "Le  Filibus- 
ter* (Paris,  1894);  the  very  succ. 
"The  Saracen"  (1899);  "A  Feast  in 
Time  of  Plague"  (1901);  "Mam'tettt 
Fiji"  (1903);  "MaUeo  Falcone" 
(1908);  "The  Captain's  Daughter"*, 
some  thirty  mixed  choruses;  string 
quartet,  many  vln.  works,  2  scherzos 
and  a  tarantella  for  orch.;  suite  for 
pf.  and  vln.;  pf.-pcs.;  some  200 
songs.  "Esquisse  critique"  on  Cul 
and  his  works  by  the  Comtesse  de 
Mercy- Argenteau;  also  studies  by 
Koptmev,  Weimarn,  etc. 

Cul/bertson>  Sasha,  b.  Russia,  Dec. 
29,  1893;  violinist;  pupil  of  Suchoru- 
koff;  at  9  entered  Cons,  at  Rostoflf; 
in  1905  pupil  of  Sevcik,  Prague; 
d6but,  Vienna  1908;  toured  Europe 
and  Amer,:  d.  N.  Y.,  Apr.  16,  1944. 

Gulp  (koolp),  Julia,  b,  Groningea, 
Get*  i,  1881;  mezzo-soprano;  well- 
known  Liedersinger;  pupil  of  Amster- 
dam Cons,  and  of  Etelka  Gerster; 
has  toured  Europe  with  great  suc- 
cess; after  19x2,  America* 

Culwick  (kulMXk),  James  a.  West 
Bromwich,  April  38,  1845 — Dublin- 
Oct.  5,  1907;  organist,  theorist  and 
comp.  Prof.  Alexandria  College* 
Dublin;  cond.  Dublin  Philharmonic 
Soc.,  etc.  1903,  Mus.  Doc.  Univ.  of 
Dublin. 

Cura'mings,  *Wm.  Hayman,  Sudbury, 
Devon,  Isng.,  Aug.  a  a,  1831 — Lon- 
don, August,  1915;  organist  Waltham 
Abbey:  prof,  of  singing  R.  Coll.  for 
the  Blind,  Norwood;  1896,  principal 
of  Guildhall  Sch.  of  Mus.;  founded 
the  Purcell  Society,  ed.  its  pubs,; 
•wrote  biog.  of  Purcell  (London, 
1882);  had  also  pub*  a  music 
"Primer,"  1877;  and  a  "£***.  Dic- 
tionary of  Musicians"  (1893;;  c,  a 
cantata,  *<Tk*  Fairy  Ring,"  etc. 

Cord  (koor'-che*),  Giu.»  Barletta,  1808 
— 1877;  singing  teacher  and  dram, 
composer. 


Cur'ry,  Arthur  Mansfield,  b.  Chelsea. 
Mass.,  Jan.  27,  1866;  violin  pupil  of 
Franz  Kneisel  and  Edward  MacDowell 
in  harmony;  teacher  and  cond.  in 
Boston;  c,  overture  "Blomidon" 
(Worcester,  Mass.,  Fest.  1902); 
syniph.  poem  *M*oJa"  (Boston 
Symph.,  igi i);  "The  Winning  of 
A  marac" ;  Keltic  legend  for  a  reader, 
chorus  and  orch.,  etc. 

Cursc&mann  (koorsh'-m&n),  K.  Ft., 
Berlin,  1805 — JLangfuhr,  near  Dan- 
zig, 1841 ;  singer,  dram,  composer  and 
pop.  song- writer, 

Curti  (koor'-tfi),  Fz.  (or  Francesco), 
Cassel,  1854 — Dresden,  1898;  dram, 
composer. 

Curtis,  (i)  H.  Holbrook,  New  York, 
Dec.  15,  1856 — 1920;  grad,  Yale, 
1877;  1880,  M,D.;  vice-pres.  Am, 
Social  Science  Assn.,  prominent 
throat  specialist  and  writer  on  the 
voice,  pub.  "  Voitc  Building  and  Tone 
Plating"  (2)  Natalie,  New  York- 
Paris,  Oct.  23,  1925;  writer  on  Indian 
and  Negro  music;  studied  with 
Friedheim,  Busoni,  Giraudet,  Wolff 
and  Kniesc;  early  active  as  pianist; 
made  collection  of  200  songs  of  Am. 
Indians,  also  Negro  folk-songs;  m. 
Paul  Burlin,  painter. 

Ctir'wen,  (i)  Rev.  J-,  Heckmondwike, 
Yorkshire,  Engi.,  1816 — near  Man* 
cheater,  1880;  1862,  resigned  his  pas- 
torate, and  founded  a  college,  also  a 
pub. -house,  to  exploit  Tonic-sol-fa, 
»  Plaistow,  1847 — 
son  and  pupil  of 


(2)  J.  Spencer^  Plaistow,  1847 — 
London,  1916;  son  and  pupil  of 
above;  pupil  also  of  G,  Oakey  and 


R.A.M.;  writer,  and  1880  pres. 
Tonic-sol-fa  ColL 

Cur'zon,  Clifford,  b.  1007;  Briliih  pinnist. 

Cusins  (kQz'-Tns)T  Sir  Wm.  G.,  London, 
1833  —  Remonchampa  (Ardennes). 
1893;  pf.-prof.  R.A.M,;  knighted 
1892;  conductor  and  composer. 

Cuzzoai  (kood-x6'-ne),  Fran.,  Parma, 
1700  —  Bologna,  1770;  debut  27x9; 
m.  the  pianist  Samioni;  very  success- 
ful contralto  till  her  latter  days,  when 
it  is  said  she  earned  a  pittance  by 
covering  silk  buttons. 

Czeraohorsky  (ch£r-na-h&r'-shkf)T  Bo- 
huslav,  Nimburg,  Bohemia,  Feb.  26, 
$684  —  Grax,  July  2,  1  740,  Frandft- 
can  monk,  organist  and  comp. 

Czenay  (Corny)   (char'-nft),  Kiri,  Vi- 


enna, Feb.  ao,  1791—  July  15,  x 
pupil  o!  his  father  WeoMi  C*,  later 
of  Beethoven;  and  bad  advice  from 


DICTIONARY  OF  MUSICIANS 


115 


Clemcnti  and  Hummel;  made  an 
early  reputation  as  pianist  and  was 
an  eminent  teacher  from  his  i6th 
year;  Liszt,  DQhler,  and  Thalberg 
were  among  his  pupils;  pub.  over 
1,000  works,  his  pf.-studies,  still 
standard,  incl.  many  such  works  as 
"Die  Schtde  der  Geltiufigkei?>>  (School 
of  Velocity)  (op.  299);  c.  also  masses, 
symphonies,  overtures,  etc. 

Czersky  (char'-shk!).     Vide  TSCHTRCH. 

Czerwonky  (chSr'-vo'n-ke'),  Richard,  b. 
Birnbaum,  Germany,  May  23,  1886; 
violinist,  conductor;  studied  at 
Klindworth-Scharwenka  Cons,  and 
Hochsch.,  Berlin;  pupil  of  Zajic, 
Moser  and  Joachim;  d6but  with 
Berlin  Philh.,  1906;  later  concertm. 
of  Boston  and  Minneapolis  Symphs.; 
head  of  Bush  Cons.,  Chicago,  vln. 
dept.,  after  1910- 

Czibulka  (ch6-bool'-ka),  Alphons, 
Szepes-Vdrallya,  Hungary,  May  14, 
1842 — Vienna,  Oct.  27,  1894;  pianist 
and  conductor;  c.  5  operettas,  incl. 
"Der  Bajazzo"  (Vienna,  1892),  waltzes, 
etc. 


Dachs  (dakhs),  Jos.,  Ratisbon,  1825 — 
Vienna,  1896;  teacher  and  pianist. 

Daff'ner,  Hugo,  b.  Munich,  May  2, 
1882:  author  and  comp.;  pupil  of 
Thuille,  Schmid-Lindner  and  Max 
Reger;  1904,  Ph.D.;  c.  symph., 
sonatas,  etc. 

0alayrac  (or  D'Alayrac)  (d£l-S-r£k), 
Nicolas,  Muret,  Haute- Garonne, 
June  13,  1753 — Paris,  Nov.  27, 1809; 
prod,  about  60  operas, 

Dalberg  (dal'-b&rkh),  Jn.  FT.  Hugo, 
Reichsf  reiherr  von,  Herrnsheim,  1760 
— 1812;  writer  and  composer. 

D'Albert,  Eugen.     Vide  ALBERT,  d'. 

Dalcroze  (dSl-kr6z),  Emile  Jaques,  b. 
Vienna,  July  6, 1865,  of  Swiss  parent- 
age— d.  Geneva,  July  2, 19 50;  founder 
system  of  rhythmic  exercises  known 
as  "Eurhythmies";  1910-15,  founded 
school  at  Hellerau,  near  Dresden; 
pupil  of  Fuchs,  Bruchner  and  D6- 
Hbes;  teacher,  lecturer  and  critic  at 
Geneva  Cons.;  c.  lyric  comedies 
"Janie"  (Geneva,  1893),  »nd  "San- 
cho  Panza"  (1897);  "Po&m*  Alpestre" 
for  voices  and  orch.  (1896,  London, 
1897);  a  violin  concerto  played  by 
Marteau  on  his  tours,  and  Swiss 
songs  of  popularity  and  national 
teeung;  his  theories  of  bodily  move- 


ment have  had  deep  influence  on 
the  internat'l.  world  of  music  and 
dance;  author  of  many  works  on  the 
subject. 

Dale,  Benjamin  James,  b.  Crouch  Hill, 
London,  July  17,  1885;  organist; 
prof,  of  R.  A.  M.;  c.  symph.,  2  over- 
tures, successful  piano  sonata  in  I) 
Min.,  etc.,  d.  London,  July  30,  1943* 

Dal  lam,  Engl.  family  of  organ-builders 
1 7th  cent,  (also  spelled  Dallans* 
Dallum,  Dalham). 

Dalmores  (dal-ma'-rSs),  Charles,  b. 
Nancy,  France,  Dec.  31, 1871;  tenor; 
pupil  Paris  and  Lyons  Cons.;  sang  in 
France;  1896,  at  Manhattan  Opera, 
N.  Y.;  1910,  Chicago  Op.;  also  widely 
in  Europe,  incl.  Bayreuth;  later  res. 
in  Los  Angeles  as  vocal  teacher. 

D'Alvarez  (dal-v2,r'-£th),  Marguerite, 
b.  England;  contralto;  of  Peruvian 
and  French  ancestry;  daughter  of 
nobleman  and  diplomat;  studied  at 
Brussels  Cons.,  winning  ist  prizes  in 
.singing  and  declamation,  also  Prix 
de  la  Reine;  appointed  Court  Singer 
to  King  of  Belgians;  studied  opera 
in  Milan;  d6but  at  Rouen;  also  with 
succ.  at  La  Scala;  Amer.  d6but 
with  Manhattan  Op.  Co.,  1909;  with 
Boston  Op.  Co.,  1913;  later  at  Co- 
vent  Garden;  1920,  Chicago  Op.j 
d.  Alassio,  Italy,  Oct.  18,  1953- 

Dalvimare   (dal-vS-ma'-re1)    or  d'Alvi- 
mare  (d&l-vX-m&r),  Martin  P^  Dreux 
Eure-et-Loire,     1772 — Paris,     1839, 
composer. 

Dambois  (dam-bwS/),  Maurice,  b. 
Li6ge,  Belgium,  1889;  'cellist;  pupil 
of  Cons,  in  native  city;  ist  public 
appearance  at  12;  later  toured  ex- 
tensively; dir.  Li6ge  Acad€mie,  1910- 
14;  first  visited  the  U.  S.  in  1917  in 
company  with  Ysaye,  where  he  later 
lived;  c.  orch.,  chamber  music,  songs, 
etc. 

Damcke  (dam'-ke"),  Berthold,  Hanover, 
1812 — Paris,  1875;  conductor. 

Damoreau  (d&m-6-rQ) ,  Laure-Cinthie 
(n€e  Montalant,  first  known  as 
"MUe.  Cinti"),  Paris,  1801— Chan- 
tilly,  1863;  soprano,  later  prof,  of 
singing,  Paris  Cons,;  wrote  "Mithodc 
de  chant."- 

Da  Mot'ta,  Jos6  Vianna,  b.  Isle  St. 
Thomas ,  April  22,1 868 — Lisbon ,  June 
i,  1948;  noted  pianist;  studied  Lis- 
bon; d6but  there  1881,  then  studied 
Scharwenka  Cons.,  with  Liszt  and 
Von  Biilow;  toured  widely;  lived  in 


116 


DICTIONARY  OF  MUSICIANS 


Berlin  for  some  years; 
taught  at  Geneva  Cons.;  late*  in 
Lisbon  as  dir.  of  Cons,  and  eond.  of 
symph.  orch.;  c.  symph.  "JLn  das 
V&terl&nd,"  5  Portuguese  ihapsodBtes 
*>n  native  nielodies,  etfc.;  also  «cdtic 
and  author. 

Damrosch  (dam'-xr6sh),  (i)  Dr.  Leo- 
pold, Bosen,  Prussia,  Oct.  22,  3:832 
— <New  York,  Feb.  15,  1885;  ?&54» 
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.  Helene 
von  Heimburg,  a  singer,;  1859-60 
cond*.  tBreslau  Phil-  Soc.>  etc.;  ±87 i, 
invited  to  New  York  to  conduct  the 
Arion  Society*  xhade  his  first  appear- 
ance as  conductor  and  <x>riaposfer  and 
violinist;  1873,  founded  \the  Oratorio 
Society,  1878  the  Symphony  Society; 
1880  Mus.  Boc.  Columbia  Coll.; 
1,884,  cond.  Gertnan  opera  at  Met. 
Op.;  <:.  7  cantatas;  symphony;  music 
to  Schiller's  "Jo<m  of  Arc,"  etc. 
(*)  Frank,  Breslau,  June  22,  £859 — 
New  York,  Oct.  ax,  1937;  son  and 
pupil  of  above;  pupil  of  Pruckner, 
Jean  Vogt,  and  von  Inten  (pf.)> 
Moszkowaki  (comp.);  1882-85,  cond. 
Denver  (Col.)  Chorus  Club;  1884-85 
supervisor  of  music  in  public  schools, 
also  organist  in  various  churches: 
1885^91,  chorusm.  Met.  Op.;  till 
1887  cond.  the  Newark  Harmonic 
Society;  1892  organized  the  People's 
Singing  Classes;  1897,  supervisor  of 
music,  N,  Y.  City  pubhc  schools; 
cond.  1898-1912,  Oratorio  Society, 
and  1893-1920,  Mus.  Art  Soc. 
JN.  YO,  Oratorio  Socv  Bridgeport 
(Conn.),  "Orpheus"  and  "Ewyfcce" 
Jrhila,,  etc*;  for  nearly  30  years 
from  1905  he  was  the  first  and  sole 
dir.  of  the  Inst,  of  Music.  Art,  noted 
New  York  school,  which  was  later 
merged  with  the  Juilliard  School  of 
Music  but  still  functions;  he  wrote 
treatises;  Mus.  B,,  Yale  Univ.,  1904; 
pub.  songs  and  choruses,  and  a 
method  of  sight-singing.  (3)  Walter 
Breslau,  Jan.  30,  x8o~s — 1ST.  Y., 
Dec,  22,  1950;  son  of  (i):  pupil 
of  "Rischbieter  and  Draesefce  (harm.), 
von  Inten,  Boekelman,  and  Max 
Pinner,  (pf.)>  von  Bulow  (con- 
ducting); 1885-09  cond.  N.  Y.  Ora- 
torio and  Symphony  Societies;  1892 
founded  the  N.  Y.  Symphony  Orch.; 
1894,  organized  and  cond.  the  Dam- 
rosch Opera  Co.;  1899,  cond.  at 


Philadelphia;  *£O2»  €ond.  N,  Y. 
Philh.  (vice  Paur)$.he  Soured  Europe 
With  the  N,  Y.  Symphony,  1920,  and 
remained  its  permanent  cond.  for 
more  than  40  years;  during  this  tame 
he  developed  esp.  popularity  as  a 
cond.  and  lecturer  at  child*  e&'s  orch. 
concerts;  he  resigned  this  post  in 
1926  to  become  musical  counsel  of 
the  Nat'l.  Broadcasting  Ckx,  and 
annually  led  a  notable  series  of 
"music  appreciation"  concerts  fdr 
die  school  children  .of  the  country 
over  this  radio  chain.  He  is  the  re- 
cipient of  many  honours,  incl.  the 
L&giom  of  Honour  and  a  half-dozen 
doctorates  from  American  univs. 
Fab.  his  rnemoirs,  "Ify  Musical 
Jtefe"  (1930);  prod,  opera,  "The 
Scwfot  L&ter"  OBoston,  1896),  text 
by  Geo.  Parsons  Lathrop;  c.  also 
"Tfo  Dove  of  P&tce"  (ipia),  "Gyr**o 
de  Bergerac*  (teiact  by  W.  J.  Hender- 
son  after  Rostand  play,  Met.  Op., 
5913);  "The  Man  WUkm*  a  Country?* 
(libretto  by  Arthur  Guitennan}, 
Met.  Op.  1937;  choruses,  songs,  etc, 

Da7na,  Chas.  Henshaw,  West  Newton, 
Mass.,  1846  —  Worcester,  1883;  pian- 
ist, organist  and  composer. 

Danb€  (dfin-bS,),  Jules,  Caen,  France, 
Nov.  15,  1840  —  Vidby,  Kov,  10, 
1905;  violinist;  pupil  of  Paris  COBS.; 
till  1892  2nd  dir.  of  the  Coos*  Con- 
certs; 1895,  cond.  Op.  Com.,  Paris; 
composer. 

Ban  'by,  J,,  1757  —  London.  May  16, 
1798;  English  organist  and  composer. 

Dttcla  (dto-fela),  (i)  J.  Ba|>.  Cfaas,, 
Bagr^res-de-Bigorre,  J>ec.  19,  1818  — 
Tunis,  Nov*  9,  1907:  1828  pupil  of 
Baillot,  Hal^vy,  and  Berton,  Paris 
Cons*;  1834,  2nd  solo  via.  Op.-Com.; 
2?57y  P^of.  of  via.  at  the  Cons., 
giving  famous  quartet  soirees;  c. 
four  symphonies,  over  130  works  for 
vln.,  etc.;  wrote  $  technical  books. 
"Les  compostieurs  chefs  d*  orchestra, 
etc.  (2)  Arnaud,  Bagn^res-de-Bi- 
gorre,  1820—1862,  bro.  of  above; 
'cellist  and  writer.  (3)  Leopold, 
Bagn^res-de-Bigorre,  1823  —  Paris, 
1895,  ^>r<>-  of  above;  composer* 

Dan'do,  Jos.  H.  B.f  b.  Somers  Town, 
London,  1806;  violinist. 


Danhauser    (dan-how  '-z^r    or 

zft),  Ad.  Ld.,  Paris,  1835  —  2896;  prof. 
of  solfeggio  at  Cons,  and  dram,  com- 
poser. 

Danicaou    V.  PBXLXDO&* 


DICTIONARY  OF  MUSICIANS 


117 


Daniel,  Salvador,  b.  Bourges,  1850  (?) ; 
for  a  few  days  dir.  Paris  Cons.,  under 
the  Commune;  killed  in  battle, 
May  23,  1871;  writer. 

Danise  (da-n6'-za),  Giuseppe,  b.  Na- 
ples, Jan.  n,  1883;  opera  barytone; 
ist  studied  law,  then  singing  with 
Colonnese  and  Petillo;  debut,  Na- 
ples, 1906;  has  sung  in  leading 
Italian  theatres,  also  Russia,  South 
and  Central  America  and  XJ.  $,; 
Met.  Op.  Co.,  N.  Y.,  for  some  years 
after  1920;  also  in  America  with 
Ravinia  Op.  Co. 

Danjou  (dan'-zhop),  J.  L.  F.,  Paris, 
1812 — Montpellier,  1866;  1840,  or- 
ganist and  erudite  historian. 

Dan'kers  (or  Danckerts),  Ghiselin,  b. 
Tholen,  Zealand;  chorister  in  Papal 
chapel,  1538-65;  composer  and 
writer. 

Dann,  Hollis,  b.  Canton,  Pa.,  May  *, 
1861 — N.  Y.,  Jan.  3,  1939;  Mus.  D., 
Alfred  Univ.,  1906;  dir,  public 
school  music,  Ithaca,  N.  Y-»  1887- 
1903;  1906-21,  headed  dept.  of  music, 
Cornell  Univ.,  leading  Glee  Club  and 
Music  Fest.;  began  work  in  training 
music  supervisors  which  he  con- 
tinued at  Penna.  State  Coll.,  1921- 
25;  head  dept.  of  music  education, 
N.  Y.  Univ.,  1925-35;  author  of 
j^orks  on  school  music;  ed.  collec- 
tions, of  school  songs,  hymns,  etc. 

Dannreuther  (dfin'-roi-tgr),  (i)  Jg<J- 
ward,  Strassburg,  Nov.  4,  1844-^- 
Pimlico,  London,  Feb.  12^  1905; 
at  5  taken  to  Cincinnati,  where  he 
studied  with  F.  L.  Ritter;  later,  pupil 
of  Richter,  Moscheles,  Hauptmann, 
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)  Gustav,  Cincinnati, 
July  ax,  i853-*-New  York,  Dec.  19, 
1923:  pupil  of  de  Ahna  and  Joachim 
(vln.)  and  Heitel  (theory),  Berlin; 
lived  in  London  till  1877;  joined 
Mendelssohn  Quintet  Club  of  Bos- 
ton, where  in  1880  he  settled  as  a 
member  of  the  newly  formed  Sym- 
phony 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  Ora- 
torio Societies,  N.  Y.;  1907,  taught 
Vassar  Coll.;  wrote  musical  treatises. 

Danzi  (dJtn'-tse),  (i)  Fz,,  Mannheim, 


May  15,  1763 — Carlsruhe,  April  13, 
1826;  dram,  composer. 

Da  Ponte  (da  pdnMLe1),  Lorenzo,  Cen- 
eda,  near  Venice,  March  10,  1749^ — 
New  York,  Aug.  17,  1838;  of  Jewish 
race;  poet-laureate  to  Joseph  II.  at 
Vienna,  until  1792;  wrote  text  of 
Mozart's  "Don  Giovanni"  and  "Cost 
Fan  Tutte";  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 
fife  in  Krehbiel's  "Music  and.  Man- 
ners" (N.  Y.,  1899). 

Daquin  (d&-k£n),  L.  Claude,  Paris, 
1694 — 1772;  notable  organist,  clave- 
cinist  and  composer. 

D'Aranyi,  Yelly  (yel'-5  dtL-rSn'-ye),  b 
Budapest,  May  30,  18*95  (grand- 
niece  of  Joachim);  violinist;,  studied 
piano  at  6;  later  vln.  with  Hubay; 
made  debut  at  13;  has  toured  Ger- 
many, Austria,  France^,  Ijtaly,  Eng- 
land, U.  S.;  appeared  in  sonata  re- 
citals with  Myra  Hess;  res.  in  Lon- 
don since  1913;  among  composers 
who  have  created  works  for  her  are 
Bartok,  Ravel  and  Vaughan  Williams. 

Dargomyzsky  (dS,r-g6-mSsh'-shke), 
Alex.  Sergievitch,  Toula,  Feb.  14  ^813 
— St.  Petersburg,  Jan>,  1:7,  1869; 
pianist  and  composer;  pupil  of  Scho- 
berlechner;  his  opera  " Esmeralda?' 
(c.  1839)  was  prod,  1847  with  succ,; 
his  best  opera  "Russdtka"  followed 
in  1856;  in  1867,  at  Moscow,  an 
opera-ballet,  "The  Triumph  of  Bae- 
chus"  (written  1847),  was  instru- 
mented; left  an  unfinished  opera. 
"  Kammennoi  Cost"  ("The  Marble 
Guest")  (finished  by  Rimsky-Isorsa- 
kov).  "Rogdana  "  a  fantasy-opera, 
was  only  sketched;  c.  also  pop.  orch. 
works. 

Da(s)ser  (da'iser),  (Dasserus)  Ludwig, 
until  1562  conductor  and  composer 
at  Munich,  predecessor  of  Lassus, 

Daube  (dow'-be*),  Fr.,  Cassel  (Augs- 
burg ?),  1730 — Augsburg,  1797;  com- 
poser and  writer. 

Dau'ney,  Wm.,  Aberdeen,  1800 — De 
merara,  1843;  writer. 

Dauprat  (d6-pra),  L.  Fr.,  Paris,  1781 
— July  1 6,  1868;  notable  horn-player 
and  composer. 

Daussoigne-Mehul  (do  &'-s wS,n-mSL '-01)  ^ 
L.  Jos.,  Givet,  Ardennes,  1790 — 
Li£ge,  1875;  dram,  composer. 


118 


DICTIONARY  OF  MUSICIANS 


Dauvergne  (dQ-v£rn),  Ant.  C*,  Ferrand. 
1713 — Lyons,  1797;  violinist  and 
dram,  composer. 

Davaux  (da-v6),  Jean  Baptiste,  C6te- 
St-Andr6,  1737 — Paris,  Feb.  22, 
1822;  c.  many  symphonies,  chamber 
music,  etc. 

Davenport,  Francis  W.,  Wilderslowe, 
near  Derby,  England,  1847 — Con- 
don, Nov.,  1925;  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  Pal- 
ace, 1876),  and  other  comps.;  wrote 
text-books. 

Davico  (da-vfi'-k6),  Vincenzo,  b.  Mona- 
co, Jan.  14,  1889;  pupil  of  Reger;  c. 
operas,  orch.,  chamber  music,  songs, 
etc. 

David  (d&'-fSt),Fd.,  Hamburg,  June  10, 
1 8 10 — near  Klosters,  Switzerland, 
July  19,  1873;  pupil  of  Spohr  and 
Hauptmann;  at  15  played  in  the 


Gewandhaus,  Leipzig;  1827,  * 
nigstadt  Tfcu  orchM  Berlin;  at  10 
vln.  in  the  private  quartet  of  the 


wealthy  Baron  von  Liphardt,  at 
Dorpat,  whose  daughter  he  m.;  gave 
concerts  till  1835  m  Russia;  at  26 
leader  of  the  Gewandhaus  Orch.  at 
Mendelssohn's  invitation;  his  rigor- 
ous precision  of  drill  is  still  a  terrify- 
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,ys  unsurpassed  gifts 
as  a  teacher  had  a  large  influence  in 
making  its  reputation,  among  his 
pupils  oeing  wilhelmj  and  Joachim; 
as  a  leader  he  had  a  wonderful  faculty 
of  inspiring  the  players  with  his  own 
enthusiasm.  His  student  editions  of 
classical  works  embrace  nearly  all 
compositions  of  standard  vln.  litera- 
ture; edited  many  classics,  including 
the  "ffoke  Sckul*  dts  Violinspiels* 
His  comp.  include  an  opera,  **  Hctns 
Wackt"  (Leipzig,  1852);  a  sympho- 
nies; 5  vln.-concertos,  etc.;  wrote  a 
standard  meth*  for  vln* 
David  (da-vad),  (i)  FSUcien  CSsar, 
Cadenet,  yaucluse,  April  13,  1810 — 
St.  Germain-en- Laye,  Aug.  20,  1876; 
at  7  a  pupil  and  chorister  in  the 
maitrise  of  Saint-Sauveur  at  AIx;  c. 
hymns,  motets,  etc.;  x 8*5-28  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;  1830 
Paris  Cons.,  under  B£noist  (org.), 
Reber  and  Millot  (harm.),  F6tis 
(cpt.  and  fugue).  1831,  his  rich 
uncle  withdrew  his  allowance  of  50 
francs  a  month,  and  he  took  up 
Saint-Simonism,  composing  hymns 
for  this  socialistic  sect,  which  coming 
under  ban  of  the  law  in  1833,  he  went 
with  other  members  on  a  tour 
through  Turkey,  Egypt,  etc.;  he  re- 
turned in  1835  with  a  fund  of 
Oriental  musical  impressions,  re- 
sulting in  an  unsucc,  volume  of 
"M&odies  Orien*alcs."  He  retired 
to  the  country  home  of  a  friend  and 
c.  2  symphonies,  24  string-quintets, 
etc.  1838  his  first  symphony  was 
prod.;  and  2844,  his  ode-symphonic 
r'Le  Dtserf  had  a  "delirious  succ."; 
the  oratorio,  "Afoise  au  Ss'ttaf,"  1846; 
a  second  symphonic-ode  ^ 
Colombe"  and  "L'Eden* 


teryn  in  a  parts  (Grand  Op£ra,  1848) 
had  no  succ.;  his  opera  "La  Pcrfa  du 
at  10,  tst          Brtett*'  (Th.  Lyrique,  1851)  is  stiO 


popular;  the  opera  "£a  Fin  du 
Monde"  was  rejected  by  the  Gr. 
Op^ra,  and  put  in  rehearsal,  but  not 
produced,  by  the  Th.  Lyrique.  and 
in  1850  produced  at  the  Gr.  Op£r& 
as  " Herculaneum"  the  great  state 
prize  of  20,000  francs  being  awarded 
it  in  1867;  "Latt*  Rookk"  (1862) 
was  a  decided  succ.,  but  tlLc  Sapkir," 
(1865)  also  at  the  Op.  Com.,  failed, 
and  he  now  abandoned  dram.  comp.,. 
withdrawing  LiLa  Captive,"  1869, 
Academician  and  librarian  of  the 
Cons.  Biog.  by  Azevedo  (Paris, 
1863).  (2)  Samuel,  Paris,  1836 — 
2895;  professor,  director  and  dram, 
composer.  (3)  Ad.  Isaac,  Nantes, 
1842 — Paris,  1897;  dram,  composer, 
(4)  Ernst,  Nancy,  1824 — Paris,  1886; 
writer. 

David*  (da-v6'-d*),  (z)  GUcomo  (called 
le  pere),  Presezzo,  near  Bergamo, 
1750 — Bergamo,  1830;  famous  tenor. 
(2)  Giovanni,  1789,  St.  Petersburg, 
ca.  2851;  son  of  above;  tenor  of 
remarkable  range  Bb-b"1, 

Davidov  (d*'-v!-d*f),  Kar!f  Goldinge n, 
Kurland»  1838 — Moscow,  1880;  solo 
'cellist  to  the  Czar;  1876-87^  dir,  St. 
Petersburg  Cons.;  c,  symph.  poem, 
"The  Gifts  of  Perck,"  etc. 

I>avies  (da'-vls),  (i)  Ben,  PonUirdaroe, 
near  Swansea,  \Valea,  Jan.  6,  1858 — 
Ashwick,  Eng,f  Mar.  *o,  ^043;  tenor; 
1880-83  pupil  of  Randcgger  at  K.  A. 


DICTIONARY  OF  MUSICIANS 


119 


M.;  won  bronze?,  silver,  and  gold 
medals,  and  the  Evill  prize  for  de- 
clamatory Engl.  singing;  3  years  with 
Carl  Rosa  Opera-troupe;  most  promi- 
nent in  oratorio:  after  1893  often 
sang  in  U.  S.  (2)  David  Ffrangcon, 
Bethesda,  Carnarvonshire,  Dec.  n, 
1860 — Hampstead,  April  5,  1918; 
barytone;  M.  A.  Oxford;  pupil 
of  Shakespeare;  d6but  Manchester, 
1890;  sang  with  Carl  Rosa  Opera 
Co.,  then  oratorio;  toured  U.  S. 
(3)  Fanny,  Guernsey,  July  27,  1861 — 
London,  Sept.  i,  1934;  eminent 
pianist;  pupil  of  Reinecke,  Paul  and 
Jadassohn,  Leipzig  Cons.;  later  of 
Frau  Schumann  and  Dr.  Scholz; 
d6but  Crystal  Palace,  London,  1885; 
toured  in  England,  Germany  and 
Italy.  (4)  Sir  Henry  Walford,  b. 
Oswestry,  1869 — Wrington,  March 
u,  1941;  pupil  of  Sir  Walter  Par- 
ratt;  1898,  organist  of  the  Temple 
Church;  1898,  Mus.  Doc.,  Cantab.; 
1895,  prof,  of  cpt.  R.  C.  M.;  knighted 
1922;  1923,  national  mus.  dir.  for 
Wales;  1934  made  Master  of  King's 
Music  (vice  Elgar) .  C.  2  symphonies, 
many  notable  oratorios  and  other 
choral  works;  2  string  quartets,  3 
violin  sonatas,  part-songs,  etc. 

Darvis,  John  David,  Edgbaston,  Oct. 
22,  1869 — June  21,  1926;  pupil  Raff 
and  Brussels  Cons.;  1889,  teacher  at 
Birmingham;  c.  opera  "The  Cos- 
sacks"  (Antwerp,  1903),  also  symph. 
variations  (London,  1905),  symph. 
ballade  "The  Cenci"*,  symph.  poem 
"The  Maid  of  Astolat"',  chamber 
music;  prize  "Coronation  March'* 
(1902),  etc. 

Da'vison,  (i)  Arabella.  Vide  GODDARJD. 
(2)  J.  W.,  London,  1813 — Margate, 
1885;  pianist,  critic  and  composer. 

Da'vy,  (i)  Richard,  Engl.,  comp.  i6th 
century.  (2)  John,  Upton-Helion, 
Exeter,  1763 — London,  1824;  vio- 
linist. 

Day,  Charles  Russell,  Horstead,  Nor- 
folk, 1860 — killed  Feb.  18,  1900,  in 
the  battle  of  Paardeberg;  major  in 
British  army  and  writer  of  books  on 
musical  instruments. 

Dayas  (dl'-as),  W.  Humphries,  b.  New 
York,  Sept.  12,  1863 — Manchester, 
May  3,  1903;  pupil  of  S.  Jackson, 
Warren,  S.  B.  Mills  and  Joseffy; 
organist  of  various  churches;  then 
studied  with  Kullak,  Haupt,  Erlich, 
TJrban,  and  Liszt;  made  concert-tour 
1888;  1890  pf.-teacher  Helsingfors 


Cons.;  in  Dusseldorf  (1894),  Wies- 
baden Cons.,  and  Cologne  Cons.;  c. 
organ  and  piano  sonatas,  etc. 

De  Anna  (da-H'-na),  (i)  H.  K.  Her- 
mann, Vienna,  1835 — Berlin,  1892; 
violinist,  teacher  and  composer.  His 
sister  (2)  Eleonore,  Vienna,  1838 — 
Berlin,  1865;  mezzo-scfprano. 

De  Angelis  (da  an/-j&-lgs),  Girolamo, 
Civita  Vecchia,  Jan.  i,  1858 — Calol- 
zio,  Feb.  9,  1935;  pupil  of  Bazzini, 
Milan  Cons.;  1881,  prof,  there,  qf 
vln.  and  via.;  1879-97,  solo  violinist 
at  La  Scala;  1897  teacher  Royal 
Irish  Acad.  of  Music,  Dublin;  c.  (text 
and  music)  "  V Innocente*  (Novi 
Ligure,  1896). 

Debain  (dii-ban),  Alex.  Fran,,  Paris, 
1809 — Dec.  3,  1877;  1834  made 
pianos  and  organs  in  Paris;  inv.  the 
harmonium  1840,  also  "antiphonel** 
and  "harmonichorde" ;  improved  the 
accordion. 

Debefve  (dii-buV),  Jules,  b.  LiSge, 
Jan.  1 6, 1863;  pianist;  pupil  and  later 
teacher  at  the  Cons.;  c.  opera,  rhap- 
sody for  orch.,  etc.;  d.  Paris,  1932. 

DebiUemont  (dti-bs'-ytt-m6n),  J.  Jac. 
ques,  Dijon,  1824 — Paris,  1879; 
dram,  composer. 

De  Boeck  (dS-book),  Auguste,  Merch- 
tern,  Belgium,  May  9,  1865 — Merch- 
tem,  Belgium,  Oct.  9,  1937;  organist, 
son  of  an  organist;  pupil  of  Brussels 
Cons.,  later  a  teacher  there;  c. 
symph.,  Rhapsodie  Dahomienne  for 
orch.,  organ  music,  etc. 

Debussy  (dtt-btt'-s6),  Claude  Achilla, 
St.  Germain-en-Laye,  Aug.  22,  1862 
— Paris,  March  26,  1918;  one  of  the 
most  important  composers  of  recent 
times,  and  the  instigator  of  the  entire 
/'modern"  movement  in  music;  al- 
ready acknowledged  to  be  a  classic, 
D.  has  had  a  profound  influence  on 
creative  musicians  of  every  country. 
He  came  from  a  family  of  trades- 
people with  no  musical  background. 
At  ii  he  entered  the  Paris  Cons. 
where  he  won  several  prizes  for  piano 
and  studied  with  Massenet,  winning 
the  Prix  de  Rome  with  his  cantata., 
"L9  Enfant  Prodigue."  During  his 
sojourn  in  Italy,  his  originality  began 
to  assert  itself,  so  much  so  that  his 
orch.  suite,  "Printemps,"  shocked  the 
conservatives  by  its  harmonic  audac- 
ities; he  also  c,  a  work  for  two  women 
soloists  and  female  chorus,  "La 
Demoiselle  j£/«£,"  at  this  time. 
Returning  to  Paris,  he  was  attracted 


120 


DICTIONARY  OF  MUSICIANS 


by  the  school  of  the  poetic  Symbol- 
ists and  frequented  their  circle,  com- 
posing meanwhile  his  "Arabesques" 
lor  piano,  "Suite  Bergamasque"  (do.)> 
"Ariettes  Qublites,"  etc. 
His  early  works  were  influenced  by 
the  French  school  of  Massenet,  Cha- 
brier,  Lalo,  Faur£,  and  by  "Wagner, 
but  he  soon  developed  an  original 
style  which  came  to  be  known  as 
.  "impressionism"  and  consisted  in 
painting  with  brilliant  but  rare  and 
elusive  tonal  colours,  applied  in  little* 
independent  units,  as  the  painters 
of  the  "pointillist"  school  were  doing. 
His  Prelude  to  "UApres-widi  d'un 
Faune"  based  on  Mallarm£'s  cryptic 
nature  poem,  was  completed  1804 
and  created  a  deep  impression,  en- 
tirely revising  the  possibilities  con- 
tained in  orchestral  tone-colour,  D*s- 
use  of  distantly  related  overtones 
widened  harmonic  boundaries,  and 
his  use  of  chords  not  as  a  part  of  a 
continuous  structure,  but  as  in- 
dividual entities  introduced  a  new 
principle  into  modern  music. 
He  carried  on  this  revolutionary 
work  with  a  string  quartet  (2803), 
"Proses  Lyriqucs"  for  voice  to  his 
own  text,  the  "Chansons  de  Bilttis*"* 
and  the  3  "Nocturnes"  for  orch. 
("Clouds"  "Festivals"  and  "Sirens?* 
the  last  employing  a  wordless 
women's  chorus.) 

XXs.  masterpiece  is  commonly  ac- 
knowledged to  be  his  music  drama. 
"PeUeas  e$  MelisandeS*  a  setting  of 
Maeterlinck's  symbolic  play,  which 
had  its  premiere  at  the  Paris  Op.- 
Comique  in  1902  before  a  somewhat 
irreverent  audience.  Here,  as  in 
most  of  his  works,  D.  creates  an 
atmosphere  of  half-lights,  mystery 
and  poetry  by  the  use  of  an  original 
harmonic  system  in  which  dissonance 
takes  the  place  of  consonance;  old 
church  modes  are  used  or  suggested; 
as  are  the  whole- tone  scale  and  other 
eacotic  progressions.  The  voices  em- 
ploy a  form  of  recitative;  all  climaxes 
are  rijjidly  restrained.  The  popular 
following  developed  by  this  singular 
but  highly  artistic  work  came  a  few 
years  later. 

The  most  important  productions  of 
I>'s.  final  period  include  music  for 
D'Annunaio's  "mystery  "  "  The  Mar- 
tyrdom  of  Si.  Sebastian*';  the  ballet 
**Jeuxtn  written  for  Diaghileff's  com- 
pany; and  the  notable  ordbu  works, 


"La  Mer,"  "Rondes  de  Printemps** 
and  "Iberia"  in  which  his  original 
art  of  novel  form,  orchestration  and 
objectivity  of  impression  reach  their 
climax.  His  final  period  saw  the 
production  of  many  works  for  cham- 
ber combinations,  piano,  etc.,  but 
with  a  slight  growth  of  austerity  in 
his  manner. 

His  compositions  include  also:  (voice 
and  orch.)  "Le  Jet  d'Eau";  (vocal 
quartet)  "Trois  Chansons"*,  (orch.) 
"Images";  (Harp  and  orch.)  "Danse 
Sacree  ft  Danse  Profane";  (voice) 
"Cinq  Posmes";  "Mandoline";  "F&tes 
Galanies";  "Trois  Chansons  de 
France";  "Trois  Ballades  de  Franqois 
Vilfan";  "Le  Promenoir  des  Deux 
Aman&'i  "Trois  Poemes";  "Noel 
des  Enfanfs  qui  n'oni  plus  de  Mai- 
son";  (piano)  "L'lJe  Joyeuse"; 
"Esiampes";  "Masques";  "/wow** 
(a  series);  "ChiJ4t>*»*$  Corner";  ftLa 
Plus  que  Lente";  a  series  of  13  pre- 
ludes each;  "La  8oit*  d  Jovjovx"; 
Btroiqw";  12  etujies; 


(piano,  four  hands)  "March*  &c*s- 


works  have  been  orchestrated* 
The  Debussy  literature  is  a  large  onci 
with    the    composer's   own    critkr 
writings  appearing  under  the  titJT 
"M.  Croche,  Anti-  Dilettante"  (1925), 


D.-studies  have  been  pub.  by  6aly 
Liebig,    Laurencie,    Laloy,    Sartofi* 

tuido,  Caillard  and  De  B6rysr 
eUccioli,  Riviere.  S^r6,  Holland^ 
Checneviere,  Pagjia,  Jean-Aubry» 
Cortot,  Boucher,  Dumesnil,  Gil  man, 
Shera,  etc.  Lion  Vallas  has  issued 
a  thematic  catalogue,  and  countless 
magazine  articles  exist  on  his  music. 
(See  article,  page  402.) 

Dechart  (deW-€rt),  Httgo,  Potscbap- 
pel  near  Dresden,  Sept.  *6,  1860  — 
Nov.  28,  1023;  'cellist;  studied  with 
his  father,  then  with  II.  Tiets,  and 
at  the  Berlin  Hochschule;  toured; 
1894  soloist  court-chapel,  Berlin; 
mem.  of  Halir  and  Hess  Quartets. 

Deck'er,  Konst.,  FUrstenau,  Branden- 
burg, 3810—  Stolp,  Pomerania,  3878; 
pianist  and  dram,  composer. 

Dedekinci  (dflL'-dfi-klnt),  (i)  Henning, 
ca.  1500  cantor,  theorist  and  com- 
poser at  Langensalxa,  Thuringia. 
(a)  Konst.  Chr.,  Reinsdorf,  Anhalt- 
kothen,  1628—  ca,  1697^  comp, 

Dedler    (dat'-ifir),    Rochus,    Oberam- 


DICTIONARY  OF  MUSICIANS 


121 


mergau,  Jan.  15, 1779 — Muiuch^  Oct. 
15,  1822;  c.  music  still  used  in  the 
Passion-Play. 

De(e)r'ing,  Richard,  h.  Kent,  d.  Lon- 
don (?),  1630;  studied  in  Italy;  court- 
organist;  pub.  the  oldest  extant 
comp.  with  basso  continuo,  etc. 

De  Falla,  Manuel  (da  fa'-ya),  Cadiz, 
Nov.  23,  1877— Alta  Gracia,  Argen- 
tina, Nov.  14,  1946;  pupil  of  Trago, 
Pedrell,  Dukas  and  Debussy;  passed 
student  years  in  Paris  but  retired 
to  Granada,  1914,  where  he  has  made 
his  home  regularly  since;  one  of  most 
original  and  characteristic  modern 
Spanish  comps.,  esp,  noted  for  his 
ballets  and  orchestral  works  in  im- 
pressionistic style;  c.  (opera)  "La 
Vida  Breva"  (Paris  Op.-Comique, 
19 14,  has  also  been  given  at  Met. 
Op.  House,  N.  Y.);  (ballets)  "El 
Amor  Brujo"  and  "Sombrero  de  Tres 
Picos"\  (puppet  opera)  "El  Retablo 
de  Maese  Pedro";  3  symphonic  noc- 
turnes, "  Nockes  en  los  Jar  dines  de 
Espatia"  (with  piano),  "En  el  Gene- 
raltfe"  and  "Danza  Lejana"  (the  first 
esp.  popular);  concerto  for  harpsi- 
chord and  small  ensemble;  "Don 
Quixote,"  fantasy  for  3  voices  and 
orch.,  and  numerous  songs  and  piano 
works;  one  of  the  outstanding  mod- 
ern comps.,  with  folk-music  ingred- 
ients especially  prominent  in  his 
works;  a  master  of  orchestration,  and 
influenced  by  the  music  of  Debussy 
and  atonalists  such  as  SchSnberg;  a 
vivid  imagination,  colorful  and  pas- 
sionate romantic  subjects  and  an 
ingredient  of  mysticism  are  features 
of  his  work.  He  was  reported  in 
*935  to  be  at  work  on  " U  AtlantideJ* 
later  in  S,  Amer.  (Article,  P.  495). 

JDefauw  (dti-fo'),  DSsire,  b.  Ghent, 
1865:  cond.  Chicago  Symphony ,  1943 . 

Defesch  (dS-fSsh'),  Wm.,  d.  ca.  1758; 
Flemish  organist  and  violinist. 

Defies  (dttf-fes),  L.  P.,  Toulouse, 
July  25,  1819 — June  10,  1900;  pupil 
of  Hal6vy  and  Barbereau,  Paris 
Cons,,  took  Grand  prix  de  Rome  for 
cantata  "L'Ange  et  Tobie"*  his  i-act 
com.-op.  "I'Anneau  d9 argent"  was 
prod.  Paris,  1855;  14  others  since, 
the  last  very  succ.,  "Jessica"  (Tou- 
louse, 1898);  dir.  of  the  Toulouse 
branch  of  the  Cons.;  c.  also  masses, 
etc. 

Degele  (d&'-gg-le*),  Eugen,  Munich, 
1834 — Dresden,  1886;  barytone  and 
composer. 


De    Gogorza,    Emilio     (s.-m€'-yo    da 

go-gor'-tha),  b.  Brooklyn,  N,  Y., 
May  29,  1874;  barytone;  studied 
with  Moderate  and  Agramonte, 
N.  Y.;  boy  soloist  in  English 
churches;  res.  as  youth  in  Spain  and 
France;  concert  d6but  with  Sem- 
brich,  1897;  toured  widely  in  concert 
incl.  appearances  with  Emma  Eames, 
whom  he  married  in  IQXI;  member 
of  faculty,  Curtis  Inst.,  Phila.,  during 
later  years;  d.  N.  Y.,  May  10,  1949. 

De  Greef,  Arthur,  b.  Lowen,  Belgium, 
Oct.  TO,  1862;  composer  and  pianist; 
studied  with  Brassin  at  Brussels 
Cons,  and  with  Liszt;  taught  piano 
at  Brussels  Cons.,  1885;  toured 
throughout  Europe  as  virtuoso;  has 
also  cond.,  and  c.  chamber  and  piano 
works. 

Degtarev  (dSkh'-ta-r$v),  Stepoan  An- 
kiewitsch,  1766-1813;  Russian  di- 
rector in  St.  Petersburg  and  Italy; 
c.  6p  concertos,  and  church  choral 
music. 

DeHaan,  Willem,  Rotterdam,  Sept.  24, 
1849 — Berlin,  Sept.  26,  1930;  pupil 
of  Nicolai,  de  Lange,  and  Bargiel, 
also  at  Leipzig  Cons.;  1873.  dir.  at 
Bingen;  cond.  "Mozartverein"  at 
Darmstadt,  1876;  1895  court-con- 
ductor there;  c.  2  operas  "Die 
Kaiserstochter"  and  the  succ.  "Die 
Inkasb'hne"  (Darmstadt,  1895);  3 
cantatas. 

Dehn  (dan),  Siegfried  Wm.,  Altona, 
Feb.  '25,  1799 — Berlin,  April  12, 
1858;  noteworthy  theorist  and  teach- 
er; among  his  pupils  Rubinstein, 
Kullak,  Glinka.  Kiel,  Hofmann,  etc. 

Deiters  (dS'-tSrs),  Hermann,  Bonn, 
June  27,  1833 — Coblentz,  May  x*, 
1907;  1858,  Dr.  jur.,  and  Dr.  Phil., 
at  Bonn',  dir.  of  gymnasia  at  Bonn, 
1858,  and  other  cities;  1885  of  the 
"Provincial  Schulrath"  at  Coblentz; 
writer  and  translator. 

De  KoVen,  (Henry  Louis)  Reginald, 
Middletown,  Conn.,  April  3,  1859 — 
Chicago,  Jan.  16,  1920;  composer; 
educated  in  Europe,  took  degree  at 
Oxford,  EngL,  1879;  pupil  of  W. 
Speidel  (pf.)  at  Stuttgart,  Lebert 
(pf.),  and  Pruckner  (harm.),  Dr. 
Hauff  (comp.),  Vanuccini  (singing), 
Gene'e  (operatic  comp.);  after  1889, 
critic  in  Chicago  and  1891,  New 
York,  incl.  period  on  the  "World"; 
1902-05,  organised  and  cond.  Phil- 
harmonic Orch.  at  Washington,  D. 
C.:  c.  about  a  score  of  succ.  comi* 


122 


DICTIONARY  OF  MUSICIANS 


•peras,  mcl.  "Robin  Hood"-  (Chicago, 
1890);  "The  Fencing  Master"  (Bos- 
ton, 1802);  "The  Highwayman" 
(New  Haven,  1897);  "Mold  Marian" 
(1901);  and  two  grand  operas,  "The 
Canterbury  Pilgrims"  (Met.  Op., 
1917)  and  "Rip  Van  Winkle" 
(Chicago  Op.»  1920),  neither  a  succ.; 
also  many  songs;  an  orch.  suite,  a 
pf  .J-sonata,  etc. 

Deiaborde  (du-la-b6rd),  (i)  J.  Benj., 
Paris,  1734 — guillotined,  1704;  dram, 
composer  and  writer.  (2)  Elie  Mir- 
iam, Chaillot,  France,  Feb.  8,  1839 
— Paris,  Dec.,  1913;  pupil  of  Alkan, 
Liszt,  and  Moscheles;  pf.-prof.  at 
Paris  Cons,  and  dram,  composer. 

DeLamar'ter,  Eric,  b.  Lansing,  Mich., 
Feb.  rS,  1880;  conductor,  composer, 
organist;  studied  with  Middelscnulte, 
Widor  and  Guilmant;  org,  in  various 
Chicago  churches;  asst.  cond.,  Chi- 
cago Symph.,  1918-1936;  taught  at 
€mvet  Coll.,  Mich.,  and  Chicago 
Mus.  Coll.;  d.  Orlando,  Fla.,  X953- 

De  Lara.    Vide  LARA. 

Be  Lange.    Vide  LANGE. 

DeUtre  (dfc-l&t'r),  (i)  Olivier,  Bel- 
gian  music-pub.  Antwerp,  (1539-55). 
(2)  Claude  tetit  Jan.,  conductor  and 
composer  at  Liege,  2555* 

Deldevez  (dul-du-ves),  Ed*  Ernest, 
Paris.  1817 — 1897;  1859*  asst.-cond. 
Gr.  Opera  and  Paris  Cons.,  dram, 
composer  and  writer. 

Delezenne  (du-lu-z«n),  Chas*  Ed.  Jos., 
Lille,  1776 — 1 806;  writer* 

DelhaBse  (del-fcO,  F«ixy  Spaa,  Jan.  5. 
1800 — Brussels,  1898;  founder  and 
ed,  of  "Guide  Musicatc";  writer, 

Delibes  (du-IeV),  Clement  PbiUbert 
Mo,  St.  Germain-du-Val,  Sartfae, 
Feb*  ax,  3:836— Paris,  Jan.  16,  1891; 
composer  of  graceful  and  polished 
operatic  and  ballet  scores;  entered 
the  Paris  Cons.  In  1848,  Le  Couppey, 
Bazin,  Adam,  and  B6noist  being  his 
chief  teachers,  1853  organist  at  the 
Ch,  of  St.~Jean  et  $t.~Franco!s:  his 
first  operetta*  "Deux  Sacs  de  Char- 
kon"*  was  followed  by  nearly  a  score 
more;  3:865,  and  chorus-master  Gr, 
Opera;  his  first  ballet  "La  Source" 
was  prod,  here  1866  with  striking 
succ*,  later  in  Vienna  as  "Naila"* 
the  second,  "Coppelia"  (Gr.  Op£ra» 
1870).  is  still  popular*  as  is  "Sylvia" 
(3876);  x88x,  prof,  of  comp.  at  the 
Cons.;  c.  also  the  succ.  opera 
fv,  STORIER  o» 


"Le  Roi  Va  dit"  (1873);  "Jean  de 
Nivellc"  (1880)  and  an  unfinished 
stage  work,  "Kassy*,"  which  was 
completed  by  Massenet  and  piod. 
1893;  also  songs,  etc. 

Deliotn:  (Be  Savignac)  (diil-yoo  da 
s&v-Sn-yak),  Chas.,  Lorien^  Mor- 
bihan,  April,  1830— Paris,  ca.  1880; 
self-taught  as  pianist;  studied  har- 
mony with  Barbereau,  and  comp. 
with  Hal£vy;  1846  took  Grand  Pnx 
for  cpt.;  prod,  i-act  comic  opera 
**  Yvonne  et  L&ie"  (Gymnase,  1854); 
c.  pf  ,-pcs.  and  wrote  technical  works. 

Deltas  (dS'-lS-sas),  Frederick,  Brad- 
ford, England,  Jan.  29,  2863 — 
Grez-sur-Loing,  France,  June  xo, 
1934;  highly  original  and  important 
composer;  son  of  a  naturalised  Ger- 
man, a  wool  merchant;  1876-79 
educated  in  Bradford  schools  and  at 
laternat'L  Coll.,  Spring  Grove;  re- 
fusing to  enter  the  family  business, 
he  was  sent  by  his  father  to  an  orange 
plantation  in  Florida,  where  he  had 
lessons  In  music  from  an  Amer. 
musician,  Thomas  F.  Ward;  1885, 
he  taught  music  in  Danville,  Vir- 
ginia, and  the  following  year  per- 
suaded his  parents  to  send  Mm  to 
Leipzig,  where  he  made  little  progress 
at  the  Cons,  but  learned  much  from 
Grieg,  who  lived  there;  in  1888  he 
moved  to  Paris,  where  he  worked  as 
a  solitary  comp.;  his  first  public 
perf-  was  in  1809,  when  a  concert  of 
nis  music  was  given  in  London  at 
St.  James's  Hall;  after  an  interval  of 
8  years  his  works  began  to  have 
hearings  in  Germany;  his  "Appala- 
ckia"  for  orch.  with  choral  finale 
given  at  the  Lower  Rhenish  Fest,, 
1905;  his  "Sta-Drift"  for  orch,. 
barytone  and  chorus  at  the  fest.  of 
the  Allgemeine  Deutscher  Musik- 
verein  in  1906;  In  England  his 
recognition  was  slower*  but  owing  to 
the  championship  of  Beecham,  who 
gave  many  of  works,  and  organised 
a  fest.  of]  6  programmes  in  1929,  D* 
came  into  his  own  as  one  of  the  most 
Important  comps.  of  the  day.  After 
2890  he  lived  on  a  small  estate  at 
Grez-sur-Loing;  he  m.  Jelka  Rosen, 
painter.  In  2897;  his  latter  years  were 
clouded  by  the  affliction  of  blindness 
and  paralysis,  but  he  continued  his 
work  in  composition  by  dictating 
his  music.  His  style  !&  original,  par- 
taking somewhat  of  French  im- 
pressionism, and  also  showing  the 


DICTIONARY  OF  MUSICIANS 


123 


influence  of  Scandinavian  comps. 
His  work  is  marked  by  an  almost 
complete  absence  of  polyphony,  but 
achieved  a  markedly  personal  force 
and  beauty  through  his  sensitiveness 
to  moods  of  Nature.  His  chief 
works  include:  fantasy  overture, 
"Over  the  Hills"'  (Elberfeld,  1897); 
"Norwegian  Suite"  for  orch.;  piano 
concerto  in  C  minor;  the  music 
dramas, "  Koanga"  (Elberfeld,  1904); 
"Romeo  und  Julia  auf  dem  Dorfe99- 
(Berlin,  1907);  "Mar  got  la  Rouge99', 
"Fennimore  und  Gerda"  (Frankfort, 
1919);  music  for  Flecker's  "Hassan"' 
(Darmstadt,  1923);  "Paris,99  a  Night 
Piece  for  orch.;  "Dance  of  Life9'  for 
orch.;  "Legende99  for  vln.  and  orch.; 
"A  Mass  of  Life99  for  soloists,  chorus 
and  orch.;  orch.  rhapsody,  "Brigg 
Fair99  "Songs  of  Sunset99  for  soloists, 
chorus  and  orch.;  "Song  of  the  High 
Hills99'  for  orch.  with  concluding 
chorus;  the  orch.  works,  "In  a 
Summer  Garden,99  "Dance  Rhap- 
sody,*9 "On  Hearing  the  First  Cuckoo 
in  Spring,99- "  North  Country  Sketches,99- 
"Eventyr,"  "Summer  Night  on  the 
River9*;  vln.  concerto,  'cello  con- 
certo; double  concerto  for  vln.  and 
'cello;  songs  and  choral  pieces. 
Studies  of  his  music  were  pub.  by 
Chop  and  Heseltine. 

Delia  Maria  (dSl'-la  raa-r5'~a),  Dp- 
mSnique,  Marseilles,  1769 — 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 
Prisonnier99  (1798). 

Delle  Sedie  (d&-lS  sad'-yfc),  Enrico, 
Leghorn,  June  17,  1826— Paris, 
Nov.  28,  1907;  pupil  of  Galem, 
Persanola,  and  Domeniconi;  1848, 
imprisoned  as  a  Revolutionist;  then 
studied  singing;  d£but,  Florence, 
1851;  later  prof,  of  singing  Paris 
Cons.;  lived  in  Paris  as  singing 
teacher. 

Dellinger  (del'-lIng-Sr),  Rudolf,  Gras- 
litz,  Bohemia,  July  8,  1857— Dres- 
den, Sept.  24,  1910;  1883,  conductor 
at  Hamburg;  1893,  Dresden  Ct. 
Opera;  c.  operettas,  incl.  succ. 
"CapitanFracasse"  (Hamburg,  1889), 
"Don  Cesar,99  etc. 

Dell*  Orefice  (del  6-r£-f5'-ch8),  Gm., 
Fara,  Abruzzio,  Chietino,  1848 — 
Naples,  1889;  cond.  and  dram,  com- 
poser. 


Delmas  (dSl-mas),  Jean  Fr.,  Lyons, 
France,  April  14,  1861—  Paris,  Sept. 
29,  1933;  bass;  pupil  Paris  Cons.; 
1886,  joined  the  Op6ra  where  he 
created  many  rdles  with  great  suc- 
cess. (2)  Marc,  St.  Quentin,  March 
28,  1885 — Paris,  Nov.  30,  193,1; 
composer  of  operas,  orch.  and  cham- 
ber music. 

Delmotte    (d51-m6t),    Henri    Floreat, 

Mons,  Belgium,  1799 — 1836;  writer. 

Delprat  (diil-pra'),  Chas.,  1803 — Pau, 

Pyrenees,  1888;  singing-teacher  and 

writer  there. 

Delsarte    (dul-s&rt),  Fran.  Ale*.   Ni- 
cholas Cheri,  Solesmes,  Nord,  1811 — 
Paris,  1871;  tenor;  teacher  of  a  well- 
known   physical   culture;    1855   inv. 
the  Guide-Accord,  or  Sonotype,  to 
facilitate  piano-tuning. 
De  Lu'ca,  Giuseppe,  b.  Rome,  Dec.  25* 
1876 — N.  Y.,  Aug.  26,  1950;  grad. 
St.    Cecilia  Acad.;  d6but,   Valentin, 
Piacenza,  1897;  sang  as  regular  mem. 
of  La  Scala,  Milan,  for  8  years,  prior 
to  engagement  for  Met.  Op.,  N.  Y., 
1915;  sang  with  latter  company  until 
1935,  in  great  variety  of  Italian  and 
French  barytone  r61es;  also  promi- 
nent in  concert;  commander,  Order 
of  the  Crown  of  Italy. 
Delune   (dti-lun),  Loufe,  b.   Charleroi, 
March  15,  1876 — Jan.  1940;  Belgiam 
cond.  and  pupil  at  Brussels  Cons., 
winning   prize,    1900,    and    Prix    de 
Rome,  1903;  c.  sonatas  and  songs. 
Del  Valle  de  Paz  (del  vSl'-l&  da  pats), 
Edgardo,  Alexandria,  Egypt,  Oct.  18, 
1861 — Florence,   April  5,   1920;  pf.- 
pupil  at  Naples  Cons.,  of  Cesi  (pf.), 
and  Serrao  (comp.);  at  16  toured  in 
Italy    and    Egypt,    1890,    prof,    ia 
Florence    Cons.;    pub.    pf. -method, 
etc.;  c.  orchestral  suites,  etc.;  dir.  of 
"La  Nuova  Musica,"  1896-1914. 
Demantius     (da-man  '-ts*-oos),     Chr., 
Reichenberg,    1567 — Freiburg,    Sax- 
ony,    1643;     prolific     composer     of 
church-music    and    songs;    wrote    a 
vocal  method. 

Demeur  (du-mur'),  (*)  Anne  Arsene 
(n6e  Charton),  Sanjon,  Charente, 
1827 — Paris,  1892;  soprano;  m, 
(2)  J.  A.  Demeur,  flutist  and  com- 
poser. 

Demol  (du-m6l),  (i)  Pierre,  Brussels, 
1825 — Alost,  Belgium,  1899;  dir.  and 


composer.  '(2)  Fran.'  Ml,  Brussels, 
1844 — Ostend,  1883;  nephew  of 
above;  cond.,  prof.,  and  dram,  com- 
poser. 


124 


DICTIONARY  OF  MUSICIANS 


Denmnck',  (i)  Francois,  Brussels.  1815 
—1854;  'cellist  and  prof.  (2)  Er- 
nest, Brussels,  Dec.  21,  1840 — Lon- 
doB,  Feb.  6,  19*5;  sou  and  pupil  of 
above;  pupil  of  Setrvais;  1870,  'cellist 
Weimar  Court  orch.;  1870  m.  Car- 
lotta  Patti;  1893,  prof.  K.  A.  M-, 
London. 

Denefve  (dti-nttf),  Jules>  Chiraay, 
1814— Mons,  1877;  'cellist  and  dram, 
composer* 

Dengrenxont  (dan-gru-mdn),  Maurice, 
b.  of  French  parents,  Rio  de  Janeiro, 
1866 — Buenos  Aires,  1893;  violinist; 
at  i  x  played  with  succ.  in  Europe. 
Denude  (d€n-na),  Cfaas,,  b.  Oswego, 
N.  Y.,  Sept.  i,  1863;  studied  with 
Emery,  Boston;  teacher  and  com- 
poser; d.  April  29,  *Q4#- 
Den'ner,  Jn.  Chp,,  Leipzig,  1655 — 
Nthrnberg,  1707;  maker  of  wind- 
insts.;  inv.  1690  or  1700  the  clarinet, 
perhaps  also  the  Stockfagott  and  the 
feackettenfagott. 

Dent,  Edward  Joseph,  b.  Ribston, 
England,  July,  28,  18765  educator 
and  writer  on  music;  pupil  of  Wood 
and  Stanford  at  Cambridge  Univ.. 
fellow  of  King's  Coll.;  an  ed.  of 
Encyclopedia  Britannica;  ed.  second 
edition  of  Grove's  Musical  Diction- 
ary; pres*  of  Internat'L  Soc.  for 
Contemp*  Music;  after  1926  |&*oL 
«f  musical  science,  Cambridge  XJoaiv.: 
author  of  life  of  A,  Scarlatti;  *M 
at  tk*  Optra  in  *68o"i  "Italian 
Cantatas,"  **Mo*a*?s 
>  "Foundations  of  English 
a»"  "Busoni,"  etc,;  has  also  tr. 
librettos  of  Mozart  operas  into 
English. 

Benza  (d£n'~tsa),  Luigi,  CasteUam- 
mare  di  Stabia,  Feb.  24*  *&4£— 
London,  Feb.  13,  xoaa;  pupil  of 
Naples  Cons.;  c.  opera  "WaSensttfn" 
(Naples,  1876),  many  pop.  songs 
(some  in  Neapolitan  dialect),  inch 
"Funiculi-FunKiila"!  after  1898, 
prof.  K.  A.  M.,  Loadon, 
Deppe  (dfcp'-pe1),  LudwJg,  Alverdissen* 
Lfppe,  1828— Pyrmont,  Sept.  5-6* 
18^0;  notable  pf.-teacher  and  con- 
ductor. 

Slepre*  (or  Despr6s)  (dQ-prd'  or  da- 
pra),  Joss6  (known  as  Joaquis), 
Cond^  (?)  int  Haiaault,  Burgundy, 
ca,  1450 — Cond6>  Aug,  27*  x$2^ 
[His  epitaph  reads  "Joss 6  I>eapr<*a"; 
otherspelhngsare  Despr^s,  P«($)pr«2, 
Depret,  De(s)pret(s),  Dupr^,  and  by 
the  Italians,  JDel  Prato,  Latinised  as 


a  Prato,  a  Pratis,  Pratems^  etc^ 
Josquia  appears  as  Josse*,  Jossien, 
Jusquin^  Giosquin,  Josquinus,  Jaco- 
bo,  Jodocus,  Jodoculus^  etc.]  One 
of  the  most  eooanent  of  musicians  and 
the  chief  contrapuntist  of  his  day; 
pupil  of  OJkeghem;  1471-84  a  singer 
in  the  Sistine  Chapel,  and  about 
1488  in  Ferrara;  he  was  already  now 
accepted  as  "princeps  musicorum," 
and  nad  international  vogue.  He  was 
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  Cond£  as  Provost 
of  the  Cathedral  Chapter,  Burney 
called  him  "the  father  of  modern 
harmony.**  The  florid  and  restless 
cpt.  of  his  church-works  and  the  sec- 
ular canius  jirmus  (v.  D.  B.)  that  was 
the  basis  of  most  of  them,  brought 
his  school  irxto  disfavour  and  disuse 
when  the  revolutionary  Palestrina  ap- 
peared. But  he  was  at  least  the  cul- 
mination 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  use  of 
movable  types  for  music,  his  works 
are  preserved  in  large  quantities  xa 
volumes  and  in  the  collections  of  Pe~ 
trucci  and  Peu  linger.  His  French 
chansons  were  pub.  by  T.  Su&ato, 
1545,  P.  Attaignant,  1549*  *&<!  Du 
Chamm,  i$53>  excerpts  IB  modem 
notation  are  in  the  **BMiettok  /tfr 
kS'  1844;  *n  Commer's 
"S*mmlun& 


Choroa'a  "Colltdio*,"  and  in  te 
histories  of  Ambroft,  Burney,  Haw- 
kins, etc. 

Do  R&sxk*  (d«i  r*sh*-k&),  d)  Jawo. 
Warsaw,  Jan,  14,  »#$o  —  Ntee»  April 
3»  i<)2i;  perhaps  the  chief  tenor  of 
his  generation,  great  in  opera  of  all 
schools;  pupil  of  Ciftffei,  Cotogni, 
etc.;  1874,  d£but  as  barytone  at 
Venice,  as  Alfonso  in  **£a  fawrita,"- 
under  the  name  "De  Reschi";  alter 
gingt&g  in  Italy  and  Paris  and  study- 
ing with  Sbriglia,  he  made  his  d£but 
as  tcaor  in  *<806«rt  I*  DiaMc" 
(Madrid,  1870);  x«84»  Th.  des 
Nations;  1885  at  the  Gr.  Op*ra, 
Pans,  creating  Massenet's  "£*  CiW"; 
from  1887  he  sang  constantly  In  Lon~ 
don,  and  xSpx-XQor  at  th*  Met. 


DICTIONARY  OF  MUSICIANS 


125 


Op.,  N.  Y.,  where  he  was  an  un- 
forgettable "Tristan,"  etc.;  retired 
from  stage  1902  and  taught  singing 
in  Paris.  (2)  Edouard,  Warsaw, 
Dec.  23,  1855 — near  Piotrkow,  May 
25,  1917;  bro.  of  above;  pupil  of  his 
brother,  of  Ciaffei,  Steller,  and 
Coletti;  d6but,  Paris,  April  22,  1876, 
as  the  J£ing  in  "AUa"  (Th.  des 
Italiens),  sang  there  two  seasons, 
then  at  Turin  and  Milan;  1880-84 
at  the  Italian  Opera,  London;  then 
in  Paris,  London,  America;  a  magni- 
ficent 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.  DEERING. 
De  Sabata  (da  sa-ba'-ta),  Victor,  b. 
Trieste,  1892;  composer,  conductor; 
studied  Milan  Cons,  (gold  medal) 
with  Orefice  and  Saladino;  has  led 
symph.  concerts  at  La  Scala,  Augusteo 
(Rome),  Turin,  Bologna,  Palermo, 
Trieste;  guest  cond.,  Cincinnati 
Symph.,  1927-28;  and  with  much 
succ.  at  Berlin  and  Vienna  both  as 
op.  and  symph.  cond.;  c.  (opera) 
"//  Macigno"  (La  Scala,  19*7); 
(orch.)  "Juventus,"  Andante  and 
Scherzo;  Orch.  Suite;  "La  Notte 
di  Platon,"  "Getsemane"  (N.  Y. 
Philh.  under  Toscaniui,  1926);  cham- 
ber music,  etc. 

De  Sanctis  (da  sank'-t5s),  Cesare,  b. 

Rome,  1830— ca.  1900;  1876,  prof,  of 

harm,    in    the    Liceo;    c.    overture, 

Requiem    Mass,    "100    fugues,'/    a 

cappeUa  in  strict  style;  pub.  treatises. 

D€sat^iers    (d£-s6-zha),    Marc    Ant., 

FrSjus,     1742 — Paris,     17935    prod. 

numerous  succ.  short  operas. 

Deshayes    (dttz-Sz),    Prosper    Didier, 

prod.,   1780,  oratorio  "Les  Macka- 

fees";  c.  operettas  and  ballets,  etc. 

Deslandres      (d5-l&n'-dru),      Adolphe 

Eduard  Marie,  Paris,  Jan.  22,  1840 — 

July   30,    1911;   pupil   Paris    Cons.; 

argankt  at  St.  Marie  at  BatignoUes, 

where   his   father   was   director;    c. 

operettas  and  church  music. 

Desmarets  (da-m&-ra),  H.,  Paris,  1:662 

— Luneville,  1741;  dram,  composer. 
Dessau     (dSs'-sow),    BoL,    Hamburg, 
March  i,  1861— Berlin,  1923;  P^PM 
of  Schradieck,  Joachim,  and  Wieni- 
awski;   leader  at   various    theatres; 


1898  Konzertmeister  at  the  court- 
opera,  Berlin,  and  teacher  Stern  Cons. 
Dessauer  (dSs'-sow-er),  Jos.,  Prague, 
May  28,  1798— Modling,  near  Vi- 
enna, July  8,  1876;  c.  5  operas  and 
many  pop.  songs. 

Dessoff  WSs'-sof),  (i)  Felix  Otto,  Leip- 
zig,   1835— Frankfort,    1892;    conrt- 
cond.  at^Carlsruhe.     (2)  Margarete, 
b.  Vienna,  June  11,  1874;  conductor; 
daughter  of    (i);   studied   at   Hoch 
Cons,  in  Frankfort;  founded  women  s 
chorus  which  made  d6but  at  Wies- 
baden Brahms  Fest.  in  1912;  later 
a  madrigal  chorus;  was  choral  cond. 
at  Hoch   Cons.,    1912-17;   of   Bach 
Soc.,   in   Frankfort,    1917-20;   after 
1020  res.  for  fifteen  years  in  N.   Y., 
where  she  led  the  Adesdi  Chorus  and 
A   Cappella  Singers  in  programmes 
inci.  rare  old  and  mod.  mus.;  gave 
Amer.  premiere  of  Vecchi's  "UAmfi- 
parnaso"',  d.  Locarno,  Nov.  27,  1944- 
Destinn    (da'-shtln),   Emmy,    Prague, 
Feb.    26,   1878 — Budweis,   Bohemia, 
Jan.  28,  1930;  soprano;  studied  with 
Loewe-Destinn;  her  real  name  was 
jQttl — she      chose      "Destinn"      in 
honour  of  her  teacher;  she  sang  at 
Bayreuth,     1891;     from     1908     she 
had  great  success  at  the  Met.  Op., 
N    Y.,  also  at  Covent  Garden  and 
Berlin  Royal  Op.;  she  created  the 
role  of  "Minnie"  in  Puccini's  "Fan- 
tiuila  del  West"',  during  the  war  she 
was  interned  in  her  estate  in  Bo- 
hemia   on    the    ground    of    enemy 
sympathies;  and  after  1918  toured 
again  in  the  U.  S.,  and  sang  for  one 
season  at  the  Met.  Op.;   her  voice 
was   of   rare  purity;   her   repertoire 
embraced  80  r61es;  also  a  poet  and 
writer.  A    -j. 

Destouches  (da-toosh),  (i)  Andre 
Cardinal,  Paris,  1672 — 1749;  dram, 
composer.  (2)  Franz  Seraph  von, 
Munich,  1772—1844;  dram,  com- 
poser. 

Desvignes  (da-vSn'-yii),  Fran.,  Trier, 
1805— Metz,  1853;  violinist;  founded 
conservatory  at  Metz;  dram,  com- 

D^swert  (da-var),  (i)  J.  Caspar -Isi- 
dore, Louvain,  18,30 — Schaerbecfc, 
near  Brussels,  1806;  'cellist;  prot. 
Brussels  Cons.  (2)  Jules,  Louvain. 
1843— Ostend,  i8t>jr,  brother  of 
above;  conductor  and  dram,  com- 

D^thier  (<la'-t5-a),  ,(i)  Gaston  Marie, 
b.  LiSge,  April  19*  *87<5; 


126 


DICTIONARY  OF  MUSICIANS 


and  teacher;  pupil  of  LiSge  Cons., 
grad.  at  17  with  gold  medals  in 
piano,  organ  and  ist  prize  for  fugue; 
early  active  as  concert  org.;  after 
1804  at  St.  Xavier's  Ch.,  N.  Y.; 
beginning'  1907  excl.  in  concert 
work  and  as  teacher  at  Inst.  of  Mus. 
Art.  (2)  Edouard,  b.  LiSge,  1885; 
violinist;  pupil  of  Li£ge  and  Brus- 
sels Cons,;  taught  at  latter;  d£but 
in  concert,  100^;  after  igo6  taught  at 
Inst.  of  Mus.  Art,  N.  Y.,  and  toured 
as  soloist;  with  his  bro.  Gaston 
gave  series  of  sonata  recitals  in  N.  Y- 

Dett,  Robert  Nathaniel,  b,  Drum- 
mondsville,  Quebec,  Oct.  xx,  1882; 
Negro  composer;  studied  at  Oberlin, 
Ohio  and  Columbia  Umvs.;  taught 
at  Lane  Coll.,  Lincoln  Inst.,  and 
after  1913  at  the  Hampton  (Va.) 
Inst.,  where  he  led  a  choral  group; 
won  Bowdoin  prize,  Harvard  Univ., 
for  essay  on  *fTke  Emancipation  of 
Negro  Music"*,  c.  choral  _  works, 
pf.  music  and  spiritual  settings;  d* 
Battle  Creek,  Mich.,  Oct.  a,  J943- 

Dett'xner,  Wxn^  Breinum,  near  Hildes- 
heim,  *8o8 — Frankfort,  1876:  oper- 
atic bass;  1842  engaged  for  leading 
r6les  Dresden;  retired  1874. 

Detitz  (doits).     Vide  MAGNUS. 

Devienne  (dtiv-y£n),  Firan.,  Joinville, 
Haute-Marne,  Jan.  31,  1759— (in- 
sane), Charenton,  Sept.  5,  180^; 
flutist  and  bassoonist;  important  in 
improving  wind  instr,;  prof.,  com- 
poser and  writer* 

Denies  (dtt~vr««')»  Herman,  b.  New 
York*  Dec*  25,  1858;  sang  Paris  Op, 
and  Op.-Comlque;  Met.  Op.,  Covent 
Garden,  etc.;  after  2900  m  Chicago 
as  teacher  and  critic  of  the  "  * 


aee*  near  Salzburg,  Sept.  6,  2782 
—  Vienna^  April  7,  1858:  pL-and 
guitar-teacher;  partner  of  Cappi,  the 
music-publisher;  c.  opera  and  pop* 
sonatinas,  etc. 

Diagfaiieff  (dWi'-gS-lySf),  Serge,  govt. 
of  Novgorod,  Russia,  March  19, 
3872  —  Venice,  Aug,  xo»  i§»o;  ballet 
director;  studied  law  in  St,  Peters- 
burg, also  music  theory  with  Cotognl, 
Sokoloff  and  Liadoff;  served  as 
critic  of  the  newspaper  "Le*  Ntnt- 
*e#«$";  in  1809  founded  periodical 
and  promoted  art  exhibitions;  after 
1907,  arranged  concerts  of  Russian 
music  in  Paris;  prod.  4'Bori»  Godo&* 
nojf"  at  the  Qp»  there  yith  ChaHapf,n 


and  chorus  of  Petersburg  imp.  Op- 
in  1908;  in  1909  the  first  season  of 
the  Russian  ballets  was  organized  by 
him  in  Paris,  incl.  Nijinsky,  Pavlowa, 
Karsayina,  Fokine,  etc.;  this  group 
established  world-wide  fame,  and 
toured  in  Europe  and  America  with 
brilliant  succ.  (N.  Y.,  1916);  D.  gave 
the  impetus  to  a  notable  renaissance 
of  ballet  art,  and  was  responsible 
for  the  development  of  many  com- 
posers who  later  became  famous, 
fndL  Stravinsky;  the  Diaghileff  Ballet 
Russe  commissioned  and  prod,  new 
scores  of  more  advanced  creators 
than  any  other  organisation  of  its 
period. 

Diaz  (de  la  Pefia)  (da'-ftth  d&~l£-p&n'- 
ya),  Eug&ne  firnile,  Paris,  Feb.  27, 
28^7 — Sept.  i  a,  x^oz;  son  of  the 
painter;  pupil  of  Paris  Cons.  (HaI6vy, 
Riber);  prod,  the  com.  opera  "Le 
Roi  Candattle"  (1865,  Th.  Lyrique); 
2867  won  the  prize  for  opera,  "La 
Coup*  du  Roi  d*  TkultF'  (Grand 
Op€ra);  1890  prod*  lyric  drama 
"Benvenuio"  (Op.-Com.);  pub.  many 


ican"i  d*  Chicago.  Aug.  23,  x$49*  *9«9> 

abelH  (d€-*-belMe),  Antonio*  Matt-         Presb; 


(i)  Chas^  Dibdin,  near 
Southampton,  1745 — London,  18x4 
composer,  singer,  accompanist,  actoi, 
manager  and  writer.  (2)  Henry  Ed- 
ward, Sadlers  WeUs.  1813—1866; 
harpist,  organist,  violinist  and  com- 
poser; youngest  son  of  above. 

Dlck'inson,  Clarence,  b.  Lafayette, 
Ind.,  May  7,  2873;  organist  and 
composer;  studied  with  Singer, 
Relmann,  Ouilmanty  Mo&zkowski, 
and  Vierne;  founded  Mus.  Art  Ass*n., 
Chicago;  res.  in  New  Vork  since 
.  where  he  is  organist  at  Brick 
« •^Jbytezian  Church,  teacher  of 
church  music  at  Gea'i,  Theological 
Seminary;  also  active  as  composer 
and  writer  on  music, 

Didur  (d*'>d5or)T  Adamo,  b.  Sanok. 
Gaikia.  Dec.  34,  1874:  biss;  studied 
with  Wyfiocki  in  Lemberg  and 
Emerich  in  Milan;  d£but,  Rio  de 
Janeiro,  1894;  sang  at  La  Scala, 
38^0-1003;  also  in  England,  Russia, 
Spain,  South  America,  and  for  a  num- 
ber of  years  at  the  Met.  Op.  House, 
N*  Y.;  d.  Katowice,  Jan.  15,  1946. 

Did'ymus,  b.  Alexandria,  Egypt,  63 
B.  €«;  wrote  4,000  works  in  all,  incL 
a  treatise  on  harmony.  Vide  TETJKA 
CHORDS  and  COI***A  (o«  D,)- 

(d'yA-mA),  Lotria,  JP&n*.  Feb. 


DICTIONARY  OF  MUSICIANS 


127 


14,  1843 — Dec.  21,  1919;  pianist; 
pupil  at  Cons,  of  Marmontel;  took 
ist  pf. -prize  at  13,  later  ist  harm., 
and  org.  and  ist  cpt.-prizes;  pupil 
&mbr.  Thomas  and  Bazin;  after 
1887  pf.-prof.  at  the  Cons,  (vice 
Marmontel);  besides  brilliant  con- 
certs of  modern  music,  he  presented 
programmes  of  old  keyboard  works 
played  on  ancient  instrs.;  c.  pf.- 
concerto,  chamber-music,  etc.,  ed. 
collections. 

Diener  (dg'-n&r),  JTz.,  Dessau,  1849 — 
1879;  tenor. 

Diepenbrock  (de'-p£n-brok),  A.  J.  M., 
Amsterdam,  Sept.  2,  1862 — April  5, 
1921;  teacher  and  comp.  of  church 
music. 

Dierich  (de'-rXkh),  Carl,  b.  Heinrichau, 
March  31,  1852;  tenor  in  concert, 
opera  and  oratorio;  studied  with 
Grab  en-Hoffman . 

Dies  (de'-es),  Albert  K.,  Hanover, 
1755 — Vienna,  1822;  writer. 

Diet  (dS-£),  Edmond  M.,  Paris,  Sept. 
25,  1854 — Oct.,  1924;  pupil  of  C6sar 
Franck,  and  Guiraud;  officier  of  the 
Academy;  prod.  3  comic  operas,  incl. 
"StratonicJ*  (1887),  many  ballets 
and  pantomimes,  etc. 

Diet(t)er  (ds'-ter),  Chr.  L.,  Ludwigs- 
burg,  1757 — Stuttgart,  1822;  dram, 
composer. 

Dietrich  (de'-trfkh)  for  Dieterich),  (i) 
SLctus,  Augsburg  (?)  1490  (95) — St. 
Gallen,  Switzerland,  1548;  composer. 
(2)  Albert  Hn.,  Golk,  near  Meissen, 
Aug.  28,  1829 — Berlin,  Nov.  20, 
1908;  composer;  pupil  of  J.  Otto, 
Moscheles,  Reitz  and  Schumann; 
1855-61,  concert-cond.,  1859,  princi- 
pal mus.-dir.  at  Bonn;  1861,  court- 
cond.  at  Oldenburg;  1894  Leipzig; 
c.  succ.  opera  "Robin  Hood9'  (Frank- 
fort, 1879);  «"•  symphony;  overture, 
"  Normannenfahrt";  cantates  with 
orch.,  'cello-  and  vln.-concertos,  etc. 

Dietsch  (detsh),  Pierre  L.  Ph.,  Dijon, 
1808 — 1865;  composer  and  conduc- 
tor. 

Dieupart  (d'ytf-p&r),  Chas.,  i8th  cent., 
violinist  and  harpsichordist. 

DiTliger,  Jn.,  Eisfeld,  1593 — Coburg, 
1647,  Cantor  and  composer. 

Dippel  (dip'-pSl),  Andreas,  Cassel, 
Nov.  30,  1866 — Hollywood,  CaL, 
May  12,  1932;  notable  tenor;  studied 
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  Co  vent  Garden;  associated 
with  Gatti-Casazza  in  management 
of  Met.  Op.  House,  N.  Y.,  1908;  then 
directed  opera  seasons  in  Chicago 
and  Philadelphia,  1910-13;  later 
organised  his  own  Wagnerian  op. 
company,  with  financial  fiasco; 
taught  singing  on  Pacific  Coast  in 
latter  years. 

Diruta  (de-roo'-ta),  (i)  Gin,  b.  Perugia, 
ca.  1560;  organist;  pub.  technical 
books  on  org.,  cpt.,  etc.  (2)  Ag.,  b. 
Perugia,  1622;  Augustine  monk; 
composer. 

DH'son,  (i)  Oliver,  1811 — 1888; 
founder  of  the  music-pub,  firm  O. 
Ditson  Co.,  at  Boston,  Mass.;  1867, 
his  eldest  son,  (2)  Chas.,  took  charge 
of  N.  Y.  branch  (C.  H.  Ditson  & 
Co.).  After  1875  (3)  J.  Edward 
Ditson  cond.  Philadelphia  branch 
(J.  E.  D.  &  Co.),  but  this  was  dis- 
continued in  1910.  A  branch  for  the 
importation  of  instrs.,  etc.,  was  est. 
at  Boston  in  1860  as  John  C.  Haynes 
&  Co.;  and  1864  a  Chicago  branch, 
Lyon  &  Healy.  In  1932  the  publish- 
ing activities  were  taken  over  by  the 
Theodore  Presser  Co. 

Ditters  (dXt'-tSrs)  (von  Dittersdori), 
Karl,  Vienna,  Nov.  2,  1739 — Neu- 
hof,  Bohemia,  Oct.  24,  1799;  note- 
worthy as  forerunner  of  Mozart,  and 
early  writer  of  programme-music  (v. 
D.  r>,);  pupil  of  Konig  and  Ziegler, 
of  Trani  (yln.),  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 
Gluck,  and  made  great  succ.  as 
violinist;  1764-69  conductor  to  the 
Bishop  of  Gross- Wardein,  Hungary, 
Prod,  his  first  opera,  "Amore  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  OB 
him  the  Order  of  the  Golden  Spur; 
1773  the  Emperor  ennobled  him  as 
"von  Dittersdorf."  Prod.  28  operas; 
"Doktor  und  Apotheker"  (Vienna, 
1786),  still  pop.;  several  oratorios 
and  cantatas,  12  symphonies  on 
Ovid's  "Metamorphoses"  (Vienna, 
1785)  (noteworthy  as  early  attempts 
at  programme-music) ;  41  other  sym- 
phonies; a  "Concerto  grosso"  for 
ii  concerted  instrs.  with  orch.;  12 


128 


DICTIONARY  OF  MUSICIANS 


vln.-concertos.  etc.  Autobiography 
(Leipzig,  iSoi).  Studies  by  Arnold, 
KLrebs,  Klob  and  Riedinger.  Krebs 
also  issued  a  thematic  catalogue, 
with  additions  later  by  Istel. 

Divitis  (d€'-vX~t6s),  Antonius  (rightly 
Antoine  Le  Riche),  French  contra- 
puntist and  singer,  i6th  century. 

Diad  (de-z6),  Fran.  J.,  Namur,  France, 
Jan.  14,  1780 — Paris,  Nov.,  1847; 
composer  and  harpist. 

Dlabacz  (dl&'-b&ch),  Gottf.  J.,  B6h- 
misch-Brod,  Bohemia,  1758 — 
Prague,  1820;  pub.  a  biog.  diet,,  etc. 

Oobrowen  (d6-brd-v£n'},  Issay,  b. 
Nishni-Novgorod,  Russia,  Feb.  27, 
1893;  conductor,  composer;  pupil  of 
Moscow  Cons.,  where  won  gold 
medal,  1911;  also  studied  piano  with 
Godowsky  in  Vienna;  prof,  at  Mos- 
cow Philharmonic,  19 17-2%,  and 
after  1919  cond.  at  the  Great  Theatre 
there;  beginning  1923  he  was  cond* 
and  scenic  director  at  the  Dresden 
Op.;  1924-25,  Berlin  Volksoper; 
1931-32,  Museum  Concerts,  Frank- 
fort: until  195*  he  was  the  regular 
cond.  of  the  Oslo  Philh.  Orch.,  and 
the  San  Francisco  Symph.  Orch, 
at93*~<53J  c.  chamber  and  orch.  music 
and  piano  wks.;  d.  Oslo,  Dec.  9, 1953. 

Dobrzynski  (do-brfi-ts«n'-shkX),  Jgnacy 
FSIix,  Romanoff,  Volhynia,  Feb* 
a<,  1807 — Get,  9,  1867;  pupil  of 
Eisner,  pianist  and  dram,  composer. 

Doebber  (dSp'-bSr),  J*,,  Berlin,  March 
a8,  1866 — Jan.  26,  1921;  pupil  of 
Radecke,  Bussler  and  Agghazy, 
Stem  Cons.;  taught  the  ist  pi. -class 
in  Kullak*s  Cons.;  then  conductor 
at  KrolTs  Th.;  at  Darmstadt  ct.~Th.; 
189*,  cond.  at  the  ct.-Th.  in  Coburg- 
Gptha,  and  tutor  to  Princess  Bea- 
trice; later  in  Hanover,  and  after 
1908  in  Berlin  as  critic  and  voice 
teacher;  c,  succ.  operas,  "Die 
$tra$$4ns#ng*ri**'  (Got  ha,  1800): 
"Dtr  Sckmied  van  Gretn&^Green* 
(Berlin,  1893);  burlesque-opera 
"Dolcetta"  (Brandenburg,  1894); 
"Die  Rose  von  Gcnzant™  (Gothi, 
1895);  "D*«  Grillt"  (Leipzig,  3:897), 
a  symphony,  son^s,  etc. 
D«hler  (dft'-Itfr),  Th*,  Naples,  18x4— 
Florence,  1856;  pianist  and  dram, 
composer, 

Dohnanyl  (deSkh-n^n'-yC),  Ernst  von,  b. 
Pressburg,  Hungary,  July  27,  1877; 
notable  pianist  and  composer;  first 
lessons  from  his  father,  an  amateur 
^cellist;  later  studied  with  Foerster, 


Koessler,      Thonian,     and      Eugeix 
D'Albert;     d^but,     Vienna;     1898, 
won  prize  there  with  his  pf  .-concerto. 
1900  and   1901    toured  in   America 
with  great  succ.;  after  1907  taught 
at     Berlin     Hochsch,;      2919,     air. 
Budapest  Acad.  of  jMus.;  he  cond. 
State  Symph.  in  New  York  1925-6 
season;  c.  operas  "Ta*te  Stmona" 
"Tte      Tenor"      "The      VoycvodSs 
Tower"  $  also  pantomimes;    2  sym- 
phonies,   2    pf.-concertos,    4    rhap- 
sodies, string  sextet,  piano  quintet, 
2  string  quartets,  3  *ceUo  sonatas, 
2  piano  sonatas,  songs,  etc. 
Doles    (dd'-les),    J.    &.,    Steinbach, 
Saxe-Meiningen,          171 5 — Leipzig* 
2797;  director  and  composer* 
Dol'raetsch,    Arnold,    b.    Le    Mans, 
France,  Feb.  24, 1858 — London^  Feb. 
29,  1940;  of  mixed  French  and  Swiss 
parentage;  studied  with  Vieux temps 
in  Brussels  and  at  R.  Coil,  of  Mus., 
London;  taught  at  Dulwich  ColL,  in 
Utter  city;  began  collecting  and  play- 
ing ancient  instruments;  was  active 
in   Chickering*s   workshop,    Boston, 
2903-09;  and    in    that    of    Gaveau. 
Paris,  19x0-24;  ia  latter  year  settled 
at  Haslemere,  Surrey,  where  he  in 
x$35  began  a  series  of  notable  An- 
nual chamber  music  feats..  In  which 
he  has  restored  rare  old  music  and 
dances,  his  entire  family  participat- 
ing in   programmes:  also   has  con- 
structed   his   own    instruments   for 
these  events. 

Domaxxievski  (dd-mtn-yif'-thkl), 

Bolealaua,  b*  Gronowek,  Poland, 
xB$7— •  1925;  Polish  piano  teacher; 
pupil  of  JOB.  Wieniawski  and  Rubin- 
stein; 1890-2000,  prof.  Kt  Cracow 
Cons.,  xooa,  director  Warsaw  Music 
School;  author  of  piano  methods; 
from  xoo6,  dir.  of  Warsaw  Musik- 
ga^llachafL 

Dominiceti  (d6-m«-n«^h&^t*)t  Cesare, 
Desenzano,  Lago  dl  Garda,   i^ai — 
Sesto  di  Monra,  1888;  prof,  of  comp. 
at  Milan  Cons.,  and  dram,  composer. 
' 


Bom'mexy  Aixey  TOO,  DanxiK,  Feb.  9. 
*8a8— Treysa,  Feb*  18,  1005;  pupil 
of  Rlchter  and  Lobe  (comp.),  and 
Schallenburg  (org.);  1863  Hamburg 
as  a  lecturer,  critic,  and  (1873-70; 
sec.  to  the  Town  Library;  x»o*»  Dr. 
phiL  hon,  causa  (Marburg  Univ.); 
writer  and  composer. 

Jamaica  <ddm'-nlkh)t  Heinrich,  Want- 
burg,  May  13,  1767 — Paris,  June  19, 
2844;  born  virtuoso;  first  teacher 


DICTIONARY  OF  MUSICIANS 


129 


of  the  horn  at  Paris   Cons.,   1795; 
author  of  methods. 

DonaTda,  Pauline  (rightly  Lightstone), 
b.  Montreal,  March  5, 1884;  soprano; 
studied  at  Victoria  Cons.,  and  with 
Duvernoy  at  Paris  Cons.;  d6but  as 
Manon,  Nice,  1904;  sang  at  La 
Monnaie,  Brussels,  Covent  Garden, 
Manhattan  Op.  House,  N.  Y. 
(1905);  at  Paris  Op.,  1907,  etc. 
Donati  (do-neL'-te),  (i)  Ignazio,  Casal- 
maggiore,  near  Cremona,  i6th  cent., 
composer  and  conductor.  (2)  Bal- 
dassaro,  d.  Venice,  1603;  cond.  and 
composer. 

Donaudy  (d5-n£'-oo-d5),  Stefano, 
Palermo,  Feb.  21,  1879 — Naples, 
May  30,  1925;  c.  operas  "Folchetto" 
(Palermo,  1892):  "Theodor  Kih-ner" 
(Hamburg,  1902^,  and  "Sperduti  nel 
Buio"  (Palermo,  1907),  songs,  etc. 
Done  (d5n),  Win.,  Worcester,  1815 — 
1895;  Engl.  organist  and  conductor. 
Doni  (d5'-ne),  (i)  A.  Fran.,  Florence, 
15^9 — Monselice,  near  Padua,  1574; 
pub.  a  "Dialogue  on  Music"  (2) 
Giov.  Bat.,  1594 — 1647;  Florentine 
nobleman  of  great  learning  and  re- 
search in  ancient  music;  inv.  the 
Lyra  Barberina  or  Amphichord. 
Donizetti  (dS-ne-tsSt'-tS),  (i)  Gaetano, 
Bergamo,  Nov.  25,  1797 — April  8, 
1848;  son  of  a  weaver;  pupil  of  Sa- 
iari  (voice),  Gonzales  (pf.  and  ac- 
compO,  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); 
"II  Falegname  di  Livonia"  (Venice, 
1820),  first  given  as  "Pietro  il 
Grande"  also  succeeded:  "Le  Nozze 
in  Villa"  (Mantua,  1820)  failed; 
"Zoraide  di  Granata"  (1822)  suc- 
ceeded and  he  left  the  army;  1823  he 
m.  Virginie  Vasselli  (d.  1837);  1822- 
29  he  c.  23  operas,  none  of  them  of 
great  originality  or  importance. 
With  "Anna  Bolena"  (Milan,  1830), 
he  began  a  better  period,  incl.  the 
great  successes  "L'Elisir  d' A  more" 
(Milan,  1832),  "Lucrezia  Borgia" 
(La  Scala,  Milan,  1833),  "Lucia  di 
Lammermoor"  (Naples,  1835).  1835 
at  Paris  he  prod.  "Marino  Faliero." 
1837  dir.  Naples  Cons.  The  censor 
forbade  his  "Poliuto"  (it  was  prod, 
at  Naples  after  his  death,  1848),  and 
in  wrath  he  left  for  Paris,  where  he 
prod,  with  much  succ.  "La  Fille  du 


Regiment"  (Op.-Com.,  1840),  "Les 
Martyrs"  (a  new  version  of  "Poliuto") 
(Op6ra,  1840?)  and  "La  Fawrita" 
(Op&ra,  1840).  Returned  to  Italy, 
and  succ.  prod.  "Adelasia"  (Rome, 
1841),  and  "Maria  Padilla"  (Milan, 
1841).  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 
Maria  in  strict  styie.  "Don  Pas- 
quale"  was  prod,  in  Paris,  1843. 
Violent  headaches  and  mental  depres- 
sion now  assailed  him,  but  he  con- 
tinued to  write  and  prod.  "Caterino 
Cornaro"  (Naples,  1844),  his  last 
work;  he  was  found  stricken  with 
paralysis,  never  recover ed*  and  died 
in  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  (rightly  Citunmei),  b. 
Smyrna,  Sept.  2,  1867 — Rosario  de 
Santa  Fe,  Argentina;  Feb.  4,  1921; 
pupil  of  Ponchielli  and  Dominiceti, 
Milan  Cons.,  graduating  with  a  note- 
worthy "Stabat  Mater"  with  orch.; 
lived  at  Milan  as  cond.  and  teacher 
of  cpt.;  c.  i-act  operas  "  Nana" 
(Milan,  1889),  and  "Dopo  VAve 
Maria"  (Milan,  1897),  "La  Loean- 
diera"  etc. 

Dont  (d6nt),  (i)  Jos.  VaL,  Georgenthal, 
Bohemia,  1 776 — Vienna,  1 833 ; 'cellist. 

(2)  Jakob,  Vienna,  1815 — 1888;  son 
of  above;  violinist  and  composer, 

Donzelli  (d6n-j£l'-le),  Dom.,  Bergamo, 
1790 — Bologna,  1873;  tenor. 

Door  (d5r),  Anton,  Vienna,  June 
20,  1833 — Nov.  7,  1919;  puijil  of 
Czerny  and  Sechter;  court  pianist 
at  Stockholm;  1859  teacher  at  the 
Imp.  Inst*,  Moscow;  1864  prof,  at 
the  Cons.;  1869  ist  prof.  Vienna 
Cons.,  resigned  1901;  edited  classical 
and  pedagogic  works. 

Dopp'ler,  (i)  Albert  Fr»,  Lemberg, 
1821 — Baden,  near  Vienna,  1883; 
flutist,  conductor,  professor,  and 
dram,  composer.  (2)  Karl,  Lem- 
berg, 1825 — Stuttgart,  March  10, 
1900;  bro.  of  above;  flutist,  and 
conductor;  c.  operas,  inch  "Erzebeth" 
in  collab.  with  his  bro.  and  Erkel. 

(3)  Arpad,    Pesth,   June   5,    1857 — 
Stuttgart,   Aug.    13,    1927;   son  and 
pupil  of  (2);  pupil  of  Stuttgart  Cons., 
later  pf  .-teacher;  1880-83  New  York; 


130 


DICTIONARY  OF  MUSICIANS 


returned  to  Stuttgart  Cons.,   1889. 

Dorati  (d6-ra'-t€),  Antal,  b.  Budapest; 
stu  died  Mus.Acad.  there;  cond.  Ballet 
Russe  on  tours;  Dallas  Symph.,  1945- 
9;mus.dir.MinneapolisSymph.,i94Q. 

Doret  (do-ra),  Gustave,  b.  Aigle, 
Switzerland,  Sept.  20,  1866;  studied 
violin  with  Joachim  and  Marsick, 
and  composition  at  Paris  Cons.; 
lived  at  Paris  as  cond.;  c.  operas 
"Le$  Armailles"  (Op.  Com.,  1906), 
"  Le  nain  de  ttassli"  (Geneva,  1908), 
etc.;  d.  Lausanne,  April  XQ,  1044. 

DSrtfel  (dSrf'-fSl),  Alfred,  Waldcnburg, 
Saxony,  Jan.  24,  1821  —  Leipzig, 
Jan.  22,  1905;  pupil  at  Leipzig  of 
Fink,  Muller,  Mendelssohn,  etc.; 
mus.-libr.  Leipzig  City  Library; 
critic  and  editor;  1885  Dr.  phiL  h.  c. 

Do'ria,  Clara,  v.  i*&s.  c.  K.  ROGERS. 

DCring  (da'-r*ng),  (i)  G»,  Pomeren- 
dorf,  near  Elbing,  1801  —  1869;  can- 
tor; pub.  choral  books  and  historical 
essays,  (a)  Karl,  Dresden,  July 
4,  1834  —  March  26,  1916;  pupil 
Leipzig  Cons.;  1858,  Dresden  Cons.; 


*  prof,;  c.  suites  for  string-orch., 
Grano  Mass..  etc. 

Dora,  (x)  H*  (L.  Edm-X  KSnigsberg, 
Nov.  14,  1804  —  Berlin,  Jan.  10,  1892; 
pupil  of  Berger,  Zelter,  and  Klein, 
Berlin;  ct.-cond.  at  Kdnigsberg; 
cond.  Cologne;  founded  the  "Khein- 
ische  Musikschule,"  which,  1850, 
became  the  Cologne  Cons.;  cond. 
Royal  Opera,  Berlin;  teacher  and 
critic:  notable  composer  of  *  3  operas, 
symphonies,  etc*  (a)  Julius  Paul, 
Riga,  June  8,  1833  —  Berlin,  Nov. 
37,  1001;  son  and  pupil  of  above; 
pianist;  teacher  in  Poland,  Cairo, 
and  Alexandria;  1865-68  cond.  the 
Crefeld  "Liedertafel";  then  pf.- 
teacher  at  the  R.  Hochschule,  Berlin, 
with  title  "Royal  Prof.";  c.  over 
400  works,  incl.  3  masses  with  orciu 
te)  Otto,  Cologne,  Sept.  7,  1848  — 
Wiesbaden.  Nov.  8?  103*;  son  and 
pupil  of  (x);  studied  at  Stern  Cons., 
took  the  Meyerbeer  scholarship 
(xst  prize),  2:873;  lived  in  Wies- 
baden; c.  succ.  opera  "A/raja" 
(Gotha,  1891);  symphonv,  "Promt- 
ikeus"i  overtures,  "Hermanns- 
tchlackt,"  and  "Sappho,"  etc.  (4) 
Edward,  Pen-name  of  J*  L.  Rtickel. 

Dorus-Gras  (d&-rti-gr£s),  Julia  Aim£e 
Jos^phe  (rightly  Van  Steenkiste) 
(Dorus,  stage-narae);  Valenciennes, 
1805—-  jParis,  1896;  otieratic  soprano; 
created  important  roiea. 


Doss  <d6s),  Adolf  von,  Pfairkirchen, 
Lower  Bavaria»  1825  —  Rome,  1886; 
Jesuit  priest  and  dram,  composer. 

Dotzauer  (d6t'~tsow-£r)t  (i)  Justus  J. 
Fr,,  Hasselrieth,  near  Hildburghau- 
sen,  1783  —  Dresden,  1860;  'cellist, 
and  dram,  composer.  (2)  Justus  B. 
Fi-.,  Leipzig,  1808  —  Hamburg,  1874; 
son  of  above;  teacher.  (3)  1C  L. 
("Louis"),  Dresden,  Dec.  7,  1811  — 
1897;  son  and  pupil  of  (x);  'cellist. 

Dourlen  (door-Ian),  Victor  Chas.  Paul, 
Dunkirk,  1780  —  Batignolies,  near 
Paris,  1864;  prof,  and  dram,  com- 
poser. 

Dow  'land,  (x)  John,  Westminster, 
London,  1562^  —  London,  April,  1626; 
famed  for  polyphonic  vocal  music; 
lutenist  and  composer  to  Christian 
IV.  of  Denmark.  (2)  Robert,  1641; 
son  of  above;  lutenist  and  editor. 

Downey  Olio,  b.  Evanston,  III.,  Jan. 
27,  1886;  music  critic,  pianist; 
studied  piano  with  Carl  Baermann. 
harmony  with  Homer  Morris  and 
Clifford  Heilman,  mus.  hist,  and 
analysis  with  Dr.  Louis  Kelterborn 
and  John  P.  Marshall;  mus.  critic, 
Boston  "  Pa$t£  1906-24;  music  critic, 
New  York  "Times,"  after  1924;  has 
appeared  widely  as  a  lecturer  on 
music  and  has  written  works  on 
symphonic  analysis;  also  bas  partici- 
pated as  pianist  in  chamber  music 
programmes. 

DraeaeJte  (drft'-zft-ke),  Felte  Aug. 
Bfcd.,  Coburg,  Oct.  7f  1835—  Dres- 
den,  Feb.  26,  2013;  important  com- 
poser; pupil  of  RJetx,  Leipzig  Cons,* 
and  of  Liszt  at  Weimar;  1864-74 
Lausanne  Cons.,  except  1868-60, 
in  the  R.  M.  S.  at  Munich;  1875 
Geneva*  then  Dresden  **  teacher; 
1884  prof,  of  comp,  at  the  Cons,; 
c.  4  operas;  "SitttraS*  "Gvdrun* 
(Hanover,  1884),  "Bertram  de  Born'9 
(book  and  music),  and  the  succ. 
*4#rmrf"  (Dresden,  i  Boa):  3  sym- 
phonies (op.  40  "Tragic*,**  in  C), 
Grand  Mass  with  orch,;  "Ahadt- 
miscfc  FfstouixrtUrc"',  symphonic 


preludes  to  Calderon's  "Li/9  a 
Dream,"  Kleist's  "Ptntketilta"  (both 
MS.),  etc;  wrote  treatises  and  a 
41  Harmony"  in  verse. 

J>x*«h!  <drr-g*>,  (i)  Aatoaio*  Rimini, 
2635  —  Vienna,  1700;  c,  $j  operas, 
87  festival  plays,  etc,  (a)  Gio.  Bat., 
1667  —  3:706,  harpsichordist,  organist 
and  composer,  London, 

Dragonet'd,  £>om^    Venice,   April    i, 


DICTIONARY  OF  MUSICIANS 


131 


1763 — London,  April  16,  1846;  called 
"the  Paganini  of  the  contra-basso"; 
composed,  played  and  taught. 

Drago'ni,  Giovanni  Andrea,  Mendola, 
ca.  1540 — Rome,  1598;  composer; 
pupil  of  Palestrina;  cond.  at  the 
Lateran. 

Draud  (drowt)  (Drau'dius),  Georg, 
Da  vernheim,  Hesse,  1573 — Butzbach, 
ca.  1636;  pub.  "Bibliotheca  Classica" 
and  other  musical  works  of  great 
informational  value. 

Drdla,  Franz,  Saar,  Moravia,  Nov.  28, 
1868;  violinist  and  composer;  pupil 
of  Prague  and  Vienna  Cons.;  c.  over 
200  smaller  instrumental  works, 
among  which  his  "Souvenir"  had 
world- wide  popularity;  also  two  stage 
works;  1923-25,  lived  in  New  York. 

Drechsler  (drSkhs'-lSr),  (i)  Jos.,  Wall- 
isch-Birken  (Vlachovo  Brezi),  Bo- 
hemia, 1782 — Vienna,  1852;  organist, 
conductor  and  dram,  composer. 
(2)  Karl,  Kamenz,  1800 — Dresden, 
1873;  'cellist  teacher. 

Dregert  (dra'-gSrt),  Alfred,  Frankfort- 
on-Oder,  1836 — Elberfeld,  1893; 
conductor,  dir.  and  composer. 

Drese  (dra'-zS),  Adam,  Thiiringen, 
Dec.,  1620 — Arnstadt,  Feb.  15,  1701; 
director  and  comp. 

Dresel  (drS/-zel),  Otto,  Andernach, 
1826 — Beverly,  Mass.,  1890;  com- 
poser. 

Dreszer  (dr€sh'-er),  Anastasius  W., 
Kalisch,  Poland,  April  28,  1845 — 
Halle,  June  2,  1907;  a  brilliant 
pianist  at  12;  studied  with  During, 
Krebs,  and  Frtih,  Dresden  Cons.; 
lived  in  Leipzig;  1868,  Halle;  founded 
a  music-school  of  which  he  was  dir.; 
c.  2  symphonies,  opera  "ValmodaJ* 
etc. 

Dreyschock  (dri'-sh6k),  (i)  Alex., 
Zack,  Bohemia,  Oct.  15,  1818 — 
Venice,  April  i,  1869;  onc  °f  the 
most  dextrous  of  pf.- virtuosi;  c.  an 
opera,  etc.  (2)  Raimund,  Zack, 
1824 — Leipzig,  1869,  br.  of  above; 
leader.  His  wife  (3)  Elisabeth  (nee 
Nose),  Cologne,  1832,  a  contralto. 
(4)  Felix,  Leipzig,  Dec,  27,  1860 — 
Berlin,  Aug.  i,  1906;  son  of  (i); 
pianist;  student  under  Grabau,  Ehr- 
Hch,  Taubert,  and  Kiel  at  the  Berlin 
Royal  Hochschule;  prof.  Stern  Cons., 
Berlin;  c.  a  vm.-sonata  (op.  16),  etc. 

Drieberg  (drS'-bfcrkh),  Fr.  J.  von, 
Charlottenburg,  1780—1856;  writer 
on  Greek  music;  dram,  composer. 


00;         pt 

£hr-  (i 


Drigo  (dre'-g5),  Riccardo,  Padua, 
1846 — -Oct.  i,  1930;  composer;  active 
as  conductor  a.t  St.  Petersburg  Imp^ 
Op.  and  piano  teacher  there  for 
many  years;  after  1919  again  lived 
in  Padua;  c.  operas,  and  ballets; 
among  the  latter  "II  Flauto  Magico"* 
and  "Les  Millions  dJArlequin"  have 
had  wide  popularity;  also  salon 
works  for  piano. 

Drobisch  (dro'-blsh),  (i)  Moritz  W., 
Leipzig,  Aug.  16,  1802 — Sept.  30, 
1896;  from  1842  prof,  of  phil.,  Leip- 
zig Univ.;  pub.  important  treatises 
on  the  mathematical  determination 
of  relative  pitches.  (2)  Karl  L., 
Leipzig,  1803 — Augsburg,  1854;  bro. 
of  above;  c.  3  oratorios. 

Drouet  (droo-a),  L.  Franc.  Ph.,  Am- 
sterdam, 1792 — Bern,  Sept.  30,  1873; 
flutist  and  composer. 

Duben'sky,  Arcady,  b.  Russia,  1890; 
composer,  violinist;  pupil  of  Moscow 
Cons.;  played  vln.  in  Phila.  Orch.; 
guest  cond.  of  his  works  in  America; 
c.  (opera)  "Romance  with  Double 
Bass39  (Moscow  Imp.  Op.,  1916); 
"The  Raven,"  a  melo-declamation 
to  text  by  Poe;  prch.  works,  incl. 
symphony,  "Russian  Bells"  (N.  Y. 
Symph.,  1927);  Fugue  for  18  violins, 
etc. 

Dubois  (dii-bwa)  (i)  (Clement  Fran.) 
Th.,  Rosnay,  Marne,  Aug.  24,  1837 — 
Paris,  June  n,  1924;  studied  at 
Rheims,  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;  organist  at  the 
Madeleine;  1871  prof,  of  harm,  at 
the  Cons.;  1891  prof,  of  comp.;  1894, 
elected  to  Acad.;  1896,  dir.  of  the 
Cons.,  and  officier  of  the  Legion  of 
Honour;  c.  operas;  oratorios:  "Les 
Septs  Paroles  du  Christ"  (1867),  "Le 
Paradis  Perdu"  (1878)  (city  of  Paris 
rize),  and  "  Ndtre  Dame  de  la  Mer" 
1897);  cantatas;  masses,  etc.;  3 
overtures,  incl.  "Frithiof."  (2) 
L6on,  Brussels,  Jan.  9,  1859 — 1935* 
pupil  of  Cons.,  took  Grand  prix  de 
Rome;  1890  second  cond.,  Th.  de 
la  Monnaie,  Brussels,  1912-25,  dir. 
of  Brussels  Cons,  (vice  Tinel);  c. 


132 


DICTIONARY  OF  MUSICIANS 


operas,    ballet, 
«  A  t*r~  "  etc< 


symphonic    poem, 


Matthew,    London,    1703  — 
1767;  violinist  and  conductor. 

Ducaoge*    Vide  CANGE,  DU. 

Ducasse  (dil-kis),  Roger,  b*  Bordeaux, 
April  1  8,  1873;  pupil  Paris  Cons., 
with  Gabriel  Faure4,  winning  Prix 
de  Rome,  1902;  from  1009  inspector 
in  elementary  schools;  c.  suite 
frans&tee  for  orch*  (Colonne  con- 
certs, 1909,  twice.  Boston  Synjph., 
1:910);  "Variations  flaisanUs  sur  un 
thlme  grave"  for  harp  and  orch. 
(Colonne  concerts,  1909),  "Sara- 
bande";  d.  Bordeaux,  July  20,  1954. 

Duels  (dti-sS),  Benoft  (Benedictus 
Ducis),  b.  Bruges,  1480;  important 
composer;  not  to  be  confused  with 
Benedictus  of  Appenzell. 

Dufay  (dti-fe1),  GuilL,  ca.  1400  —  Cam- 
brai,  Nov.  27,  1474;  *  canon;  said 
to  have  inv,  white  (open)  notes* 

Dufrarme  (dii-frSn7),  Hector,  b.  Bel- 
gium; tenor;  sang  at  Brussels  Op.» 
1896;  then  in  London  and  after 
1899  at  Paris  Op.-Comique;  1908, 
Manhattan  Op.  House,  N.  Y.;  1910* 
13  with  Chicago  Op*;  sang  m  the 
premieres  of  "Griselidis*'  "Monna 
Vanna"  and  "P&tes  ft  M&sandt." 

Dugazon  (dti-g&-z6n),  Louise-Rosalie 
(n6e  Leffcvre),  Berlin,  1953  —  Paris, 
tSai;  untrained  singer  in  light  opera, 
so  charming  in  both  young  and  old 
rdles  as  to  give  rise  to  the  descriptive 
terms  "Teun«s  Dugazon,"  and 
"MSres  Dugazon," 

Ottg'gan,  Jos.  Brands,  Dublin,  July  10, 
18x7  —  London,  xooo(?);  opera  -con- 
due  tor  and  teacher  in  various  cities 
in  America,  also  Paris  and  London;  c. 
«ucc.  operas,  "Pirn**,"  and  "£&>»«%" 
and  3  not  produced;  2  symphonies, 
etc. 

Duiffopruggar  (rightly  Tieffenbriicker) 


&),  (i)  6aspar,  Freising,  Bavaria* 
1514  —  Lyons,  1571;  long  considered 
the  first  via.  -maker;  went  to  Lyons 
in  1553,  naturalised  in  1559,  and 
made  violas  da  gamba  and  lutes., 
Other  instr.-maJcers  of  the  same  sur- 
name were  (a)  Wendelixu  (3)  Leon* 
hard,  (4)  Leopold,  (5)  Uldeh,  and 
(6)  Magnus*  The  latest  made  lutes 
at  Venice,  1607. 

(dU-k&&)»  Paul,  Paris,  Oct.  i, 
1865—  May  17,  1935;  one  of  th«  most 
original  of  French  composers;  pupil 


at  the  Cons*  of  Dubols>  Matfalas  and 
Gulraud;  won  prize  in  counterpoint, 
1888,  second  Prix  de  Rome  with 
cantata  "Fe&ofo";  spent  a  year  is 
Rome*  then  a  year  of  military 
service;  his  overture  **  PdLyeucti?* 
was  played  by  Lamoureux  in  2892; 
his  symphony,  2896,  and  elsewhere; 
1897  **L'Apprcnii-S0rc*er"i  *9oo, 
piano  sonata;  1906,  ViUanfUi  for 
Lorn  and  piano;  2007,  his  opera 
"Ariane  ct  Barb*  Bknte"  made  & 
great  stir  and  was  played  in  Vienna, 
$908,  Met.  Op.,  N.  Y.»  1911,  etc*; 
had  edited  texts  of  &ameau>  arjd  q. 
for  piano  "yari&tfons,  Interlude  & 
Final,"  on  a  theme  of  Rameau's 
1902;  Prelude  iU&vqu*  on  the  name 
of  Haydn,  1909;  also  a  ballet  "La 
P4ri"  dance-poem  in  one  act  (Paris 
1911),,  etc.;  after  2909  he  was  prof. 
at  the  Paris  Cons.  Studies  by 
S£r£  and  SamaxeuIIh. 

I>ukelsky  (d£6-k*l'~*k€),  Vladimir,  b. 
Parifianova  near  PoloUk,  Russia, 
Sept,  «7»  3903;  composer;  studied  in 
Moscow  and  Kiev;  came  into  promi- 
nence through  prod*  of  his  ballet, 
"Zephyr  ct  Flort"  by  Diaghikff  at 
Monte  Carlo,  1925;  he  has  c.  a  larxr 
amount  of  chamber  music,  orcb 
works,  etc.;  also  popular  stage  re 
vues  and  ballads  under  the  pseudo- 
nym of  **V«moa  Btike**;  res.  in 
America*  where  he  has  appeared  as 
pianist  in  concerts  of  his  works. 

I>ulckOT  (dool'-k*n),  (?)  Ixnija*  (nee 
J>avid),  Hamburg,  1811—  Londo^ 
1850,  a  sister  of  Fd.  David;  pianist 
(a)  Fd*  Qucntin,  Ix>ndon,  June  rt 
^^37^  —  Astoria,  N,  V»,  xgoa;  son  *** 
above;  pupil  of  Mendelssohn,  Mo- 
scheles,  Cade,  HauptmanD,  Becker 
and  F.  Hiller;  prof.  Warsaw 
Coos*;  toured  in  Europe;  lived  for 
years  in  New  York;  c.  *tt  opera, 
"Wfafe»";  a  mass,  etc. 

Dulichius  (d6-l!kh'-l-oos)  also  (BettHck 
or  Deilich)  Philip,  Chemnitx  (chris- 
tened Dec.  19),  1562  —  March  as, 
1631;  teacher  and  romp. 

Diiion  (doo'-iOn),  FT*  L^  Oraaienburg, 
near  Potsdam,  1769—  Wfinburg, 
xBa6;  a  blind  flutist  and  composer. 

Xhnnoot  <dti«m6ft),  Henri,  Villers^ 
near  Li£ge»  1610  —  Paris,,  May  &* 


1684;  organist  and  comp. 
n,  WiiHaxn  Edmondst 


Dune  'an, 

Cheshire, 


ne,  Sale, 
26,     1920; 


1866  —  June 

organist:  at  x6  an  associate  of  tit* 
Royal  College  of  Organists:   1883, 


DICTIONARY  OF  MUSICIANS 


133 


obtained  scholarship  at  R.  C.  M,, 
pupil  of  Parry,  Stanford  and  Mac- 
farren;  critic  for  some  years,  then 
prof,  at  Oldham  College;  c.  successful 
odes  with  orch.,  notably  "  Ye  Mar- 
iners of  England"  (1890),  etc. 

Dun/ham,  Henry  Morton,  Brockton, 
Mass.,  July  27,  1853 — 1929;  grad. 
New  England  Cons,,  as  pupil  of 
G.  E.  Whiting  (organ),  J.  5.  D. 
Parker  (piano),  Emery  and  Paine 
(theory);  held  various  church  posi- 
tions till  1911,  and  gave  organ 
recitals  on  the  Great  Organ  at 
Boston,  at  St.  Louis  Exposition;  long 
prof,  of  organ  at  N.  E.  Cons.;  author 
of  an  organ  method;  c.  symph., 
poem  "Easter  Morning"  a  book  of 
organ  studies,  Meditation  for  organ, 
harp  and  violin;  3  organ  sonatas, 
etc. 

Dun  lull,  Thomas  Frederick,  b.  Hamp- 
stead,  London,  Feb.  i,  1877;  com- 
poser; studied  at  R.  Coll.  of  Mus., 
after  1905  prof,  there;  also  taught  at 
Eton  Coll.,  and  toured  colonies  as 
examiner;  1907.  founded  concerts 
of  British  chamber  music  that  have 
been  influential  in  introducing  new 
works  and  composers;  c.  large 
variety  of  orch.  and  esp.  chamber 
works  of  tasteful  quality  and  tra- 
ditional form;  opera,  "The  Ice  Queen,3' 
etc.;  d.  Scunthorpe,  March  13,  1946. 

Duni  (doo'-nfi),  Egidio  Romualdo, 
Matera,  near  Otranto,  Feb.  9,  1709 
— Paris,  June  n,  1775;  pupil  of 
Durante;  his  first  opera,  "  Nerone"* 
prod.  Rome,  1735,  with  great  succ., 
triumphing  over  Pergolesi's  last 
opera  "Qlimpiado"  which  the 
generous  Duni  said  was  too  good  for 
the  public,  declaring  himself  "fre- 
netico  contre  il  pubblico  Romano"; 
he  c.  French  operettas  with  such 
succ.  that  he  settled  in  Paris,  where 
he  is  considered  the  founder  of 
French  opera-bouffe;  c.  13  Italian 
operas  and  20  French. 

Dtmkley,  Fd.  (Louis),  b.  London, 
England,  July  16,  1869;  pupil  of  G. 
,  Bainb ridge.  J.  Higgs  (cpt.), 


A.    JLal^gS,    JkJCbJLA.LMJ..LUgl~)    J.    .LJkJ.K£0    \\~}J\*.Jj 

and  E.  H.  Turpin  (compj;  and  at 
R.  A.  M.  (Scholarship),  under  Parry, 
Bridge,  Martin,  Gladstone,  Sharpe 
and  Barnet;  1893,  dir.  at  St.  Agnes' 
School,  Albany,  N.  Y.;  also  organist 
1897  at  Trinity  M.  E.  Ch.;  pub. 
"The  Wreck  <>j  the  Hesperus,39' 
ballade  for  soli,  chor.,  and  orch., 
etc.;  1889  took  prize  of  50  guineas 


with   orch,   suite;   lived   in    various 

cities;  after  19 20  in  Birmingham,  Ala. 

Dunoyer    (dtln-wa-ya')-     Vide    OATTC- 

QtJIER. 

Dun 'stable  (Dtinstaple),  John,  Dun- 
stable,  Bedfordshire,  England,  1370 
(?) — Walbrook,  Dec.  24,  I4S3J  called 
by  Tinctor  one  of  the  "fathers"  of 
counterpoint. 

Duparc  (dti-par)  (Fouques  Duparc), 
Henri,  Paris,  Jan.  21,  1848 — Mont 
de  Marsan,  Feb.  12,  1933;  pupil  of 
C£sar  Franck;  soldier  in  war  of  1870- 
71;  ill  health  led  to  a  life  of  seclusion 
to  C6sar  Franck's  great  regret;  c. 
symph.  poem  "Lenore,"  orch  noc- 
turne, "Aux  fitoiles";  6  pf. -pieces; 
vocal  duet,  "La  Fuite";  other  works 
destroyed  by  the  comp.,  and  some 
songs  of  the  highest  importance. 

Dupont  (du-p6n),  (i)  Pierre,  Roche- 
tail!6e,  near  Lyons,  April  23,  1821 — 
Saint-fitienne,  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,  1851.  (2)  Jo- 
seph (ain6),  Li6ge,  1821 — 1861; 
violinist;  prof,  and  dram,  composer. 
(3)  J«  Fran.,  Rotterdam,  1822 — 
Ntirnberg,  1875;  violinist  and  dram, 
composer.  (4)  Aug.,  Ensival,  near 
Li6ge,  1827 — Brussels,  1890;  com- 
poser. (5)  Alex.,  Li6ge,  1833—1888; 
bro.  of  above;  pub.  a  "Repertoire 
dramatique  Beige."  (6)  Jos.  (te 
jeune),  Ensival,  near  L16ge,  Jan. 
3,  1838 — Brussels,  Dec.  21,  1899; 
bro.  of  (3),  pupil  at  Liege  and 
Brussels  Cons.,  took  Grand  prix 
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  Con- 
certs.1 (7)  Jos.  D.,  d.  The  Hague, 
June  26,  1867;  bro.  of  above;  dir. 
German  Op.  at  Amsterdam.  (8) 
Gabriel,  Caen,  March  i,  1878 — 
V6sinet,  Aug.  3,  1914;  composer, 
esp.  known  for  his  operas  MLa 
Cabrera9'  which  won  the  Sonzogno 
prize,  1904;  "La  Glu"  (1910);  "La 
Farce  du  Cuvier"  (1912)  and  "Antar"* 
(prod.  1921),  also  orch.  works, 
chamber  music,  etc. 

Duport  (dti-p6r),  (i)  J.  P.,  Paris,  1741 
— Berlin,  1818;  'cellist.  (2)  J.  L-, 
Paris,  1749 — 1819;  more  famous 
bro.  of  above;  also  'cellist;  composer 
and  writer. 


134 


DICTIONARY  OF  MUSICIANS 


Duprato  (dti-pr&'-td),  Jules  Laurent, 
Nimes,  1827 — Paris,  1892;  prof,  of 
barm*  and  dram,  composer. 

Dupr€  (du>prft'),  Marcel,  b.  Rouen, 
May  3,  1886;  organist;  pupil  of  his 
father,  Albert,  Rouen  organist,  then 
of  Guilmant,  Die'mer,  and  Widor; 
won  many  ist  prizes  at  Cons,  in 
Paris;  succeeded  Widor  as  org.  at 
St.-Sulpice  and  played  at  Notre 
Dame;  toured  as  recitalist  in  Europe 
and  XT.  S.;  noted  for  his  ability  at 
improvisation;  c.  org*  and  choral 
works. 

Duprez  (dtt-prS/),  Gilbert  L.,  Paris, 
1806 — 1896;  tenor  and  composer. 

Dupuis  (dU-pw5),  (x)  Thomas  Sanders, 
Condon,  Nov.  5,  1733 — Juiy  *?» 
1796;  comp,  and  organist  of  Chapel 
Royal  London;  of  French  parentage, 
but  lived  in  London,  ana  is  buried 
in  Westminster  Abbey,  (2)  Jos6 
(Joseph  Lambert),  Li£ge,  1833 — 
Nogent-sur-Marne,  1900;  opera- 
bouffe  singer.  (3)  Sylvainf  Li£ge, 
Nov.  9,  1856 — Bruges,  Sept.  28, 
1931;  pupil  Liege  Cons.,  1881  Prix 
de  Rome)  teacher  of  cpt.  and  cond. 
of  a  singmg-society;  1900-11,  cond. 
at  La  Monnaie,  Brussels;  and  of 
Concerts  Populaires;  c.  operas,  incl. 
the  succ,  com.  opera  "XsIdytteS*  3 
cantatas,  symphonic  poem,  "Mac- 
beth" etc.  (4)  Albert,  b.  Verviers, 
France,  March  i,  1877;  prod,  opera 
«L* Idyll*"  (Verviers,  1896);  "Bili- 
#$"  (Venders,  1899);  won  Prix 
de  Rome  at  Brussels  with  opera 
"Hans  MickdJ*  5903;  c,  cantata, 
etc* 

Dupuy  (da-pwC).     Vide  *UT£ANtjrs. 

Xtarand  (nghtly  Dtiranowski)  (dU- 
rfcft  or  doo-r&a-$f '-shkX),  (x)  August* 
Fr6d6xic,  b.  Warsaw,  1770;  violin- 
ist and  cond,,  son  of  a  court-mus. 
)  fixtttte,  St.-Brieue,  C6tes  du  Nord, 


eb.  16,  1830 — Neuilly,  May  6, 
1903;  while  still  a  pupil  at  the  Paris 
Cons,  he  was  appointed  teacher  of 


an  elementary  singing-class;  1871 
prof*  of  harm.:  dram*  composer 
and  writer.  (3)  Marie  Auguste, 
Paris,  July  18,  1830— May  31,  2909; 
pupil  of  Benoist;  1849-74  organist  at 
various  churches;  2870  est.  mus.- 
pub*  business  of  "Durand  et  Sch^ne- 
werk,"  later  "Durand  et  Fils^;  a 
critic  and  composer* 
Durante  (doo-ran'-tel,  Fran.,  Frmtta 
Maagiore,  Naples,  March  15, 1684 — 
Naples,  Aug.  13,  1755;  director  and 


conductor;  an  important  teachet 
and  composer  of  the  **  Neapolitan 
School";  c.  13  masses,  etc. 

t>urey  (dti'-re"),  Louis,  b.  France.  May 
27,  1888;  composer;  mem.  of  former 
Group  of  Six;  studied  with  L£on 
Saint-Requier;  after  29x4  c.  various 
orch.,  chamber  music  and  other 
works;  also  wrote  critical  study  of 
Ravel's  music  and  magazine  articles. 

Dumtte  (du-r&t)»  Fran,  Camille  Ant., 
Ypres,  East  Flanders,  1803  —  Park, 
1881;  wrote  a  new  but  erroneous 
system  of  harm.;  c.  operas,  etc. 

X>u(s)sek  (Du&ek,  Duschek)  (doos'- 
sSk  or  better  doo'-sh^k),  (i)  Fz., 
Chotiborz,  Bohemia,  1736  —  Prague, 
2799;  composer,  pianist  and  teacher. 
(2)  Josephine,  b.  Prague,  1756; 
pianist,  composer,  singer.  (3)  J. 
Ladislaus,  Caslav  (Tschaslau),  Bo- 
hemia, Feb.  xa,  1  76o~Saint  -Germain- 
ea-Laye,  March  20,  1812;  a  boy- 
soprano  at  Iglau,  pupil  of  Father 
Spenar  at  the  Jesuit  College;  organist 
Jesuit  Church,  Kutteaburg,  for  2 
years;  studied  theology  at  Prague 
Univ.,  also  music;  became  organist 
of  Samt-Rimbaul's,  Mechlin;  lived 
Bergen  op-Zoom;  Amsterdam;  The 
Hague,  1783:  studied  with  C.  P.  E. 
Bach,  Hamburg;  became  famous 
pianist  and  performer  on  Hessel'* 
"Harmonica,"  Berlin  and  St,  Peters- 
burg; lived  in  Lithuania  a  year  at 
Prince  RadsiwUTs  Court;  lived  Italy 
Paris,  London;  2792  m.  (4)  Sofia 
Corri  (b.  Edinburgh,  1775;  *  wager, 
harpist  and  composer)*  lie  entered 
a  mus.-business  with  his  father-in- 
law,  1800,  failed  and  fied  to  Ham- 
burg to  escape  creditors*  He  was  in 
the  service  of  various  princes,  and 
(xSoS)  of  Prince  Talleyrand  in  Paris. 
A  pioneer  among  Bohemian  and  Po- 
lish virtuosi  and  composers  he  dis- 
puted with  Clement!  the  invention  of 
the  "singing-touch.**  Prod.  2  Eng- 
lish operas  m  London  with  success, 
and  pub.  a  Mass  (comp,  at  the  age 
of  13),  oratorios  and  church-music; 
pub*  nearly  xoo  works  for  pi,,  incl. 
12  concertos,  80  sonatas  with  via.: 
sonatas  for  pf.-solo,  etc.:  pub,  a 


Dnahidn  (dSosh'-kfcn),  Samuel,  b. 
SuwalkL  Russian  Poland,  Dec.  13, 
2898;  violinist;  studied  with  Auer, 
&rei«ler,  Remy;  European  d£but, 
29x8;  xst  Araer.  tour  m  1924;  has 
appeared  widely  In  Europe,  Egypt, 


DICTIONARY  OF  MUSICIANS 


135 


Palestine,  and  U.  S.,  esp.  in  joint 
programmes  with  Igor  Stravinsky. 

Dustmann  (doost'-man),  Marie  Luise 
(n6e  Meyer),  Aix-la-Chapelle,  1831 
— 1899;  soprano. 

Duvernoy  (or  Duvernois)  (du-v£rn- 
wa),  (i)  l?r.,  MontbSliard,  1765 — 
Paris,  1838;  prof,  at  the  Cons.;  com- 
poser. (2)  Charles,  Month  61iard» 
1766 — Paris,  1845;  bro.  of  above; 
clarinettist;  prof,  and  composer.  (3) 
Chas.  Fran.,  Paris,  1796 — 1872; 
singer.  (4)  H.  L.  Chas.,  Paris, 
Nov.  1 6,  1820 — Jan.,  1906;  son  of 
(3);  pupil  of  Hal€vy  and  Zimmer- 
mann,  Paris  Cons.;  1839,  assist.- 
prof.;  1848,  prof,  there  of  solfeggio; 
composer.  (5)  Victor  Alphonse, 
Paris,  Aug.  30,  1842 — March  7,  1907; 
pupil  of  Bazin  and  Marmontel  Paris 
Cons.;  took  first  pf.  prize;  teacher  of 
piano  at  the  Cons.;  a  Chev.  of  the 
Legion  of  Honour,  and  officier  of 
public  instruction;  1892  prod,  the 
succ.  opera  "Sardanapale'f  (Lyons), 
also  opera  "  Helle"  (Gr.  Op6ra, 
1896);  his  symph.  poem,  "La 
Temptte,"  won  the  City  of  Paris 
prize. 

Dux  (dooks),  Claire,  b.  Witkowicz, 
Poland,  Aug.  2,  1885;  soprano; 
studied  voice  with  Teresa  Arkel, 
also  in  Milan;  d£but,  Cologne,  1906; 
sang  with  Berlin  Op.,  1911-18; 
Stockholm  Op.,  1918-21;  Chicago 
Op.,  1921-23;  also  at  Covent  Garden, 
and  widely  as  concert  performer  in 
Europe  and  XL  S.;  m.  Charles  H. 
Swift;  res.  in  Chicago  since  1926, 
with  occasional  appearances. 

Dvorak  (dv6r'-sh£k),  Antonin,  Mtthl- 
hausen,  Bohemia,  Sept.  8,  1841 — 
Prague,  May  i,  1904;  one  of  the  most 
eminent  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 
entered  the  Prague  Org.-Sch.  under 
Pitzsch,  earning  a  livelihood  as  vio- 
linist in  a  small  orchestra;  graduated 
in  1862,  became  vla.-player  at  the 
Nat.  Theatre.  He  was  33  before  an 
important  comp.  was  prod.,  a  hymn 
for  male  chorus  and  orch.,  which 
attracted  such  attention  that  1875 
he  received  a  government  stipend 
and  devoted  himself  to  composition. 
1891  Mus.  Doc.  Cambridge  Univ.; 
1892-95  dir.  Nat.  Cons.,  New  York; 
later  lived  at  Prague;  1901,  director 
of  the  Prague  Cons;  1902,  prod. 


opera  "Armida,"  Pilsen  Nat.  Th. 
He  was  a  disciple  of  nationalism  in 
music,  and  provoked  much  contro- 
versy by  advising  American  com- 
Eosers  to  found  their  school  on  the 
armonic  and  melodic  elements  of 
plantation-music.  In  his  highly 
popular  5th  symphony,  op.  95, 
"From  the  New  World,"  he  made 
some  use  of  such  a  manner.  His 
other  comp.  are:  Bohemian  operas 
"The  King  and  the  Char  coal- Burner" 
(Prague,  1874);  "Wanda"  (1876); 
"Selma  Sedldk"  (1878);  "Turd* 
Palice"  (1881);  "Dimitrije"  (1882); 
"The  Jacobins"  (1889);  "Rusalka, 
the  Water  Nixie"  (Nat.  Th.  Prague, 
1901);  "Armida"  (1904);  oratorio 
"St.  Ludmila"  (Leeds  Mus.  Fest., 
1886);  Requiem  Mass,  op.  89,  with 
orch.  (Birmingham  Fest.,  1891); 
cantatas  "The  Spectre9:  Bride,"  op. 
69,  with  orch.  (Birmingham  Fest.r 
1885),  and  "The  American  Flag* 
(N.  Y.,  1895);  &ym>n  of  the  Bohemian 
Peasants,  for  mixed  ch.;  hymn  for 
mixed  ch.  and  orch.;  "Stabat  Mater39 
with  orch.  (London,  1883);  Psalm 
149  with  orch.;  5  symphonies;  3 
orchestral  ballades,  "Der  Wasser- 
mann"  "Die  Mittagshexe"  and 
"Das  goldene  Spinnrad";  2  sets  of 
symphonic  variations  for  orch.;  over- 
tures, "Main  Heim,"  "  Husitvka," 
"In  der  Natur,"  "Othello,3'  "Car- 
neval";  concertos  for  'cello,  pf,,  vln.; 
"Slavische  Tanzey"  and  "Slamsche 
Rhapsodien" ;  scherzo  cappriccioso 
for  orch.;  string-sextet;  a  string- 
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  'cello 
and  double-bass;  notturno  for 
string-brch.;  pf.  music,  "Legenden," 
"Dumka"  (Elegy),  "Furiante"  (Boh. 
natl.  dances);  r'Klange  aus  Mahreny" 
and  "SUkouetten"  for  pf.  4-hands; 
violin-sonata,  op.  57;  songs,  etc. 

Dwight,  J»  Sullivan,  Boston,  Mass., 
1813 — 1893;  editor  and  critic;  one 
of  the  founders  of  the  Harvard  Musi- 
cal Association;  was  a  member  of 
the  Brook  Farm  Community;  1852— 
81,  edited  "  Dwight9  s  Journal  of 
Music." 

Dykema  (dl'-kg-ma),  Peter  W.,  b, 
Grand  Rapids,  Mich..  Nov.  25,  1873; 
educator;  studied  N.  Y.  and  Berlin, 
with  Arens,  Frank  Shejjhard  and  at 
Inst.  of  Music.  Art;  dir.  of  music. 


136 


DICTIONARY  OF  MUSICIANS 


Ethical  Culture  School,  N.  Y.. 
1001—13;  prof,  of  music,  Univ.  01 
Wis.,  1913-24;  thereafter,  prof,  of 
music,  education,  Teachers  College, 
Columbia  Univ.,  author  of  "School 
Music  Handbook79  (with  Cundiff), 
and  ed.;  d.  Hastings,  N-  Y.,  1951. 

Dykes  (Rev.)»  J-  Bacchus,  Kingston- 
upon-Hull,  Eng.,  1823 — St.  Leon- 
ard's, 1876;  conductor. 

Dy'son,  Sir  George,  b.  Halifax,  Eng- 
land, May  28,  1883;  composer  and 
educator;  pupil  of  R.  Coll.  of  Mus., 
where  won  Mendelssohn  Stipend; 
dir.  of  music  at  R.  Naval  Coll., 
Marlborough  ColL,  and  Wellington 
Coll.;  1918,  Mus.  D.,  Oxford;  has  c. 
orch.  and  choral  music;  author  of 
"The  New  Music."  Dir.,  R.  C.  M., 
1938;  knighted,  1940. 

B 

Barnes  (SLmz),  Emma,  b.  (of  American 
parents)  at  Shanghai,  Aug.  13,  1865; 
noted  soprano;  at  5  went  with  her 
mother,  ner  first  teacher,  to  Bath, 
Maine;  pupil  of  Miss  Munger  at 
Boston;  1886-88  at  Paris,  of  Ma- 
dame Marchcsi  (voice),  and  Pluque 
(acting,  etc.);  z888,  engaged  at  the 
Op,-Com.,  but  made  d£but  with 
succ.  at  the  Or.  Opera,  March  13, 
1889,  as  "Juliette"  in  Gounod's  "Romeo 
et  Juliette,*9  a  rdle  previously  sacred 
to  Patti;  sang  at  the  Opera  for  2 
years,  creating  "Colombe"  in  St.- 
Saens'  "Ascanio"  and  as  "2&ire"  in 
De  La  Nux's  opera;  1891,  Covent 
Garden  in  <4^a«$*";  m*  the  painter 
Julian  Story  the  same  year,  and  la 
Oct.  appeared  in  New  York  at  Met. 
Op.;  from  then  until  2909,  when  she 
retired  from  the  stage,  she  sang 
regularly  in  N.  Y.  and  London, 
except  1893-03,  at  Madrid,  ana 
1895-96,  during  ill-health;  "Sieg- 
linde"  was  perhaps  her  best  rdle. 
la  ion  she  m.  Emilio  de  Gogorsa, 
barytone,  and  toured  in  concert 
with  him,  later  separated.  Lived  in 
N*  Y.)  where  d.  June  13,  1952. 

Earliart,  Will,  b.  Franklin,  O.,  April 
x,  1871;  educator;  after  1913  mus- 
dir*  of  School  of  Education,  Univ, 
of  Pittsburgh;  author  of  works  on 
school  music;  ores.  Music  Super- 
visors* Nat'l.  Conference,  19*5-16; 
Mus.  D.,  Univ.  of  Pittsburgh,  1920. 

East'maB,  George,  Waterville,  N.  Y,, 
July  i  a,  1 854— -Rochester,  N.  Y., 
larch  14,  1932  (suicide);  music 


&1; 

Ma 


patron;  in  1919  made  gift  of  83,500,* 
ooo  to  found  Eastman  School  o^ 
Music,  as  part  of  the  Univ.  of 
Rochester,  and  the  next  year  added 
another  million,  the  permanent  en- 
dowment fund  being  about  three 
millions;  Rochester  as  a  result  has 
become  an  active  centre  of  music, 
with  the  Eastman  Theatre,  Philh. 
Orch.,  and  other  enterprises  inch 
annual  fests.  of  American  music 
deriving  their  impetus  from  his 
generosity. 

East 'on,  Florence,  b.  Middlesbrough, 
England,  Oct.  25,  1884;  soprano; 
studied  R,  ColL  of  Mus,,  London, 
and  with  Elliott  Has!  am,  Paris; 
made  appearance  as  pianist  at  8; 
opera  deout  as  Madame  Butterfly 
with  Moody- Manners  Op,  Co.,  Lon- 
don, 1903;  toured  U.  S.  with  Savage 
Op,  Co.,  1904-05  and  1906-07; 
sang  with  Berlin  Op.,  1907-13- 
Covent  Garden  in  "JSfotlra,*  19x0; 
Hamburg  Op.,  IQI3-X5;  Met*  Op., 
where  she  sang  German  and  other 
rdles  with  marked  versatility,  19x7- 
28,  and  again  in  1936;  has  also  sung 
widely  in  concert,  and  as  orchestral 
and  festival  soloist;  a  gifted  Ileder 
singer;  m.  Francis  Maclennan,  tenor; 
divorced. 

Baton,  Louis  H.,  b.  Taunton,  Mass, 
May  9,  2862;  organist;  pupil  of  Guil- 
mant;  2901,  org.  at  San  Francisco. 

Eb'don,  Thos.,  Durham,  2738 — 1811; 
organist  and  composer. 

Bbelfag  (a'-b*-lfng).  (i)  J.  G.t  LUne- 
burg,  1637 — Stettin,  1676;  prof,  and 
composer.  (2)  Chp.  Darnel,  Gar-* 
xnisscn,  near  Hi!desheim»  1741— 
Hamburg,  18x7;  prof,  and  writer. 

Bbell  (&'-b*I),  H*  K.9  Neunippln. 
1 775— Oppeln,  1824;  conductor  and 
dram,  composer. 

Eberhard  (x)  von  Freisicgen  (a'-b«r- 
h&rt  f6n  fri'-zlng-*n),  Eberhar'dus 
Frisengen'sis,  Benedictine  monk, 
iith  cent.;  wrote  on  the  scale  of 
pipes  and  bell-founding.  (3)  J. 
Aug.,  HalbenOadt,  x  739— Halle, 
1809;  professor. 

Eberi  (&'-b*rl)»  Anton*  Vienna,  June  13, 
1766 — March  ixt  1807;  famous  pian- 
ist, conductor  and  dram,  composer. 

Bboriia  (a'-bdr-iftn),  (i)  Daniel,  NUrn- 
berg,  ca,  x63O-^CA«seU  16^2;  con- 
trapuntist and  violinist;  famous  as  a 
composer  In  his  day,  (2)  (or  Eberle) 
J*  Ernst,  Jettenbacb,  Swabia,  1702 


DICTIONARY  OF  MUSICIANS 


137 


— SaLbburg,  1762;  conductor  and 
composer. 

Ebers  (a/-b6rs),  K.  Fr.,  Cassel,  1770 
— Berlin,  1836;  conductor  and  dram, 
composer. ' 

Ebert  ^a'-b£rt),  Ludwig,  Kladrau,  Bo- 
hemia, April  13,  1834 — Coblenz, 
1908;  'cellist;  pupil  Prague  Cons.; 
1854-74,  first  'cellist  at  Oldenburg; 
1875-88,  teacher  at  Cologne  Cons.; 
1889,  founded  Cons,  at  Coblenz;  c. 
'cello  pieces. 

Eberwein  (a'-bSr-vin),  (i)  Traugott 
Maximilian,  Weimar,  1775 — Rudol- 
stadt,  1831;  dram,  composer.  (2) 
Karl,  Weimar,  1786 — 1868,  bro.  of 
above;  dram,  composer. 

Ebner  (ap'-nSr),  Wolfgang,  Augsburg, 
ca.  1 6 10 — Vienna,  Feb.,  1665;  or- 
ganist and  comp. 

Eccard  (€k'-kart),  J.,  Miihlhausen, 
Thuringia,  1553 — Berlin,  1611;  im- 
portant composer  of  church-music. 

Eccles  (gk'-kSls),  (i)  John,  London  (?), 
1668 — Kingston,  Surrey,  1735;  son 
and  pupil  of  the  violinist,  (2)  Solo- 
mon E.  C.  His  brother  (3)  Henry, 
was  violinist  and  composer.  (4) 
Solomon  Thomas,  bro.  of  above, 
also  violinist. 

Eck  (Sk),  (i)  J.  Fr,,  Mannheim,  1766 — 
Bamberg  (?),  1809  (1810  ?);  violinist 
and  composer.  (2)  Fz.,  Mannheim, 
1774 — insane,  Strassburg,  1804;  bro. 
and  pupil  of  above;  violinist. 

Eckelt  (Sk'-Slt),  J.  Vol.,  Wernings- 
hausen,  near  Erfurt,  1673 — 'Sonders- 
hausen,  1732;  writer. 

Eckert  (Sk'-Srt),  K.  Ant.  Florian,  Pots- 
dam, 1820 — Berlin,  1879;  at  10  c. 
an  opera,  at  13  an  oratorio;  court- 
conductor  and  dram,  composer. 

Ed'dy,  (i)  Clarence  H.,  Greenfield, 
Mass.,  June  23,  1851 — Chicago, 
Jan.  10,  1937;  organist;  pupil  of 
J.  G.  Wilson  and  Dudley  Buck;  1871 
of  Haupt  and  Loschhorn  (pf.)> 
toured  in  Germany,  Austria,  Switzer- 
land, and  Holland;  1874,  organist, 
Chicago;  1876,  dir.  Hershey  School 
of  Musical  Art;  toured  America  and 
Europe,  1879  gave  100  recitals  at 
Chicago  without  repeating  a  num- 
ber; for  some  years  cond.  Chicago 
Philh.  Vocal  Soc.;  after  1910  in 
San  Francisco;  c.  organ  and  church 
music,  etc.;  pub.  "The  Church  and 
Concert  Organist"  "The  Organ  in 
Church"  and  transl.  Haupt's  "Cpt. 
and  Fugue"  (2)  Nelson,  b.  Provi- 
dfence>  R.  I.,  Tune  20, 1901;  barytone; 


sang  as  boy  soprano  in  choir  of 
Grace  Church,  New  York;  pupil  of 
David  Bispham  and  William  Vilonat; 
d6but,  in  benefit  perf.,  Phila.,  1922; 
sang  with  Savoy  Op.  Co.  and  Phila. 
Civic  Op.,  making  New  York  d6but 
in  "Wozzeck,"  1931;  sang  leading 
male  r6le  in  Respighi's  "Maria 
Egiziaca"  with  N.  Y.  Philh.  under 
baton  of  composer;  later  won  out- 
standing reputation  as  concert  singer, 
in  radio  programmes  and  as  featured 
performer  in  musical  films. 

Edelmann  (a '-del-man),  Joh*  Fr., 
Strassburg,  May  6,  1749 — Paris, 
July  17,  170,4;  c.  opera,  baflets,  etc. 
/son,  Lewis,  Bridge  water,  Mass., 
1748 — Woodstock,  N.  Y.,  1820;  pub. 
a  coll.  of  hymns,  etc. 

Edwards,  (i)  Henry  Sutherland,  b. 
London,  Sept.  5,  1829 — Jan.  21, 
1906;  writer;  historian  and  critic  for 
many  years  of  the  St.  James  Gazette. 
(2)  Henry  John,  b.  Barnstaple,  Feb. 
24,  1854 — April  8,  1933;  of  an  organ- 
ist, then  pupil  of  Bennett,  Mac- 
farren;  1885,  Mus.  Doc.  Oxford;  c. 
oratorios,  etc.  (3)  Julian  (rightly 
D.  H.  Barnard),  Manchester,  Eng- 
land, Dec.  u,  1855 — Yonkers,  N.  Y., 
Sept.  5,  1910;  pupil  Sir  H.  Oakley, 
Edinburgh,  then  of  Macfarren,  Lon- 
don; 1875,  pianist  to  Carl  Rosa  Opera 
Co.;  1877,  cond.  Royal  Eng.  Opera 
Co*  and  prod.  "Victorian"  Covent 
Garden.  1880,  prod.  "Corinne"  at 
St.  James's  Hall,  London;  cond. 
Engl.  Opera  at  Covent  Garden,  and 
prod.  2  operas,  "Corinne"  and  "Vic- 
torian," at  Sheffield,  1883;  came  to 
the  U.  S.,  1889,  and  prod,  with 
success  various  comic  operas,  incl. 
"Madeleine  or  the  Magic  Kiss"  (Bos- 
ton, 1894),  and  "Brian  Boru"  (N. 
Y.,  1890);  "The  Wedding  Day,99' 
"The  Jolly  Musketeer,"  "Princess 
Chic"  (1899),  "Dolly  Varden"  (N.  Y., 
1902),  and  "When  Johnny  Comes 
Marching  Home"]  prod,  also  roman- 
tic opera  "King  R&n&s  Daughter"; 
c.  gr.  opera  "Elfinella"  (MS.),  sym- 
phonies, overtures,  etc. 

Eeden  (a'-dSn),  Jean  Baptiste  van  den, 
Ghent,  Dec.  26,  1842 — Mons,  April 
4,  1917;  pupil  of  Ghent  and  Brussels 
Cons.;  ist  prize  for  comp.  (1869) 
with  the  cantata  "Fausfs  Laaste 
Nacht";  1878  dir.  of  Cons,  at  Mons; 
c.  opera  "  Numance"  (Antwerp, 
1897),  oratorios  and  the  trilogy 
"Judith,"  cantatas  with  orclu,  a 


138 


DICTIONARY  OF  MUSICIANS 


symph.  poem,  "La  Lutte  au  XVI* 
Sitoh"  etc. 

Egenolff  (or  Egenolph.)  (5/-g£n-6lf), 
1302 — 55;  a  slovenly  and  piratical 
German  mus. -printer, 

Egidi  (a'-kh5-de),  Arthur,  b,  Berlin, 
Aug.  9,  **8$g;  organist;  pupil  of  Kiel 
and  Taubert;  1885-02,  teacher  at 
the  Hoch  Cons,,  Frankfort-on-Main; 
then  org.  at  Berlin,  and  Royal  Prof.j 
comp.;  d.  1943- 

Egk,  Werner,  b.  Auchsesheim,  Bava- 
ria, May  17,  1901;  composer;  studied 
in  Germany  and  Italy;  after  1929 
lived  in  Munich;  c.  an  opera, 
(premiere,  Frankfort, 
based  on  nursery  tale  and 
w'itfT  South  German  peasant  songs 
utilised,  which  had  succ.  on  several 
German  stages;  also  popular  orch* 
work,  "Georgia,"  etc. 

EgU  (Sl'-ye*  or  a'-gl€),  Jofcann  Heinrich, 
Seegraben,  canton  Zurich,  1742 — 
1810;  c.  "0J«n,T>  etc. 

Bblert  (aM^rt),  Louis,  Kfcnigsberg,  182$ 
— Wiesbaden,  1884;  teacher  and 
critic;  conductor  and  composer. 

Ehnn-Sand  (an'-zant),  Bertha,  Buda- 
pest, Nov.  30,  1847— Aschberg, 
March  2,  1932;  dramatic  soprano, 
pupil  of  Frau  Andriessen, 

Bhrlich  (ar'-Hkh),  (i)  FT.  Cfcr.,  Mag- 
deburg, 1807 — 1887;  conductor, 
singing-teachei,  and  dram,  com- 
poser. (2)  Alfred  H.,  Vienna,  Get,  5* 
1822 — Berlin,  Dec.  30,  1899;  pupil 
of  Henrelt,  Bocklet,  Thalberg  (piT), 
and  Sechter  (comp.);  court-pianist 
to  King  George  V.;  1864-72  pf>- 
teacher  Stern  Cons.,  and  1866-98 
critic  in  Berlin;  composer  and  editor. 

Bibenschtitz  (I'-bSn-sMts),  <i)  Albert, 
Berlin,  April  i§,  185  7-7 Vienna,  Nov. 

ami  Paul,  Leipzig  Cons.,  won  the 
Diploma  of  Honour.  1876-80,  pro*, 
in  Charkoff  (Russia);  1880-84  at 
Leipzig  Cons.,  then  Cologne  Cons.; 
1893,  air.  Cologne  Liederkrans:  1896, 
tst  pf.-prof.  Stern  Cons.,  Berlin;  c. 
pf.-sonatas,  etc.  (2)  Hona,  Buda- 
pest, May  18,  1872;  cousin  of  above; 
pianist;  at  5  she  played  in  a  concert 
with  Liszt;  1878-85,  pupil  of  Hans 
Schmitt;  1885-89,  studied  with  Frau 
Schumann;  lived  in  Vienna  and  made 
tours. 

ffichberg  (Ikh'-bSrkh  or  Xch'-burg), 
(j)  Julius*  b.  DUsaeldorf,  June  13, 
1824 — Boston,  Mass.,  Jan.  18,  1893; 
violinist  and  notable  teacher;  c.  4 


operettas,  etc.  (2)  Oskar,  BerHn, 
1845  —  1898;  singing-  teacher,  con- 
ductor, critic,  editor,  and  composer. 

Eic&born  (Ikh'-b6rn),  H.  L.,  Breslau, 
Oct.  30,  1847  —  near  Bosen,  April  15, 
1918;  studied  pf.,  fiute,  trumpet^ 
horn,  etc.,  at  an  early  age;  at  i4 
pupil  of  the  trumpeter  AdL  S.holz; 
studied  theory  with  Dr.  E.  Bonn; 
became  a  Waldhorn  virtuoso;  1882 
inv.  the  Oktav  (or  soprano)  Wald- 
horn;  wrote  musical  essays,  etc.; 
cond.  at  Gries,  near  Bozen;  editor, 
writer  and  composer. 

Eichheim  (Ikh'-hlm),  Henry,  Chicago, 
1870  —  Santa  Barbara,  Aug.  22.  1942; 
grad.  Chicago  Music.  Coll.  with  vln. 
prize;  studied  with  Carl  Becker. 
Jacobsohn  and  Lichtenberg;  played 
ist  vln.  in  Boston  Symph.,  1890- 
1913;  has  toured  as  soloist  in  modern 
programmes,  and  cond.  own  works  as 
guest  in  Eur.  and  A  met.  cities:  c. 
orch.  works  based  on  native  folk 
material  of  the  Orient,  also  chamber 
music,  piano  pieces  and  songs, 

Eichner  (ikh'-nfir),  Ernst,  Mannheim, 
1740  —  Potsdam,  1777;  c.  important 
symphonies,  concertos,  etc. 

Bijken  (I'-ken)  (or  Eyken),  van  (i) 
Jan  Alberty  Amersloort,  Holland, 
April  25,  ^822  —  Elberfeld,  Sept.  24, 
1868;  organist  and  comp.;  his 
son.  (a)  Heinrich,  Elberfeld,  July 
19,  1861—  Berlin,  Aug.  a8,  1908; 
composer:  pupil  of  Leipzig  Cons.; 
teacher  of  theory;  c.  songs  with  orch 

Ein  'stein,  Alfred,  b.  Munich,  Dec-  30, 
1880;  critic  and  writer  on  music; 
studied  with  Sandberger  and  Beer* 
Walbrunn;  after  1917,  critic  of 
Munich  "A*/'  ';  later  of  Berlin  «'  Tuge- 
blait"\  now  re^  in  U  S.  A.;  after  1919 
he  ed.  $th  edition  of  Ricmann's 
Music  Lexicon;  ed.  "  AVur  Musik- 
Lexicon"  (1926),  a  revision  of  Eagle- 
field  Hull's  "/>*r7if»*r«iry  of  Madcr* 
Music  and  Mttsifians"!  until  1933 
he  was  the  ed.  of  the 


Eisfeld  (!ft'-f*lt),  Th.;  WolfenbUttcl, 
April  is,  1816  —  Wiesbaden,  Sept. 
a,  1883;  cond.,  N.  V.  Philh.  (with 
Bergmann),  1849*64;  previously  con- 
ductor at  Wiesbaden;  then  of  "Con- 
certs Vivicnncs,**  Paris. 

Eialer,  HanriB,  b.  Leipzig,  July  6,  1898; 
composer;  pupil  of  Schdnberg  and 
Anton  Wcbcrn;  after  19^5  taught  at 
Klindworth-Scharwenka  Cons.,  Ber- 
lin; visited  America*  1035;  esp*  noted 


DICTIONARY  OF  MUSICIANS 


139 


for  Ms  works  written  to  revolution- 
ary song  texts,  also  chamber  music. 

Eitner  (it'-ner),  Rob,,  Breslau,  Oct.  22, 
1832 — Templin,  Jan.  22,  1905;  pupil 
of  Brosig;  1853,  teacher  at  Berlin; 
est,  a  pf.-sch.,  1863;  from  1865  he 
was  engaged  in  musicological  work  of 
the  highest  value,  incl.  the  compila- 
tion of  a  "Source  Lexicon  of  Musi- 
cians and^  Musical  Scientists"  (10 
yols.),  which  has  not  been  surpassed 
in  its  particular  field;  important  for 
work  in  musical  literature,  and  re- 
search in  1 6th  and  iyth  centuries, 
Dutch  music,  etc.;  c.  "Biblical 
opera,"  "Judith"*,  overture  to  "Der 
Cid"\  etc. 

El'deiing,  Bram,  Groningen,  Holland, 
1865 — Cologne  (air  raid)  1943;  pupil 
Poortmann,  Hubay,  and  Joachim; 
Konzertmeister  Berlin  Philh.;  then 
do.  in  Meiningenct. -chapel; and  1899 
in  Giirzenich  Orch.;  after  1903  taught 
at  Cologne  Cons. 

Elers  (a'-l&s)  (called  El'erus),  Fz., 
Uelzen,  ca.  1500 — 1590,  Hamburg; 
teacher,  director,  and  composer. 

Elewyck  (van  2/-lu-vek),  Xavier  Victor 
(Chevalier)  van,  Ixelles  les  Bruxelles, 
Belgium,  1825 — in  an  insane  asylum, 
Zickemont,  1888;  writer. 

Ergar,  Sir  Edward,  Broadheath, 
Worcester,  EngL,  June  2,  1857 — 
London,  Feb.  23,  1934;  important 
English  composer;  violinist,  and  or- 
ganist; cond.  Worcester  Instrumental 
Soc.,  1882-89;  1885-89,  organist  at 
St.  George's;  as  part  of  his  early 
training  he  was  bandmaster  1879- 
1884  at  the  County  Asylum  with 
attendants  as  musicians;  he  retired 
to  Malvern  in  1891  discouraged  with 
his  prospects  in  London;  lived  as 
teacher  and  occasionally  cond.  His 
"King  Olaf"  (1896)  brought  his  first 
real  success,  which  his  orch.  varia- 
tions (1899)  increased  and  the 
"Dream  of  Gerpntius"  (1900)  estab- 
lished; Cambridge  made  him  Mus. 
Doc.  that  year;  Strauss  cond. 
"Gerontius"  in  Germany,  1902;  1904 
an  Elgar  Festival  was  given  for  3 
days  at  Covent  Garden,  and  the 
same  year  he  was  knighted.  He  c. 
Imperial  March,  2  military  marches, 
called  "Pomp  and  Circumstance"* 
"Sea  Pictures"  contralto  and  orch.; 
Coronation  Ode  (1902),  "The  Apos- 
tles" (Birmingham  Fest.,  1903); 
Symphony  No.  i  in  A  flat  (1908); 
Symphony  No.  2  in  E  flat  "To  the 


Memory  of  Edward  VII"  (London 
Mus.  Fest.,  1911,  and  the  same  year 
by  Cincinnati  Symph.,  N.  Y.  Phil., 
Boston  Symph.,  etc,)- 
In  1906  he  visited  the  U.  S.  and  con- 
ducted his  music  at  the  Cincinnati 
Fest.;  he  served  as  prof,  of  music  in 
Birmingham  Univ.,  1905-08;  in  1924 
he  was  created  Master  of  the  King's 
Musick.  He  lived  at  Hereford  (after 
1904),  but  in  later  years,  though 
he  maintained  an  estate  there,  he 
passed  much  of  his  time  in  London. 
Honorary  degrees  of  Mus.  D.  were 
conferred  upon  him  by  Durham,  Ox- 
ford and  Yale  Univs.;  LL.  D.,  by 
Leeds,  Aberdeen  and  Pittsburgh 
Univs.  His  large  output  of  com- 
positions includes  also  a  symph. 
study,  "Falstajf"  (1913),  symph. 
poem;  "Polonia"  (1915),  a  much 
played  vln.  concerto  in  B  minor 
(igio);  Introduction  and  Allegro  for 
strings  (1905);  incidental  music  for 
"Crania  and  Diarmid"  the  notable 
"Enigma"  Variations  for  orch.  (1899) 
in  which  the  identity  of  various  of 
his  friends  is  concealed;  "The  King- 
dom." oratorio  (1906,  Birmingham 
Fest.);  "The  Music- Makers"  (1912) 
for  chorus;  "The  Crown  of  India"' 
(191 2};  "The  Spirit  of  England" 
(1916),  do.;  2  string  quartets,  ora- 
torio, "The  Light  of  Life"  (1896); 
cantata,  t(Caractacus" ;  overtures, 
"Froissart,"  "In  the  South,"  "Coc- 
kaigne" (1901);  6  Scenes  from  the 
Bavarian  Highlands,  for  chorus  and 
orch.  (1896);  Spanish  serenade  for 
ch.  and  orch.;  romance  for  vln.  and 
orch.;  church-music;  pcs.  for  vln.  and 
pf.;  organ-sonata;  songs,  etc. 

Elfas  (ar-H-as),  Salomonis,  monk  at 
Saint- Ast&re,  Perigord,  wrote  in  1274 
the  oldest  extant  book  of  rules  for  im- 
provised counterpoint. 

El'kus,  Albert,  b.  Sacramento,  Cal., 
April  30,  1884;  composer;  studied 
with  Oscar  Weil,  Robert  Fuchs,  Karl 
Prohaska,  Georg  Schumann,  Harold 
Bauer  and  Lhevinne;  c.  orch.,  cham- 
ber music  and  choral  works. 

El'ler,  Louis,  Graz,  1820 — Pau,  1862: 
vln.-virtuoso;  c.  "Valse  DiaboUque,< 
a  "Rhapsodic  Hongroise,"  etc.,  for 
vln. 

El'lerton,  J.  Lodge,  Chester,  1807 — 
London,  1873;  dram,  composer. 

El'man,  Mischa,  b.  Talnoe,  Russia, 
Jan.  21,  1891;  violinist;  played  at  5 
in  public;  studied  16  months  at 


140 


DICTIONARY  OF  MUSICIANS 


Odessa  with  Fideimann,  1903  Invited 
by  Aucr  to  become  his  pupil;  d€but 
at  St.  Petersburg,  1004,  and  greeted 
as  a  great  artist  though  only  12; 
toured  widely;  1908,  America;  he  has 
long  ranked  as  one  of  the  most 
eminent  performers  in  his  field.  He 
has  made  his  home  in  N.  Y.  for  some 
years. 

Elmblad  (Slm'-blat),  Jus.,  b.  Stock- 
holm, Aug.  22,  1853;  bass;  studied 
with  Stockhausen  and  Garcia;  1876, 
Wagner  chose  him  for  "Donner'* 
(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; 
1896,  sang  "Fafner"  at  Bayreuth; 
1897  at  ct.~Th.,  Stockholm;  d,  ion, 

ftl'mendorflf,  Karl,  b.  BUsseldorf,  Ger- 
many, Jan,  25,  1891;  conductor;  pu- 
pil of  Steinbach  and  Abendroth  at 
Cologne  Cons.;  active  as  cond.  at 
native  city,  Mainz,  Hagen,  Aachen; 
1925-32,  first  cond.  of  Munich  State 
Op.;  after  1932  in  Wiesbaden;  ap- 
peared at  Bayreuth,  beginning  1927. 

Elsenheimer  (gr-z£n-h!-mgr)»  Nicholas 
J«>  Wiesbaden,  1866 — Limburg,  Ger- 
many, July  12,  JQ3S;  pupil  of  his 
father  and  of  Jakobsthal,  Strassburg, 
LL.D.,  Heidelberg;  1890,  America; 
2891,  prof,  at  Coll.  of  JMusic,  Cincin- 
nati; c.  cantata  "Valerian,"  with 
orch,  "Belshazzar"  etc, 

Eisner  (Sls'-nfir),  Jos*  XavJer,  Grottkau, 
Silesia,  1769 — Warsaw,  2854;  writer 
and  composer  of  19  operas* 

El'son,  (r)  Louis  Chas.,  Boston,  April 
*7,  1848 — Feb.  14,  1920;  writer  and 
teacher;  pupil  of  Kreissmann  (sing- 
ing), Boston,  and  Gloggner-Castelu 
(theory),  Leipzig;  edited  the  "Vox 
Humana";  then  on  the  "Music  Herald"; 
for  years  critic  of  the  "Boston  Courier" 
then  of  the  "Advertiser"}  1881  prof,  of 
theory  and  lecturer  on  the  orch,  and 
musical  history  at  N.  E.  Cons.;  lec- 
tured on  music  with  much  success; 
pub.  "Curiosities  of  jlfww/*  "The 
History  of  German  Song*"  "Th& 
Theory  of  Music,"  "The  Realm  oj 
Music,"  "German  Songs  and  Son%~ 
writers,"  "European  Rfminisctntes, 
"Syllabus  of  Musieal  History,"  and 
"Great  Composers  and  Thfir  Work" 
(1899),  "The  National  Music  of 
America"  (1900),  *4  Hume  end  School 
Songs"  i  c.  operettas,  songs,  and 
instr.- works;  transl.  and  arranged 
over  3,000  songs,  oDeras,  etc.  (a) 


Arthur  B-,  b.  Boston,  Nov.  18, 1873: 
d.  N.  Y,,  Feb.  24, 1940;  son  and  pupil 
of  (i);  grad.  Harvard  Univ.;  and 
Mass.  Inst.  of  Technology;  author  of 
books  on  music. 


ETvey,  (*}  Stephen,  Canterbury,  1805 
— Oxford.  1860;  organist.  (2)  Sir 
George  (Job),  Canterbury*  1816 — 
Wincfiesham,  Surrey,  1893;  bro.  of 
above;  c.  oratorios. 

Elwart  (er-v&rt),  Antoine  Aimable 
BHe,  Paris^  1808^ — ^877;  violinist  and 
dram,  composer. 

El'wes,  Gervase  Cary,  Northampton, 
England,  Nov.  15,  1866 — Boston, 
Mass.,  1921  (killed  by  locomotive 
while  on  American  tour);  tenor; 
studied  Vienna,  Paris,  etc*;  at  first 
in  diplomatic  life;  professional  d€but, 
1903;  sang  la  Europe  and  America; 
excelled  in  Brahms  songs* 

Em'ery,  Stephen  Albert,  Paris,  Maine, 
Oct.  4, 1841 — Boston,  April  15,  1891; 
prof,  of  harm,  and  cpt.;  asst.-ed. 
"J/iurlrdE  Iftrald"',  graceful  composer 
and  pop.  theorist. 

EtQx&an'ue!,  Maurice,  b.  Bar-sur-Aube, 
May  2,  1862— Pirns,  Dec.  14,  1938$ 
writer  on  musk;  pupil  of  Paris 
Cons.,  and  Gevaert  in  Brussels;  also 
at  Sorbonne,  Paris;  won  Kastner- 
Boun&ult  prize  from  French  Acad. 
lor  his  "  Hisioirc  df  la  Lan&ue  Musi- 
catc"',  has  also  written  treatises  on 
Greek  music  and  modal  accompani- 
ment to  the  psalms;  1900,  appointed 
prof,  of  music,  hist,  at  Pans  Cons.; 
c.  orch,,  chamber  and  choral  music. 
org.  pieces  and  songs, 

Emmerich  (&m'-m€r-rkh),  Robt.,  Ha- 
nau,  1836— Baden-Baden,  1891;  com** 
poser. 

Enckhausen  (^nk'-how-i^nl,  H.  Pr., 
Celic,  1709 — Hanover,  1885;  court- 
organtst,  pianist  and  director. 

Enesco  (&-n£s'-koo),  Georges,  b.  Cor* 
daremi,  Roumania,  Aug.  7,  1882; 
violinist,  conductor,  composer;  at  4 
played  and  composed,  at  7  was  ad- 
mitted to  Vienna  Cons.,  by  HeHmes- 
berger,  in  whose  family  he  lived;  at 
7i,  took  first  prises  for  violin  and 
harmony;  1X96,  studied  in  Pans 
Cons,  with  Marsick  and  Faurg;  in 
2807,  he  took  second  accessit  for 
counterpoint  and  fugue,  and  a  con- 
cert of  his  works  was  given  In  Paris, 
including  a  violin  sonata,  a  piano 
suite,  quintet,  'cello  pieces  and  songs; 


DICTIONARY  OF  MUSICIANS 


141 


1898,  Coloxme  prod.  his  "Polme 
Roumain"  for  orch.;  1899,  he  took 
first  violin  prize  at  the  Cons.;  toured 
and  became  court  violinist  to  the 
Roumanian  queen;  c.  symph.  (Co- 
lonne  orch.,  1906;  N.  Y.  Phil.,  1911) 
and  symph.  in  E  flat,  op.  13  (Berlin, 
1912)  Pastoral  fantasie  for  orch. 
(Colonne  orch.,  1899);  TJixtuor,  or 
symphony  for  wind  instrs.,  do.  for 
'cello  and  orch.  (Lamoureux  orch., 
1909);  suite  for  orch.  (Boston 
Symph.,  1911);  3  Rhapsodies  Rou- 
maines,  (1911),  etc.  He  has  ap- 
peared in  the  U.  S.  both  as  violinist 
and  conductor,  and  was  engaged  for 
guest  appearances  in  latter  capacity 
with  N.  Y.  Philh.  Orch.,  1936-37; 
his  music  drama  "Oedipe"  on  which 
he  had  worked  for  many  years,  was 
prod,  at  the  Paris  Op.,  1936,  creating 
a  marked  impression  by  its  nobility 
and  original  form  of  expression. 

Engel  (Sng'-Sl),  (i)  Jn.  Jakob,  Par- 
7him,  Mecklenburg,  174.1 — 1802;  dir. 
and  composer.  (2)  David  Hn., 
Neuruppin,  1816 — Merseburg,  1877; 
organist,  writer  and  dram,  composer. 
(3;  K.,  Thiedewiese,  near  Hanover, 
1818 — suicide,  London,  1882;  organ- 
ist and  writer.  (4)  Gv.  Ed.,  K6nigs- 
berg,  1823 — Berlin,  1895;  singing- 
teacher,  composer  and  theorist. 
(5)  Carl,  Paris,  July  21, 1883— N.Y., 
May  6,  1944,  musicologist;  studied 
Strasbourg  and  Munich  Univ.,  stud- 
ied composition  with  Thuille;  res. 
U.  S.  since  1905,  became  Amer. 
citizen,  1917;  chief  of  music  division, 
Library  of  Congress,  Washington, 
1921-29;  pres.  publishing  firm  of 
G.  Schirmer,  Inc.,  N.  Y.,  and  ed.  of 
"Musical  Quarterly";  has  written  ex- 
tensively on  musical  subjects. 

En'na,  Aug.,  Nakskov,  Denmark, 
May  13,  1860 — Copenhagen,  Aug.  3, 
1939;  grandson  of  an  Italian  soldier 
in  Napoleon's  army;  son  of  a  shoe- 
maker; 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  Carious  insts.,  even  a  drum 
before  a  circus- tent;  returned  to 
Copenhagen;  prod,  the  operetta  "A 
Village  Tale"  (1880)  in  provincial 
theatres;  played  at  dancing-lessons, 
and  gave  pf. -lessons  at  12  cents  an 
hour;  1883,  cond.  for  a  small  provin- 
cial troupe,  for  which  he  wrote  act- 
tunes,  and  10  overtures;  pub.  songs, 


pf.-pcs.,  an  orchl.  suite,  and  a  sym- 
phony; this  gained  him,  through 
Gade's  interest,  the  Ancker  scholar- 
ship, enabling  him  to  study  in  Ger- 
many (1888-89).  After  producing 
an  operetta  "Areta,"  he  prod,  with 
unequalled  succ.  for  a  Dane,  the 
opera  "The  Witch,"  1892,  at  the  R. 
Opera  House,  Copenhagen.  The 
opera  "Cleopatra"  (Copenhagen, 
1894)  failed,  but  1895,  with  new  cast, 
was  succ.  as  also  "Aucassin  and 
Nicolette"  (Copenhagen,  1896;  Ham- 
burg, 1897).  Opera  "Aglaia,"  in 
MS.  Pub.  a  vm.-concerto,  etc. 

E'noch  &  Co.,  London  music-pub,  firm, 
est.  1869, 

Epine  (dS-la-pe'-ne1),  Francesca  Mar- 
gerita  de  1%  extremely  popular 
Italian  singer  and  harpsichordist  in 
London,  from  ca.  1698 — 1718,  when 
she  m.  Dr.  Pepusch;  her  sister  sang 
in  London  from  1703-1748  as  Maria 
Gallia. 

Epstein  (Sp'-shtin),  (i)  Julius,  Agram, 
Aug.  7, 1832 — Vienna,  March  i,  1926; 
pupil  of  Lichtenegger,  Halm  (pf.), 
and  Rufinatscha  (comp.);  1867-1902, 
prof,  of  pf .  Vienna  Cons.  Among  his 
pupils  were  Mahler,  Ignace  Briill, 
Ugo  Reinhold,  August  Stum,  etc., 
and  he  is  said  to  have  discovered  the 
voice  of  Marcella  Sembrich,  when  sht 
studied  piano  with  him.  His  two 
daughters,  (2)  Rudolfine  ('cellist), 
and  (3)  Eugenie  (violinist),  toured 
Austria  and  Germany.  1876-77. 
(4)  Richard  (1869-1919),  his  son, 
pianist;  toured  Europe,  and  1914 
in  U.  S. 

ISrard  (a'-rar),  (i)  SSbastien,  Strass- 
burg,  April  5,  1752 — near  Paris,  Aug. 
5,  1831;  notable  piano-maker  and  in- 
ventor; inv.  a  "Clavecin  Mecan- 
ique";  the  "Piano  organist,"  finally 
the  double-action  mechanism,  which 
made  a  new  instr.  of  the  harp  (v. 
D.  D.);  perfected  in  1811  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);  he  was 
succeeded  by  Count  de  Franqueville. 

Erb  (Srp),  (i)  M.  Jos.,  b.  Strassburg, 
1860 — d.  1944;  pupil  of  Saint-Saens, 
Gigout,  and  Loret,  Paris;  lived  in 
Strassburg  as  teacher  and  organist 
at  the  Johanniskirche  and  the 
Synagogue;  c.  a  symphony;  a  sym- 
phonic suite;  sonatas  and  "dram. 


142 


DICTIONARY  OF  MUSICIANS 


episode"  "Der  letzte  Ruf"  (Strass- 
burg,  1895),  with  some  succ.,  etc. 
(2)  Karl,  b.  Ravensburg,  July  13, 
1877;  tenor;  sang  as  choir  boy;  later 
entered  chorus  of  Stuttgart  Op.  when 
it  was  on  guest  tour  in  his  native 
town;  5  months  later  made  d6but 
at  Stuttgart  without  formal  vocal 
study;  1913-25,  member  of  Munich 
Op.;  also  active  as  recital  and  ora- 
torio singer.  (3)  John  Lawrence, 
b.  Reading,  Pa.,  1877;  organist; 
studied  Metropolitan  Coll.,  N.  Y., 
and  Virgil  School;  headed  mus.  dept. 
of  Wooster  Univ,,  later  dir.  school  of 
music,  Univ,  of  Illinois;  after  1922 
dir.  at  Conn.  Coll.,  New  London; 
wrote  life  of  Brahms;  c.  organ,  piano, 
vocal  mus.;  d.  Eugene,  Ore.,  1950. 

Er^ba,  Bon  Dionigi,  nobleman  and 
composer  at  Milan,  1694;  Handel 
appropriated  some  of  his  best  works. 

Erbach  (Sr'-bakh),  Chr,,  Algesheim, 
Palatinate,  1570 — AugLburg,  1635; 
composer  and  organist. 

Br'ben,  Robert,  Troppau,  March  9, 
1862 — Berlin,  Oct.  17,  1925;  1894, 
conductor  at  Frankfort-on-M.;  1896, 
at  Mannheim;  prod,  the  succ.  i-act 
opera  "Enoch  Arden"  (Frankfort-on- 
M.,  1805),  and  a  "fairy  comedy," 
"Die  Heinzelmannchen"  (Mayence, 
1896). 

Erdmannsddrffer  (Srt'-mans-dSrf-fe'r), 
(i)  Max,  Niirnberg,  June  14,  1848— 
Munich,  Feb*  14,  1905;  pupil  Leipzig 
Cons,,  and  in  Dresden  of  Riets; 
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  sBos;  1896,  cond.  Sym- 
phony Concerts  St.  Petersburg;  1896, 
cond*  at  the  ct.-Th.,  Munich;  c. 
"Printessin  Ilse^  "a  forest-legend"; 
and  other  works  for  soli,  chor.  and 
orch.;  overture  to  Brachvogel's 
"Narciss,"  etc-;  1874  he  m.  (2)  Paul- 
ine lichtner  OprawiU,  b.  Vienna, 
June  38,  1847 — Municr^  Sept.  24, 
1916;  jmpil  of  Pirkhert  and  Lisat; 
court-pianist. 

Erk  («rk),  (i)  Adam  Win.,  Herpf,  Saxe- 
Meinxngen,  1779 — Darmstadt^  1820; 
organist  and  composer*  (2)  Ludwig 
(ChrO>  Wetzlar>  1807 — Berlin.  1883; 
son  of  above;  conductor.  Cs)  3?t. 
Albrecht,  Wetzlar,  1809 — DUsseldorf , 
1879;  bro.  of  above;  pub*  the 
"£chrcr  Ccmmer&uck,**  etc. 


Erkel  (Sr'-ke*l),  (i)  Franz  (or  Ferencz), 
Gyula,  Hungary,  Nov.  7,  1810 — > 
Pesth,  June  15,  1893;  the  father  of 
Hungarian  opera;  conductor  and 
prof.,  composer  of  operas  incl. 
"Hunyddy  Ldsld"  and  "Bank  Ban." 

(2)  Alexander   (or  Alexius),   Pesth, 
1846 — 1900,   son   of   above;   dir.   of 
Philh.  Cone.,  Pesth,  1875-93;  1896, 
dir.     Royal     Opera,     Pesth;     prod, 
opera    "Tempcf&i"     (Pesth,     1883). 

(3)  Julius,   d.  Budapest,  March  22, 
1909;  son  of  (i),  prof,  at  Acad,  of 
Mus.,    Pesth;    conductor   for   many 
years  at  R,  Opera. 

Erlanger  (£r-ifin-zha),  (x)  Canaille, 
Paris,  May  25,  1863 — April  24,  1919; 
pupil  of  Bribes,  Paris  Cons.;  1888 
took  Grand  prix  de  Rome  with  can- 
tata "Vtlleda";  c.  symphonic  piece, 
"La  Chasse  Fanlastique  *;  dram,  leg- 
end, "Saint  Julicn  U  HospitalieP* 
(Paris,  1896);  the  succ.  lyric  drama 
"  Kcrmaria"  (Paris,  Op.-Com.,  1897), 
"Aphrodite,"  (1906)  etc,  (a)  Baron 
Fr£d£ric  d'  (pen-names  Fr.  Regna* 
or  Federico  Ringel),  b*  Paris,  May 
29,  1868;  son  of  a  banker;  prod.  succ. 
opera  "Jthan  de  Sainlre"  Hamburg 
(2894),  and  mod.  succ.  opera  "I net 
Mtndo"  (London,  xS^f.  Mr«$-/' 
"Noel,"  etc.;  d,  London,  1943. 

Erlebach  (€rr-l$-bakh),  Ph.  H.,  Essen, 
July  a$,  1657 — Rudolstadt,  April  17, 
17x4;  court-cond.;  c.  overtures, 
etc. 

Brier,  Hermann,  Radeberg,  near  Dres- 
den, June  3,  1844 — Berlin,  Dec.  13, 
1918;  2873  eat.  a  mus. -pub.  business 
(now  Ries  and  Erler);  editor  and 
critic. 

Ernst,  Heimich  Wilhelm,  Brtinn,  Mora- 
via, May  6, 1814 — Nice,  Oct.  8,  *86$: 
violinist:  pupil  Vienna  Cons,  and 
with  Bohm  and  Mayseder;  followed 
Paganini  about  to  learn  his  methods; 
1833-38  lived  at  Paris;  1838-44 
toured  Europe  with  greatest  success; 
c.  violin-concerto,  etc, 

Enrani  (Cr-ra'-n^),  Achille,  Italy,  1823 
— New  Yorkj  1897;  operatic  tenor 
and  notable  singing-teacher  in  N.  V. 

Er'skine,  John,  b.  New  York,  Oct.  5, 
187^ — N.  Y.,  June  a,  1951;  writer,  musi- 
cian; pres.  Juilliard  School  of  Music, 
H.  Y.,  until  1937;  heard  as  lecturer, 
and  as  piano  soloist  with  leading 
Amer.  orchestras;  prof,  of  English 
lit,*  Columbia  University;  among 
many  academic  degrees,  faon.  D. 
Litt.,  Bordeaux  Univ.;  Chevalier  of 


DICTIONARY  OF  MUSICIANS 


143 


the  Legion  of  Honour;  author  of 
librettos  to  operas,  "Jack  and  the 
Beanstalk"  (Gruenberg)  and  "Helen 
Retires"  (Antheil). 

Er'tel,  Jean  Paul,  Posen,  Jan.  22,  1865 
— Berlin,  Feb.  n,  1933;  critic  and 
composer;  pupil  of  Tauwitz,  Brassin 
and  Liszt;  self-taught  in  instrumen- 
tation; teacher  at  Brandenburg 
Cons.;  1897-1905,  edited  the  "Deut- 
sche  Musiker  Zeitung";  c.  symphony 
"Harald";  symph.  poems  "Maria 
Stuart,"  "Der  Mensch,"  "Belsazar," 
"  Hero  und  Leander"  (1909);  a  double 
fugue  for  orchestra  and  organ,  etc. 

Ert'mann,  Baroness,  ca.  1778 — Vienna, 
1848;  pianist;  intimate  friend  of 
Beethoven. 

Eschmann  (gsh'-mSn),  Jn.  K.,  Win- 
terthur,  Switzerland,  1826 — Zurich, 
1882;  pianist,  teacher  and  composer 
at  Leipzig. 

Escudier  (£s-kttd-ya),  two  brothers, 
of  Castelnaudary,  Aude,  (i)  Marie, 
i8ip — 1880,  and  (2)  Leon,  1821 — 
Pans,  1881;  journalists. 

Eslava  (Ss-la'~va),  Don  Miguel  Hnario, 
Burlada,  Navarra,  1807 — Madrid, 
1878;  court-conductor,  editor  and 
theorist. 

Espagne  (Ss-pakh'-ne1),  Fz.,  Miinster, 
Westphalia,  1828 — Berlin,  1878;  di- 
rector and  editor. 

Espla,  Oscar,  b.  Alicante,  Aug.  5,  1886; 
Spanish  composer;  one  of  the  leading 
composers  of  his  country,  his  works 
based  on  folk  music  of  eastern  Spain; 
utilises  original  musical  scale  drawn 
from  folk  music;  forswears  impres- 
sionism and  romanticism  for  classical 
method;  c.  orch.,  chamber  and  other 
music  of  marked  originality. 

Espo'sito,  Michele,  Castellammare, 
near  Naples,  Sept.  29, 1855 — Dublin, 
Nov.  19,  1929;  pianist;  pupil  of 
Naples  Cons.,  under  Cesi;  1878-82, 
at  Paris;  from  1882,  piano-prof., 
Royal  Irish  Acad.  of  Music,  Dublin; 
1895  org3-11!?^  an<i  cond.  an  orches- 
tra in  Dublin;  c.  cantata  "Deirdre" 
winning  Feis  Cecil  prize  (1897); 
operetta,  "The  Postbag'*-  "Irish"- 
symph.  (Feis  Ceoil  prize,  1902), 
etc. 

Es'ser,  H.,  Mannheim,  1818 — Salz- 
burg, 1872;  court-conductor. 

Es'sipoff  (or  Essipova)  (Ss-sX-p6f'-a), 
Annette,  St.  Petersburg,  Feb.  i,  1851 
— Aug.  1 8,  1914;  pianist;  pupil  of 
Wielhorski;  of  Leschetizky,  whom 


she  m.  1880:  dSbut,  1874,  St.  Peters- 
burg; toured  Europe  with  great  succ.; 
toured  America  (1876);  1885,  pianist 
to  the  Russian  Court;  1893—1908, 
pf.-prof.  St.  Petersburg  Cons. 

Este  (or  Est,  East,  Easte),  (i)  Thomas, 
London  music-printer,  ca.  1550 — 
ca.  1609.  (2)  Michael,  son  of  above; 
1 7th  cent,  composer. 

Esterhazy  (esh'-tSr-h£-zg),  Count 
Nicholas,  1839 — Castle  Totis,  Hun- 
gary, 1897;  generous  patron  of 
music. 

Ett  (St),  Kaspar,  Erringen,  Bavaria, 
1788 — Munich,  1847;  court-organist 
and  composer. 

Ett'inger,  Max,  b.  Lemberg,  Dec.  27, 
1874;  comp.  of  operas,  "Clavigo," 
"Judith,"  etc. 

Eulenburg  (tsoo  oi'-lSn-boorkh),  (i)  Ph., 
Graf  zu,  Konigsberg,  Feb.  12,  1847 
— Liebenberg,  Sept.  17,  1921;  Royal 
Prussian  Ambassador,  Stuttgart;  c. 
songs  (words  and  music).  (2;  Ernst, 
Berlin,  1847 — Leipzig,  1926;  founder 
of  Leipzig  publishing  house. 

Ev'ans,  (i)  Edwin,  1844 — London,  Dec. 
21,  1923;  organist,  writer;  author, 
"Beethoven's  Nine  Symphonies,"- 
"Record  of  Instrumentation"-  etc.; 
his  son  (2)  Edwin;  b.  London, 
Sept.  i,  1874;  music  critic;  educated 
at  Lille,  Echtemach,  Luxembourg; 
self-taught  in  music;  critic,  "Pall 
Mall  Gazette,"  1914-23;  contributor  to 
many  periodicals;  one  of  the  founders 
of  the  Internat'l  Soc.  for  Contem- 
porary Music;  wrote  work  on 
Tschaikowsky;  d.  1945. 

Evers  (a'-v&rs),  K.,  Hamburg,  1819 — 
Vienna,  1875;  pianist  and  composer. 

Ew'er  &  Co.,  London  mus. --publishers; 
founded  1820  by  J.  J.  Ewer,  suc- 
ceeded by  E.  Buxton;  1860,  W,  Witt; 
1867,  became  Novello,  Ewer  &  Co. 

Eximeno  (Sx-I-ma'-nS),  Ant.,  Valencia, 
1729 — Rome,  1808;  Jesuit  priest;  had 
historical  controversy  with  Padre 
Martini, 

Expert  (fix-par),  Henri,  b.  Bordeaux, 
May  12,  1863;  pupil  of  C€sar  Franck 
and  Gigout;  authority  on  15-1 6th 
century  music  and  editor  of  many 
important  texts;  from  igc*9  librarian 
Paris  Cons.;  d.  Alpes  Maritim 63,19^ 

Eybler  (I'-blSr),  Jos.   (later,  in  1834, 
Edler  von  Eybler),  Schwechat,  neai 
Vienna,     1765 — Scho'nbrunn,     1846 
conductor  and  composer. 

Eyken    (i'-k6n),    (i)    Simon   van  -{or 


144 


DICTIONARY  OF  MUSICIANS 


Eyciken;  du  Citesne).  Vide  QUEROT. 
(2)  (Eijken),  Jan  Albert  van,  Amers- 
foort,  Holland,  1822—  Elberfeld,  1868; 
organist  and  composer;  c,  valuable 
chorals,  etc. 

Bymieu  (fim'-y&),  Henri,  b.  Saillans 
Drome,  France,  May  7,  1860;  a  law- 
yer, but  studied  with  E.  Gazier 
(theory)  and  Widor  (corap.);  writer 
and  critic  for  uLe  Mtnestrd"  etc.; 

c.  a  stage-piece,  "  Un  Mariage  sous 
N6ron"  (Paris,  i8QiS),  and  an  ora- 
torio»  "Afartke  et  Marie"  (Asni&ces, 
1898),  etc. 

Eysler  (I&'-l£r),  or  Eisler,  Edmund,  b. 
Vienna,  Mar.  12,  1874;  c.  operettas 
"The  Feast  of  Lucullus"  (Vienna. 
1901),  and  "Brother  Straubinger9* 
(1003),  "Vcra  Ywlrtla,"  1907,  etc.; 

d,  Vienna,  Oct.  4,  1049. 

F 

Faber  (ft'-b«r).  (0  Nlkolaus  (Nteol), 
priest  at  Halberstadt,  1  350-6  x,  built 
there  what  is  considered  the  first 
organ  made  in  Germany,  (a)  HJko- 
laus  (IL)>  a  native  of  Bocen,  Tyrol; 
pub.  "Rudimenia  inttsicaeS9  Augs- 
burg, 1516.  (5)  Heinrich,  "Magis- 
ter,**  b.  Lichtenfeis*  d.  Oelsnits,  Sax- 
ony, 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)  Bened&t*  Hildburg- 
hausen,  1603—  Coburg,  3:63*  ;  com* 
poser. 

Fabio.    Vide  uasnxa 

Fabri  (ffc'-br*),  (*>  Stefa«o 


f  b.   Rome,  ca.   1550;   3599— 
1  60  r,    conductor,     (a)    Stefano    (U 


))  Rome,  x6o6-—  x6$8;  conduc- 
tor and  composer.     (3)  AJonibaJe  PJo 
(called  BaUno),  Bologna^  1697  —  Lis- 
bon, 1760;  tenor,  etc. 
Fabrldus  (f&-bre'-tsl-oos)>  (2) 


Itzehoe,  i6ri  —  Leipzig,  21679;  cona- 
noser.  (2)  J*  Albert,  Leipzig,  1668— 
Hamburg,  1736,  son  of  above?  pro- 
fessor. 

Faccio  (fat'*cha)»  Franco,  Verona, 
March  8,  1840  —  Monasa,  July  ax, 
i  HQI;  an  important  composer;  criti- 
cised as  Wagnerite;  notable  cond*; 
prof,  at  Milan  Cons,  (harmony,  later 
cpt.).  Vide  sorro. 

Faetten  (fer-t*n),  (ac)  3BC,*  Bmenau, 
Thuringia,  Dec.  ait  1846—  Read- 
lield,  Me.,  Jan.  5,  1928;  studied  as  a 
school-boy  with  Montag;  for  6 
years  orchestra-  violinist;  1867  stud- 


ied with  J.  Schoch,  Frankfort,  and 
was  for  10  years  friend  of  Raff;  1868- 
82,  Frankfort;  1878,  Hoch  Cons.; 
1882-85,  Peabody  Institute,  Balti- 
more,  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. (2)  ReLoJboId,  b.  Ilmenau, 
Jan.  17,  1856;  brother  of  (i);  pupil 
of  Klughardt  and  Gottschalg  in 
Weimar;  also  for  many  years  in  the 
U.  S.,  active  in  Baltimore  and  Bos- 
ton as  teacher,  writer, 

Fago  (fa'-g6),  Nicola  (called  **H  Taren- 
fino")t  Tarento,  1674 — 1745  (?);  c. 
oratorio,  masses;  prod*  several  very 
aucc.  operas. 

Fafcrbach  (ffilr'-bakh),  (i)  Jos,t  Vienna, 
3:804 — 1883;  flutist,  conductor,  and 
composer.  (2)  Ph.  (Sr,),  Vienna^ 
18x5^ — 1885;  conductor  and  dram. 
composer*  (3)  Wm*»  Vienna,  3838 
*— xS66;  conductor  and  composer. 
(4)  Pbu  (Jr.),  Vienna,  1840 — 1894; 
son  of  (a):  conductor. 

Ffihrmann  (far'-man)  Ernst  Hans*  b. 
Beicfaa,  Dec.  17, 1860;  organist;  1894, 
teacher  at  Dresden  Cons.;  c.  organ 
sonatas,  etc. 

Falgnlent  (fin-yaft),  Hoi,  b.  Antwerp, 
ca.  1570,  Flemish  contrapuntist* 

Pair/child,  Blair,  Belmont,  Mass.,  June 
»3,  1877— Pari*.  April  23,  1933; 
composer;  studied  at  Harvard  Univ., 
with  Paine  and  W.  Spalding*  also  in 
Florence  with  BuonamSci;  entered 
diplomatic  service  in  Constantinople 
and  Persia:  Oriental  impressions 
notable  in  his  music;  after  1903  lived 
in  Paris,  studied  with  Widor  and 
Ganave;  c.  (pantomime)  "Dame 
LibtUulc"  (Paris  Op.«Comiquef  19*1); 
also  many  orch.,  chamber  music, 
vocal  and  piano  works. 

Faiszt  (fist),  Imznanuel  G.  Fr.,  Ess!lgenr 
Wttrtemberg,  1823— Stuttgart,  1894; 
organist. 

FaJcke  (f*ik}»  Henri,  Paris,  1866— 
May»  1901;  pupit  of  $aint-Sa£ns, 
Massenet,  Dubois,  and  Mathias, 
Paris  Cons.:  won  xst  prizes  in  pf  *  and 
harm,;  studied  in  Germany;  pub.  a 
useful  text-trek  on  arnegjrlos. 

Falcon  (fal-kOn),  M.  Corn^lie,  Pari-, 
x8ia — 18^17;  soprano  singer. 

Faik  Mehlig  (talk  mi'-!lkh\  Anna, 
Stuttgart,  July  n,  1846— Berlin, 
July  16,  1928;  studied  At  the  Cons., 
also  with  Liszt;  toured  as  concert 
pianist  throughout  Germany, 


DICTIONARY  OF  MUSICIANS 


145 


land,  and  America;  court-pianist  to 
the  king  of  Wiirtemberg. 

Fall,  Leo,  Olmiitz,  Feb.  2,  1873 — 
yienna,  Sept.  15,  1925;  composer  of 
light  operas;  "Irrlicht"  (Mannheim, 
1905),  "Der  Rebell"  (Vienna,  1905), 
"Der  fidele  Bauer"  (Mannheim, 
1907),  "Die  Dollar  Prinzessin,"- 
(Vienna,  1907,  London  and  America 
as  "The  Dollar  Princess"),  etc. 

Falla,  De.  Vide  DE  FALLA. 

Faltin  (Car-ten),  R.  Fr.,  Danzig, 
Jan.  5,  1835 — Helsingfors,  June  i, 
1918;  pupil  of  Markull,  Schneider, 
and  Leipzig  Cons.  Since  1869  lived 
at  Helsingfors,  Finland,  as  cond.; 
pub.  " Finnish  Folk-Songs"  and  a 
"Finnish  Song-Book." 

Faminzin  (fa-mSn'-tsen),  Alex.  Ser- 
gievitch,  Kaluga,  Russia,  1841 — 
Ligpvo,  near  St.  Petersburg,  1896; 
critic  and  dram,  composer. 

Fanel'li,  Ernest,  Paris,  1860 — 1917; 
studied  Paris  Cons.;  violinist;  played 
in  cafe's,  dance  halls,  acted  as  music 
copyist;  in  1912  his  symphony 
"Tableaux  Symphoniques"  written 
in  1883,  prod,  by  the  Colonne  orch., 
received  with  greatest  approval. 
His  works,  in  modern  style  of  much 
originality,  are  prophetic  of  Debussy. 

Fan'ing,  Eaton,  Helston,  Cornwall, 
May  20,  1850 — Brighton,  Oct.  28, 
1927;  pupil  of  the  R.  A.  M.,  took 
Msndelssohn  Scholarship  in  1873  and 
the  Lucas  Medal  in  1876;  1894  Mus. 
Bac.,  Cantab.;  1885  dir.  music  at 
Harrow  School;  c.  3  operettas,  can- 
tata for  female  voices,  symphony  in  C 
minor,  overture,  "The  Holiday"  etc. 

Farabi.     Vide  ALFARABI. 

Faiina  (fa-rS'-na),  Carlo,  b.  Mantua; 
one  of  the  earliest  of  violin  virtuosos; 
1625  court  chamber  musician  at 
Vienna;  c.  violin  pieces. 

Farinelli,  (i)  Carlo  Broschi  (br6s'-k5), 
Naples,  June  24,  1705 — Bologna, 
July  15,  1782;  famous  male  soprano; 
d£but  1722  at  Rome;  he  sang  with 
the  utmost  brilliancy  and  success, 
being  only  once  overcome  by  a  rival 
(Bernacchi)  from  whom  he  immedi- 
ately took  lessons;  he  joined  the  op- 
position to  HSndel  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;  biog.  by 
Sacchi  (Venice,  1784).  (2)  Gitu, 
Estey  1769 — Trieste,  1836;  org,;  c. 
60  operas. 


Far'jeon,  Harry,  b.  Hohokus,  N.  J., 
May  6,  1878;  composer;  of  English 
parentage,  t-nd  taken  to  England  in 
infancy;  pupil  of  Landon  Ronald, 
Storer,  and  1895-1901,  R.  A.  M.; 
prod,  operetta  "Floretta"  1899;  from 
1903,  prof,  of  theory  at  the  R.  A.  M.; 
c.  piano  concerto,  orch.  suite  "Hans 
Andersen";  symph.  poems,  "Mow- 
glij"  and  "Summer  Vision"  \  chamber 
music,  songs,  etc.;  d.  Dec.  29,  1948. 

Farkas  (far'-kSLsh),  Edmund  (Hung., 
Od<5n),  Puszta-Monostor  (Heves), 
Hungary,  1852 — Klausenburg,  Sept. 
i,  1912;  important  figure  in  national 
Hungarian  music;  of  noble  family, 
intended  to  be  a  civil  engineer;  but 
studied  3  years  at  the  R.  Mus.  Acad., 
Pesth;  next  year  became  dir.  at  the 
Cons,  at  Klausenburg,  Transylvania; 
was  for  a  time  op.  cond.  and  wrote 
mus.  articles;  1876,  while  still  study- 
ing engineering,  he  prod,  a  i-act 
opera  "Bayader"  (Pesth);  won  the 
Haynald  prize  of  300  florins  with  a 
mass;  c.  also  mixed  choruses,  and  the 
drch.  works  "Dawn"  (Virradat), 
"Evensong"  (Estidal),  "  Twilight" 
(Alkony),  and  "Dies  ir<z"\  a  pop. 
symphony  and  5  string-quartets;  a 
prize  "Festouvertftre"\  and  the  operas 
'  'Fairy  fountain9 '  ( Tilnderhorrds) , 
i-act  (Klausenburg,  1892);  "The 
Penitent"  (Veseklok)  (Pesth,  1893); 
"Balassa  Balint,"  comic  (Pesth, 
1896);  and  "The  Blood-ordeal"  (Te- 
temre  Hinds)  (not  prod.). 

Far'mer,  (i)  John,  important  English 
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.  (3)  H.,  Nottingham,  Eng- 
land, 1819 — 1891;  violinist  and  or- 
ganist. (4)  J.,  Nottingham,  Aug. 
16,  1836 — July,  IQOI;  nephew  of 
above;  pupil  of  Leipzig  Cons,  and 
df  Spath;  teacher  in  Zurich  for  some 
years;  1862-85  mus. -master  at  Har- 
row School,  then  organist  at  Balliol 
Coll.,  Oxford,  where  he  founded  a 
mus.  society;  edited  song-books,  etc.; 
c.  an  oratorio;  a  fairy  opera;  comic 
cantata;  a  requiem,  etc. 

Far'naby,  Giles,  English  composer, 
ca.  1565 — 1600  (?). 

Far 'rant,  (i)  John,  English  organist, 
ca.  1600.  (2)  John,  English  or- 


146 


DICTIONARY  OF  MUSICIANS 


ganist,  Salisbury  cath.,  ca.  1600. 
(3)  Richard,  d.  Nov.  30,  1580; 
English  organist  and  notable  com- 
poser of  church-music. 

Farrar',  Geraldine,  b.  Melrose,  Mass., 
Feb.  28,  1882;  soprano;  at  12,  pupil 
of  J.  H.  Long,  Boston;  later  of 
Trabadello  and  Lilli  Lehmann;  1901, 
debut  Berlin  Royal  Opera;  also  at 
the  Op.  Com.,  Paris,  and  1906—22, 
at  the  Met.  Op.  House  in  N.  Y., 
creating  the  role  of  the  Goosegirl 
in  Humperdinck's  "  Ktinigskinder" 
(1910).  Her  striking  dram,  and 
music,  gifts,  couoled  with  charm  of 
personality,  placed  her  in  the  front 
rank  of  Amer.  singers,  and  she  was 
heard  widely  as  a  concert  and  fest. 
soloist.  She  made  several  successful 
silent  motion  pictures,  and  also 
toured  with  her  own  company  in  a 
version  of  "Carmen,"  a  role  in  which 
she  had  enjoyed  favour  at  the  Metro- 
politan. After  retiring  from  the 
stage  and  later  the  concert  field,  she 
sang  in  radio  programmes  and  also 
acted  as  commentator  for  the  Met. 
Op.  broadcast  performances*  1935* 

Farrenc  (f&r-raftk),  (i)  Jacq,  Hipp,  Axis- 
tide,  Marseilles,  1704 — Paris,  1865; 
teacher  and  composer.  (2)  Jeanne 
Louise  (ne'e  Dumont),  Paris,  1804- 
1875;  wife  of  above,  pf. -professor. 

Far'well,  Arthur,  b.  St.  Paul,  Minn,, 
April  33,  1872:  American  composer: 
pupil  of  H.  A.  Norm,  Boston,  and  of 
Humperdinck;  founded  at  Newton 
Center,  Mass.,  1001,  the  "Wawan 
Press"  for  the  artistic  pub.  of  comps. 
by  Americans,  particularly  music 
based  on  Indian  themes.  In  1905  he 
established  the  Amer,  Music  Soc, 
From  1909--*$  n«  was  a  member  of 
the  staff  of  "Musical  America1*  and 
in  1010-13,  dir,  of  municipal  concerts 
in  New  York;  3915-18,  dir.  of  Music 
School  Settlement  there;  igiS-xo, 
acting  prof.,  Univ.  of  Calif.  Has 
comps.  include  for  orch.  "Dawn" 
"The  Domain  of  flurakanj*  "  Na- 
vajo  War- Dance*9  (all  on  Indian 
themes).  "Comfit"  overture,  and 
"Love  Song'*}  for  piano  many  pieces 
of  Indian  theme,  and  numerous  fine 
songs;  d.  N*  V.,  Jan,  jo,  1952. 

tfasch  (fash),  (i)  Jn.  Fr,t  Buttlestadt, 
near  Weimar,  1688 — Zerbst,  1758; 
court-conductor,  composer,  (a)  1C* 
IV.  Chr.>  Zerbat,  1736—- Berlin,  1800; 
cembalist;  son  of  above;  conductor. 
i  Vincent  Cor  Fauquas,  Fa'gus, 


La  Fage)  (f6g,  f6k,  la  f£zb), 
cent,  contrapuntist. 
Faure  (f5r),  J.  Bapt.,  Moulins,  Allier, 
Jan.  15,  1830 — Paris,  N°v-  9»  I9I45 
184*,  Paris  Cons.;  choir-boy  at  the 
Madeleine,  and  studied  with  Tre- 
vaux;  took  ist  prize  for  comic  opera; 
1852-76,  at  the  Op,  Com.  as  leading 
barytone  with  great  succ.;  1857, 
teacher  in  the  Cons.;  after  1876  sang 
in  concert;  pub.  "L'Ar*  du  Chant"-, 

c.  songs,  etc. 

Fatir^  (f^-ra),  Gabriel  Urbain,  Pamiers, 
Ari^ge,  May  13,  1845 — Paris,  Nov.  4, 
10,24;  eminent  French  composer; 
pupil  of  Niedermayer,  Dietsch,  and 
Saint-Safe'ns;  x866T  organist  at  Rennes, 
then  at  St.-Sulpice  and  St.-Honore"; 
1885  took  Prix  Chartier  for  chamber 
music;  2896  organist  at  the  Made- 
leine, and  prof,  of  comp.,  cpt.,  and 
fugue  at  the  Cons,  (vice  Massenet); 
1905-20,  he  became  director;  C* 
music  to  "Prom&kte"  <B£ziers,  1900), 
"Julius  Casar"  (1905),  "PtUtas  # 
Mtlisande"  2898;  arranged  as  an 
orch.  suite,  XQOJT;  also  much  chamber 
music,  ana  religious  choruses,  piano 
pieces  and  many  highly  important 
songs;  i-act  opera  "L'Organiste" 
(1887);  "La  Naissanc*  d*  Venus" 
for  soli,  chorus,  and  orch.;  "Ckcntr 
de  £>jr»Jiffts";  reouienn;  symphony; 
vln.-concerto;  orchestral  suite;  a  pf.- 
quartets;  £/^*V,  for  'cello;  Berceus* 
and  Romance,  for  vin.  and  orch.,  a 
vln. -sonata,  etc*;  1909,  elected  to 
French  Academic;  19x0,  commander* 
Legion  of  Honour.  Memoirs  pub* 
by  Sere*  and  Vuillemin. 

Fayolle  (fl-y6!>,  Fnuou  Jon.  M,»  Paris, 
1774—1852;  mus.  biographer  and 
lexicographer. 

Fayr'faz*  Robt.,  Mus*  Doc.t  Cantab, 
and  Oxon,  1504-21;  organist  and 
composer. 

Fechner  (f^kh*-n«r),  Gv*  Th*y  Gross* 
Sarchen,  Nicderlausite,  iSoi — Leip* 
IUK,  1887;  writer. 

Fedele  (fa-da'-li).     Vide  TREU. 

Faderici  (fft-dA-r€'-che),  V^  Pesaro, 
1764 — >Jilan,  2826;  went  to  London, 
where  he  became  cembalist;  returned 
to  Italy  in  1803  and  prod,  many  succ. 
operas, 

Federrlein  (f*'-d*r4ln),  Gottfried,  b. 
New  York,  1883;  organist;  pupil  of 
his  father,  Goctsciuus  and  Saar; 
church  organist;  former  warden  A.G.O.; 

d.  Flushing,  N.  Y.,  Feb.  «6,  19 
Feiix'berg,    bamuel    Engenievitch, 


DICTIONARY  OF  MUSICIANS 


147 


Odessa,  May  26,  1890;  composer; 
pupil  of  Jensen  and  Golden weiser; 
grad.  of  Moscow  Cons.,  as  pianist; 
representative  of  the  more  advanced 
modern  Russian  school  of  composi- 
tion; c.  piano  works  and  songs. 
Felix  (fa-lSks),  Dr.  Hugo,  Vienna, 
Nov.  19, 1866 — Los  Angeles,  Aug.  24, 
1934;  c.  operettas  "  Husarenblut"- 
Vienna,  1894;  "Rhodope,"*  Berlin, 
1900;  "Mme.  Sherry99  (Berlin,  1902, 
with  great  success  in  America,  1910). 
Fellowes,  Edmund  Horace,  b.  London, 
Nov.  n,  1870;  author,  lecturer,  edi- 
tor; specialist  in  Elizabethan  madri- 
gal; grad.  Winchester  Coll.  and  Oriel 
Coll.,  Oxford;  hon.  Mus.  D.,  Trinity 
Coll.,  Dublin;  dir.  Choir  of  St. 
George's  Chapel,  Windsor  Castle, 
1923—27;  has  toured  Canada  as  cond. 
of  Westminster  Abbey  singers,  and 
d.  Windsor,  Engl.,  Dec.  21,  1951. " 
Felstein  (fel'-shtm)  (called  Felstinen'- 
sis),  Sebastian  von,  ca.  1530;  church- 
conductor  and  composer,  Cracow. 
Fenaroli  (fa-na-r6x-le;,  Fedele,  Lan- 
ciano,  Abruzzi,  1730 — Naples,  1818; 
teacher  and  composer. 
Feo  (fa'-5),  Francesco,  b.  Naples,  ca. 

1685;  composer  and  teacher. 
Fer(r)abosco  (fSr-ra-bds'-kd),  (i)  Al- 
fonso, Italy,  1543 — 1588;  c.  madri- 
gals. (2)  Dom.  M.,  Rome,  i6th 
cent.,  member  Papal  Choir;  composer. 
(3)  Costantino,  court-musician  and 
composer  at  Vienna,  1591.  (4)  Al- 
fonso, Greenwich,  England,  ca.  1575 
— 1628;  probably  son  of  (i);  com- 
poser. (5)  John,  d.  1682,  son  of 
(4);  organist  Ely  Cathedral. 
Ferrari,  (i)  Benedetto  (called  della 
Tiorba  "the  theorbist")  (fSr-ra'-re1 
dSl-la  t5-6r'-ba),  Reggio  d'Emilia, 
^597  —  Modena,  1681;  court- 
conductor  and  dram,  composer. 
(2)  Domenico,  Piacenza,  (?) — Paris, 
1780;  'violinist,  conductor  and  com- 
poser. (3)  Carlo,  Piacenza,  ca.  173° 
— Parma,  1789,  bro.  of  above; 
^cellist.  (4)  Giacomo  Gotifredo,  Ro- 
veredo,  Tyrol,  1759 — London,  1842; 
cembalist,  writer,  teacher,  and  com- 
poser. (5)  Francisca,  Christiania, 
ca.  1800 — Gross-Salzbrunn,  Silesia, 
1828;  harpist.  (6)  Serafinp  Aniadeo 
de%  Genoa,  1824 — 1885;  pianist  and 
dram,  composer.  (7)  Carlotta,  Lodi, 
Italy,  Jan.  27,  1837 — Bologna,  1907; 
pupil  of  Strepponi  and  Panzmi 
(1844-50)  of  Mazzucato  at  Milan 
Cons.;  wrote  text  and  music  of  succ. 


operas  "  Ugo"  (Milan,  1857);  "Sofia** 
(Lodi,  1866);  "Eleanora  d'Arborea"* 
(Cagliari,  1871);  also  masses;  a 
Requiem  for  Turin,  1868,  etc. 
(8)  GabrieUe,  Paris,  March  14,  1860 
— July  4,  1921;  pupil  of  Eletten, 
Duprato,  later  of  Gounod  and  Le- 
borne;  at  12  d6but  as  pianist,  Naples; 
c.  opera  "Le  Colzar,"  given  at  Monte 
Carlo  in  one  act,  enlarged  to  two 
(Paris  Op6ra,  1912);  also  orch.  suites 
and  many  popular  songs. 
Ferrari-Fontan'a,  Edoardo,  Rome,  July 
8, 1878 — Toronto,  Can.,  July  4, 1936; 
tenor;  early  in  life  entered  medical 
career,  later  diplomatic  service  at 
Italian  consulate  in  Montevideo  and 
Rio  de  Janeiro;  opera  d6but,  Turin, 
1910,  as  "Kurwenal"  in  "Tristan  und 
Isolde"-,  sang  later  in  leading  Italian 
theatres,  South  America,  Paris,  Bos- 
ton and  New  York,  with  Met.  Op. 
Co.  after  1914;  rn.  Margarete  Mat- 
zenauer,  contralto;  divorced. 
Ferreira  (f£r-ra'-e-ra),  Da  Costa,  RooV 
rigo,  1776 — 1825;  Portuguese  writer*. 
Fer(r)et'ti,  Giov.,  b.  Venice,  ca.  1540; 

composer. 

Fern  (fSr'-re),  (i)  Baldassare,  Perugia, 
1610 — Sept.  8,  1680;  one  of  the  most 
gifted „  and    successful    of    singers; 
a  male  soprano;   possessed  extraor- 
dinary endurance  of  breath,  flexibil- 
ity of  voice,  and  depth  of  emotion; 
at   65   returned   to   Perugia;   on   his 
death  left  600,000  crowns  for  charity. 
Ferrier   (fer-e-a'),   Kathleen,   b.   Lan- 
cashire,   1912 — d.   London,   Oct.   8, 
1953;  noted  contralto;  pupil  of  J.  E. 
Hutchinson,    Roy   Henderson;    sang 
Glyndebourne  Opera;  toured  U.   S. 
Ferro'ni,  V.  Emidio  Carmine,  Tramu- 
tola,   Italy,    Feb.    17,    1858 — Milan, 
Jan.    IT,    1934;   pupil   Paris    Cons.; 
ist  prize  in  harm,  and  comp.,  1880- 
83;  1 88 1,  asst.-prof.  of  harm,  at  the 
Cons.;  1888  prof,  of  comp.  at  Milan 
Cons.,  and  mus.  dir.  of  the  "Famiglia 
Artistica."     1897,   Chevalier  of   the 
Ital.    Crown;    c.    operas    "Rudello'1 
(Milan,  1892);  and  (text  and  mus.  of) 
"Ettore  Fieramosca"  (Como,  1^896). 
Ferroud      (fa-rood'), 
Chesselay,   France, 
brecen,    Hungary, 
(motor    accident) ;  .         . 

shown  sensitive  impressionistic  man- 
ner in  his  works;  studied  with 
Florent  Schmitt;  served  as  critic 
on  various  periodicals;  c.  (orch.) 
"Foules,"  perf.  with  succ.  by  various 


Pierre-Octave, 

1900 — near  De- 
Aug.  17,  1936 
composer;  had 


148 


DICTIONARY  OF  MUSICIANS 


Amer.  orchestras;  "Au  Pare  Man- 
ceau"\  Serenade;  also  a  comic  opera 
"ChirurgieJ*  given  at  Monte  Carlo, 
1928;  ballet,  "Jtunesse,"  etc. 

Fes'ca,  (i)  Fr.  Ernst,  Magdeburg,  1789 
— Carlsruhe,  1826;  violinist  and 
composer.  (2)  Alex.  Ernst,  Carls- 
ruhe,  May  22,  1820 — Brunswick, 
Feb.  22,  1849;  son  of  above;  brilliant 
pianist  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)  Franceses,  Na- 
ples, 1778 — St.  Petersburg,  1836; 

,    operatic  singer;  m.  Maffei. 

Fest'ing,  Michael  Christian,  Lon- 
don, ca.  1700 — 1752;  son  of  a  flutist, 
of  same  name;  conductor,  violinist, 
and  composer. 

F$tis  (fa-tes),  (i)  Francois  Joseph, 
Mons,  Belgium,  March  25,  1784 — 
Brussels,  March  26,  1871;  indefati- 
gable 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;  2800-03  in  the  Paris  Cons.; 
1803,  Vienna,  for  study  of  fugue,  ana 
master- work  of  German  music;  here 
began  an  investigation  of  Guide 
d'Are«zo's  system  and  the  history  of 
notation.  1804  he  started  a  short- 
lived mus.  periodical.  1806  he  be- 
gan the  30  years'  task  (still  unpub.) 
of  revising  the  plain-song  and  entire 
ritual  of  the  Koman  Church.  He 
m.  a  wealthy  woman,  and  was  en- 
abled to  pursue  his  studies  comfort- 
ably till  1811,  when  her  fortune  was 
lost.  He  returned  to  the  Ardennes 
and  made  researches  into  harmony, 
which  led  to  his  formulating  the 
modern  theory  of  tonality,  3813, 
organist  and  teacher  at  Douas; 
wrote  "La  Sf fence  de  l*Orgamst>" 
and  "Melhode  tltmentairc  d'harwtome 
et  d*accompa%ncmtnt"  1818,  Paris, 
where  he  prod,  various  operas  with 
succ.  1821.  prof,  of  camp,  at 
the  Cons.,  later  librarian.  1827-35 
founded  and  edited  "La  Revue 
Musicale*"  In  1832  began  historical 
lectures  and  concerts.  1833,  concl. 
to  King  Leopold  L,  Brussels,  and 
for  39  years  air.  of  the  Cons,  there, 
and  1845  member  of  the  Belgian 


Academy.  On  his  wedding-jubilee 
a  Mass  of  his  was  sung,  and  his  bust 
was  unveiled.  In  1806,  he  began 
collecting  and  preparing  for  his  great 
"Biographic  universclle  des  musiciens 
et  bibliographic  genfrale  de  la  mu- 
siquc"  in  8  volumes  (1837-1844). 
Tnis  invaluable  monument  is,  like 
everything  else  of  its  kind,  bristling 
inevitably  with  error,  bias,  and  ex- 
cess; yet  is  a  standard  of  highest 
repute.  Pub.  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^ 
2874);  and  Gollmick  (Leipzig,  1852). 
(2)  Ed.  L.  Fran.,  Bouvignes,  near 
Dinant,  May  16,  2812 — Brussels, 
Tan.  31,  1009;  son  of  above;  editor; 
for  years  libr.  Brussels  Library;  pub. 
"Le$  musititns  Beiges"  (1848)-  (3) 
Adolphe  L.  Eugene,  Paris,  1820—* 
1873;  son  and  pupil  ol  (*);  pianist*, 
teacher  and  dram,  composer. 

Feuermaaa  (foi'~*r-m{inn  Emasmei, 
Kolomea,  Poland,  Xov.  2*,  iqo? — 
N.  Y.,  May  25,  104^:  cellist;  pupil 
Anton  Walter,  Julius  Kk-ngei;  con- 
cert d£but  al  it;  at  17  Icacher  at 
Cologne  Cons,,  where  he  was  active 
until  1933;  solo  'cellist  with  G«r- 
zenich  Orch.  and  mem,  GUrzenich 
Quartet;  later  res.  in  Vienna;  taught 
Berlin  Hochsch.;  solo  'cellist  in 
Philfa.  Orch.  in  that  city;  has  made 
world  tours  with  succ.,  inch  XJ.  S., 
where  made  d^but  in  recital  and  as 
soloist  with  N.  Y.  Philh.,  1935-36, 

Feurich  (foi'-rlkh),  Julius,  Leipzig, 
iSai^ — xoxx>;  founded  pit*  factory, 
2851. 

Fevfca  (fO-v&n)*  Ant,  (Axitonitis)  de, 
ca.  1473 — ^5^5  (?);  Ketherlaad- 
ish  (?)  contrapuntist;  contemporary 
with  Jo&quin  Dwpres,  and  rated 
second  only  to  him.  (a)  Robert 
( Robertas),  Cambrai,  xjth  cent-;  c. 
masses, 

F^vrier  (f&v^re-i)t  (i)  Henri  Louis, 
Abbeville — Paris*  ca,  17^0;  composer 
of  clavecin  music,  of  which  he  pub. 
a  collections  in  1734  and  2755. 
<a)  Henry,  b.  Paris,  1875;  composer; 
pupil  of  H,  Woollctt  and  the  Paris 
Cons,,  studying  with  Pugno%  Leroux 
and  Massenet;  ateo  privately  with 
Mcssagcr;  his  first  compositions  were 
chamber  music,  inch  a  piano  trio 
and  sonata  for  vln.  and  piano;  he 
has  also  written  pieces  for  the  latter 


DICTIONARY  OF  MUSICIANS 


149 


instrument,  choruses  and  songs,  but 
is  chiefly  known  for  his  operas,  among 
which  are  "Le  Roi  aveugle"  (Paris, 
1906),  "Monna  Vanna"  after  Maeter- 
linck (Paris,  1909),  "Gismonda," 
taken  from  Sardou  drama  (Chicago, 
1919),  and  a  number  of  operettas. 

Fiala  (fe'-a-la),  Jos.,  Lobkowitz,  Bo- 
hemia, 1749 — Donauchingen,  1816; 
oboist,  'cellist,  composer,  and  con- 
ductor. 

Fibich  (fg'blkh),  Zdenko,  Seborschitz, 
Bohemia,  Dec.  21,  1850 — Prague, 
Oct.  15, 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  Slavoj,"* 
"Toman  and  the  Nymph"  and 
"Vesna";  "Lustspiel  OuverWre,"  etc. 
"A  Night  on  Kaarlstein,"  and  other 
overtures. 

Fiby  (fe'-bs),  Heinrich,  Vienna,  May 
i5>  1834 — Znaim,  Oct.  23,  1917; 
pupil  of  the  Cons.;  from  1857  city 
mus.  dir.,  Znaim;  founded  a  music- 
school  and  a  society;  c.  3  operettas; 
pop.  male  choruses,  etc. 

Fiebach  (fg'-bakh),  Otto,  b.  Ohlau, 
Silesia,  Feb.  9,  1851 — Konigsberg, 
1937;  mus.  dir.,  Konigsberg  Univer- 
sity; royal  conductor;  c.  operas,  and 
an  oratorio;  author  of  "Die  Physio- 
logie  der  Tonkunst"  (1891). 

Fiedler  (f€t'-lSr),  (i)  August  Max,  b.  Zit> 
tau,  Dec.  31,  1859;  piano  pupil  of  his 
father,  and  studied  organ  and  theory 
with  G.  Albrecht;  1877-80  Leipzig 
Cons.;  won  the  Holstein  Scholarship; 
1882  teacher,  Hamburg  Cons.;  in 
1903,  became  director  of  the  Ham- 
burg Cons.;  1904  cond.  the  Phil- 
harmonic 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.;  1916-33,  he  was  dir. 
of  music  in  Essen.  (2)  Arthur,  b. 
Boston,  Dec.  17,  1894;  studied  Berlin 
R.  Acad.  of  Mus.;  after  1930,  cond. 
Boston  "Pop"  Concerts;  teacher 
Boston  Univ. 

Field  (i)  John,  Dublin,  July  26,  1782 — 
Moscow,  Jan.  1 1 , 1 83  7 ; a  great  though 
gentle  revolutionist  of  music,  to  whom 
much  of  Chopin's  glory  belongs,  for 
Field  developed  the  more  lyric  man- 


ner 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  charac- 
teristic 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  organist,  who  compelled  him 
to  practise  so  hard  that  he  ran  away, 
but  was  brought  back  and  later  was 
apprenticed  to  Clementi  as  a  sales- 
man. He  also  had  lessons  from  C., 
and  went  with  him  to  Paris  in  1802, 
making  a  great  stir  with  his  interpre- 
tation 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  great  vogue.  After  touring  Rus- 
sia, in  London,  1832,  he  played  a 
concerto  of  his  own  at  the  Philh.; 
then  to  Paris;  1833  Belgium,  Switzer- 
land, Italy,  where  he  was  not  a  succ. 
Intemperance  and  fistula  kept  him 
nine  months  in  a  Naples  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  E  flat  the  most  popular); 
4  sonatas;  "Air  russe";  "Air  russe 
vari$"  (4  hands);  "Chanson  ritsse 
varie"  in  D  min.;  polonaise,  " Re- 
viens,  reviens."  Romanza  and 
Cavatina  in  E;  4  romances;  7  ron- 
deaux;  rondeau  with  2  vlns.,  viola, 
and  bass;  variation  in  C;  2  diver- 
tissements with  2  vlns.,  viola  and 
bass;  2  fantasias;  and  pf. -exercises 
in  all  keys.  (2)  Henry,  "Field  of 
Bath,"  Dec.  6,  1797 — May  19,  1848; 
pianist  and  teacher. 
Fielitz  (fSn  fg'-ttts),  Alexander  von, 
Leipzig,  Dec.  28,  1860 — Bad  Salzun- 
gen,  July  29,  1930;  pupil  in  Dresden 
of  J.  SchulhofE  (pf.)  and  Kretschmer 
(comp.);  he  became  qpera-cond.  in 
Zurich,  Ltibeck,  and  Leipzig  (City 
Th.);  a  nervous  disorder  compelled 
his  retirement;  lived  in  Italy  as  a 
composer  of  choruses,  orch.  pcs., 
songs,  which  attained  popularity. 
1906-08,  cond.  and  teacher,  Chicago; 


150 


DICTIONARY  OF  MUSICIANS 


taught    Stern    Cons.,    Berlin    (dir. 
1915). 

Filippi  (f6-l*p'-p*)  (i)  Giu.  de,  Milan, 
1825 — Neuilly,  near  Paris,  1887; 
writer,  (2)  Filippo,  Vicenza,  1830 
— Milan,  2887;  critic,  writer,  and 
composer. 

FiTke,  Max,  Staubendorf-Leobschtitz, 
Silesia,  Oct.  5,  2855 — Breslau,  Oct. 
8,  1911;  organist  and  singing  teacher; 
pupil  of  Brosig  and  Leipzig  Cons.; 
1891,  cathedral  cond.  at  Breslau, 
teacher  1893  at  the  Royal  Inst. 
for  Church  music;  1899,  Boyal 
Music  director;  c.  several  masses 
with  orch.;  choruses,  etc. 

Fill 'more,  J.  Comfort,  Franklin,  Conn., 
1843 — 1898;  studied  at  Oberlin  (O.) 
Coll.,  and  Leipzig  Cons.;  1884-55 
founder  and  dir,  of  Sch.  of  Mus.  in 
Milwaukee;  then  mus.  dir.  Pomona 
ColL,  Claremont,  CaL;  pub.  "A 
Study  of  Omaha  Indian  Mitsic" 
(with  Miss  Fletcher  and  F.  La 
Flesche;  Peabody  Museum,  2893); 
and  other  treatises;  tr.  Riemann's 
works. 

Finck  (ttnk),  (i)  Heixuidx,  1482,  con- 
ductor to  John  Albert  I.,  Cracow; 
eminent  contrapuntist.  (2)  Her- 
mann, Pirna,  Saxony,  1527 — Witten- 
burg,  1558,  grand-nephew  of  above; 
composer  and  writer.  (3)  Henry 
Theopfcilus,  Bethel,  Missouri,  Sept. 
aa,  3854 — Rumford  Falls,  Minn., 
Sept*  29,  1926;  prominent  American 
critic  and  essayist;  influential  advo- 
cate of  Wagner;  lived  in  Oregon, 
then  (1876)  graduate  of  Harvard, 
having  studied  theory  and  hist,  of 
mus.  with  J.  K,  Paine;  2876,  at- 
tended the  first  Bayreuth  festival, 
and  studied  at  Munich;  pub.  the 
valuable  "Wa&ncr  and  His  Works'* 
(N,  Y.,  3:893,  a  vols*,  Germ.  transL, 
Brealau,  1897);  1877-7^,  studied 
anthropology  at  Harvard;  received 
a  Fellowship  and  spent  3  years  at 
Berlin,  Heidelberg,  and  Vienna, 
studying  comparative  psychology 
and  sending  mus.  letters  to  N,  Y. 
**  Nation"\  and  for  some  40  years  was 
mus.-ed,  of  the  N.  Y*  **  Evening 
Post"\  pub.  "Clwpin,  and  other  Mus. 
Essays?*  "Padcrcwski  and  His  Art" 
"Songs  and  Son*~Writers">  (XQOI): 
"The  Pictorial  Wagner,"  "Anton 
Seidl"  "Grieg  and  His  Music"  "Suc- 
cess in  Mus&y  "Massenet  and  Bis 
Operas**  "Richard  Strauss";  also 
{our  collections  ol  songs;  3  books  of 


travel:  "Pacific  Coast  Scenic  Tour* 
"Lotos-time  in  Japan"  "Spain  and 
Morocco"\  "Romantic  Love  and  Per- 
sonal Beauty"  "Primitive  Love  and 
Love  Stories  (  190*0}  ,  etc. 

Findeisen  (flnt'-f-zSn),  Otto,  b.  Brunn, 
Dec.  23,  1862;  theat.  conductor 
in  Magdeburg  and  Leipzig,  prod. 
succ.  operetta  "Der  Alte  Dessauer" 
(Magdeburg,  1890);  and  the  succ. 
folk-opera  "  Benin  gs  von  Trcjfen- 
fdd"  (ib.  1891). 

Finger  (f*ng'-e*r),  Gf.,  b.  OlmUtz, 
Bavaria;  in  England,  1685-1701; 
then  chamber-  mus.  to  queen  of 
Prussia,  till  1717. 

Fink,  (i)  Gf.  Wm.,  Suiza,  Thuringia, 
1783  —  Halle,  1846;  editor,  writer, 
and  composer.  (2)  Chr.,  Dcttingen, 
Wiirtemberg,  Aug.  9,  1831  —  Ess- 
lingcn,  Sept.  5,  xgn;  pupil  Esslingen 
Seminary;  Leipzig  Cons.,  and  Schnei- 
der, Dresden;  till  1860  lived  as  organ- 
ist and  teacher,  Leipzig;  then  teacher 
and  organist,  Esslingen,  and  prof. 
in  1862;  composer. 

Fioravantf 


*),  (i)  Valen- 

tino, Rome,  1764  —  Capua,  June  26, 
1837;  opera-cond.  and  composer. 
(2)  Vincenzo,  Rome,  1799  —  Naples, 
2877,  son  of  above;  conductor  and 
dram  .  composer. 

Fiore  (fl-o'-re),  Andrea  Steiano,  Milan, 
1675  —  Turin,  1730;  composer  of 
operas, 

Fiorillo  (f*-$-rH'-l6),  (i)  Ignazio, 
Naples,  1715—  Fritzl&r,  near  Casse!, 
1787;  court-conductor  mnd  composer* 
(2)  Federigo,  b.  Brunswick,  1733  (?): 
son  and  pupil  of  above;  viola  player 
and  composer. 

Fiau£  (f£-k&),  Karl,  Bremen,  1862  — 
Brooklyn,  N.  V.,  Dec.^  1930;  pupil 
of  Leipzig  Cons.;  lived  in  Brooklyn, 
K.  V.;  pianist  and  composer. 

Firfcusny  <f€r-k07.h'-ne)  .Rudolf,  b.  191  2, 
Xapttjdla,  Czechoslovakia;  pianist; 
studied  Bmd  Cona.  and  with  Schna- 
hel,  janacrk  and  Suk;  d6but  at  14, 
Vienna;  toured  Kurope;  res*  in  U.  S. 
where  apt>earcd  widely  in  concerts. 

Fischer  (fl&n'-er),  (x)  Jofaann  Klaspar 
Ferdinand,  ca.  1650—"  1746;  im- 
portant composer  for  on$an  and 
clavier;  cond*  to  Markgrai  Ludwig 
in  Bohcmm,  1688,  (a)  Jn.  Cfcr.» 
Frriburp,  Baden,  1733-—  London. 
2800;  oboUt  and  composer.  (3)  K, 
Aug.,  Ebersdorf,  Saxony,  i8?H— 
Dresden,  1892;  organist.  (4)  Emil, 
Bruoawick,  Germany,  1838—  Ham- 


DICTIONARY  OF  MUSICIANS 


151 


burg,  1914;  notable  German  basso  in 
Wagnerian  r61es;  dSbut  1849;  sang 
at  Met.  Op.,  N.  Y.,  1885-98;  1899  m. 
Camille  Seygard ;  divorced  1 902 .  (5) 
Edwin,  b.  Basel,  Oct.  6, 1886;  pianist; 
pupil  of  Basel  Cons.,  and  Stern.  Cons., 
Berlin,  where  he  taught  from  1905 
to  1914;  since  then  has  toured  as 
concert  pianist,  having  esp,  rank  as 
performer  of  Bach  and  Beethoven; 
also  has  conducted  and  c.  songs  and 
piano  works;  ed.  Bach's  piano  works. 

Fischhof  (flsh'-df),  Jos.,  Butschowitz, 
Moravia,  1804 — Vienna,  1857;  prof., 
composer  and  writer. 

Eish'er,  (r)  John  A.,  b.  Dunstable, 
1774,  pf.-  and  organ- virtuoso;  vio- 
linist and  composer.  (2)  Win.  Arms, 
San  Francisco,  1861 — Boston,  1948; 
pupil  of  J.  P.  Morgan  (org.  and  pf .), 
H.  W.  Parker,  and  Dvorak,  New 
York;  also  studied  singing  in  Lon- 
don; from  1897,  ed.  and  mgr.  Oliver 
Ditson  Co.,  Boston;  composer.  (3) 
Susanne,  b.  West  Virginia;  soprano; 
grad.  Cincinnati  Cons.;  studied  at 
Juilliard  Grad.  School,  N.  Y.;  heard 
with  Little  Theatre  Op.  Co.  in  New 
York;  sang  at  Berlin  State  Op., 
d€but  as  "Butterfly";  later  at  Paris 
Op.-Comique;  d6but,  Met.  Op.  Co., 
N.  Y.,  1935. 

Fissot  (fls-sd)  Alexis  Henri,  Airaines 
(Somme),  1843 — Paris,  1896;  pf.- 
and  organ-virtuoso  and  composer. 

Fitelberg  (fS'-tgl-bSrkh),  (i)  Georg,  b. 
Dttnaburg,  1879 — d.  Stalanograd,  1953; 
Polish  composer;  pupil  Warsaw 
Cons.,  taking  Paderewski  prize  with 
a  violin  sonata,  1896,  and  1901  the 
Zarnoyski  prize  with  a  piano  trio; 
concertmaster,  and  1908  conductor 
Warsaw  Philharmonic;  1912,  en- 
gaged for  6  years  to  cond.  Vienna 
Royal  Opera;  later  cond.  in  England 
and  Russia;  c.  2  symphonies,  orch.; 
chamber  music,  songs,  etc.  (3) 
Jerzy,  b.  Warsaw,  May  20,  1903; 
composer;  pupil  of  Schreker;  won 
Coolidge  Prize;  d.  N.  Yv  Apr.  25.,  1953- 

Blagstad  (flSg'-shtat),  Kirsten,  b.  Oslo, 
Norway;  dramatic  soprano;  her 
father  an  orchestral  conductor,  her 
mother  a  well-known  pianist  and 
coach;  received  her  training  from  the 
latter;  early  designed  for  medical 
career,  but  at  15  began  voice  study; 
made  d£but  at  Oslo  when  18;  en- 
gaged for  Gothenburg  Op.  Co.;  for 
a  time  retired  from  singing  on  mar- 
riage to  Henry  Johansen,  industrial- 


ist; consented  to  sing  at  Oslo  as 
substitute  for  indisposed  artist,  and 
her  succ.  led  to  permanent  engage- 
ment at  the  Op.  there;  had  sung 
entirely  in  Scandinavian  countries 
before  engagement  at  Bayreuth, 
1933-34;  was  offered  Berlin  contract 
but  declined  it;  engaged  for  Met. 
Op.  Co.  and  made  debut  in  1934-35 
season  as  "Sieglinde"  with  sensational 
effect,  and  at  once  became  cele- 
brated in  New  York  for  her  "Isolde," 
"Brunnhilde," f  'Elsa,"  etc. ;  next  season 
also  sang  in  "Fidetio";  Co  vent  Garden 
d6but,  spring  of  1936,  as  "Isolde,"  the 
three  Briinnhildes;  also  a  high- 
ranking  concert  singer. 

Flecha  (flfc'-cha),  (i)  Juan,  music  teacher; 
Catalonia,  1483-1553;  Carmelite 
monk  and  teacher;  his  nephew  (2) 
Fray  Matheo,  1520 — Feb.  20,  1604, 
was  an  abbot  and  cond.  to  Charles 
V.  at  Prague;  both  were  composers. 

Fl§gier  (fla-zha),  Ange,  Marseilles, 
Feb.  25,  1846 — Oct.  8,  1927;  pupO 
of  Marseilles  Cons,  and  Paris  Cons. 
1870;  returned  to  Marseilles;  c.  i-act 
comic  opera,  "Fatima"  (Mars.  1875), 
"Ossian"  and  "FranQoise de  Rimini" 
cantata,  with  orch.,  etc. 

Fleischer  (fli'-sher),  (i)  Reinhold, 
Dabsau,  Silesia,  April  12,  1842— 
Gorlitz;,  Feb.  i,  1904;  pupil  of  the 
R.  Inst.  for  Church-music,  and  R. 
Akademie,  at  Berlin;  1870,  organist 
at  Gorlitz  and  dir.  Singakademie; 
1885,  Royal  Mus.  Dir.;  c.  a  cantata, 
"Holda,"  etc.  (2)  Oskar,  Zorbig, 
Nov.  i,  1856 — Berlin,  Feb.  8,  1923; 
studied  in  Italy  on  govt.  stipend; 
pupil  and,  since  1896,  successor  of 
Spitt0  as  Prof.  Extraordinary,  at  the 
Berlin  Univ.,  also  custodian  of  the 
Royal  Coll.  of  Mus.  Instrs.,  and 
teacher  of  history  at  the  Hochschule 
fur  Musik;  pub.  a  study  of  neumes, 
1805,  etc.  (3)  Fleischer-Edel 
(ft '-del),  Katharina,  Miilheim,  Sept. 
27,  1873 — Dresden,  July  17,  1928; 
soprano;  studied  with  Iffert;  sang 
at  court-opera,  Dresden. 

Flem'ming,  Fr.  Fd.,  Neuhausen,  Sax- 
ony, 1778 — Berlin,  1813;  c.  pop. 
"Integer  vitce,"  etc." 

iFlesch,  Carl|  Moson,  Hungary,  Oct.  g, 
1873 — Lausanne,  Nov.  15, 1944;  pupil 
Grtin  at  Vienna,  and  Marsick  at 
,  Paris  Cons.;  in  1897-1902  prof, 
at  Bucharest  Cons.;  and  chamber 
violinist  to  Roumanian  queen; 
1903-8,  teacher  at  Amsterdam  Cons-* 


152 


DICTIONARY  OF  MUSICIANS 


1925  at  ^  Curtis  Inst,,  Phila.;  later 
taught  in  Baden-Baden,  London, 
etc.:  author  of  vln.  method. 

Fleta  (flfi/-ta),  Miguel,  Albalete,  1897  — 
Corunna,  1938;  Spanish  tenor;  stud- 
ied Barcelona  Cons*;  sang  Met.  Op. 
1923-4,  also  vddely  in  Europe* 

Floridia  (fl6-r€d'~ya),  (Baron  Napo- 
lino),  Modica,  Sicily,  March  5, 
jt86o  —  New  York,  Aug.  16,  1932; 
pianist,  pupil  of  S»  Pietro  a  Majello, 
Naples;  while  there  he  pub.  succ.  pf.- 
pcs.;  prod.  succ.  comic  opera  **(Tizr- 
loUa  Clcpier"  (Naples,  1882),  retired 
for  3  years  to  Sicily;  toured  1885-86; 
1888-90,  prof,  of  pf,  Palermo  Cons.; 
1880,  his  symphony  won  ist  prize 
of  the  Soc.  del  Quartetto,  Milan;  w. 
text  and  music  of  succ.  opera  "Jlfa- 
ruxta"  (Venice,  1894)*  He  came  to 
America  in  1904,  was  for  a  year 
piano-prof,  at  Cincinnati  Cons.,  and 
was  commissioned  to  write  the  opera 
'*Paolctta,"  for  the  Exposition  of 
1910;  after  1913  he  lived  in  N.  Y. 
where  he  cond.  Italian  Symph.;  c 
(with  Luigi  IHica)  "La  Colonia 
Liberal  "FestouvtrMrt,"  opera  "The 
Scarlet  Letter,"  "M  adrigal"  for  bary- 
tone and  orch.,  songs,  etc. 

Blorizno  (fl6'-rl-md),  Fran.,  San  Giorgio 
Morgeto,  Calabria,  1800  —  Naples, 
1888;  writer,  teacher,  and  composer. 

Blo'rio*  Caryl,  pea-name  of  Wm*  Jas* 
Robjohn. 

tfiotow  (flS'-to),  Friedridbu  Freifcerr 
von,  Teutendorf,  Mecklenburg,  April 
27,  18x2  —  Darmstadt,  Jan.  34*  ^883: 
composer  of  a  extremely  popular  ana 
melodious,  also  extremely  light, 
operas:  son  of  a  landed  nobleman; 
studied  composition  with  Relcha, 
Paris;  he  fled  from  the  July  Revolu- 
tion to  Mecklenburg,  where  he  c.  2 
operettas;  returning  to  Paris,  he 
prod.  "Strapkine,"  1816,  "Rob  Roy" 
and  the  succ.  "Le  ffattfra^  de  la 
Mtdust"  1839  (given  Hamburg, 
1845,  as  '*£>!>  bfatrasen")*  in  which 
he  collaborated  with  Paloti  and 
Grisan;  3  later  works  failed,  inch  the 
ballet  "Lady  //<*mYf'  (Opera,  1*4.*); 
afterwards  rewritten  with  great  succ. 
as  "Martha"  (Vienna,  1847). 


sandro  Stradrlla"  (Hamburgt  1844: 
rewritten  from  a  "piece  lyrique, 
"Stradttla,"  Paris,  xft?),  made  his 
name  in  Germany.  He  fled  from 
th«  March  Revolution  (1848),  and 
prod.  "Die  Gross-ftirsiin**  (fierlin, 
)t  and  "/ndraf*  (Berlin 


1850);  3  later  works  failed.  1856-63, 
he  was  intendant  of  court- inusk^ 
Schwerin,  and  c.  a  "Torch-Dance'* 
and  excellent  music  to  Shakespeare's 
"Winter's  Talc";  1863-68,  he  prod. 
2  operettas,  2  operas,  and  2  ballets, 
without  succ.;  1868,  he  retired  to 
one  of  his  estates,  near  Vienna,  made 
visits  to  Vienna,  Paris,  Italy;  1870, 
"L'Ombre"  (Paris,  Op.  Com.,  1870; 
prod,  in  London,  1878,  as  the 
"Phantom")  was  very  succ.; "  NaZda" 
(Milan,  1873)  and  "II  Fior 
d*  Harlem"  (Turin,  1876)  were  re- 
visions, and  he  rewrote  "Indra"  as 
"I* Enehantercsse**  (Paris  and  London. 
1878);  Italy,  "Alma  F I ncanf air ice"; 
Germany  **Z>i"«  &exe";  after  his 
death  "RoscUana,"  "Der  Graf  Saint- 
Mtgrin"  (Cologne,  1884),  and  "JDfe 
Musikanten"  (Hanover,  1887)  were 
produced. 

F1%*1  (flU'-gel),  (i)  Gustav,  Nienburg- 
on-Sa&le,  July  a,  x Si  a— Stettin, 
xooo;  cantor,  organist,  writer,  and 
composer.  (2)  Ernest  Paul,  Stettin, 
Aug.  31,  1844 — Breslau,  Oct.  20. 
192  a;  son  and  pupil  of  above:  studied 
at  the  R.  Inst.  for  Church-music, 
and  the  Akademie,  Berlin;  private 
pupil  of  von  Billow;  1867,  organist 
and  teacher  at  the  Prenxlau  Gym- 
nasium; in  1879,  cantor,  Breslau, 
and  founded  a  singing  soc.;  1901, 
gained  title  of  professor;  writer  and 
composer. 

Fo'dor,  (x)  Jo*.,  Venice,  1733 — 1828, 
violinist  and  composer,  (a)  Jo* 
sephine,  b.  Paris,  1793;  soprano; 
retired,  1833;  daughter  of  above; 
m,  the  actor  Mainvielle. 

Foenrter  (fftr'-shter),  Ad,  Martin,  Pitts- 
burgh, Pa.,  Feb.  a,  185* — Aug,  10, 
1937;  American  composer;  pupil  of 
his  mother  and  of  i-cip*ig  Cons,; 
1875-76,  teacher  at  Ft.  Wayne 
(IncL),  Cons.,  then  Pittsburgh  as  a 
teacher  of  singing  and  pf.;  c.  orch., 
chamber  mu«ic,  choruses  songs,  etc. 

Fogg,  Eric,  b.  Feb.  21,  njo.*,  at  Manches- 
ter— Ixmdun,  Sept.  4,  iQ4*»  studied 
with  his  father  (a  wcU-knovn  or- 
ganint)  am!  BantfH'k;  c.  orch., 
chamber,  piano  music,  $ong*,  etc, 

Foggia  (fdd'-Ja),  Fran*,  Home,  1605- 
I6S8,  comrvjscr  and  conductor. 

Fogliani  (fui-ya'-nc),  (i)  Ludovico, 
Slodcna.ca.  1490— ca.  1559*  theorist 
and  composer,  (j)  Giacomo,  Mo- 
dena,  1473 — April  4,  «S4^>  brother 
of  Ludovico  F.,  organist  and  comp. 


DICTIONARY  OF  MUSICIANS 


153 


FSldesy  (fttl'-dS-shg),  Arnold,  b.  Buda- 
pest, Dec.  20,  1882;  'cellist,  succ.  in 
London,  1902;  son  of  a  military 
bandman  at  Budapest;  pupil  of 
Popper. 

Foley  ("Signer  Foli"),  Allan  Jas., 
Cahir,  Tipperary,  Ireland,  1835 — 
Southport,  England,  Oct.  20,  1899; 
concert  and  operatic  bass. 

Polville  (f61-ve"-yti),  (Eugenie  fimilie) 
Juliette,  b.  LiSge,  Jan.  5,  1870; 
— d.  1946;  pianist,  violinist;  teacher; 
conductor  and  composer;  pupil  of 
her  father,  a  distinguished  lawyer; 
studied  vln.  with  Malherbes,  Musin, 
and  C6sar  Thomson;  in  1879,  d6but 
at  Li6ge  as  concert- violinist;  fre- 
quently directed  her  own  orchestral 
works;  annually  conducted  at  Lie'ge 
Cons,  a  concert  of  ancient  music,  and 
gave  clavecin-recitals;  prod.  1893, 
succ.  opera  "Atala"  (Lille,  1892*, 
Rouen,  1893);  1898,  pf-  prof,  at  Lie'ge 
Cons.;  c.  orchestral  suites:  "Sc&nes 
champ&res,  de  la,  mer,  d'kiver,"  etc. 

Fontana  (f6n-ta'-na),  Giov.  Bat.,  d. 
Brescia,  1630;  composer. 

Foote,  Arthur  Win.,  Salem,  Mass., 
March  5,  1853 — Boston,  April  9, 
1937;  composer;  pupil  of  B.  J.  Lang 
(pf.),  S.  A.  Emery,  and  J.  K.  Paine 
(comp.)  1875,  A.  M.  Harvard  (for 
mus.);  1878-1910,  organist  of  the 
first  Unitarian  Ch.,  Boston;  pub. 
overture,  "In  the  Mountains"  sym- 
phonic prologue,  "Francesco*  da  Ri- 
mini" 'cello  concerto;  orch.  suite  and 
choral  works,  "Farewell  of  Hiawa- 
tha/' "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;  pcs.  for  vln.  and 
'cello;  prch.  suite  in  D  minor 
(played  in  Boston,  London,  N.  Y., 
etc.)  Suite  for  strings  (do.);  4 
character  pieces  for  orch.  (Thomas 
Orch.,  Boston  Symph.,  1912,  etc.) 
"Bedouin  Song,"  male  chorus^  sung 
very  widely;  organ  suite  in  D 
(played  by  Guilmant  on  American 
tour) ;  two  piano  suites,  5  poems  from 
Omar  Khayyam  for  piano,  songs,  etc. 

Forchhammer  (fdrkh'-hSm-me'r),  Th., 
Schiers,  Gray  Cantons,  July  29, 
1 847 — Magdeburg,  Aug.  1,1923;  pupil 
of  Stuttgart  Cons.;  1885,  organist  at 
Magdeburg  Cath.;  1888  Royal  Mus. 
Dir.;  writer  and  composer. 

Ford,  Thos.,  England,  ca.  1580 — 
1048:  composer  and  writer. 


For'kel,  Jn.  Nikolaus,  Meeder,  near 
Coburg,  1749 — Gottingen,  1818; 
historian,  organist,  harpist,  and 
teacher.  Wrote  biography  of  Bach, 
1803. 

For'mes,  (i)  K.  Jos.,  Mtilheim-on-Rhine, 
1816 — San  Francisco,  1889;  opera- 
bass.  (2)  Theodor,  Mulheim,  1826 — 
Endenich,  near  Bonn,  1874;  tenor, 
bro.  of  above. 

Fornari  (fdr-na'-rS),  V.,  Naples,  May 
n,  1848 — Au^.,  1900;  pupil  of  Sira 
(pf.)  and  Battista  (comp.);  c.  operas, 
"Maria  di  Torre"  (Naples,  1872), 
"Sdlammbo,"'  "Zuma"  (Naples. 
1881),  and  i-act  opera-seria  "£7  - 
Dramma  in  Vendemmia"  (Florence, 
1896),  succ. 

Forma,  Rita  (P.  Newman),  San  Fran- 
cisco, July  17,  1879 — Paris,  Oct.  27, 
1922;  soprano;  pupil  of  Jean  de 
Reszk£  and  Frau  Kempner;  d6but, 
1901,  Hamburg  Stadttheater;  sang 
at  Co  vent  Garden  and  Met.  Op., 
N.  Y. 

'ForselT,  John,  b.  Stockholm,  Nov.  6, 
1868 — Sept.  4,  1941;  barytone;  stud- 
ied at  Cons,  in  native  city  with 
Giinther;  mem.  R.  Op  th«re,  also 
guest  appearances  in  Paris,  Berlin, 
and  (1909—10)  at  Met.  Op.,  N.  Y., 
a  notable  exponent  of  Mozart  r6Ves; 
also  known  as  concert  singer;  after 
1913  he  was  dir.  of  the  Stockholm 
Op. 

Forster  (f6r'-shtSr),  G.,  (i)  Amberg  (?) 
— Nurnberg,  1568;  editor  and  coll. 
(2)  G.  (II),  d.  Dresden,  1587; 
double-bass;  conductor.  (3)  Niko- 
laus  (called  Fortius),  1499 — *535; 
contrapuntist.  (4)  (or  Forster)  Kas- 
par,  Danzig,  1617 — 1673;  composer, 
theorist  and  conductor.  (5)  Win. 
(Sr.),  Brampton,  Cumberland,  1739 
— London,  1808;  vln.-maker;  his  son 
and  successor  was  (6),  Win.,  Lon- 
don, 1764 — 1824. 

FSr'ster  (f&r'-shter),  (i)  v.  SORSTEE 
(4).  (2)  Chr.,  Bebra,  Thuringia, 
1693 — Rudolstadt,  17455  organist, 
conductor  and  composer.  (3)  Eman- 
uel  Aloys,  Neurath,  Austrian  Silesia, 
1748 — Vienna,  1823;  theorist  and 
composer.  (4)  Jos.,  Osojnitz,  Bo- 
hemia, Feb.  22,  1833 — Prague,  Jan. 
3,  1907;  noted  organist  in  various 
churches;  since  1887,  Prague  Cath.; 
prof,  of  theory,  Prague  Cons.; 
c.  masses  and  requiems,  org.-pcs; 


154 


DICTIONARY  OF  MUSICIANS 


wrote  a  treatise  on  harmony.  (5) 
Vide  FOES.STER.  (6)  Alban,  Reichen- 
bach,  Saxony,  Oct.  23,  1849 — Neu- 
strelitz,  Jan.  18,  1916;  violinist; 
pupil  R.  Blume,  later  of  Dresden 
Cons.;  leader  at  Carlsbad,  Breslau, 
Stettin;  1871,  court  mus.,  and  cond. 
Neustrelitz,  1881,  teacher  in  Dres- 
den. (7)  Josef  B.,  b.  Prague,  Sept. 
30,  1859;  son  of  (4);  pupil  of  Prague 
Cons.;  c.  $  operas,  2  symphonies, 
chamber  mus.;  d.  Prague,  195*- 

Fortlage  (fdrt'-ia-gS),  K.,  Osnabruck, 
1806 — Jena,  1881;  writer. 

Fortsch  (tertsh),  Jn.  Ph.,  Wertheim, 
Franconia,  1652 — Eutin,  1732;  con- 
ductor, singer,  and  dram,  composer, 

Fos'ter,  (x)  Stephen  Collins,  Law- 
renceville  (Pittsburgh),  Pa.,  July  4, 
1826 — New  York,  Jan.  13,  1864; 
chiefly  self-taught  as  flageolet-player 
and  composer;  a  writer  of  words  and 
music  of  genuine  American  folk-song; 
he  enjoyed  enormous  vogue,  receiv- 
ing $500  for  the  privilege  of  singing 
"Old  Folks  at  Home"  (or  "Suwanee 
River**);  died  poor  in  the  Bowery;  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 
dements  of  immortality.  (2)  (Myles) 
Birket,  London,  Nov,  39,  1851 — 
Dec.  18,  1922;  organist  and  com- 
poser; pupil  of  Hamilton  Clarke, 
and  at  R,  A.  M.  of  Sullivan,  Prout, 
and  Westlake;  1873-74,  organist  at 
Haweis*  Church;  1880-92,  at  the 
Foundling  Hospital;  then  mus*-<ed* 
for  Boosey  &  Co.;  c.  a  Evening 
Services;  symphony,  "Isle  of  Arran"} 
overtures,  etc-  (3)  Muriel*  Sunder- 
iand>  Nov.  22,  1877 — London,  Dec. 
*3>  1937;  contralto  of  remarkable 
range,  g  to  b'  '  flat:  pupil  of  Anna 
Williams  at  the  R.  A.  M.,  winning  a 
scholarship,  1807:  ddbut  1806  in 
oratorio;  sang  with  her  sister  Hilda 
in  1899;  and  at  festivals;  also  in 
Germany,  Russia  and  America. 

Foulds,  John*  b.  Manchester,  Nov.  a, 
x8&o — Calcutta,  April,  1030;  con* 
ductor;  early  played  iu  Halll  Orch.; 
after  19*1,  dir.  of  Univ.  of  London 
Mus.  Soc.:  c.  stage  music,  oreh,  and 
piano  works. 

Ifourdrain  (ffior'-drftn),  F6lir,  Paris, 
Feb.  3,  *88o— • Oct.  as*  1933;  com- 
poser; studied  with  widor  at  Cons., 
organist  in  several  Paris  churches; 
made  eep,  succ.  with  bis  lighter 


operatic  works;  c,  (stage  works) 
"La  Grippe97-,  "Echo"  (1906);  *'La 
Ltgendede  Point  dPArgenten"  (1907); 
also  heard  in  America  at  Ravinia 
Op.;  "La  Glaneuse"  (1909);  "Vtr- 
Ging&oriy?'*  (1912);  "Madame  Ro- 
land" (1913);  **Le$  Conies  dt 
Perraulf9  (1913);  well  known  for  his 
art-songs. 

Founder  (foorn-ya),  (i)  P.  Simon, 
Paris,  1712 — 1768;  introducer  of 
round-headed  notes,  and  writer  on 
history  of  music-types,  (a)  £m!le 
Eugdne  Alex.,  Paris,  1864 — Joinville- 
le-Pont,  1897;  pupil  of  DeTibes  and 
Dubois  at  Cons.;  2891  took  ad 
Grand  prix  de  Rome,  and  1893  Prix 
Cressent,  for  i-act  opera  "Straionice** 
(Or.  Op^ra,  Paris,  2893);  c.  opera 
"Carloman,"  etc. 

Fox,  FSlix,  b.  Breslau,  Germany,  May 
25, 1876;  pianist,  pedagogue;  brought 
to  Boston  as  a  child;  studied  there, 
in  N.  Y.,  and  after  1893  at  Leipzig 
with  Reinecke  and  Jadassohn,  also 
with  Philipp  in  Paris;  d^but,  Leipzig, 
2896;  Pans  in  1897;  same  year 
returned  to  U,  S.»  giving  concerts; 
and  in  1898  (with  Carlo  Buonamici) 
founded  school  of  piano  in  Boston 
that  continued  under  his  own  name 
for  more  than  three  decades;  o dicier 
of  French  Academic;  d.  Boston,  1047. 

Fox-Strang'ways,  Arthur  Henry,  Nor- 
wich, England,  bept,  14,  14*59;  d- 
194^;  critic,  writer  on  rnusir;  ^tiuiied 
Wellington  Coll.,  and  Baltic!,  Oxford, 
also  at  Berlin  Hochscb.;  dir.  ol 
musk,  Wellington  Coll.,  1893-1901; 
visited  India  and  wrote  "The  Music 
of  £ffitt?ittla*f";  in  1990  he  founded 
the  quarterly  periodical,  "Afusic 
and  Letter s";  was  critic  of  London 
"Times"  after  19 ti  and  co-editor  o£ 
the  London  **J/«rmry.f' 

Fragerolle  (fr^-rh*-rGl),  George* 
Auguste,  Paris,  March  iv,  1855 — 
Feb.  2i,  1920;  pupil  of  Guiraua;  c. 
patriotic  aon«5»  operettas*  panto* 
mimes,  etc. 

Framery  (fr&m-r*^  Nicolas  fit.,  1745 — 
Paris,  iHio;  writer, 

Fran'saix,  Jean,  b.  Mans,  May  33, 
1912:  composer. 

Francescatti  (fr&n~ch$*.k*t*-t£),  Zino, 
Fr.»  violinist;  U,  S,  d£hut,  iy,*o. 

Frauchetti  ifran-k^t'-t^K  lu  Alberto 
(  Baron  );b,Turin,ti<rio,  pupil.  Munich 
C"on»,;  1016,  dir.  of  rhrrubini  Con^  ; 
Florence;  prod.  *'dram.  legend'* 
*4M  i Bread*,  iSSS);  opera 


DICTIONARY  OF  MUSICIANS 


155 


"Cristoforo  Colombo"  (Genoa,  1892), 
"Fior  d'Alpe"  (Milan,  1894),  "II 
Signor  di  Pourceaugnac"  (Milan, 
1897),  all  succ.;  his  opera  "Germania"- 
(prod.  Milan,  1902)  has  been  per- 
formed widely,  at  Covent  Garden 
1907  and  1911  at  the  Metropolitan 
Opera  House,  N.  Y.;  also  "La 
Figlia  di  Jorio"  (1006),  "  Notte  di 
Leggenda"  (1914);  (with  Giordano) 
"Giove  a  Pompei"  (1921);  "Glauco"' 
(1022),  etc.;  d.  Viareggio,  1942. 
Franchinus  (fran-ke'-noos).  Vide 

GAFORTO. 

Franchi-Verney  (fran'-ke-ver'-na),  Giu. 
Ip.,  Conte  della  Valetta;  Turin, 
Feb.  17,  1848 — Rome,  May  15,  1911; 
1874  gave  up  law  for  music;  1875-77 
under  the  pen-name  "Ippolito  Va- 
letta" contributed  to  various  papers; 
1889,  m.  Teresina  Tua;  c.  succ. 
lyric  sketch  "II  Valdese"  (Turin, 
1885),  and  succ.  ballet,  "II  Mulatto'* 
(Naples,  1896). 

Franchomme  (fr&n-shtim),  Auguste, 
Lille,  April  10,  1808 — Paris,  Jan. 
21,  1884;  'cellist;  teacher  at  the 
Cons,  and  composer. 

Franck  (frank),  (i)  Melchior,  Zittau, 
ca.  1573— Coburg,  June  i,  1639; 
from  1603  court-cond.  at  Coburg; 
a  prolific  and  important  c.  of  secular 
and  church-music,  a  pioneer  in  im- 
proving instrumental  accompani- 
ment; two  of  his  chorales  "Jerusalem, 
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 — London,  ca.  1696;  opera- 
cond.;  c.  14  operas.  (3)  (fran), 
C£sar  Auguste,  Liege,  Dec.  10,  1822 
— Paris,  Nov.  8,  1890;  important  and 
influential  Belgian  composer;  pupil 
Liege  Cons.,  then  of  Paris  Cons., 
where  he  took  ist  prize  for  piano, 
and  2d  for  comp.,  also  succeeding 
his  organ- teacher,  Benoist,  as  prof, 
there  in  1872,  and  as  organist  at 
Ste.  Clothilde;  c.  a  notable  symph. 
poem  with  chorus  "Les  beatitudes"- 
symph.  poems  "Le  chasseur  mau- 
dit,'*  "Psyche"  and  "Les  Bolides"; 
a  universally  popular  symphony  in 
D  minor,  a  succ.  com.  opera  "Hulda"' 
(Monte  Carlo,  1804),  2  oratorios,  an 
unfinished  opera  "Ghisella"  a  sonata 
for  pf.  and  vln.;  quintet  for  piano 
and  strings;  pf.-pcs.;  organ-music, 
songs,  etc.;  biog.  by  Derepas  (Paris, 
•97),  Destranges,  the  superb  volume 


of  Vincent  d'Indy,  one  of  the  best 
estimates;  and  other  studies  by 
Coquard,  Meyer,  Garnier,  Balden- 
sperger,  Canudo,  Van  den  Borren, 
Se"r6,  de  Rudder,  etc. 
A  peculiarly  lovable  figure  in  music, 
F.  has  gained  a  great  discipleship 
since  his  death  both  among  musicians 
and  the  general  public.  His  mod- 
esty and  nobility  of  soul  were  allied 
with  a  highly  original  musical  equip- 
ment, in  which  the  sensuous  and 
mystical  elements  are  balanced  by  a 
strong  sense  of  form.  He  entirely 
revolutionised  the  pattern  of  French 
instrumental  music  by  reviving  the 
polyphony  which  had  long  ceased 
to  be  a  prominent  factor  in  it;  his 
harmonic  modulations  were  also 
much  freer  than  those  previously 
in  vogue  in  France.  Through  his 
disciple,  d'Indy,  he  set  in  motion  a 
whole  school  of  "Franckists,"  who 
were  opposed  in  aim  to  the  extreme 
modernists  who  took  their  start  from 
Debussy.  These  two  tendencies  are 
still  warring  in  French  music.  (See 
article,  page  496.)  (4)  Eduard,  Bres- 
lau,  1817 — Berlin,  1893;  professor 
and  composer.  (5)  Jos.,  Li6ge,  1820 
— Paris,  1891;  bro.  of  (3);  organist 
and  teacher,  Paris;  pub.  "Ode  to 
St.  Cecilia"  (with  orch.);  cantatas, 
etc. 

Franck'enstein,  Clemens,  Freiherr 
von,  Wiesentheid,  Lower  Francbnia, 
July  14,  1875 — Munich,  Aug.,  1942; 
impresario;  pupil  of  Thume,  also 
of  Knorr  at  Hoch  Cons.;  visited 
America;  cond.  in  London,  1902-07; 
then  in  Wiesbaden  and  Berlin; 
1912-18  and  1924-34,  general  in- 
tendant  at  Munich  Op.;  c.  (operas) 
"Griseldis,"  "Rahab,"  "Fortunatus," 
"Li-Xai-Pe"  (the  last  with  succ.  in 
Hamburg  and  Munich);  also  orch., 
chamber  music,  songs. 

Fran'co,  a  name  honoured  in  mensural 
music  and  probably  belonging  to  two, 

Perhaps  three,  men:  (i)  F.  of  Paris 
the  elder),  cond.  at  Ndtre-Dame, 
.Paris,  ca.  noo  (?)  A.D.;  and  (2)  F. 
of  Cologne,  Dortmund  and  prior  of 
the  Benedictine  Abbey  ^at  Cologne 
in  1190,  author  of  2  treatises. 
Francoeur  (fran-kiir),  (i)  Franffois, 
Paris,  1698 — 1787;  violinist  and 
dram,  composer.  (2)  Louis  Jos., 
Paris,  1738 — 1804;  nephew  of  above; 
violinist,  conductor  and  dram,  com- 
poser. 


156 


DICTIONARY  OF  MUSICIANS 


Frank  (i)  Melchior.  Vide  FRANCE. 
(2)  Ernst,  Munich,  1847 — (insane), 
OberdSbling,  near  Vienna,  1889; 
court-organist  and  dram,  composer. 

Frankenberger  (frSnk'-Sn-bSrkn-er), 
H.,  Wiimbach,  Schwarzburg-  Sonders- 
hausen,  1824 — Sondershausen,  1885; 
conductor,  violinist,  and  dram,  com- 
poser, 

Franklin,  Benj.,  Boston,  Mass., 
1706 — Philadelphia,  1790;  the  emi- 
nent philosopher;  inv.  the  harmonica 
(v.  D.  D.)>  and  wrote  wittily  oa 
Scotch  and  contemporary  music,  etc. 

Frank 'o,  (i)  Sam,  New  Orleans,  Jan. 
20,  1857 — New  York,  May  6,  1937; 
violinist;  pupil  of  Wilhelmj,  Joachim 
and  Vieuxtemps;  toured  with  Patti; 
cond.  concerts  of  ancient  music  in 
New  York;  1912,  Berlin;  arr.  music 
for  orch.,  etc.  (2)  Nahan,  New 
Orleans,  July  23,  1861 — Amityvlile, 
L.  I.,  June  7,  1930;  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  concert  master; 
1905-07  conductor;  later  cond.  his 
own  orchestra. 

Franz  (fronts),  (x)  K.,  Langenbielau, 
Sileaia,  1738 — Munich,  1802;  virtu- 
oso on  the  waldhorn,  and  th*  bary- 
ton,  (2)  J.  H.,  pen-name  of  Count 
B,  von  Hochberg.  (3)  Robt.,  Halte, 
June  38,  1815— Oct.  24,  1892;  x$47> 
changed  his  family-name  ICnauth, 
by  royal  permission;  long  opposed 
by  his  parents,  he  finished  his  musi- 
cal studies  1835-37,  under  Fr. 
Schneider,  Dessau;  returned  to  Halle, 
and  spent  six  years  studying  Bach, 
etc.;  1843,  his  first  album  of  22 
songs  appeared,  and  was  cordially 
rec'd.  by  Liszt  and  Mendelssohn 
and  by  Schumann,  who  wrote  about 
him  in  his  periodical.  He  became 
organist  at  the  Ulrichskirche,  and 
later  cond.  of  the  Singakaderaie,  and 
mus.  dir.  at  Halle  Univ.,  which  made 
Mm  Mus.  Doc.,  1861.  Irv  1868, 
deafness  attacked  him,  and  nervous 
disorders  prevented  hb  writing  fur- 
ther. His  distress  was  relieved  by 
the  receipt  of  $25*000,  from  a  series 
of  concerts  organised  1872,  in  Ger- 
many, by  Helene  Magnus,  Joachim, 
Liszt,  and  in  America,  by  JDresel, 
Schlesinger,  and  B,  J.  Lang.  His 
wife  (4)  Marie  (n£e  Honrichs, 
1838-01)  pub*  many  excellent  songs. 


His  supplementing  of  the  old  musical 
shorthand  o*  Bach  and  Handel,  by 
full  scores  with  modern  instrumenta- 
tion has  been  of  invaluable  service. 
He  also  pub.  essays  and  "open 
letters"  to  Hanslick  on  Bach  and 
Hfindel.  He  pub.  257  songs;  the 
1 1 7th  Psalm,  for  double  chorus  a 
cappella;  Kyrie  for  soli  and  4- part 
chorus,  a  cappella,  a  liturgy  for 
6  chorals,  6  part-songs  for  mixed 
chorus,  and  6  do.  for  male  chorus. 
Biog.  sketches,  by  Ambrps,  Liszt, 
Dr.  W.  Waldmana  (Leipzig,  1895), 
Schuster,  La  Mara,  Prcchajska,  Gol- 
ther,  Bethge,  etc. 

Frfinzl  (frfcnts'l),  (i)  Ignas,  Mannheim, 
1736 — 1811;  violinist,  conductor  and 
composer.  (2)  Fd.,  Schwetzingen, 
Palatinate,  1770 — Mannheim,  1833; 
son  and  pupil  of  above;  conductor 
and  dram,  composer. 

Fraschini  (fr£s-k£'-n6),  Gaetano, 
Pavia,  1815 — Naples,  May  24,  1887; 
tenor  in  Italy  and  England. 

Frfcccia  (f ra'-<hX-a) ,  Massimo,  b.  Flo- 
rence; cond-  N.  Orleans  SymphM  1946. 

Frederick  H.  (the  Great),  of  Prussia; 
Berlin,  1712 — Potsdam,  1786;  fiute* 
player  and  composer  of  remarkable 
skill— for  a  king. 

Fr6d$ri*  (fra-di-r6x),  Gv.,  Lfege,  1834 
— Brussels,  1894;  critic. 

Freer,  Eleanor  Everest,  b.  Philadel- 
phia, May  14,  1864;  composer; 
pupil  of  Marchesi  and  Godard; 
theory  with  Ziehn;  c.  operas,  inch 
"The  Court  Jester"  and  "Tk*  Lc&md 
of  ik*  Piper"  (Amer.  Op.  Co., 
1028-29);  d.  Chi.,  Dec.  13,  1042. 

Frege  (fra'-gS),  Livia  (n^e  Gerhard), 
Gera,  June  13*  1818 — Leipzig,  Aug. 
22,  1891;  singer;  pupil  of  Pohlenz; 
d£but  at  15  with  Clara  Wieck,  who 
was  then  13,  at  the  Gewandbaus, 
Leipzig, 

Freiberg  (frf'-b£rkh)>  Otto,  Naum- 
bi«rg,  April  26,  *&4& — Gattingen, 
Nov.  2, 1926;  studied,  Leipzig  Cons.; 
from  1865,  violinist  in  court -orch., 
Carisruhe;  studied  with  V.  Lachner; 
became  mus.  dir,  Marburg  Univ.; 
1887,  mus.  dir.  and  prof.  GSttingen. 

Fremstad  (fr^m'-sUit),  Olive,  Stockhokft, 
1872— d.  N,  Y.,  April  ji,  $051;  dra- 
matic soprano;  at  9,  a  pianist; 
brought  to  America  by  her  jiarents, 
at  12;  1890,  soloist  at  St.  Patrick's 
Cathedral,  N.  V.;  x 893-941  pupil  of 
Lilli  Lehmann  at  Berlin;  1895, 
d4but;  i8q6  sang  at  Bayreuth; 


DICTIONARY  OF  MUSICIANS 


157 


1897-1900,  Vienna  Royal  Opera; 
later  at  Munich,  Covent  Garden  and 
1903-14  at  Met.  Op.  House,  N.  Y.; 
officer  of  the  French  Academy,  and 
1907  of  Public  Instruction.  One  of 
the  most  notable  Isoldes  of  her 
generation,  and  a  fine  dram,  artist, 
whose  powers  were  superbly 
schooled.  She  toured  as  a  concert 
singer,  but  for  some  years  has  lived 
in  retirement;  1906,  m.  Edson 
Sutphen;  1916,  Harry  L.  Brainard. 

Frere  (frar),  Marguerite  Jeanne 
(called  Hatto),  b.  Lyons,  Jan.  30, 
1879;  soprano;  pupil  of  the  Cons., 
took  2  opera  prizes,  1899;  debut 
Op6ra,  1899;  created  "Floria"  in 
Saint-Saens'  "Les  Barbaras";  sang 
at  Monte  Carlo,  etc. 

Freschi  (frSs'-ke),  Giov.  Dom.,  Vi- 
cenza,  1640 — 1690;  conductor  and 
dram,  composer. 

Frescobaldi  (fr«s-k5-bSl'-d5),  Girola- 
mo,  Ferrara,  1583 — (buried)  Rome, 
March  2,  1644;  the  greatest  organist 
of  his  time,  a  revolutionist  in  har- 
mony and  important  developer  of 
fugue  and  notation;  he  was  so  famous 
that  30,000  people  attended  his 
first  performance  as  organist  of  St. 
Peters,  Rome  (1610,  or  -14);  purjil 
of  Luzzacchi;  organist  at  Mechlin 
probably  1607;  c.  org.-pcs.,  fugues, 
double-choir  church-music,  etc.; 
biog.  by  Haberl. 

Freudenberg  (f roi  '-dSn-bSrkh) ,  Win., 
Raubacher  Hiitte,  Prussia,  March 
n,  1838 — Schweidnitz,  May  22, 
1928;  studied  in  Leipzig;  th.-cond.  in 
various  places;  1865,  cond.  of  the 
Cecilia  Singing  Society,  and  the 
Synagogenverein,  Wiesbaden;  1870, 
founded  a  Cons.,  and  till  1886,  cond. 
the  Singakademie;  later  opera-cond. 
at  Augsburg  and  (1889)  Ratisbon; 
1895,  choir  dir.  at  Gedachtniskirche, 
Berlin;  c.  many  operas,  chiefly 
comic;  symph.  poem,  etc. 

Frezzolini  (frSd-zQ-lg'-nS),  Erminia, 
Orvieto,  1818 — Paris,  1884;  soprano; 
d6but,  1838. 

Friberth  (fri'bert),  K.,  Wullersdorf, 
Lower  Austria,  1736 — Vienna,  1816, 
tenor;  conductor. 

Frick  (or  Frike)  (frlk,  or  frS'-ke), 
Ph.  Jos.,  near  Wtirzburg,  1740 — 
London,  1798;  organist  and  com- 
poser. 

Frick'er,  Herbert  Austin,  b.  Canter- 
bury, England,  Feb.  12,  1868;  con- 


ductor and  organist;  studied  at 
Canterbury  Cath.  School,  and  lived 
in  Leeds,  1898-1917,  serving  as  civic 
org.  and  choral  dir.  at  the  fests. 
there;  founded  Leeds  Orch.  and  led 
Mendelssohn  Choir,  Toronto,  Can- 
ada, where  d.  Nov.  11,  1943. 

Fricsay  (frek'-sl),  Ferenc,  Hungarian 
cond.,  RIAS  Orch.,  Berlin;  after 
1954  of  Houston,  Tex..  Symph. 

Friderici  (or  Friederich),  Daniel, 
Eisleben  (?)  before  1600 — after  1654; 
cantor  at  Rostock;  c.  madrigals,  etc. 

Fried  (fret),  Oskar,  b.  Berlin,  Aug. 
10,  1871;  pupil  of  Humperdinck; 
since  1904  director  Stern  Gesang- 
verein  and  the  Gesellschaft  der 
Musikfreunde;  later  guest  cond.  in 
England,  Russia  and  of  N.  Y. 
Symph.,  1926;  c.  choral  works  with 
orch.,  double  fugue  for  strings;  a 
work  for  13  wind  instruments  and 
two  harps,  etc.;  d.  1949. 

Friedberg  (frgd'-bSrkh),  Carl,  b. 
Bingen-on-Rhine,  Germany,  Sept. 
1 8,  1872;  pianist;  pupil  of  Clara 
Schumann  and  James  Kwast;  d6but 
with  Vienna  Philh.  Orch.,  1892;  has- 
appeared  widely  with  leading  orches- 
tras in  Europe  and  America,  and  as, 
recitalist;  has  taught  at  Juilliard 
School  of  Music,  N.  Y.,  and  as  heaa 
of  piano  dept.,  Inst.  of  Music.  Art. 

Friedenthal  (frS'-dSn-tal),  Albert, 
Bromberg,  Sept.  25,  1862 — Batavia> 
Jan.  17,  1921;  pianist;  pupil  of  Fr. 
and  W.  Steinbrunn,  and  of  Elullak; 
toured  the  world. 

Friedheim  (frgt'-hlm),  Arthur,  St. 
Petersburg,  Oct.  26,  1859 — New- 
York,  Oct.  19,  1932;  pianist  and 
conductor;  pupil  of  Rubinstein  one 
year,  and  of  Liszt,  8  years;  spent 
many  years  in  America  as  teacher 
and  pianist;  prof,  at  R.  C.  M.,  Man- 
chester, England,  till  1904;  c.  opera. 
"Die  Ttinzerin"  (Cologne,  1905); 
also  pf.  pieces  and  arrangements. 

FriedlSnder  (frSt'-lSnt-er),  Max., 
Brieg,  Silesia,  Oct.  12,  1852 — Berlin, 
May  2,  1934;  concert-bass  and 
editor;  pupil  of  Manuel  Garcia  and 
Stockhausen;  d6but,  1880,  London; 
1881-83,  Frankfort;  since  in  Berlin; 
1882,  Dr.  Phil.  h.  c.  (Breslau);  aftel 
1894,  prof.,  Berlin  Univ.;  lectured 
at  Harvard,  1911;  LL.D.,  Univ.  of 
Wis.;  wrote  works  on  Schubert,  and 
discovered  more  than  100  of  that 
composer's  songs  which  were  previ- 
ously unknown;  with  Bolte  and 


158 


DICTIONARY  OF  MUSICIANS 


Meier   made   valuable  collection  of 
German  folk-songs. 

Friedman       (fret '-man),      Ignaz,       b. 
Podgorze,    near    Cracow,    Feb.    14, 
1882,  pianist,  pupil  of  ids  father  and 
of  Leschetizky;  toured  with  success; 
•c.  piano  pieces  and  songs.     One  of 
most  notable  piano  virtuosi,  esp.  in 
Chopin;  d.  Sydney,  Jan.  26,  1948. 
IFrike.     Vide  FRICK. 
Jfohnl,  Rudolf,  b.  Prague,  Dec.  2,  1879; 
composer;  studied  Prague  Cons.;  in 
1901-06  toured  with  Kubelik;  since 
latter  year  has  lived  in  N.  Y.;  best 
known  for  a  number  of  tuneful  and 
musicianly  light  operas,  among  which 
are    "The   Firefly,"    "High   Jinks," 
"Katinka,"     "Rose    Marie,"     "The 
Vagabond  King"  and  others,  some  of 
which  have  had  internat'l.  popular- 
ity; also  piano  concerto,  and  pieces 
for  orch.,  piano,  vln.,  'cello,  songs. 
Erimmel  (frfcn'-mel),  Th.,  Amstetten, 
Lower    Austria,    Dec.    15,    1853 — 
Vienna,     Dec.     27,     1928;     M.     D. 
(Vienna);  writer. 

^risldn,    James,    b.    Glasgow,    Mar. 
3,    1886;  pianist;  pupil  of  London 
R.    C.    M.,   winning   scholarship   in 
1900    and    composition    scholarship 
1905;   member   of  faculty  Inst.    of 
Musical  Art,  New  York;  active  as 
recitalist;    c.    piano    quintet    in    C 
minor,  'cello  sonata,  etc. 
^rftzsch  (frltsfc),  Ernst  Wm.,  Liitzen, 
Aug.    24,    1840 — Leipzig,    Aug.    14, 
1902;  pupil  Leipzig  Cons.;  acquired 
the  music-pub,  business  of  Bomnitz 
in    Leipzig;    1870,    ed.    the   radical 
"Mvsikalisches     Wochenblatt,"     and 
1875     started     the     "Musikalische 
HausblWer";    a     member     of    the 
Gewandhaus  Orch.;  pub.  the  works 
of  Wagner,  Grieg,  etc. 
IFroberger  (frd'-b&rkh-er),  Jn.  Jakob, 
1605    (?)— H&ricourt,   France,    May 
7,   1667;  chief  German  organist  of 
the  1 7th  cent.;  son  of  a  cantor  at 
Hafle;  studied  in  Rome  with  Fresco- 
baldi;    court    organist    at    Vienna; 
travelled,    and    in    England,    being 
robbed,    became   a   bellows-treader; 
he  overblew  during  Chas.  It's  mar- 
riage  and  was  beaten  by  the  organist 
Gibbons;    he    fell    to    improvising 
shortly  after,  and  was  recognised  by  a 
who  presented  him  to  the  king. 
ch  (fk-Hkh),   (i)  JOS.,  Wiirt 
1780 — 1862;  musical  director; 
writer    and    dram,    composer,     (2) 
The  name  of  three  sisters  b.  Vienna, 


(a)  Nanette  (Anna),  1793 — 1880, 
pianist,  teacher,  and  singer,  (b) 
Barbara,  1797 — 1879;  contralto  and 
painter,  m.  F.  Bogner.  (c)  Jose- 
phine, 1803 — 1878,  notable  singer 
and  teacher. 

Fromm      (frdm),     Emil,      Spremberg, 
Niederlausitz,  Jan.  29,  1835 — Flens- 
burg,  Dec.  12,  1916;  pupil  of  R.  Inst. 
for     Church- music,     Berlin;      1866, 
Royal    Mus.    Dir.;    1869,    organist 
and   conductor   at   Flensburg;    c.    2 
Passion  cantatas,  an  oratorio,  etc. 
Frontini    (fr<5n-t5'-ne),    F.    Paolo,     b. 
Catania,  Aug.  6,   1860;  pupil  of  P. 
Platania,     and    Lauro     Rossi;     dir. 
Catania  Mus.  Inst.;  c.  succ.   opera 
61 M  alia"    (Bologna,    1893);    oratorio 
"Sansone"  (1882),  etc. 
Frost,    (i)    Chas.    Jos.,    Westbury-on- 
Tyne,  Engl.,  June  20,  1848 — London, 
1918;  son  and  pupil  of  an  organist  at 
Tewkesbury,  also  pupil  of   Cooperj 
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,  1901;  studied  organ  with  Seb 
Hart;      1865-91,     organist     of     the 
Chapel  Royal,  Savoy;  1880-88,  pf.- 
prof.   Guildhall  Sch.  of  Mus.;  from 
1877  critic  of  (tTke  Academy,"  later 
of     "The     Athen&um,"     and     "The 
Standard";  pub,  biog.  of  Schubert, 
and    the    "Savoy     Hymn-tunes    and 
Chants." 

Fnigatta  (froo-gat'-ta),  Giu.,  Bergamo, 
May  26, 1860 — Milan,  May  30, 1933; 
pianist;  pupil  of  Bazzmi  (comp.)  and 
Andreoli  (pL)  at  Milan  Cons.;  prof, 
there;    also    at   the   "Collegio    reale 
delle  Fanciulle";  composer. 
Fruytiers    (froi'-t6rs),    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.  Fn,  Mayence, 
1752 — Paris.    1821;   clarinettist  and 
bandm.     (2)  Aloys,  Raase,  Austrian 
Silesia,     1799— Vienna.     1853;     col- 
lector  and  writer.     (3)    K.    Bonus 
Jn.,  Potsdam,  Oct.  22,  1838 — Dan- 
zig, Aug.  24,  1922;  pupil  of  his  father 
and  v.  Bulow,  Weitzmano  and  Kiel: 
Dr.  phil.,  Greifswald;  1871-75,  con- 
cert pianist,  teacher  and  critic,  Ber- 
Hn;    ,1875-79,     Hirschberg;      1879. 
Danzig;  '86,  organist  at  the  Petri- 


DICTIONARY  OF  MUSICIANS 


159 


kirche,  there.  Pub.  numerous 
valuable  musical  treatises.  (4)  Jn. 
Nepomtik,  Frauenthal,  Styria,  May 
5,  1842 — Vienna,  Oct.  5,  1899;  from 
1893,  dir.  of  Vienna  Cons,;  dir.  and 
dram,  composer,  (5)  Robt.,  Frau- 
enthal, Feb.  15,  1847 — Vienna,  Feb. 
19,  1927;  bro.  of  above;  1875 — 1912, 
prof,  theory  at  Vienna  Cons.;  pub. 
3  symphonies,  serenades,  etc.;  prod, 
succ.  "Spieloper"  "Die  Teufelsglocke" 
(Leipzig,  1893)  and  the  succ.  com. 
opera  "Die  Konigsbraut"  (Vienna, 
1889).  (6)  Albert,  Basel,  Aug.  6, 
1858 — Dresden,  Feb.  15,  1910;  pupil 
of  Leipzig  Cons.;  1880,  mus.  dir.  at 
Trier;  1889,  owner  and  manager 
Wiesbaden  Cons.;  comp. 

Fttchs  (ftiks),  Fd.  K.,  Vienna,  1811— 
1848;  dram,  composer. 

Puenllana  (fwSn-lI-an'-na),  Miguel  de, 
flourished  1554  in  Spain;  lute- virtuoso 
and  court  composer;  blind  from  birth. 

Fuentes  (foo-Sn'-tSs),  Don  Pasquale, 
b.  Albayda,  Valencia,  d.  there  1768; 
conductor  and  composer. 

Puertes,  M.  S.     Vide  SORIANO. 

Fttgere  (fii-zhar),  Lucien,  Paris,  March 
3,  1848 — July  15,  1935;  barytone; 
pupil  of  Raguenau;  d6but,  1870; 
sang  for  many  years  with  notable 
succ.  at  Paris  Op.  and  Op.-Comique; 
occasionally  made  operatic  appear- 
ances when  over  80. 

Fiihrer  (fu'-re'r),  Robt.,  Prague,  1807 — 
Vienna,  Nov.,  1861;  organ-composer. 

Fuhrmann  (foor'-man),  (i)  G.  Ld., 
wrote  work  on  the  lute,  Niirnberg, 
1615.  (2)  Martin  H.,  1669 — after 
1:740;  theorist  and  writer. 

Fuller-Maitland.     Vide  MAIXXAND. 

Fumagalli  (foo-ma-gaT-16),  name  of 
four  bros.  b.  at  Inzago,  Italy:  (i) 
Disma,  1826 — Milan,  1893;  profes- 
sor and  composer.  (2)  Adolf  o,  1828 
— Florence,  May  3,  1856;  pianist. 

(3)  Polibio,   Nov.    2,    1830 — Milan, 
June  21,  1901;  pianist  and  composer. 

(4)  Luca,  Inzago,  May  29,   1837 — 
Milan,   June   5,    1908;   pupil   Milan 
Cons.;   concert-pianist;  prod,   opera 
"Luigi  XI"  (Florence,  1875). 

Fumi  (foo'-me),  Vinceslao,  Monte- 
pulciano,  Tuscany,  1823 — Florence, 
1880;  conductor,  violinist,  dram, 
composer  and  collector. 

Furlanetto  (foor-la-nSt'-tS),  Bona- 
ventura  (called  Musin),  Venice, 
1 73  8 — 1 817;  singing-teacher,  con- 
ductor and  composer. 

Furno  (foor'-nS),  Giov.,   Capua,  1748 


— Naples,  1837;  professor  and  dram, 
composer. 

Fursch-Madi  (foorsh'-ma-dS),  Emmy, 
Bayonne,  France,  1847 — Warren- 
ville,  N.  J.,  Sept.  20,  1894;  pupil  of 
Paris  Cons.,  d6but,  Paris;  came  to 
America,  1874,  with  the  New  Orleans 
French  Opera  Company;  1879-81, 
Co  vent  Garden,  London;  her  final 
appearance  was  as  "Ortrud,"*  N.  Y., 
1894. 

Ffirstenau  (fursht'-S-now),  (i)  Kaspar, 
Minister,  Westphalia,  1772 — Olden- 
burg, 1819;  flute- virtuoso;  com- 
poser. (2)  Anton  B.,  Munster,  1792 
— Dresden,  1852;  son  and  pupil  of 
above;  flutist  and  composer.  (3) 
Moritz,  Dresden,  1824 — 1889;  son 
and  pupil  of  (2);  flutist  and  writer. 

Ftirstner  (fiirsht'-nSr),  Ad.,  Berlin.  1833 
— Bad  Nauheim,  1908;  founded  (1868) 
notable  mus.-pub.  house,  Berlin. 

FurtwSngler  (foort'-vang-lSr),  WU- 
helm,  b.  Berlin,  Jan.  25,  1886;  con- 
ductor; pupil  of  Beer-Walbrunn, 
Rheinberger  and  Schillings;  follow- 
ing early  engagements  as  cond.  in 
Zurich,  Strasbourg,  Liibeck,  etc., 
succeeded  Bodanzky  at  Mannheim 
Op.,  1915;  Vienna  Tonktinstler  Orch., 
1919;  Berlin  Op.  and  symph.  concerts, 
after  1920;  cond.  Museum  Concerts, 
Frankfort;  Leipzig  Gewandhaus, 
after  1922;  N.  Y.  Philh.  Orch., 
1925-26;  Berlin  Philh.  Orch..  incl. 
tours  to  other  countries  with  this 
organisation;  Berlin  State  Op.,  also 
several  seasons  at  Bayreuth;  guest 
cond.  at  Vienna  Op.  and  with  Philh. 
Orch.;  nominated  to  succeed  Tosca- 
nini  as  cond.  N.  Y.  Philh.,  1936,  but 
cancelled  engagement  owing  to 
controversy  among  subscribers  of 
this  orch.  as  to  his  political  and  racial 
sympathies;  has  at  times  enjoyed 
titie  highest  honours  from  the  Nat'l. 
Socialist  regime  in  Germany,  incL 
vice-presidency  of  Reich  Music 
Chamber,  as  well  as  virtual  dictator 
of  music  in  Berlin,  at  other  times  has 
either  resigned  or  been  relieved  of 
his  posts;  one  of  these  instances 
occurred  in  1934  following  a  stand 
which  he  took  in  championing  the 
music  of  Paul  Hindemith,  outlawed 
by  German  Ministry  of  Culture  and 
Propaganda  as  showing  traits  of 
"cultural  Bolshevism";  later  re- 
stored to  his  orchestral  and  operatic 
baton  posts;  appointed  mus.  dir.  of 
Vienna  Philh.  Orchestra,  1950. 


160 


DICTIONARY  OF  MUSICIANS 


Fox  (fbox),  Jn.  Jos.,  Hirtenfeld, 
Upper  Styria,  1660 — Vienna,  Feb. 
14,  1741;  eminent  theorist,  organist, 
and  court-conductor  and  writer;  c. 
405  works  (few  pub.),  incl.  18  operas, 
10  oratorios,  50  masses,  incl.  missa 
canonic  a.  He  wrote  the  famous 
treatise  on  cpt.  "Gradus  ad  Pantos- 
sum"  in  dialogue  form;  it  is  based 
on  the  church-modes,  Biogr.  by 
Kochel  (Vienna,  1872}. 


Gabler  (gap'-l&r),  Jn.,  d.  ca.  1784;  or- 
gan builder  at  Ulm. 

Gabriel  (i)  (gS'-brl-el),  Mary  Ann 
Virginia,  Banstead,  Surrey,  Engl., 
1825 — London,  1877;  c.  cantatas, 
operas,  etc.  (2)  (ga'-brf-el),  Max, 
b.  Elbing,  1861;  1890,  cond.  Residenz 
Th.,  Hanover;  later  in  America,  then 
at  Rembrandt  Theatre,  Amsterdam; 
prod.  succ.  operettas. 

Gabrieli  (ga-brf-5'-l5),  (i)  Andrea, 
Venice,  ca.  1510 — 1586;  eminent  or- 
ganist and  teacher  and  composer  of 
the  first  "real"  fugues  (v.  D,  D.). 

(2)  Giov.,   Venice,    1558 — Aug.    12, 
1613  (ace.  to  his  monument);  nephew 
and  pupil  of  above,  and  equally  fa- 
mous; an  extraordinary  contrapun- 
tist, his  "symphoniae  sacrae"  employ- 
ing 3  simultaneous  choirs  independ- 
ently handled;  he  has  been   called 
"the  father  of  the  chromatic  style" 
because    of    his    bold    modulations. 

(3)  Dom.    (called    "Menghino    del 
violoncello"),    Bologna,    ca.    1640 — 
ca.    1690;    'cellist,    conductor,    and 
composer. 

GabrielK  (ga-brf-Sl'-ls),  (i)  Catterina, 
Rome,  Nov.  12,  1730 — April,  1796; 
daughter  of  Prince  G  's  cook  (and 
hence  called  "La  Cochetta,"  or 
"Codiettina");  onfe  of  the  most 
beaatiful  and  brilliant  of  singers;  her 
extraordinarily  flexible  voice  had  a 
"thrilling  quality"  (Burney);  her 
caprices  and  her  high-handed  treat- 
ment of  the  nobility  and  royalty 
enamoured  of  her  make  her  a  most  pic- 
turesque figure;  she  sang  with  great- 
est succ.  all  over  Europe  and  retired 
wealthy.  Her  sister  (2)  Francesca 
(called  "La  Gabriellina,"  or  "La 
Ferrarese"),  Ferrara,  1755— Venice, 
I79S>  was  a  celebrated  prima  donna 
buffa.  (3)  Conte  Nicolo,  Naples, 
1814 — 1891;  prod.  22  operas  and  60 
ballets. 


Gabrielsld,  (r)  Jn.  Wm.,  Berlin,  1791 
•1846;   flutist  and   composer.     (2) 


Julius,  Berlin,  1806  —  1878;  bro.  am 
pupil  of  above;  flutist. 
Gabnlowitsch  (gS-brS-lo'-vftsh),  Ossip, 
St.  Petersburg,  Jan.   26,   1878  —  De- 
troit, Mich.,  Sept.  14,  1936;  eminent 
pianist  and  conductor;  studied  at  the 
Cons,  with  Glazounoff,  LiadofT  and 
Rubinstein;  at  16  took  the  Rubin- 
stein prize;  studied  with  Leschetizky 
at  Vienna,  1894-96;  1896  began  tour- 
ing   with    success;    1900,    America. 
He  was  resident  in  Munich  for  the 
most  part  between  1004  and  1914, 
and  cond.    the   Konzertverein   con- 
certs there,  1910-14.     From  1907  he 
also  led  orch.  programmes  in  N.  Y. 
Between  1912  and  1916  he  gave  a 
series  of  historical  piano  recitals  in 
Eur.   cities   and  U.   S.,   illustrating 
growth   of    the   concerto.     He    was 
appointed    cond.     of     the     Detroit 
Symph.  Orch.  in  1918,  a  post  which 
he  filled  with  distinction  until  1935. 
He  also  served  as  one  of  the  leaders 
of  the  Phila.  Orch.  for  several  seasons 
and  appeared  as  guest  with  other 
orchs.  in  this  country.     A  notable 
ensemble  perf.  as  well  as  one  of  the 
most  brilliant  and  scholarly  soloists. 
He  m.  Clara  Clemens,  daughter  of 
"Mark    Twain,"    a    mezzo-soprano. 
C.    "Overture-  Rhapsody"    for    orch.; 
"Elegy"    for    'cello;    piano    pieces, 
songs,  etc. 

Gabussi  (g^-boos'-sg),  V.,  Bologna, 
1800  —  London,  1846;  teacher  and 
composer. 

Gade  (ga'-dS),  Niels  Wm.,  Copen- 
hagen, Feb.  22,  1817  —  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- 
violinist.  His  overture,  "  Nachklange 
von  Ossian,"  took  first  prize  at  the 
Copenhagen  Mus.  Soc.  competition 
(1841)  and  won  for  him  a  royal 
stipend.  In  1842  the  C  min.  sym- 

'*- 


. 

phony,  and  1846  the  cantata 
mala,"  were  prod,  by  Mendelssohn 
at  the  Gewandhaus.  He  travelled  in 
Italy;  then,  1844,  lived  in  Leipzig  as 
sub-cond.  to  Mendelssohn,  and  reg- 
ular cond.  at  his  death  (1847);  1848, 
he  returned  to  Copenhagen  as  cond. 
of  the  Mus.  Soc.  and  as  organist; 
1  86  1,  court-cond.,  made  Prof,  by  the 
King,  and  -Dr.  Phil.  h.  c.  by  the 
Univ.;  1886,  Commander  in  the 


DICTIONARY  OF  MUSICIANS 


161 


Order  of  Danebrog;  1876  the  govt. 
voted  Mm  a  life-pension.  Autobiog. 
"Aufzeichnungen  und  Brief e"  (Basel, 
1893).  Pub.  7  symphonies  (D  mi- 
nor, No.  5  with  pf.);  4  overtures, 
"  Nachkl&nge  von  Ossian,"  "Im  Hoch- 
lande,"  "Hamlet,"  "Michelangelo,9* 
octet,  sextet,  and  quartet  for  strings; 
7  cantatas,  "  Elvers  kind"  (Erl-King's 
Daughter)  ,"FruhHngsbot$chaft"  * ' Die 
Heilige  Nacht,"  "Zion,"  "  Kalanus," 
"Die  Kreuzfahrer,"  "Psyche,"  etc.; 
2  vln. -concertos;  pf.  sonata  and  pcs., 
songs,  etc. 

Gadsl>y,  H.  Robt.,  Hackney,  London, 
Dec.  15,  1842 — Putney,  Nov.  n, 
1 90 7;  pupil  of  Wm.  Bayley,  but 
mainly  self-taught;  organist  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"- 
and  "The  Witches'  Frolic,"  etc. 

Gad 'ski,  Johanna,  An  clam,  Prussia,, 
June  15,  1871 — Berlin,  Feb.  23,  1932 
(in  automobile  accident);  notable 
soprano,  educated  at  Stettin,-  1892, 
m.  H.  Tauscher;  sang  in  U.  S.  A.  for 
many  years,  1899  Co  vent  Garden 
and  as  "Eva"  (Meister  singer)  at 
Bayreuth.  She  was  a  leading  mem- 
ber of  the  Met.  Op.  Co.,  in  Wagner- 
ian  r61es,  from  1898  to  1917,  also 
appearing  widely  in  concerts.  Dur- 
ing the  war  she  was  accused  pf  anti- 
American  activities  and  retired  to 
Berlin.  She  was  again  heard  in  the 
United  States  as  leading  singer  with 
the  Wagnerian  Op.  Co.  in  two  tours, 
1930  and  1931.  A  large  and  freely 
produced  voice  of  striking  dram, 
timbre  and  much  dignity  of  stage 
deportment  marked  her  interpreta- 
tions of  a  great  variety  of  r6les,  in- 
cluding "Senta"  and  "Brunnhilde." 

Gaforio  (ga-f6'-rI-6)  (or  Gafori,  Ga- 
furi,  Gaffurio),  Franchino  (Latinised 
"Franchinus  Gafurius,"  or  "Fran- 
chinus"),  Lodi,  Jan.  14,  1451 — 
Milan,  June  24,  1522;  priest,  emi- 
nent theorist,  choirmaster  and  singer. 

Gagliano  (gftl-ya'-na),  (i)  Marco  di 
Zanobi  da,  b.  Florence;  d.  there, 
Feb.  24,  1642;  conductor  and  com- 
poser. (2)  A  family  of  Naples  vln.- 
makers,  (a)  Alessandro,  pupil  of 
Stradivari,  worked  ca.  1695 — 1725. 
His  sons,  (b)  Nicolo"  (1700—40),  and 
(c)  Gennaro  (1710-50),  and  his 
grandson,  (d)  Ferdinando  (1736-81) 


succeeded  him;  later  descendants  est. 
factory  of  strings,  still  famous. 

Gahrich  (ga'-rlkh),  Wenzel,  Zercho- 
witz,  Bohemia,  1794 — Berlin,  1864; 
violinist,  ballet-master,  and  dram, 
composer. 

Gafl  (ga-el),  EdmSe  Sophia  (ne'e 
Garre),  Paris,  Aug.  28,  1775 — July 
24,  1819;  singer  and  dram,  composer. 

Gailhard  (gl'-y&r),  Pierre,  Toulouse, 
Aug.  i,  1848 — Paris,  Oct.  12,  1918; 
bassjpupil  Paris  Cons.;  d6but,  1867, 
Op.  Com.,  Paris;  later  at  the  Op6ra, 
of  which  he  was  director  1899-1907. 

Gal,  Hans,  b.  Briinn,  Austria,  Aug.  5, 
1890;  composer;  Ph.D.,  Univ.  of 
Vienna;  pupil  of  Mandyczewski  and 
Robert;  c.  (operas)  "Der  Arzt  der 
Sobeide"  (Breslau,  1919);  "Die  Heil- 
ige Ente"  (Dtisseldorf,  1923);  "Das 
Lied  der  Nacht"  (Breslau,  1926); 
also  orchestral  and  chamber  music, 
choruses;  won  Austrian  State  Prize, 
1915,  for  his  ist  symphony;  after 
1918  lecturer  in  counterpoint,  har- 
mony and  musical  form  at  Univ.  of 
Vienna. 

Galeazzi  (ga-la-ad'-zg),  Fran.,  Turin, 
1758 — Rome,  1819;  violinist. 

Galeffi  (ga-la'-fe),  Carlo,  b.  Rome; 
barytone;  dSbut  in  "A'ida"  at  Rome, 
1907;  created  r61e  of  Gianni  Schicchi 
in  Puccini's  opera  at  Costanzi 
Theat.;  has  also  sung  in  other  Eur. 
countries,  and  North  and  South 
America. 

Gal'eotti,  Cesare,  b.  Pietrasanta,  June 
5,  1872;  c.  operas  "Anton"'  (La  Scala, 
Milan,  1900)  and  "La  Dorise'* 
(1910),  etc.;  d.  Paris,  Feb.  19,  1929. 

Galilei  (ga-lHa'-e),  V.,  Florence,  ca. 
1533 — 1591;  lutenist,  violinist  and 
theorist;  father  of  the  astronomer. 

Galin  (g^-lan),  P.,  Samatan  Gers, 
France,  1786 — Bordeaux,  1821;  wrote 
pop.  method  "Meloplaste"  (v.  D.  D.). 

Galitzin  (ga-le'-tshen),  (i)  Nicolas 
Borissovitch,  1794 — 1866;  a  Russian 
prince,  to  whom  Beethoven  dedi- 
cated 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  Moscow  (1842) 
a  choir  of  70  boys;  later  an  orchestra. 

Gal'kin,  Nikolai  Vladimirovich,  St. 
Petersburg,  Dec.  6,  1856 — May  21, 
1906;  violinist  and  composer  for 
violin;  pupil  of  Kaminsky,  Auer, 
Joachim,  Sauret  and  Wieniawski; 


162 


DICTIONARY  OF  MUSICIANS 


toured  Europe  and  after  1877  was 
cond.  in  St.  Petersburg  and  from 
1880  teacher  at  the  Cons.;  from 
1892,  prof. 

Gall,  (i)  Jan,  Warsaw,  Aug.  18,  1856 
— Lemberg,  Oct.  30,  1912;  pupil  of 
Krennand  Rheinberger  1886,  teacher 
of  song  at  Cracow  Cons,  then  pupil 
of  Mme.  Lamperti,  director  of  the 
Lemberg  "Echo"  society;  composer 
of  some  400  vocal  numbers.  (2) 
Yvonne,  b.  Paris,  March  6,  1885; 
soprano;  studied  Paris  Cons.,  d6but 
as  "Marguerite,"  Paris  Op.;  has  also 
sung  with  Op.-Comique,  and  widely 
in  various  Eur.  countries  and  Amer- 
ica; several  seasons  with  Ravinia  Op. 
Co.,  after  1927;  also  as  recitalist  in 
U.S. 

Gallay  (gal-lS),  (i)  Jacques  Fran.,  Per- 
pignan,  1795 — Paris,  1864:  horn- 
virtuoso  and  composer.  (2)  Jules, 
Saint-Quentin,  1822 — Paris,  1897; 
amateur  'cellist  of  wealth;  made  re- 
searches and  pub.  valuable  treatises. 
GaHenberg  (g£l'-ISn-b£rkh),  Wenzel 
Robt.,  Graf  von,  Vienna,  1783 — 
Rome,  1839;  c.  ballets. 
Gallet'ti-Gianoli  (ja-na'-leO,  Isabella, 
Bologna,  Nov.  n,  1835 — Milan, 
Aug.  31, 1901;  operatic  soprano;  later 
contralto. 

Gal  Oi,  Klippo,  Rome,  1783 — Paris, 
June  3,  1853;  first  most  successful 
as  a  tenor;  illness  changed  his  voice, 
and  he  achieved  great  success  as  a 
bass. 

GalH-Cttrci,  Amelita  (Sm-S-le'-ta1  gSl- 
ll-koort'-che),  b.  Milan,  Nov.  18, 
1889;  coloratura  soprano;  studied 
piano,  Milan  Cons.,  in  voice  largely 
self-taught;  dtbut  as  "Gilda,"  "Cos- 
tanzi,"  Rome,  1910;  sang  in  various 
Etnr.  theatres  and  in  South  America; 
American  de"but  with  Chicago  Op., 
with  sensational  success,  as  "Gilda, 
1916;  member  of  this  company  until 
1924;  Met.  Op.,  N.  Y.,  1921-30; 
many  concert  tours  in  U.  S.,  Great 
Britain,  Australia  and  Orient;  m. 
Homer  Samuels,  pianist-composer. 
Gallia,  Vide  ±HNE. 
GallUrd  (gST-H-Srt),  Jn*  Ernst,  Celle, 
Hanover,  1687 — London,  1749;  obo- 
ist and  organist* 

Gallico,  Paolo,  b.  Trieste,  May  13, 
1868;  at  15  gave  a  pf.-recital  at 
Trieste;  then  studied  Vienna  Cons, 
witij  Julius  Epstein;  at  18  graduat- 
ing with  first  prize  and  "Gesell- 
schafts"  medal;  toured  Euror>e;  1892 


pianist  and  teacher,  New  York;  his 
oratorio,  "The  Apocalypse,"  won 
Nat'l.  Fed.  of  Mus.  Clubs  prize, 
1921;  c.  operettas,  pf. -pieces,  songs, 
etc. 

Gallic  'ulus,  Jns.,  contrapuntist  at 
Leipzig,  1520-48. 

Gam-MariS  (gal-li  mfir-yS),  Cel£stine 
(n6e  Marie  de  1'Isle),  Paris,  Nov., 
1840 — Nice,  1905;  mezzo-soprano; 
daughter  of  an  opera-singer;  d£but 
Strassburg,  1859;  sang  Toulouse, 
1860,  Lisbon,  1861,  Rouen,  1862; 
1862-78,  and  1883-85,  Paris  Ope"ra 
Comique;  she  created  "Mignon" 
(1866),  "Carmen"  (1875),  etc. 

Gallus,  (i)  Jacobus  (rightly  Jacob 
HSndl,  Handl  or  Hahnel);  Carniola, 
ca.  1550 — Prague,  1591;  composei 
and  conductor.  (2)  Jns.  (Jean  le 
Cocq,  Maitre  Jean,  or  Mestre  Jhan), 
d.  before  1543;  a  Dutch  contra- 

Juntist,    conductor    and    composer. 
3)  Vide  MEDERITSCH,  JN. 
xston,  Gottfried,  b.  Vienna,  Aug.  31^ 
1879 — St.  Louis,  Apr.  2, 1950;  studied 
Vienna     Cons.,     piano     with     Les- 
chetizky,  theory  with  Jadassohn  and 
Reinecke,  Leipzig;  toured  Australia 
and    (1913-14)    U.    S.    as    pianist; 
taught  Stern  Cons.,  Berlin,  1903-07, 
and  again  after  1921;  also  appeared 
in  series  of  historical  recitals  and  as 
orch.  soloist  in  leading  capitals,  inch 
Russia;  later  active  as  pedagogue  ir* 
America;  author  of  "Studienbuch" 
Galuppi       (ga-loop'-pl),       Baldassare 
(called  U  Buranerio),  Island  of  Bu- 
rano,  near  Venice,  Oct.  18,   1706 — 
Venice,   Jan.    3,    1785;    harpsichord 
virtuoso;  organist  1765-68;  conduc- 
tor; c.  54  comic  operas. 
Gambale  (gam-ba'-lg),  Emm.,  music- 
teacher,    Milan;   pub.    "La   riforma 
musicale"  (1840),  etc.,  advocating  a 
scale  of  12  semitones, 
Gambini  (gam-bg'-nS),  Carlo  Andrea, 

Genoa,  1819 — 1865;  c.  operas,  etc. 
Gamucci    (ga-moot'-chg),   Baldassare, 
Florence,    1822 — 1892;    pianist   and 
writer. 

Ganassi  (ga-naV-se),  Silvestro,  b.  Fon- 
tego,  near  Venice,  ca.  1500  (called 
"del  Fontego");  editor  and  writer  on 
graces. 

Gand  (gan),  Ch.  Nicolas  Eugene, 
ca.  1826 — Boulogne-sur-Seine,  1892; 
vln.-maker.  V.  LUPOT. 
Gandird  (gan-da'-ne),  (i)  A.,  Modena, 
1786 — Formigine,  1842;  conductor 
and  dram,  composer.  (2)  Alessan* 


DICTIONARY  OF  MUSICIANS 


163 


dro,  Modena,  ca.  1807 — 1871;  son, 
pupil  (1842)  and  successor  of  above; 
dram,  composer  and  writer. 

Ganne  (gan),  L.  Gaston,  Buxifcres-les- 
Mines,  Allier,  April  5,  1862 — Paris, 
July  14,  1923;  pupil  of  Dubois  and 
Franck,  Paris  Cons.;  cond.  at  Monte 
Carlo;  c.  comic  opera  "Rabelais" 
(1892),  vaudeville,  operetta,  ballets, 
etc. 

GSnsbaclier  (g£ns'-bakh-er),  Jn.,  Sterz- 
ing,  Tyrol,  1778 — Vienna,  1844;  con- 
ductor and  composer. 

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 — Berlin, 
1869;  violinist  and  composer;  Adolf's 
2  sons  were,  (4)  Eduard,  Mayence, 
1827 — 1869;  pianist.  (5)  Wiihelm, 
Mayence,  Nov.  6,  1833 — London, 
Sept.  12,  1914;  pianist,  professor, 
conductor.  (6)  Rudolph,  b.  Zurich, 
Feb.  24,  1877;  d6but  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;  1901-05  suc- 
ceeded Friedheim  in  Chicago;  has 
toured  widely;  cond.  St.  Louis 
Symph.,  1921—27;  also  guest  cond. 
in  New  York  Stadium  series,  Holly- 
wood Bowl,  in  Los  Angeles,  San 
Francisco,  Denver,  etc.;  after  1929, 
dir.  of  Chicago  Mus.  Coll.  and  of 
modern  music  soc.  in  that  city;  c. 
orch.,  piano  music,  songs;  mem. 
Legion  of  Honour. 

Garat  (ga-ra),  P.  J.,  Ustaritz,  Basses- 
Pyr6n6es,  April  25,  1764 — Paris, 
March  i,  1823;  most  remarkable 
French  singer  of  his  time,  a  barytone 
of  great  compass  and  amazing  mem- 
ory and  mimicry;  professor  and  com- 
poser. 

Garaude*  (gS.r-5-da),  Alexis  de,  Nancy, 
1779 — Paris,  1852;  professor,  com- 
poser and  writer. 

Garbou'sova,  Raya,  b.  Tiflis,  1909; 
'cellist;  grad.  State  Cons,  of  Tiflis; 
pupil  of  Hugo  Becker;  d6but  Mos- 
cow, 1923;  has  toured  in  European 
cities  and  America  as  orch.  soloist 
and  in  recitals. 

Garbrecht  (gar'-brSkht),  Fr.  F.  W. 
(d.  1874),  founded  at  Leipzig  (1862) 

-  a  music  engraving  establishment, 
owned  since  1880  by  Os.  Brand- 
stetter. 

Garcia  (gar-thS'-a),  a  notable  family  of 


Spanish  vocal  teachers,  (i)  Don 
Fran.  Saverio  (Padre  Garcia,  called 
"lo  Spagnoletto"),  Nalda,  Spain, 
1731 — 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 
singers;  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 
operas  and  c.  o thers.  (3)  Manuel, 
Madrid,  March  17,  1805 — London, 
July  i,  1906;  son  of  above;  bass  (in 
Paris);  he  was  a  scientific  investiga- 
tor, and  inv.  the  laryngoscope,  re- 
ceiving Dr.  Phil.  h.  c.  Konigsberg 
Univ.;  1847,  prof,  at  the  Cons.,  1850, 
London,  R.  A.  M.  Jenny  Lind  was 
one  of  his  pupils;  pub.  "Traite" 
complet  de  I' art  du  chant"  1847. 
(4)  EugSnie  (n6e  Mayer),  Paris,  1818 
— 1880;  wife  and  pupil  of  (3);  so- 
prano and  teacher.  (5)  M.  J^licitS, 
v.  MALIBRAN.  (6)  Pauline,  v.  VIAR- 

DOT  GARCIA. 

Garcin  (g&r-s&n),  Jules  Aug.  Salomon, 
Bourges,  1830 — Paris,  1896;  violin- 
ist, conductor  and  professor. 

Gardano  (gSr-da'-no),  (i)  A.  (till  1557 
called  himself  Gardane),  ca.  1500 — 
Venice,  1571  (?);  early  Italian  mus.- 
printer,  succeeded  by  sons,  (2)  Ales- 
sandro  and  (3)  Angelo. 

Gar 'den,  Mary,  b.  Aberdeen,  Feb.  20, 
1877;  notable  soprano;  as  a  child 
brought  to  America;  pupil  of  Mrs. 
Duff;  (1896)  Paris  with  Trabadello 
and  Fug&re;  d6but,  1900,  Paris  Op. 
Com.;  has  created  various  r61es  there, 
including  "M£lisande"  in  Debussy's 
"Pelleas  et  Melisande,"  1902;  sang  at 
Covent  Garden,  1902;  leading  singer 
with  Manhattan  Op.  Co.,  N.  Y.3 
after  1907,  in  French  rdles;  1910-30, 
one  of  the  guiding  artistic  personali- 
ties in  the  Chicago  Op.  Co.,  of  which 
she  was  also  artistic  dir,,"  1921-22. 
Sang  in  Amer.  premieres  of  many 
operas;  an  outstanding  concert  singer; 
in  later  years  has  taught,  lectured. 

Gar 'diner,  H.  Balfour,  b.  London, 
Nov.  7,  1877 — 1950;  pupil  of  Knorr, 
Frankfort;  also  studied  with  Uzielli, 
and  1895  at  New  Coll.  Oxford;  he 
was  for  a  short  time  a  singing  teacher 
in  Winchester,  then  for  the  most  part 
devoting  himself  to  composition;  dir. 
of  concert  series  in  London,  1912-13, 


164 


DICTIONARY  OJb 


of  modern  English  orch.  and  choral 
music;  c.  popular  "Shepherd  Fennel9 s 
Dance"-,  overture;  Suite  and  Fantasy 
for  orch.;  Humoresque  for  small 
orch.;  string  quintet  and  quartet; 
piano  pieces,  songs,  choral  works, 
etc. 

Gard'ner,  Samuel,  b.  Elizabethgrad, 
Russia,  1892;  violinist,  composer; 
studied  vln.  with  Winternitz  and 
Kjaeisel,  composition  with  Goets- 
chius;  d£but,  N.  Y.,  1912;  res.  in 
U.  S.;  has  appeared  as  soloist  and 
guest  cond.  in  his  works  with  leading 
Amer.  orchestras. 

Gardo'ni,  Italo,   b.   Parma,    1821;   re- 
tired, 1874:  operatic  singer;  d.  1882. 
Gartan/dia,  Johannes  de,  ca.  1210-32; 

French  theorist. 

Gamier  (g£rn-ya),  Fran.  Jos.,  Lauris, 
Vaucluse,  1759 — ca.  1825;  oboist  and 
composer. 

Gar'rett,  Geo.  Mursell,  Winchester, 
England,  1834 — Cambridge,  1897; 
pianist,  conductor,  composer  and 
lecturer. 

Gar'rison,  Mabel,  b.  Baltimore,  Md.; 
coloratura  soprano;  studied  Peabody 
Cons. ;  debut  as  "Filina"  in  "Mignon, 
Boston,  1912;  sang  with  Met.  Op. 
Co.,  N".  Y.,  for  6  yejars  after  1914; 
also  as  concert  artist  in  U.  S.;  toured 
Orient;  m.  George  Siemonn,  con- 
ductor. 

Gas'par  van   Weerbeke    (v&r'-b$-kS), 
b,  pudenarde,   Flanders,   ca.    1440; 
eminent  contrapuntist  and  teacher. 
Gaspari     (gas-pa  *-rS),     Gaetano,     Bo- 
logna,   1807 — 1881;    librarian,    pro- 
fessor and  composer. 
Gasparini  (or  Guasparini)  (gas-pa-r5'- 
n5),  (i)  Fran.,  Camaiore,  near  Lucca, 
1668 — Rome,    1727;    director,    con- 
ductor and  theorist.     (2)  Michelan- 
gelo,   Lucca,     1685 — Venice,    1732; 
male  contralto  and  dram,  composer. 
(3)  Don  Qttirino,  'cellist  at  Turin; 
1749-70;  conductor  and  composer. 
Gasparp  da  Salo  (gS,s-pa'-r6  da  saM6) 
(family     name     Bertolot'ti),     Salo, 
Brescia,  Italy,  ca.  1542 — Brescia  <?), 
1609;  famous  maker  of  viols. 
Gassier  (gas-ya),  L.  Ed.,  France,  1822 

— Havana,  1871;  barytone. 
Gassmann     (gas'-mSn),     Florian     L., 
Brux,  Bohemia,  1723 — Vienna,  1774; 
court-conductor    and     dram,     com- 
poser. 

Gass'ner,  F.  Simon,  Vienna,  1798 — 
Carlsruhe,  1851;  violinist,  teacher, 
editor  and  composer. 


Gast,  Peter.     Vide  KdsELixz. 

Gastaldon  (gas-tal'-dSn),  Stanislas,  b. 

Turin,  1 86 1 — Florence,  March,  1939; 

pub.  nocturnes,  ballabili,  songs,  etc., 

some  of  them  v.  pop.;  c.  succ.  i-act 

opera-seria,  "II  Pater"  (Milan,  1894). 

Gastinel  (gas-tl-nel),  LSon  G.  Cyprien, 

Villers,  near  Auxonne,  Aug.  15,  1823 

— Paris,  Nov.,  190**  ~npil  of  Hal6vy, 

Paris  Cons.;  took  nrst  Gr.  prix  de 

Rome    with    cantata     "Velasquez"^ 

prod,  comic  operas;  ballet  "Le  R&ve- 

(Gr.  Opera,  1890),  etc. 

Gastoldi  (gS,s-tol'-de),  Giov.  Giacomo, 

Caravaggio,    ca.    1556 — Milan     (?), 

1622;  conductor,  contrapuntist  and 

composer. 

Gastoue  (gas-too 'a),  Amadee,  b.  Paris, 
March  13,  1873;  writer;  prof,  of 
church  music;  a.  Clamart,  1943. 
Gatayes  (g^-tSzO,  (i)  GuilL  P.  A., 
Paris,  1774 — 1846;  guitar-player  and 
composer.  (2)  Jos.  Leon,  Paris, 
1805 — 1877;  son  of  above;  harpist, 
critic  and  composer.  (3)  Felix,  b, 
Paris,  1809;  bro.  of  above;  pianist, 
chiefly  self-taught;  for  20  years 
toured  Europe,  America,  Australia. 
Gathy  (gft-te),  Aug.,  Li6ge,  1800— 
Paris,  1858;  editor,  teacher  and  com- 
poser. 

Gat'ti,  Guido  M.,  b.  Chieti,  May  30, 
1893;  writer  on  music;  ed.  monthly 
pub.,  "II  Pianoforte"  (Turin)  which 
he  founded  1920;  also  organized 
modern  chamber  music  and  orch, 
concerts  in  that  city;  author  of  many 
articles  on  music. 

Gatti-Casazza  (gat'-tl  ka-sat'-sa),  Giu- 
lio,  Udine,  Feb.  5,  1869 — Ferrara, 
Sept.  2,  1940;  operatic  impresario; 
Naval  engineer;  1894-08  dir.  Muni- 
cipal Theatre  at  Ferrara;  1898-1909, 
dir.  La  Scala,  Milan;  1909  co-director 
with  A.  Dippel  of  the  Metropolitan 
Opera  House,  N.  Y.;  1910-35,  in  full 
charge;  he  gave  a  number  of  native 
American  operas,  and  the  first  prods, 
anywhere  of  Humperdinck's  "  Kd- 
nigskinder,"  and  Puccini's  "Girl  of 
the  Golden  West."- 

Gat'ty,  (x)  Sir  Alfred  Scott,  Ecclesfield, 
Yorks.,  April  25,  1847^ — London, 
1919;  1880  Poursuivant  of  Arms, 
Heralds'  Coll.  London;  c.  operettas, 
many  pop.  songs,  particularly  in 
imitation  of  American  Plantation 
songs,  pf.-pieces.  (2)  Nicholas  Co- 
myn,  b.  Bradfield,  Sept.  13,  1874; 
d.  1946;  critic,  organist  and  comp.. 
pupil  K.  C.  M.,  where  he  produced 


DICTIONARY  OF  MUSICIANS 


165 


crdi.- variations  on  "Old  King  Cole"; 
1907-14,  critic  on  "Pall  Mall  Ga- 
zette"', assistant  at  Covent  Garden; 
c.  i-act  operas  "Grey steel"  (Sheffield, 
1906},  and  "Duke  or  Devil"  (Man- 
chester, 1909);  Milton's  "Ode  on 
Time"  for  chorus  w.  orch.,  (Sheffield 
Festival,  1905);  operas  "Prince  Fere- 
Ion"  (Old  Vic,  London,  1921);  "The 
Tempest"  (1920);  "Macbeth,"  etc. 

Gaubert  (go-bar 0,  Philippe,  b.  Cahors, 
1879;  Paris,  1941;  pupil  at  Paris 
Cons,  of  Taffanel;  won  2  Rome 
prizes,  1905;  i9*9>  chosen  to  succeed 
Messager  as  cond.  of  Soci6te"  des 
Concerts  du  Conservatoire;  after 
1920,  ist  cond.  at  Ope*ra;  c.  opera, 
ballets,  chamber  and  orch.  music. 

Gaucquier  (gok-ya),  Alard  (rightly 
Dunoyer  Latinized  Nuceus),  called 
du  Gaucquier  and  Insulanus  from 
Lille-l'isle,  court-bandm.  to  Maxi- 
milian II. ;  famous  i6th  cent,  contra- 
puntist. 

Gaul  (g6l),  (i)  Alfred  Robt.,  Norwich, 
England,  April  30,  1837 — Birming- 
ham, Sept.  13,  1913;  at  9  a  cath. 
chorister  articled  to  Dr.  Buck;  1863, 
Mus.  Bac.  Contab.;  1887,  cond.  Wal- 
sall  Philh.;  later  teacher  and  cond. 
at  the  Birmingham  and  Midland 
Tnst.,  etc.;  c.  oratorio  "Hezekiah"; 
cantatas,  incl.  "Ruth"  and  "The 
Holy  City,"  etc.  (2)  Harvey  Bart- 
lett,  b.  New  York,  April  n,  1881; 
organist  and  composer;  pupil  of 
Lejeune;  later  in  Paris  with  Decaux 
and  d'Indy  at  Schola  Cantorum, 
with  Widor  and  Guilmant;  res.  in 
Pittsburgh  after  1910  as  church  org.; 
mem.  faculty,  Pittsburgh  Inst.;  critic 
on  several  newspapers  of  that  city;  c. 
choral,  org.  works;  d.  Dec.  i,  1945- 

Gau(l)tier  (g5t-ya),  CO  Jacques  (G. 
d  Angleterre,  or  I'ancien),  Lyons, 
ca.  1600 — Paris,  ca.  1670;  lutenist, 
(2)  Denis  (le  jeune,  or  I'illustre), 
Marseilles,  ca.  1610 — Paris,  1672; 
cousin  of  above,  and  his  partner  in 
a  lutenist  school;  famous  lutenist  and 
collector  of  lute-music. 

Gaunt'lett,  H.  J.,  Wellington,  Shrop- 
shire, 1805 — London,  1876;  organist 
and  composer. 

Gauthier  (g5t-ya),  (i)  Gabriel,  b.  in 
Sa6ne-et-Loire,  France,  1808;  be- 
came blind  when  n  months  old;  was 
pupil  and  (1827-40)  teacher  Paris 
Inst.  for  the  Blind,  then  organist  of 
St.  Etienne-du-Mont,  Paris;  pub. 
treatises.  (2)  Eva*  b.  Ottawa,  Can., 


Sept.  20,  1886;  soprano;  studied  with 
Bouhy,  Shakespeare,  Carigiani  and 
Oxilla;  d6but  in  Carmen,  Pa  via, 
Italy;  sang  r61e  of  "Yniold"  in  Lon- 
don premi&re  of  "Pelleas"'9  best 
known  as  soloist  and  recitalist  in  Drp- 
grammes  of  modern  music;  active  in 
U.  S.  for  some  years;  made  researches 
in  Javanese  and  Malay  folk-songs. 

Gautier  (got-ya),  (i)  y.  GAULTIER. 
(2)  J.  Fran.  Bug.,  Vaugirard  n.  Paris, 
1822 — Paris,  1878;  conductor  and 
dram,  composer. 

Gaveaux  (g£-vo).  P.,  BSziers,  HSrault, 
Aug.,  1761 — insane,  Paris,  1825: 
tenor;  c.  operas,  incl.  "Leonore'* 
(1788),  the  same  subject  afterwards 
used  in  Beethoven's  "Fidelio." 

Gavinies  (g&-v5n-ySs),  P.,  Bordeaux, 
1726 — Paris,  1800;  violinist,  pro- 
fessor and  dram,  composer. 

Gavron'ski,  Woitech,  b.  Seimony  near 
Wilna,  June  27,  1868;  pupil  Warsaw 
Mus.  Inst.;  toured  Russia,  taught  in 
Orel  and  Warsaw;  c.  symph.;  2 
operas  and  a  string  quartet  (Pade- 
rewski  prize,  Leipzig,  1898);  d.  1913. 

Cray  (gi)?  Maria,  Barcelona,  Sp.,  June 
13,  1879 — N.  Y.,  July  29,  1943;  con- 
tralto; ist  studied  vln.;  self-taught 
voice;  sang  at  some  of  Pugno's  con- 
certs, and  while  in  Brussels  was  heard 
by  director  of  La  Monnaie,  where 
she  made  her  d£but  as  "Carmen"  in 
IQ. 02  on  five  days'  notice;  studied 
with  Madame  Adiny  in  Paris;  toured 
Europe;  sang  Co  vent  Garden  as 
"Carmen,"  1906;  Met.  Op.  Co.  1908- 
09;  Boston  Op.  Co.  1910—12;  1913, 
Chicago  Op.  and  later  again  Boston; 
m.  Giovanni  Zenatello,  tenor. 

GayarrS  (gg-y£r-rS/),  Julian,  Roncal, 
Jan.  9,  1844 — Madrid,  Jan.  2,  1890; 
operatic  tenor,  son  of  a  blacksmith. 

Gaztambide  (gath-tam-bS'-dhS),  Joa- 
quin,  Tudela,  Navarra,  1822 — Madrid, 
1870;  composer,  teacher  and  con- 
ductor. 

Gazzaniga  (gad-z£n-5'-ga),  Giu.,  Ve- 
rona, 1743 — Crema,  1818;  conductor 
and  dram,  composer. 

Gear  (ger),  Geo.  Fr.,  b.  London,  May 
21,  1857;  pianist;  pupil  of  Dr.  Wylde 
and  J.  F.  Barnett;  1872  scholarship 
London  Acad.  of  Mus.,  later  prof, 
there;  1876-92  mus.-dir.  German-' 
Reed  Company;  composed  scena  for 
sopr.  solo  and  orch.;  d.  (?). 

Gebauer  (zhti-bo-a),  (i)  Michel  Jos., 
La  F&re,  Aisne,  1763 — 1812,  on  the 
retreat,  from  Moscow;  oboista  violin- 


166 


DICTIONARY  OF  MUSICIANS 


ist  and  viol-player;  also  extraordi- 
nary virtuoso  on  the  Jew's  harp. 
He  had  3  brothers,  (2)  Francois 
R£ne\  Versailles,  1773— -Paris,  1844; 
bassoonist,  prof.,  writer,  and  com- 
poser. (3)  P.  Paul,  b.  Versailles, 
1775;  died  young,  pub.  20  horn- 
duets.  (4)  Et.  Fran.,  Versailles,  177? 
— Paris,  1823,  flutist  and  composer. 
(5)  (gS-bow'-Sr),  Fz.  X.,  Eckersdorf, 
near  Glatz,  1784— Vienna,  1822; 
*cellist,  conductor,  teacher  and  com- 


(i)  Georg  (Sr.), 
Breslau,  1685  —  1750;  organist;  inv. 
clavichord  with  quarter  tones  and 
clavicymbalum  with  pedal-keyboard; 
composer;  he  had  2  sons,  (2)  Georg 
(Jr.),  Brieg,  Silesia,  1709  —  Rudol- 
stadt,  1753;  son  of  above;  conductor, 
organist  and  composer.  (3)  Georg 
Sigisnnind,  d.  1775;  organist  and 
composer.  (4)  Fz.  X.,  Fiirstenau, 
near  Breslau,  1787  —  Moscow,  1843; 
conductor,  pf.-teacher,  and  com- 


(gSp'-hSrt),  Heinrich,  b. 
Sobernheim,  near  Bingen,  July  25, 
1878;  pianist;  taken  to  America  at 
10;  pupil  of  Clayton  Johns,  d6but, 
1896,  Boston,  playing  his  violin  and 
piano  sonata,  then  studied  with 
Leschetizky  and  Heuberger;  1899 
reappeared  Boston  with  symph.  orch. 
1900-04,  pianist  of  Longy  Club;  c. 
quartet,  piano  pieces,  etc. 

Gebfcar'di,  Ludwig  Ernst,  Nottleben, 
Thuringia,  1787  —  Erfurt,  1862;  or- 
ganist, composer  and  teacher. 

GSdalge  (zha-dSlzh),  AndrS,  Paris, 
Pec.  27,  1856  —  Feb.  26,  1926;  pupil 
of  Guiraud  at  the  Cons.;  took  2nd 
Grand  prix  de  Rome,  1885;  prof,  of 
theory  at  Paris  Cons,  for  many  years, 
his  pupils  including  Ravel,  Milhaud, 
Honegger,  Florent  Schmitt  and  many 
others  who  attained  eminence;  wrote 
notable  treatise  on  fugue;  lyric 
drama  "H&faf''\  pantomime  "Le 
PetU  Savoyard"  (Paris,  1891);  a  succ. 
i-act  opera-boufFe  "Pris  au  Ptige" 
(Paris,  1895);  2  symphonies,  etc. 

treating  (g£'-rfng),  F.,  1838  —  Pen  zing, 
near  Vienna,  1884;  writer. 

Sefer'kens,  Karl  Wilson;  b.  Kelleys 
Island,  O.,  April  19,  1882;  educator; 
A,  M.,  Oberlin  Coll.  and  Cons.,  prof. 
at  this  inst.,  author  of  many  works 
on  music;  has  served  as  pres.  of 
Music  Supervisors  Nat'l.  Conference 
and  Music  Teachers  Nat'l.  Ass'n., 


ed.   of  School  Music,  periodical  ol 
latter  organization. 

Gehnnann  (gftr'-mfin),  Hermann,  Wer- 
nigerode,  Dec.  22,  1861— Cassel, 
July  8,  1916;  historian  and  theorist; 
pupil  Stern  Cons.,  Berlin;  1908, 
Royal  Pror.;  c.  string-quartet  and 
songs. 

Geiringer,  Karl,  b.  Vienna,  1899; 
musicologist;  later  in  TJ.  S.;  biog.  of 
Haydn,  etc.  ^  r 

Geisler  (gis'-ler),  (i)  Jn.  (?.»  <T.  Zittau, 
1827;  writer.  (2)  Paul,  Stolp,  Pom- 
erania,  Aug.  10,  1856 — Posen,  April 
3,  1919;  grandson  and  pupil  or  a 
mus.-dir.  at  Mecklenburg;  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  operas;  c. 
12  symphonic  poems,  ind.  "Der 
Rattenf anger  von  Hamdn,'*  "Titt 
Eulenspiegel^  etc. 

Geistinger  feis'-ting-er),  Maria  ("Ma- 
rie*') Charlotte  Cecilia,  Graz,  Styria, 
July  26,  1836 — Rastenfield,  Sept.  29, 
1903;  soprano;  sang  at  Vienna  Op,, 
1865-75;  in  U.  S.,  1807-99. 
Gelinek    (ga'-H-ngk),    (i)    Hh.   Anton 
(called  Cervetti),  Horzeniowecs,  Bo- 
hemia,  1709 — Milan,  1779;  ex-priest, 
violinist  and  composer.     (2)  Joseph, 
Abbe";  Selcz,  Bohemia,  1758 — Vienna, 
1825;  teacher  and  composer. 
Geminiani      (jgm-$-nI-§L  -ne),      Fran., 
Lucca,  1687 — Dublin,  Dec.  17,  1762; 
brilliant    and    original    violinist    or 
great  importance  in  English  progress, 
author  of  the  first  vln.  method  pub. 
(1740),  c.  concerti,  sonatas,  etc. 
Gemfinder  (gg-munt'-e'r),  Aug.  Martin, 
Wurtemberg,  March  22,  1814 — New 
York,  Sept.  7,  1805;  a  maker  whose 
vlns.  were  of  the  very  highest  per- 
fection; his  sons  succeeded  him. 
Genast  (gg-nast'),  Ed.,  Weimar,  1797 
— Wiesbaden,    1866;    barytone   and 
composer, 

Gen6e  (zhti-n5),  Franz  ^riedrich  Rich- 
ard, Danzig,  Feb.  7,  1823 — Baden, 
near  Vienna,  June  15,  1895;  pupil  of 
Stalleknacht,  Berlin;  theatre  con- 
ductor 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.  "Det 
Geiger  aus  Tirol,"  "  Nanon,"  etc. 
General!  Cia-n£-rS/-le),  Pietro  (rightly 


DICTIONARY  OF  MUSICIANS 


167 


Mercandet'ti),  Masserano,  Pied- 
mont, 1783 — Novara,  1832;  conduc- 
tor and  dram,  composer. 

Genet  (zhtt-nS,),  Eleazar  (called  il  Car- 
pentras'so,  or  Carpentras  (kar-pan- 
tras)  ),  Carpentras  Vaucluse,  ca.  1470 
— Avignon,  June  14,  1548;  singer, 
then  cond.,  then  bishop;  his  admired 
masses,  etc.,  were  the  first  printed  in 
round  notes  without  ligature. 

Genss  (ge*ns),  Hermann,  b.  Tilsit,  Jan. 
6,  1856;  pianist;  pupil  of  the  Royal 
Hochsch.  fttr  Mus.,  Berlin;  teacher 
in  various  cities;  1893,  co-dir. 
Scharwenka-Klindworth  Cons.,  Ber- 
lin; after  1899  teacher  in  and  1905 
dir.  of  Irving  Inst.,  San  Francisco, 
Cal.;  c.  orch.  wks.,  etc.;  d.  (?). 

Georges  (zhorzh),  Alex.,  Arras,  France, 
Feb.  25,  1850 — Paris,  Jan.  19,  1938; 
pupil,  later  prof,  of  harm.,  Nieder- 
meyer  Sch.,  Paris;  c.  operas  "Le 
Printemps"  (1888)  and  "Poemes 
d' Amour"  (1892);  "Charlotte  Corday" 
(1901);  2  oratorios,  a  mystery  "La 
Passion"  (1902);  symph.  poem, 
songs,  etc. 

GSrard  (zh&-r£r),  H.  P.,  Li€ge,  1763 — 
Versailles,  1848;  teacher  and  writer. 

GSrardy  (zha-rS-r-de),  Jean,  Spa,  Bel- 
gium, Dec,  7,  1877— July  4,  1929; 
notable  'cellist;  studied  with  Bell- 
mann;  a  pupil  of  Grtitzmacher; 
played  as  a  child  in  England;  at  13 
in  Dresden;  1899,  etc.,  toured 
America. 

Ger'ber,  (i)  H.  Nikolaus,  Wenigen- 
Ehrich,  near  Sondershausen,  1702 — 
Sondershausen,  1775;  organist  and 
composer,  (2)  Ernst  L.,  Sonders- 
hausen, 1746 — 1819;  son,  pupil  and 
successor  (1775)  of  above;  ^cellist, 
organist,  lexicographer  and  com- 
poser. 

Gerbert  (gSr'-bSrt),  (von  Hornau) 
Martin,  Harb-on-Neckar,  Aug.  12, 
1720 — St.  Blaise,  May  13,  1793;  col- 
lector of  the  invaluable  "Scriptorest 
ecclesiaslici  de  mi4sica  sacra  potissi- 
mum"  noteworthy  treatises  of  the 
Middle  Ages,  reproduced  exactly 
(the  compilation  was  continued  by 
Coussemaker) .  The  work  is  briefly 
referred  to  in  this  book  as  "Gerbert."' 
He  became  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, 

Ger'hardt,  (i)  Paul,  b.  Leipzig,  Nov. 
10. 1867;  organ- virtuoso;  pupil  at  the 


Cons.;  since  1898  org.  at  Zwickau; 

c.  organ  works,  etc.     (2)  Elena,  b, 
Leipzig,  Nov.  11,  1883;  soprano,  esp. 
noted  as  a  Lieder  singer;  pupil  of 
cons,  in  native  city,  with  Madame 
Hedmondt;  after  1903  appeared  in 
many  recitals  with  Nikisch;  sang  at 
Leipzig  Op.,  but  gave  up  stage  career 
for    concert    activity;    has    toured 
widely  in  Europe,  England,  and  in 
America  after  1912. 

Gericke  (ga'-rl-ke1),  Wilhelm,  Graz, 
Styria,  April  18,  1845 — Vienna, 
Oct.  27,  1925;  pupil  of  DessofE, 
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  Singerve- 
rein;  1884-89,  cond.  Boston  (Mass.) 
Symphony  Orch.,  resuming  the  post 
1898-1908,  (vice  Emil  Paur)  after 
being  dir.  "Gesellschaftsconcerte"  at 
Vienna  until  1895;  pub.  several  cho- 
ruses, pf.-pcs.  and  songs;  also  c. 
operetta  "Schtin  Rannchen"  (Linz, 
1865);  a  Requiem;  a  concert-over- 
ture, etc. 

Gerlach  (gSr'-lakh),  (i)  Dietrich,  d. 
Nttrnberg.  1574;  music-printer,  1566- 
1571.  (2;  Theodor,  b.  Dresden, 
June  25,  1861;  pupil  of  Wiillner;  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  appointment 
as  ct.-cond.  in  Coburg,  1891;  1894, 
cond.  at  Cassel;  then  living  in  Dres- 
den and  Berlin;  after  1904  dir.  of 
a  mus.  school  at  Carlsruhe;  c.  succ. 
opera  (book  and  music)  "Matteo  Fal- 
cone" (Hanover,  '98,  Berlin,  1902); 
orch.  pieces,  etc. 

Gerle  (gSr'-le*),  (i)  Konrad,  d.  Nttrn- 
berg,  1521;  lute- maker.  (2)  Hans, 

d.  Niirnberg,  1570;  probably  son  of 
above;  violinist  and  vln. -maker. 

Ger'man,  Sir  Edward  (rightly  Jones), 
Whitechurch,  Feb.  17,  1862 — Lon- 
don, Nov.  ii,  1936;  violin  pupil  of 
R.  A.  M.;  1889,  dir.  Globe  Th., 
London;  1901  completed  Arthur  Sul- 
livan's unfinished  opera  "The  Emer- 
ald Isle"  prod,  with  succ.  London, 
1901;  c.  operas,  2  symphonies:  vari- 
ous suites,  including  the  "uipsy" 
suite,  chamber-music,  songs,  etc. 
His  incidental  music  to  Shakespeare' g 
plays  is  especially  notable,  and  much 
popularity  has  been  won  by  his  suites 


168 


DICTIONARY  OF  MUSICIANS 


for    "Ndl    Gwynne"    and    "Henry 
VIII."     Knighted,  1928. 
Genner  (g^r'-mSr),  H.,  Sommersdorf, 
Province  of  Saxony,  Dec.  30,  1837 

—  Dxesdeaa,     Jan.     4,     1913;     pupil 
Berlin    Akademie;    teacher,    pianist 

sr. 

ueim  (gSras'-hlm),  Fr«,  Worms, 
r-  *7»  1839—  Berlin,  Sept.  ix, 
Jio;  of  Hebrew  parents;  pupil  of 

—  osenhain  and  Hauff,  Frankfort,  and 
Leipzig  Cons.;  1865,  teacher  of  comp. 
and  pf.  Cologne  Cons.;  1872,  Prof.; 
1874,  dir.  of  the  Cons,  at  Rotterdam 
and  cond.  "Winter  Concerts";  1890 
at  Stern   Cons,,   Berlin;   c.   4  sym- 
phonies, overtures,  etc, 

Gero  (g5'-r6),  Jhan  (Johann)   (caUed 
Maister  Jan  or  Jehan,  or  Joannes 
Galhis),  conductor  and  composer  at 
Orvieto  Cath.,  i6th  cent. 
Geffs&'wm,  George,  Brooklyn,  N.  Y., 
Sept,  26,  1898  —  HoUywood,  July  12, 
1937;    one    of    the    most    talented 
pioneers  in  the  creation  of  music  with 
jazz  idiom  as  basis,  incl.  orchestral 
works  OB  *vmph,  scale;  studied  piano 
•with  flambitzer,   composition  with 
ELilenyi    and    Rubin    Goldmark;    c* 
many  pop.    operettas   and   musical 
tevues;  came  into  internat'L  promi- 
nence with  his  "Rhapsody  in  Blue," 
first  heard  at  a  Paul  Whiteman  con- 
cert in  N.  Y.y  a  work  written  for 
piano  and  orchestra,  exploiting  jazz 
idiom  treated  in  elaborate  form;  this 
work  heard  widely  in  TJ.  S.  and  in 
Europe;  also  c.   "An  American  in 
Paris,"   symph.   poem;   piano   con- 
certo in  F  (latter  commissioned  by 
Walter  Damrosch  for  N.  Y.  Symph. 
Och.),    and    a    Negro   folk    opera, 
"Porgy    and    Bess,"    presented    by 
N.   Y.   Theatre   Guild,    1935,     (See 
article,  page  498.) 

Serster  (g&r-shtSr),  Etelka,  Kaschau, 
Hungary,  June  r6,  1857—  near  Bo- 
logna, Aug.  20,  1920;  one  of  the  most 
remarkable  coloratura-sopranos  of 
her  time;  1874-75,  a  pupil  of  Mar- 
chesi,  Vienna  Cons.;  v.  succ.  d€but 
Venice,  Jan.  8,  1876;  m.  her  im- 
presario Dr.  Carlo  Gardini  and 
toured  Europe  and  America  after 
1878  until  her  retirement  in  1890; 
lost  her  voice  suddenly  and  opened 
(1896)  a  singing-school  in  Berlin. 
Genrasoni  (j&>vS-so'-ne),  Carlo,  Mi- 
1762-1819;  writer  and  theorist. 


--, 
Jeanne,  Orthez,  France,  1882—  New 


York,  1915;  contralto;  studied  with 
Laborde,  Madame  Viardot-Garcia 
and  Criticos;  after  1900  sang  at 
Paris  Op.-Comique;  1902,  Brussels; 
1907-10,  Manhattan  Op.  Co.,  New 
York;  1911-12,  Chicago  Op.;  1913- 
14,  Gr.  Op.  of  Canada. 
Gervinus  (g&r-ve'-noos),  Georg  Gf.f 
Darmstadt,  1805 — Heidelberg,  1871; 
professor  and  writer. 
Geselschap  (g£-zgl'~shap),  Marie,  b. 
Batavia,  Java,  Dec.  15, 1874;  pianist; 
pupil  of  X.  Scharwenka,  Berlin; 
played  in  America,  etc.;  1895  in 
London. 

Gesius  (rightly  G8ss)  (ga'-sX-oos;  ge*s), 
Bartholom&us,  Mlincheberg,  ca.  1555 
— Frankfort-on-Oder,  1613;  cantor 
and  composer. 

Gesualdo   (ja-zoo-al'-do),  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  gen- 
era of  the  Greeks,  he  strayed  out  of 
the  old  church-modes  and,  becoming 
one  of  the  "chromaticista,"   wrote 
almost  in  modern  style. 
Gevaert  (zM-v&rt'),  Francois  Atiguste, 
Huysse,   near  Oudenarde,   July  31. 
1828 — Brussels,  Dec.  24,  1908;  pupil 
of     Sommere     (pf.)     and     Men^a] 
(comp.)  at  Ghent  Cons.,  taking  Gr. 
prix  de  Rome  for  comp.;  1843,  organ- 
ist at  the  Jesuit  church;  he  prod. 
2  operas;  lived  in  Paris  (1849-50); 
then  went  to  Spain  and  c.  "Fantasia 
sobre   motives   espanoles,"   still  pop. 
there,  for  which  he  was  given  the 
order  of  Isabella  la  Catolica;  he  sent 
back  reports  on  Spanish  music  (pub. 
by  the  Academy,  1851);  he  returned 
to  Ghent  1852,  prod.  9  operas,  2  of 
them,  "Georgette*  and  "Le  UUet  de 
Marguerite,"  with  much  success;  in 
1857  his  festival  cantata  "De  Nation- 
ale    Verjaerdag"    brought    him    the 
Order  of  Leopold;  1867-70  chef  de 
chant  Gr.   Op6ra,   Paris;    1871,   dir. 
Brussels  Cons,  (vice  F6tis);  created 
a   baron    by    Belgian    Government, 
1908;  pub.  colls,   of  Italian  music, 
also  the  valuable  fruits  of  much  re- 
search in  old  plain-song.    His  *  *  Traite 
^instrumentation"  (1863)  revised  as 
"Nouveau    traice,">    etc.    ''1885):   ne 
prod,    also    cantatas,    "Missa    pro 
Defunctis'i     and     "Super     Flumina 
Babyloms9-''    for    male    chorus    and 
orch.;  overture  "Flandre  &u  Lion? 
etc- 


DICTIONARY  OF  MUSICIANS 


109 


Oeyer  lgi-Sr),  Flodoard,  Berlin,  18x1 
— 1872;  prof.,  critic,  theorist  and 
dram,  composer. 

Gheyn  (g&a),  Matthias  van  den,  Tirle- 
mont,  Brabant,  1721  —  Louvain, 
3785;  one  of  a  Flemish  family  of  bell 
founders;  organist.  Of  his  17  chil- 
dren his  son  Josse*  Thos.  (b.  1752) 
was  his  successor  as  organist. 

Ghione  (ge-O'-na),  Franco,  Italian 
cond.,  appointed  to  lead  Detroit 
Symph.  Orch.,  1937. 

Ghiselin(g)  (gg-zS-liing)  (or  Ghiseli- 
nus),  Jean,  Netherlandish;  contra- 
puntist 15- 1 6th  cent. 

Ghislanzoni  (ges-l2n-ts5'-ne),  A.,  Lecca, 
1824  - —  Caprino-Bergamasco,  1893; 
barytone  and  writer;  wrote  more 
than  60  opera  librettos,  incl.  that  of 
"Atda." 

Ghizeghem.     Vide  HEYNE. 

Ghizzolo  (gSd'-z5-lo),  Gio.,  b.  Brescia, 
1560  (?);  monk  and  composer. 

Ghys  (ges),  Joseph,  Ghent,  1801 — St. 
Petersburg,  1848;  violinist,  teacher 
and  composer. 

Giacomelli  (jak-6-m£l'le),  Geminiano, 
Parma,  1686 — Naples,  1743;  dram. 
composer. 

GUmelli  (ja-nelMe),  Pietro,  (Abbate) 
Friulia  Italy,  ca.  1770 — Venice,  1822 
(JO;  lexicographer. 

Gianettini  0a-n£t-tS'-nS)  (or  Zanet- 
tini),  A.,  Venice,  1649 — Modena, 
1721;  dram,  composer. 

<3iannini,  (*)  Dusolina  (dods-5-l§'-na 
"a-ng'-n$),  b.  Philadelphia,  Dec.  19, 
2902; soprano;  studied  with  Marcella 
Sembrich;  de*but,  New  York,  in  con- 
cert, x^23;  has  appeared  widely  in 
opera  ia  Europe,  including  Hamburg, 
Berlin,  Paris,  Budapest,  also  at 
Co  vent  Garden;  Met.  Op.  Co.,  N.  Y., 
d6but  as  "ASda,"  1935-36;  has  made 
concert  tours  of  U.  S.,  Europe, 
Australia,  New  Zealand;  also  sang  in 
opera  at  Salzburg  Fest.  (2)  Vitto- 
lio,  bfo.  of  Busolina;  b.  1903, 
Philadelphia;  composer;  studied  com- 
position with  Rubin  Goldmark;  also 
trained  as  violinist;  c.  (operas) 
"Lucedia"  (Munich,  1934),  "The 
Scarlet  Letter'*;  "Symphony  in  Me- 
moriam  X.  Roosevelt";  Requiem; 
songs;  awarded  fellowship  at  Amer. 
Acad.  in  Rome. 

Gianotti  (ja-nat'-tg),  P.,  Lucca — Paris, 
1765;  double-bassist,  composer  and 
writer. 

Giarda    (jSr'-da),    Luigi    Stefano,    b. 


Castelnuovo,  Pavia,  March  19,  1868; 
'cellist;  pupil  Milan  Cons.;  teacher  at 
Padua,  1893-07;  1897-1920,  at  Royal 
Cons.,  Naples;  then  at  Santiago 
Cons.,  vice-dir.;  c.  opera  "Reietto"* 
(Naples,  1898),  ?cello-music  and 
method. 

Giardini  (jar-de'-ne"),  Felice  de,  Turin, 
i7i6-^-Moscow,  1796;  violinist  and 
dram,  composer. 

Gibbons,  (i)  Orlando,  Cambridge, 
England,  1583 — Canterbury,  June  5, 
1625;  esteemed  as  one  of  the  fore- 
most of  Engl.  organists  and  com- 
posers; Mus.  Doc.  Oxon;  1604,  or- 
ganist Chapel  Royal;  1623,  organist 
Westminster  Abbey.  (2)  Christo- 
pher, London,  1615 — Oct.  20,  1676; 
son  of  (i),  organist  and  composer. 

Gibbs,  Cecil  Armstrong,  b.  Great 
Baddow,  Engl.,  Aug.  10,  1889;  com- 
poser; studied  at  Winchester  and 
Trinity  Coll.,  Cambridge,  with  Dent 
and  Wood;  also  with  Vaughan  Wil- 
liams and  Boult;  teacher  of  composi- 
tion and  theory  at  R.  Coll,  of  Mus.; 
c.  many  orch.,  chamber  music  and 
other  works,  in  conservative  style, 
well  constructed  and  imagina- 
tive. 

Gibert  (zhg-bar),  Paul  Cesar,  Ver- 
sailles, 1717 — Paris,  1787;  dram, 
composer. 

Gibert  (hg-b€rt)  (or  Gisbert,  Gispert), 
Francisco  Xavier,  Granadella,  Spain 
— Madrid,  1848;  priest,  cond.  and 
composer. 

Gide  (zhgd),  Casimir,  Paris,  1804 — 
1868;  composer. 

Gieseking  (gg'-sS-kSng),  Walter,  b. 
Lyons,  France,  Nov.  5,  1895;  Ger- 
man pianist;  trained  at  Hanover 
Cons.,  study  with  Karl  Leimer; 
d6but,  1920;  has  made  many  tours 
of  Germany,  Switzerland  and  other 
Eur.  countries;  Amer.  de*but  1926; 
a  brilliant  virtuoso,  with  reputation 
as  interpreter  of  modern  music,  par- 
ticularly Debussy;  c.  quintet  fop 
piano  and  wind  instruments,  piano 
pieces,  songs. 

Gigli,  Beniamino  (bgn-ya-m€n'-5  J5l- 
ye"),  b.  Recanati,  Italy,  March  20, 
1890;  operatic  tenor;  studied  at 
Rome  Liceo  di  Santa  Cecilia  with 
Cotogni  and  Enrico  Rosati;  d£but 
as  "Enzo,"  Rovigo,  1914;  sang  widely 
in  Italian  opera  houses,  incl,  Rome, 
Naples,  Milan,  also  in  South  Amer- 
ica; Met.  Op.  Co.,  N.  Y.,  d6but  in 


170 


DICTIONARY  OF  MUSICIANS 


"Afejistpfele,"  1920;  sang  leading 
r61es  with  this  co.  until  1934;  has  also 
sung  in  London,  Berlin  and  else- 
where, enjoying  internat'l.  reputa- 
tion; concert  tours  in  U.  S.  and 
Europe;  Grand  Ufficiale,  Order  of  the 
Crown  of  Italy. 

Gigout  (zh£-goo).  Eugene,  Nancy, 
France,  March  23,  1844 — Paris, 
Dec.  9,  1^25;  organ- virtuoso,  critic, 
etc*;  pupil  in  the  maitrise  of  Nancy 
cathu;  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-sob.,  subsidized  by 
the  govt.;  commander  of  the  order 
of  Isabella  la  Catolica;  1885,  officier 
of  pub.  instruction;  1895,  Chev.  of 
the  Legion  of  Honour;  pub.  over  300 
Gregorian  and  plain-song  composi- 
tions. 

GflT»ert  (i)  Alfred,  Salisbury,  Oct.  21, 
1828 — London,  Feb.  6,  1902;  organ- 
ist    and     composer;     his     brother, 
(2)  Ernest  Thos.  Bennett,  Salisbury, 
Oct.    22,    1833 — London,    May    ir, 
1885;    organist,    teacher   and    com- 
poser.    (3)    Walter    Bond,    Exeter, 
April   21,   1829 — Oxford,    1910;   or- 
ganist: pupil  of  Wesley  and  Bishop; 
1886,  Mus.  Doc.  Oxford;  1889,  came 
to    New    York;    c.    oratorios,    etc. 
(4)  Henry  Franklin  Belknap,  Somer- 
viHe,  Mass.,  Sept.  26,  1868 — Cam- 
bridge, Mass.,  May  19,  1928;  violin, 
pupil  of  Mollenhauer;  studied  har- 
mony with.  G.  H.  Howard  and  for 
3  years  with  MacDowell;  1892-1901 
in  business,  then  took  up  composi- 
tion.    Hfs  work  is  full  of  originality 
and  character;  c.  Comedy  Overture 
on  Negro  Themes  (Boston  Symph., 
x<9£x);  Americanesque,  Cwo  Episodes, 
/>     Legend;     II,     Negro     Episode, 
Boston  (1896,  and  often  elsewhere): 
"Salavimbo's  Invocation  to   Tanith>> 
for  soprano  and  orch.  (1906);  "Amer- 
ican Dances  in  Rag-Time"  for  orch.; 
symph.  poem,  "The  Dance  in  Place 
C#ngo"i  for  piano  "Indian  Scenes,"- 
"Negro  Episode,"  etc.,  many  beauti- 
fal  songs,  including  the  well-known 
"Pirate  Song"-  also  "Negro  Rhap- 
y&*  (1013),  and  symph.  prologue 
"mfors  to  the  Sea"'  (1915).     He  lee- 
toed    at    Harvard    and    Columbia 
IJri&rs.;  liis  "Place  Congo"  was  given 
«Si£  ballet  at  Met.  Op.,  1918. 


Gil'christ,  W.   Wallace,  Jersey  City/ 

N.  J->  Jan.  8,  1846 — Easton,  Pa., 
Dec.  20,  1916;  pupil  of  H.  A.  Clarke 
at  the  U.  of  Penn.;  from  1877  organ- 
ist and  choirm.  Christ  Ch.,  German- 
town;  from  1882  teacher  Phila.  Mus. 
Acad.;  cond.  of  orch.  and  choral  so- 
cieties; c.  prize  Psalm  xlvi.  for  soli, 
chorus,  orch.  and  org.  (Cincinnati 
Festival,  1882),  "Song  of  Thanks- 
giving"  for  chorus  and  orch.;  a  can- 
tata "The  Rose,"  etc. 
Giles  (jllz),  Nathaniel,  near  Worcester, 
EngL,  ca.  1550 — Windsor,  Jan.  24, 
1633;  organist;  Mus.  Doc.  Oxon; 
writer  and  composer. 
Gilibert  (zhSl-e-bar'),  Chas.,  Paris, 
1866 — New  York,  1910;  barytone; 
pupil  of  Paris  Cons.;  after  about  1888 
sang  at  Brussels;  1900-03,  Met.  Op. 
Co.;  1906-10,  Manhattan  Op.  Co.j 
was  to  have  returned  to  Met.  but 
died  suddenly;  an  excellent  song 
interpreter. 

Gille  (gn"-15),  Karl,  Eldagsen,  Hanover, 
Sept.  30,  1 86 1 — Hanover,  June  14, 
1917;  pupil  of  J.  Fischer,  Bott  and 
Metadorf;  theatre-cond.  in  various 
cities;  1891-97  court  cond.,  Schwerin; 
1897  succeeded  Mahler  at  Hamburg 
Stadttheater;  1906,  first  cond.  Vienna 
Volksoper;  after  1910  in  Hanover. 
Gilly  (zhe'-lS),  Dinh,  Algeria — London, 
May  19,  1940;  barytone;  Met.  Op. 
1909-14. 

Gil'man,  Lawrence,  b.  Flushing,  N.  Y., 
July    5,    1878 — Franconia,    N.    H., 
Sept.  8,  1939;  ed.  Collins  St.  Clas- 
sical School,  Hartford,   Conn.;  self- 
trained   in    music;    1901-13,    music 
critic    for    Harper's    Weekly;    after 
1913,  music  and  dram,   critic,    The 
North  American  Review;   beginning 
r923,  music  critic  of  N.  Y.  Tribune  • 
(later    Herald-Tribune),    succeeding 
the  late  H.  E.   Krehbiel;  for  some 
seasons  he  has  written  the  annota- 
tions  for   the   N.    Y.    Philh.    Orch. 
programmes,  in  which  he  has  shown 
distinguished   literary   and    musical 
taste;    author,    "Phases    of  Modern 
Music,"  "Edward  MacDowell,"  "The 
Music    of    Tomorrow,"     "Guide    to 
Strauss'   Salome,"   "Stories  of  Sym- 
phonic Music,"  "Guide  to  Debussy's 
*    Pelleas   et  Melisande";   "Aspects   oj 
Modern    Music,"    "Life    of   Edward 
MacDowell,"    "Nature    in    Music"* 
etc.;  c.  "A   Dream  of   Youth,"  etc. 
GiPmore,  Patrick  Sarsfield,  near  Dub- 
lin, Dec.  25,  1829— St.  Louis,  Mo, 


DICTIONARY  OF  MUSICIANS 


171 


Sept.  24,  1892;  an  immensely  popular 
conductor,  some  of  whose  influence 
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  cannon  fired 
by  electricity,  an  organ,  anvils, 
chimes,  etc.  (cf.  Sarti);  he  c.  pop. 
military  and  dance  music. 

Wilson  (zhel-son),  Paul,  b,  Brussels, 
June  15,  1865;  self-taught;  his  can- 
tata "Sinai"  won  the  Grand  prix  de 
Rome,  1892;  1896  prod,  opera 
"Alvar,"  Brussels;  completed  Ragg- 
hianti's  opera  "Jean-Marie";  1904, 
teacher  of  harmony  Antwerp  Cons., 
and  critic  of  the  "Soir";  composed 
operas,  "Gens  de  mer"  (based  on 
Victor  Hugo's  novel,  Brussels,  1902; 
Antwerp,  1904)  and  "Prinses  Zon- 
nenschijn"  (Antwerp,  1903);  ballet, 
"La  Captive,"  Brussels,  1902;  symph. 
"La  Mer"  1892;  orch.  fantasy  on 
Canadian  folk-songs,  symph.  poems, 
etc.;  d.  Brussels,  1042. 

Giner  (he-nar'),-  Salvador,  Valencia, 
Jan.  17,  1832  —  Nov.  3,  1911;  pupil 
of  Gascons;  dir.  Valencia  Cons.;  c. 
a,  symph.  "The  Four  Seasons" 
operas,  etc. 

Ginguene  (zhan-gti-na),  P.  L.,  Renne  , 
1748  —  Paris,  1816;  writer. 

Giordan!  (jdr-da'-nS),  name  of  a  family, 
father,  3  sisters  and  2  brothers,  all 
singers  in  comic  opera  at  Naples,  till 
1762  when  they  came  to  London  (exr- 
cept  Giuseppe);  one  of  the  brothers 
wrote  the  still  pop.  song  "Caro  mio 
ben."  (i)  Tommaso  (rightly  Car- 
mine), Naples,  ca.  1740  —  Dublin 
after  18x6;  dram,  composer.  (2) 
Giuseppe  (called  Giordanello),  Na- 
ples, 1744  —  Fermo,  1798;  bro.  of 
above;  conductor;  c.  30  operas. 

Giordano  (jor-<la'-n5),  Umberto,  b. 
Foggia,  Aug.  27,  1867;  studied  with 
Paolo  Serrao  at  the  Naples  Cons.; 
c.  operas;  very  succ.  "Andrea 
Ch$nfer"<  (La  Scala,  Milan,  1896;  in 
Berlin,  1898,  and  U.  S.);  also 
"Miranda,"  unsucc.,  "Regina 


(Naples,  1894);  and  succ.  3-act  melo- 
drama "Mala  Vita"'  (Rome,  1892, 
prod,  as  "II  Voto,"  Milan,  1897); 
*'Fedora"  (Milan,  1898),  "Siberia,99- 
(do,  1903,  Leipzig,  1007),  and  "Mar- 
cclld">  (Milan,  1907);  " 


>  ,  Mme.   Sans 

Gene"  (Met.  Op.,  1915);  mus.  com- 
edy, "Giove  a  Pompei"  (Rome,  1921); 
"La  Cena  delle  Bejf&"  (La  Scala, 


1924,  at  Met.  Op.,  1926)  and  "II 
Re"  (1928);  d.  Milan,  Nov.  12,  1948. 

Giorgetti  (j6r-j€t-t6),  Ferdinando,  Flor- 
ence, 1796-1867;  violinist,  teacher 
and  comp. 

Giorgi  (j6r'-je*).     Vide  BANTI. 

Giorni  (jor'-nS),  Aurelio,  Perugia,  Italy, 
Sept.  15,  1895,  Pittsfield,  Mass.,  Sept. 
23, 1-938;  composer  pianist;  studied  St. 
Cecilia  Acad.,  Rome,  piano  with  Sgam- 
bati,  composition  with  Humperdinck, 
piano  with  Busoni,  Gabrilowitsch,  Lhe- 
vinne  and  Da  Motta;  d6but  as  orch. 
soloist,  Rome,  1:912;  appeared  also 
in  Berlin,  London  and  U.  S.  (after 
1914);  mem.  of  Elshuco  Trio;  taught 
formerly  at  Inst.  of  Music.  Art, 
N.  Y.,  later  at  Phila.  Cons. ;  composed 
orchestral,  chamber  music,  choral 
and  piano  works. 

Giornovichi.     Vide  JARNOVIC. 

Giorza  (j6r'-tsa),  Paolo,  Milan,  Nov. 
n,  1838 — Seattle,  Wash.,  May  4, 
1914;  son  and  pupil  of  an  organist 
and  dram,  singer;  studied  cpt.  with 
La  Croix;  lived  New  York  some 
years,  later  London;  prod,  unsucc. 
opera  "Corrado"  (Milan,  1869),  and 
many  succ.  ballets. 

GiovanelH  (je-va-neT-lS),  Ruggiero, 
Velletri,  ca.  1560 — Rome,  1625; 
1599  successor  of  Pales trina  as  con- 
ductor at  St.  Peter's,  Rome;  an  im- 
portant composer. 

Giraldoni  (zhe-r&l-dS'-nS),  Leone, 
Paris,  1824 — Moscow,  1897;  bary- 
tone. 

Girard  (zh5-r&r),  Narcisse,  Nantes, 
France,  1797 — Paris,  1860;  conduc- 
tor and  violin  professor. 

Girardeau  (zhe-ra.r-d5),  Isabella,  called 
la  Isabella,  Italian  singer  in  London, 
ca.  1700. 

Gizziello  (gXd-z*-Sl'-lo),  Gioacchino. 
Vide  CONTI. 

Glad 'stone,  Francis  Edw.,  Summer- 
town,  near  Oxford,  May  2,  1845 — 
Hereford,  Sept.  5,  1928;  pupil  of 
S.  Wesley;  organist  various  churches; 
1879  Mus.  Doc.,  Contab;  1881,  prof, 
of  cpt.  Trinity  Coll.,  London;  prof, 
of  harm,  and  cpt.  R.  C.  M.;  c.  an 
overture,  chamber-music,  etc. 

Glarea'nus,  Henricus  (rightly  Hein- 
rich  Lo'ris,  Latinized,  Lori'tus), 
Glarus,  1488  —  Freiburg,  Baden, 
March  28,  1563;  poet  and  important 
theorist. 

Glasenapp     (gla'-zS-nap),     Karl    FrM 


172 


DICTIONARY  OF  MUSICIANS 


Riga,  October  3,  1847 — April  14; 
1915;  studied  philosophy  at  Dorpat, 
since  1875  head-master  at  Riga; 
wrote  on  Wagner,  a  biography  in 

3  vols.,   a   lexicon,   and  a   Wagner 
Encyclopaedia,  etc. 

GlSser  (gU'-zftrj,  (i)  K.  G.,  Weissen- 
fels,  1784 — Barmen,  1829;  mus.  dir. 
and  later  dealer,  composer  ,  and 
writer,  (2)  Fz.,  Obergeorgenthal, 
Bohemia,  1798 — Copenhagen,  1861; 
conductor,  violinist,  and  dram,  com- 
poser. 

Glkz(o)unow  (glS'-tsoo-nof),  Alex.,  St. 
Petersburg,  Aug.  10,  1865 — Paris, 
March  21,  1936;  eminent  Russian 
composer;  studied  till  1883  at  Poly- 
technic Inst.,  then  took  up  music; 
studied  with  Rimsky-Korsakov;  1881 
his  first  symphony  was  produced, 
repeated  under  Liszt  in  1884  at 
Weimarj  he  cond.  his  second  sym- 
phony in  Paris,  1889;  his  fourth 
symphony,  London  PML;  1896-97, 
with  Rimsky-Korsakov  and  Liadov, 
cond.  Russian  Symphony  Concerts 
at  St.  P.;  from  1899  he  was  prof, 
of  instrumentation,  St.  Petersburg 
Cons,;  1909-12  director;  honoured  by 
Soviets  but  lived  Paris  after  1930. 
He  c.  8  symphs.  5  suites,  ballets, 

4  overtures,  a  symph.  poem,  "Sten- 
ka    Rosin,"    a   symphonic   fantasy. 
"Through    Night  to   Light,"   and  a 
great  number  of  other  orch.  works, 
chamber  music  in  large  quantity  and 
high    quality,    cantatas,    the   "Me- 
ittorial"  (Leeds,  Fest.,  1901),  ballets, 
violin  concerto  (1904),  etc. 

Gleason  (gls'-sttn),  Fr.  Grant,  Middle- 
town,  Conn.,  Dec.  17,  1848 — Chica- 
go, June  12,  1903;  pupil  of  Dudley 
Buck  and  at  Leipzig  Cons.;  later  at 
Berlin,  of  Loeschorn,  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  "Otko  Visconti"  and  "Monte- 
vuma"}  cantata  "The  Culprit  Fay,'? 
with  orch.;  "Praise-song  to  Har- 
mony," symphonic  cantata;  "Audi- 
torium Festival  Ode/'  symph.  can- 
tata with  orch.;  op.  21,  "Edris,"* 
symphonic  poem  (after  the  prologue 
to  t'Ardath"  by  Marie  Corelli), 
etc. 

Gieich  (gfckh),  Fd.,  Erfurt,  1816— 
Langebruck,  near  Dresden,  1808; 
critic  a*d  writer;  c.  symphonies. 


Gleissner  (gUs'-nSr),  Fz,,  Neustadt-on- 
the-Waldnab,  1760 — Munich,  aftei 
1815;  printed  songs  of  his  own  by 
lithographic  process,  the  first  music 
so  printed. 

Gleitz  (glits),  K.,  Hetzerode,  near 
Cassel,  Sept.  13,  1862 — Torgau, 
June,  1920;  studied  Leipzig  Cor*s. 
and  Munich  Music  School,  and 
in  Berlin;  c.  symph.-poem  "Fata 
Morgana"  (played  by  Nikisch  at 
the  Berlin  Philh.  concerts,  1898); 
"Ahasuerus,9*  "Venus  and  Bettona,"- 
etc.,  for  orch.;  "  H  of  bur  and  Signild,"* 
for  chorus;  "Inlichter,"  a  pf. -fantasy 
with  orch.;  vln.-sonata,  etc. 

Gli&re  (gl€-&r),  Reinhold  Moritzovich, 
composer;  b.  Kiev,  Dec.  30,  1874 
(O.  S.),  or  Jan.  zi,  1875,  (N.  S.); 
pupil  of  Moscow  Cons.,  winning  gold 
medal;  in  1913,  prof.  Kiev  Cons.j 
1914,  dir.  of  same;  after  1920,  prof, 
of  comp.,  Moscow  Cons.  He  has 
enjoyed  honours  under  the  Soviet 
regime,  and  has  striven  to  embody 
revolutionary  and  proletarian  ideals 
in  his  later  productions.  His  ballet, 
"The  Red  Poppy,39-  became  for  a 
time  most  popular  on  the  stages  of 
the  U.  S.  S.  R.,  and  a  lively  "Sailor's 
Dance"-  from  this  work  has  been 
perf.  widely  in  other  countries,  incl. 
U.  S.  His^  principal  works  include 

2  symphonies,  "Les  Sir&nes,"  "Ilya 
Mourpmettf*',  and  "Triana"  for  orch.; 

3  string  quartets,  3  string  sextets, 
octet  for  strings;  the  ballet  "Chrysis,"* 
etc. 

Glinka  (glfcik'-a),  Michail  Ivanovitch, 
Novospaskoi,  near  Smolensk,  Russia, 
June  i  (new  style),  1804 — Berlin, 
Feb.  15,  1857;  piano-virtuoso  and 
composer,  father  of  the  new  nation- 
alistic 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  Rus- 
sian national  opera  "A  Life  for  the 
Czar"  (Zarskaja  Skisu  or  Ivan  Sussa- 
nina),  with  succ.  still  lasting;  the 
next  opera  "Russian  and  Ludmilla"* 
(St.  P.,  1842)  was  also  succ.  (book 
by  Pushkin);  1844  ia  Paris  he  gave 
orch.  concerts  strongly  praised  by 
Berlioz;  1845-47,  Madrid  and  Se- 
ville, where  he  c.  "Jota  Aragonese,"- 
a  "Capriccio  brillante"  for  orch.,  and 
"Souvenir  djune  nuit  d'M  a  Madrid," 


DICTIONARY  OF  MUSICIANS 


173 


for  orch.;  1851,  Paris;  1854-55,  near 
St.  Petersburg  writing  his  autobiog- 
raphy, planning  a  never-attempted 
opera;  he  visited  Derm  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";  a 
septet;  2  string-quartets;  trio  for 
pf.,  clar.  and  oboe;  dramatic  scenes; 
vocal-quartets,  songs  and  pf.-pcs. 

Gloggl  (glfig'-gl),  d)  Fz.  X.,  Lmz-on- 
Danube,  1764 — Julyi6,  1839;  con- 
ductor, mus.  dir.;  writer.  (2)  Fz., 
Linz,  1797 — Vienna,  1872;  son  of 
above;  est.  music  business,  1843; 
writer  and  mus.  director. 

Glover  (gluv'-Sr),  (i)  Sarah.  Ami,  Nor- 
wich, Engl.,  1785 — Malvern,  1867; 
inv.  the  Tonic  Sol-fa  system  of  nota- 
tion and  wrote  about  it.  (2)  Chas. 
W.,  Feb.,  1806 — London,  1863;  vio- 
linist, etc.  (3)  Stephen,  London, 
1812 — Dec.  7,  1870;  teacher  and 
composer.  (4)  "W.  Howard,  London, 
1819 — New  York,  1875;  violinist  and 
critic;  sang  in  opera.  (5)  John  Win., 
Dublin,  June  19,  1815 — Jan.  15, 
1900;  violinist  and  choirmaster  at 
the  Cathedral  from  1860;  c.  opera 
"The  Deserted  Village"  (London, 
1880),  etc. 

<*luck  (glook),  (i)  Christoph  Wilibald 
(Bitter  von),  Weidenwang,  near  Neu- 
markt,  Upper  Palatinate,  July  2, 
1714 — Vienna,  Nov.  15,  1787;  son  of 
tead-gamekeeper  to  Prince  Lobko- 
witz;  at  twelve  sent  to  the  Jesuit 
Coll.  at  Komotau  (1726-32),  where 
he  learnt  the  violin,  clayecin,  and 
organ,  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  Father 
Czernohorsky  he  mastered  singing 
and  the  'cello,  his  favourite  instr.; 
1736  entered  the  service  of  Prince 
Melzi,  Vienna,  who  took  him  to 
Milan  and  had  him  study  harm,  and 
cpt.  with  Sammartini.  After  four 
years'  study  he  prod.  "Artaserse" 
(La  Scala,  1741)  with  great  succ.  and 
was  commissioned  to  c.  for  other 
theatres;  prod.  8  operas  1742-45. 
On  invitation  he  went  to  London 
1745  as  comp  os  erf  or  the  Hay  market, 
in  opposition  to  HandeL  "La  Ca- 
duca  dei  Giganti"  was  given  on  the 
defeat  of  the  Pretender,  1746, 


"Artamene"  followed  by  "Piramp  8 
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  counter- 
point than  his  cook.  The  operas  G. 
had  written  up  to  this  time  were 
thoroughly  Italian.  The  influence 
of  Handel  and  Rameau's  works  heard 
at  Paris  awakened  him,  and  led  him 
to  that  gradual  reform  which  made 
him  immortal,  though  it  brought  on 
him  the  most  ferocious  opposition. 
"La  S  emir  amide  Riconosciuta"  (Vi- 
enna, 1748)  began  the  change  to 
more  serious  power.  1750-62  he 
prod.  "Telemaco"  (Rome,  1750), 
"La  Clemenza  di  Tito"  (Naples, 
1751),  and  4  others.  1754—64  he 
was  dir.  court-opera  Vienna  ana 
prod.  6  more  works.  He  made  great 
succ.  in  spite  of  opposition  with 
"Orfeo  ed  Euridice"  (1762),  "Alceste"* 
(1767),  "Paride  ed  Elena"  (i76p), 
libretti  by  Calzabigi.  2  other  in- 
ferior works  were  performed  by 
members  of  the  royal  family  (1765). 
In  the  dedicatory  prefaces  to  "Al- 
ceste"  and  "Paride  ed  Elena,"  G. 
expressed  his  protest  against  the 
Italian  school,  and  declared  for 
dramatic  consistency  unhampered  by 
rigid  formulae  for  arias,  duets,  etc., 
and  interpolated  cadenzas.  He  had 
such  harsh  criticism  at  home  and 
such  encouragement  from  du  Rollet 
pf  the  French  Embassy  at  Vienna 
in  1772  that  he  went  to  Paris.  But 
here  also  he  met  such  opposition 
that  all  his  diplomacy  and  all  the 
power  of  his  former  pupil,  Queen 
Marie  Antoinette,  hardly  availed  to 
bring  about  the  presentation  of 
"Iphigenie  en  Aulide"  (1774);  its 
great  succ.  was  repeated  in  "Or- 
phet"  (Aug.,  i774),"^fc«fc"  (1776), 
and  "Armide"  (1777).  Piccinni  was 
brought  to  Paris  as  a  rival,  and  prod. 
"Roland"  while  Gluck  was  preparing 
the  same  subject.  Gluck  burned  his 
score  and  published  a  letter  which 
precipitated  an  unimaginably  fierce 
war  of  pamphlets.  Both  men  now 
set  to  composing  "Iphigenie  en  Tau- 
tide"\  here  Gluck  forestalled  his  rival 
by  two  years  (1779),  and  Piccinni's 
work  on  appearing  was  not  a  succ., 
while  Gluck' s  succeeded  enormously. 
His  last  opera,  "Echo  et  Narcisse"- 
was  not  succ.  (Sept.  21,  1779);  I78o, 
he  retired  to  Vienna  and  lived  on  his 


174 


DICTIONARY  OF  MUSICIANS 


well-earned  wealth,  till  apoplexy 
carried  him  off.  He  wrote  a  De 
profundis  for  chorus  and  orch.,  6 
overtures  and  an  incomplete  can- 
tata, "Das  Jiingste  Gericht"  finished 
by  Salieri,  and  7  odes  for  solo  voice 
and  pf.  Biog.  by  A.  Schmidt  (1854); 
Marx  (1863);  Desnoiresterre^,  (1872) ; 
also  studies  of  his  operas  by  Berlioz 
and  Newman.  (2)  Alma  (ne'e  Reba 
Fierson),  Bucharest,  Roumania, 
May  11,  1866— New  York,  Oct.  26, 
*938;  pupil  of  Buzzi-Peceia;  d£but 
New  Theatre,  N.  Y.,  1909;  the  same 
year  at  the  Met.  Op.;  of  which" mem. 
until  1912;  sang  widely  in  concert; 
m.  Ef rem  Zimbalist,  violinist. 

Gluth  (gloot),  Victor,  Pilsen,  May  6, 
1852 — Munich,  Jan.  17,  1917;  taught 
Akademie  der  Tonkunst,  Munich;  c. 
operas  "Zlatorog"  and  "  Horand  und 
HUde." 

Gmeiner  (g'mi'nSr),  Irula,  Mysz-,  b. 
Kronstadt,  Aug.  16,  1876;  alto; 
studied  vln.  witt  Olga  Grigorourcz; 
then  studied  voice  with  Gr.  Walter 
and  Emilie  Herzog;  noted  Lieder 
anger. 

Gneccni  (ny£'-ka),  Vittorio,  b.  Milan, 
July  17,  1876;  composer;  private 
pupil  of  Saladino,  Coronaro,  Serafin 
and  Gatti;  c.  (operas)  "Virtu 
d*Amore"  (1895);  "Cassandra"  (Bo- 
logna, 1905,  also  heard  in  Phila., 
1914):  "La  Rosiera"  (prod,  in  Ger- 
many) ; " Judith" ;  orch.  works,  songs; 
his  'Cassandra"  is  asserted  by 
Giovanni  Tebaldini  to  have  sug- 
gested certain  details  of  Strauss's 
"EUktra." 

Gnecco  (n'ygk'-ks),  Francesco,  Genoa, 
1769 — Milan,  1810;  dram,  composer. 

Gniessfci  (gny&s'-Sn),  Michael,  b.  Ros- 
toff,  Russia,  Jan.  23, 1883;  composer; 
studied  at  Moscow  and  Petrograd 
Cons.;  since  1923  teacher  at  the 
State  Cons,  in  Moscow;  his  music 
utilises  Jewish  folk  themes  and 
shows  an  impressionistic  manner;  c* 
(opera)  "The  Youth  of  Abraham," 
symphonic,  choral  and  chamber 
music,  songs. 

Gobbaearts  (gttV-barts),  Jean  Louis, 
Antwerp,  1835 — Saint  Gilles,  near 
Brussels,  1886;  pianist  and  composer. 

GSbel  (ga'-bel),  K.  H.,  Berlin,  1815 — 
Bromberg,  1879;  pianist,  conductor, 
aad  dram,  composer, 

Gockel  (gdk'el),  Aug.,  WiUibadessen, 
Westphalia,  1831 — 1861;  pianist  and 


conmoser. 


Godard  (g6-da,r),  Benjamin  (Louis 
Paul),  Paris,  Aug.  18,  1849 — Cannes, 
Jan.  n,  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 
chamber-compositions;  rec'd  the  Prix 
Chartier  from  the  Institut  de  France 
for  merit  in  the  department  of 
chamber-music;  prod.  5  operas,  incl. 
"Jocelyn"  (Brussels,  1888),  and.  the 
very  succ.  posthumous  "La  Vi\an- 
diere"  (Paris  Op.-Com.,  1895),  the 

"  ~last  2  acts  orchestrated  by  Paul 
Vidal;  2  operas  not  prod.;  he  c.  also 
incid.  mus.  and  6  symphonies;  "Le 
Tasse"  (Tasso),  dram,  symphony 
with  soli  and  chorus  took  the  city  of 
Paris  prize  in  1878;  concerto  for  vln.; 
a  pf  .-concerto,  songs  and  pf.-pcs. 

God^dard  (Davison),  Arabella,  St. 
Servan,  near  Saint  Malo,  Brittany, 
Jan.  12,  1836 — Boulogne,^  April  6, 
1922;  pianist;  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  Thalberg;  at  1 2  played 
at  the  Grand  National  Concerts; 
1850-53  pupil  of  J.  W.  Davison, 
whom  she  m.  (1860);  toured  Ger- 
many and  at  17  played  at  Leipzig 
Gewandhaus  1855;  1873-76  toured 
the  world;  retired  1880  and  lived  in 
Tunbridge  Wells. 

Godebrye.     Vide  JACOTIN. 

Godefroid  (g6d-fwa),  (i)  Jules  Joseph, 
Namur,  Belgium,  1811 — Paris,  1840, 
harpist  and  dram,  composer.  (2) 
Dieudonne*  Jos.  Gull.  F£hx,  Namur, 
1818 — Villers-sur-mer,  1897;  bro.  of 
above;  harpist  and  dram,  composer. 

God'frey,  (i)  Chas.,  Kingston,  Surrey, 
1790 — 1863;  bassoonist  and  con- 
ductor. (2;  Daniel,  Westminster, 
Engl.,  Sept.  4,  1831 — Beeston,  near 
Nottingham,  June  30,  1903;  con- 
ductor; son  of  above;  pupil  R.  A.  M., 
later  Fellow  and  Prof,  of  Military 
Mus.;  1856  bandm.  of  the  Grenadier 
Guards;  1872  and  1898  toured  the 
U.  S.  with  his  band,  composer. 
(3)  Sir  Daniel  Eyers,  b.  London, 
1868;  son  of  (2);  noted  conductor; 
after  1894  led  symph.  concerts  at 
Bournemouth  for  more  than  40  years, 
presenting  series  of  eminent  soloists 
and  also  organising  fests.  there;  re- 
tired 1934;  d.  Bournemouth,  July  20, 
1939- 


DICTIONARY  OF  MUSICIANS 


175 


GodowsKy  (g5-d6f'-ske),  Leopold,  b. 
Wilna  (Vilno),  Russian  Poland,  Feb. 
13,  1870 — N.  Y.,  Nov.  21,  1938; 
pianist;  pupil  of  Rudorff;  1881-84  R. 
Hpchschule,  Berlin;  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.; 
then  toured  Europe;  1902  lived  in 
Berlin;  succeeded  Busoni  in  1910,  as 
head  of  the  Master-School  of  the 
Vienna  Imperial  Academy;  1904, 
married  Frieda  Saxe;  after  1912  made 
home  in  U.  S.;  c.  symphonic  Dance- 
pictures  from  Strauss  "Fledermaus"; 
sonata  E  minor,  for  piano;  left-hand 
transcriptions  of  Chopin  Etudes,  50 
6tudes  on  Chopin's  Etudes,  and 
many  brilliant  piano  works,  incL 
"Java"  suite,  etc. 

Soedicke  (gSd'-S-ks),  Alex.  Fedoro- 
vitch,  b.  Moscow,  March  3,  1877; 
composer,  pianist  and  organist;  pupil 
of  Pabst  and  Safonoff  at  the  Cons, 
in  his  native  city;  won  Vienna  Rubin- 
stein prize  in  1900  for  his  piano 
concerto;  after  1907  taught  at  Mos- 
cow Cons.;  c.  orch.,  chamber  and 
piano  works  of  classical  trend. 

Goepfart  (gSp'-fart),  (i)  Chr.  H.,  Wei- 
mar, 1835 — Baltimore,  Md.,  1890; 
organist  and  composer.  (2)  Karl 
Eouard,  b.  Weimar,  March  8,  1859; 
son  of  above;  1891,  cond.  Baden- 
Baden  Mus.  Union;  1909-27,  active 
in  Potsdam;  after  1928  in  Weimar; 
c.  "Sarastro"  a  sequel  to  Mozart's 
"Magic  Flute,"  etc.  (3)  Otto  Ernst, 
Weimar,  July  31,  1864 — Jan.  33, 
1911;  bro.  of  above;  since  1888 
Weimar  town  cantor  and  composer. 

Goepp  (g£p),  Philip  Henry,  New  York, 
June  23,  1864 — Philadelphia,  Aug., 
2S>  I93^J  composer,  writer;  grad., 
Harvard  Univ.,  studied  comp.  with 
Paine;  1892,  founded  Manuscript 
Soc. ;  after  1900  wrote  programme  notes 
for  Phila.  Orch.;  prof,  of  theory, 
Temple  Univ.;  c.  orch.,  chamber 
music,  choral  works,  songs;  author, 
"Symphonies  and  Their  Meaning" 

Coes  (gS'-Ss),  DamiSo  de,  Alemquer, 
Portugal,  1501 — Lisbon,  1572;  am- 
bassador, theorist  and  composer. 

Goethe  (gS'-tS),  Walther  Wg.  von, 
Weimar,  1818 — Leipzig,  1885;  grand- 
son of  the  poet;  c.  3  operettas,  etc. 

Goetschius  (gSt'-shl-oos) ,  Percy,  Pater- 
son,  N.  J.,  Aug.  30,  1853 — N.  Y., 
Oct.  29,  1943;  pupil  Stuttgart  Cons.; 


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;  1896,  private  teacher 
Boston,  and  essayist;  1897,  organist 
First  Parish  Ch.,  Brookline;  1905-25, 
prof,  at  Inst.  of  Music.  Art,  N.  Y.; 
pub.  important  and  original  treatises; 
ed.  piano  works  of  Mendelssohn;  c. 
piano  pieces  and  songs. 

Goetz  (gSts),  Hn.,  K6nigsberg,  Prussia, 
1840 — Hottingen,  near  Zurich,  1876; 
1863,  organist  and  conductor;  c. 
operas,  notably  "Taming  of  the 
Shrew*' ';  orch.,  chamber  music,  cho- 
ruses, songs,  etc. 

GShler  (ga'-ler),  Karl  Georg,  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—09  at  Carlsruhe;  1909—13, 


Leipzig;  1913-14,  Hamburg  Op.; 
1915-18,  cond.  Philh.  Chorus  and 
Orch.,  Lubeck;  1922-33,  cond.  Halle 


Philh.  Orch.;  c.  2  symphs.;  orch. 
suite  "Indian  Songs." 

Goldbeck  (golt'-bSk),  Robert,  Pots- 
dam, April  19,  1839 — St.  Louis, 
May  1 6,  1908;  pupil  of  Kohler  and 
H.  Litolff;  gave  succ.  concerts  in 
London  and  prod,  operetta;  1857-67 
in  New  York  as  teacher;  1868 
founded  a  Cons*  at  Chicago;  dir.  till 
1873;  cond.  St.  Louis  Harmonic  Soc. 

Goldberg  (golt'-bSrkh) ,  (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  Seyfried,  then 
operatic  bass  and  teacher.  His  2 
sisters,  (3)  Fanny  G.-Marini  and 
(4)  Catherine  G.-Strossi,  were  singers 

Gold'man,  Edwin  Franko,  Amer.  band- 
master, composer;  led  Goldman  Band 
in  N.  Y.  park  concerts  after  1912. 

Goldmark  (gSlt'-mSrk),  (±)  Karl,  Kesz- 
thely,  Hungary,  May  18,  1830 — 
Vienna,  Jan.  2,  1915;  noted  com- 
poser; violinist  and  pianist,  pupil  of 
Jansa  (vln.),  later  of  Bohm  (theory) 
at  the  Vienna  Cons.,  then  mainly 
self-taught;  d6but  1858  Vienna,  with 
his  own  pf. -concerto;  the  popular 
overture  "Sakuntala"  (op.  13);  and 
a  Scherzo,  Andante,  and  Finale  for 
Orch.  (op.  19)  won  him  success 


176 


DICTIONARY  OF  MUSICIANS 


strengthened  by  his  opera  "Die 
K&nigin  von  Saba"  (Vienna,  1875); 
c.  also  operas  "Merlin"  (Vienna, 
1886)  v.  succ.;  "Das  Heimchen  am 
Herd"  based  on  Dickens*  "Cricket 
on  the  Hearth"  (Vienna,  18^6) ;  "Die 

58 

_       f       also 

2  symphonies,  incl."Landliche  Hoch- 
zeit";  overtures,  "Im  Frilhling," 
"Prometheus  Bound,"  and  "Sappho,"* 
also  a  pop.  vln.  concerto,  suite  for 
vln,  and  piano,  choruses,  songs,  piano 
works;  author,  "Reminiscences  of 
My  Life."  (2)  Rubin,  New  York 
City,  Aug.  15,  1872 — March  6, 1936; 
composer;  nephew  of  above;  at  7 
began  to  study  with  A.  M.  Livonius, 
with  whom  he  went  to  Vienna,  1889; 
studied  there  also  with  Door  and 
Fuchs;  later  in  New  York  with  Jp- 
seffy  and  Dvofak;  1892-1901,  in 
Colorado  Springs,  Colorado;  founder 
and  dir.  of  a  Coll.  of  Mus.  there, 
"Theme  and  Variations"  for  orch. 
(performed  by  Seidl,  1895);  c.  a 
pf  ,-trio,  cantata  with  orch.  "Pilgrim- 
age to  Kevlaar"  overture  "Hiawa- 
tha" (played  by  Boston  Symph. 
Orch.),  vln.-sonata,  etc.;  after  1902 
lived  again  in  N.  Y.  as  teacher  and 
cornp.;  1924  until  his  death,  head  of 
cornp.  dept.,  Juilliard  Grad.  School; 
c.  "Gettysburg  Requiem"  (N.  Y. 
Philh.,  1917);  "Negro  Rhapsody" 
(1922,  played  by  many  orchs.); 
founder  and  long  pres.,  N.  Y. 
Bohemians'  Club. 

Goldner  (gOlt'-n&r),  Wm.,  Hamburg, 
June  30,  1839 — Paris,  Feb.  8,  1907; 
pupil  Leipzig  Cons.;  lived  in  Paris 
as  a  pianist  and  composer. 

Gddschmidt  (gslt-shmlt),  (i)  Sigis- 
mund,  Prague,  1815 — Vienna,  1877, 
pianist  and  composer.  (2)  Otto, 
Hamburg,  Aug.  21,  1829 — London, 
Feb.  24,  1907;  pianist;  pupil  of 
Jakob  Schmitt  and  F.  W.  Grand, 
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  "Ruth" 
(Hereford,  1867);  pf. -concerto  and 
trio,  etc.  (3)  Adalbert  von,  Vienna, 
May  5,  1848 — Dec.  21,  1906;  pupil 


composer; 
"Die 


Vienna  Cpns.;  amateur 
prod,  with  great  succ.  cantata  "Die 
Sieben  Todsunden"  (Berlin,  1875), 
and  succ.  opera  "  Helianthus"  (Leip- 
zig, 1884);  prod,  trilogy  "Gaea"  1889. 
(4)  Hugo,  Breslau,  Sept.  19,  1859-^ 
Wiesbaden,  Dec.  26,  1920;  1884  Dr. 
jur.;  studied  singing  with  Stock' 
hausen  (1887-90);  1893-1905,  co-dir, 
Scharwenka-Klindworth  Cons.,  Ber* 
lin;  writer. 

Gold 'win,  John,  d.  Nov.,  1719;  EngU 
organist  and  composer. 

Golinelli,  Stefano,  Bologna,  Oct.,  26, 
1818— July  3,  1891;  pianist;  pupil  of 
B.  Donelli  and  N.  Vaccai;  pf.-prof. 
Liceo  Musicale  till  1870;  c.  5  pf.- 
sonatas,  etc. 

Gollmick  (gdl'-nrfk),  (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 — Lon- 
don, 1883;  pianist;  son  and  pupil  of 
(2);  studied  also  with  Riefstahl, 
1844;  c.  comic  operas,  etc.  , 

Golsch'mann,  Vladimir,  b.  Paris,  Dec. 
1 6,  1893;  conductor;  studied  vln. 
with  MSller,  Berthelier,  piano  with 
de  Saunieres  and  Braud,  comp.  with 
Dumas,  and  Caussade;  founded 
Golschmann  Orch.,  Paris,  1919,  and. 
led  this  series  until  1923;  guest  cond* 
in  other  European  cities;  came  to 
America  as  musical  dir.  of  Swedish. 
Ballet,  invited  to  lead  N.  Y.  Symph% 
as  guest  by  Damrosch;  cond.  St^ 
Louis  Symph.  Orch.  after  1:934. 

M'-t&r-man),  (i)  G-.  Ed.* 


Goltermann 

Hanover,  1824  —  Frankfbrt-on-M^ 
1898;  'cellist  and  composer.  (2)  Jn. 
Aug.  Julius,  Hamburg.  1825 — Stutt- 

§art,  1876;  'cellist.  (3)  Aug.,  1826 — 
chwerin,  1890;  court  pianist. 

Gombert  (g6nv-b5rt),  Nicolas,  Bruges> 
ca.  1495 — after  1570;  a  most  impor- 
tant 1 6th  cent,  composer,  one  of  thet 
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  FStis  with  impressive  effect. 

Gomes  (or  Gomez)  (gS'-mas),  Antonio- 
Carlos,  Campinas,  Brazil,  July  n,. 
1839 — Para,  Sept.  16,  1896;  pupil  of 
Rossi,  Milan  Cons.;  Dir.  of  Para. 
Cons.;  c.  succ.  operas  "II  Guarany,"' 
"Safoaior  Rosa,"  "Lo  Schiavo,"' 
"Maria  Tudor,"  etc. 


DICTIONARY  OF  MUSICIANS 


177 


(g5'-mSth)     Jose     Melchior, 
Valencia,  Jan.  6,  1791 — Paris,  July 
26*  1836;  military  bandmaster  and 
singing  teacher  at  Paris;  c.  operas 
and  patriotic  songs. 
Gem'pertz,  Richard,  Cologne,  April  27, 
1859 — Dresden,  1921;  violinist;  pupil 
aft  the  Cons.,  and  of  Joachim;  toured, 
them  invited  to  teach  at  Cambridge 
University;   from   1883,    teacher  at 
R.  C.  M.,  1895,  prof.;  from  1899  at 
Dresden;  c.  violin  sonatas,  etc. 
Good'rieh,  (i)  Alfred  John,  Chile,  Ohio, 
May  8,  1847 — Paris,  April  25,  1920; 
eminent  theorist;  except  for  a  year's 
instruction  from  his  father,  wholly 
self-taught;    teacher    theory    Grand 
C*ms.,  N.  Y.,  1876;  voice,  pf.  and 
theory  Fort  Wayne  Cons.,  Ind.;  dir. 
voeal-dept.     Beethoven    Cons.,     St. 
Loais;  2  years  at  Martha  Washington 
Coll.,  Va.;  lived  in  Chicago,   New 
York   as    teacher;   pub.    theoretical 
issays    and    books    of    radical    and 
scholarly     nature,     the     important 
proctacts  of  research  and  individual- 
ity, inel.  "Complete  Musical  Analy- 
sis" (1889),  "Analytical   Harmony" 
(1894),    "Theory    of   Interpretation" 
(1898),  "Counterpoint."     (2)  (John) 
Wallace,  b.  Newton,  Mass.,  M_ay  27, 
Z&7I — Boston,   June   6,    1952;   eon- 
dt*ctor;     studied     in     Boston     arid 
Munich,    and    with    Widor,    Paris; 
taught   New   England   Cons.;  dean 
after  1907;  became  dir.,  succeeding 
Claud  wick,  1931;  1897-1909,  org.  lor 
Boston     Symph.,    also    in    various 
churches  in  that  city;  1902-08,  cond. 
and   founder,    Boston    Choral    Art. 
Sac.;  until  1907,  dir.  of  choral  work, 
Worcester  Fest.;  1907-10,  cond.  Ce- 
cilia Soc. ;  in  latter  year  also  of  osrch. 
concerts;  cond.  with  Boston  Op.  Co., 
Z907-I2,  when  it  disbanded;  c.  cfeocal 
music;  also  author  and  translator  of 
TOarks  on  organ,  etc. 

Gaod'son,  Katharine,  b.  Watford, 
Englatad,  June  18,  1872;  pianist;  at 
*2  paipil  at  the  R.  A.  M.,  till  1892, 
then  four  years  with  Leschetizky — 
€t£tetj  1=896,  London  Pop.  Concerts; 
has  toured  widely;  1903,  married 
Artfemr  Hinton  (q.v.). 

Goos'sens,  (i)  Eugene,  b.  Lon<Jon, 
May  26,  1893;  conductor,  composer: 
studied  Bruges  Cons,  and  Liverpool 
Coll.  of  Mus.,  later  grad.  R.  CoS.  of 
MHS,,  London;  1911—15,  played  in 
Queen's  HaU  Orch.  and  Philh.  String 
7916,  cond.  Stanford's 


opera,  "The  Critic";  1915-20,  cond. 
in  association  with  enterprises  of 
Beecham;  1921,  founded  own  orch. 
in  London  for  a  season;  later  with 
Brit.  Nat'l.  Op.  Co.  and  Carl  Rosa 
Co.,  the  Russian  Ballet,  and  London 
Symph.;  1923-31,  cond.  Rochester 
Symph.  Orch.  in  U.  S.;  founded 
chamber  music  concerts  in  London; 
after  1931  cond.  Cincinnati  Symph. 
until  1948;  then  dir.  Sydney  Cons., 
cond.  Symph.  there;  c.  op.  "Judith" 
to  libretto  by  Arnold  Bennett, 
(Co  vent  Garden,  1929);  "Don  Juan 
de  Manara";  (orch.)  "Tam  o'  Shan- 
ter";  "Four  Conceits"',  "The  Eternal 
Rhythm";  "Kaleidoscope";  "Rhyth- 
mic Dance";  Sinfonietta;  Fantasy  for 
9  wind  instruments;  3  Greek  Dances; 
Concertino  for  double  string  orch.; 
Poem  for  viola  and  orch.  ;  Rhapsody 
for  'cello  and  orch.;  "By  the  Tarn™ 
for  strings  and  clarinet;  "Silence"  for 
chorus  and  orch.;  (chamber  music) 
Fantasy  Quartet;  Sextet  (commis- 
sioned for  Berkshire  Fest.,  1923); 
Spanish  Serenade;  String  Quartet  in 
C;  sonata  for  piano  and  vln.;  piano 
sonatas,  songs,  piano  pieces;  *'Five 
Impressions  of  a  Holiday"  for  piano, 
flute  (or  vln.)  and  'cello;  (ballet) 
"UEcele  en  Crinoline."  (2)  L6on, 
htfCh.  of  Eugene;  oboist;  pupil  of 
1L  Coll.  of  Mus.;  mem.  Philh.  Trio; 
soloist  in  Covent  Garden,  Philh.  and 
Queen's  Hall  orchs.;  later  active  as 
solo  performer;  gave  N.  Y.  recital, 


Goovaerts  (g6'-v5.rts),  Alphonse,  J.  M. 
Andre,  Antwerp,  May  25,  1847  — 
Brussels,  Dec.  25,  1922;  1866,  assist. 
librarian,  Antwerp;  founded  an  ama- 
teur cathedral  choir  to  cultivate 
Palestrina  and  the  Netherland  cpt- 
ists;  1887  royal  archivist.,  Brussels; 
writer  and  composer. 

GSpfiert  (gSp'-fert),  (i)  K.  And.,  Rim- 
par,  near  Wurzburg,  1768  —  Meining- 
ca,  1818;  clarinetist  and  dram,  com- 
poser. (2)  K.  G.,  Weesenstein,  near 
Dresden,  1733  —  Weimar,  1798;  vln. 
virtuoso;  conductor  and  composer. 

Gordigiani  (gdr-dSd-ja'-nS),  (i)  Giov. 
Bat.,  Mantua,  1795  —  Prague,  1871; 
son  of  a  musician;  dram,  composer. 
(2)  Antonio,  a  singer.  (3)  Luigi, 
Modena,  1806  —  Florence,  1860;  bro. 
of  (i);  dram,  composer. 

Goria  (gS-rS'-a),  Alex,  fid.,  Paris,  1823 
—  1860;  teacher  and  composer. 

Go/ritz,  Otto,  Berlin,  June  8,  1870— 


178 


DICTIONARY  OF  MUSICIANS 


Hamburg,  April  n,  1929;  barytone; 
studied  with  his  mother;  dSbut, 
Neustrelitz,  1895;  thereafter  at  Bres- 
lau  and  Hamburg  Ops.;  Met.  Op. 
Co.,  N.  Y.,  1903-17;  noted  for 
Wagnerian  character  r61es. 
GSrner  (g€r'-ner),  (i)  Jno.  Gottlieb, 
Penig,  1697  —  Leipzig,  1778;  organ- 
ist; his  brother,  (2)  J.  N.  Valentin, 
b,  Penig,  1702,  cond.  at  Hamburg 
Cathedral:  c.  songs. 
Gomo  (gdr'-no),  Albino,  Cassalmorano, 
Italy,  i859~^Cincinnati,  Oct.  29, 
1944;  pupil  Milan  Cons.,  graduating 
with  3  gold  medals;  pianist;  accom- 
panist Adelina  Patti  on  Amer.  tour 
1881-1882;  then  pf.-prof.  Cincinnati 
Coll.  of  Music;  c.  opera,  cantata 
"Garibaldi,"  etc. 

GSroldt  (g&'-r61t),   Jn.  EL,   Stempeda 
near   Stolberg    (Harz),    1773  —  after 
1835;  mus.  dir.,  writer  and  composer. 
Gonia,  Tobio.     Vide  BOITO,  AKRIGO. 
Garter    (g6r'-t£r),   Albert,    Ntirnberg, 
Nov.    23,    1862  —  March    14,    1936; 
studied  medicine;  then  music  at  R. 
Mus.  Sch.,  Munich;  took  3  prizes  for 
composition;  studied  a  year  in  Italy; 
assist,    cond.     Bayreuth    Festivals; 
cond.  Breslau,  etc.;  1894-99  assist. 
cond.  Carlsruhe  Ct.-Th.,  then  cond. 
Leipzig  City  Th.;  1903,  Strasbourg, 
1910-25,    munic.    cond.   in    Mainz; 
c.  (text  and  mus.)  opera  "Harold" 
and   comic   opera   "Der   Schatz  des 
Rkampsinnif*  (Mannheim,  1894);  2 
symphonic  poems,  etc. 
Goss,   (i)   John  Jeremiah,  Salisbury, 
1770  —  1817;    alto.     (2)    Sir    John, 
Fareham,   Hants,   England;   1800  — 
London,    1880;   organist;   knighted, 
1872;  composer  and  writer. 
Gossec  (goVsSk)  (rightly  GossS,  Gos- 
set   or   Gossez)    (g6s-sa),    Francois 
Jesejili,  Vergniers,  Belgium,  Jan,  17, 
1734—  Passy,   near  Paris,   Feb.    16, 
1829;    1741-49     chorister    Antwerp 
cathu;  for  2  years  he  then  studied 
vln.  and  comp.;   1751   Paris,  cond. 
private  orch.  of  La  Pouplinifcre;  then 
ferimer-g&neral;  1754  he  pub.  his  first 
symphonies  (5  years  before  Haydn's); 
Z7S9  k*s  first  string-quartets  which 
became  pop.;   1769  his  "Messe  des 
>  made  a  sensation  (the  "Tuba 
>  being  written  for  2  orch., 
for  wind,  instrs.,   concealed,  a 
new  effect  he  repeated  in  his  first 
1762     cond.    of    Prince 


. 

Ccmti's  orch.  at  Chantilly;  from  1764 
iP®$r  3-ac£  operas  "Le  Faux  LordJ* 


etc.,  incl.  succ.  "Les  Ttcheurs* 
(Com6die  It.,  1766);  1770  founded 
Concerts  des  Amateurs;  1773  re- 
organised and  cond.  the  Concerts 
Spirituels  till  1777;  1780^82  assist, 
cond.  Academic  de  Musique  (later 
Gr.  Opera);  1784  founded  and  dir. 
ficole  Royale  de  Chant,  the  begin- 
ning of  the  Cons,  of  which  (1795)  he 
was  an  inspector  and  prof.  of  comp.; 
c.  26  symphonies,  3  symphonies  for 
wind,  "Symphonie  concertante"  for  n 
insts.,  overtures,  3  oratorios,  etc.; 
masses  with  orch.;  string-quartets, 
etc. 

Gottschalg    (g6t '-shaikh),    Alex.    W.9 
Mechelrode,  near  Weimar,  Feb.  14, 
1827 — Weimar,  May  31,  1908;  pupil 
Teachers'   Seminary,   Weimar;   suc- 
ceeding   GSpfer    there   later;    court 
organist,  teacher,  editor  and  writer. 
Gottschalk     (gdts'-ch61k),     (i)     Louis 
Moreau,  New  Orleans,  La.,  May  8, 
1829 — Rio  de  Janeiro,  Dec.  18,  1869; 
brilfiant   and    original   pianist    and 
composer;  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. 
Gatze  (gSt'-zS),  (i)  Jn.  Kik.  K.,  Wei- 
mar, 1791 — 1861;  violinist  and  dram, 
composer.     (2)     Fz.,     Neustadt-on- 
Orla,    1814 — Leipzig,    1888;    tenor, 
teacher    and    composer.     (3)    Karl, 
Weimar,    1836 — Magdeburg,    1887; 
pianist  and  dram,  composer.     (4)  H., 
Wartha,    Silesia,    April    7,    1836— 
Breslau,  Dec.  14,  1906;  studied  sing- 
ing with  (2);  lost  his  voice;  teacher 
in  Russia  and  Breslau;  1885  Ziegen- 
hals,  Silesia;  1889  Royal  Mus.  Dir.; 
wrote  2  technical  books;  c.  a  mass 
with  orch.,  etc.     (5)  Attguste,  Wei- 
mar, Feb.   24,  1840 — Leipzig,  April 
29,  1908;  daughter  of   (2);  teacher 
Cons.,    Dresden;   founded   a   school 
there;  1891  taught  at  Leipzig  Cons.; 
wrote  under  name  "Auguste  Wei- 
mar."    (6)  Emil,  Leipzig,  July  19, 
1856— Charlottenburg,  Berlin,  Sept. 
28,  1901;  pupil  of  Scharfe,  Dresden; 
1878-81,  tenor  Dresden  Ct.-Th.,  then 
at    Cologne    Th.,    then    toured    as 
"star,"-  1900  lived  in  Berlin  as  court- 
singer.     (7)  Otto,  1886,  conductor  at 
Essen-on-Ruhr;    prod.    succ.    opera 
"Riscatto"     (Sondershausen,     1896). 
£1T  *?•>    /8o2>     Prod.     Volksoper 
"Utopia*  (Stettin,  1892)  and  i-act 
opera    "Die     Rose    von    Thiessow* 


DICTIONARY  OF  MUSICIANS 


179 


(Glogau,  1895).  (9)  Marie,  Berlin, 
Nov.  2,  1865 — Feb.  18,  1922;  alto, 
studied  Stern  Cons,  and  with  Jenny 
Meyer  and  Levysohn;  sang  Berlin 
opera,  then  at  Hamburg  City  Th.; 
2  years  in  America;  1892  Berlin  ct.- 
opera. 

Goudimel  (goo-dl-mel),  Claude,  Vai- 
son,  near  Avignon,  ca.  1505 — killed 
in  St.  Bartholomew  massacre,  Lyons, 
Aug.  24,  1572;  pupil  perhaps  of  Jos- 
quin  Despres;  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.  "The 
Psalms  of  David,"  complete. 

Gould,  Nathaniel  Duren,  Chelmsford, 
Mass.,  1781 — Boston,  1864;  con- 
ductor and  writer. 

Gounod  (goo-nS),  Charles  Francois, 
Paris,  June  17,  1818 — Oct.  17,  1893; 
son  of  a  _  talented  painter  and  en- 
graver; his  mother  taught  him  the 
pf.  and  he  entered  the  LycSe  Saint- 
Louis;  1836  studied  at  the  Paris 
Cons,  with  Reicha  (harm.),  Hal6vy 

Sept.  and  fugue),  Lesueur  and  Paer 
comp.);  took  2nd  Prix  de  Rome 
with  cantata  "Marie  Stuart  et  Rizzio"> 
in  1837;  his  cantata  "Fernanda"  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  Requiem 
at  Vienna  with  great  succ.;  returned 
to  Paris  as  precentor  and  organist  of 
the  Missions  fitrang&res;  studied 
theology  2  years,  intended  to  take 
orders  and  was  called  1'Abbe  Gounod 
by  a  publisher  in  1846;  after  5  years 
of  seclusion,  parts  of  his  Messe 
Solennelle  were  played  with  profound 
succ.  in  London;  he  prod,  a  sym- 
phony, but  his  opera  *' Sappho"  failed 
(Gr.  Op&ra,  1851);  revised  1884,  it 
failed  again;  a  gr.  opera,  "La  Nonne 
Sanglante"  (1854),  and  a  comic 
opera,  "Le  M&decin  MaLgre  Lui" 
(played  in  London  as  "The  Mock 
Doctor")  (1858),  both  failed;  1852- 
5o  cond.  the  "OrphSon,"  Paris,  and 
c.  choruses  and  2  masses.  The  opera 
"Faust"  (Tk.  Lyrique,  1859)  was  and 
still  is  a  great  succ.  "Philemon  et 
Baucis"  (1860);  "La  Reine  de  Sabtt" 
(in  London  as  "Irene")  (1862); 
"Mireille"  (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  1871  he  prod. 
"Gallia"  a  cantata  based  on  "Lam- 
entations"; 1875  returned  to  Paris, 
prod.  "Cinq  Mars"  (Op6ra  Comique, 
1877),  "Polyeucte"  (Gr.  Op6ra,  1878), 
and  "Le  Tribut  de  Zamora"  (1881), 
none  succ.  The  sacred  trilogy  "La 
Redemption* '  (Birmingham,  1 88  2) 
(music  and  French  words),  and 
"Mors  et  Vita"  (Birmingham,  1885) 
(Latin  text  arranged  by  Gounod)  are 
standard.  He  also  c.  "Messe  Solen- 
nelle a  Ste.  Cecile";  masses;  "Angeli 
custo  des"  (1882);  "Jeanne  d'Arc" 
(1887);  a  Stabat  Mater  with  orch.; 
the  oratorios  "Tobie,"  "Les  Sept 
Paroles  de  J&sus"  "Jtsus  sur  le  Lac 
de  Tibtriade";  the  cantatas  "A  la 
FrontUre"  (1870,  Gr.  OpSra),  "Le 
Vin  des  Gaulois"  and  "La  Danse  de 
VfLpee,"  the  French  and  English 
songs,  etc.  He  left  2  operas,  "Maitre 
Pierre"  (incomplete)  and  "Georges 
Dandin"  (said  to  be  the  first  comic 
opera  set  to  prose  text,  cf .  Bruneau). 
He  wrote  "M&thode  de  cor  a  pistons" 
essays,  etc.  Biog.  by  Jules  Claretie 
(Paris,  1875);  Mme.  Weldon  (Lon- 
don, 1875);  Paul  Voss  (Leipzig, 
1895);  "M&moires"  (Paris,  1895). 

Gouvy  (gpo-vS),  Louis  Theodore, 
Goffontaine,  Rhenish  Prussia,  1819 — 
Leipzig,  1898;  pianist  and  composer. 

Gow,  (i)  Niel,  Strathband,  1727 — 
Inver,  Scotland,  1807;  violinist  and 
composer.  (2)  Nathaniel,  1763 — 
1831;  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,  1860 — Jan.  12,  1938;  pupil 
of  Blodgett,  Pittsfield  and  Story 
(Worcester);  graduate  Brown  Univ., 
1884,  and  Newton  Theol.  Seminary, 
1889;  then  teacher  of  harm,  and  pf. 
Smith  College;  studied  with  Bussler 
in  Berlin;  1895  prof,  of  music  Vassar 
Coll.;  composer  and  writer. 

Grab  en-Hoffmann  (grS'-bSn  h6f '-mS,n), 
Gustav  (rightly  Gustav  Hoffmann), 
Bnin,  near  Posen,  March  7,  1820 — 
Potsdam,  May  21,  1900;  singing 
teacher,  writer  and  composer. 

GrSdener  (gra'-d£-ner),  (i)  K.  G.  P., 
Rostock,  1812 — Hamburg,  1883;  dir., 
conductor,  writer,  and  dram,  com- 


180 


DICTIONARY  OF  MUSICIANS 


poser,     (2)    Hermann    (Th.    Otto), 
Kiel,  May  8,  1844  —  Vienna,  Sept.  18, 
1929;  son  and  pupil  of  above;  later 
studied  Vienna  Cons.;  1873  teacher 
harmony    Horak's    Pf.    Sen.,    later 
Vienna  Cons.;  from  1890  lecturer  on 
harm,  and  cpt.  Vienna  Univ.;  cond. 
Singakademie;   c.    Capriccietta   and 
Sinfonietta  for  orch.  (op.  14),  etc. 
Graen'er,  Paul,  Berlin,  Jan.  11,  1872^  — 
Nov.,    1944;   studied  Berlin   Music. 
Acad,;  mus.  dir.,  Haymarket  Theat. 
and  teacher  at  Royal  Acad.,  London, 
1896-1904;    principal,     Mozarteum, 
Salzburg,    1910-14;    taught    master 
class  in  comp.,  Leipzig  Cons.,  1920— 
24;    dir.    of    Stern    Cons.,    Berlin, 
1930-33;   until    1935    mem.    of   the 
presiding    council    of    the    German 
Music    Chamber;    associate   of    the 
Berlin   Acad.   of   Arts;   c.    (operas) 
"Don     Juans     Letztes     Abenteuer," 
"Schirin    und    Gertraude,"    "Friede- 
mann   Bach,"   "  Hanneles    Himmel- 
fahrt"    (after    Hauptmann    drama), 
"Der    Print    von     Homburg";    also 
symphonic  works,  piano  and  'cello 
concertos,  chamber  music,  and  many 
songs. 

Graew  (gr£v).  Vide  BACFAB.T. 
Graf  (grSf),  (i)  Fr.  Hartman,  Rudolf- 
stadt,  1727—  Augsburg,  1795;  flutist 
and  comp.  (2)  Max,  b.  Vienna, 
Oct.  i,  1873;  music  critic;  grad. 
Vienna  Univ.;  critic  of  Wiener 
Allgemeine  ^eitung,  and  prof,  of 
mus.  hist,  and  aesthetics,  State  Acad. 
of  Mus.;  author  of  books  on  Wagner, 
etc.  His  son  (3)  Herbert,  b.  Vienna, 
April  10,  1903;  noted  stage  director; 
studied  at  State  Acad.  of  Mus.  and 
Vienna  Univ.,  Ph.D,;  filled  early 
posts  as  operatic  rfgisseur  at  Miins- 
ter,  Breslau  and  Frankfort-am-Main; 


>  stage  manager,  Munic.  Theat., 
Basel;  then  with  German  Theat., 
Prague;  staged  opera  perfs.  ot  Phila. 
Orch.,  1934-35;  at  Florentine  Musi- 
cal May  Fest.,  1935;  Salzburg  Fest., 
1936;  engaged  for  Met.  Op.,  N.  Y., 

~ 


.. 

^Bgna  (graf-fen'-ya),  Achilla,  San 
Martino  del?  Argine,  Italy,  i8r6  — 
.Padua,  1896;  conductor,  teacher,  and 
dram,  composer. 

rao^am»  Geo*  F*>  Edinburgh,  1789— 
1867;  composer  and  writer. 
ahl     (gral),     Heinrich,     Stralsund 
Nov.  30,   1860—  Berlin,   March 

BerUn; 


Grainger  (gran'-jer),  Percy,  b.  Brigh- 
ton, Australia,  July  8,   1882;  com- 
poser  and   pianist;   pupil    of   Leeds 
Pabst,  Melbourne,  and  James  Kw&st, 
Frankfort;   after  1900,   appeared  in 
London  and  other  centres  withsucc.; 
1907,  chosen  by  Grieg  to  play  his 
pian©  concerto  at  Leeds  Fest.;  1909, 
made  tour  of  Scandinavia  and  other 
parts  of  Europe;  after  1915  made  his 
home  for  the  most  part  in  the  U.  S., 
becoming  an  Amer.  citizen  in  1917; 
he  was  for  a  time  dir.  of  the  mus. 
dept.,  N.  Y.  Univ.,  but  resigned  in 
1934  to  engage  in  a  world  tour;  his 
compositions  include  many  arrange- 
ments    of    folk-song     material;     c, 
(orch.)  "Molly  on  the  Shore'9;  "Shep- 
herd's Hey";  "Colonial  Song";  "Mock 
Morris";  "Irish   Tune  from  County 
D&ry"  for  strings;  "Handel  t»  the 
Strand"  for  piano  and  orch.;  (chorus) 
"The  Bride's  Tragedy,"  "Father  and 
Daughter,"*   "Sir    Eglamore^-   "Two 
Welsh  War  Songs";  "The  Hunter  in 
His    Career";    "Marching    Song    of 
Democracy,"'    "Brigg    Fair,9*    "The 
Warriors,"'  "Hill-Songs"  Nos.  i  and 
2;    "To    a    Nordic    Princess";    and 
many  settings  of  British  folk  music: 
m.    Ella    Viola    Strom,    sculptress, 
1928,  the  marriage  ceremony  taking 
place  after  a  concert  at  the  Holly* 
wood  Bowl  in  view  of  the  audience. 
Gramxnann    (gram'-man),    Karl,    Lu- 
beck,   1844 — Dresden,   1897;  dram, 
composer  and  writer, 
Granados  y  Campina  (gra-nS/-dh5s  € 
kam-p€'-na),  Enrique,  Lerida,  July 
27,  1867 — March  24,  1916,  perisbed 
on  torpedoed  ship,  Sussex,  when  re- 
turning from  a  visit  to  the  U.  S.* 
Spanish  composer  of  strong  nation- 
alistic leanings  and  marked  individ- 
uality; son  of  a  military  officer,  he 
had  his  first  musical  instruction  from 
the  army  conductor  Junceda;  later 
studied  piano  with  Jurnet  and  Pujol 
in  Barcelona,  also  comp.  with  Felipe 
P?£r^  and  had  further  piano  work 
witfi  de  Benot  in  Paris.     He  founded 
and  dir.  (after  1900)  the  Sociedad  de 
Conciertos    Clasicos;    toured    Spain 
aad  France  as  an  excellent  pianist, 
llis  opera,  "Goyescas,"  was  composed 
m  his  latter  years,  using  material 
irom  some  of  his  pop.  piano  works, 
a^d  was  premiered  at  the  Met.  Op., 
JN.  Y\,  in  the  presence  of  the  com- 
poser, 1915-16.    His  output  included 
also  the  operas  "Petrarc^"*  "Foilet " 


DICTIONARY  OF  MUSICIANS 


181 


** Maria,  del  Carmen"  as  well  as 
numerous  zarzuelas;  (orcli.)  "Dante"', 
"Elisenda"  Suite;  "La  Nit  del 
Mort"\  "Serenata";  Suites  Gallega 
and  Arabe;  "Marcha  de  los  Venci- 
dos"y  "Tres  Danzas  Espagnoles" ; 
piano  trio;  works  for  'cello  and  piano, 
piano  and  orch.,  songs  with  piano 
ace. ;  but  Ms  princ.  legacy  remains  his 
large  collection  of  keyboard  music, 
which  has  won  a  wide  popularity 
with  performers. 

Grand!  (gran'-ds),  Ales,  de,  Venice  (?) 
— Bergamo,  1630;  singer  and  com- 
poser. 

Grandval  (gr&n-val),  Mme.  Marie 
Felicie  Clemence  de  Reiset,  Vi- 
comtesse  de,  Saint-R6my-des-Monts 
(Sarthe),  France,  Jan.  20,  1830 — 
Paris,  Jan.,  1907;  pupil  of  Flo  tow  and 
Saint-Saens  (comp.) ;  prod,  the  operas 
"Piccolini"  (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  Fille 
de  Jane?  "drame  sacre","  "Sainte- 
Agnis"  in  MS.;  had  prod,  symph. 
works  and  songs;  sometimes  wrote 
under  pen  names  "Tesier,  Valgrand, 
Jasper,  Banger,"  etc. 

Gras  (dortt-gras),  Mme.  Julia  Aimee 
Dorus,  Valenciennes,  1807 — retired, 
t&5o;  operatic  singer  Paris  and  Lon- 
don. 

Grasse  (gras),  Edwin,  b.  New  York 
City,  Aug.  13,  1884;  blind  violinist, 
pianist  and  composer;  pupil  of  Carl 
Hauser,  N.  Y.;  at  13,  of  C6sar  Thom- 
son, Brussels,  then  at  the  Cons., 
taking  ist  prize;  1901  took  "Prix  de 
Capacite*";  d6but  Berlin,  Feb.  22, 
1902,  with  succ.  N.  Y.,  1903;  has 
given  many  concerts  in  U.  S.,  incl. 
his  own  works  for  piano,  vln.,  org., 
etc. 

Grasset  (grits-sa),  J.  Jacques,  Paris, 
ca.  1767 — 1839;  violinist,  conductor, 
professor,  etc. 

Grassioi  (gras-s5'-n5),  Josephina,  Va- 
rese,  Lombardy,  1773 — Milan,  1850; 
Italian  soprano  of  remarkable  talent 
and  beauty. 

Gratiani.     Vide  GRAZIANI. 

Grau  (grow),  Maurice,  Brttnn,  Austria, 
1849 — Paris,  March  13,  1907;  im- 
presario of  Met.  Op.,  1883,  1891- 
1903. 

Graumann  (grow'-man),  Mathilde. 
Vide  MARCHESI. 

Graun  (grown),  (i)  Aug.  Fr.,  1727-71* 


tenor,  cantor.  (2)  Jn.  GL,  1698 — 
Berlin,  1771;  bro.  of  above;  violinist; 
pupil  of  Pisendel  and  Tartini;  in 
service  of  Fredk.  the  Great  and  cond. 
of  Royal  band;  c.  40  symphonies, 
etc.  (3)  K.  H.,  Wahrenbruck,  Prus- 
sian Saxony,  May  7,  1701 — Berlin, 
Aug.  8,  1759;  bro.  of  above;  organist, 
singer,  court-conductor,  and  com- 
pos'er. 

Graupner  (growp'-nSr),  Chp.,  Kirch- 
berg,  Saxony,  1687  —  Darmstadt, 
1760;  dram,  composer. 

Graveure  (grav-SrO,  Louis,  American 
tenor;  originally  sang  as  barytone; 
N.  Y.  d6but,  1915;  has  appeared 
widely  as  Lieder  singer;  formerly  fac- 
ulty member,  Mich.  State  Inst.  of 
Mus.  and  Allied  Arts;  held  private 
classes  in  several  Amer.  cities;  now 
res.  in  Europe;  m.  Eleanor  Painter, 
soprano;  divorced, 

Gray,  Alan,  York,  Dec.  23,  1855 — 
Cambridge,  England,  Sept.  27,  1935; 
organist;  studied  law,  then  music 
under  Dr.  E.  G.  Monk;  1883-92, 
musical  dir.  Wellington  College;  then 
org.  Trinity  College,  Cambridge,  and 
cond.  of  the  University  Musical 
Society;  c.  cantatas  "Arethusa" 
(Leeds  Festival,  1892)  and  "A  Song 
of  Redemption"  (do.,  1898),  4  organ 
sonatas,  string  quartet,  piano  quur- 
tet,  violin  sonata,  part-songs,  etc , 

Graziani  (grS-tse-a'-nS),  (i)  (Parlre) 
Tommaso,  b.  Bagnacavallo,  Papal 
States;  conductor  and  composer  of 
i6th  cent.  (2)  (or  Gratiani)  Boni- 
face, Marino,  Papal  States,  ca.  1606 
— Rome,  1664;  cond.  and  composer. 
(3)  Ludovico,  Fermo,  Italy,  1823 — 
1885;  tenor.  (4)  Francesco,  Fermo, 
April  16,  1829 — Fermo,  June  30, 
1901,  bro.  of  above;  barytone,  sang 
in  Italy,  Paris,  New  York. 

Grazzini  (grad-ze'-ng),  Reginaldo,  Flor- 
ence, Oct.  15,  1848 — Oct.  6,  1006; 
studied  R.  Cons,  with  T.  Mabellini; 
op  .-cond.  in  Florence,  later  prof,  of 
mus.  theory  and  artistic  dir.  Liceo 
Benedetto  Marcello,  Venice;  c.  sym- 
phonies; a  mass  with  orch.,  etc. 

Great'orex,  Thos.,  North  Wingfield, 
Derby,  EngL,  1758 — Hampton,  near 
London,  1831;  organist,  teacher,  and 
composer  (1789-93);  then  conductor. 

Green,  Samuel,  London,  1740 — Isle- 
worth,  1796;  organ-builder. 

Greene,  (i)  Maurice,  London,  1696 
(1695  ?) — I7SS5  teacher  and  com- 
poser. (2)  (Harry)  Pltrnket,  Old 


DICTIONARY  OF  MUSICIANS 


182 

Connaught  House,  Co.  Wicklow, 
Ireland,  June  24,  1865— London, 
Aug.  19,  1936;  basso;  studied  with 
Hromada  and  Goetschius,  Stuttgart, 
1883-86,  and  6  months  with  Van- 
nuccini  of  Florence;  later  with  J.  B. 
Welch  and  Alf.  Blume,  London; 
d£but,  Jan.  ai,  1688,  in  "Messiah"; 
d£but  in  opera  at  Covent  Garden, 
1890;  heard  widely  in  recitals;  sang 
frequently  in  America. 
Grefinger  (or  GrSfinger)  (gra'-flng-er), 
Jn.  w.,  Vienna,  i6th  cent,  composer. 
Gregh  (gr£g),  Lotiis,  Paris,  1843— 
Dourdan,  1915;  Paris  music-pub- 
lisher; 1894  prod,  pantomime;  vaude- 
ville operettas,  etc. 

Gregoir  (grfcg-war),  (i)  Jacques  Ma- 
thieu  Joseph,  Antwerp,  1817 — 
Brussels,  1876;  teacher  and  dram, 
composer.  (2)  Ed.,  Turnhout,  near 
Antwerp,  Nov,  7,  1822 — Wyneghem, 
June  28,  1890;  bro.  and  pupil  of 
above;  pianist,  drain,  composer  and 
writer. 

Gregoro'vitch,  Charles,  St.  Petersburg, 
Oct.  25,  1867 — (suicide)  1926  (?); 
violinist;  pupil  of  Wieniawski,  Dont 
and  Joachim;  1896-97  toured  Europe 
and  America. 

Gregory    L    ("The    Great"),    Rome, 
540—604;  Pope  from   590;  reformer 
and  reviser  of  Roman  Catholic  ritual. 
V.  GREGORIAN-  and  MODES  (D,  D.). 
Greith   (grit),   Karl,   Aarau,   Feb.    21, 
-828 — Munich,  Nov.  17,  1887;  org. 
and  comp.  of  church  music. 
Grell,  Ed.  Aug.,  Berlin,  1800 — Steglitz, 
near    Berlin,    1886;    organist,    con- 
ductor, prof,  and  composer. 
Greni€  (grttn-yS)    Gabriel  Jos.,  Bor- 
deaux,   1756 — Paris,    1837;    inv.    of 
the  orgue  expressij  (v.  HARMONIUM, 
D.  D.),  which  Erard  improved. 
Grea'vffie,    Lillian,     b.     New     York, 
Nov.  20,  1888;  soprano;  studied  with 
Atgier,  Aramis,  Rossi  and  Sebastiani; 
d€but  as"" Juliette,"  Nic.e,  1906;  sang 
also    in    Milan,    Brussels,    Naples, 
Genoa  and  Lisbon;   mem.    Chicago 
Op.,  1910—11;  d.  Paris,  1928. 
Sressieh    (grSn-rsh),    Ant.    FrSdSric, 
LiSge,  1755 — Paris,  1799;  conductor 
:   -and  dram,  composer. 

(gra-ch2'-ng-n6f),  Alex. 
,   b.   Moscow,   Oct.    26, 
;  composer;  pupil  of  Safonoff  at 
;  later  at  St.   Petersburg 
er  Rachmaninoff;  prof,  of 
Moscow    Cons,    until    1928; 


visited  U.  S.  1930,  and  now  reside* 
in  N.  Y.;  appeared  in  concerts  of 
his  works;  c.  succ.  opera  "Dobringa 
Nikitich"  (Moscow,  1903);  inciden- 
tal music  to  Tolstoi's  "Fepdor"  and 
"Ivan,"  and  to  Ostroski's  "Snoiv- 
Maiden"',  2  symphonies;  3  string 
quartets;  (opera)  "Sceur  Beatrice" 
after  Maeterlinck  play  (prod.  Mos- 
cow, 1912,  but  later  withdrawn  be- 
cause appearance  of  the  Virgin  on 
stage  considered  racrilegious) ;  also 
sacred  choruses  and  liturgies;  "At  the 
Cross-roads"  for  bass  and  orch.;  vln. 
works,  songs,  chamber  comps.,  etc. 
Gr£try  (gra-trw€),  (i)  Andre*  Ernest 
Modeste,  Li6ge,  Feb.  9,  1741 — 
Montmorency,  near  Paris,  Sept.  24, 
1813;  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  cpt. 
Moreau  later  tried  with  equal  failure; 

1758  he  prod.  6  symphonies  at  Li6ge; 

1759  a  mass  for  which  the  Canon  du 
Harlez  sent  him  to  study  in  Rome, 
to  which  he  walked;  he  studied  cpt. 
and  comp.  with  Casali  and  Martini 
for  5  years,  but  was  again  dismissed 
as  impossible;  a  dramatic  intermezzo, 
"Le     Vendemmiatrice"     was     succ. 
1765,  but  reading  Monsigny's  "Rose 
et  Colas"  he  decided  that  his  restless 
dramatic  longings  were  best  adapted 
for  French  op&ra  comique.   He  was  a 
long  time  finding  a  fit  librettist  (Vol- 
taire declining  his  invitation).     He 
reached    Paris    slowly   via    Geneva, 
where  he  taught  singing  a  year  and 
prod,    the   succ,    i-act    "Isabella    et 
Gertrude."     In  Paris  after  2  years' 
hardships  his   "Les  Mariages  Sam- 
nites"  was  rehearsed,  and  though  not 
prod.,  won  him  a  patron  in  Count 
Creutz,  the  Swedish  Minister,  who 
secured  him  as  libretto  MarmontePs 
comedy    "Le     Huron."     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  "Lu- 
cile,"  "Le  Tableau  Parian?*  (1760), 
"Les     Deux     Avares,"     "Zemire    et 
Ator"      (i77i)>_   "Le     Magnifique* 

**  T  n 


he  satirised   the  old   French   music 
and  its  rendition  at  the  Acad£mis), 


DICTIONARY  OF  MUSICIANS 


183 


and  "UAmant  Jaloux"  (1778); 
the  grand  opera  "Andromaque" 
(1780)  (in  which  the  chief  r61e  is  ac- 
companied by^  3  flutes  throughout) ; 
"La  Double  Epreuve"  (or  "Colinette 
d  la  cour")  (1782);  "Theodore  et 
Pauline"-  (or  "L'Epreuve  villa- 
geoise"');  and  "Richard  C&ur  dz 
Lion"  (his  best  work,  still  played  in 
Paris);  the  gr.  opera  "La  Caravane 
du  Ca$re"  (1785)  performed  506  times; 
(libretto  by  the  Comte  de  Provence, 
later  Louis  XVIII.);  "La  Rosiere 
Republicaine"  (1793);  "La  F&e  de 
la  Raison"  (prod.  1794  during  the 
Revolution) ;  t ' Lisbeth" ;  "Anacreon 
ckez  Polycrate"  (1797);  c.  50  operas 
in  all,  remarkable  for  spontaneity, 
grace  and  fervour  of  melody,  dra- 
matic effect  and  general  charm,  but 
open  to  serious  criticism  as  works 
of  formal  art.  He  was  called  "the 
Moliere  of  music."  Mozart  and 
B  eetho  ven  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 
Montmorency  and  retired  there; 
wrote  Memoirs,  etc.  He  had  several 
children,  including  the  gifted  Lucille 

&:  infra),  all  of  whom  he  outlived, 
e  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);  Gr^goir 
(1883);  Brunet  (1884),  etc.  (2)  Lu- 
cille, Paris,  1773-93;  daughter  of 
above,  who  instrumented  her  opera 
"Le  Mariage  d' Antonio,"  written 
and  prod,  at  the  Op.-Com.,  with 
succ.  when  she  was  only  13;  the  next 
year  her  opera  "Toinette  et  Louis"' 
was  not  a  success;  she  married  un- 
happily and  died  at  20. 

Greulfch  (groi'-ttkh),  (i)  K.  W., 
Kunzendorf,  Silesia,  1796 — 1837; 
teacher  and  composer.  (2)  Ad., 
Posen,  1819 — Moscow,  1868;  teacher 
and  composer.  (3)  Ad.,  Schmiede- 
berg,  Silesia,  1836 — Breslau,  1890; 
conductor,  bass.,  organist  and  com- 
poser. 

Grey,  Madeleine,  b.  Villaines,  France, 
June  n,  1897;  soprano;  studied 
piano  with  Cortot,  voice  with 
Hettlich;  d6but,  Paris,  ip2i;  appear- 
ances in  recital  and  with  orch.^  in 
many  Eur.  countries,  South  America, 


Egypt,  U.  S.;  specialist  in  modern 
French  and  Spanish  music  and  folk- 
songs. 

Grieg  (greg),  Edvard  Hagerup, 
Bergen,  June  15,  1843 — Sept,  4, 
1907;  pupil  of  his  mother,  a  pianist; 
at  15  entered  Leipzig  Cons.;  pupil 
of  Hauptmann  and  Richter  (harm, 
and  cpt.);  Rietz  and  Reinecke 
(comp.);  Wenzel  and  Moscheles 
(pf.);  then  with  Gade,  Copenhagen. 
With  the  young  Norwegian  composer 
Rikard  Nordraak,  he  conspired,  as 
he  said,  "Against  the  effeminate 
Mendelssohnian-Gade  Scandinavian- 
ism,  turning  with  enthusiasm  into 
the  new,  well-defined  path  along 
which  the  Northern  School  is  now 
travelling."  1867  Grieg  founded 
a  Musical  Union  in  Christiania  and 
wa^  cond.  till  1880;  1865  visited 
Ita  y,  again  in  1870,  meeting  Liszt  in 
Rome.  1879  he  performed  his  j>f.- 
cpncerto  at  the  Gewandhaus,  Leip- 
zig. After  1880  lived  chiefly  141 
Bergen;  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  "In  Autumn"^ 
op.  20,  "Vor  der  Klosterpforte"  for 
solo,  female  voices  and  orch.; 
"  Lander  kennung"  for  male  chorus 
with  orch.;  "Der  Einsame"  for  bary- 
tone, string  orch.  and  2  horns;  op. 
35,  "Norivegische  T&nze"  for  orch.; 
op.  40,  "Aus  Holzberg'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  pcs.  for 
string  orch.,  string-quartet  in  G  min.; 
pf. -concerto;  pf. -sonatas,  3  vln.- 
sonatas,  a  'cello-sonata,  also  for  pf.- 
"Poetiscke  Tonbilder,"  Romanzent 
and  Balladen;  several  sets  of  "Ly^ 
rische  Stucke"  "Symphonische 
Stucke"  (4  hands),  "  Norwegische 
VolksUeder  und  Tttnze,"  "Bilder 
oxis  dem  Volksleben,"-  Peer  Gynt  suite 
No.  i  (4  hands),  and  many  songs, 
incl.  song-cycle  to  Garborg's  "Haug- 
Pussa."  Biog.  by  Ernest  Closson, 
Mason,  Schelderup,  Finck,  Lee,  La 
Mara. 

Griepenkerl  (gre'-pSnk-Srl),  (i)  F. 
K.,  Peine,  Brunswick,  1782 — Bruns- 
wick, 1849;  Prof.  (2)  W.  Rob., 


184 


DICTIONARY  OF  MUSICIANS 


Holwyl,  1810 — Brunswick,  1868;  son 
of  above;  teacher  and  writer. 
Griesbach  (gres'-bakh),  (i)  John  Hy., 
Windsor,  1798 — London,   1875;  son 
of  the  'cellist.     (2)  J.  C.  G.,  pianist, 
'cellist,  dir.  and  writer. 
Griesbacher      (gr€s'-bakh-er)      Peter, 
Bgglham,  March  25,  1864 — Regens- 
burg,    Jan.    29,    1933;    priest    and 
teacher  at  Regensburg;  c.  40  masses, 
and  other  church  music,  also  can- 
tatas, etc. 
Griesinger  (grS'-zfog-er),  G.  Aug.,  d. 

Leipzig,  1828;  writer. 
Giiffes  (grff'-es),  Charles  Tomlinson, 
Elmira,  N.  Y.,  Sept.  7,  1884— New 
York,  April  8,  1920;  composer;  one 
of  the  most  gifted  and  individual 
creators    of    Amer.    impressionistic 
music,    particularly   for    orch.    and 
piano;  studied  with  Jedliczka,  Gal- 
ston,  Klatte,  Loewengard  and  Hum- 
perdinck;  taught  in  Berlin,  later  at 
Tarrytown,  N.  Y.,  and  N.   Y.;   c. 
"The     Pleasure     Dome     of     KuUa 
Kkan">   for   orch.;    Poem  for    flute 
and     orch.;     (dance-drama)      "The 
Ra&rn  of  Koridwen"  for  wind,  harp, 
celesta  and  piano;  Japanese  mime- 
play,  "Sckojo"\  2  pieces  for  string 
quartet;   piano    sonata,    and    many 
shorter  works  for  this  instrument, 
incl.  "Four  Roman  Sketches"  {among 
which     "The     White     Peacock"     is 
particularly  pop.  in  its  orchestrated 
version);  and  a  quantity  of  original 
songs,  incl.  Japanese  poems  set  in 
pentatonic    scale;    his    early    death 
was  a  deep  loss  to  Amer,  music. 
Gxif'fin,     (i)     Thos.,    English    organ 
builder  i8th  cent.     (2)  George  Eu- 
gene,   1781 — London,    1863;    Engl. 
pianist  and  composer. 
G&fft&t  Frederick,  Swansea,  Nov.  12, 
1867 — London,    May,    1917;   at    14 
won    prize    at    a    Welsh    national 
Eisteddfod;    pupil    at    R.    A.    M.; 
1889-91  with  Svendsen,  later  with 
Jaffanel,  Paris;  toured  widely;  flutist 
at    Covent    Garden,    and    prof,    at 
R.  A.  M. 
felgny  (grSn'-ye),  Nicolas  de,  Reims, 

1671—1703;  organist  and  comp. 
Griaet    (gr&-ya),    Laurent,    Sancoins, 
Cher,  France,  May  22,  1851— Paris, 
Kov.   - *'     *    -     --      - 


theatres;  1886  Nbuveau-Cirque, 
writer;  c.  comic  opera  "Graci- 
(Paris,  1892),  ballets,  etc. 


GrilTparzer,  Fz.,  Vienna,  Jan.  15: 
1791 — Jan.  21,  1871;  friend  of 
Beethoven  and  Schubert.  Comp. 
Grimm,  (i)  FT.  Melchior,  Baron  von, 
Ratisbon,  1723 — Gotha,  1807;  one 
of  the  advocates  and  controversial- 
ists for  the  ItaL  opera  buff  a.  (2) 
Karl,  Hildburghausen,  1819 — Frei- 
burg, Silesia,  1888;  'cellist  and  com- 
poser. (3)  K.  Konst.,  lived  in  Ber- 
lin, 1820 — 1882;  harpist.  (4)  Ju- 
lius Otto,  Pernau,  Livonia,  March 
6-j  1827 — Munster,  Dec.  7,  1903; 
pianist;  pupil  of  Leipzig  Cons.; 
founded  vocal  society  at  Gottingen, 
then  R.  Mus.  Dir.  Miinster  Acad- 
emy and  cond.;  c.  a  symphony,  2 
suites  in  canon-form,  etc. 
Grixn'mer,  Chr.  Fr.,  Mulda,  Saxony, 

1798 — 1850;  composer. 
Grisar     (gre-zar),     Albert,     Antwerp, 
Dec.  26,  1808 — Asni&res,  near  Paris, 
June  15,  1869;  prolific  dram,  com- 
poser; biog.  by  Pougin,  Paris. 
Grisart     (gre-zar),     Chas.     J.     Bapt., 
prod,  light  operas  in  minor  theatres, 
the  last  "Le  Petit  Bois">  (1893)  and 
"Voilale  Roi"  (1894). 
Grisi    (gre'-z5),   (i)    Giuditta,   Milan, 
July  28,  1805 — near  Cremona,  May 
i,     1840;     famous     mezzo-soprano; 
pupil   of    Milan    Cons.;    mu    Count 
Barni,     1834.     (2)     Giulia,     Milan, 
July  28, 1811 — Berlin,  Nov.  29, 1869; 
sister  and  pupil  of  above;  famous 
dramatic  soprano;  pupil  of   Giaco- 
melli,  Pasta  and  Marliani;  m.  Count 
Melcy.  later  m.  Mario. 
Griswold,  Putnam,  Minneapolis,  Dec. 
23*  1875— New  York,  Feb.  20,  1914; 
bass;  pupil  of  Randegger,   Bouhy, 
Stockhausen   and    Emerich;    d^but, 
Covent  Garden,  1901;  sang  in  Ber- 
lin  and    with    Savage    Op.    Co.    in 
"Parsifal";  Berlin  R.  Op.,  1906-11; 
Met.    Op.    Co.,    after    latter    year, 
winning  succ.  in  Wagnerian  r61es. 
GrofS  (gr5'-fa),  Ferde  (rightly  Ferdi- 
nand Rudolph  von  Grofe),  b.  New 
York,  1892;  conductor  and  composer; 
studied  harmony  and  theory  with 
his  mother,  Elsa  von  Grofe,  a  grad. 
of  Leipzig   Cons.;  at  16  pub.  first 
composition;   following   year   mem. 
of   Los   Angeles    Symph.;    won   in- 
creasing   reputation    as     cond.     of 
modern   syncopated   music;   known 
as  comp.  particularly  of  picturesque 
descriptive  suites,  in  which  he  has 
employed  novel  jazz  scoring  devices. 
Gronmgen  (grs'-nlng-gn),  Stefan  van, 


DICTIONARY  OF  MUSICIANS 


185 


Deventer,  Holland,  June  23,  1851 — 
Laren,  March  25,  1926;  pupil  of 
Raif  and  Kiel,  Berlin;  pianist; 
teacher  in  Zwolle,  The  Hague, 
Leyden;  composer. 
Qrosheim  (gros'-hlm),  G.  Chr.,  Cassel, 

1764 — 1847;  dram,  composer. 
Grosjean     (gro-^Mn),      J.     Romary, 
Rochesson,  Vosges,  France,   1815 — 
St.    Die",    1888;   org.   composer  and 
writer. 

Gross  (grds),  Jh.  Benj.,  Elbing,  West 
Prussia,  1809 — St.  Petersburg,  1848; 
'cellist  and  composer. 
Grosz,  Wilhelm,  b.  Vienna,  Aug.  n, 
1894 — N.  Y.,  1939;  pupil  of  Schreker 
and  Guido  Adler;  Ph.  D.;  c.  (opera) 
"Sganarell"-,  chamber  and  vocal 
music  in  modern,  satiric  style. 
Gross 'man,  Ludwig,  Kalisz,  Poland, 
1835 — Warsaw,  July  15,  1915;  c- 
overtures  "Lear"  and  "Marie,"  and 
succ.  operas  *  'Fisherman  of  Palermo^ 
{Warsaw,  1866)  and  "Woyewoda's 
Ghost"  (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  Macmillan's 
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. 
Groviez  ^grd  v'-laz) ,  Gabriel,  Lille, 
April  4,  1879 — Paris,  Oct.  24,  1944; 
pianist;  educated  ^Paris  Cons.,  ist 
prize  in  piano;  studied  with  Diemer, 
Lavignac,  Faur6;  cond.  at  Paris 
Op.-Comique,  Chicago  Op.;  c.  inci- 
dental music  for  plays,  orchestral 
and  piano  works,  songs,  also  a  ballet, 
"La  Fete  a  Robinson,"  given  by 
Chicago  Op.,  1921. 

Grua  (groo'-a),  (i)  C.  L.  P.,  court- 
conductor  at  Mannheim  and  com- 
poser, 1700 — 1755.  (2)  Paul,  Mann- 
heim, 1754 — Munich,  1833;  son  of 
above;  conductor  and  dram,  com- 
poser. 

Gruber  (groo'-b&r),  Jn.  Sigismund, 
Nurnberg,  1759 — 1805;  lawyer  and 
writer. 

Gruen'berg,  Louis,  b.  Russia,  Aug.  3, 
1883;  composer,  pianist;  taken  to 
America,  at  age  of  2;  studied  Vienna 


Cons,  and  with  Busoni  and  Friedrich 
Koch;  c.  (orch.)  "The  Hill  cf 
Dreams"  (N.  Y.  Symph.  Orch.  prize, 
1919);  "The  Enchanted  Isle™ 
(Worcester  Fest.);  "The  Valley  cf 
Voices,"'  "The  Blue  Castle ,«  "Vaga- 
bondia"'  (Prague  Philh.,  under 
comp.);  "Jazz  Suite"-  (Boston 
Symph.);  symph.  "Music  to  an 
Imaginary  Ballet";  "Daniel  Jazz"< 
for  tenor  and  8  instruments 
(Internat'l.  Soc.  for  Contemporary 
Music  Fest.);  "The  Creation"  lor 
barytone  and  8  instruments  (N.  Y. 
League  of  Comp.);  2  suites  for  vku 
and  piano,  2  vm.  sonatas;  "Indis- 
cretions" and  "Diversions"  for 
string  quartet;  (operas)  "Jack  and 
the  Beanstalk"  (Juilliard  Op.  School, 
N.  Y.,  and  Chicago  Op.,  1936-37); 
"Emperor  Jones"  (after  O'Neill 
drama),  Met.  Op.  Co.,  1932,  one 
of  the  most  graphic  and  stageworthy 
of  Amer.  operas,  in  impressionistic 
modern  idiom;  his  music  in  general 
has  many  colourful  elements,  strik- 
ingly orchestrated  and  dissonantal 
in  harmony;  mem.,  board  of  direc- 
tors, N.  Y.  League  of  Comp.;  has 
taught  at  Chicago  Musical  College. 

Griin  (griin),  Friederike,  Mannheim, 
June  14,  1836 — Jan.,  1917;  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  Sadder; 
studied  with  Lamperti  at  Milan 
and  continued  to  sing  with  success. 

Grunberger  (griin '-bSrkh-Sr),  Ludwig, 
Prague,  1839 — 1896;  pianist  and 
composer. 

Grund  (groont),  Fr.  Wm,,  Hamburg, 
1791 — 1874;  conductor  and  dram. 
composer. 

Grunfeld  (griin  '-f  git),  (i)  Alfred, 
Prague,  July  4,  1852 — Vienna,  Jan. 
5,  1924;  pianist  and  composer;  pupil 
of  Hoger  and  Krejci,  later  at  Kullak's 
Academy,  Berlin;  1873,  chamber- 
virtuoso,  Vienna;  toured  Europe 
and  the  U.  S.  (2)  Heinrich,  Prague, 
April  21,  1855 — Berlin,  Aug.  26, 
I931;  bro.  of  above;  'cellist;  pupil 
of  Prague  Cons.;  1876,  teacher  in 
Kullak's  Academy;  1886  ^cellist  to 
the  Emperor;  wrote  memoirs,  "Zn 
DurundMott"  (1924). 

Grtttzmacher  (griits'-makh-e'r),  (i) 
Fr.  Wm.  L.,  Dessau,  March  i,  1832 — 
Dresden,  Feb.  23,  1903;  eminent 
'cellist;  son  and  pupil  of  a  chamber-* 


186 


DICTIONARY  OF  MUSICIANS 


musician  at  Dessau:  later  studied 
with  Drechsler  ('cello)  and  Schneider 
(theory) ;  at  ,16  joined  a  small  Leipzig 
orch.;  was  "discovered"-  by  David, 
and  at  17  made  ist  'cello,  Gewand- 
haus  orch.  and  teacher  at  the  Cons.; 
1869  Dresden,  later  Cologne;  1902 
Philadelphia;  c.  concerto  for  'cello, 
orch.-and  chamber-music,  pf.-pcs.3 

-       -          —      -  — '  . O___A 


Drechsler  *('cello)  and  Schneider 
(theory);  played  in  the  Gewandhaus 
orch.,  Leipzig;  then  ist 'cello  Schwerin 
court-orch.;  1876  chamber  virtu- 
oso at  Weimar.  (3)  Friedricli, 
Meiningen,  July  20,  1866 — Cologne, 
July  25,  1919;  son  and  pupil  of  (2); 
ist  'cello  Sondershausen  court-orch., 
then  Pesth  (1890);  1892-94  prof,  at 
the  Cons.,  Pesth;  1894  in  the  Giirze- 
nich  Orch.  and  teacher  at  the  Cons., 
Cologne. 
Gaadagni  (goo-a-dSn'-yg).  Gaetano, 

Lodi,  17^5  (?)—i785  (97?);  ^e 
contralto  (later  a  soprano)  of  i8th 
cent.;  Gluck  wrote  "Telemaco">  for 
him. 

Guadagnini  (goo-a-dan-yg'-ne),  family 
of  vln.-makers  of  the  Cremona 
school,  (i)  Lorenzo  and  (2)  John 
Baptiste,  worked  1690-1740.  (3) 
J,  B,,  the  younger  (son  of  Lorenzo), 
also  made  excellent  violins. 

Guarducci  (goo-ar-doot'-chg),  Monte- 
fiascone,  ca.  1720  (?);  Italian  singer 
in  London,  1766—71. 

Guarneri  (goo-Sr-na'-rg)  (Latinized 
Guarne'rius),  family  of  famous  vln.- 
makers  at  Cremona,  (i)  Pietro  An- 
drea, b.  ca.  1626;  worked  1650-95; 
pupil  of  N.  Amati;  his  label  Andreas 
Guarnerius  Cremona  sub  titolo  San- 
ta Theresia  16 — .  (2)  Giuseppe, 
b.  1666;  son  of  above;  worked  1690- 
1730;  his  label  Joseph  Guarnerius 
ff&is  Andreas  fecit  Cremona  sub 
titolo  St.  Theresia  16— .  (3)  P.,  b. 
ca.  1670;  son  of  (i);  worked  1690- 
1700.  (4)  P.,  son  of  (2);  worked 
1725-40.  (5)  Giuseppe  Antonio 
(known  as  Guarneri  del  Gesu,  i.e.. 
<*the  Jesus,*  from  the  "I  H  S'^  on 
Ills  labels),  Oct.  16,  1687 — ca.  1745; 
the  best  of  the  family,  nephew  of 
(i);  his  label,  Joseph  Guarnerius 
Andrea  Nepos  Cremona  17— ,  I  H  S. 
(goo'-dfc-hoos),  iL,  Alten- 
Hanover,  March  30,  1845 — 
sn,  Oct.  9,  1909;  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;  re- 
appeared 1875;  1880-90  at  Dresden 
ct.-opera,  creating  l*Pamfal"  at 
Bayreuth,  1882;  in  New  York 
1890-91,  later  at  Berlin  c --opera. 

Gtt^nin  (ga-n2.n),  Marie  Alex.,  Mau- 
beuge  (Nord),  France,  1744 — Paris, 
1819;  violinist  and  composer. 

Guercia  (goo-ar-chS'-a),  Alphonso,  b. 
Naples,  Nov.  13,  1831 — June,  1890; 
pupil  of  Mercadante;  dram,  barytone 
for  a  time;  after  1859  vocal  teacher, 
Naples;  c.  succ.  opera  "Rita9* 


(Naples,  1875),  etc. 
Guirin   (ga-r&n),  Emmanuel, 

T/r>r/-k»    *r»* 


rf  b.  Ver- 
sailles/1 779;  'cellist. 

Guerrero  (gSr-ra'-ro),  Francisco,  Se- 
^dlla,  Spain,  1528 — 1599;  conductor, 
singer  and  composer. 

Gueymard  (g^'-mar),  Louis,  Chap- 
ponay  (Is&re),  France,  1822 — Cor- 
beil,  near  Paris,  1880;  tenor,  1848- 
68  at  the  Gr.  OpSra. 

GugHelmi  (gool-ySl'-mS),  (i)  Pietro 
cond.  to  Duke  of  Modena.  His  son 
(2)  P.,  Massa  di  Carrara,  Italy,  Dec. 
9,  1728 — Rome,  Nov.  19,  1804; 
conductor,  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  Paisiello  and 
Cimarosa;  1793  cond.  at  the  Vatican, 
composed  only  church-music.  (4) 
Pietro  Carlo  (called  Guglielmini), 
Naples,  ca.  1763 — Massa  di  Carrara, 
1827;  son  of  above;  dram,  compose^' 
teacher  and  conductor. 

Gtd  (goo-5')j  Vittorio,  b.  Rome,  Sept, 
14,  1885;  conductor,  composer;  pupil 
of  Santa  Cecilia  Liceo,  Rome,  with 
Setaccioli  and  Falchi;  d6but  at 
Teatro  Adriano  in  that  city,  1907; 
later  cond.  in  Parma,  Turin,  at 
Naples  San  Carlo  Op.,  Bergamo, 
La  Scala,  at  Augusteo  (Rome),  and 
at  Lisbon;  c.  (lyric  fable)  "Fata 
Malerba,"'  also  orch.  music,  can- 
tatas, song  cycles. 

Guicciardi  (goo-et-cMr'-dg),  Giulietta 
(or  Julie),  Countess  (or  GrSfin), 
Nov.  24,  1784 — March  22,  1855? 
pianist;  pupil  of  Beethoven  and  his 
enamoured  inamorata;  a  Viennese 
woman,  m.  Count  Gallenberg,  1803, 

GUI  de  Chalis  (g€  dtt  shal-es)  (Guido), 
end  of  the  i2th  cent.*  writer; 


DICTIONARY  OF  MUSICIANS 


187 


Guidetti  (goo-e-dSt'-te),  Giov.,  Bo- 
logna, 1530 — Rome,  1592;  pupil  and 
assistant  of  Pales  trina;  conductor 
and  composer. 


eminent  revolutionist  in  music;  a 
Benedictine  monk  at  Pomposo,  near 
Ferrara,  later  perhaps  at  Arezzo; 
some  investigators  identify  him  with 
a  Benedictine  monk  in  tie  Monas- 
tery of  St.  Maur  des  Fosses,  a 
Frenchman  who  went  to  Italy,  not 
an  Italian;  his  abilities  as  a  singing- 
teacher  and  musician  led  Pope  John 
XIX.  to  summon  him  to  Rome;  he 
was  later  probably  a  Prior  at  Avel- 
lano;  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  SOLMISA- 
XION,  D.  D.). 

Guido  de  Chilis.     Vide  GUI  DE  cnAus. 

Guignon  (gSn-y6n),  J.  P.,  Turin,  1702 
—  Versailles,  1774;  violinist  and 
composer. 

Guilbert,  Yvette  (gel-bar,  g-v£t'), 
Paris,  1867  —  Aix-la-Provence,  Feb. 
2,  1944;  d6but  as  actress,  1885,  as 
singer,  1890;  especially  noted  for  her 
dram,  gifts  and  as  singer  of  chansons; 
appeared  in  leading  Eur.  capitals, 
also  in  America  at  various  times 
after  1906;  estab.  school  for  dram. 
artists  with  branch  in  N.  Y. 

Guillemain  (gg'-yu-man),  Gabriel, 
Paris,  Nov.  15,  1705  —  (suicide)  Oct. 
i,  1770;  c.  violin  pieces. 

Guilmant  (gel-man),  (i)  Felix  Alex., 
Boulogne,  March  12,  1837  —  Meudon 
near  Paris,  March  29,  1911;  son 
and  pupil  of  the  org.  (2)  Jean  Bap- 
tiste  G.  (Boulogne,  1793  —  1800); 


later  pupil  of  Lemmens  and 
Carulli  (harm.);  at  12  substitute  for 
his  father  at  the  church  of  St.  Nico- 
las; at  1  6  organist  at  St.  Joseph;  at 
1  8  prod,  a  solemn  mass;  at  20  choirm. 
at  St.  Nicholas,  teacher  in  Boulogne 
Cons,  and  cond.  of  a  mus.  soc.;  1871 
organist  of  Ste.  Trinit6;  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- 
nite";  made  concert  tours  of  England, 
Italy,  Russia;  one  of  the  founders 
of  the  Schola  Cantorum;  after  1906 
prof,  of  org.,  Paris  Cons.;  c.  "lyric 


scene"  "Belsazar"  for  soli,  chorus 
and  orch.;  "Christus  Vincit,"  hymn 
for  chorus,  orch.,  harps  and  org.; 
org.  sonatas,  symphonies  for  organ 
and  orch.,  etc.,  wrote  treatise  on 
instrumentation;  ed.  collection  of 
Gregorian  music. 

Guiraud  (gS-ro),  (i)  Ernest,  New 
Orleans,  June  23,  1837 — Paris,  May 
6,  1892;  son  of  (2)  Jean  Baptiste 
G.  (Prix  de  Rome,  Paris  Cons.,  1827), 
at  12  in  Paris;  at  15  prod,  opera 
"Le  roi  David"  at  New  Orleans; 
studied  Paris  Cons.,  and  took  Grand 
Prix  de  Rome;  later  prof,  of  Paris 
Cons,  and  dram,  composer. 

Gulbranson  (goor-brS,n-z6n),  Ellen, 
b.  Stockholm,  March  3, 1863;  notable 
soprano;  studied  with  Marchesi,  sang 
in  concert;  1889  entered  opera,  sing- 
ing "Briinnhilde,"  1899  "Kundry"  at 
Bayreuth  and  other  rdles  in  other 
cities;  lived  on  her  estate  near 
Chris tiania;  d.  Nov.,  1948. 

Gumbert  (goom'-b&rt),  Fd.,  Berlin, 
1818 — 1896;  tenor  and  barytone; 
also  critic  and  dram,  composer. 

Gumpeltzhaimer  (goom'-pSlts-hl-me'r), 
Adam,  Trostberg,  Bavaria,  1559 — 
Augsburg,  1625;  composer  and  theo- 
rist. 

Gumpert  (goom'-pSrt),  Fr.  Ad., 
Lichtenau,  Thuringia,  April  27, 
1841 — Leipzig,  Dec.  31,  1906;  pupil 
of  Hammann;  from  1864  ist  horn 
Gewandhaus  Orch.,  Leipzig;  writer 
and  composer. 

Gumprecht  (goom'-prSkht),  Otto,  b. 
Erfurt,  April  4,  1823 — Merano,  1900; 
Dr.  jur.;  1849  critic  and  writer. 

Gungl  (or  Giing'l)  (goong'-l),  (i)  Jo- 
seph, Zs£mb6k,  Hungary,  Dec.  i, 
1810 — Weimar,  Jan.  31,  1889;  oboist, 
bandmaster  and  composer  of  pop. 
dance-music.  (2)  Virginia,  daughter 
of  above;  opera-singer;  d6but  ct.- 
opera,  Berlin,  1871;  later  at  Frank- 
fort. (3)  Jn.,  Zs£mb£k,  1828 — Pecs, 
Hungary,  1883;  nephew  of  (i);  com- 
poser. 

Gttnn,  (i)  Barnaby,  1730-53,  organist* 
(2)  John,  Edinburgh  (?),  1765  (?) — 
ca.  1824;  Chelsea  Hospital,  1730-53; 
?cello-teacher  and  writer.  (3)  Glenn. 
Dillard,  b.  Topeka,  Kans.,  Oct.  2, 
1874;  pianist,  educator;  studied  in 
Leipzig  with  Reinecke,  Teichmilller, 
Schreck;  d6but  as  pianist,  1896; 
toured  Germany;  taught  Amer. 
Cons.,  Chicago,  1900-01;  Chicago 
Mus.  Coll.  from  latter  year  to  1906; 


188 


DICTIONARY  OF  MUSICIANS 


founded  his  own  school  of  music, 
1906;  mus.  ed,,  Chicago  Herald 
Examiner;  has  appeared  as  soloist 
with  leading  orchs. 

Gunther  (giin'-ter),  (i)  Hermann, 
Leipzig,  1834-71;  a  physician;  c. 
opera  under  name  "F.  Hesther." 
(2)  Otto,  Leipzig*  1822 — 1897;  bro. 
of  above;  dir.  (3)  Giinther-Bach- 
mflifm,  Karoline,  fifasseldorf,  1816 — 
Leipzig,  18*4;  singer. 

Gtmz  (goonts),  G.s  Gaunersdorf,  Lower 
Austria,  1831 — Frankfort,  1894; 
tenor. 

Gura  (goo'-ra),  (i)  Eugen,  Pressern, 
n.  Saatz,  Bohemia,  Nov.  8,  1842 — 
Aufkirchen,  Aug.  26, 1906;  barytone; 
pupil  of  Polytechnic  and  the  Akade- 
mie,  Vienna;  then  Munich  Cons., 
d£but  1865,  Munich;  1867-70  Bres- 
lau;  1870-76  Leipzig  with  great 
succ.;  1876-83  Hamburg,  Munich, 
1883-95.  His  son  (2)  Hermann 
(b.  Breslau,  April  5,  1870)  barytone, 
operatic  stage  director  and  after 
1927  a  singing  teacher  in  Berlin. 

Gurlitf  (goor'-Ht),  Cornelius,  Altona, 
near  Hamburg,  Feb.  10,  1820— 
Berlin,  1901;  pupil  of  the  elder  Rei- 
necke  and  Weyse;  army  mus.  dir.  in 
the  Schleswig-Holstein  campaign; 
prof.  Hamburg  Cons.;  1874  Royal 
Mus.  Dir.;  c.  3  operas,  incl.  "Die 
romische  Mauer"  (Altona,  1860),  etc. 

Gtelich  (gur'-Hkh),  Jos.  Augustin, 
Munsterberg,  Silesia,  1761 — Berlin, 
1817;  organist,  bass,  court-conductor 
and  dram,  composer. 

GosOtow  (goo'-zl-kdf),  Michael  Jos., 
Sklow,  in  Poland,  Sept.  1806 — Aix-la- 
Chapelle,  Oct.,  1837;  remarkable 
virtuoso  on  the  xylophone. 

Gutheil-Schoder  (goot  /-hll-sh5'-de*r) , 
Marie,  Weimar,  Feb.  10,  1874 — 
Ilmenau,  Oct.  4,  1935;  mezzo- 
soprano;  pupil  of  Virginia  Gungl, 
and  Weimar  Music  School;  1891-' 
1900  at  Weimar  court  opera;  later 
at  Vienna  opera;  m.  Gustav  Gutheil, 
conductor  at  Vienna  Volksoper. 

Syrowetz  (g6'-r5-v6ts),  Adalbert,  Bud- 
weis,  Bohemia,  Feb.  19,  1763 — 
Vienna,  March  19,  1850;  son  and 
pupil  of  a  choirm.;  c.  symphonies, 
operettas,  etc.;  court-conductor. 


(hak),    Karl,    Potsdam,    Feb. 
1751 — Sept.   28,   1819;  violinist 
aa<f  teacher;    court    cond.    to    Fr* 


Wilhelm  II.   at  Potsdam;  c.  violin 
pieces. 

Haas  (Mz),  Jos.,  b.  Maihingen, 
Bavaria,  Mar.  19,  1879;  composer; 
pupil  of  Reger;  1911,  taught  Stutt- 
gart Cons.;  1921,  Manich  Akad.; 
c.  oratorios,  orch.  and  chamber 
works,  songs,  based  on  German  folk- 

HalL^Ca'-ba),  (i)  Alois,  b.  Wisowitz, 
Moravia,  June  21,  1893;  comp.  esp. 
known  for  his  researches  and  works  in 
style  of  quarter- tone  music;  pupil  of 
Vienna  and  Prague  Cons.,  won 
Mendelssohn  Prize,  1921;  taught  at 
Berlin  Hochsch.,  1921-23;  c.  of  much 
chamber  music  in  which  he  has 
used  a  quarter-tone  scale,  and  in 
later  works  a  sixth-tone  system;  has 
given  concerts  on  specially  con- 
structed quarter-tone  piano;  author 
of  "The  Theory  of  Quarter-tones,'* 
"Treatise  on  the  Foundations  of  Tonal 
Differentiation"*  (2)  Karel,  his  bro., 
has  also  c.  music  in  the  same  style, 

Habeneck  (ab'-S-nSk).  Francois  Ant, 
M6zi&res  (Ardennes),  France,  June 
i  (Jan.  25  ?),  1781 — Paris,  Feb. 
8,  1849;  son  and  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'-bSr-ber),  Ernst,  K6- 
nigsberg,  Oct.  5,  1813 — Bergen, 
Norway,  March  12,  1869;  son  and 
pupil  of  an  organist;  court-pianist 
at  St.  Petersburg;  later  toured  with 
great  success;  composer. 

Haberl  (ha/-bSrl),  Fz.  X.,  Oberel- 
lenbach,  Lower  Bavaria,  April  12, 
1840 — Ratisbon,  Sept.  7,  1910;  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  Pales- 
trina's  works,  etc.;  1889,  Dr.  TheoL 
h.  <?.,  Univ.  of  Wurzburg. 

Habermann  (ha'-bSr-mSn),  Fz.  Jn., 
KSnigswarth,  Bohemia,  1706 — Eger, 
1783;  conductor,  teacher  and  com- 
poser. 

Habert  (ha'-bSrt),  Jns.  Evangelista, 
Oberplan,  Bohemia,  1833 — Gmun- 
den,  1896;  editor  and  collector. 

Hack'ett,  (i)  Chas.,  Worcester,  Mass., 
1889 — Jan.  i,  1942;  tenor;  pupil 
Arthur  Hubbard  and  Lombardi; 
opera  d6but  in  Mignon,  Genoa,  1916; 
sang  at  Milan,  Rome,  London,  Paris, 


DICTIONARY  OF  MUSICIANS 


Madrid,  and  in  South  America; 
d6but  Met.  Op.  as  "Alma viva,"  1919, 
sang  with  co.  for  3  years,  and  again 
after  1935;  was  regular  mem.  of 
Chicago  Op.  from  1923  lor  more 
than  a  decade;  also  heard  with 
Ravinia  and  Los  Angeles  Op.  and 
in  concert.  (2)  Arthur,  b.  Portland. 
Me.,  tenor;  bro.  of  Charles  EL; 
studied  vln.  in  youth,  also  voice 
with  Hubbard;  appeared  at  Paris 
Op.,  recital  tours  in  U.  S.  and  Great 
Britain,  well  known  as  oratorio 
soloist;  prof,  of  voice.  Univ.  of 
Mich.  (3)  Karleton,  Brook.Hne, 
Mass.,  Oct.  8,  1867 — Chicago,  pet. 
7>  1935;  nms.  critic,  teacher  of  sing- 
ing; grad.  Harvard  Univ.,  1891; 
vice-pres.  and  head  of  vocal  dept., 
Amer.  Cons.,  Chicago;  was  cntic 
of  the  Chicago  Evening  Post  for 
a  number  of  years;  for  a  brief  time 
before  his  death  he  had  been  pres. 
of  the  Chicago  City  Op.  Co. 

Hackh  (hak),  Otto  (Chp.),  Stuttgart, 
Sept.  30,  1852 — Brooklyn,  N.  Y.. 
1917;  pupil  of  Stuttgart  Cons,  and 
of  A.  de  Kontski  (pf.),  at  New  York; 
1873-75  teacher  at  the  Cons.;  1877- 
78  toured;  1878  teacher  in  London; 
in  1880^-89  Ger.  Cons.,  New  York; 
later  private  teacher  and  composer. 

Eadley,  Henry  Kimbsil,  b.  Somerville, 
Mass.,  Dec.  20,  1871 — New  York, 
Sept.  6,  1937;  showed  early  musical 
precocity;  studied  with  Heindl, 
Emery  and  Chad  wick;  in  1893  toured 
with  the  Mapleson  Opera  Co.  as 
violinist  in  its  orch.;  the  next  year 
went  to  Vienna  for  study  under 
Mandyczewski;  returned  to  U.  S. 
and  taught  music  (1896)  at  St. 
Paul's  Episcopal  School  for  Boys, 
Garden  City,  L.  L;  made  d6but  as 
cond.  in  concert  at  Waldorf-Astoria, 
N.  Y.,  1900;  again  toured  Europe, 
1904—10,  having  further  study  with 
Thuille  in  Munich  and  acting  as 
guest  cond.  of  orchs.  in  Warsaw  and 
Mainz;  in  the  latter  city  his  opera 
"Safie">  was  prod.,  1909  (he  had 
already  had  a  symph.,  "  Youth  and 
Life,"  perf.  by  Seidl  in  1897).  On 
his  return  from  Europe,  he  became 
cond.  of  the  Seattle  Symph.  Orch.s 
1909-11;  and  of  the  San  Francisco 
Symph.  Orch.,  1911-15.  He  also 
appeared  as  guest  leader  in  Europe, 
America  and  Japan.  In  later  years 
he  had  been  assoc.  cond.  of  the  N.  Y, 
Philh.  Orch.,  beginning  1920;  cond. 


Manhattan  Symph.  in  N.  Y.,  X93i- 
32;  and  of  the  Berkshire  Fest., 
1934-35.  Among  the  very  large 
number  of  his  comps.,  the  following 
are  outstanding:  (operas)  "Azora" 
(Chicago,  1917);  "Bianca"  (one-act 
work  winning  award  of  Amer.  Soc. 
of  Singers,  1918,  and  perf.  N.  Y.); 
"Cleopatra's  Night"  (Met.  Op.  Co.. 
1920);  also  4  symph.,  the  2nd  of 
which,  subtitled  "The  Four  Seasons" 
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  "Hector  amd 
Andromache"-  (Boston,  1901);  "In 
Bohemia"  (1903),  "Herod,"  symph. 
fantasie  "Salome"  (Boston  Symph., 

1907,  Monte   Carlo,  1907;  Warsaw, 

1908,  Cassel,     1908);    lyric    drama 
"Mwlin  and  Vivien,"'  piano  quintet, 
•(1907),   etc.  poetic  rhapsody,   "The 
Culprit  Fay"<  (N.  Y.,  1912);  a  music 
drama,    "The    Atonement    of   Pan9* 
(San     Francisco,     1912);     cantatas, 
"In  Music's  Praise"  (winning  Dit- 
son    Prize,    1899);    "A     Legend    of 
Granada,"  "The  Nightingale  and  the 
Rose,"  "The  Fate  of  Princess  Kiyo,"> 
"The  Golden    Prince"'   for    women's 
voices;   "Mirtil  in  Arcadia,"  large- 
scale   choral    work;    also    lie   lyric 
drama,  "Ode  to  Music,"'  for  soloists, 
chorus  and  orch.,  a  setting  of  a  poem 
by    Henry    Van    Dyke    (Worcester, 
Mass.,   Fest.,   1917);   7   Ballads  for 
chorus  and  orch.;  tone-poem,  ** Luci- 
fer"' (Norfolk  Fest.,  1915);  Concer- 
tino for  piano  and  orch.;   3   ballet 
suites  for  orch. ;  the  descriptive  suite, 
"Streets  of  Pekin";  and  a  quantity  of 
chamber  music,  incl.  string  quartet; 
vln.    sonatas,    and    more    than    i$c 
songs;  m.  Inez  Barbour,  soprano. 

Had'ow,  Sir  William  Henry,  b.  Ehring- 
ton  (Gloucester),  England,  Dec.  27, 
1859 — London,  April  9,  1937;  writer; 
grad.  Oxford  Univ.,  in  1885,  a  fellow, 
and  1888-1909,  dean  of  Worcester 
Coll.  at  that  Univ.;  after  1909 
principal  of  Armstrong  Coll.,  New- 
castle-on-Tyne;  he  was  knighted  in 
1918;  1919-30,  vice-Chancellor  of 
Sheffield  Univ.;  Mus.  D.,  Oxford 
and  Durham  Univs.;  author  of 
"William  Byrd,"  "Studies  in  Mod- 
ern Music,"  2  series;  "Sonata  Form"i 
"A  Croatian  Composer"  a  study  of 


190 


DICTIONARY  OF  MUSICIANS 


Haydn;     "The      Viennese     Period" 
comprising    Vol.    V   of   the    Oxford 

TTC.-.4.      *C    ~\JF~~~i^      *£   V^/U^A!*    I%A    «**.n«    4-1+ **. 


Hadria'nus.  Vide  ADRIANSZN. 
HSfEner  (hgf'-ner),  Jn.  Chr.  Fr.,  Ober- 
schonau,  near  Suhl,  1759 — Upsala, 
Sweden,  1833;  organist,  court-con- 
ductor, dram,  composer  and  collec- 
tor. 

Hageman   (ha'-gS-man),    (i)    Maurits 
Leonard,  Zutphen,  Sept.  23,  1829 — 
Dutch  East  Indies,   1900;   violinist 
and  pianist;  pupil  of  Brussels  Cons.; 
1865-75   dir.    Cons.,   Batavia;    1875 
founder  and  dir,  of  a  Cons.,  Leeu- 
warden;  c.  oratorio   "Daniel,"   etc. 
(2)  Richard,  b.  Leeuwarden,  Holland; 
composer,    conductor;    son    of    (i); 
studied    with    his    father,    and    at 
Brussels     under     De     Greef     and 
Gevaert;  asst.  cond.  Amsterdam  Op., 
at  16;  came  to  U.  S.  in  1906  as 
accompanist    for    Yvette    Guilbert; 
asst.  cond.  Met.  Op.,  N.  Y,,  1908-21; 
has    also    cond.    at    Chicago    Op., 
Ravinia  and  Los  Angeles  Op.;  and 
has  appeared  with  Amer.  orch.;  c. 
opera     "Caponsacchi"     (based     on 
Browning's   "Ring  and  the   Book,"* 
libretto      by      Arthur      Goodrich), 
premiere,  Freiburg,  Germany,  1931; 
later  at  Vienna,  and  was  prod,  by 
Met.  Op.  Co.,  in  English,  1936-37; 
he  again  cond.  with  latter  co.  in 
1936 j  known  also   as   composer  of 
many  songs. 

Hagen  (ha'-ggn),  (i)  Fr.  H.  von  der* 
Schmiedeberg,  Ukraine,  1780 — Ber- 
lin, 1856;  prof,  and  writer.  (2) 
In.  Bapt.,  Mayence,  1818 — Wies- 
baden, 1870;  conductor  and  com- 
poser. (3)  Ad.,  Bremen,  Sept.  4, 
1851 — Dresden,  June  6,  1926;  son 
of  above;  violinist;  1879-82  cond. 
Hamburg  Th.;  1883,  court  cond. 
Dresden,  and  1884  manager  of  the 
Cons.;  c.  comic  opera  "Zwei  Kom- 
temstenp  Hamburg,  1882,  etc.  (4) 
Theodor,  Hamburg,  1823 — New 
York,  1871;  teacher,  critic  and 
composer. 

Hafca  (hSn),  (i)  Albert,  Thorn,  West 
Prussia,  1828— Lindenau,  near  ieip- 
zig,  x88o;  teacher.  (2)  Reynaldo, 
&.  Carats,  Venezuela,  Aug.  9,  1874; 
™-l  of  Massenet,  Paris  Conl.;  lived 
^r^-  c.  3-act  "idylle  polv- 
"Ulle  du  Rtoe"  (#aris, 
,  1898);  opera,  "La  Carme- 


lite,"  was  prod,  at  the  Opera 
Comique,  Paris,  IQO.Z;  incidental 
music  to  C.  Mend eV-  "Scarronf* 
Racine's  "Esther,"  and  V.  Hugo's 

ft      A  -i       *»        f       H        «  \  .         *  1^ 


"  (1912);  "Nausicaa"  (Monte 
Carlo,  1919;  Paris  Op.,  1923);  music 
for  Guitfy's  comedy  "Mozart" 


Mixr&       j-T-ifirmynutnify          etc.,      suiigs      Ot 

remarkable  beauty  and  originalityj 
etc.;  d.  Paris,  Jan.  27,  1947. 
Hahnel  (hs'-nel).     Vide  CALLUS,  j. 
Haines,   Napoleon   J.,    London,    1824 
— New     York,     1900;     founder     of 
Haines  Bros:  Piano  Mfrs.,  N.  Y. 
Hainl  (^nl),  Georges  Francois,  Issoire, 
Puy-de-D6me,     1807 — Paris,     1873; 
'cellist  i  conductor,  writer  and  com* 
poser. 

Haizinger  (hl'-tsIng-Sr),  Anton,  Wil- 
fersdorf,  Lichtenstein,  1796 — Vienna, 
1869;  tenor. 

Hale  (i),  Philip,  Norwich,  Vt.,  March 
5,    1854 — Boston,    Nov.    30,    1934: 
notable  American  critic  and  essayist; 
as  a  boy,  organist  Unit.  Ch.,  North- 
ampton,   Mass.;    1876    grad.    Yale 
Univ.;  1880  admitted  to  the  Albany 
bar;  pupil  of  D.  Buck,  1876;  1882-87 
studied  organ  and  comp.  with  Haupt. 
Faiszt,  Rheinberger  and   Guilmant, 
Urban,    Bargiel,    Raif    and   Scholzj 
1879-82  organist  St.  Peter's,  Albany; 
1887-89  St.  John's,  Troy;   1889  of 
First  Religious  Soc.,  Roxbury,  Mass.; 
1887-89  also  cond.  of  Schubert  Club 
at   Albany;    1889-91    critic    succes- 
sively of  the  Boston  Home  Journal, 
Post;     1891,     Journal;     1897—1901 
edited     Mus.     Record;     1901,     ed. 
Musical    World;    lecturer    on    mus. 
subjects;     critic,     Boston      Herald. 
1903-34;    wrote    series    of    notable 
programme  annotations  for  Boston 
Syniph.  (after  1901),  extending  over 
3  decades;  Mus.  B.,  Dartmouth  Coll. 
Hale  (or  Halle).    Vide  ADAM  DE  LA 

HALE. 

Ha^vy  (&-13-V5),  Jac.  Franc.  Fro- 
mental  Eke,  Paris,  May  27,  1799— 
of  consumption,  Nice,  March  17, 
1862;  of  Jewish  parentage;  pupil  of 
Oizot,  Lambert  (pf.),  and  Berton 
(harm.),  Cherubini  (cpt.);  Paris 
Cons,  winning  2nd  harmony  prize; 
1816  and  1817,  2nd  Prix  de  KomeJ 
1819  won  Prix  de  Rome;  1827  prof* 


DICTIONARY  OF  MUSICIANS 


191 


of  harmony  and  accomp.  at  the 
Cons.;  1833  prof,  of  cpt.  and  fugue; 
1829  prod.  2  succ.  operas;  1830  succ. 
ballet  "Manon  Lescaut";  1830—46 
chef  de  chant  at  the  Opera;  1832  he 
completed  HerokTs  "Liidowc"  with 
succ.;  1835  he  wrote  and  prod.  2 
great  successes,  his  masterpiece  "La 
Juive"  (Gr.  Ope*ra)  and  a  comic 
opera  "L'Edair";  Chevalier  of  the 
Legion  of  Honour;  1836  member  of 
the  Academic;  1854,  secretary  for 
life.  In  1836  Meyerbeer  appeared, 
and  in  efforts  to  rival  his  prestige  H. 
wrote  too  much  with  inferior  libret- 
tos, among  his  works  being  (1841) 
"La  Reine  de  Chypre."  He  col- 
laborated with  Adam,  Auber  and 
Carafe  in  4  operas;  he  left  2  un- 
finished operas,  "Vanina  d'Ornano"1 
(completed  by  Bizet)  and  "Le 
D&luge"  Biog.  by  his  brother  L£on 
(1862),  etc. 

Hsiff'ter,  Ernesto,  b.  Madrid,  Jan. 
1 6,  1905;  composer;  studied  with 
Espla,  Salazar  and  de  Falla;  cond. 
chamber  orch.  in  Seville,  1924;  c. 
Sinfonietta,  "Deux  Esquisses"  and 
other  works  for  orch.,  string  quartets, 
piano  music;  won  National  State 
Prize,  1924-25;  one  of  the  most 
promising  younger  Spanish  comps., 
whose  style  shows  influences  of  Ravel 
and  Stravinsky. 

Halir  (ha'-ler),  (i)  Karl,  Hohenelbe 
Bohemia,  Feb.  i,  1859 — Berlin, 
Dec.  21,  1909;  violinist;  pupil  of 
Bennewitz,  Prague  Cons.  and 
Joachim  in  Berlin;  1884  leader  of 
the  ct.-orch.,  Weimar;  1896  toured 
the  U.  S. 

Hall,  (i)  Henry,  Windsor,  ca.  1655 — 
1707;  organist  and  composer.  (2) 
Henry,  Jr.,  d.  1763;  son  of  above; 
organist  and  composer.  (3)  Win., 
1 7th  cent,  violinist  and  composer. 
(4)  Marie  (Mary  Paulina),  b.  New- 
castle-on-Tyne,  April  8,  1884;  violin- 
ist; 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  Sevcik;  toured 
widely.  (5)  Walter  Henry,  London, 
April  25,  1862— New  York,  Dec.  n, 
1935;  choral  cond.;  pupil  of  R.  Coll. 
of  Mus.;  came  to  America,  .1883; 
org.  in  various  churches;  1893, 
founded  Brooklyn  Oratorio  Soc., 
after  1901  taught  at  Columbia  Univ., 
and,  beginning  1913,  was  prof,  of 


church  music  and  leader  of  Univ 
Chorus  there. 

Halle  (al).     Vide  ADAM  DE  LA  H. 

Halle  (fil-lfi),  Sir  Charles  (rightly  Karl 
Halle),  Hagen,  Westphalia,  April  n, 
1819 — Manchester,  Oct.  25,  1895, 
pianist  and  conductor,  Paris,  1836- 
48;  later  pop.  cond.  at  Manchestei 
and  dir.  of  "Gentlemen's  Concerts" 
there;  also  closely  connected  with 
London  Popular  Concerts;  1888  m. 
Mme.  Neruda  (q.v.) ;  after  his  death 
appeared  his  autobiography,  "Life 
and  Letters"  (1896). 

Hallen  (hal'-lSn),  Anders,  Goten- 
burg,  Dec.  22,  1846 — Stockholm, 
March  n,  1925;  pupil  of  Reinecke, 
Rheinberger,  and  Rietz:  cond.  of  the 
Mus.  Union,  Gotenburg;  1892-97 
cond.  Royal  Opera,  Stockholm: 
1902-07,  cond.  in  Malmo;  after  1907, 
taught  comp.,  Stockholm  Cons.; 
c.  3  operas,  "Herald  der  Viking" 
(Leipzig,  1881;  Stockholm,  1883). 
v.  succ.  "Hexf alien"  ("Der  Hexen- 
fang")  (Stockholm,  1896);  "W aide- 
mar"  (Stockholm,  1899);  2  Swedish 
Rhapsodies;  ballad  cycles  with  orch.* 
symphonic  poem  "Ein  Sommerm&r- 
chew';  romance  for  vln.  with  orch.; 
German  and  Swedish  songs,  etc. 

Haller  (hai'-ler),  Michael,  Neusaat 
(Upper  Palatinate),  Jan.  13,  1840 — 
Regensburg,  Jan.  4,  1915;  1864  took 
orders;  studied  with  Schrems;  1866 
cond.  "  Realinstitut" ;  teacher  of 
vocal  comp.  and  cpt.  at  the  Sch.  of 
Church- music;  writer  and  composer; 
completed  the  lost  3rd-choir  parts 
of  six  i2-part  comps.  of  Palestrina's. 

Hallstrb'm  (hal'-str&m),  Ivar,  Stock- 
holm, June  5,  1826 — April  10,  1901; 
dram,  composer;  librarian  to  the 
Crown  Prince,  later  King  of  Sweden; 
1 86 1  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, 
Styria,  1789 — Vienna,  1872;  pianist 
and  composer. 

Halvor'sen,  Johan,  Drammen,  Nor- 
way, March  15,  1804 — Oslo,  Dec.  4, 
1935;  composer,  conductor;  pupil  of 
Stockholm  Cons,  also  of  Brodsky 
in  Leipzig;  toured  as  vln.  virtuoso; 
taught  Helsingfors  Cons.;  studied 
with  Albert  Becker  and  C6sar 
Thomson;  after  1899  cond.  at  the 
Nat'l.  Theat.,  Christiania,  where  he 


192 


DICTIONARY  OF  MUSICIANS 


also  led  symph.  concerts  •  c.  2 
symphs.,  and  much  other  orch., 
chamber  and  vln.  music,  incidental 
scores  for  plays,  etc.;  best  known 
for  his  "March  of  the  Boyars"  and 
his  air.  of  a  Handel  Passacaglia. 
Hambourg  (ham'-boorg),  (i)  Mark,  b. 
Gogutschar- Woronesch,  Russia,  May 
31,  1879;  notable  piano-virtuoso; 
Ttudied  with  his  father  (a  teacher  in 
'xmdon),  and  with  Leschetizky; 
.oured  widely  with  brilliant  success; 
1900,  America;  lived  in  London. 

(2)  Boris,  b.  Woronesch,  S.  Russia, 
Dec.  27,  1884;  'cellist;  studied  with 
Walenn,  Hugo  Becker  and  at  Hoch 
Cons.,  Frankfort;  d6but  in  Pyrmont, 
I9°3>    toured    Australia,     Belgium, 
Great  Britain,  U.  S.  (lived  in  Pitts- 
burgh, 1910);  with  father  and  bro. 
opened  a  school  in  Toronto,   1911. 

(3)  Jan,  bro.  of  Mark  and  Boris,  b. 
at  Woronesch,  Aug.  27,  1882;  violin- 
ist; studied  with  Wilhelmj,  Sauret, 
Heermann,  Seycik  and  Ysaye;  d6but, 
1905,   in   Berlin;   toured   widely  in 
concerts. 

Ham/boys.     Vide  HANBOYS. 
Hamel  (a-mel),  M.  P.,  Auneuil  (Oise), 
France,  1786— Beauvais,  after  1870; 
amateur    expert    in    organ-building; 
writer. 

Ham'erik,  Asger,  Copenhagen,  April  8, 
1843 — July  13,  1923;  pupil  of  Gade, 
Matthison-Hansen  and  Haberbier; 
1862  of  von  Bulow;  c.  two  operas; 
1870  at  Milan  prod,  an  Ital.  opera 
"La  Vendetta";  1871-^98,  din  of  the 
Cons,  of  the  Peabody  Institute  and 
of  the  Peabody  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  "ChristUche 
Trilo&e"  (a  pendant  to  a  "Trilogie 
judaique'\  brought  out  in  Paris);  7 
symphonies,  etc. 

Ham'ifton,  (i)  Jas.  Alex.,  London,  1785 
-—1845;  writer.  (2)  Clarence  Grant, 
b.  Providence,  R.  L,  June  9,  1865; 
pianist,  educator;  grad.  Brown 
Univ.;  pupil  of  Dannreuther  and 
Matthay;  after  1904  prof,  at  Welles- 
ley  Coll.;  author  and  ed.  of  books  on 
mus,  hist,  and  pedagogy. 

^SSM0  *&"?* John>  E3gin> m-> 

i&68 — New  York,  1923;  tenor;  sang 
in  concert  after  1895,  and  from  1911 
a  mem.  of  Chicago  Op.  with  notable 


succ.  as  recitalist  and  as  soloist  at 
fests.  (2)  Anna,  b.  Chicago,  Sept. 
10,  1902;  daughter  of  preceding; 
soprano;  d6but,  Albenga,  Italy, 
1926;  sang  with  Chicago  Op.,  also 
in  concerts. 

Ham'nrerich,      Angul,      Copenhagen, 
Nov.     25,    1848 — April    26,     1931; 
'cellist;     pupil     of     Rtldinger     and 
Neruda;     1896     prof,     of     musical 
science      Copenhagen      University; 
brother  of  Asger  Hamerik  (q.v.) 
Hammerschmidt       (hSm'-m£r-shmrt), 
Ands.,    Briix,    Bohemia,    1611 — Zit- 
tau,  Oct,   29,   1675;  organist,   1639, 
at  Zittau;  c.  important  and  original 
concertos,  motets,  madrigals,  etc. 
Ham'merstein,  (i)  Oscar,  Berlin,  1847 
— New  York,  Aug.  i,  19 19,  impresario; 
came  to  America  at  16;  made  a  fortune 
by  the  invention  of  a  cigar-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   Opera 
House;  where  he  gave  opposition  to 
the  Metropolitan,  1906—08;  built  also 
an  opera  house  in  Philadelphia;  sold 
out  his  interests  to  the  Metropolitan 
Co.,  and  built  opera  house  in  Lon- 
don; opened,  1911,  but  it  was  a  com- 
plete   fiasco    and    closed    after    one 
season;  he  then  built  the  Lexington 
Op.  House  in  N.  Y.  and  planned  to 
open   opera  season   there,   but   the 
Met.  prevented  it  by  legal  measures; 
he  died  while  in  the  midst  of  other 
plans.     His  son  (2)  Arthur,  a  leading 
producer  of  operettas  and  musical 
sihows  in  N.  Y. 

Hammond,  (i)  Richard,  b.  Kent,  Eng- 
land, Aug.  26,  1896;  composer;  grad. 
Yale    Univ.    where    studied    music, 
also  ^  with    Mortimer    Wilson    and 
Nadia   Boulanger;    mem.    board   of 
dir.    League  of  Comps.,   N.  Y.;  c. 
(ballet)  "Fiesta,"  also  chamber  and 
orch.    works,    piano    pieces,    songs. 
(2)   John  Hays,   Jr.,   his   bro.,   in- 
vented novel  contrivance  known  as 
"sustaining  pedal"  for  piano,  which 
makes    tones    on    that    instrument 
capable  of  being  held  or  released  at 
the  player's  will;  this  was  demon- 
strated in  concerts  under  the  sponsor- 
ship of  Stokowski  and  Phila.  Orch. 
and    promised    to     make    possible 
technical  innovations  in  conm.     CO 
William     Churchill,     b.     RockviUe, 
Conn*'*  Nov.     25,     1860;    organist, 
pupil  of  Allen  and  S.  P.  Warren;  gave 


DICTIONARY  OF  MUSICIANS 


193 


notable  series  of  more  than  1,000 
recitals  at  Holyoke,  Mass.;  1890, 
teacher  of  org.,  Smith  Coll.,  North- 
ampton, Mass.;  after  1900  head  of 
mus.  dept.,  Mount  Holyoke  Coll. 

HanT>oys  (or  Hamboys),  John,  Eng- 
lish theorist  ca.  1470. 

Hand  (hant),  F.  G.,  b.  Plauen,  Saxony, 
1786 — Jena,  1851;  writer. 

Handel  for  Handel,  Handl).  (i)  Vide 
GAIXUS.  (2)  Vide  HANDEL. 

Htodel  (hgnt'-l)  (Hendel,  Hendeler, 
Handeler  or  Hendtler),  Georg 
Friedrich  (at  first  spelt  Hendel  in 
England;  later  he  anglicised  it  to 
George  Frederic  Handel  (h&n'- 
del,  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, 
organist  of  Halle,  taught  him  cpt., 
canon  and  fugue,  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 
every  Sunday.  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  molino  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  "Florindo  und  Daphne"  (1708), 
an  opera  filling  two  evenings.  In 
1706,  with  200  ducats  earned  by 
teaching,  he  went  to  Ttaly  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, 
"Act,  Galatea  e  Polifemo,"  in  which 
is  a  bass  solo  with  a  compass  of  2  oc- 
taves and  a  fifth.  1709,  in  Germany 
as  cond.  to  the  Elector  of  Hanover; 
1710  visited  England  on  leave  of  ab- 
sence. In  2  weeks  he  c.  the  opera 
"Rinaldo,"  a  pasticcio  of  his  older 
songs.  It  was  prod,  at  the  Hay- 
market  Th.  with  great  succ.;  1712  he 
returned  to  London  on  leave;  but 
stayed.  His  first  two  operas  were 
not  succ.;  but  an  ode  for  the  Queen's 
birthday,  and  a  Te  Deum  and  Jubi- 
late in  celebration  of  the  Peace  of 
Utrecht  won  him  royal  favour  and 
an  annuity  of  £200;  1714  his  Han- 
over patron  became  George  I.  of 
England,  and  he  was  for  a  time  out 
of  that  monarch's  good  graces,  but 
had  already  been  restored  when,  at 
the  request  of  Baron  Kilmanseck, 
he  produced  the  delightful  25  pieces 
called  the  "Water-Music,"  at  a  royal 
aquatic  f&te.  1716-18  he  went  to 
Hanover  with  the  King.  He  there 
c.  his  only  German  oratorio,  the 
"Passion";  1718  cond.  to  the  Duke 
of  Chandos  and  c.  the  English  ora- 
torio "Esther,"  the  secular  oratorio 
"Ads  and  Galatea"  and  the  Chandos 
Te  Deums  and  Anthems.  He  taught 
the  Prince  of  Wales'  daughters,  and 
c.  for  Princess  Anne  "Suites  de 
Pieces"  for  harpsichord  (The  Les- 
sons) including  "The  Harmonious 
Blacksmith." 

He  was  dir.  of  new  R.  A.  of  M. 
1720  prod,  the  succ.  opera  "Rada- 
misto"  (prod.  1721  in  Hamburg  as 
"Zenolia").  Now  Bononcini  and 
Ariosti  appeared  as  rivals  and  a  fa- 
mous and  lasting  feud  arose  around 
the  three  after  they  had  prod,  one 
opera,  "Muzio  Scaevola"  in  which 
each  wrote  an  act.  B.  had  rather 
the  better  of  it,  when  he  was  caught 
in  a  plagiarism  (a  crime  not  un- 
known 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 


194 


DICTIONARY  OF  MUSICIANS 


oratorios  revised;  1733  the  oratorios 
"Deborah"  and  "Athaliah"  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  t^e 
companies  failed,  H.  having  prod.  5 
operas;  the  ode  "Alexander's  feast" 
(Dryden),  and  the  revised  "Trionfo 
del  Tempo  e  della  Verita."  Over- 
exertion  brought  on  a  stroke  of 
paralysis  in  one  of  his  hands  and  he 
went  to  Aix-la-Chapelle,  returning 
to  London  with  improved  health. 


sonatas  for  vln.,  viola  and  oboe,  etc, 
i  edition  of  his  works  in 


He  now  prod.,  under  Heidegger,   5 
operas,  incl.   "Faramondo,"  "Serse** 
(*738),  and  "Deidamia"  CT^A-T^ 
Ni        '         '        •         '     ' 


,  . 

ow  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  "U Allegro  and  II  Penseroso"- 
/Milton),    and    a    supplement    "II 
ttoderato,"  written  by  Chas.  Jennens, 
who  also  wrote  the  text  of  the  Messiah. 
1741    he   visited   Dublin  and  prod, 
there  his  masterpiece  the  "Messiah," 
April  13,  1742.     This  re-established 
him  in  English  favour  and  raised  him 
from  bankruptcj-.  It  was  followed  by 
"Samson,"    the   "Dettingen    Te    De- 
urn,"     "Semele,"     "Joseph"     (1743), 
"Belshazzar,"  and  "Heracles"  (17^). 
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    Ora- 
torio"    and     "Judas     Maccabaeus"- 

(1746);     "*     ' 

mon"     N_,. 

"Theodora  ^,9        Afuo     ^«<™,c 

of  Hercules"  (1750);  and  "Jepk- 
ikak"  (1752),  his  last.  Buring  the 
cpmp.  of  "Jepktkah"*  Ee  underwent 
three  unsuccessful  operations  for 
cataract.  He  was  practically  blind 
the  rest  of  his  life,  but  continued  to 
play  org.-concertos  and  accompany 
his  oratorios  on  the  organ  up  to  1750. 
He  was  buried  in  Westminster 
Abbey,  His  other  comp.  incl.  the 
^Forest  Musick"  publin^*),  etc.. 
fo*  harps.;  the  "Fireworks  Musick"< 
1x749}  for  strings;  6  organ-concertos: 
c^ectos  for  trumpets  and  horns- 
am  to*  Jborns  and  side  drums  (MS  )• 


100  vols.  was  undertaken  in  1856  for 
the    German    Handel    Sec.    by    Dr. 
Chrysander  as  editor.    Bipg.  by  Mat- 
theson   (1740);   Mainwaring   (1760); 
Fo  rs  t  emann        ( 1 844) ;         S  cho*  Icher 
£1857);  Rockstro  (1883);  Chrysander 
(unfinished  at  his  death),  Leichten- 
tritt    and    Muller-Blattau    (in    Ger- 
man).    Various  aspects  of  H&ndel's 
life  and  art  are  considered  in  studies 
in     English     by     Benson,     Davey, 
Flower,  Marshall,  Romain  RoUand. 
Streatfeild,  C.  F.  A.  Williams. 
Handel  as  an  opera  composer  has 
been  rediscovered  by  the  2oth  cent., 
after    the    long    dominance    of    his 
oratorios.     Esp.   in    Germany   there" 
occurred  a  remarkable  "H.  Renais- 
sance"  from   about   the  year    1920, 
centring  in  the  Univ.  of  Gottingen, 
where  German  adaptations  of  such 
works     as     "Rodelinda,"     "Ottone," 
"Giidio  Cesar  e"  etc.,  were  staged  in 
annual  fests.     Productions  also  took 
place  in  Berlin,  and  in  America  at 
Smith  Coll.,  Northampton,  Mass. 
Hand'lo,  Robert  de,  Engl.  theorist  of 

1 4th  century. 

Handbook,    Julius,    Naumburg,    1830 

__  — Halle,  1894;  teacher  and  composer* 

HSnel  von   Cronenthal     (ha7-neT    fsn 

kro-'-nSn-tal),    Julia,    Graz,     1839 — 

Paris,   March  9,    1896;   wife  of   the. 

Marquis  d'H6ricourt  de  Valincourt; 

studied  in  Paris;   c.   4  symphonies, 

22  pf. -sonatas,  etc. 

Hanff,  J.  Nicolaus,  Wechmar,  1630 — 
Schleswig,w  1706;   cathedral  organist 
at  Schleswig  and  important  predeces- 
sor of  Bach  in  choral- writing. 
HanfstSngel    (hanf'-shtSng-gl),    Mario 
(nee  Schr8dex),   Breslau,   April   30, 
1848— Munich,  1917;  soprano;  pupil 
of    ^Viardot-Garcia;     dlbut,      1867, 
Pans;  studied  1878  with  Vannucini; 
1882-97  Stadt-theatre,  Frankfort. 
Harusch    (ha'-nfeh)     Jos.,     Ratisbon, 
1812 — 1892;   organist,    teacher   and 
composer. 

Hwike  (hank'-g),  K.,  Rosswalde, 
Schleswig,  1754— Hamburg,  1835! 
conductor  and  composer  • 

Hansen  (han'-sSn),  Cecilia;  b.  Stanitza 
Kamenska,  Russia,  Feb.  17,  1898: 
violimst;  studied  with  Auer;  has 
appeared  as  orchestral  soloist  and 
recitalist  in  many  Eur.  centres, 

^SVn<*U'.S-.  I923-24;    m.    Boris 
Sacharoff,  pianist. 


DICTIONARY  OF  MUSICIANS 


195 


Hanslick  (Mns'-llk),  Eduard,  Prague, 
Sept.  ii,  1825 — Baden  near  Vienna, 
Aug.  6,  1904;  eminent  critic  and 
writer;  Dr.  Jur.,  1849;  studied  piano 
under  Tomaschek  at  Prague  1848-49; 
critic  for  the  Wiener  Zeitung;  among 
his  many  books  his  first  is  most 
famous,  "Vom  Musikalisch- 

Sch'dnen"  (Leipzig,  1854);  a  some- 
what biassed,  yet  impressive  plea 
for  absolute  music  as  opposed  to  pro- 
gramme (v.  D.  D.)  or  fallaciously 
sentimental  music;  a  bitter  opponent 
of  all  Wagnerianism  and  an  ardent 
Brahmsite;  1855-64  mus.  editor 
Presse;  then,  of  the  Neue  freie 
Presse;  lecturer  on  mus.  hist,  and 
aesthetics  Vienna  Univ.;  1861  prof, 
extraordinary,  1870  full  prof.;  1895 
retired. 

Han'son,  Howard,  b.  Wahoo,  Nebr., 
Oct.  28,  1896;  composer,  conductor, 
educator;  grad.  Luther  Coll.,  Inst. 
of  Music.  Art,  N.  Y.,  hon.  Mus.D., 
Northwestern  Univ.;  first  to  be 
awarded  music  fellowship  at  Amer. 
Acad.  in  Rome,  1921—24;  dir.  East- 
man School  of  Music  at  Univ.  of 
Rochester,  N.  Y.,  after  latter  year; 
has  been  active  in  nat'l.  educational 
organisations  in  music  field,  and  has 
carried  on  a  unique  series  of  several 
annual  American  Comps.  Concerts 
at  Rochester  as  well  as  fests.  of 
native  music  there;  has  served  as 
guest  cond.  of  his  works  with  many 
Amer.  orchs.;  c.  (opera)  "Merry 
Mount"  (libretto  by  Richard  Stokes), 
Met.  Op.  Co,  (commissioned),  1933; 
two  symphonies  ("Nordic"  and 
"Romantic"),  also  for  orch.  "Before 
the  Dawn,"  "Exaltation,"  "North 
and  West,"  "Lux  Aeterna,"  "Pan 
and  the  Priest"  Symphonic  Legend; 
(chorus  and  orch.)  "The  Lament  for 


Eustache;  c.  mass  (Brussels,  1876); 
opera  "Tasso"  (Monte  Carlo,  1903); 
3  symph.^  etc. 

d'Hardelot  (ge-d&rd'-lo),  Guy  (Mrs. 
Rhodes),  near  Boulogne,  France — 
London,  Jan.  7,  1936;  c.  operetta 
"Elle  et  Lui"  and  many  pop.  songs. 

Hark'nes.     Vide  SENKRAH. 

Harling,  W.  Franke,  b.  London,  Jan. 
18,  1887;  composer;  studied  Grace 
Church  Choir  School,  N.  Y.,  Acad. 
of  Mus.,  London,  and  with  Th6ophile 
Ysaye,  Brussels:  active  as  org.  in 
Brussels  and  at  West  Point  Mil. 
Acad.;  c.  (opera)  "A  Light  from  St. 
Agnes"  (Chicago  Op.,  1925;;  (lyric 
drama)  "Deep  River*'  (N.  Y.,  1926): 
Jazz  Concerto;  "Venetian  Fantasy  "- 
cantatas  and  songs;  also  scores  for 
motion  pictures. 

Harma'ti,  Sandor,  Budapest,  July  9, 
1892 — Flemington,  N.  J.,  Apr.  4, 
1936;  composer,  violinist,  conduc- 
tor; grad.  Budapest  Acad.  of  Mus.; 
concertm.  State  Orch.,  Budapest 
1912-14;  People's  Oj>.  there,  1912- 
pc4;  coming  to  America,  led  Lenox 
String  Quartet;  cond.  N.  Y.  Women's 
String  Orch.,  Omaha  Symph.  Orch., 
1924-28;  Westchester,  N.  Y.  Fest. 
also  led  orchs.  as  guest  in  Paris 
Berlin,  Frankfort,  St.  Louis;  c. 
symph.  i>oem  winning  Pulitzer  Prize, 
1923;  string  quartet  (Phila.  Chamber 
Music  Ass'n.  Prize,  1925),  other 
orch.  works  and  songs. 

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,  London, 
1897;  org.-professor. 

Harriers- wippern     (har'-rf-Srs     vip'- 


Beowulf"   "Heroic   Elegy, "<   "Drum          p€rn),  Louise    (ne'e  Wippern),   Hil- 
Taps"  (after  Walt  Whitman);  con-  desheim,  1837 — Grobersdorf,  Silesia, 


certo  for  org.  and  orch.,  2  quintets 
for  piano  and  strings,  string  quartet. 

Hanssens  (hans'-sSns),  (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. 

Har  court  (d&r-koor),  Eugene  d% 
Paris,  1855— March  8,  1918;  com- 
poser; pupil  Paris  Cons.,  and  of 
Schulze  and  Bargiel,  in  Berlin;  1890 
gave  concerts  in  his  own  Salle  Har- 
court;  1900  gave  oratorios  at  St. 


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,  dSbut  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  Garden.  (3)  Victor,  N.  Y., 
April  27,  1869 — Feb.  15,  1943;  pupil 
of  Charles  Blum  (pf.),  Wm.  Court- 


196 


DICTIONARY  OF  MUSICIANS 


ney  (voice),  Fredk.  Schilling  (harm, 
and  comp.),  Anton  Seidl  (cond.); 
1889-95  org.  various  churches;  1892- 

trfp&titeur    and    coach    at    Met. 
.;    1893—94   cond.    Utica    Choral 
ion;  1895-96  asst.-cond.  to  Seidl, 
Brighton     Beach     Concerts;     vocal 
teacher    and    accompanist,    N.    Y.; 
long  cond.   of  Cecilia   Chorus;  c.  a 
pf.-suite,    a    cantata,    an    operetta 
"Mile.   Mai  et   M.    de   Septembre^ 
songs,  etc.     (4)  Roy,  b.  Lincoln  Co., 
Okla.,    Feb.    12,    1898;    composer; 
educated  TJniv.  of  Calif.;  studied  with 
Fanny     Dillon,      Arthur      Farwell, 
Modeste    Altschuler,    Arthur    Bliss, 
Rosario    Scalero    and    Nadia    Bou- 
larger;  awarded  Guggenheim  Fellow- 
ship for  study  in  Europe,  1927-28; 
Intercollegiate  Fellowship  for  Comp., 
California;  has  lectured  extensively 
and  taught  at   Westminster   Choir 
School,  Princeton,  N.  J.,  where  he 
organised    fest.    of    modern    Amer. 
music,  1936;  c.  symph.;  andante  for 
orch.;  sextet  for  clarinet,  strings  and 
piano;    suite    for     string     quartet; 
symphonic  poem,   trio  and  chorus; 
suite    for    women's    chorus    and    2 
pianos;   "A    Song  for   Occupations'* 
for    mixed    chorus    to     Whitman's 
words;  symph.  for  voices,  etc. 
Har'iison,  (i)  Wm.,  London,  1813— 
London,  i&6"8;  tenor.     (2)  Beatrice, 
b.    Roorkee,    India,    1892;    'cellist; 
senior  medal  of  Assoc.  Board,  Lon- 
don; exhibitor  R.  Coll.  of  Music  at 
ii ;  won  Mendelssohn  Prize,  Berlin 
Hochsch.;  studied  with  Whitehouse 
and   Hugo    Becker;    d6but,    Berlin, 
1910;   has    appeared  in   chief   Eur. 
ceostrea,  also  in   U.    S.   after   1913. 
(3)  May,  b.  Roorkee,  India,  1890; 
sister     of    Beatrice     H.;     violinist; 
studied  in  London,  also  with  Fernan- 
dez ^Arbos  and  Auer;  has  toured  as 
seWst  since  1907  and  in  joint  recitals 
with  her  sister.     (4)  Julius,  b.  Stour- 
port,    England,    March     26,     1885; 
composer  and  conductor;  studied  on 
stipend    with     Bantock;     cond.     of 
Beecham  Op.  Co.,  later  the  Scottish 
Orch.,  and   the  British   Nat'l.   Op. 
Co,;  c.  orch.,  chamber  music,  choral 
works;  also  an  opera,  "The  Canter- 
bury Pilgrims." 

Ha£rold,  Orville,  Muncie,  Ind.,  1878— 
Banen,  Conn.,  Oct.  23,  1933; 
operatic  tenor;  reputed  to  have  been 
discovered  singing  in  vaudeville, 
by  Oscar  Hammerstem,  N.  Y., 


taught  by  Oscar  Saenger,  1909-10: 
d6but  Manhattan  Op.,  N.  Y.,  1910; 
sang  with  Mme.  Trentin:  in  comic 
opera;  1911  at  Hammerstein's  Lon- 
don Opera;  Met.  Op.  Co.  after  1919. 
Harsan'yi,    Tib  or,    b.    Ober-Kanizsa, 
Hungary,  June  27,  1898;  composer; 
pupil  of  the  Budapest  Acad.  of  Mus.; 
fives   in    Paris;    c.    2    orch.    suites; 
"Les    Invites"    setting    of    text   by 
Jean- Victor    Pellerin;    sonatina    for 
piano  and  vln.;  sonata  for  vln,  and 
piano;    piano    trio;    string    quartet; 
pf.  sonata  and  other  works. 
Har'shaw,  Margaret,  Amer.  soprano, 
orig.  contralto;  Met.  Op.,  1942;  sang 
also  at  Covent  Garden. 
Hart,  (i)  James,  d.  1718;  Engl.  bass 
and   composer.     (2)    Philip,    d.    ca. 
1749;  Gentleman  of  Chapel  Royal; 
son  of  above  (?);  organist  and  com- 
poser; wrote  music  for  "Tke  Morn- 
tng  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. 
HSrtel  (hSr'-tel),  (i)  Vide  BREITKOPP 
TTND  H&RTEL.     (2)    G.  Ad.,  Leipzig, 
1836— Homburg,      1876;      violinist, 
conductor  and  dram,  composer.     (3) 
Benno,  Jauer,  Silesia,  May  i,  1846 — 
Berlin,  Aug.  4,  1909;  pupil  of  Hoppt 
(pf.),  Jappsen  (vln.),  Kiel  (comp.); 
1870  teacher  of  theory,  Berlin  Royal 
High  Sch.  for  Music;  c.  an  opera, 
over  300  canons,  etc.     (4)  Ltiise  (n€e 
Hauffe).      Diiben,      183-;— Leipzig 
1882;  pianist;  wife  of  (5)  Hermann 
H.     Vide  BREITKOPP. 
Hart'mann,  (i)  Johan  Peder  Emilius, 
Copenhagen,  May  14,  1805— Copen- 
hagen,   March    10,    1900;    organist 
and  dram,  composer;  grandson  of  a 
German  court-cond.   (d.   1763);  son 
of  an  organist  at  Copenhagen.     (2) 
EmiZ  (Jr.)  Copenhagen,  1836 — 1898; 
aon  and  pupil  of  above,  and  court- 
organist;     composer.     (3)     Ludwig, 
Neuss-on-Rhine,         1836— Dresden. 
Feb.  14,  1910;  pianist,  composer  and 
cntic  (son  and  pupil  of  (4)  JMedrich, 
song-composer,  b.  1805);  also  studied 
at   Leipzig    Cons,    and   with   Liszt; 
lived  in  Dresden;  prominent  Wag- 
nerian  champion;  c.  an  opera,  etc. 
Of)  Arthur,  b.  Mat6  Szalka,  Hungary, 
July  25,  jSSi;  taken  to  Philadelphia 
at  the  age  of  two  months;  violinist: 
all  his   schooling   in   America;   has 
toured   Euroue   and   America   with 


DICTIONARY  OF  MUSICIANS 


197 


succ.  (6)  Karl  Amadeus,  b.  Mu- 
nich, 1905;  composer;  studied  with 
Scherchen;  dir.,  Musica  Viva. 

Har'tog,  (i)  Edouard  de,  Amsterdam, 
Aug.  15,  1829 — The  Hague,  Nov. 
8,  1909;  pupil  of  Hoch,  Bartelmann, 
Litolff,  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, 
Zalt-Bommel,  Holland,  Oct.  24, 
1837 — Amsterdam,  Oct.  3,  1917; 
pupil  of  Wilhelm  and  Fd.  Hiller; 
prof.  Amsterdam  Sch.  of  Music. 

Hartvigson  (h£rt'-vlkh-zon),  (i)  Frits, 
Grenaa,  Jutland,  May  31,  1841 — 
Copenhagen,  1919;  pianist;  pupil  of 
Gade,  Gebauer,  Ree,  and  von  Bulow; 
^864,  London;  1873  pianist  to  the 
Princess  of  Wales;  1875  prof,  at  the 
Norwood  Coll.  for  the  Blind;  1887 
pf.-prof.  Crystal  Palace.  (2)  Anton, 
Aarhus,  Oct.  16,  1845 — Copenhagen, 
Dec.  29,  1911;  bro.  of  above;  pianist; 
pupil  of  Tausig  and  Neupert;  lived 
in  London, 

Har'ty,  Sir  Hamilton,  b.  Hillsborough, 
Co.  Down,  Ireland,  Dec.  4,  1879;  d.* 
Brighton,  England,  Feb.  19,  1941; 
pupil  of  his  father,  an  organist;  later 
studied  in  Dublin;  d6but,  London, 
as  an  accompanist;  after  1920, 
cond.  Halle"  Orch.  Soc.,  Manchester; 
guest  cond.,  London  and  U.  S.;  c. 
setting  of  Keats's  "Ode  to  a  Nightin- 
gale," for  soprano  and  orch.;  "Irish 
Symphony"',  vln.  Concerto  in  D 
minor;  "Wild  Geese,"  symph.  poem; 
"Comedy  Overture"',  Piano  Quartet 
in  F  major;  also  'cello  pieces,  cham- 
ber music  and  songs;  m.  Mme.  Agnes 
Nicholls,  singer. 

Har'wood,  Basil,  b.  Woodhouse, 
Gloucestershire,  April  n,  1859; 
pianist,  composer;  pupil  of  Roeckel, 
Risley,  Corfe,  and  at  Leipzig  Cons.; 
1880,  Mus.  Bac.,  Oxford;  1896, 
Mus.  Doc. ;  organist  various  churches; 
from  1892  at  Christ  Church,  Oxford; 
retired  in  1909  from  his  posts  there 
as  organist  and  choragus;  c.  church 
music;  "Capriccio,"  "Three  Cathedral 
Preludes"  and  Sonata  No.  2,  in 
F-sharp  minor,  for  org.;  Concerto 
in  D  for  organ  and  orchestra;  can- 
tata, "Song  on  May  Morning" 
psalm,  "Inclina,  Domine"  voices 
and  orch.  (Gloucester  Fest.,  1898); 
ed.OxfordHymnBook;d.April3 ,1949. 
Hasche  (hesh'-S),  William  Edwin,  b. 


New  Haven,  April  n,  1867;  pupil 
of  Listemann,  Perabo,  and  Parker; 
dir.  New  Haven  Symph.  Orch.; 
1903  teacher  of  instrumentation  at 
Yale;  cond.  N.  H.  Choral  Union 
(250  voices);  c.  symph.,  symph. 
poems  "Waldidylle,"  "Fridjof  and 
Ingeborg"',  cantata  "The  Haunted 
Oak,"  etc.;  d.  Roanoke,  Va.,  Jan.  26, 
1929. 
Hase  (Dr.),  Oskar  von.  Vide 

BREITKOPF  UND  HARTEI/. 

HSser  (ha'zSr),  (i)  Aug.  Fd.,  Leipzig, 
1799 — Weimar,  1844;  theorist,  con- 
ductor, writer  and  composer.  (2) 
Charlotte  Henriette,  Leipzig,  1784 — 
1871;  sister  of  above;  singer;  m.  a 
lawyer  Vera. 

Has(s)ler  (hilsMe'r),  (i)  Hans  Leo  von, 
Nurnberg,  1564 — Frankfort,  June  5, 
1612;  the  eldest  of  3  sons  of  (  (2) 
Isaac  H.,  town-mus.,  Nurnberg); 
pupil  of  his  father;  organist  and  com- 
poser. (3)  Jakob,  Nurnberg,  1566 
— Hechingen  (?),  1601;  bro.  of  (i), 
conductor,  organ  virtuoso  and  com- 
poser. (4)  Kaspar,  Nurnberg,  1570 
— 1618;  bro.  of  above;  organist. 

Haslinger  (has'-Hng-Sr),  (i)  Tobias, 
Zell,  Upper  Austria,  1787 — Vienna, 
1842;  conductor  and  publisher.  (2) 
Karl,  Vienna,  1816 — 1868;  son  and 
successor  of  above;  pianist:  c.  opera 
"Wanda,"  etc. 

Hasse  (has'-se*),  (i)  Nikolaus,  ca.  1650; 
organist  and  writer  at  Rostock. 
(2)  Jn.  Ad.,  Bergedorf,  near  Ham- 
burg, March  25,  1699 — Venice,  Dec. 
1 6,  1783;  famous  tenor  and  v.  succ. 
operatic  cond.;  rival  of  Porpora;  c. 
over  100  operas,  etc.  (3)  Faustina 
(nSeBordoni),  Venice,  1693  (1700?) — 
1781;  of  noble  birth;  one  of  the  most 
cultivated  mezzo-sopr.;  m.  the  above 
1730,  a  happy  union,  she  collaborat- 
ing in  his  success.  (4)  Gustav,  Peitz, 
Brandenburg,  Sept.  4,  1834 — Berlin, 
Dec.  31,  1889;  studied  Leipzig  Cons., 
afterward  with  Kiel  and  F.  Kroll; 
settled  in  Berlin  as  teacher  and  com- 
poser. 

Has'selbeck,  Rosa.     Vide  STJCHER. 

Has'selmans,  (i)  Lotus,  b.  Paris,  July 
25,  1878;  conductor;  studied  at  Paris 
Cons,  with  Delsart,  Lavignac,  God- 
ard  and  Massenet;  ist  prize  in  'cello; 
mem.  Caplet  Quartet;  d6but  as  cond. 
at  Lamoureux  Concerts,  Paris,  1905; 
founded  and  led  Hasselmans  Orch. 
after  1907;  cond.  at  Op.-Comique, 
1909-11;  Montreal  Op.,  1911-13; 


198 


DICTIONARY  OF  MUSICIANS 


Marseilles  Concerts  Classiques, 
1913-14;  Chicago  Op.,  1918—20;  also 
at  Ravinia  Op.,  and  at  Met.  Op. 
House,  N.  Y.,  1921—36;  m.  Minnie 
Egener,  soprano.  (2)  Alph.  J.,  Li6ge, 
18^5 — Paris,  1912;  harpist. 
Hasselt-Barth  (has'-sSlt-bart),  Anna 
Maria  WHhelmine  (ne'e  van  Has- 
selt),  Amsterdam,  July  15,  1813 — 
Mannheim,  Jan.  4,  1881;  soprano; 
d£but  Trieste  (1831). 

HSssler  (hess'-lSr),  (i)  Jn.  Wm.,  Er- 
furt, March  29,  1747 — Moscow, 
March  29,  1822;  organist  and  famous 
teacher;  toured  widely;  1792—94 
royal  cond.  St.  Petersburg;  then 
teacher  at  Moscow;  c.  important 
piano  and  organ  pieces;  his  wife, 
(2)  Sophie,  was  a  singer  who  trav- 
elled with  him. 

Hast'ings,  Thos.,  Washington,  Conn., 
1787 — New  York,  1872;  editor  and 
composer. 

Hastreiter  (hast'ii-tSr),  Helene,  b. 
Louisville,  Ky.,  Nov.  14,  1858;  oper- 
atic contralto,  popular  in  Italy;  pupil 
of  Lampertf;  m.  Dr.  Burgunzio:  d.  (?) . 


Hatto.     Vide 

Hat'ton,  J.  Liptrott,  Liverpool,  Oct.  20, 
1809 — Margate,  Sept.  20,  1886; 
cond.  and  dram,  composer. 

Hattstadt  (hst'-shte't),  J.  J.,  Monroe, 
Mich.,  Dec.  29,  1851 — Chicago, 
"Dec.,  1931;  studied  in  Germany;  pf.- 
teacher  and  writer  in  Detroit,  St. 
Louis,  and  for  n  years,  Chicago 
Coll.  of  Mus.;  1886,  dir.  Amer.  Cons., 
Chicago. 

Haubiel  (ho'-bel),  Charles,  b.  Delta, 
Ohio,  Jan.  31,  1894;  composer,  edu- 
cator; studied  with  Ganz,  Lhevinne 
(p_iano)  and  Scalero  (comp.);  toured 
with  Kocian;  taught  at  Oklahoma 
City  Mus.  Art  Inst.,  later  at  N.  Y. 
Univ.;  has  toured  as  pianist  and 
iecturer:  c.  "Karma'9  symph.  varia- 
tions wnich  won  prize  in  Schubert 
Centenary  contest;  also  other  orch., 
chamber  music  and  piano  works, 
incid.  music  to  plays,  etc. 
Hau(c)k  (howk),  Minnie,  New  York, 
Nov.  14,  1852— Villa  Triebschen, 
Lucerne,  Feb.  6,  1:929;  notable  so- 

§rano;  pupil  of  Errani  and  Moritz 
trakosch;  d6but  1866,  N.  Y.,  as 
"Norma";  1868-72  Vienna  ct.-opera; 
1875,  Berlin;  sang  with  great  succ. 
in  Europe  and  America.  She  was 
court-singer  in  Prussia,  Officier 
dj Academic,  Paris,  and  member  of 
the  Roman  Mus.  Academy. 


Hauer  (how'-fir),  K.  H.  Eiast,  Halber- 
stadt,  1828 — Berlin,  1892;  organist 
and  composer. 

Hauff  (howf),  Jn.  Chr.,  Frankfort,  1811 
— 1891;  founder  and  prof.,  Frankfort 
School  of  Music;  writer  and  com- 
poser. 

Hatiffe  (howf'-fe),  Luise.  Vide  HAR- 
TAL, 3LTTISE. 

Haupt  (howpt),  K.  Aug.,  b.   ^unern, 
Silesia,  Aug.  25,  1810 — 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,    1868;    violinist;    pupil    of 
Spohr;     famous     as      theorist     and 
teacher;  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  stand- 
ard   works,    incl.    ltDie     Natur    der 
Harmonik  und  Metrik"   (1833);  the 
posthumous,     "Die    Lehre    von    der 
Harmonik,"    1868,    etc.;    c.    opera, 
"Matkilde"  (Cassel,  1826);  quartets, 
masses,  etc. 

Hauptner  (howpt /-ne'r),  Thuiskon,  Ber 
lin,  1821 — 1889;  conductor  and  com- 
poser. 

Hattschka  (howsh'-ka),  Vincenz,  Mies, 
Bohemia,  1766 — Vienna,  1840;  'cel- 
list and  barytone  player;  composer. 
Hause  (how'-ze'),  Wenjzel,  b.  Bohemia, 
ca.      1780;     prof,     of     double-bass, 
Prague  Cons.;  writer. 
Hausegger  (hows'-Sg-ger),  (i)  Fr.  von, 
Vienna,  April  26,  1837 — Graz,  Feb. 
23,    1899;    pupil    of    Salzmann    and 
Dessoff;    barrister    at     Graz;     1872 
teacher  of  history  and  theory,  Univ. 
of  Graz;  writer.     (2)  Siegmtmd  von, 
b.  Graz,  Aug.  16,  1872;  pupil  of  his 
father,  of  Degners  and  Pohlig;  1896 
cond.   at   Graz;    1899   of   the   Kaim 
concerts    at    Munich;    1903-06    the 
Museum  Concerts  at  Frankfort-on- 
Main;  1910,  dir.  of  Hamburg  Philh.; 
1920-34,   dir.   Acad.   der  Tonkunst, 
Munich,  and  leader  of  orch.  concerts 
there;  c.  mass,  an  opera  "  H  elf  rid" 
(Graz,   1893);   "Zinnober"    (Munich, 
1898);     "Dionysian     Fantasie"     for 
orch.,  symph.  poems,  "Barbarossa," 
"Wietand,     choruses,  etc.;  d.   1948 
Hauser  (how'-zSr),  (i)  Fz.,  b.  Craso- 
witz,  near  Prague,   1794 — Freiburg. 


DICTIONARY  OF  MUSICIANS 


199 


Baden,  1870;  bass-barytone;  teacher. 
(2)  Miska  (Michael),  Pressburg, 
Hungary,  1822 — Vienna,  1887;  vln.- 
virtuoso;  composer. 

ffituser  (hi-zSr),  Jn.  Ernst,  b.  Dittchen- 
roda,  near  Quedlinburg,  1803;  teach- 
er, Q.  Gymnasium;  writer. 

Haussmann  (hows '-man),  Valentin,  the 
name  of  five  generations,  (i)  V.  I., 
b.  Ntirnberg,  1484;  a  friend  of 
Luther;  composer  and  conductor. 
His  son  (2)  V.  II.,  organist  and  com- 
poser. His  son  (3)  y .  III.,  organist 
at  LSbejun,  expert  in  org.-building. 
His  son  (4)  V.  IV.,  organist  and 
court-conductor  at  Kothen;  writer. 
His  son  (5)  V.  V.  Vide  BARTHOLO- 
MAUS;  LSbejiin,  1678 — Lauchstadt, 
after  1740;  cath.  organist  and 
theorist.  (6)  Robt.,  Rottleberode, 
Harz  Mts.,  Aug.  13,  1852 — Vienna, 
Jan.  19,  1909,  while  on  a  concert 
tour;  'cellist;  pupil  of  Th.  Miiller,  and 
Piatti  in  London;  teacher,  Berlin 
Royal  "Hochschule";  1879,  member 
Joachim  Quartet. 

flav'ergal,  Rev.  Wm.  H.,  Buckingham- 
shire, 1793 — 1870;  composer. 

Haweis  (h6z),  Rev.  H.  R.,  Egham, 
Surrey,  1838 — London,  Jan.  30, 1901; 
amateur  violinist  and  popular  writer 
on  music. 

Hawes  (h6z),  Wm.,  Engl.,  London, 
^785 — 1846;  conductor  and  com- 
poser. 

llawldns  (Sir),  J.,  London,  March  30, 
1719 — Spa,  May;t4,  1789;  an  attor- 
ney; eminent  historian  of  music; 
knighted,  1772. 

Haydn  (hid'-'n),  (i)  (Fz.)  Josef,  Roh- 
rau-on-Leitha,  Lower  Austria,  March 
31,  1732 — Vienna,  May  31,  1809; 
second  son  of  a  wheelwright  who  was 
the  sexton  and  organist  of  the  village 
church,  and  a  fine  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,  sing- 
ing, the  vln.  and  other  instrs.  He 
was  engaged  as  a  chorister  for  St. 
Stephen's,  and  taught  by  Reutter  the 
cond.,  who  gave  him  no  encourage- 
ment and  dismissed  him  in  1748. 
At  8,  he  went  to  Vienna,  and  studied 
singing,  vln.  and  clavier,  with 
Finsterbusch  and  Gegenbauer.  He 
studied  harmony  chiefly  from  Fux' 
"Gradus  ad  Parnassum"  and  Mat- 
theson's  "Volkommener  Kappell- 


meister."  At  13  he  c.  a  mass.  He 
obtained  a  few  pupils,  and  a  Vien- 
nese tradesman  lent  him  150  florins, 
with  which  he  rented  an  attic-room 
and  an  old  harpsichord.  He  prac- 
tised C.  P.  E.  Bach's  first  6  sonatas 
and  the  vln.;  Metastasio  taught  him 
Italian,  and  recommended  him  to  a 
Spanish  family  as  teacher  for  their 
daughter,  who  was  studying  with 
Porpora.  From  Porpora,  in  return 
for  menial  attentions,  H.  received 
some  instruction  in  comp.  and  a 
recommendation  to  the  Venetian 
ambassador  for  a  stipend  of  50  francs 
a  month.  At  20,  he  had  c.  6  trios, 
sonatas,  his  first  mass,  and  a  comic 
opera  "Der  neue  krumme  Teufel" 
(Stadttheater,  i752)>  a  satire  on  the 
lame  baron  Affligi  the  ct.-opera  dir.; 
this  work  was  suppressed  but  revived 
afterwards,  and  he  received  24  ducats 
for  it.  He  began  to  make  powerful 
friends,  and  became  Musikdirektor 
and  Kammercompositeur  to  Count 
Fd.  Maximilian  Morzin.  1 759  Prince 
Paul  Anton  EsterMzy  heard  his  ist 
symph.  and  1760  took  him  into  his 
service  as  2d  (later  ist)  conductor; 
the  same  year  H.  m.  Maria  Anna,  the 
elder  sister  of  the  girl  whom  he  loved 
and  who  had  entered  a  convent. 
This  marriage  was  as  unhappy  as 
one  would  expect.  Prince  Nikolaus 
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,  1 2  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  1790  Prince 
Nikolaus  ^as  succeeded  by  his  son 
Anton,  who  kept  H.  as  cond.  and 
increased  his  stipend  of  1,000  florins 
to  1,400.  In  1791  on  a  pressing  in- 
vitation brought  by  Salomon,  he 
went  to  England  and  was  for  18 
months  the  lion  of  the  season.  Ox- 
ford made  him  Mus.  Doc.;  and  he  c. 
the  so-called  "Salomon  Symphonies" 
xor  nis  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 


200 


DICTIONARY  OF  MUSICIANS 


a  new  Prince  EsterMzy,  lie  returned. 
1797,  he  c.   the  Austrian  national 
anthem.     At  65,  he  prod,  his  great 
oratorio  "The  Creation"  ("Die  Sch'dp- 
fung");  in  1801  "The  Seasons"  ("Die 
Jakreszeiten9  *) .     His  health  failing  he 
went  into  retirement,  appearing  in 
public  only  once  in  1808,  when  he 
was  carried  in  a  chair  to   hear  a 
special  performance   of  the   "Crea- 
tion."*    His  agitation  was  so  great 
that  he  had  to  be  taken  away  after 
the  first  half;  the  throng  giving  him 
a  sad  farewell,  and  Beethoven  bend- 
ing to  kiss  his  hands  and  forehead. 
In  1809,  his  death  was  hastened  by 
the  shock  of  the  bombardment  of 
Vienna  by  the  French.     His  astound- 
ing list   of   works  includes   besides 
those    mentioned,    125    symphonies 
and  overtures,  incl.  the  "Farewell"' 
("A  bschiedssympkoniey"    1772),    the 
"Fire  S."  ("Puersymph.>  1774),  the 
"Toy    S."     ("Kindersymph!),    "La 
CJiasse"  (1870),  the  "Oxford"  (1788), 
the  "Surprise"  ("S.  mit  dem  Pauken- 
schlag,"    1791);  "S.   with  the  drum- 
roll"   ("S.   mit  dem   Paukenwirbel,'* 
1793)9  51  concertos  for  harpsichord, 
vln.,  'cello,  lyre,  barytone,  double- 
bass,    flute    and    horn;    77    string- 
quartets;  175  numbers  for  barytone; 
4  vln.-sonatas;  38  pf.- trios;  53  sona- 
tas  and    divertimenti;   an   oratorio 
"II  Ritorno  di   Tobia";   14  masses; 
4  operas;  4  Italian  comedies;  14  Ital. 
opere  buffe,  and  5  marionette-operas; 
music  to  plays;  22  arias;  cantatas, 
incl.  "Ariana  a   Naxos,"<  "Deutsch- 
lands  Klage  auf  den  Tod  Friedrichs 
des   Grossen,"    "The    10    Command- 
ments" 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   extensively  in    Kreja- 
biel's  "Music  and  Manners'*   (New 
York,     1898).     Studies     of     Haydn 
have    been    published    by    Brenet, 
Hadden,  Hadow  and  Runciman. 
(2)  Jn.  Michael,  Rohrau,  Sept.  14, 
1737 — Salzburg,     Aug.      10,      1806; 
bro.    of    above;    soprano    chorister, 
with  compass  of  3  octaves,  at  St. 
Stephen's,     Vienna,     replacing     his 
brother  Josef.     Studied  vln.  and  or- 
gan,    and     became     asst.-organist; 
1757?  cond,  at  Grosswardein:  1762, 
dir*  to  Archbishop  Sigismund,  Salz- 


burg;  1777,   organist   of   the   Catha 
and  St.  Paul's  Ch.     He  m.   Maria 
Magdalena   Lipp,    an    excellent   so* 
prano;  1880  he  lost  his  property,  by 
the    French    occupation,    but    was 
aided  by  his  bro.  and  2  others,  and 
the    Empress    Maria    Theresa    re- 
warded 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.    re- 
fused,   hoping    to    reorganise    the 
Salzburg    Chapel.     His    best    works 
were  sacred  music,  which  his  brother 
esteemed  above  his   own.     He   de* 
dined  publication,  however;  c.  360 
church-comps.,        incl.        oratorios, 
masses,  etc.,  30  symphonies;  operas, 
etc.     Biog.    by    Schinn    and    Otter 
(Salzburg,  1808). 

Hayes  (haz),  (i)  Win.,  Hanbury,  Wor- 
cestershire, Dec.,  1706 — Oxford,  July 
27»  *777i  organist,  conductor  and 
writer.  (2)  Philip,  Oxford,  April, 
1738 — London,  March  19,  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) 
Roland,  b.  Chattanooga,  Tenn., 
June  3, 1887;  Negro  tenor;  has  made 
recital  tours  of  Europe  and  U.  S., 
with  succ.;  specialist  in  Lieder, 
classic  and  modern  songs,  spirituals. 
Haym  (him),  (i)  (or  Hennius),  Grilles, 
Belgian  composer  i6th  cent.  (2) 
Italian  composer,  Airno  (8/-e*-mo),  (3) 
Niccolo  Franc.,  Rome,  ca.  1679— 
London,  1729;  'cellist  and  librettist. 
Heap,  Chas,  Swinnerton,  Birming- 
ham, Engl.,  April  10,  1847— June  n, 
1900;  won  the  Mendelssohn  scholar- 
ship and  studied  at  Leipzig  Cons.; 
also  organ  with  Best;  Mus.  Doc. 
Cambridge,  1872;  cond.  Birmingham 
Phil.  (1870-86)  and  other  societies; 
c.  an  oratorio  "The  Captivity";  can- 
tatas, etc. 

Hebenstreit  (hab'-'n-shtrlt),  Pantale- 
on,  Eisleben,  1660  (9?) — Dresden, 
1750;  conductor;  improved  the  dul- 
cimer as  the  "Pantalon"-  (v.  D.  D.). 
Hecht  (hfckht),  Ed.,  Dtirkheim,  Rhine 
Palatinate,  1832 — Didsbury,  near 
Manchester,  1887;  pianist;  prof, 
and  composer. 

Heckel    (hSk'-el),    Wolf,    lutenist    *t 
Strassburg.  i6th  cent. 


DICTIONARY  OF  MUSICIANS 


201 


Seckmann  (hSk'-man),  (i)  G.  Julius 
Robt.,  Mannheim,  1848 — Glasgow, 
1891;  violinist.  His  wife  (2)  Marie 
(n6e  Hartwig),  Greiz,  1843 — Co- 
logne, 1890;  pianist. 

HSdouin  (§.d-w&n),  P.,  Boulogne,  1789 
* — Paris,  1868;  lawyer,  writer,  libret- 
tist and  composer. 

Heermann  (har'-man),  Hugo,  Heil- 
bronn,  March  3,  1844 — Merano, 
Switz.,  Nov.  6,  I935J  violinist;  stu- 
died with  J.  Meerts,  Brussels  Cons. 
1878,  also  with  Joachim;  in  Frankfort 
as  soloist  and  teacher  at  the  Hoch 
Cons.;  1906-09,  taught  Chicago  Mus. 
Coll.;  1910,  Stern  Cons.,  Berlin; 
1911,  Geneva  Cons.;  ed.  de  B&riot 
vln.  method. 

Heeringen  (ha'-rlng-6n),  Ernst  von, 
Grossmehlza,  near  Sondershausen, 
1810 — Washington,  U.  S.  A.,  1855; 
unsuccessful  innovator  in  notation 
and  scoring. 

Hegar  (ha'-gar),  (i)  Fr.,  Basel,  Oct. 
ii,  1841 — Zurich,  June  2,  1927; 
studied  Leipzig  Cons.,  1861;  from 
1863  cond.  Subscription  Concerts, 
and  of  the  Choral  Soc.,  Zurich;  1875 
founded  Cons,  at  Zurich;  c.  vln.- 
concerto  in  D;  succ.  dram,  poem, 
"Manasse"  for  soli,  chorus  and 
orch.;  "Festouvertttre"  etc.  (2) 
Emily  Basel,  Jan.  3,  1843 — June  13, 
1921;  bro.  of  above;  pupil,  later 
'cello-teacher  at  Leipzig  Cons.,  and 
sst  'cello  Gewandhaus  Orch.;  then 
itudied  singing;  vocal-teacher  Basel 
Sch.  of  Mus.  (3)  Julius,  bra.  of 
above;  'cellist  at  Zurich. 

Hegedus  (hSg-S-dush),  Ferencz,  b. 
Fiinfkirchen,  Feb.  26,  1881;  violinist; 
succ.  de"but,  London,  1901;  lived  in 
Zurich;  d.  1944- 

Heger  (ha'-gSr),  Robert,  b.  Strasbourg, 
Aug.  19,  1886;  German  conductor 
and  composer;  studied  with  Stock- 
hausen  in  Strasbourg  Cons.,  later 
in  Zurich  and  with  Schillings  at 
Munich;  cond.  at  Strasbourg,  Ulm, 
Barmen,  Nuremberg,  Munich  and 
after  1925  at  Vienna  State  Op., 
also  guest  cond.  at  Covent  Garden; 
c*  operas,  orch.  works,  chamber 
music,  choruses. 

Hegner  (hakh'-ne'r),  (i)  Anton,  b. 
Copenhagen,  March  2,  1861 — N.  Y., 
Dec.  4,  1915;  'cellist;  studied  Copenh. 
Cons.;  d6but  at  14;  later  a  teacher 
N.  Y.;  c.  4  quartets;  2  concertos  for 
-'cello,  etc.  (2)  Otto,  Basel,  Nov.  18, 
1876 — Hamburg,  Feb.  22,  1907; 


pianist;  pupil  of  Fricker,  Huber,  and 
Glaus;  made  d6but  very  early  at 
Basel  (1888),  England  and  America, 
at  the  Gewandhaus,  Leipzig,  1890; 
c.  pf  ,-pcs. 

Hegyesi  (hSg'-ya-zg),  Louis,  Arpad, 
Hungary,  1853 — Cologne,  Feb.,  1894; 
'cellist. 

Heide,  von  der.     Vide  VON  DEB.  H. 

Heidingsfeld  (hi '-dings-felt),  L.,  Jauer, 
Prussia,  March  24,  1854 — Danzig, 
Sept.  14,  1920;  pupil,  later  teacher 
Stern  Cons.,  Berlin;  composer. 

Heifetz,  Jascha  (hl'-f£tz  yS/-sh£),  b. 
Vilna,  Russia,  Feb.  2,  1901;  violinist; 
grad.  Vilna  School  of  Music  at  8; 
studied  with  Auer  at  St.  Petersburg 
Cons.;  ist  appearance  at  5;  d£but, 
Berlin  Philh.  under  Nikisch,  1912; 
toured  Europe;  Amer.  d6but,  N.  Y., 
Oct.  27,  1917,  in  recital,  with  sen- 
sational succ.;  at  15  estab.  as  one  of 
foremost  technicians  of  vln.,  a 
reputation  he  has  subsequently  en- 
hanced with  ripening  of  stylistic  and 
interpretative  powers;  has  made  ap- 
pearances around  world,  incl.  Orient; 
became  U.  S.  citizen,  1925;  soloist 
with  leading  orchs.  in  the  princ. 
cities  of  Europe  and  America;  has 
arranged  comps.  for  vln.;  donor 
$1,000  prize  for  vln.  concerto. 

Hein  (bin;,  Carl,  b.  Rendsburg,  1864; 
'cellist;  pupil  Hamburg  Cons.;  1885- 
90  'cellist  Hamburg  Philharmonic 
Orch.;  1890  teacher  in  New  York 
at  German  Cons.;  1903,  joined  with 
a  fellow-pupil  from  the  Hamburg 
Cons.,  August  Fraemcke,  in  its 
direction;  dir.  N.  Y,  Coll.  of  Mus., 
1906—1945;  d-  N.  Y.,  Feb.  27,  1945- 

Heinemeyer  (hl'-nS-ml-e'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-Sn),  Jn,  D.,  Kros- 
suln,  near  Weissenfels,  1683 — Dres- 
den, 1729;  dram,  composer  and 
writer. 

Heinrick  (hln'-rikh).  (i)  Jn.  G., 
Steinsdorf  (Silesia),  1807 — Sorau, 
1882;  organist,  writer  and  com- 
poser. (2)  Heinrich  XXIV.,  Prince 
Reuss  j.  L.,  Dec.  8,  1855 — Einst- 
brunn,  Oct.  2,  1910;  pianist;  c.  a 
symphony,  a  pf  .-sonata,  etc. 

Heinroth  (hm'-rot),  (i)  Clip.  Gl.,  for 
62  years  organist  at  Nordhausen. 
(2)  Jn.  Aug.  Gunther,  Nordhausen> 
1780 — Gottingen,  1846;  son  of  above; 


202 


DICTIONARY  OF  MUSICIANS 


director  and  composer.  (3)  Charles, 
b.  New  York,  Jan.  2,  1874;  organist; 
studied  piano  with  Friedheim  and 
Spicker,  org.  with  John  White  and 
comp.  with  Herbert;  also  in  Munich 
with  Hieber  and  Rheinberger;  after 
1803,  org,  in  various  N.  Y.  and 
Brooklyn  churches  and  taught  at 
Nat'l.  Cons.;  after  1907,  org.  and 
dir.  of  music  at  Carnegie  Inst., 
Pittsburgh,  Pa.,  where  he  has  given 
notable  series  of  weekly  recitals; 
also  heard  in  other  cities. 
Heintz  (hints),  Albert,  Eberswalde, 
Prussia,  March  21,  1882 — Berlin, 
June  14,  1911;  organist  "Petri- 
kirche,"  Berlin;  writer  on  Wagner; 
composer. 

Heinze  (hints'-^),  (i)  Wm.  H.  H.,  b. 
1700;  clarinettist  in  the  Gewandhaus 
Orch.  (2)  Gv.  Ad.,  Leipzig,  Oct.  i, 
1820 — near  Amsterdam,  Feb.  2, 
1904;  son  and  pupil  of  above;  at  15 
clarinettist  in  the  Gewandhaus; 
1844,  ad  cond.  Breslau  Th.,  and 
prod.  2  operas  (of  which  his  wife 
wrote  the  libretti);  1850,  Amsterdam 
as  cond.;  c.  5  oratorios,  3  masses,  3 
overtures,  etc.  (3)  Sarah  (ne'e  Mag- 
nus), Stockholm,  1836 — Dresden, 
Jan.  27,  1901;  pianist;  pupil  of 
Kullak,  AL  Dreyschock,  and  Liszt; 
lived  in  Dresden. 

Heise  (hl'-zS),  Peder  Arnold,  Copen- 
hagen, 1830 — 1879;  teacher  and 
dram,  composer. 

Heiser  (hi'-zSr),  Wim.,  Berlin,  1816 — 
Friedenau,  1897;  singer,  bandmaster, 
and  composer. 

Heklcing,  Anton,  b.  The  Hague,  Sept. 
7,  1855 — Nov.  1 8,  1935;  noted 
'cellist;  teacher  at  the  Stern  Cons.; 
toured  widely. 

Heller,  Stephen,  Pesth,  May  15,  1813 
— Paris,  Jan.  14,  1888;  notable 
composer  who,  like  Chopin,  confined 
ttjg  abilities  to  the  pf .  Lacking  the 
breath,  passion  and  colour  of  Cho- 
pin's, his  music  has  a  candour  and 
vivacity  and  a  fascinating  quaint- 
ness  that  give  it  peculiar  charm;  his 
Etudes,  simpler  than  Chopin's,  are 
as  well  imbued  with  art  and  per- 
sonality. Studied  piano  with  F. 
Brauer;  at  9  played  in  pub.  with 
succ.;  then  studied  with  Czerny  and 
Halm;  at  12,  gave  concerts  in  Vienna, 
and  toured;  at  Pesth  studied  a  little 
harmony  with  Czibulka;  at  Augs- 
burg, fell  ill,  and  was  adopted  by  a 
Wealthy  family,  who  aided  his 


studies;     1838,    Paris.      Schumann 

E raised  his  first  comp.  highly.  1849, 
ondon,  he  played  with  succ.  though 
infrequently  because  of  nervous- 
ness; thereafter  lived  in  Paris.  C. 
several  hundred  pf.-pcs.,  incl.  4 
sonatas  and  the  famous  Etudes. 
Biogr.  by  H.  Barbadette  (1876). 

Hellinck,  Joannes  Lupus  (often  called 
Lupus  or  Lupi),  d.  IS41;  Flemish 
choir  master  at  Cambrai  and 
Bruges;  c.  many  masses,  influencing 
Palestrina;  important  motets,  hymns 
and  songs. 

Hellmesberger  (heT-mSs-berkh-e'r),  (i) 
G.  (Sr.),  Vienna,  1800 — Neuwaldegg, 
1873;  violinist,  conductor  and  com- 
poser. (2)  G.  (Jr.),  Vienna,  1830 — 
Hanover,  1852;  son  and  pupil  of 
above;  violinist  and  dram,  composer. 

(3)  Rosa,    daughter   of   (2),   was   a 
singer,  d6but  1883,  ct.-opera,  Vienna. 

(4)  Jos.   (Sr.),  Vienna,   1828-— 1893; 
son  of  (i);  conductor,  violinist  and 
professor.     (5)    Jos.    (Jr.),    Vienna, 
April  9,   1855 — April   26,   1907;  son 
of    (4);    violinist   and    composer    of 
operettas,  ballets,  etc.     1002,  cond. 
Vienna    Philh.    Orch.     (6)    Fd.,    b. 
Vienna,  Jan.  24,  1863;  bro.  of  above; 
^cellist  in  ct.-orch.  from  1879;  from 
1883  with  his  father's  quartet;  1885 
teacher    at    the    Cons.;    1886,    solo 
'cellist,  ct.-opera;  1905-06,  cond.  at 
same;  1908-11,  cond.  in  Abbazia. 

Hellwig  (hel'-vXkh),  K.  Fr.  L.,  Ktt- 
nersdorf,  1773 — Berlin,  1838;  con- 
ductor and  dram,  composer. 

Helm,  Theodor,  Vienna,  April  9,  1843 
— Dec.  23,  1920;  studied  law,  en- 
tered govt.  service;  1867  critic  for 
various  journals,  and  writer;  1874, 
teacher  of  mus.  hist,  and  aesthetics, 
Horak's  School  of  Music;  author, 
studies  of  music  of  Beethoven  and 
Mozart. 

Helmholtz  (hSlm'-h6its),  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 
Music99'  (Lekre  von  den  Tonempfin- 
dungen  als  physiologische  Grundlage 
fUr  die  Theorie  der  Musik)  (Bruns- 
wick, 1863;  English  trans,  by  Ellis, 
1875);  this  work,  the  result  of  much 
experiment,  is  the  very  foundation  of 
modern  acoustics,  though  Riemann, 
who  was  in  some  opposition  to  H.f 
says  his  conclusions  are  not  infallible. 


DICTIONARY  OF  MUSICIANS 


203 


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. 

Hem'pel,  Frieda,  b.  Leipzig,  June  26, 
1885;  soprano;  studied  the  piano  at 
Leipzig  Cons.,  1903-05;  then  voice 
with  Frau  Lempner;  d6but  in 
Stettin;  1906,  at  Bayreuth;  1907 
Co  vent  Garden;  has  sung  in  Paris 
Op6ra,  Brussels,  Vienna,  etc.;  from 
1908  Berlin  Royal  Opera;  engaged 
for  Met.  Op.,  N.  Y.,  1912;  and  sang 
with  that  co.  for  nearly  a  decade 
with  distinction  in  wide  variety  of 
German  and  Italian  r61es;  thereafter 
pron  inent  as  a  concert  singer. 

Henderson,  William  James,  b.  Newark 
N.  J.,  Dec.  4,  1855— New  York, 
June  5,  i937»  noted  critic;  grad. 
Princeton  Univ.,  1876;  Litt.  D., 
1922;  from  1887-1902  critic,  New 
York  Times;  1902-1937,  critic  New 
York  Sun*,  lectured,  N.  Y.  Coll.  of 
Music  and  Inst,  of  Music.  Art; 
wrote  librettos  for  Damrosch's  operas 
"The  Scarlet  Letter"*  and  "Cyrano 
ie  Bergerac";  author  of  "The  Story 
of  Music,"  "Preludes  and  Studies,9* 
"What  Is  Good  Music?",  "How 
Music  Developed,"-  "The  Orchestra 
and  Orchestral  Music,"  "Wagner, 
His  Life  and  Dramas"*  "Modern 
Music  Drift,"-  "The  Art  of  the 
Singer,"  "Some  Forerunners  of  Ital- 
ian Opera,"'  "The  Early  History  or 
Singing,"-  "The  Soul  of  a  Tenor*'* 
(novel),  "Pipes  and  limbrels,"* 
poems.  He  long  upheld  a  high 
standard  of  musical  commentary, 
combined  with  a  vast  knowledge  of 
musical  hist,  and  an  experience  of 
actual  concert  and  opera-going 
covering  a  half -cent.;  his  style, 
urbane,  pithy  and  often  marked  by 
gentle  satire,  retaining  its  pungency, 
while  he  also  saluted  with  an  open 
mind  some  of  the  more  advanced 
musical  manifestations  of  latter 

Hen^el  (h£nk'-el),  (i)  Michael,  Fulda, 
1780 — 1851;  composer.  {2)  G* 
Andreas,  Fulda,  1805 — 1871;  organ- 
ist and  composer.  (3)  H.,  Fulda, 
Feb.  1 6,  1822 — Frankfort-on-Main, 
April  10,  1899;  son  and  pupil 
of  (i),  also  studied  with  Aloys 
Schmitt,  and  theory  with  BLessler  and 
Anton  Andre;  1849,  teacher,  etc., 


Frankfort.  (4)  K.,  Brttnn,  May  28, 
1867 — near  Vienna,  Dec.  2,  1924; 
son  of  (3);  studied  in  Berlin  Hoch- 
schule;  lived  in  London,  as  violinist. 

Henneberg  (h£n'-nS-b&rkh),  Jn.  Bapt., 
Vienna,  1768 — 1822;  organist,  con- 
ductor and  composer. 

Hennig  (h£n'-nJkh),^  (i)  ^  K.,  Berlin, 
1819 — 1873;  organist,  dir.  and  com- 
poser. (2)  K.  Rafael,  Berlin,  Jan. 
4,  1845 — Posen,  Feb.  6,  1914;  son 
of  above;  pupil  of  Richter  and  Kiel; 
1869-75,  organist  Posen;  1873,  foun- 
der of  "Hennig"'  Vocal  Soc.;  1:883, 
Royal  Mus.  Dir.;  1892,  R.  Prof.; 
composer  and  writer. 

Hen'mus.     Vide  HAYM,  GHXES. 

Henrion  (S,n-rl-dn),  Paul,  Paris,  July 
20,  1819 — Oct.  24,  1901;  c.  operettas 
and  over  a  thousand  popular  songs. 

Henriques  (hSn-rg'-kes),  Fini  Bai- 
demar,  b.  Copenhagen,  Dec.  20, 
1867;  violinist;  pupil  of  Tofte, 
Svendsen,  and  Joachim;  member  of 
court  orch.  at  Copenhagen;  c.  inci- 
dental mus.  to  "Wteland  der  Schmied"* 
piano  wks.,  etc.;  d.  1940.  . 

Henschel  "(kSn'-shel),  (i)  Sir  George, 
Breslau,  Feb.  18,  1850 — Aletna- 
Criche,  Scotland,  Sept.  10,  3934; 
prominent  barytone,  pianist,  and 
teacher;  pupil  of  Wandelt  and 
Schaeffer,  Breslau;  of  Leipzig  Cons, 
also  Kiel  and  Ad.  Schulze  (singing); 
Berlin;  1877-80,  lived  in  London; 
1881-84,  cond.  Boston  (U.  S.  A.) 
Symph.  Orch.;  1885,  London; 
founded  the  "London  Symphony 
Concerts"-,  1886-88,  prof,  of  singing 
R.  C.  Mus.;  c.  operas,  "Friedrich  der 
Sch&ne"  and  "Nubia":  operetta,  "A 
Sea  Change,  or  Love's  Castaway"; 
an  oratorio,  etc.  (2)  Lillian  (ne'e 
Bailey),  Columbus,  Ohio,  Jan.,  1860 
— London,  Nov.  4,  1901;  pupil  and 
(1881)  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  (hSn'-zel),  (i)  Fanny  CUcilia 
(n6e  Mendelssohn),  Hamburg,  Nov. 
14,  1805 — Berlin,  May  14,  1847; 
eldest  sister  of  PELIX  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, 


204 


DICTIONARY  OF  MUSICIANS 


T2>;  she  pub.  under  her  own  name 
**Gartenlieder"  part-songs  and  songs; 
c.  also  pf --trios  and  pcs.  (2)  Octavia. 
Vide  IONDA. 

Henselt  (h&i'-z&t),  Ad.  von,  Schwa- 
bach,  Bavaria,  May  12,  1814 — 
Wannbrunn,  Silesia,  Oct.  10,  1889; 
eminent  pianist  who  played  with  re- 
jnarkable  sonority  and  emotion;  to 
obtain  his  remarkable  reach  he  c. 
and  practised  incessantly  very  diffi- 
cult studies;  he  c.  a  famous  pf.- 
concerto,  6tudes,  etc. 
Hentschel  {hSnt'-shel),  Theodor, 
Schirgiswalde,  Upper  Lusatia,  1830 
— Hamburg,  1892;  conductor,  pianist 
and  dram,  composer. 
Herbert  (her'-bart),  Jn.  FT.,  Olden- 
burg, 1776 — Gottingen,  1841;  writer. 
Herbeck  (h&r'-bSk),  Jn.  tfz.  von,  Vi- 
enna, Dec.  25,  1831 — Oct.  28,  1877; 
important  cond.,  mainly  self-taught; 
dir.  1866,  ct.-cond.  at  Vienna  and 
prof,  at  the  Cons. 

Her'hert,     Victor,     Dublin,     Ireland, 
Feb.  i,  1859 — New  York,  May  26, 
1924;  a  grandson  of  Samuel  Lover, 
the  novelist;  at  7,  sent  to  Germany 
to  study  music;  ist  'cello  ct.-orch. 
Stuttgart,  and  elsewhere;  1886  solo 
'cellist,    Metropolitan    Orch.r    New 
York;  later  Theodore  Thomas*  and 
SeidTs  orchs.  (also  associate-cond.) ; 
1894,  bandm.  22d  Regt.,  vice  Gil- 
more;    1898 — 1904   cond.    of    Pitts- 
burgh (Pa.)  Orch.   (70  performers); 
then  founded  and  cond.  the  Victor 
Herbert  Orch.,  with  which  he  toured 
widely;  c*  pcs.  for  orch.  and  'cello; 
'cello-concerto;    an    oratorio,    "The 
Captive"    (Worcester  Festival);  and 
numerous  comic  operas,  incl.  "Prince 
Ananias,"   a  failure,    "The   Wizard 
^  the  Nile,"  "The  Serenade,"  "The 
'dol's  Eye,"   "The  Fortune   Teller," 
**The  Singing  Girl,"  "Babes  in  Toy- 
land,"  "The  Red  MUl,"   "Naughty 
Marietta,"        "The        Enchantress," 
"Mtte,  Modiste,"  "The  Lady  of  the 
Slipper,"    "The    Madcap    Duchess," 
"Sweethearts,"      "The      Debutante"' 
"The    Only  Girl,"    "Princess    Pat,"' 
-"Eileen,"  "Her  Regiment,"  etc.     He 
c.  also  the  grand  opera  "  Natoma,"- 
libretto  by  Jos.  D.  Redding,  which 
was  prod,  by  the  Philadelphia  Opera 
Co.,  191 1,  in  Philadelphia  and  at  the 
Met.  Op.,  N*.  Y.,  the  same  year;  and 
a  one-act  lyric  opera,   "Madeleine" 
(book  by  Grant  Stewart),  Met.  Op., 
Jan,  24,  1914,  fSee  article,  page  499.) 


Heritte  -  Viardot 
Louise  Pauline  Marie,  Paris,  Dec. 
14,  1841 — Heidelberg,  Jan.  17,  1918; 
daughter   of    Viardot- Garcia;   vocal 
teacher  St.  Petersburg  Cons.;  later 
at  Frankfort,  and  Berlin;  m.  Consul- 
General  Heritte;  c.  opera  "Lindora'* 
(Weimar,  1879),  and  cantatas. 
Hermann    (hgr'-man),    (i)    Matthias, 
called    Verrecoiensis,    or    Verreco- 
rensis,  from  his  supposed  birthplace, 
Warkenz    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)  Ft.,   Frankfort,    1828 — 
Leipzig,  1907;  pupil  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.,    Prenzlau, 
Brandenburg,  Sept.  21,  1849 — iQI9> 
pupil  of  Stern  Cons.,  Berlin;  1878-81 
dir.   of  it;    1871-78   singing-teacher 
and  cond.  New  York;   1884,  cond. 
N.    Y.    "Liederkranz";    1887,   prof, 
of  sacred  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  "Wulfrin"  (Co- 
logne, 1896);  5  cantatas,  overtures, 
etc.    (6)    Robt,,   Bern,   Switzerland, 
April  29,   1869 — Ambach,   Oct.   10, 
1912;  studied  Frankfort  Cons;  pre- 
viously   self-taught    in    zither,    pf., 
comp.   and  had  c.   works  of   much 
originality  in  which  Grieg  encouraged 
him;   1893,   studied   with   Humper- 
dinck,    then   went   to    Leipzig   and 
Berlin,  where  (1895)  kis  symphony 
and  a  concert-overture  were  prod,  at 
the  Philh.,  provoking  much  critical 
controversy;  lived  in  Leipzig;  c.  also 
"P elites  variations  pour  rire"  for 
and  vln.;   etc.     (7)  Hans,  Lei 
Aug.     17,    1870 — Berlin,    May    1 
1931;    contrabassist   and   composer 
studied  with  Rust,  Kretschmer  and 
von  Herzogenberg;  c.  string-quartets, 
pf.-pcs.,     etc.,     and     many     songs. 
(8)  J.  Z.     Vide  ZENNE*.     ^9)  Vide 

HERRMANN". 

Herman'nus  (called  Contrac'tus  or 
"der  Lahme,"  for  his  lameness), 
Graf  von  Vehrihgen,  Saulgau.Swabia, 
July  18,  1013 — Alshausen,  near 
Bioerach,  Sepi:.  24,  1054;  important 
writer  and  theorist. 


DICTIONARY  OF  MUSICIANS 


205 


Herniesdorff  (hSr'-mSs-d6rf),  Michael, 
Trier  (Troves),  1833—1885;  organ- 
ist composer  and  editor. 

Hennstedt  (h£rm'-sht£t),  Jn.  Simon, 
Langensalza,  near  Dresden,  1778 — 
Sondershausen,  1846;  composer. 

Hernandez  (£r-nan'-d£th),  Pablo,  b. 
Saragossa,  Jan.  25,  1834—1 87-;  pupil 
Madrid  Cons.;  organist  and  (1863) 
auxiliary  prof,  there;  c.  zarzuelas; 
a  mass,  symphony,  etc. 

Hemando  (gr-n£n'-do),  Rafael  Jose 
M.,  Madrid,  May  31,  1822 — after 
1867;  pupil  of  R.  Carnicer,  Madrid 
Cons.;  1848-53,  he  prod,  several 
succ.  zarzuelas,  some  in  collab.;  later 
dir  and  composer  to  Th.  des 
Vari6t€s;  1852,  secretary,  later  prof, 
of  harm.,  Madrid  Cons.;  founded  a 
Mutual  Aid  Mus.  Soc. 

Harold    (a-r61),    (i)    Louis    Jos-    Fd., 
Paris,  Jan.   28,  1791 — (of  consump- 
tion) 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    studying    music,    though    FStis 
taught  him  solfege  and  L.  Adam.  pf. 
After  his  father's  death  (1802),  he 
studied    piano    with    Louis    Adam, 
Paris     Cons,     (first     prize,     1810); 
harmony  with  Catel  and  (from  1811) 
comp.    with   M6hul;    1812   won  the 
Prix  de  Rome,  with  cantata  "Mile, 
de  la  Valliere"',  studied  at  Rome  and 
Naples,    where    he    was    pianist    to 
Queen    Caroline,    and    prod,    opera 
"La    Gioventu    di     Enrico    Quinto" 
(1815);  Paris,   1815,  finished  Boiel- 
dieu's    "Charles    de    France"    (prod, 
with  succ.   1816,  Op.   Com.);   "Les 
Rosieres"    and    "La    Clochette"    fol- 
lowed  1817,   both   v.   succ.;   others 
followed;  the  last  (1820)  failing,  he 
imitated  Rossini  in  several  operas, 
but  recovered  himself  in  the  succ. 
"Marie"  (1826);  1824,  pianist,  later 
chorusm.    at    the   Ital.    Opera,    but 
soon    relinquished.     1827    Chef    du 
Chant  at  the  Gr.  Op6ra,  for  which 
he  wrote  several  succ.  ballets,  incl. 
"La    SomnambuleS'    which    gave    a 
suggestion  to  Bellini;  1828.  Legion  of 
Honour.     "Zamfia"  (1831)  gave  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 
"UAuberge    d'Airey"    (1830)    (with 
Carafa),  "La  Marquise  de   Brtnwl- 
liers"  (1831),  with  Auber,  Boieldieu, 


Cherubim,  and  5  others;  and  "La 
Medicine  sans  MSdecin"  (1832);  he 
left  "Ludovic"  unfinished,  to  be  com- 
pleted by  Hal6vy  with  succ.;  c.  also 
much  pf.-mus.  Biogr.  by  Jouvin 
{Paris,  1868). 

Herrmann  (hSr'-man),  (i)  Gf.,  Sonders- 
hausen, 1808 — Liibeck,  1878;  violin- 
ist, pianist,  organist  and  dram,  com- 
poser. (2)  K.,  d.  Stuttgart,  1894; 
fcelHst. 

Herschel  (hSr-shel),  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  (hfcr'-t'l),  (i)  Jn.  Chr.,  Oetting- 
en,  Swabia,  1699 — Strelitz,  1754; 
singer,  viola  da  gambist,  violinist  and 
composer.  (2)  Jn.  Wm.,  Eisenach, 
1727 — Schwerin,  1789;  son  and  pupil 
of  above;  violinist,  conductor  and 
composer.  (3)  K.,  1784-1868;  vi- 
olinist. (4)  Peter  L*,  Berlin,  1817 
— 1899;  son  of  above;  composer. 
Hertz  (hSrtz),  Alfred,  Frankfort-on- 
Main,  July  15,  1872 — San  Francisco, 
Cal.,  April  17,  194^;  studied  Raff 
Cons.;  from  1895  2d-cond.  various 
cities;  1899  cond.  city  theatre  Bres- 
lau;  1 899, London;  1 909-1 5, Met.  Op., 
N.  Y.,  1915-30,  cond.  San  Francisco 
Symph.  Orch. 

Hertzberg  (hSrts'-bfcrkh),  Rudolph  von, 
Berlin,  1818 — 1893;  conductor  and 
editor.  . 

Herve  rightly  Florimond  Ronger  (£r- 
v2L  or  r6n-zha),  (i)  Houdain,  near 
Arras,  June  30,  1825 — Paris,  Nov.  4, 
1892;  singer,  then  organist,  con- 
ductor; in  Paris  acting  as  librettist, 
composer  and  actor,  and  producing 
flippant  but  ingenious  little  works  in 
which  French  operetta  finds  a  real 
origin;  c.  over  50  operettas,  also 
heroic  symphony  "The  Ashantee 
War,">  and  ballets.  (2)  Gardel,  son 
of  above,  prod.  1871  operetta  "  Ni, 
ni,  c'estfini.'-9' 

Hervey  (har'-vi),  Arthur,  of  Irish 
parents,  Paris,  Jan.  26,  1855— Lon- 
don, March  10,  1922;  pupil  of  B. 
Tours  (harm.)  and  Ed.  Marlois 
(instr.);  intended  for  the  diplomatic 
service,  till  1880;  critic  of  "Vanity 
Fair"',  from  1892,  London  "Post"\ 
c.  a  i-act  opera,  a  dram,  overture 
"Love  and  Fate,"  etc.;  author  of 
biog.  and  other  works. 


206 


DICTIONARY  OF  MUSICIANS 


Herz  (h£rts  or  Srs),  (i)  Jacques  Simon, 
Frankfort,     Dec.     31,     1794 — Nice, 
Jan.  27,  1880;  of  Jewish  parentage; 
studied  at  Paris  Cons,  with  Pradher; 
pianist  and  teacher  in  Paris;  then 
London j    1857,    acting-prof.     Paris 
Cons.;     c.     vln.-sonatas,     etc.     (2) 
Henri,  Vienna,  Jan.  6,  1806 — Paris, 
Jan,    5?    1888;    ist    prize    pf.-pupil 
Paris  Cons.;  very  popular  as  touring 
pianist;  succ,  as  mfr,  of  pianos;  ob- 
tained   extravagant    prices    for    his 
comps.;  prof,  at  the  Cons.;  writer. 
Herzog     (hSr'-tsokh),     (i)     Jn.     G., 
Schmolz,   Bavaria,   Sept.   6,    1822 — 
Munich,    Feb.    4,    1909;   'pupil    of 
Bodenschatz,  and  at  Altdorf  Semi- 
nary;   1842,    organist    at    Munich; 
1848,   cantor;    1850,   organ-prof,   at 
the  Cons.;  1854,  mus.  dir.  Erlangen 
Uruv.;  1866,  Dr.  PhiL;  later  prof.; 
retired  1888;  composer.     (2)  Emilie, 
Ermatingen,     Switzerland,     1859 — 
Aarburg,  Sept.  16,  1923;  spubrette 
coloratura-singer;  pupil  Zurich  Sch. 
of  Mus.,  then  of  Gloggner,  and  Ad. 
Schimon,    Munich;    d6but,    Munich 
(1879);  1889-1916,  Berlin  ct.-opera; 
1922  taught  Zurich  Cons. 
Herzogenberg      (hSr'-tsSkh-Sn-bSrkh) , 
(i)  EL  von,  Graz,  Styria,  June  10, 
1843 — Wiesbaden,     1900;    prof,     at 
Berlin,  etc.;  director,  professor  and 
composer.     (2)   Elizabeth   (n£e  von 
Stockhauseu)  (?)  1848 — San  Remo, 
1892;  pianist,  wife  of  above. 
Hes'eltine,  (i)  Jas.,  d.  1763;  English  or- 
ganist   and    composer.     (?)    Philip, 
London,    Oct.    30,    1894 — Dec.    17, 
1930;  composer  and  author,  known 
under  pseudonym   of  "Peter    War- 
lock9-;   studied   at    Eton,   and    with 
Colin     Taylor,      Delius     and     van 
Dieren;  founded  and  ed.  periodical, 
"The  Sackbut,"  1920-21;  wrote  books 
on    Delius,     Gesualdo;    also    "The 
English    Ayre";    c.    chamber    and 
orch.  music,  many  songs. 
Hess,  (i)  Joachim,  organist,  writer  and 
carillonneur,  Gouda,  Holland,  from 
1766 — 1810.     (2)    Willy,    b.    Mann- 
heim,  July   14,    1859 — Berlin,    Feb. 
*7>  1939;  pupil   of  Joachim;   at   19 
Konzertmeister  at  Frankfort,   1886 
at  Rotterdam,  then  England;  1895 
ist   vln.-prof.    Cologne   Cons.,    and 
ist    vln.     Giirzenich    Quartet.     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;  ipo8  co-founded  the 
Hess-Schroeder  Quartet  j  1910-28, 
taught  Berlin  Hochsch.  (3)  Lu*I- 
wig,  b.  Marburg,  March  23,  1877; 
pupil  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  "Ariadne"  and  other 
works  for  voices  and  orch.;  songs, 
etc.;  1912  engaged  to  tour  America; 
1925-34,  prof,  Berlin  Acad.  for 
Church  and  School  Mus..,  d.  1944. 
Myra,  b.  London,  Feb.  25,  1890; 
pianist;  studied  R.  Coll.  of  Mus. 
with  Tobias  Matthay;  has  toured 
France,  Holland,  Belgium,  Canada, 
also  U.  S.  annually  after  about 
1920;  one  of  pre-eminent  pianists 
of  her  generation;  has  made  arr.  of 
Bach  chorales  for  piano:  created 
Dame  Commander  of  British  Em- 
pire, 1936. 

Hesse  (h£s'-s*9,  (i)  Ernst  Chr., 
Grossen-Gottern,  Thuringia,  1676—- 
Darmstadt,  1762;  viola-da-gambist 
conductor.  (2)  Ad.  (Fr.),  Breslau, 
1809 — 1863;  org.- virtuoso  and  com- 
poser. (3)  Julius,  Hamburg,  1823— 
Berlin,  1881;  introduced  the  present 
measurement  for  pf.-keys;  and  pub. 
a  method.  (4)  Max,  Sondershausen, 
Feb.  18,  1858 — Leipzig,  Nov.  24, 
1907;  1880  founded  mus.  pub.  house 
in  Leipzig;  in  1883,  founded  H.  und 
Becker. 

Hetsch  (hStsh),  K.  Fr.  L.,  Stuttgart, 
1806 — Mannheim,  1872;  pianist,  vi- 
olinist and  dram,  composer. 
Heuberger     (hoi'-bSrkh-6r),     Richard 
Fz.    Jos.,    Graz,    Styria,    June    18, 
1850 — Vienna,  Oct.  28,  1914;  a  civil 
engineer;   in   1876   took   up   music, 
which   he    had   previously   studied; 
chorusm.,    Vienna    academical    Ge- 
sangverein;   1878   cond.    Singakade- 
mie;  c.  operas  "Abenteuer  einer  Neu-> 
jahrsnacht"  (Leipzig,  1886);  "Manuel 
Venegas"  (do.,  1889),  remodelled  as 
"Mir jam"  (Vienna,  '94) ;  2  operettas; 
critic,  and  teacher  at  Vienna  Cons. 
Heubner  (hoip'-ne"r),  Konrad,  Dresden, 
~ 


mann,  later  Nottebohm,  Vienna; 
Wiillner,  Nicode*  and  Blassmann, 
Dresden;  1882,  cond.  Leipzig  Singa- 
kademie;  1884,  asst.  cond.  Berlin 
Singakademie;  1890,  dir.  Coblenz 


DICTIONARY  OF  MUSICIANS 


207 


Cons,  and  MTIS.  Soc. ;  c.  a  symphony, 
overtures,  etc. 

Heugel  (tt-zhel),  Jacques  Ld.,  La 
Rochelle,  1815 — Paris,  1883;  editor 
and  publisher. 

Hey  (hi),  Julius,  Irmelshausen,  Lower 
Franconia,  April  29,  1832 — Munich, 
April  22,  1909;  studied  with  Lachner 
(harm,  and  cpt.),  and  F.  Schmitt 
(singing);  later  with  von  Billow  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  Wagner's 
death  (1883),  and  pub.  important 
vocal  method,  "Deutscher  Gesang- 
sunterricht"*  (4  parts,  1886),  ex- 
ploiting Wagner's  views.  Wagner 
called  him  "the  chief  of  all  singing- 
teachers.'^  1887,  Berlin;  later  Mu- 
nich; composer. 

Heyden  (hT-d'n),  (i)  Sebald,  Ntirn- 
berg,  1498  (i494?) — 1561;  cantor, 
writer.  (2)  Hans,  Niirnberg,  1540 — 
1613;  son  of  above;  organist;  inv. 
the  "GeigenclavicimbaL"' 

Beydrich  (hl'-drlkh),  Bruno,  b.  Leu- 
ben,  Feb.  23,  1863 — Halle,  August, 
1938;  pupil  of  Dresden  Cons.;  1879- 
82,  took  prizes  as  double-bass  player, 
pianist  and  composer;  for  a  year  in 
von  Billow's  Weimar  orch.;  4  years 
Dresden  ct.-orch.;  also  studied  sing- 
ing with  Scharfe,  Hey  and  v.  Milde; 
succ.  d€but  as  tenor  at  Sonder- 
shausen  theatre;  prod,  i-act  opera- 
drama,  with  pantomimic  prologue, 
"Amen,**  Cologne,  1895;  c.  songs; 
after  1009,  dir.  of  a  mus.  school  in 
Halle. 

Hey'man,  Katherine  Ruth,  Sacramento, 
Cal. — d.  Sept.  28,  1944;  pianist; 
studied  in  Europe;  d6but,  Boston, 
1899,  also  heard  in  Europe;  known 
particularly  as  an  interpreter  of 
Scriabin.  for  which  she  has  won 
internal  1.  reputation. 

Heymann  (hi '-man),  (i)  Karl,  pianist, 
Filehna,  Posen,  Oct.  6,  1854 — Haar- 
lem, Nov.,  1922.  Son  of  (2)  Isaac  H. 
(cantor);  pupil  of  Hiller,  Gernsheim, 
Breunung  and  Cologne  Cons,  and  of 
Kiel;  ill-health  ended  his  promising 
career  as  virtuoso;  1874,  mus.  dir. 
at  Bingen;  court-pianist  to  the 
Landgrave  of  Hesse;  1879-80,  Hoch 
Cons.,  Frankfort;  c.  concerto  "Elfen- 
spiel,"  "Mummenschanz,"-  "Phanta- 
siestilcke,"  etc.,  for  piano. 

Heymann-Kheineck  (hi'-man-rl'-ne'k) 
(K.  Aug.  Heymann),  b.  Burg- 


Rheineck  on  Rhine,  Nov.  24,  1852; 
pianist;  pupil  Cologne  Cons.,  and 
R.  Hochschule,  Berlin;  1875-1920, 
teacher  there;  composer. 

Heyne  Van  Ghizeghem  (also  Hayne, 
or  Ayne,  "Henry"),  Netherland  con- 
trapuntist and  court-singer,  ca.  1468. 

Hiebsch  (hSpsh),  Josef,  Tyssa,  Bohe- 
mia, 1854— Carlsbad,  1897;  teacher 
and  writer  in  Vienna, 

Hientzsch  (hentsh),  Jn.  Gf.,  Mokrehna, 
near  Torgau,  1787 — Berlin,  1856; 
teacher,  composer  and  writer, 

Hig'ginson,  Ifenry  Lee,  New  York, 
Nov.  1 8,  1834 — Boston,  Nov.  15, 
1919;  music  patron;  banker;  had 
studied  music  in  Vienna;  founded 
Boston  Symph.,  1881,  with  a  million- 
dollar  endowment;  directed  its  poli- 
cies until  1918,  when  gave  control 
to  a  board  of  directors;  also  a  trustee 
of  N.  E.  Cons. 

Hignard  (5n-yar)  (J.  L.),  Aristide, 
Nantes,  1822 — Vernon,  1898;  the 
preface  to  his  *c  Hamlet'^  written 
1868,  not  prod,  till  Nantes,  1888, 
shows  him  to  have  attempted  a  new 
and  serious  manner,  but  he  found 
production  only  for  comic  operas 
which  were  usually  succ. 

Hildach  (hH'-dSkh),  (i)  Eugen,  Wit- 
tenberg-on-the-Elbe,  Nov.  20,  1849 
— Berlin-Zehlendorf,  July  28,  1924; 
barytone;  pupil  of  Frau  Prof.  EL 
Dreyschock.  (2)  Anna  (ne'e  Schu- 
bert), KQnigsberg,  1852 — Nov.  18, 
1935;  wife  of  above;  mezzo-soprano; 
teacher  Dresden  Cons.,  1880-86. 

Hildebrand  (heT-dS-brant),  Camillo,  b. 
Prague,  1879;  conductor  1912-19, 
Berlin  Fhilh.;  1921-24,  Berlin 
Symph.;  composer. 

Hiles  (hilz),  (i)  J.,  Shrewsbury,  1810 
— London,  1882;  organist,  writer 
and  composer.  (2)  H.,  Shrewsbury, 
Dec.  31,  1826 — Worthing  near  Lon- 
don, Oct.  20,  1904;  bro.  and  pupil 
of  above;  organist  various  churches; 
1867,  Mus.  Doc.  Oxon;  1876,  lec- 
turer; later,  prof.  R.  Manchester 
Coll.  of  Music;  1885,  editor  and 
writer;  c.  2  oratorios,  3  cantatas,  an 
historic  opera,  etc. 

Hilf  (hslf),  (i)  Arno,  Bad  Elster, 
Saxony,  March  14,  1858 — Aug.  2, 
1909;  vln.-virtuoso;  son  and  pupil  of 
(2)  Wm.  Chr.  H.;  from  1872  he  also 
studied  with  David,  RQntgen,  and 
Schradieck,  Leipzig  Cons.;  second 
concertm.,  1878,  and  teacher  at 
Moscow  Cons.,  (1888)  Sondera- 


208 


DICTIONARY  OF  MUSICIANS 


liausen;  1889-91,  concertm,  Gewand- 
haus orch.,  Leipzig;  after  1892,  ist 
vin.  prof,  at  the  Conservatorium. 
BHfl,  (i)  Wm-,  London,  1800 — 1870; 
o^g.-bu2Lder,     (2)    Win*    Ebsworth, 
London,  1817 — Hanley,  1895;  vln.- 
maker.     (3)  Xhos.  H.  Weist,  Lon- 
don, i828-—i89i;  violinist,  conductor 
and  composer.     (4)  Ureli  C.,  New 
York,     1802     (?) — 1875;     violinist. 
<5)  Wmu,  Fulda,  March  28,  1838 — 
Homburg,    June    6,    1002;    pianist; 
pupil  of  H.  Henkel  anof  Hauff;  lived 
in  Frankfort;  c.  prize-opera  "Alona**; 
vln  .-sonatas,  etc.     (6)  Edward  Bur- 
Imgirme,  b.  Cambridge,  Mass.,  Sept. 
9,  1872;  composer;  grad.   Harvard, 
2894,  with  highest  honours  in  mus.; 
pupil  of  Lang  and  Whiting,  piano; 
"Wider,     comp,;     Bullard,     theory; 
Chad  wick,    instrumentation;    1887- 
1902,  taught  piano  and  harmony  in 
Boston;  instructor  of  mus.,  Harvard 
Univ.,  after  1908;  in  recent  years, 
head  of  the  mus.  dept.  there;  a  pro- 
Efic  comp..;  among  his  works:  fan- 
tastic pantomime  for   orch.    "Jack 
Frost     in     Midsummer'*     (Chicago 
Orch.   1907,   N.   Y.   Symph.    1908;; 
women's  chorus  with  orch.  "Nuns 
of  the  Perpetual  Adoration"-  (Musical 
Art  Soc.,  1907,  Birmingham  Orch., 
etc.);  Stevensonia  Suite  Nos.  i  and 
2,  symphonies,    "Sinfonietta,"*    "Li^ 
lac$"i  Concertino,  for  orch.;  chamber 
music,  3  piano  sonatas,  songs. 
HHIe   (MI'-IS),    (i)   Ed.,   Wahlhausen, 
Hanover,     1822 — Gottingen,     1891; 
cond.  and  teacher.     (2)  Gv.,  b.  Jeri- 
chow-on-Elbe,  near  Berlin,  May,  31, 
1850;  violinist;  pupil  of  R.  Wtierst 
(theory),  Kullakrs  Acad.,  1869-74  w. 
Joachim  (vln.);  lived  in  Berlin,  as  a 
solo-player;    1879,    invited    to    the 
Mendelssohn  Quintet  Club,  Boston, 
Mass.;  toured;  then  teacher  at  Mus. 
Acad.,  Phila,;    co.-dir.   of   Leefson- 
HHle  Cons,  there;  1910,  returned  to 
Germany;  c.  5  vln.-concertos  with 
cxrck.,  etc.;  d.  (?). 

Hfllemacher  (M'-lS-makh-er,  or  el- 
mJl-sha),  two  brothers,  (i)  Paul 
Jos.  Win.,  Paris,  Nov.  25,  1852— 
Versailles,  Aug.  13, 1933.  (2)  Lucien 
Jos.  Ed^  Pans,  June  10,  1860 — 
June  2,  1909;  both  studied  at  the 
Cons.,  and  took  the  first  Grand  Prix 
de  Rome,  (i)  in  1876;  (2)  in  1880. 
For  some  years  they  wrote  all  their 
scores  in  collaboration.  C.  symph. 
>fegend  "Lardy"  (1882,  City  of  Paris 


prize);    succ.    opera    "St.    Megrin9* 
(Brussels,  1886),  etc.;  "Orsola">  (Gr. 
Op€ra,  Paris,  1902). 
HUler  (HtUler)  (hfl'-ler),  (i)  Jo.  Adam, 
Wendisch-Ossig,  near  Gorlitz,  Dec. 
25,   1728 — Leipzig,  June    16,    1804; 
pupil  of  Homilius  (Kreuzschiile)  and 
U.  of  Leipzig;  flutist  in  concerts,  and 
teacher;  1754  tutor  to  the  son  of 
Count  Briihl;  1758,  accompanied  him 
to  Leipzig,  where  he  lived  thereafter; 
1763,  revived,  at  his  own  expense, 
the  subscription  concerts,  which  de- 
veloped into  the  famous  "Gewand- 
haus"'    concerts,    of    which   he   was 
cond.;     1771,    founded    a    singing- 
school;  1789—1801,  cantor  and  dir. 
Thpmasschule.         He   founded   the 
"SingspieLJt*    from    which    German 
"comedy-opera'^  developed,  contem- 
poraneously  with    opera    buffa   and 
op&ra  comique.     In  his  dram,  works 
the  aristocratic  personages  sing  arias, 
while  the  peasants,  etc.,  sing  simple 
ballads,     etc.     His     Singspiele,     all 
prod,  at  Leipzig,  had  immense  vogue, 
some  of  the  songs  being  still  sung; 
1766—70,  he  wrote,  edited  collections, 
etc.;    c.    also    a    Passion    cantata, 
funeral  music  (in  honour  of  Hasse), 
symphonies  and  partitas,  the  iooth 
Psalm,   etc.     Biog.   by   Carl   Peiser 
(Leipzig,     1895).     (2)     Fr.     Adam, 
Leipzig,  1768 — Elonigsberg,  Nov.  23 
1812;  violinist  and  tenor;  son  and 
pupil  of  above;  mus.  dir.  of  Schwerin 
Th.;  1803,  cond.  of  KcSnigsberg  Th.; 
c.    4   operettas,    etc.     (3)   Fd.   von, 
Frankfort,  Oct.  24,  1811 — Cologne, 
May   12,   1885;  of  wealthy  Jewish 
parentage;    a    pupil    of    Hofmann 
Cvln.),  Aloys  Schmitt  (pf.)  and  Voll- 
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 
Beethoven  on  his  death-bed;  1828- 
35,  taught  Choron's  School,  Paris; 
then  independently  giving  occasional 
concerts;  1836,  he  returned  to  Frank- 
fort, and  cond.  the  Cacilien-Verein; 
1839,  prod.  succ.  opera  "Romilda," 
at  Milan;  oratorio,  "Die  Zerstorung 
Jerusalems"^    (Gewandhaus,     1840); 
1841,    studied    church-music    with 
Baini,  Rome;  1843-44  he  cond.  the 
Gewandhaus;  prod,   at   Dresden,    2 
operas;    1847,    municipal    cond.    at 
Dtisseldorf;  1850  at  Cologne,  where 
he  organised  the  Cons.;  cond.  Gilrze- 


DICTIONARY  OF  MUSICIANS 


209 


Concerts,  and  the  Lower  Rhine 
festivals;  1852-53,  cond.  Opera  Ita- 
lien,  Paris;  1868,  Dr.  Phil.  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.  He  c.  3  other  operas,  2  ora- 
torios, 6  cantatas,  3  overtures, 
3  symphonies,  a  ballad  "Richard 
Ldwenherz,"  with  orch.  (1883),  etc. 
(4)  Paul,  Seifersdorf,  near  Liegnitz, 
Nov.  16,  1850 — Breslau,  Dec.  27, 
1924;  1870,  asst.-organist,  and  1881 
organist  St.  Maria-Magdalena,  and 
dir.  of  a  music  school,  Breslau;  com- 
poser. 

HiTpert,  W.  Kasimir  Fr.,  Niirnberg, 
1841 — Munich,  1896;  'cellist. 

Hils'berg,  ( i)  Ignace,  b.  Warsaw,  July  8, 
1894;  pianist;  pupil  of  St.  Petersburg 
Cons.,  with  Essipov  and  Sauer;  solo- 
ist with  orchs.  in  Europe  and  U.  S., 
also  Far  East;  mem.  of  faculty,  Inst. 
of  Musical  Art,  Juilliard  School, 
N.  Y.  (2)  Alexander,  his  bro.;  b. 
Warsaw;  violinist;  mem.  of  faculty, 
Curtis  Inst.  of  Mus.,  Phila.;  also 
heard  in  concerts  here  and  in 
Europe;  later  active  as  conductor. 

Hilton,  (i)  John,  d.  before  1612;  organ- 
ist at  Cambridge,  1594;  perhaps  the 
father  of  (2)  John,  1599 — 1656-7; 
organist  at  Westminster;  c.  anthems, 
madrigals,  etc. 

Him/mel,  Fr.  H.,  Treuenbrietzen, 
Brandenburg,  1765 — Berlin,  1814; 
court-cond.  and  dram,  composer. 

Hinck'ley,  Allen  Carter,  b.  Boston 
Oct.  n,  r.877;  bass;  pupil  of  Carl 
Schachner  and  Oscar  Saenger;  d6but 
with  Bostonian  Light  Op.  Co.,  1901; 
op.  d6but,  Hamburg  as  "  King  Henry" 
in  "Lohengrin,"  1903;  sang  at  Covent 
Garden  and  Bayreuth;  Met.  Op.  Co., 
1908-11;  later  with  Chicago  Op.  Co., 
also  in  other  cities  of  Europe  and 
IT.  S.;  d.  Yonkers,  N.  Y.,  1954- 

Hindemith  (hln'-dS-mft),  (i)  Paul,  b. 
Hanau,  Germany,  Nov.  16,  1895; 
composer,  viola  player;  one  of  the 
most  prolific,  scholarly  and  original 
comps.  among  the  younger  German 
school,  combining  remarkable  com- 
mand of  cpt.  with  original  harmonic 
style,  including  use  of  atonality; 
there  are  both  romantic  and  parodis- 
tic  elements  in  his  work;  studied 
comp.  with  Arnold  Mendelssohn  and 
Sekles;  played  in  Frankfort  Op. 


orch.,  1915-23;  after  which  he  was 
active  mainly  as  composer  and  as  a 
member  of  the  Amar  String  Quartet; 
taught  at  Berlin  Hochsch.,  1927-34; 
in  latter  year  his  music  fell  under 
ban  in  Germany  as  opposed  to  cul- 
tural policies  then  enforced  by  the 
state  regime,  although  he  had  in  his 
opera  "Mathis  der  Maler"  (1934) 
shown  a  return  to  orthodox  tonality 
and  romantic  subject  matter;  c, 
(operas)  "Mdrder,  Hofnung  der 
Frauenf*  "Das  Nusch-  Nttsckr9'  and 
"Sankta  Johanna"  3  one-act  works 
(1920);  "Cardillac"  (1926);  "  Neues 
vom  Tag";  "Hin  und  Zwrueck"  (short 
opera  in  which  action  reverses); 
orch.,  Konzertmusik  for  strings  and 
brass;  "The  4  Temperaments"  (also 
str.  quart.,  pf.,  double  bass); 
Symphonia  Serena;  "Metamorphoses 
on  Themes  of  Weber";  "Nobilissima 
Visione"  (orch.  suite  from  ballet); 
pantomime,  "Der  DtLmon"  an  ora- 
torio "Das  UnaufhSrliche,"  (cantata) 
"Die  Serenaden";  (vocal  works) 
"Marienleben,"  "Junge  Nonne,"  and 
a  large  amount  of  ingenious  chamber 
music,  incl.  4  string  quartets,  so- 
natas for  piano  and  vln.,  viola  and 
'cello,  piano  suite  "1912,"  orchestral, 
piano,  vln.,  'cello,  viola  and  viola 
d'amour  concertos,  various  forms  of 
writing  known  as  "Kaanmermusik" 
with  pieces  for  piano  and  'cello, 
songs;  Prof,  of  music,  Yale  Univ., 
1941.  (2)  Rudolf,  bro.  of  Paul,  b. 
Jan.  9,  1900,  in  Hanau;  'cellist;  pupil 
of  Hoch  Cons.;  was  solo  'cellist  at 
Munich  and  Vienna  State  Op,;  mem. 
of  Amar  Quartet  and  of  Munich 
Trio;  after  1927  taught  at  Carlsruhe 
Cons. 

ffinrichs  (hXn'-rikhs),  (i)  Fz.,  Halle-on- 
the-Saale,  ca.  1820 — Berlin^  1892; 
composer  and  writer  on  music.  His 
sister  (2)  Maria*  Vide  PRANZ.  (3) 
Gustav,  Ludwigslust,  Mecklenburg, 
1850— Mountain  Lakes,  N.  J.,  March 
26,  1942 ;  conductor ;  studied  with  his 
father,  Marxsen  and  Reisland;  early 
active  as  a  violinist,  after  1870  in  San 
Francisco;  cond.  of  Amer,  Op.  Co., 
assisting  Theodore  Thomas,  1885- 
86;  1886-96,  manager  of  his^  own 
opera  company;  1899—1906,  dir,  of 
music  at  Columbia  Univ.;  1903-08, 
cond.  at  Met.  Op.;  c.  operas,  orch. 
works,  choral  pieces,  songs,  etc. 

Hin'shaw,  William  Wade,  b.  Union, 
Iowa,  Nov.  3,  1867;  bass  and  im- 


210 


DICTIONARY  OF  MUSICIANS 


presario;  studied  with  R.  A.  Heri- 
tage, L.  G,  Gottschalk  and  L.  A. 
Phelps  :  early  active  as  voice  teacher 
and  choir  din;  debut  at  St.  Louis 
with  Savage  Op.  Co.,  1899,  as 
"Mephistopheles";  organised  school 
of  opera,  Chicago,  1903  ;  1909  founded 
Internat'l  Gr.  Op.  Co.  ;  sang  at  Met. 
Op,  House,  1910-13  ;  after  1917,  man- 
ager of  Soc.  of  Amer.  Singers,  N.  Y., 
and  later  of  his  own  touring  opera 
company  which  gave  Mozart  and 
other  works;  d.  Washington,  1947- 

Hin'ton,  Arthur  ,  Beckenham,  1869  — 
Rottingdean,  1941;  pupil  R.  A.  M., 
later  with  Rheinberger  at  Munich 
Cons.,  where  Ms  first  symph.  was 
played;  his  second  symph.  was 
played  in  London,  1903;  c.  also  opera 
"Tamara";  operettas  for  children, 
and  piano  pieces  played  by  his  wife, 
Katharine  Goodson,  whom  he  mar- 
ried in  1903. 

Hip'kins,  Alfred  Jas.,  Westminster, 
June  17,  1826  —  London,  June^  3, 
1903;  writer;  an  authority  on  ancient 
iiLStrs.,  etc.;  was  for  a  time  in  business 
with  Broad  wood;  wrote  many  arti- 
cles for  the  "Encyclopaedia  Britan- 
nica,">  and  "Grove's  Dictionary  of 
Music,9*9  also  books  on  old  instr.  and 

•     pitch. 

'Him  (h5rn),  Gv.  Ad.,  Logelbach,  near 
Colmar  (Alsatia),  1815  —  Colmar, 
1890;  writer. 

Htrsch  (h€rsh),  (i)  Dr.,  Rudolf,  Napa- 
gedl,  Moravia,  1816  —  Vienna.  1872; 
critic,  poet  and  composer.  (2)  Karl, 
Wemding,  Bavaria,  March  17,  1858 
-  —  Faulenbacli,  Nov.  3,  1918;  studied 
in  Munich;  1885-87,  church  mus.- 
dir.,  Munich;  1887-92,  Mannheim; 
then  Cologne;  after  1893  lived  in 
other  cities  as  dir.  various  societies, 
etc.;  c.  numerous  pop.  a  cappella 
choruses. 

B3rschbach  (hersk'-bSkh),  H.,  Berlin, 
1812  —  Gohlis,  1888;  editor  and  com- 

_poser. 

Hrrschfeld  (hersh'-f&t),  Robt.,  Mora- 
via, Sept.  17,  1857  —  Salzburg,  April 
2,  1914,  where  lie  was  dir.  of  Mozart- 
eum;  studied  Vienna  Cons.;  later 
lecturer  there;  1884  teacher  of 
musical  aesthetics;  took  Dr.  Phil. 
with  dissertation  on  "Johannes  de 


Hirsch'mann,  Henri,  b.  St.  MaudS, 
1872;  composer,  under  pen-name  of 
V.  H.  Herblay,  of  operas,  "U  Amour 
a  la  Bastille"  (Pans,  1897),.  "7^««- 
7x,x-^»».  fAr\  -r&r\9C\  cc  Tfermani* 


, 
lace"<  (do.,  1898),  "Herman*"   (do., 


;w";  he  wrote  a  pamphlet  against 
Hanslick   in   defence   of    ancient    a 
•a    music,    and    founded    the 
to   cultivate 


BoMme"     (Paris,    1905;    in    Berlin 
1905,  as  "Musette"),  etc. 

Hobrecht  (ho'-brSkht)  (or  Obrecht, 
Obreht,  Ober'tus,  Hober'tus),  Ja- 
kob, Utrecht,  ca.  1430 — Antwerp, 
1505;  church  composer  of  great  his- 
torical importance. 

Hochberg  (h6kh'-b£rkh),  Bolko,  Graf 
von  (pseud.  J.  H.  Franz),  Fiirsten- 
stein  Castle,  SHesia,  Jan.  23,  1843 — 
Bad  Salzbrunn,  Dec.  i,  1926;  main- 
tained the  H.  quartet  at  Dresden; 
1876  founded  the  Silesian  music  fes- 
tivals; 1886-1903,  general  intendant 
Prussian  Ct.  Th.;  prod.  2  operas;  c, 
symphonies,  etc. 

Hoffmann  (h6f'-man),  (i)  Eucharius, 
b.  Heldburg,  Franconia,  cantor  at 
Stralsund;  writer  and  composer, 
1577-84.  (2)  Ernst  Th.  (Amadeus) 
Win.  (he  added  Amadeus  from  love 
of  Mozart),  Konigsberg,  1776— 
BerUn,  1822;  gifted  poet,  caricatur- 
ist, and  dram,  composer.  (3)  H. 
Aug.  (called  H.  von  Fallersleben), 
Fallersleben,  Hanover,  1708 — Castle 
Korvei,  1874;  writer.  (4)  Richard, 
Manchester,  EngL,  May  24,  1831 — 
Mt.  Kisco,  N.  Y.,  Aug.  17,  1909; 
pianist  and  teacher;  pupil  of  his 
father,  and  de  Meyer,  Pleyel,  Mosch- 
eles,  Rubinstein,  Dohler,  Thalberg, 
and  Liszt;  1847,  New  York;  solo 
pianist  with  Jenny  Lind  on  tours, 
etc.;  also  with^von  Billow,  in  N.  Y. 
(1875);  c.  anthems,  pf.-pcs.,  etc. 
(5)  Karl,  Prague,  Dec.  12,  1872 — 
i936;"|violimst;  studied  Prague  Cons.; 
founder  and  ist  vln.  the  famous 
"Bohemian  String-quartet";  after 
1922  taught  master  class  at  Prague 
Cons. 

Hoffmeister  (h6f  '-ml-shter),  Fz.  Anton, 
Ro  tenburg-on-Neckar,  1 7  54 — Vi- 
enna, 1812;  conductor  and  dram, 
composer,  etc. 

Hoftuumer  (h6f'-ni-mer)  (Hoffheimer, 
HofEhaimer,  Hoffhaymer),  Paulus 
von,  Radstadt,  Salzburg,  1459 — Salz- 
burg, 1537;  eminent  organist;  lute- 
nist,  composer  and  teacher. 

Hofmarm  (h6f'-man),  (i)  Chr.,  ca. 
1668;  cantor  at  Krossen:  writer. 


DICTIONARY  OF  MUSICIANS 


211 


(2)  H.  (K.  Jn.),  Berlin,  Jan.  13,  1842 
— July  19,  1902;  pupil  of  Wiirst, 
JLullak's  Academy;  famous  pf.- vir- 
tuoso and  teacher;  prod.  succ.  operas 
"Cartouche"  (Berlin,  1869)  and 
*' Donna  Diana"  and  4  others;  and 
succ.  orch.  works,  "  Hungarian  Suite"' 
(1873)  and  "Fritkjaf"  symph.  (1874); 
was  a  Prof.,  and  a  member  of  the 
Berlin  R.  Acad.  of  Arts;  c.  6  other 
operas,  "secular  oratorio"  "Prome- 
theus" (1896);  cantatas;  "Schauspiel" 
overture;  "  Trauer marsch,"  etc.,  for 
orch.;  a  vln.-sonata,  etc.  (3)  Rich- 
ard, Delitzsch,  Prussian  Saxony, 
April  30,  1844 — Leipzig,  Nov.  11, 
1918;  son  of  municipal  mus.-dir.; 

Eupil  of  Dreyschock  and  Jadassohn; 
ved  in  Leipzig  as  teacher;  pub.  a 
valuable  "Praktische  Instruments 
tionsschule"  (Leipzig,  1803),  a  cate- 
chism of  instrs.,  etc.  (4)  Casimir 
(rightly  WyszkowsM)  (wSsh-k6f- 
shkl),  Cracow,  1842 — Berlin,  1911; 
pianist;  prof,  of  harm,  and  comp.  at 
Cons.,  and  cond.  of  opera,  Warsaw. 
(5)  Josef,  b.  Cracow,  Jan.  20,  1876. 
Son  and  (till  1892)  pupil  of  (4);  at 
6  played  in  public;  at  9  toured 
Europe;  at  10  gave  52  concerts  in 
America;  then  studied  2  years  with 
Rubinstein  and  made  new  d6but  in 
Dresden,  1894,  and  has  toured  Eu- 
rope since  and  (beginning  1899) 
America;  from  being  a  sensational 
prodigy,  he  developed  into  a  brilliant 
pianist  of  great  power,  virtuosity  and 
charm;  his  technique  is  probably 
unsurpassed  in  his  generation;  after 
1924  dir.  of  Curtis  Inst.  of  Mus., 
Phila.;  c.  symph.  work,  "The 
Haunted  Castle"-,  pf. -concerto,  and 
numerous  other  pieces;  author, 
"Piano  Playing,"  etc. 

Hofmeister  (h6f'-ml-shter),  (i)  FT., 
1782 — 1864:  publisher;  his  son  and 
successor  (2)  Ad.  H.,  ca.  1818 — Leip- 
zig, 1870;  was  succeeded  by  Albert 
Rothing,  1845 — 19°7- 

Ho 'garth,  G.,  Carfrae  Mill,  near  Ox- 
ton,  Berwickshire,  1783 — London, 
1870;  'cellist  and  composer;  his 
daughter  m.  Charles  Dickens. 

Hohlfeld  (hQl'-f&t),  Otto,  Zeulenroda, 
Voigtland,  1854 — Darmstadt,  1895; 
vln.-virtuoso  and  composer. 

Hohnstock  (hSn'-shtdk),  Carl,  Bruns- 
wick, 1828 — 1889;  teacher,  violinist, 
pianist  and  composer. 

Hoi,  Richard,  Amsterdam,  July  23, 
1825— Utrecht,  May  14,  1904;  pupil 


Martens  (org.)  and  of  Bertelman 
(harm,  and  cpt.) ;  teacher  at  Amster- 
dam; 1862,  city  mus.-dir.,  TJtrecht; 
1869,  cath.-organist;  1875,  dir.  Sen. 
of  Mus.;  also  cond.  "Diligentia'<J 
Concerts  at  The  Hague,  Classical 
Concerts  at  Amsterdam;  1878,  officer 
of  the  French  Academy;  c.  oratorio 
"Dawd"  (op.  81);  2  operas;  2  sym- 
phonies, etc. 

Hol'borne,  Antony  and  Wm.,  English 
composers,  1597. 

Hol'brooke,  Josef,  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,"  "The  Skeleton 
in  Armour,"'  "  Ulalume"<  (London 
Symph.,  1904),  "Queen  Mab'>9*  (Leeds 
Fest.,  1904),  "The  Masque  of  the 
Red  Death,'>'  overture,  "The  New 
Renaissance,"  etc.  His  opera  "The 
Children  of  Don"<  (libretto  by  Lord 
Howard  de  Walden)  was  prod,  at 
the  London  Op.,  June  15,  1912,  with 
Nikisch  conducting.  Other  works 
include:  (operas)  "Pierrot  and 
Pierrette,"*  "Dylan,"'  "Bronwen, 
Daughter  of  Uyr»  "The  Wizard,9* 
"The  Stranger"",  chamber  music, 
ballets,  suites  for  orch.,  vln.  con- 
certo. Author,  "Contemporary  Brit- 
ish Composers"  (1931). 

Hol'der,  Rev.  Wm.,  Nottinghamshire, 
1616 — Amen  Corner,  1697;  writer, 
editor  and  composer. 

Hollander  (h6l'-fent-er),  (i)  Alexis, 
Ratibor,  Silesia,  Feb.  25,  1840 — 
Berlin,  Feb.  $,  1924;  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- 
1902,  cond.  the  "CScilienverein"; 
1888,  professor;  c.  6  pf.  Intermezzi 
for  left  hand,  etc.  (2)  Gv,,  Leob- 
schutz,  Upper  Silesia,  Feb.  15,  1855 
—Berlin,  Dec.  4,  1915;  played  in 
public  early;  pupil  of  David,  of 
Joachim  (vln.),  and  Kiel  (theory); 
1874,  principal  teacher  Kullak's 
Acad.  and  royal  chamber-mus. ; 
toured  Austria  with  Carlotta  Patti; 
1881,  teacher  at  the  Cons.,  Cologne; 
1884,  leader  at  the  Stadttheater; 
1894,  dir.  Stern  Cons.,  Berlin;  c.  vln. 
and  pf.-pcs.  (3)  Victor,  b.  Leob- 
schutz,  April  20,  1866;  pupil  of 
Kullak;  c.  succ.  comic  operas  and 


DICTIONARY  OF  MUSICIANS 


212 

stage  music,  also  for  films;  after  1934 
comp.  in  Hollywood. 
Hollander  (h61'-lSn-dgr),  Benno,  b. 
Amsterdam,  June  8,  1853;  violinist; 
played  as  child,  then  studied  with 
Massart  and  Saint-Saens  at  Pans 
Cons.,  winning  first  violin  prize, 
1873;  after  1876  toured,  then  settled 
in  London  as  viola  player;  1882, 
txmd.  German  Opera  season;  1887 
violin  prof,  at  the  Guildhall;  cond. 
London  Symph.  Concerts;  1903,  or- 
ganised the  Benno  H.  Orchestral 
Society;  c.  syinph.  "Roland";  violin 
concertos,  pastoral  fantasia  played 
by  Ysaye;  d.  London,  1942.  fc 

Hollangue.     Vide  MOUTON. 

Hdlins,  Alfred,  Hull,  Sept.  n,  1865 
— Edinburgh,  May  18, 1942;  blind  or- 
ganist; pupil  Hartvigson;  played  Bee- 
thoven concerto  as  boy;  at  16  played 
for  the  Queen;  pupil  of  Bttlow,  later 
at  Raff  Cons.;  played  for  crowned 
heads,  and  toured  America;  1884, 
org.  at  Redhill;  1888  at  People's 
Palace;  1897  at  Edinburgh,  Free  St. 
George's  Church;  c,  2.  overtures, 
organ  music,  etc. 

Hollmann  (h61'-man),  Josef,  Maes- 
tricht,  Holland,  Oct.  16,  1852— 
Paris,  Jan.  i,  1927;  notable  'cellist; 
studied  with  Gervais;  toured  Europe, 
England  and  America;  court-mus., 
Holland,  and  many  decorations. 

Holmes  (h5mz),  (i)  Edw.,  near  Lon- 
don, 1797— U.  S.,  1859;  pf. -teacher, 
editor  and  critic.  (2)  Wm,  H.,  Sud- 
bury,  Derbyshire,  1812 — London, 
1885;  pianist  and  professor.  (3)  Al- 
fred, London,  1837 — Paris,  1876;  son 
of  above;  dram,  composer.  (4)  Hy., 
London,  Nov.  7,  1839 — San  Fran- 
cisco, Cal.,  Dec.  9,  1905;  bro.  of 
above;  after  1866  was  long  vln.-prof. 
R.  C.  M.;  c.  4  symphonies,  etc. 

Holmes  (61'-mes)  (rightly  Holmes), 
Augusta  Mary  Anne,  (of  Irish  par- 
ents) Paris,  Dec.  16,  1847— Jan.  28, 
1903;  at  first  a  pianist;  studied  comp. 
with  Lambert,  Elos6  and  C6sar 
Franck;  1873,  prod,  a  psalm,  "In 
Mvitu";  1874,  a  i-act  stage  work 
"Hero  et  Leandre"  (Chatelet);  the 
symphonies  "Lutece"  and  "Les  Argo- 
iwuteSy"  1883;  symph.  "Irlande,"* 
1885;  unsucc.  drama  "La  Montague 
Nwre"-  (Gr.  Opera),  1895;  sym- 
phonic poems,  "Roland,"  "Pologne"* 
**Au  Pays  Bleu";  2  operas,  etc.;  she 
sometimes  uses  pseud.  "Hermann 
» 


Hoist,  Gustav,  Cheltenham,  England, 
Sept.  21,  1874 — London,  May  25, 
1934;  studied  R.  Coll.  of  Mus.  witb 
Stanford;  fellow  and  prof,  of  comp., 
R.  Coll.  of  Mus.;  formerly  dir.  of 
music,  Morley  Coll.;  lectured  on 
music,  Harvard  Univ.,  one  of  the 
most  accomplished  of  modern  Eng- 
lish comps.,  though  of  Teutonic  an- 
cestry; introduced  British  folk-song 
elements  into  some  of  his  works,  also 
arranged  many  traditional  pieces  in 
choral  transcriptions;  showed  in- 
terest in  and  influence  of  Oriental 
themes;  modern  French  school  and 


(JJXG~ Cklslt     VWi*fc.     ¥»+!«**    •v^jj.vw*^**' T—     — — —  — — 

(London,  1916);  "The  Perfect  Fool'* 
(a  ballet-opera,  said  to  satirise 
Wagner's  "Parsifal"},  Covent  Gar- 
den, 1023;  "At  the  Boar's  Head,"> 
based  on  Shakespeare's  "Henry  IV" 
and  using  actual  folk  melodies  (Brit- 
ish Nat'l.  Op.  Co.,  1927);  also  "Avt 
Maria"  for  8  women's  voices; 
(masque)  "The  Vision  of  Dams 
Christian"  (1909);  "The  Mystie 
Trumpeter"  scena  for  soprano  and 
orch.  (1905);  Cotswolds  Symphony 
(1900);  "The  Planets"  (i9I5)  and 
"Beni-Mora"-  suite  (1910);  "Phan- 
tasies" (191 2),  "Indra"  (1903), 
"Japanese"  suite  (1916);  "A  Somer- 
set Rhapsody"  for  orch.  (190?)  { 
(choral  works)  "King  Estmere"> 
(IQOS),  "Choral  Hymns  from  the 
Rig-Veda"  (1912),  "The  Cloud- 
Messenger"  (1910),  "Hymn  of  Jesus99' 
and  "Ode  to  Death"  (Leeds  Fest., 
1921),  Choral  Symphony  (do.,  1924); 
Fugal  Concerto,  St.  Paul's  Suite, 
"Songs  without  Words,"  "Songs  of  the 
West"*  and  numerous  choruses  and 
part-songs,  besides  2  wind  quintets 
and  other  chamber  works. 

Holstein  (hdl'-shtin),  Fz.  (Fr.)  von, 
Brunswick,  1826  —  Leipzig,  1878; 
dram,  composer. 

Holten  (h617-tSn),  K.  von,  Hamburg, 
July  26, 1836 — Altona,  Jan.  12, 1912; 
pianist;  pupil  of  J.  Schmitt,  Ave- 
Lallemant  and  Gradener,  and  at 
Leipzig  Cons.;  after  1874,  teacher 
Hamburg  Cons.;  c.  a  Kinder sym- 
phonie,  etc. 

Holy  (CMS),  Alfred,  K  Oporto,  Aug.  5, 
1866;  harp- virtuoso;  son  and  pupil 
of  a  cond.  and  teacher  from  Prague; 
studied  at  Prague  Cons.,  and  lived 
there  till  1896,  wher  he  went  to  the 


DICTIONARY  OF  MUSICIANS 


213 


Berlin  ct. -opera;  after  1913 ,  solo  harp- 
ist, Boston  Symph.-  d.  Vienna,  1948. 

Holzbauer  (hdlts-bow-e'r),  Ignaz,  Vi- 
enna, 1711 — Mannheim,  1783;  court- 
conductor  and  dram,  composer; 
highly  praised  by  Mozart. 

flSlzl  (h£l'-ts'l),  Fz.  Severin,  Malaczka, 
Hungary,  1808 — Fiinfkirchen,  1884; 
conductor  and  composer. 

Ho'mer,  (i)  Sidney,  b.  Boston,  Mass., 
Dec.  9,  1864 — Winter  Park,  Fla.,  July 
10,  1953;  composer;  pupil,  G.  W. 
Chad  wick,  then  of  Rheinberger,  O. 
Hie ter  and  Abel  in  Germany;  1888-96 
teacher  of  theory  in  Boston;  c.  many 
important  songs.  In  1895  he  mar- 
ried (2)  Louise  (Dilworth  Beatty), 
b.  Pittsburgh— d.  Winter  Park,  Fla., 
1947;  contralto,  pupil  of  Miss  Whinnery 
and  Miss  GoflF,  W.  L.  Whitney,  and 
of  her  husband  in  theory;  then 
studied  in  Paris  with  Fidele  Koenig; 
d6but,  1898,  at  Vichy;  1899  at  Covent 
Garden,  also  at  La  Monnaie,  Brus- 
sels; 1900-19  sang  regularly  at  Met. 
Op.^  House  as  a  leading  member  of 
co.  in  Italian,  German,  French  roles; 
created  title  r61e  in  Parker's  " M ona,"> 
etc.;  guest  appearances  with  co,  after 
the  latter  year;  also  an  eminent  con- 
cert singer.  (3)  Louise  (Homer- 
Stires),  their  daughter,  also  active 
as  a  concert  singer  (soprano)  in  joint 
programmes  with  her  mother. 

Homeyer  (ho'-ml-e'r),  name  of  a  mu- 
sical family.  The  most  prom*  of 
them  is  Paul  Joseph  M.,  Osterode, 
Harz,  Oct.  26,  1853 — Leipzig,  July 
27,  1908;  famous  organist  at  the 
Gewandhaus,  and  teacher  Leipzig 
Cons. 

flomilius  (hQ-me'-H-oos),  Gf.  Aug., 
Rosenthal,  Saxony,  1714 — Dresden, 
1785;  eminent  organist  and  com- 
poser. 

Honegger  (Sn'-Sg-e'r),  Arthur,  b.  Le 
Havre,  France,  March  10,  1892,  of 
Swiss  ancestry;  composer;  studied 
with  Martin,  G6dalge,  Widor  and 
Capet;  an  exponent  of  Poly  tonality, 
but  classic  in  form;  one  of  most  gifted 
members  of  former  "Group  of  Six"; 
since  1913  active  in  Paris;  c.  (operas) 
"Morte  de  Ste.  Almeenne";  "Anfo- 
gone,"  "Judith"  produced  by  Chi- 
cago Op.  with  Mary  Garden;  (can- 
tata with  narrator)  "Le  Roi  David" 
to  text  by  Morax,  widely  performed 
(N.  Y.,  1925);  music  to  M6raPs  "Dit 
des  Jeux  du  Monde";  (ballet)  "  Verite 
Mensonge?" ,  Concertino  for  piano 


and  orch.,  and  (orch.)  "Horace 
torieux,"  ''Pastorale  d'£t6,"  "Pacific 
231"  (literal  depiction  in  sound  of 
the  journey  of  a  locomotive),  prelude 
to  "  The  Tempest"  prelude  to  Act  II 
of  d'Annunzio's  "Pkaedre*  "Skating 
Rink,"  "Rugby"  (descriptive  of  a 
football  game);  Symph.  for  String 
Orch.;  "Jeanne  au  Sticker  ,"  dramatic 
oratorio  for  woman  reciter,  vocal 
soloists,  choruses  and  orch. 

Hood,  Helen,  b.  Chelsea,  Mass.,  June 
28,  1863;  pupil  of  B.  J.  Lang  (pf.) 
and  Chad  wick  (comp.),  Boston;  and 
Moszkowski  (pf.);  composer.  , 

Hook,  Jas,,  Norwich,  1746  —  Boulogne, 
1827;  organist  and  composer. 

Hope  'kirk,  Helen,  b.  near  Edinburgh, 
Scotland,  May  20,  1856;  studied  with 
Lichtenstein  and  A.  C.  Mackenzie; 
for  2  years  at  Leipzig,  later  with 
Leschetizky;  d6but  as  pianist  at 
Gewandhaus,  Leipzig,  1878;  gave 
concerts  in  Great  Britain  and 
(1883-84)  U.  S.;  1897-1901,  teacher 
N.  E.  Cons.;  later  private  teacher, 
Boston,  Mass.;  c.  Concertstiick  fox 
pf.  and  orch.;  1894,  orch.  pcs.;  a  pf.- 
concerto;  sonata  for  pf.  and  vin.,  and 
songs;  d.  Cambridge,  Mass.,  1945. 

Hopffer  (hdp'-fer),  L»  Bd.,  Berlin,  1840 
—  Niederwald,  near  Rudesheim,  1877; 
dram,  composer. 

Hoplons,  (i)  Edw.  J.,  Westminster, 
June  30,  1818  —  London,  Feb.  4, 
1901;  self-taught  organist  at  various 
churches;  1843-1898,  to  the  Temple 
Ch.,  London;  wrote  "The  Organ; 
Its  History  and  Construction"  {Kim- 
bault);  contributed  to  "Grove's  Diet. 
of  Mus"^  c.  3  prize  anthems,  hymn- 
tunes,  chants  and  church-services. 

(2)  Edw.  Jerome,  Burlington,  Vt., 
1836  —  Athenia,    N.    J.,    1898$    8elf«- 
taught  in  harmony;  began  coaiposing 
at  4;  organist,  editor  and  lefcturar; 

(3)  Harry  Patterson,  b.  Baltifl&Gite, 
1873;  graduated  Peabody  Inst.>  1896; 
studied   with   Dvofak  ia  Bohemia; 
after    1899   active   as   organist  and 
teacher,  Baltimore;  c.  a  symphony, 
songs,  etc. 

Hopldnson,  Francis,  composer;  1737- 
91  ;  one  of  the  earliest  American  com- 
posers; inventor  of  the  " 


monica. 

Hoplit.     Vide  POBX,  R. 

Horak  (ho'-rUk),  (i)  Wenzel  (Vficlav) 
Emanuel,  Mscheno-Lobes,  Bohemia, 
1800  —  Prague,  1871  ;  organist,  teachei 
and  composer.  (2)  Ed.,  Holitz, 


214 


DICTIONARY  OF  MUSICIANS 


Bohemia,  1839 — Riva,  Lake  of  Gar- 
da,   1892;  teacher  and   writer.      (3) 
Ad,,   Jankovic,    Bohemia,    Feb.    15. 
1850 — Vienna   (?);   pianist;   bro.   of 
above     and     co-founder,     "Hordk'2 
Pf.-School,  Vienna;  writer. 
Horn,  (i)  K.  F*.,  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     composer.     (3)     Aug., 
Freiberg,      Saxony      1825 — Leipzig, 
1893;  dram,  composer. 
Eloraeman    (h6r'-n£-man),    (i)    Johan 
Ole  Emil,  Copenhagen,  1809 — 1870; 
composer.     (2)    Emil    Chr.,    Copen- 
hagen, Dec.  17,  1841 — June  9,  1906; 
son  and  pupil  of  above;  studied  at 
Leipzig  Cons.;  dir.  of  sch.  of  mus. 
in  Copenhagen;  c.  overtures  "Alad- 
din" and  "  Heldenleben"  etc. 
Hornstein    (h6rn'-shtln),    Robt.    von, 
Donaueschingen,     1833  —  Munich, 
1890;  dram,  composer. 
Horowitz    (h6r'-6-v5tz),    Vladimir,    b. 
Kiev,  Russia,  Oct.  i,  1904;  pianist; 
grad.  Kiev  Cons,  at  17;  studied  with 
Blumenfeld;  d6but,  Kharkov;  since 
1924  has  made  appearances  in  lead- 
ing Eur.   capitals  with  pronounced 
succ.;   a  brilliant  virtuoso,   he  has 
appeared  with  the  princ.  orchs.  in 
Germany,    France,    England,    Italy 
and  TJ.  S.  (Amer.  d6but  with  N.  Y. 
Philh.,  1928);  m.  Wanda,  daughter  of 
.     Arturo  Toscanini. 
Hprsley,    (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. 

Horszowski  (h^r-shSf'-ske),  Miecio,  b. 
Lemtjerg,  Poland,  1892;  pianist; 
pupal  of  Leschetizky,  Cyrill  Ostler 
and  Heuberger;  after  early  successes 
went  into  retirement  for  several 
years,  then  reappeared  in  concerts 
1913;  toured  widely  in  Europe,  South 
America  and  also  visited  U.  S.:  lives 
in  Paris. 

BorVath,  (i)  Cecile  de  (nee  Ayres),  b. 
Boston,  1889;  pianist;  studied  with 
near  father,  Eugene  Ayres,  and  with 
Safonoff  and  Gabiilowitsch;  after 
XO.TO  active  as  ^<mcert  artist  in 
jgtyope  and  TJ.  S.,  later  taught  in 
^CMcago.  (2)  Zoltan,  her  husband, 
fc.  Cliicago,  1886;  also  a  pianist  and 
teacaer*  was  long  active  in  Piula- 


Horwitz  (h6r'-vXts),  Benno,  Berlin, 
March  17,  1855 — Berlin,  June  3, 
1904;  violinist  and  composer;  pupil 
of  the  Rl.  Hochschule,  and  of  Kiel 
and  Albert  Becker;  c.  symph.  poem 
"Dionysos"  etc. 

Hostinsky  (h6-shten'-shk30,  Ottokar, 
Martinoves,  Bohemia,  Jan.  2,  1847 
— Prague,  Jan.  19,  1910;  Dr.  Phil., 
Prague;  writer. 

HothO>y  (or  Hothobus,  Otteby,  Fra 
Ottobi),  John  (or  Johannes),  d. 
London,  Nov.,  1487;  English  Car- 
melite monk;  famous  for  science. 

Hotteterre  (6t'-tar),  (i)  Henri,  d.  1683; 
instr.-maker,  musette  player,  ct.- 
musician.  (2)  Lotus  (called  "Le 
Remain,"  having  lived  in  Rome); 
son  of  above;  notable  flutist  and 
writer.  .(3)  Nicolas,  d.  1695;  noted 
bassoonist  and  oboist;  bro.  of  (2). 

Ho'ven,     J.,     pen-name     of    V.     von 

How'ard,  (i)  Samuel,  1710 — 1782; 
English  organist  and  composer.  (2) 
Kathleen,  b.  Clifton,  Canada;  con- 
tralto; pupil  of  Saenger  and  Jean  de 
Reszke;  d£but,  Metz,  1906;  1909-12, 
Darmstadt  Op.,  Century  Op.  Co., 
N.  Y.,  1913-15;  Met.  Op.  Co., 
1916—28;  also  toured  in  Europej 
author  "Confessions  of  an  Opera 
Singer,99'  (3)  John  Tasker,  b.  Brook- 
lyn, N.  Y.,  Nov.  30,  1890;  composer 
and  writer;  educated  Williams  Coll.- 
studied  comp.  with  Howard  Brock- 
way  and  Mortimer  Wilson;  c.  orch., 
piano  and  vocal  works;  author 
*' Studies  of  Contemporary  American 
Composers,"*  "Our  American  Music"- 
"Stephen  Foster,"  etc. 
How'eU,  Jas.,  b.  Plymouth,  England, 
d.  1879;  singer  and  double-bass 
player. 

How'ells,  Herbert,  b.  Lydney,  Aus- 
tralia, 1892;  composer;  pupil  of 
Brewer  and  of  R.  Coll.  of  Mus-, 
London,  where  has  been  prof,  since 
1920;  c.  piano  concerto,  orch.  and 
chamber  music,  choral  works,  org 
pieces  and  songs. 

Hninaly  (h'rlm'-u-le),  Adalbert,  Pilsen, 
Bohemia,  July  30,  1842 — Vienna, 
J?n5  I7,  I9P8;  violinist;  pupil  of 
Mildner,  Prague  Cons.,  1861;  cond. 
Gothenburg  orch.,  1868;  National 
Tn.,  Prague;  at  the  German  Th., 
there  in  1873,  and  at  Czernowitz 
Bukowma,  in  1875;  bis  succ.  opera 
"£>er  Verzauberte  Prinz"  (1871) 
played  at  Prague. 


DICTIONARY  OF  MUSICIANS 


215 


Hubay  (hoo'-bS,-e)  (or  Huber),  (i)  K., 
Varjas,  Hungary,  1828 — Pesth,  1885; 
vln.-prof.,  Pesth  Cons.;  conductor 
and  dram,  composer.  (2)  Jeno, 
Budapest,  Sept.  15,  1858 — Vienna, 
March  12,  1937;  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  vln.-prof., 
Brussels  Cons.;  1886,  prof,  and 
1919-34,  dir.  Budapest  Cons.;  1894, 
m.  Countess  Rosa  Cebrian;  c.  succ. 
opera  "Der  Geigenmacher  von  Cre- 
mona" (Pesth,  1893);  opera  "Alienor" 
(Pesth,  1892);  succ.  Hungarian  opera 
" A  Falu  Rossza"  (The  Townloafer) 
(Budapest,  1896);  opera,  "Anna 
Karenina",  3  symphonies,  many 
notable  vln.  works,  incl.  4  concertos. 

Huber  (hoo'-bSr),  (i)  F.,  d.  Berne, 
Feb.  23,  1810;  poet  and  song- 
composer.  (2)  Fd.,  1791 — St.  Gal- 
len,  1863;  Swiss  song- writer.  (3)  K. 
Vide  HUBAY.  (4)  Jos.,  Sigmaringen, 
t837 — Stuttgart,  1886;  violinist  and 
iram.  composer.  (5)  Hans,  Schone- 
werd,  Switzerland,  June  28,  1852 — 
Locarno,  Dec.  25,  1921;  pupil  Leip- 
zig Cons.;  teacher  at  Wesserling  for 
2  years,  then  at  Thann  (Alsatia), 
later  Basel  Music  School;  1892,  Dr. 
Phil.  h.  c.9  Basel  Univ.;  1896,  dir. 


sonatas,  concertos,  overtures  "Lust- 
spiel,"  symph.  "Tell,"  etc.  (6) 
Eugen.  Vide  HUBAY,  JENO. 

Huberdeau  (u'-b5r-d6),  Gustave,  b. 
Paris,  1878  (?);  notable  operatic 
bass;  studied  at  Paris  Cons.;  d6but, 
1898;  sang  at  Op.-Comique;  1908, 
Manhattan  Op.  Co.,  N.  Y.;  after 
1910  with  Chicago  Op.  Co.  in  French 
and  Italian  rcMes. 

Hu'bennan,  Bronislaw,  b.  Csenstoch- 
ova  near  Warsaw,  Dec.  19,  1882; 
d.  Nant-sur-Corsier,  Switz.,  June  6, 
1947;  violinist;  made  succ.  de"but  as 
prodigy;  retired  for  five  years'  study; 
reappeared,  Bucharest,  1902;  had 
since  won  world- wide  reputation  as  a 
leading  virtuoso,  an-d  had  toured  con- 
tinuously in  Europe  and  at  intervals 
in  the  U.  S.  (first  Amer.  tour,  1896- 
97);  founded  Palestine  Orch.,  1935- 

Hubert  (hoo'-bSrt),  Nikolai  Alberto- 
vitch,  1840 — 1888;  prof,  and  writer. 

Huberti  (u-bSr'-te) ,  Gve.  LSon,  Brus- 
sels, April  14,  i843 — July  23, 


pupil  Brussels  Cons.;  1865,  won  Prix 
de  Rome;  1874-78,  dir.  of  Mons. 
Cons.;  1880-89,  Antwerp;  then  prof, 
at  Brussels  Cons.,  and  dir.  of  the 
Mus.-School  of  St.  Josse-ten-Noode- 
Schaerbeek;  1891,  member  of  the 
Belgian  Academy;  1893,  Chevalier  of 
the  Legion  of  Honour.  C.  oratorios, 
the  dram,  poem  "Verlichting"  ("Fiat 
lux"),  with  orch.;  symphonic  poem 
"  Kinderlust  en  Leed,"  chorus  and 
orch.,  etc.;  symphonic  fun&bre,  fes- 
tival marches,  etc. 

Hucbald  (hook'-balt,  or  tik-bal)  (Hug- 
bal'dus,  UbaTdus,  Uchubal'dus)  de 
S.  Amand(o),  ca.  840 — St.  Amand, 
near  Tournay,  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 
singing;  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. 
Hu§   (ii),   Georges  Ad.,   b.   VersailleSj 
May  6,  1858;  pupil  of  Paris  Cons., 
took  ist  Grand  prix  de  Rome;  later 
Prix  Cressent;  1922  elected  mem.  of 
French  Acad.  to  take  place  of  late 
Camille    Saint-Saens;    c.    op.    com. 
"Les    Pantins"     (Op.-Com.,     1881); 
"Rttbezahl,"  symphonic  legend  in  3 
parts    ("Concerts    Colonne,"-    1886); 
succ.  "F6erie  dramatique"  "La  Belle 
au    Bois    Dormant"     (Paris,     1894); 
" Episode    sacr6"    "Resurrection"}    a 
symphony,    a    symphonic    overture; 
tie  operas  "Le  roi  de  Paris"  1901; 
"Titania?!  1903;  "Le  Miracle,"  1910; 
"Dans    V  Ombre    de    la    Cattedrale" 
(Op.-Comique,  1921),  ballet  "Siang- 
Sin"  (Opera,  1922);  d.  1948. 
Hueffer    (hiif'-fSr),   Francis,    Mtinster, 
1843 — London,  Jan.  19,  1889;  1869, 
lived  in  London;  from  1878,  critic  of 
The  Times;  librettist  and  writer. 
Hughes,    (i)    Edwin,    b.    Washington, 
D.  C.,  Aug.  15,  1884;  pianist,  peda- 
gogue;    pupil     of     S.     M.     Fabian, 
JosefiEy,   and  Leschetizky;  appeared 
in   concerts   in    Europe   and   U.    S., 
active  in  Munich,    1912;   taught  at 
Inst.  of  Mus.  Art,  N.  Y.,  1916-22; 
later  cond.  many  master  classes  in 
Amer.     cities;     ed.     piano     works. 
(2)   Herbert,  b.  Belfast,  March  16, 


216 


DICTIONARY  OF  MUSICIANS 


1882 — Brighton,  Engl.,  May  2,  IQ37; 
pupil  of  R,  Coll.  of  Mus.;  founder  of 
Irish  Folk-Song  Soc.  (1904);  after 
X9ii,  music  ed.  on  London  Daily 
Telegraph;  visited  America  in  1922; 
ed.  Modern  Festival  Series;  Irish 
Country  Songs,  Historical  Songs  and 
Ballads  of  Ireland;  c.  chamber  music 
and  songs.  (3)  Rupert,  b.  Lancaster, 
Mo.,  Jan.  21,  1872;  Amer.^  writer  on 
music;  novelist,  dramatist;  grad. 
Adelbert  Coll.  (Western  Reserve 
Univ.);  A.  M.,  Yale  Univ.;  studied 
comp.  with  Wilson  Smith,  Edgar 
Stillman  Kelley,  and  C.  W.  Pearce; 
music  critic  and  mem.  of  editorial 
board  of  various  Amer.  periodicals, 
incl.  Current  Literature,  The  Criterion*, 
mem.  of  the  N.  Y.  editorial  board  of 
the  Encyclopedia  Britannica;  author 
"Contemporary  Amer.  Composers,"* 
"Love  Affairs  of  Great  Musicians,'* 
"Music  Lovers'  Cyclopedia99',  ed. 
"Songs  by  Thirty  Americans.99' 

Huhn,  Bruno  (Siegfried),  b.  Londonz 
1871 — N.  Y.,  May  13,  1950;  pupil  of 
Sophie  Taunton,  later  in  New  York 
of  S.  B.  Mills  and  L.  Alberti;  has 
toured  Europe  as  pianist;  prominent 
composer,  choral  conductor  and 
accompanist  in  New  York;  c,  "Te 
Deum"  with  orch.,  and  many  songs. 

Hull,  Arthur  Eaglefield,  Market  Har- 
borough,  England,  March  10, 1876 — 
Huddersfield,  Nov.  4, 1928;  organist, 
teacher,  composer,  writer;  pupil  of 
Wood,  Matthay  and  Pearce;  Mus. 
IX,  Oxford;  ed.  "The  Music  Lover's 
Library";  c.  oratorios,  org.  and  piano 
pieces;  ed.  org.  works  of  Bach  and 
Mendelssohn;  wrote  books  on  Bach, 
Scriabin,  Cyril  Scott,  also  "Modern 
Harmony"  and  ed.  "Dictionary  of 
Modern  Music  and  Musicians"* 

Hullah,  John  Pyke,  Worcester,  June 
27,  1812 — London,  Feb.  21,  1884: 
professor,  conductor,  writer  and 
dram,  composer. 

Hffller,  J,  A,     Vide  EHXER. 

Hullmandel  (hfl'-mant-'l),  Nicholas 
Jos.,  Strassburg,  1751  —  London, 
1823;  pianist  and  harmonica-player; 
c.  12  piano  trios,  14  vln.  sonatas, 
6  piano  sonatas,  etc. 

Hffllwecfc  (hft'-vSk),  Fd.,  Dessau,  1824 
— Blasewitz,  1887;  concert-violinist 
and  composer. 

Hutefceyn  (htil'-shin),  Joai'n  C.  Van,  b. 
Amsterdam,  1869;  violinist;  pupil  at 
Liege  Cons,  of  C£sar  Thomson;  won 


first  prize;  played  in  "^Lamoureux 
orch.,  Paris;  prof,  at  Peabody  Inst., 
Baltimore;  d.  there  March  2,  IQ47- 

Htunbert  (tin-bar),  Georges,  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; 
after  1918  dir.  of  a  mus.  school  at 
Neuchatel,  where  he  d.  Jan.  i,  1936. 

Hum'frey  (Humphrey,  Humphrys), 
Pelham,  London,  1647 — Windsor, 
July  14,  1674;  English  composer. 
Charles  II.  sent  him  to  Paris  to 
study  with  Lully;  1672  master 
Chapel  Royal  children  and  with 
Purcell  ct.-composer. 

Hu'miston,  William  Henry,  Marietta, 
O.,  April  27,  1869 — New  York, 
Dec.  5,  1923;  pianist,  conductor, 
writer;  grad.  Lake  Forest  Coll., 
studied  piano  with  Mathews  and 
org.  with  Eddy;  also  later  comp. 
with  MacDowell;  active  as  teacher, 
lecturer,  and  cond.  with  opera  com- 
panies on  tour;  after  1912  ed.  pro- 
gramme notes  of  N.  Y.  Philh.;  and 
following  1916  was  asst.  cond.  of 
this  orch.;  1914  led  MacDowell  Club 
perL  of  Mozart's  "Bastien  et  Bas- 
'tienne*'  and  Bach  programmes  in  1916 
and  1918;  c.  orch,  works  and  songs. 

Hummel  (hoom'-mel),  (i)  Jos.,  music- 
master  Wartberg  Military  A  cad.; 
1786,  conductor  at  Vienna.  (2)  Jn. 
Nepomuk,  Pressburg,  Nov.  14,  1778 
— Weimar,  Oct.  17,  1837;  son  of 
above;  a  famous  pianist  and  im- 
proviser,  and  a  composer  of  cnce 
popular  pieces  in  which  ornament 
outweighs  matter;  and  form,  interest; 
prot6ge*  of  Mozart;  de"but  1787; 
toured  Europe  frequently;  1793 
studied  "with  Albrechtsberger;  asst.- 
cond.  to  Haydn,  1804—11;  1830  and 
1833  cond.  German  opera  in  London; 
c.  operas,  cantatas,  ballets,  3  masses, 
sonatas;  he  pub,  a  notable  pf.- 
method;  c.  dram,  pcs.,  concertos, 
sonatas,  septet  in  D  minor,  etc. 
(3)  Elisabeth  (nee  RScM),  1783— 
Weimar,  1883;  wife  of  above;  opera- 
singer.  (4)  Jos,  Fr.,  Innsbruck, 
Aug.  14,  1841 — Salzburg,  Aug.  29, 
1919;  pupil  Munich  Cons,,  1861-80; 
th.-cond.  Vienna,;  1880-1907,  dir, 
Mozarteum  at, Salzburg,  and  cond. 
Liedertafel.  (5)  Fd.,  Berlin,  Sept.  6, 
i^55 — April  24,  1928;  son  and  pupil 
01  a  musician;  at  7  a  harp  virtuoso; 


DICTIONARY  OF  MUSICIANS 


217 


1864-67  toured  Europe,  and  received 
a  royal  grant  for  study  at  Kullak's 
\kademie,  Berlin;  1871-75,  studied 
R.  High  Sch.  of  Mus.,  then  at 
Akademie;  for  years  active  as  cond. 
and  comp.  for  the  Berlin  ct. -theatres. 
c.  succ.  operas,  "Mara"  (Berlin, 
1893);  "Ein  Treuer  Schelm"  (Prague, 
1894);  "Assarpai"  (Gotha,  1898;;  a 
Symphony,  sonatas,  etc. 
umpftrdinck  (hoom'-p£r-d3tnk),  En- 
gelbert,  Siegburg,  near  Bonn,  Sept.  i, 
1854 — Neustrelitz,  Sept.  27,  1921; 
studied  architecture,  Cologne,  then 
mus.  at  the  Cons.;  won  Mozart 
scholarship  at  Frankfort;  studied  2 
years  with  Franz  Lachner,  Munich, 
also  with  Rheinberger  and  Barmann 
at  the  Cons.;  pub.  Humoreske  for 
orch.  and  "Die  Wallfahrt  nach 
Kevelaar"  for  chorus;  1878  won  the 
Mendelssohn  prize  (3,000  marks), 
1880  the  Meyerbeer  prize  (7,600 
marks);  1885-86,  prof.  Barcelona 
Cons.;  1881-82,  a  special  prote"g6  of 
R.  Wagner  in  Bayreuth;  made  pf.- 
seores,  and  aided  in  the  preparation 
of  "Parsifal.'9  Returned  to  Cologne, 
1887,  went  to  Mayence  in  the  em- 
ploy of  Schott  &  Co.;  1890  teacher 
Hoch  Cons.,  Frankfort,  critic  on  the 
Frankfort  Zeitung;  later  lived  at 
Boppard-on-Rhine.  In  1900—20,  he 
was  dir.  of  Master-School  of  the 
Berlin  Royal  Acad.  of  Arts.  His 
first  international  succ.  was  the 
graceful  2-act  fairy-opera  "  H tinsel 
und  Gretel"  Munich,  1893  (prod,  at 
Milan,  1897,  as  "Nino  e  Rita"), 
which  has  taken  its  place  in  the 
repertoire  as  an  enduring  little 
masterpiece^.  H.  never  again  quite 
equalled  this  work,  though  he  made 
an  approach  to  it  in  "Die  Konigs- 
kinder"  originally  conceived  as  incid. 
music  to  the  spoken  play  but  re- 
written as  opera;  prod,  at  Met.  O{>., 
N.  Y.,  1910;  with  success,  later  in 
Europe.  " Dornroschen"  was  prod. 
Frankfort-on-Main  (1902);  com.  op. 
"Die  Heirat  wider  Witten"  (Berlin, 
3905);  he  also  c.  incid.  music  to 
Aristophanes'  "Lysistrata"  (do., 
1908);  Shakespeare's  "Winter's 
Tale"  and  "Tempest"  (do.  1906); 
to  the  pantomime,  "The  Miracle"  by 
Vollmoeller  (staged  in  U.  S.  by  Max 
^Reinhardt).  His  last  2  operas,  "Die 
Marketenderin"  (1914)  and  "Gaudea- 
mus"  (1919)  were  not  successful. 
Suneker  (hu'-nfck-e'rX  James  Gibbons, 


Philadelphia,  Jan.  31,  1860 — Nejy 
York,  Feb.  9,  1921;  eminent  critic 
and  writer;  pupil  of  Michael  Cross, 
L.  Damrosch  and  Joseffy,  and  for 
10  years  asst.  to  Joseffy  at  the 
Nat'l.  Cons,  in  N.  Y.;  music  and 
dram,  critic  of  the  Commercial 
Advertiser  and  The  Recorder,  trans- 
ferring in  1901  to  the  New  York  Sun; 
after  1918  to  the  New  York  Times; 
and  for  a  short  period  before  his 
death,  to  the  New  York  World; 
wrote  for  Philadelphia  Press,  and 
for  many  years  for  the  Musical 
Courier;  champion  of  Brahms  and 
some  moderns,  an  outstanding  styl- 
ist; author  of  "Mezzotints  in  Modern 
Music,"  "Chopin,  the  Man  and  His 
Music"  "Melomaniacs,"  "Franz 
Liszt"  "Overtones  (in)  Music  and 
Literature,"  "Iconoclasts,"  "Vision* 
aries"  "Egoists"  "  Promenades  of  an 
Impressionist"  "The  Pathos  of  Dis- 
tance," "Old  Fogy,"'  "New  Cosmop* 
olis,"  "Ivory  Apes  and  Peacocks" 
"Unicorns,"-  "The  N.  Y.  Philhar* 
monic  Soc.,"  "Charles  Baudelaire,91 
"Steeplejack,"  "Bedouins,"  "Mar? 
Garden"  etc. 

Hunke  (hoon'-ks),  Jos.,  Josephstadt, 
Bohemia,  1801 — St.  Petersburg,  1883;, 
choirm.  Russian  ct. -chapel;  com> 
poser. 

Hiinten  (hln'-tSn),  Fz.,  Coblenz,  1793 
— 1878;  c.  pop.  pf.-pcs.,  etc. 

Hure  (u-ra'),  Jean,  Gien,  Loiret, 
Sept.  17,  1877 — Paris,  Jan.  27,  1930; 
studied  in  monastery  at  Angers; 
lived  in  Paris  after  1895;  active  as 
pianist  and  comp.;  founded  Paris 
Normal  School  for  pianists,  organ- 
ists; c.  operas,  symphonies,  chamber 
and  choral  works;  author,  "La 
Technique  du  Piano,"  "La  Technique 
de  VOrgue";  pub.  periodical,  L'Orgue 
et  les  Orgo>wistes. 

Htirel  de  Lamare  (ii'-rSl-dii-la-mSr), 
Jacques  Michel,  Paris,  1772 — Caenr 
1823;  'cellist  and  composer;  his  friend 
Auber  pub.  some  comp.  under  H.'s 
name. 

Hurl'stone,  Win.  Yeates,  London, 
Jan.  7,  1876 — May  30,  1906;  com- 
poser; at  9  pub.  5  waltzes;  at  18  held 
scholarship  at  R.  A.  M.;  later  prof, 
there  of  harmony  and  counterpoint; 
c.  piano  concerto,  etc. 

Huss  (hoos),  Henry  Holden,  b.  New- 
ark, N.  J.,  June  2r,  1862— N.  Y., 
Sept.  17,  1953;  composer;  studied 
D.  B.  Boise  (cpt.  and  comp.),  also  at 


DICTIONARY  OF  MUSICIANS 


218 

Munich  Cons.;  lived  in  N.  Y.  as 
teacher  of  pf.,  comp.  and  instr.  He 
and  his  wife,  the  soprano,  Hildegard 
Hoffman,  have  given  joint  recitals 
throughout  America,  and  1910  in 
London.  His  piano  concerto  in  B 
major  was  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  violin  sonata 
by  Kneisel,  Spiering,  etc.;  also  c. 
"Recessional"  for  mixed  chorus,  or- 
gan, and  orch.  (Worcester,  Mass., 
Festival,  1911);  string  quartet  in 
E  minor  (Kneisel  Quartet);  'cello 
sonata;  songs,  etc. 

Hutch/eson,  Ernest,  b.  Melbourne^ 
July  20,  1871— d.  "N."  Y.,  Feb.  9, 
1951;  pupil.  Leipzig  Cons.,'  winning 
Mozart  prize  with  a  trio;  toured 
Australia;  studied  with  Stavenhagen; 
1898  married  Baroness  von  Pilsach; 
from  1900  teacher  Peabody  Cons., 
Baltimore;  c.  symph.  poem  "Merlin 
and  Vivien"-  (Berlin,  1899);  orch. 
suite  (do.),  piano  concerto  (1899); 
symphony;  two-piano  concerto;  vln. 
concerto,  etc.;  1912-14,  toured  Eu- 
rope; after  latter  year  in  N.  Y.;  after 
1911  taught  Chautauqua  Inst.;  and 
had  been  dean  of  Juilliard  Grad. 
School  of  Music,  N.  Y.,  since  1926; 
author,  "Guide  to  Strauss9  Elektra.'* 

Hutsclienruijter  (hoot'-shSn-roi-ter), 
(i)  Wouter,  Rotterdam,  1796 — 1878; 
horn-  and  trumpet-virtuoso;  pro- 
fessor, conductor,  director  and  dram, 
composer.  (2)  Wouter,  Rotter- 
dam, Aug.  15,  1859 — 1943;  conduc- 
tor; after  1890  asst.  cond.  of  Con- 
certgebouw,  Amsterdam;  then  of 
Utrecht  Orch.;  1917-25,  dir.  Rotter- 
dam Munic.  School  of  Music. 

Htfttenbrenner  (hXt'-tSn-brSn-ner),  An- 
sekn,  Graz,  Styria,  1794— Ober- 
Andritz,  1868;  pianist,  conductor  and 
dram,  composer. 

Huygens  (hl'-gSns),  (i)  Constantin,  The 
Hague,  Sept.  4,  1596 — March  28, 
1687;  poet  and  military  secretary  to 
"William  H.  and  "William  IU.;  also 
skilful  performer;  c.  over  700  airs  for 
lute,  theorbo,  etc.;  Ms  son  (2)  Chris- 
tian, The  Hague,  April  14,  1629 — 
June  8,  1695;  mathematician  and 

*ed  (hulMS-stadh),  Aug.,  b.  (of 


h  parents)  Stock-holm,  June  17, 
;  violinist;  at  5  played  in  public; 


studied  with  Holger  Dahl  till 
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.; 
1891-94,  Gottschalk  Lyric  Sch.; 
1894-97,  toured  Europe;  prod,  in 
London  symph.  poem  "Elizabeth,™ 
with  double  chorus;  1897,  Chicago; 
c.  romantic  play  "Die  RheinnixeJ* 
orch.  suites,  etc.;  d.  (?). 


Ibach  (e'-b8,kh),  (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.  Her- 
renalb,  Black  Forest,  July,  1892), 
son  of  (2),  continued  the  pf. -factory, 
and  Richard,  the  organ-factory. 

Ibert  (6-barO,  Jacques,  b.  Paris, 
Aug.  15,  1890;  composer;  studied 
Paris  Cons.,  Prix  de  Rome,  1919; 
an  accomplished  modern-style  comp., 
especially  known  for  his  colourful 
orchestral  compositions  in  which  one 
finds  the  influence  of  Franck,  Ravel 
and  Debussy;  "Escales/9  a  suite  de- 
picting marine  ports,  has  had  inter- 
nat'l.  hearings;  also  c.  a  light  opera, 
"Angelique"  given  with  succ.  in 
Paris;  (opera)  "Le  Roi  d'  Yvetot"; 
the  symph.  poems,  "No'el  en  Pi- 
cardie,"  "The  Ballad  of  Reading 
Gaol"  (after  Wilde);  "Persee  et 
Androm&de"  orchestral  phantasy; 
lyric  scene,  "La  Poete  et  la  F6e"m, 
wind  quartet,  vln.  sonata,  'cello 
concerto,  concerto  for  saxophone  and 
orch.;  org.  and  piano  pieces;  his 
ballet,  "Gold  Standard,"'  was  prod, 
by  Chicago  Op.  in  1934. 

If 'fert,  August,  Braunschweig,  May  31, 
x^59 — near  Dresden,  Aug.  13,  1930; 
singer  and  teacher  in  various  cities; 
author  of  a  vocal  method. 

Igtrauioff  (e-goom'-noff),  Konstantin 
Nikolajavich,  b.  Lebedjana,  Tam- 
bouy,  May  i,  1873;  Russian  pianist; 
pupil  of  Svereff,  Siloti  and  Pabst; 
1898,  teacher  in  Tiflk;  1900  prof*  at 
Moscow  Cons. 

Hiffe  (I'-llf),  Fr.,  Smeeton-Westerby, 
Leicester,  Engl.,  Feb.  21,  1847— Ox- 
ford, Feb.  2, 1928;  1883,  organist  and 


DICTIONARY  OF  MUSICIANS 


219 


choirm.  St.  John's  Coll.,  Oxford; 
cond.  of  Queen's  Coll.  Mus.  Soc., 
1873,  Mus.  Bac.  Oxon.;  wrote 
"Critical  Analysis  of  Bach's  Clavi- 
chord" (London,  1896;  4  parts);  c. 
oratorio,  "The  Visions  of  St.  John 
the  Divine";  cantata  with  orch. 
"Lara,"  etc. 

Binski  (S-Hn'-shk!0,  Count  Jan  Stanis- 
law,  b.  Castle  Romanov,  1795;  com- 
poser. 

Iljinski  (el-y€n'-shkl),  Alexander  Alex- 
androvich,  Tsarkoe  Selo,  Jan.  24, 
1859 — Moscow,  1919?;  composer;  pu- 
pil of  Kullak  and  Bargiel;  1885  prof, 
of  theory  at  the  Philharmonic  Music 
School  in  Moscow;  c.  opera  "The 
Fountain  of  Bastchi-Sarai"^  symph.; 
symphonic  scherzo;  pf.-pcs.,  songs, 
etc. 

Imbert  (Sn-bar),  Hugues,  Moulin  s- 
Engilbert  1842 — Paris,  1905;  noted 
writer  of  biogs.,  etc. 

Inc'ledon,  Chas.,  Bery  St.  Kevern, 
Cornwall,  1763 — 1826;  tenor,  called 
"The  Wandering  Melodiste." 
>  (d^n-dS),  (Paul  M.  Th.)  Vincent 
?,  Paris,  March  27,  1851 — Dec.  3, 
1931;  pupil  of  C6sar  Franck  (comp.) 
and  at  the  Cons.,  1875,  chorusm. 
with  Colonne;  played  drum-parts  for 
3  years  to  learn  instrumentation; 
pres.  of  various  concert-societies; 
mus.-inspector  of  Paris  schools;  Chev. 
of  the  Legion  of  Honour;  1896  he 
became  prof,  of  composition  at 
Paris  Cons.;  1896  with  Bordes  and 
Guilmant  founded  the  Schola  Can- 
tor urn,  and  became  director;  c.  a 
3-part  symph.  poem  "Wallenstein^ 
(Part  II.,  "I  Piccolomini,"  prod. 
1874  by  Pasdeloup);  symphonies 
(i)  "On  a  French  mountaineer-song"* 
and  (2)  "Jean  Hunyadi"  symphonic 
legend  "Lafortt  enchantee";  overture 
to  "Antony  and  Cleopatra";  "La 
ChevauchSe  du  Cid"  for  orch.;  sym- 
phonic pf. -concerto;  prod.  _  i-act 
comic  opera,  "  Attendez-moi  sous 
I'Orme"  (Op.-com.,  1882);  c.  text 
and  mus.;  succ.  mus.  drama,  "Fer- 
vaal"  (Brussels,  1897);  " L' Stranger"' 
(do.  1903);  "Le  chant  de  la  cloche"* 
dramatic  legend  in  seven  pictures, 
with  his  own  text,  for  soli,  double 
chorus  and  orch.  Festival  cantata 
"Pour  V inauguration  d'une  Statue"" 
for  barytone,  chorus  and  orch.,  "Ode 
a  Valence,"  do.  symph.  in  B  flat, 
1902;  "Jour  d*ete  a  la  montagne"> 
"Souvenirs"  for  orch.  1906; 


songs,  piano  pieces  and  choruses, 
author  of  a  "Cours  de  Composition 
Musicale,"  1902,  and  a  life  of  C6sar 
Franck,  1906. 

Infante  (en-fan'-ta),  Manuel,  b.  Osuna 
near  Seville;  composer;  has  c.  many 
piano  works  of  graceful  sort  and 
attractive  folk  colouring,  first  made 
pop.  by  the  pianist  Iturbi;  res.  in  Paris. 

Ingegneri  (en-gan-ya'-re"),  Marco  A., 
Verona,  ca.  1545 — Cremona,  July 
i,  1592;  conductor,  composer  and 
publisher. 

Inghelbrecht  (6n'~gSl-br£kht),  Desir6 
Emile,  b.  Paris,  Sept.  17,  1880;  com- 
poser; pupil  of  Cons.;  a  friend  of 
Debussy  in  the  composer's  latter 
days,  whose  works  he  excels  in  con-* 
ducting;  after  1908  active  at  various 
Paris  theatres  and  following  1925 
music,  dir.  at  the  Op.-Comique;  c. 
ballet,  "Le  DiaUe  dans  le  bejfroi'* 
(after  Poe),  and  numerous  orch., 
chamber  music,  and  vocal  works; 
arr.  works  of  Couperin  and  Albeniz 
for  orch. 

In 'gram,  Frances,  b.  Liverpool,  Eng- 
land, 1888;  contralto;  studied  with 
Maurel;  after  1911  sang  for  several 
years  with  Chicago  Op.  Co.;  1913, 
Montreal  Op.  Co.,  and  also  in 
concerts. 

Insanguine  (6n-san-gw€'-na),  Giacomo 
(called  Monopoli),  Monopili,  ca.  1740 
— Naples,  1795;  teacher  and  dram, 
composer. 

Ippolitov-Ivanov  (gp-po'-l6-t6f-6'-va- 
n6f),  Mikhail  Mikhailovitch,  Gat- 
china,  Nov.  19,  1859 — Moscow, 
Jan.  26,  1935;  added  his  mother's 
name  to  Ivanoff,  to  distinguish  him 
from  Ivanoff  (2);  pupil  of  Rimsky- 
Korsakov;  at  St.  Petersburg  Cons.; 
1882  dir.  of  the  Music  School  and 
cond.  in  Tiflis;  1884  cond.  at  the 
Imperial  Theatre;  from  1893  prof,  of 
theory  Moscow  Cons.;  dir.,  1906-22; 
from  1899  cond.  the  Private  Opera; 
c.  operas  "Ruth"  (Tiflis,  1887), 
"Asja"  (Moscow,  ipoo);  and  "So- 
bava  Putjatischna"  (St.  Petersburg, 
1901);  overtures  "Jar  Chmel" 
"Spring,"  and  "Medea"-,  orch.  suite, 
"Caucasian  Sketches"",  violin-sonata 
(rearranged  as  a  Sinf onietta) ;  char- 
acter-pictures for  chorus  and  orch.; 
cantatas  "In  Memory  of  Pushkin" 
of  "Gogol"  and  " Shukovski,"  and 
"Legend  of  the  White  Swan  of 
Novgorod"  etc.;  author  of  a  book  on 
Georgian  folk-songs. 


220 


DICTIONARY  OF  MUSICIANS 


Ireland,  John,  b.  Bowdon,  England, 
Aug.   13,   1879;  composer;  pupil  of 
Stanford;  one  of  the  more  able  and 
original  modern  British  creators;  he 
destroyed  his  earlier  comps.  and  xst 
became  known  for  his  Phantasy  Trio 
in  A  Minor  (1908)  and  "Songs  of  a 
Wayfarer"     (1910);    his    reputation 
grew    after    the   prod,    of    his    2nd 
sonata  for  vln.  and  piano;  c.  many 
orch.    and    chamber    works    fairly 
simple  in  structure  and  of  traditional 
form,  among  which  are:  the  rhapso- 
dies "Mai^Dun"  and  "The  Forgotten 
Rite"-    overtures    "Pdleas    et   Meli- 
sande     and  "  Midsummer"  >  symph. 
poem  in  A  Minor;  sextet  for  strings, 
clarinet  and  horn;  2  string  quartets; 
3  piano  trios;  4  vln.  sonatas;  piano 
sonata;    many    piano    works,    incl. 
"Decorations,"  "London  Pieces"  and 
"Preludes,"  Mass  in  Borian  Mode; 
choral  and  org.  pieces  and  songs. 
Irgang  (er'-gang^Fr.Wm.,  Hirschberg, 
Schleswig,  Feb.  23,  1836 — Carlsruhe, 
1918?;  teacher   in    Proksch's    Sch., 
Prague;  1863,  founded  sch.  at  G5r- 
litz;  also  organ  composer.     (2)  Irr'- 
gang,   H.   Bd.,   Krotoschin,    1869 — 
Berlin,  1916;  noted  organist,  teacher. 
Isaak    (e'-zSk),    H.    (or   Isaac,    Izak, 
Yzac,  Ysack;  in  Italy  Arrigo  Tedesco, 
Henry     the     German;     Low;     Lat. 
Anighus),  ca.  1450 — ca.  1517;  famous 
contrapuntist  doubtless  of  Nether- 
landish   birth;    conductor    and    or- 
ganist. 

Iserlies  (*s'-Sr-16z),  Julius,  b.  Kishinev, 
Russia,  Nov.  8,  1888;  noted  pianist; 
1907-9,  toured  U.  S.;  after  1913 
taught  Moscow  Philh .  Cons. 
Isouard  (€-zoo-2,r),  Wiccold  (called 
Niccolo  de  Malte),  Malta,  1775 — 
Paris,  March  23,  1818;  pupil  of 
Amendola,  Sala,  and  Guglelmi;  or- 
ganist, conductor  and  prolific  dram, 
composer. 

Israel  (6s'-rS-eT),  K.,  Heiligenrode, 
Electoral  Hesse,  1841 — Frankfort- 
on-M.,  1881;  critic  and  bibliographer. 
Is'tel,  Edgar,  b.  Mainz,  Germany, 
Feb.  23,  1880;  composer  and  writer 
on  music;  pupil  of  Thuille  and  Sand- 
berger;  Ph.  D.,  Munich  Univ.,  1900; 
lecturer  on  music;  c.  operas,  choral 
music  and  songs;  author  of  many 
books  on  music. 

Iturbi  (S-toor'-vg),  (i)  Jose,  b.  Valencia. 
Spain,  Nov.  28,  1895;  pianist  and 
conductor;  studied  Valencia  Cons., 
xst  prize  in  piano  at  13;  grad.  Paris 


Cons,  with  highest  honours  at  17^ 
pupil  of  Joaquin  Malats,  Barcelona^ 
was  head  of  piano  faculty,  Geneva 
Cons.,  1919-23;  began  tours  of  chief 
Eur.  countries  and  South  America* 
establishing  reputation  as  oae  of  the 
pre-eminent  piano  virtuosi  of  the 
day;  Amer.  d6but,  1928;  won  marked 
popularity,  esp.  for  his  performance 
of  Mozart  and  Beethoven  works,  to 
which  he  brings  polished  readings; 
began  conducting  activities  in  Mexico 
City,  1933,  and  estab.  permanent 
orch.  there  to  give  summer  series 
under  his  baton;  has  since  led  N.  Y. 
Philh.  Orch.  (summer  series  at 
Lewisohn  Stadium),  Phila.  Orch., 
Los  Angeles  Philh.  at  Hollywood 
Bowl,  sometimes  playing  concertos 
and  conducting  from*  the  piano; 
appointed  permanent  cond.  Roches- 
ter, N.  Y.,  Philh,  Orch,,  1936. 
(2)  Amparo,  his  sister,  also  a  skilled 
pianist. 

I'vanov,   (i)  Nicholas  Kusmich,  Pol* 
tava,  Oct,  22, 1810 — Bologna,  July  7, 
1887;    tenor;    popular    in    London, 
1 834-3  7;  accumulated  a  fortune  in 
Italy  and  Paris  and  retired  in  1845; 
(2)  Michael  Mikhaflovich,  Moscow, 
Sept.  23, 1849 — Rome,  Oct.  20, 1927; 
pupil  of  Tchaikovsky  and  Dubuque 
at    the    Cons.;    critic    and    comp.; 
1870-76  at  Rome;  then  critic  for  the 
Novoe  Vremya*;  c.  symph.  "A  Night 
in  May*9;  symph.  prologue  "Savana* 
Tola"-;  four  operas  including  "Potem- 
kin's   Feast">    (1888),    and    "Sabava 
Putjatischna"*    (Moscow,    1899);   in- 
cidental   music    to    "Medea"*    etc. 
His    opera    "Treachery"    (Moscow, 
Feb.  1911)  made  great  success. 
Ives,    Charles  Edward,   b.    Danbury, 
Conn.,    Oct.    20,    1874;    composer; 
studied  with  Dudley  Buck,  H.  R. 
Shelley  and  Parker;  an  original  figure 
among    Amer.    comps.,    working   in 
seclusion    and    with    music    as    an 
avocation,  Ives*  scores  when  prod, 
by  modernist  organizations  in  N.  Y. 
and  elsewhere  have  created  consider- 
able interest;  one  of  his  theories  being 
that  several  musical  units  of  an  en- 
semble may  proceed  independently 
of  each  other;  also   employs   much 
freedom   in    tonality,    rhythm    and 
harmony;    among   his    productions, 
the  work  of  many  years,  are  4  sym- 
phonies, 3  orch.  suites,   2  cantatas, 
4    vln.    sonatas,    2    piajao    sonatas. 
2  overtures,  works  tot  chorus  and 


DICTIONARY  OF  MUSICIANS 


221 


orch.,  chamber  music  incl.  a  string 
quartet  and  quarter-tone  pieces,  and 
especially  a  collection  of  about  200 
highly  original  songs;  some  of  his 
subjects  are  drawn  from  New  Eng- 
land; d.  N.  Y.,  May  19,  1954- 
ogun;  (i)  Maria  ~(<5f  '-S^gun  ma-rS'-a) 


(rightly  Tnge  von  Gtinther),  b. 
Budapest,  Nov.  ix,  1891;  coloratura 
soprano;  studied  Vienna  Acad.; 
regular  mem.  Munich  Op.,  1913-25; 
Berlin  Stadtische  Op.,  1925-32;  also 
sang  in  America  with  Chicago  Op., 
and  in  concert;  m.  Karl  Erb,  tenor, 
1921,  (2)  Michael  Raucheisen,  pian- 
ist, 1933- 

Ivry  (dey-rS),  Paul  Xavier  Desire, 
Marquis  Richard  d%  Beaune,  C6te 
D'Or,  Feb.  4,  1829  —  Hyfcres,  Dec.  18, 
1903;  pupil  of  A.  Hignard  and  Le- 
borne;  c.  operas,  "Fatma"'  "Quentin 
Metzys"  (1854),  "La  Maison  du 
Docteur"  (Dijon,  1855),  "Omphale  et 
Penelope99  ctLes  Amants  de  Verone'* 
(1867),  under  the  pen-name  "Rich- 
ard livid";  revised  as  "Romeo 
et  Juliette"'  1878;  "Perseverance 
D*  Amour"  (MS.);  concert-overture, 
songs,  etc. 

Kzac.     Vide  ISAAK. 


Jacchia,     Agide      (ya-k5'-S 

Lugo,  Jan.  5,  1875 — Siena,_  Nov. 
29>  I932>  conductor;  studied  at 
Parma  and  Pesaro  Cons.,  pupil  of 
Mascagni;  after  1898  cond.  at 
Brescia,  Ferrara  and  La  Fenice  Op., 
Venice;  1902,  visited  America  with 
Mascagni;  1903-06,  at  Milan,  Leg- 
horn and  Siena;  1907-09,  led  Milan 
Op.  Co.  tour  of  Canada  and  U.  S.; 
1009-10,  cond.  op.  season  at  Acad. 
of  Mus.,  N.  Y.;  1910-14,  dir.  Mont- 
real and  Nat'L  Op.  Cos.,  Canada; 
1914-15,  chief  cond.,  Century  Op. 
Co.,  N.  Y.;  1915-16,  Boston  Nat'L 
Op.  Co.;  led  "Pop"  Concerts,  Boston 
Syinph.,  1916-23;  dir.  music  school 
in  Boston  after  1919;  c.  cantata  and 
choral  works. 

Tachet.     Vide  BERCHEM. 

Jachmann-Wagner(yakh'-man).    Vide 

WAGNER,  TOHANNA. 

Jack'son,  (i)  Wm.,  Exeter,  1730 — 
1803;  organist,  writer,  and  dram, 
composer.  (2)  Wm.,  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  JM 
organ-builder. 

Ja'cob,  Gordon,  b.  London,  1895; 
comp,;  pupil  R.  C.  M.;  c.  oboe  con- 
certo, ballets,  orch.  works. 

Jaco'bi,  Frederick*  b.  San  Francisco, 
May  4,  1891 — N.  Y.,  Oct.  24,  1952; 
pupil,  R.  Goldmark,  Gallico,  Joseffy, 
Juon  and  Ernest  Bloch;  asst.  cond., 
Met.  Op.  Co.,  1913-17;  one  of 
founders,  Amer.  Mus.  Guild;  mem. 
executive  board,  League  of  Comps., 
N.  Y.;  from  1936  teacher  of  comp., 
Juilliard  School  of  Music;  c.  string 
quartet  based  on  Amer.  Indian 
themes  (Zurich  Fest.,  Internat'l. 
Soc.  for  Contemp.  Music,  1926); 
(orch.)  "The  Pied  Piper  *  "Califor- 
nia Suited  "The  Eve  of  'Saint 
Agnes,"'  "Indian  Dances99-;  "Two 
Assyrian  Prayers99-  for  voice  and 
orch.,  "The  Poet  in  the  Desert99-  for 
barytone,  chorus  and  orch.;  piano 
concerto;  'cello  concerto;  "Sacred 
Service"'  for  synagogue;  vln.  and 
piano  works;  m.  Irene  Schwarz, 
pianist. 

Jacobs  (zha-k5),  Edouard,  b.  Hal, 
Belgium,  1851;  pupil  of  Servais, 
Brussels  Cons.;  'cellist  Weimar  ct. 
orch.  for  some  years;  1885  prof. 
Brussels  Cons.;  d.  (?) 

Ja'cobsen,  Sascha,  b.  Finland  (Russian 
parents);  violinist;  studied  piano  at 
5,  violin  at  8;  pupil  of  Kneisel,  also 
of  St.  Petersburg  Cons.;  N.  Y.  dSbut, 
1915;  has  toured  England,  Germany, 
France,  Spain  and  U.  S. 

Jacobsohn  (yak7-6p-zQn),  Simon  E., 
Mitau,  Kurland,  Dec.  24,  1839 — 
Chicago,  1902;  violinist;  pupil  Leip- 
zig Cons.;  1860  leader  Bremen  orch.; 
±872,  of  Theodore  Thomas's  orch., 
N.  Y.;  teacher  Cincinnati  Cons.,  then 
Chicago. 

Jacobsthal  (yak'-6ps-tal),  Gv.f  Pyritz, 
Pomerania,  March  14,  1845 — Berlin, 
Nov.  9,  1912;  1872,  lecturer  on 
music  Strassburg  Univ.;  1875  pro- 
fessor extraordinary;  writer. 

Jacotin  (rightly  Jacques  Godebrye), 
(zh5,k-6-tan)  (or  g6d-br5),  ca.  1445 — 
March  24,  1529;  famous  Flemish 
cptist.;  singer  and  composer  at  Ant- 
werp. 

Jacquard  (zh&k-k&r),  LSon  J.,  Paris, 
1826 — 1886:  'cellist;  composer. 

Jadassohn  (ya'-das-zon),  Salomon, 
Breslau,  Aug.  13,  1831 — Leipzig, 
Feb.  i,  1902;  eminent  theorist;  pupil 


222 


DICTIONARY  OF  MUSICIANS 


of  Hesse  (pf  .)  Lustner  (yln.)  and  Bro- 
sig  (harm.)  j  later  Leipzig  Cons.,  then 
with  Liszt  and  Hauptmann  (comp.); 
from  1852  lived  in  Leipzig;  1866 
cond-  "Balterion"  choral  soc.;  1867- 
69  cond.  "Euterpe";  from  1871,  prof. 
of  pf  .,  harm.,  cpt.,  comp.  and  instru- 
mentation at  the  Cons.  1877,  Dr. 
Phil.,  h.  c.;  1803  Royal  Prof.  He  m. 
a  singing-teacner.  Wrote  occasion- 
ally under  name  "Liibenau"  (Ki'- 
b£-now).  Pub.  very  succ.  text-books 
all  trans,  in  English.  "  Harmonie- 
lehre"  (Leipzig,  1883);  "  Kontra- 
punkt"  (1884);  "Kanon  und  Fuge'* 
(1884);  "Die  Formen  In  den  Werk- 
en  der  Tonkunst"  (1889);  "Lehr- 
buch  der  Instrumentation"-  (1889); 
"Allgemeine  Musiklehre"-  (1895). 


comps.  are  notable  for  form, 
particularly  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  zooth  Psalm,  for 
double  chorus  with  orchestration, 
etc. 

Jadin  (zh£-d£n),  (i)  Louis  Emmanuel, 
Versailles,  1768  —  Paris,  1853;  prof., 
conductor  and  dram,  composer. 
Son  and  pupil  of  Jean  J,,  violinist. 

Jadlowker  (yad'-lof-ker)  ,  Hermann, 
Riga,  1879  —  Tel-Aviv,  1953;  tenor; 
sang  Met.  Op.,  1910-12;  Berlin,  Vienna. 

Jaell  (yal),  (i)  Alfred,  Trieste,  March 
5,  1832  —  Paris,  Feb.  27,  1882;  noted 
touring  pianist  and  composer,  son  of 
(2)  Eduard  J.  (d.  Vienna,  1849).  (3) 
Jaell-Trautmann,  Marie,  Steinseltz, 
Alsatia,  1846  —  Paris,  Feb.  7,  1925; 
wife  of  (i);  pianist,  composer  and 
writer. 

Ja£6  (ySf'-fa),  Moritz,  Posen,  Jan. 
3,  1835  —  Berlin,  May  7,  1925;  vio- 
linist; pupil  of  Ries  Bohmer  (harm.), 
of  Maurin  and  Massard,  Laub,  Wuerst 
and  Bussler;  c.  operas,  etc. 

Ja'gel,  Frederick,  \.  Brooklyn,  N.  Y., 
1897;  tenor;  studied  with  Portanova 
and  Castaldi;  dSbut  in  "La  Boheme,"* 
Livorno,  Italy;  sang  in  that  country 
4  years,  heard  in  Calif,  opera  seasons; 
d£but,  Met.  Op.  Co.,  as  "Radames," 
1927;  has  sung  leading  r61es  with 
that  co.?  also  in  concert. 

Jalrn  (yan),  (i)  Otto,  Kiel,  June  16, 
1813  —  Gdttingen,  Sept.  9,  1869; 
pzotL  of  archaeology,  Bonn  Univ.; 
wrote  a  model  biog.  of  Mozart  (1856- 

*     59»  4.  vols*),    etc.,   also    composed. 


(2)  Win.,  Hof,  Moravia,  Nov.  24, 
1835 — Vienna,  April  14,  i9°°j  l854 
conductor;  dir.  ct.-opera,  Vienna, 
etc. 

jahns  (y5ns),  Fr.  Wm.,  Berlin,  1800 
— 1888;  singer,  composer  and  writer. 

James,  Philip,  b.  Jersey  City,  N.  J., 
May  17,  1890;  composer,  conductor; 
studied  comp.  with  Norris  and 
Schenck,  also  at  City  College,  N.  Y.; 
cond.  New  Jersey  Orch,,  Brooklyn 
Orch.  Soc.  and  later  the  Bamberger 
Little  Symph.  in  weekly  radio 
programmes;  taught  at  N.  Y.  Univ. 
music  dept.,  c.  orch.  music,  including 
prize-winning  work,  RCA- Victor 
contest;  also  vln.  sonata;  appeared 
as  guest  cond.  of  several  major 
Amer.  orchestras. 

Jan  (yan),  (i)  Maistre.  Vide  GAL- 
i^s,  j.  (2)  K.  von,  Schweinfurt, 
1836 — Adelboden,  Sept,  4,  1899; 
Dr.  Phil..  Berlin,  1859;  writer. 

Jan/ac'ek  (yan-a'-chSk),  Leos,  Huk- 
valdy,  July  3,  1854 — Mohr.-Ostrau, 
Aug.  12,  1928;  composer  of  original 
style,  studied  at  Prague  Organ 
School,  Leipzig  and  Vienna  Cons., 
but  largely  self-taught;  evolved 
manner  of  expression  based  on 
natural  accents  and  declamation  of 
human  voice,  also  unconventional 
in  harmonic  method;  influenced  by 
folklore;  late  in  life  he  was  accepted 
by  the  internat'L  music  world  as 
in  some  measure  a  pioneer;  founded 
org.  school  in  Briinn,  1881,  where 
he  passed  most  of  his  life;  after  1919, 
taught  comp.  at  the  Cons,  there;  c. 
(operas)  "Jenufa,"  story  of  Mo- 
ravian peasant  life,  1901,  not 
prod,  until  1916  in  Prague,  but 
thereafter  pop.  in  German  version 
in  Austria  and  Germany,  heard  also 
at  Met.  Op.  House,  1924;  "  Katja 
Kabanova"  (1922);  "2)as  Schlaue 
Filchsleiny"  an  animal  fable  (1925); 
"Die  Sacke  Makropoidos"  (1925) 
and  a  posth.  work,  "Aus  einem 
Toterihau$">  (after  Dostoievsky 
novel),  with  libretto  by  composer 
(Brtinn,  1930);  also  Fest.  Mass, 
Sinfonietta  for  orch.,  string  quartet, 
piano  sonata,  songs;  orch.  rhapsodic 
t'Taras  Bulba,"  etc. 

Janiewiecz  (yan'-g- vech) ,  Felix,  Wilna, 
1762 — Edinburgh,  1848;  violinist  and 
composer. 

Jank6  (yang'-ko),  Paul  von,  To  tie, 
Hungary,  June  a,  1856 — Constanti- 
nople, March  17,  1919;  pupil  Poly- 


DICTIONARY  OF  MUSICIANS 


223 


technic,  Vienna,  and  at  the  Cons, 
with  Hans  Schmitt,  Krenn,  and 
Bruckner;  18841—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)aconi  (yan-na-ko'-ne"),  Gius., 
Rome,  1741 — March  16,  1816;  emi- 
nent church-composer;  conductor  at 
St.  Peter's;  pupil  of  Rinaldini  and 
Carpani. 

Jannequin  (or  Janequin,  Jennekin) 
(zha.n-kan),  ClSment,  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,  War- 
saw, June  8,  1856 — The  Hague, 
June  9,  1932;  pupil  of  Joachim  and 
Rudora,  Clara  Schumann,  Brahms, 
and  Princess  Czartoryska,  F.  Weber 
(harm.)  and  Bargiel;  d6but  at  the 
Gewandhaus,  Leipzig,  1874;  1885, 
ct.-pianist  to  the  German  Emperor, 
and  decorated  with  many  orders; 
pub.  a  trans,  with  additions  of  Klec- 
zynski's  "Chopin";  c.  "Ave  Maria 
(dedicated  to  Pope  Leo),  "Moun- 
tain Scenes'9'  (to  Frau  Schumann), 
gavottes,  etc.,  for  piano. 

Janowka  (ya-n6f'-ka),  Thos.  Baltha- 
sar,  b.  Kuttenberg,  Bohemia;  or- 
ganist and  writer  at  Prague  ca.  1660. 

Jansa  (yS,n'-sa),  Ld.,  Wildenschwert, 
Bohemia,  1795 — Vienna,  1875;  vio- 
linist, teacher  and  composer. 

Jansen  (yan'-z€n),  F.  Gv.,  Jever, 
Hanover,  Dec.  15,  1831 — Hanover, 
May  3,  1910;  pupil  of  Coccius  and 
Riccius;  teacher  at  GSttingen;  1855- 
1900,  organist  Verden  Cath.;  1861, 
Royal  Mus.  Dir.;  composer  and 
writer. 

Janssen  (yans'-z£n),  (i)  N.  A.,  Car- 
thusian monk;  organist  and  writer  at 
Louvain,  1845.  (2)  Julius,  Venlo, 
Holland,  June  4,  1852 — Dortmund, 
Sept.  24,  1921;  studied  Cologne 
Cons.;  1876,  cond.  Mus.  Soc.,  Min- 
den;  later  cond.  at  Dortmund;  1890, 
city  mus.  dir.;  cond.  the  ist  and  2d 
Westphalian  Mus.  Festivals;  pub. 
songs.  (3)  Werner,  b.  New  York, 
June  i,  1899;  composer,  conductor; 
grad.  Dartmouth  Coll.;  studied  with 
Converse,  Stone,  Friedheim  and 
Chadwick;  Mus.  D.,  Univ.  of  Calif., 
1923;  began  career  as  comp.  of 
musical  comedies  and  pop.  songs; 


won  fellowship,  Amer.  Acad.  in 
Rome,  1930;  guest  cond.  of  various 
Eur.  and  Amer.  orchs.,  incl.  Sibelius 
programmes  in  Helsingfors;  engaged 
as  one  of  conductors  for  N.  Y.  Philh. 
Orch.,  1934;  c.  symphony,  symph. 
poem  "New  Year's  Eve  in  New 
York,"  given  dance  prod,  by  Neigh- 
borhood Playhouse,  N.  Y.;  cond. 
Baltimore  Symph.,  1937-95  Janssen 
Symph.,  Los  Angeles,  1940-  (4) 
Herbert,  German  barytone;  mem. 
Met.  Op.,  after  1938,  Wotan,  etc. 

Janssens  (yans'-zSns),  Jean  Fran. 
Jos.,  Antwerp,  1801 — insane,  1835; 
dram,  composer. 

Januschowsky  (yan-oo-sh6f  '-shkft , 
(Frau)  Georgine  von,  b.  Austria,  ca. 
1859 — New  York,  1914;  1875,  so- 
prano in  operetta  at  Sigmaringen; 
1877,  soubrette,  Th.  an  der  Wien, 
Vienna;  1879-80,  Leipzig;  1880, 
Germania  Th.,  New  York;  1892, 
at  Mannheim  and  Wiesbaden;  1893- 
95,  prima  donna,  Imp.  Opera, 
Vienna;  sang  Wagner,  etc.;  comic 
operas  and  operettas;  m.  Ad 
NeuendorS. 

Japha  (ya'-fa),  (i)  G.  Jos.,  Konigs- 
berg,  1835 — Cologne,  1892;  violinist. 
(2)  Louise,  Hamburg,  Feb.  2,  1826 — 
Wiesbaden,  Oct.  13,  1910;  pianist 
and  composer;  pupil  of  Warendorf 
(pf.),  Gross  and  Grund  (comp.)  and 
Robt.  and  Clara  Schumann;  1858, 
she  m.  W.  Langhans,  with  whom  she 
gave  v.  succ.  concerts;  after  1874, 
Wiesbaden;  c.  an  opera,  etc. 

Jaques-Dalcroze.     Vide  DALCROZE. 

Jarecki(ya-rets'-ke),(i)  Henri,  Warsaw, 
Dec.  6,  1846 — Lemberg,  Dec.  18, 
1918;  dir.  at  Lemberg;  c.  operas, 
incl.  "Wanda,"  etc.  (2)  Tadeusz, 
his  son,  b.  Lemberg,  1889;  composer; 
in  New  York,  1920. 

Jarnach  (yar'-nakh),  Philipp,  b.  Noisy, 
France,  July  26,  1892;  composer  (of 
Catalonian  ancestry);  largely  self- 
trained  but  studied  with  Lavignac 
and  Risler;  taught  at  Zurich  Cons., 
1918-21;  lived  in  Berlin  1921-27; 
prof,  at  Cologne  Hochsch.  after 
1927;  c.  2  symphonies,  overtures, 
string  quintet,  piano  works,  songs, 
string  quartet,  sonata  for  vln.  alone, 
vln.  and  piano  sonata,  sonatinas 
for  flute  and  'cello,  exhibiting^  a 
modern  style  of  interesting  origi- 
nality; completed  Busoni's  opera, 
"Doktor  Faust." 

JHrnefelt     (yarn'-£-fSlt),     Armas,     b. 


224 


DICTIONARY  OF  MUSICIANS 


Wlborg,  Finland,  Aug.  14,  1869; 
composer,  conductor;  pupil  of  Hel- 
singfors  Cons.,  Busoni,  Becker  and 
Massenet;  chonismaster,  Magde- 
burg Op.,  1896;  Diisseldorf  Op., 
1897;  cond.  Wiborg  Orch.,  1898- 
1903;  won  a  goy't.  award  for  study 
in  other  countries;  in  1904-05,  was 
dir.  of  Helsingfors  Op.;  in  1905-07, 
cond.  Stockholm  R.  Orch.;  in  latter 
year  cond.  also  of  R.  Op.  in  same 
city;  dir.,  Helsingfors  Cons.,  1906- 
07;  c.  the  orch.  works,  "  Korsh&lm"*; 
"  Heimatklang"'  (latter  a  symph. 
fantasy);  Serenade;  4  suites;  2  over- 
tures; the  choral  comps.,  "Laula 
wokseUa,"*  "Suomen  synty*  "Ago 
Slottj*  also  many  notable  works  for 
male  chorus;  songs,  piano  jneces, 
etc,;  m.  Maikki  Parkarinnen,  singer; 
divorced;  (2)  Liva  EdstrSm,  singer. 

Jarnowic  (or  Giornovi(c)chi)  (yar-n6- 
vek,  or  jdr-no-v5'-ka),  Giov.  M., 
Palermo,  1745 — St.  Petersburg,  Nov. 
21,  1804;  violinist  and  composer; 
pupil  of  Lolli,  whose  intolerable 
eccentricities  and  immorality,  _as 
well  as  virtuosity,  he  adopted  with 
disastrous  results;  J.  B.  Cramer  chal- 
lenged him,  but  he  would  not  fight. 

Jar'off,  Serge,  b.  Russia,  March  20, 
1896;  choral  conductor;  studied  at 
Moscow  Synodal  Acad.  for  Church 
Choral  Song;  in  1920  founded  the 
celebrated  Don  Cossack  Russian 
Male  Chorus,  composed  of  former 
soldiers  in  the  White  Russian  Armies; 
beginning  1923  began  triumphal 
tours  with  t*"«  group  in  Europe; 
1030,  U.  S. 

Jarvis,  (i)  Stephen,  1834  ? — London, 
1880;  composer.  (2)  Chas,  H., 
Philadelphia,  1837 — 1895;  pianist 
and  conductor. 

Jaspar  (ahas-pSr),  Maurice,  b.  Li€ge, 
June  20,  1870;  pianist;  pupil  and 
(1909-16)  teacher  at  the  Cons.; 
XOOQ,  founded  (with  Lebefve)  the 
Walloon  Music  Fests.;  c.  piano 
pieces  and  songs. 

Jean-Aubry  (zhan-e'-bre),  G.,  b,  Le 
Havre,  France,  1885;  writer  on 
music;  ed.  of  "The^  Chesterian,"  Lon- 
don, since  1918;  author  of  "La 
Musique  franqaise  d'aujourd'hwij* 
etc. 

Jean  le  Coq,  or  Jehan.  Vide  GAIXTTS, 
JOHANNES. 

Jedttczka  (yat-l6ch'-ka),  Ernest, 
Poltawa,  Russia,  June  5,  1855 — 
Berlin,  Aug.  8,  1904;  pianist;  pupil  of 


Moscow  Cons. ;  teacher  there  till  1888, 
then  teacher  Berlin,  Stern  Cons. 

Jeffries,  (i)  G.,  organist  to  Chas. 
I.,  1643.  Had  a  son  (2)  Christopher, 
organist  and  composer.  (3)  Stephen, 
1660 — 1712;  Engl.  organist  and 
composer.  f 

JShin  (zha-&n),  Leon,  Spa,  Belgium, 
July  17,  1853— Monte  Carlo,  Feb. 
15,  1928;  violinist;  pupil  of  Leonard, 
Brussels  Cons.;  cond.  at  Antwerp 
and  Vauxhall,  Brussels;  1 879-89* 
asst.-prof .  of  theory,  Brussels  Cons.; 
cond.  at  Monaco;  composer. 

J6Ma  (JShin-Prume)  (zha-3.n-j>rum), 
Fz.  EL,  Spa,  Belgium,  April  18, 
1839 — Montreal,  May  29,  1899;  one 
of  the  most  eminent  violinists  of 
Belgian  sell.;  composer. 

Jelensperger  (y&'-lSn-shpSrkh-Sr), 
Daniel,  near  Miihlhausen,  Alsatia, 
1797 — 1831;  writer. 

Jelinek  (y£'-U-n£k),  Fz.  X.,  b.  Kaurins, 
Bohemia,  1818 — Salzburg,  1880; 
oboist  and  composer. 

JenVins,  (i)  J.,  Maidstone,  1592 — 
Kimberley,  Ncrfolk,  1678;  court- 
lutist  and  lyra-violist  to  Chas.  L  and 
U,;  composed.  "12  Sonatas  for  2 
Vlns.  and  a  Base,  with  a  Thorough 
Base  for  the  Organ  or  Theorbo,"*  tht 
first  Engl.  comp.  of  the  sort;  the 
pop.  "Tke  Lady  Katherine  Audley** 
Bells,  or  The  Five  Bell  Consort,"  etc. 
(2)  David,  b.  Trecastell,  Brecon, 
Jan.  i,  1849 — Aberystwith,  Dec.  xot 
1916;  1878,  Mus.  Bac.  Contab.;  1885, 
cond.  America;  prof.  Univ.  Coll.  of 
Wales;  c.  operetta,  2  oratorios,  3  can- 
tatas, A  Psalm  of  Life,  etc.  (3) 
Cyril,  b.  Dunvant  near  Swansea, 
South  Wales,  Oct.  9,  1885;  comp.  of 
symph.  poems,  chamber  music,  can- 
tatas, some  of  which  have  won  prizes 
at  the  nat'l.  Eisteddfod. 

Jermekin  (zhSn-kan).  Vide  JAKNEQUIN. 

Jenner  {ySn'-ne'r),  Gustav,  Keitum, 
Island  of  Sylt,  Dec.  3,  1865 — Mar- 
burg, Aug.  29,  1920;  pupil  of  Stange 
and  Gange  in  Kiel,  of  Brahms  and 
Mandyczewski  in  Vienna;  from  1895 
director  in  Marburg;  c.  songs  and 
quartets  for  women's  voices. 

Jensen  (ySn'-sSn),  (i)  Ad.,  KSnigs* 
berg,  Jan.  12, 1837 — of  consumption, 
Baden-Baden,  Jan.  23,  1879;  one  of 
the  most  original  and  poetical  of  com- 
posers for  piano  and  voice;  his  pf.- 
pcs.  have  an  unexcelled  lyricism, 
and  marked  melodiousness.  Self- 
taught,  but  advised  by  L.  Ehlert  and 


DICTIONARY  OF  MUSICIANS 


225 


Fr.  Marburg;  before  20  had  c.  over- 
tures, a  string-quartet,  sonatas  and 
songs.  1856,  teacher  in  Russia;  then 
studied  with  Schumann;  1857,  cond. 
Posen  City  Th.;  1858-60,  studied 
with  Gade;  1860,  returned  to  Konigs- 
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  dap 
and  other  vocal  works  with  orch.; 
concert-overture;  "Geistlicher  Ton- 
sffick"',  "  Hochzeitsmusik,"  "Abend- 
musik,"  "Lebensbilder,"  6  "Silkouet- 
ten,"  and  "L&ndliche  Festmusik,"> 
for  pf.  (4  hands);  and  "  Inner  e 
SUmmen,"  "Wanderbilder,">  a  sonata; 
6  German  Suites,  "Idyllen,9* 
"Erotikon"  (7  pcs.),  a  scherzo, 
"Wald-Idytte,"  op.  47,  "Scenes 
carnavalesques  "  for  pf.-solo;  and 
1 60  solo  songs.  Biog.  by  Niggli. 
(2)  Gustav,  K6nigsberg,  1843 — 
Cologne,  1895;  pupil  of  Dehn 
(comp.)  and  Laub  and  Joachim 
(vln.);  violinist  KSnigsberg  Th.; 
1872-75,  prof,  of  cpt.,  Cologne 
Cons.;  c.  symphony,  etc. 

Jentsch  (ySntshj,  Max,  Ziesar,  Saxony, 
Aug.  5,  1855 — Stendal,  Nov.,  1918; 
pianist  and  teacher;  pupil  of  Stern 
Cons.;  toured  the  Orient;  1884-89  in 
Constantinople;  later  in  Berlin;  from 
1894  in  Vienna;  c.  symphony, 
"Elysium"  for  chorus  and  orch., 
2  operas,  etc. 

Jep'son,  (i)  Harry  Benjamin,  b.  New 
Haven,  Conn.,  Aug.  16,  1870;  edu- 
cator; grad.  Yale  Univ.;  studied 
with  Stoeckel,  Parker,  Widor;  after 
1899  ass't.  prof,  of  theory  at  Yale, 
and  1906  prof,  and  Univ.  org.;  c. 
vocal  wks.;  d.  Groton,  Conn.,  1952. 
(2)  Helen,  b.  Akron,  O.;  soprano; 
studied  with  Horatio  Cqnnell  at 
Curtis  Inst.  of  Mas.,  Phila.;  also 
with  Richard  Hageman;  sang  with 
Chautauqua,  N.  Y.,  Op.  Ass'n.; 
with  Phila.  Gr.  Op.  Co.;  soloist  with 
various  orchs.;  after  1935  with  Met. 
Op.  Co.;  1936,  also  Chicago  Op.  Co. 

Jeritza  (yeV-et-sa),  Maria,  b.  Briinn, 
Moravia,  Oct.  6,  1887;  soprano; 
family  name  Jedlitzka;  studied  sing- 
ing with  Auspitzer;  first  sang  in 


operetta  at  Stadttheatre  in  native 
town;  later  in  Olmiitz;  then  in  comic 
opera  at  Munich  and  Vienna;  after 
1912  a  regular  mein.  of  Vienna  State 
Op.,  where  became  known  as  dram, 
actress  of  pronounced  powers;  Amer. 
d£but,  Met.  Op.  Co.  as  "Marietta"  in 
Korngold's  "Die  Tote  Stadt,"  1921; 
sang  leading  r61es  in  Wagnerian 
and  Italian  works  with  this  co.  for 
more  than  a  decade;  a  striking 
"Tosca";  "Turandot"  and  "Helena." 
in  Strauss's  opera  (creations  for  Amer- 
ica); in  1933  with  Chicago  Op.,  also 
appeared  at  Covent  Garden  .and 
widely  in  concerts. 

Jess'ner ,  Irene,  b .  Vienna;  soprano;  stud- 
ied Cons,  there;  mem.  Met.  Op.,  1936. 

Jrminez  (hl'-mX-nSth),  Jerommo,  Se- 
ville, 1854 — Madrid,  1923;  comp.  of 
50  zarzuelas. 

Jimmerthal  (yim'-mSr-tal),  Ha.,  Lti- 
beck,  1809 — 1886;  organist,  org.- 
builder  and  writer. 

Jirinek  (yS'-ra-nSk),  (i)  Anton,  ca. 
1712 — Dresden,  Jan.  16,  1761; 
studied  at  Prague;  later  joined  the 


Ledec,  March  24,  1855 — d.  1940; 
pianist;  pupil  of  Smetana,  and  of  the 
organ  school  at  Prague;  studied  the 
harp  with  Stanek,  the  violin  with 
Hrinialy,  and  was  a  harpist  at  first; 
1877-91  piano  teacher  at  Charkov; 
1891-1913,  prof,  at  Prague  Cons.; 
c.  "Ballad^3  and  "Scherzo  fantasti- 
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,9'  etc. 

Joachim  (yS'-S-khem),  (i)  Jos., 
Kittsee,  near  Pressburg,  June  28, 
1831 — Berlin,  Aug.  15,  1907;  emi- 
nent violinist;  studied  at  5  with 
Szervacinski,  Pesth,  with  whom  he 
appeared  in  public  at  7;  from  1841, 
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  London;  1849, 
Concertmeister  of  the  Weimar  orch.; 
1854,  cond.  and  solo  violinist  to  the 
King  of  Hanover;  1863  m.  Amalie 
Weiss  (v.  fnfra);  1868  head  of  the 
Hochschule,  Berlin;  1877,  Mus. 
Doc.  h.  c.,  Cambridge  Univ.;  had 


226 


DICTIONARY  OF  MUSICIANS 


many  degrees  from  German  uni- 
versities, and  various  orders  of 
knighthood;  undisputed  pre- 
eminence as  a  classicist  and  solo- 
performer;  his  famous  J.  Quartet 
included  De  Ahna,  Wirth  and  Haus- 
rr>a""TiT  He  c.  "Hungarian"  concerto 
for  violin,  and  2  others,  and  vari- 
ations with  orch.,  also  overture  to 
"Hamlet";  4  overtures  incl.  "Dem 
Andenken  Kleists";  Hebrew  Melo- 

.  dies,  for  via.  and  pf.;  Op.  14,  "Szene 
der  Marfa"  (from  Schiller's  De- 
metrius),  for  contralto  solo  with 
orch.;  three  cadenzas  to  Beethoven's 
vm.-concerto,  etc.  (2)  Amalie  (ne'e 
"Weiss,  rightly,  Schneeweiss),  Mar- 
burg, Styria,  May  10,  1839 — Berlin, 
Feb.  3,  1899;  eminent  concert  and 
operatic  soprano;  then  contralto 
and  teacher;  wife  of  above. 

Jobin  (zhd-b&&') ,  Raoul,  French-Cana- 
dian tenor;  sang  Paris  Op.;  Met. 
Op,,  1040. 

Johns,  Clayton,  New  Castle,  Del., 
Nov.  24,  1857 — Boston,  March  7, 
1932;  pupil  of  J.  K.  Paine,  and  W. 
H.  Sherwood,  Boston;  later  with 
Kiel,  Grabow,  Raif,  and  Rummel 
(pf.)  in  Berlin;  in  Boston,  Mass., 
as  a  concert-pianist  and  teacher; 
after  1912  taught  N.  E.  Cons.;  c. 
a  Berceuse  and  Scherzino  for  string- 
orch.  (played  by  Boston  Symph. 
orch.) ;  many  songs,  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.  (4)  John, 
d.  1594-95;  musician  to  Queen 
Elizabeth;  c.  lute- music.  (5)  Ed- 
ward, b.  Guelph,  Ontario,  tenor  and 
impresario;  studied  Univ.  of  Toronto; 
singing  with  Lombardi  in  Florence; 
early  sang  in  concerts  and  in  light 
operas  in  N.  Y.;  opera  d6but  at 
Padua;  heard  in  several  Italian 
theatres,  incl.  La  Scala  (ist  Ital. 
perf.  of  Parsifal,  1914);  sang  Chi- 
cago Op.  Co.  1920,  also  Ravinia 
Op.;  Met.  Op.  Co.,  after  1921, 
interpreting  romantic  r61es  such  as 
"PellSas"  and  in  Italian  works  with 
succ.;  created  parts  in  ist  Amer. 
hearings  of  operas  by  Puccini,  Piz- 
zetti,  Montemezzi,  Zandonai  and 
Deems  Taylor  {"Kings  Hench- 
and  "Peter  Ibbetson");  chosen 
asst,  general  manager,  Met.  Op. 
»3  1935*  and  same  year  succeeded 


to  managership  on  death  of  Herbert 
Witherspoon;    hon.    LL.    D.,    Univ 
of  Western  Ontario;   Cav.  Ufficiale, 
Order  of  the  Crown  of  Italy;  Com- 
mander    of     the     British     Empire. 

(6)  Horace,    b.    Waltham,    Mass., 
October  5,  1893;  composer;  studied 
comp.    with   Bainbridge    Crist,   org. 
and  pf.  with  John  P.  Marshall;  c. 
orcn.  suites,  pf.  pieces,  songs,  etc. 

(7)  Thor,   b.    Wise.    Rapids,    Wis., 
1913;  grad.  Univ.  of  N.  C.;  studied 
with  Walter,  Malko  and  Weingart- 
ner;  cond.,  Ann  Arbor,  Mich.,  Fest.; 
cond.  Cincinnati  Symph.,  after  1946. 

JommelH  (y6m-mel'-ll),  Wiccold, 
Aversa,  near  Naples,  Sept.  n,  1714 
— Naples,  Aug.  28,  1774;  eminent 
operatic  and  church-composer;  pupil 
of  Canon  Mozzillo,  Durante,  Feo, 
Leo,  Prato  and  Mancini.  C.  ballets 
and  songs,  then  dram,  cantatas;  at 
23  prod,  opera  "L'J&rrore  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  Wtlrtemberg.  Lived  in  Germany 
15  years  and  made  great  succ.  He 
profited  artistically  by  German  in- 
fluence, but  when  the  Stuttgart  opera 
was  disbanded  and  he  retired  to 
Italy  his  style  was  too  serious  and 
perhaps  his  best  works  "Armida 
Abbandonata"  (1770),  " Demofo'dnte"* 
£1770),  and  "Ifigenia  in  Tauride"* 
(1771),  were  failures  when  prod,  at 
Naples.  The  humiliation  after  such 
long  triumph  brought  on  apoplexy 
(i773)j  from  which  he  recovered 
only  long  enough  to  write  a  cantata 
on  the  birth  of  a  prince,  and  his 
masterpiece,  a  "Miserere."  The 
King  of  Portugal  commissioned  him 
to  write  2  operas  and  a  cantata; 
but  he  did  not  live  to  finish  them; 
he  c.  over  50  known  operas  and 
divertissements,  and  equally  fine 
sacred  mus.,  incl.  4  oratorios,  a 
magnificat,  with  echo,  etc. 

Jonas  (zhs-n&0,  (i)  fimile,  Paris, 
March  5,  1827— St.  Germain-en- 
L?3^7  Pa*is,  May  21,  1905;  pupil 
of  Carafa  at  the  Cons.;  from  1847 
teacher  there  also  mus.-dir.  Portu- 
guese svnacroeue.  (2)  (h 


DICTIONARY  OF  MUSICIANS 


227 


Alberto,  Madrid,  June  8,  1868 — 
Phila.,  Nov.  9,  1943;  pianist;  pupil  of 
Madrid  Cons.;  at  18  with  Gevaert, 
Brussels  Cons.;  won  ist  prize  for  pf ., 
and  later  2  first  prizes  in  harm,: 
d6but,  Brussels,  1880;  1890,  studied 
St.  Petersburg  Cons,  under  Rubin- 
stein's tuition;  since  toured  Europe 
and  America;  1894  head  of  the  pf.- 
dep.  Univ.  of  Michigan;  since  1914 
taught  in  N.  Y.  (2)  Maryla,  Polish 
pianist;  N.  Y.  dSbut,  1946. 

Joncifcres  (zhdn-sl-&rs),  Victorin  de, 
Paris,  April  12,  1839 — Oct.  26,  1903; 
studied  painting,  then  mus.  with 
El  wart  at  the  Cons.;  an  ardent 
Wagnerian,  he  left  the  Cons,  because 
of  El  wart's  adverse  opinion;  pres. 
"Soc.  des  Compositeurs  de  musique," 
Chev.  of  the  Legion  of  Honour,  and 
officer  of  public  instruction;  1871 
critic  of  "La  Liberte"  etc.;  prod.  4 
operas,  incl.  "Le  Chevalier  Jean9* 
(Op.-com.,  1885),  a  symph.  ode, 
"La  Mer"*  a  "Symphonic  roman- 
tique";  "Li  Tsin,"  a  Chinese  theme 
for  soli  and  orch.,  etc. 

Jones,  (i)  Robt.,  Engl.  lutenist  and 
composer,  1601-16;  one  of  his  songs, 
"Farewell  deere  love"  is  alluded  to 
in  "Twelfth  Night."  (2)  Wm.  ("of 
Nayland")>  Lowick,  Northampton- 
shire, 1736 — Nayland,  Suffolk,  1800; 
writer  and  composer.  (3)  J.,  1728 — 
London,  1796;  organist  and  com- 
poser. (4)  (Sir)  Wm.,  London, 
1746 — Calcutta,  1794;  writer.  (5) 
Edw.  ("Brady  Brenin")?  Llander- 
fel,  Merionethshire,  April  18,  1752 — 
London,  April  18,  1824;  Welsh 
harpist,  writer  and  composer.  (6) 
Griffith,  British  writer,  pub.  "A 
History  of  the  Origin  and  Progress 
of  Theoretical  and  Practical  Music?** 
1819.  (7)  Sidney,  b.  Leeds,  1869; 
theater  conductor  and  composer  of 
the  succ.  operetta  "The  Gaiety  Girl" 
(London,  1893);  "An  Artist's  Model9* 
(Daly's  Th.,  London,  1895);  "The 
Geisha"  (1896);  d.  Kew,  Eng.^  1946. 

Jongen  (zhdn'-g&n),  (i)  Joseph,  b. 
Li6ge,  Dec.  14,  1873— Sart-les-Spa, 
July  14,  ip53;  pupil  Liege  Cons.,  won 
1  many  prizes  incl.  Prix  de  Rome; 
1903  prof,  of  harmony  and  cpt. 
there;  after  1904  res.  in  Brussels; 
1920  taught  at  Cons,  there;  1925, 
dir.;  with  Lekeu  and  Vreuls,  one 
of  leading  Belgian  comps.,  influenced 
by  Franck  and  Debussy;  c.  much 
orch.  and  chamber  music*  'cello 


concerto,  cantatas,  piano  and  prg. 
music,  and  stage  works.  (2)  Leon, 
b.  Liege,  March  2,  1884;  bro.  of 
Joseph;  studied  Li6ge  Cons.,  won 
Prix  de  Rome;  c.  dram,  works. 

Jorda  (hor-da/),  Enrique,  b.  San  Sebas- 
tian, 1911;  cond.,  San  Francisco 
Symph.,  1054-55. 

Jor'dan,  Jules,  Willimantic,  Conn., 
Nov.  10,  1850 — Providence,  R.  I., 
March  5,  1927;  studied  singing  with 
Osgood,  Boston,  Shakespeare,  Lon- 
don, and  Sbriglia,  Paris;  for  13  years 
choirm.  of  Grace  Ch.,  Providence; 
1880  cond.  Arion  Club;  c.  comedy- 
opera  "Rip  Van  Winkle9*  (pub. 
1898);  cantata  with  orch.;  songs, 
etc. 

J6rn  (yarn),  Karl,  b.  Riga,  Jan.  $, 
1876;  tenor;  pupil  of  Lohse,  Schutte, 
Harmsen  and  Elis.  Jacobs,  also  Mme. 
Ress  and  Weiss;  made  d6but  at 
Freiburg,  1896;  sang  at  Zurich,  Ham- 
burg, Berlin;  also  inLondon,  1905-08, 
Met.  Op.,  1908-11;  d,  Denver,  1947- 

Joseffy  (yo-zSf'-fl),  Rafael,  Miskolcz, 
Hungary,  July  3,  1853 — New  York, 
June  25,  1915;  eminent  pianist;  pupil 
of  Moscheles,  Leipzig  Cons.,  Liszt^ 
Tausig;  toured  Europe  with  succ.; 
lived  in  Vienna;  for  many  years  at 
New  York;  teacher  Nat.  Cons.;  c. 
pf.-pcs. 

Josephson  (y5'-z£f-z5n),  Jacob  Axel, 
Stockholm,  March  27, 1818 — Upsala, 
March  29,  1880;  Swedish  cond.  ana 
composer. 

Josquin.     Vide  DESPK&S. 

Josten  (y5s'-t£n),  Werner,  b.  Elber- 
feld,  Germany,  June  12,  1888;  com- 
poser; since  1923  prof,  of  music, 
Smith  Coll.,  Northampton,  Mass.; 
also  dir.  music  fests.  there,  incl. 
perfs.  of  Handel  operas,  etc.;  c. 
*' Jungle"  for  orch.;  "Concerto  Sacro9* 
for  strings  and  piano;  " Hymnus  to 
the  Quene  of  Paradys,"  for  alto  solo, 
women's  chorus,  strings  and  org.; 
"Crucifixion,"  for  bass  solo  and 
mixed  chorus;  "Indian  Serenade,"* 
for  tenor  and  orch.,  "Ode  for  St. 
Cecilia9s  Day"  for  soprano,  barytone^ 
mixed  chorus,  orch.;  "A  Une 
Madone"  for  tenor  and  orch.;  string 
quartet;  (ballet)  "Joseph  and  His 
Brethren"  (Juilliard  School  of  Music, 
1936). 

Jouret  (zhoo-ra),  (i)  Th.,  Ath,  Bel- 
gium, 1821 — Kissingen,  1887;  critic 
and  dram,  composer.  (2)  Leon, 
Ath.  Oct.  17,  1828 — Brussels,  June  6, 


228 


DICTIONARY  OF  MUSICIANS 


1905;  bro.  of  above;  pupil  Brussels 
Cons,  and  after  1874  vocal  teacher 
there;  c.  2  operas,  cantatas,  etc. 

Joitrnet  (zhoor'-na),  Marcel,  Grasse, 
1869 — Vittel,  Sept.  6,  1933;  bass; 
pupil  of  the  Cons.;  d6but  Th.  de  la 
Monnaie,  Brussels;  sang  often  at 
Covent  Garden;  1900  at  Met.  Op., 
N.  Y.;  1914,  Chicago  Op.  Co. 

Jousse  (zhoos),  J.,  Orleans,  France, 
1760 — 1837;  teacher  and  writer. 

Juch  (yookh),  Zmma,  Vienna,  July  4, 
1865 — N.  Y.,  March  6, 1939;  soprano; 
studied  in  New  York  with  Mme. 
Murio-CelU;  concert  dSbut,  1882;  in 
opera  at  Her  Majesty's  Theat., 
London,  the  following  year  in  t(Mi- 
gnon";  sang  under  Mapleson's  mgt. 
there  for  3  seasons  in  leading  rdles; 
1886-87  with  Amen  Qp.  Co.  under 
Thomas;  1889  founded  her  own  co. 
and  sang  in  U.  S.  and  Mexico;  also 
heard  in  concerts  and  with  orchs.  in 
U.S. 

Judenktcaig  (yoo  '-den-koo-nSkh)  ? 

TTflTigj  b.  Schwabisch-GmQnd;  Intern- 
ist, vioHst  and  composer  at  Vienna, 
1523- 

Jtte  (zhu),  Edouard,  b.  Paris,  1794  (?); 
violinist  and  writer. 

J«l(l)ien  (zhiil-yan),  (i)  Marcel  Bd., 
Paris,  1798 — 1881;  writer.  (2)  Jean 
Lucien  Ad.,  Paris,  June  i,  1845 — 
1932;  son  of  above;  prominent  critic 
and  writer.  (3)  Lotus  Ant.,  Sisterotn, 
BassesK&lpes,  April  23,  1812 — in- 
sane, Paris,  March  14,  1860;  pop. 
conductor  and  composer  of  dance 
music,  etq.  (4)  Paul,  Brest,  France* 
Feb.  12, 1841 — a.t  sea,  1866;  violinist; 
pupil  Paris  Cons.,  took  ist  prize; 
toured  America,  1853-66. 

Jmmlhac  (zhii-mel-y&k),  Dom  P.  Be- 
nott  de,  near  Limoges,  i6n-^St. 
Germain-des-Pres,  1682;  writer. 

Jtmck  (yoonk),  Benedetto,  Turin,  Aug. 

24,    1852— Vigilio    (Bergamo),    Oct. 

5,  1903;  pupil  of  Bazzini  and  Maz- 

zacato;   lived   in   Milan;   c.   string- 

,     quartet,  etc. 

Jfingst  (yinkst),  Hugo,  Dresden,  Feb. 
26,  1853 — Feb.  6,  1923;  studied  at 
Cons,  there;  founded  the  Julius  Otto 
Soc,;  and  cond.  Male  Choral  Soc.; 
1898  made  prof,  by  King  of  Saxony; 
c*  male  choruses. 

Jtinker  (yoonk'-Sr) ,  K.  L.,  Ohringen, 
ca.  1740 — Kirchberg,  1797;  writer 
and  composer. 

(zhw6n),  Paul,  Moscow,  Mar.  8, 
«iy.  Switz..  Aug.  21,  1940; 


violinist;  pupil  Hrimal>,  Taneiev 
and  Arensky,  later  of  Bargiel  in 
Berlin,  where  he  won  the  Mendels- 
sohn Scholarship;  1896  taught 
theory  at  Baku;  1897  settled  in 
Berlin;  1906-34,  teacher  of  compo- 
sition at  the  High  School  for  Music; 
c.  2  symph.,  the  second  prod.  with. 
much  interest  at  Meiningen,  1003* 
and  in  London,  1904  and  i9°55  *an" 
tasie  for  orch.,  "Wachterweise,"  on 
Danish  folk-themes,  orch.  suite,  "Aus 
meinem  Tagebuch"\  chamber  music, 
"Satyrs^  and  Nymphs,"  ^and  other 
piano  pieces,  3  vln.  concert!,  etc. 

Jupin  (zhii-pS-n),  Chas.  Fran.,  Cham- 
b6ry,  1805  —  Paris,  1839;  violinist, 
professor,  conductor,  and  dram. 
composer. 

Jiirgenson  (ylir'-g^n-zon),  Peter, 
Reval,  1836  —  Moscow,  Jan.  2,  1904; 
founded  mus.-pub.  house,  Moscow, 
1861. 


Kaan  (kan)  ("Alb6st-Kahn"),  H. 

Tarnopol,  Galicia,  May  2p,  1852  — 
Rudna,  May,  1926;  pianist;  pupil 
of  Blodek  and  Sfcuhersky,  Prague; 
dir.  Cons,  there,  1907-18,  comp. 

Kabalev^ky,  Dimtoi,  b.  Leningd., 
1904;  pupil  Mosc.*  Cons.,  c.  opera 
*'Colas  Breugnon,"  2  symphs.,  etc. 

Kade  (ka7-d§),  Otto,  Dresden,  182^  — 
Schwerin,  1900;  ct.-conductor,  write! 
and  composer. 

Kaempfert  (kSmp'-ffirt),  Max,  b. 
Berlin,  Jan.  3,  1871;  studied  in 
Paris  and  Munich;  1899  —  1923  cond. 
at  FrankfortH>n-Main;  c,  opera* 
4  rhapsodies  for  orch.,  etc. 

Kahl  (kal),  H.,  Munich,  1840—  Berlin, 
1892;  conductor. 

Kanlert  (ka'-lgrt),  Aug.  K.  TIHKK 
theus,  Breslau,  1807  —  1864;  writer 
and  composer. 

Kann  (kan),  (i)  Robt.,  b.  Mannheim. 
July  21,  1865;  pianist;  pupil  o{ 
Ernst  Frank  and  V.  Lachner,  Kiel4 
and  Jos.  Rheinberger  (Munich. 
1885);  1891  founded  Ladies'  Choral 
l?nion,  Leipzig;  1898  —  1930,  prof. 
of  comp.,  Berlin  Hochscnule  fiir 
Musik;  c.  orch.,  chamber  and  choral 
music,  songs,  etc.  His  bro.  (2) 
Otto  Hermann,  Mannheim,  Ger- 
many, Feb.  21,  1867  —  New  York, 
March  29,  1934;  patron  of  music; 
1908-31,  chairman  of  board  of 
directors,  Met.  Op.  Co.,  and  for  some 
years  dominated  its  artistic  policies; 


DICTIONARY  OF  MUSICIANS 


229 


oossessing  wide  interests,  he  was 
also  a  generous  supporter  of  many 
of  the  foreign,  musical  and  other 
productions  brought  to  N.  Y.; 
influential  in  sponsoring  the  Century 
Op*  Co.,  Boston  Op.  Co.,  Chicago 
Op.  Ass'n.,  the  French- American 
Ass'n.  for  Mus.  Art,  and  other 
projects;  he  was  interested  in  pro- 
noting  a  plan  for  a  new  opera  house 
m  N.  Y.  and  even  bought  up  parcels 
of  land  for  such  a  structure,  but 
opposition  in  the  Met.  Op,  director- 
ate caused  the  matter  to  be  shelved. 

Kahnt  (kant),  Chr.  Fr.,  1823 — Leipzig, 
1897;  mus. -publisher. 

Kaiser  (ki'-zSr),  (i)  K.,  Leipa,  Bohe- 
mia, 1837 — Vienna,  1890;  founded 
sch.  continued  by  his  son  (2)  Rudolf. 
(3)  Fr.  Emily  Coburg,  Feb.  7,  1853 — 
Munich,  1929;  regimental  bandm. 
Prague;  prod.  5  operas,  incl.  "Der 
Trompeter  von  Sitkkingen"  (Olmiitz, 
1882). 

Kajaxms  (ka-ja'-noos),  Robert,  Helsing- 
fors,  Dec.  2,  1856 — July  6,  1933; 
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 
Finnish  rhapsodies,  symph.  poems 
"Aino"<  and  "  Kullervo";  orch.  suite 
"Summer  Memories,99'  cantata,  etc. 

Kal'beck,  Max,  Breslau,  Jan.  4,  1850 — 
Vienna,  May  5,  1921;  studied 
Munich  Sch.  of  Mus.;  1875,  writer, 
critic  at  Breslau;  then  on  the  "Wiener 
Montags- Revue,">  and  the  "Neues 
Tageblatt." 

.Kalin'nikov,  Vassili  Sergeievich, 
Voina,  Jan.  13,  1866 — Jalta,  Crimea, 
Jan.  ii,  1901;  pupil  of  Hjinski  and 
Blaramberg  at  Moscow;  1893  as- 
sistant cond.  at  the  Italian  Opera 
there;  compelled  to  retire  because  of 
pulmonary  trouble  and  go  south;  c. 
2  symph.,  the  first  in  G  minor,  much 
played;  2  symph.  poems,  "The 
Nymphs"  and  "Cedar  and  Palm"*, 
music  to  Tolstoi's  "Czar  Boris?* 
(Little  Theatre,  Moscow,  1899); 
"Russalka99  ballade  with  orch.,  can- 
tata, "St.  John  of  Damascus,9*  etc. 

Kalisch  (ka'-Ush),  Paul,  b.  Berlin, 
Nov.  6,  1855;  tenor;  studied  with 
Leoni;  sang  Berlin  ct.-opera;  m. 
Lilli  Lehmann;  sang  at  Cologne  and 
six  times  in  America;  d.  (?). 

Kalischer  (ka'-lfeh-Sr),  Alfred,  Thorn, 
March  4,  1842 — Berlin,  Oct.  8,  1900; 


Dr.  Phil.,  Leipzig  TL;  studied  with 
Biirgel  and  BShmer;  lived  in  Berlin, 
as  a  writer  and  teacher;  editor  "Neue 
Berliner  Musikzeitung" ;  pub.  "Less- 
ing  als  Musikasthetiker" ';  "Musik  und 
Moral,99'  "Beethoven  und  seine 
Zeitgenossen" ;  ed.  collection  of  Bee- 
thoven's letters. 

Kalkbrenner  (kalk'-brSn-ner),  (i)  Chr., 
Minden,  Hanover,  1755 — Paris,  1806; 
writer  and  dram,  composer.  (2)  Fr. 
Wm.  Michael,  b.  on  a  journey  from 
Cassel  to  Berlin,  1788 — d.  of  cholera 
Enghien-les-Bains,  near  Paris,  June 
10,  1849;  son  and  pupil  of  above; 
very  succ.  pianist  and  teacher;  de- 
veloped modern  octave-playing,  left- 
hand  technique  and  pedalling;  wrote 
valuable  6tudes  and  other  compos.; 
also  studied  Paris  Cons,  and  with 
dementi  and  Albrechtsberger.  (3) 
Arthur,  d.  near  Paris,  1869;  son  of 
(2);  composer. 

Kalliwoda  (kalMX-vo-da),  (i)  Jo* 
Wenzel,  Prague,  1801 — Carlsruhe, 
1866;  pianist,  conductor  and  dram, 
composer.  (2)  Wm.,  Donaueschin- 
gen,  1827 — Carlsruhe,  1893;  son  and 
pupil  of  above;  dir.,  ct.-conductor, 
pianist  and  composer. 

Kallwitz,  or  Kalwitz.     Vide  CALVISITTS. 

Kal'man,  Emmerich,  b.  Siofok, 
Hungary,  Oct.  24,  1882;  composer 
of  operettas,  some  of  which  nave 
had  world- wide  popularity;  pupil 
of  Koessler;  c.  among  other  works 
"Die  Czardasfttrstin,"*  "Gr&fin 
Maritza"  "Die  Zirkusprinzessin"; 
lived  U.  S.;  d.  Paris,  Oct.  30,  1953. 

KamiensM  (kam-X-£n'-shkI),  Mathias, 
Odenburg,  Hungary,  1734 — Warsaw, 
1821;  teacher  and  composer  of  the 
first  Polish  opera  "The  Wretched 
Made  Happy"  (1778),  etc. 

Kamin'ski,  Heinrich,  b.  Tiengen, 
Baden,  Germany,  July  4,  1886;  com- 
poser; studied  at  Heidelberg  Univ., 
and  with  Klatte,  Kaun  and  Juon; 
his  works  based  on  pre-Bach  poly- 
phonic style;  c.  (music  drama) 
"Jilrg  Jenatsch9*  (prod.  Dresden 
Op.),  concerto  grosso  and  suite  for 
orch.,  chamber  music,  many  choral 
works  and  motets,  Magnificat, 
(widely  sung,  incl.  Boston  perf.); 
Psalms  for  chorus  and  orch.;  Passion 
(mystery  play);  org.  works,  etc.; 
1930-32,  leader  of  master  school  in 
comp.  at  Berlin  Akad.  der  Kiinste; 
also  cond.  of  orch.  concerts  in 
Bielefeld,  1930-33;  d.  1946. 


DICTIONARY  OF  MUSICIANS 


230 

Kam'mel,  Anton,  Hanna,  Bohemia, 
1740— London,  before  1788;  violinist 
and  composer;  pupil  of  Tartini;  c. 
masses,  violin  duets,  etc. 

Kammerlander  (kam'-mer-lant-er),  K.f 
Weissenhorn,  Swabia,  1828 — Augs- 
burg, 1802:  conductor  and  composer. 

Kandler  (kantMer),  Fz.  Sales,  Klos- 
terneuburg,  Lower  Austria,  I792 — 
Baden,  1831;  writer. 

Kapp,  Julius,  b.  Steinbach,  Baden, 
Oct.  i,  1883;  Ph.  D.;  editor;  writer  of 
biogs.  of  Wagner,  BerKoz,  Liszt,  etc. 

Kappel  (ka'-pel),  Gertrude;  b.  Halle, 
Germany;  studied  piano  and  singing 
Leipzig  Cons.,  with  Nikisch  and 
Noe;  has  appeared  in  opera  at  Han- 
over, Vienna,  Munich,  London, 
Madrid,  Amsterdam,  and  after  1927 
with  Met.  Op.  Co.,  N.  Y.,  singing 
leading  Wagnerian  rdles,  also 
Strauss's  "Elektra." 

Kapsberger  (kaps'-bfcrkh-Sr),  Jn. 
Hieronymus  von,  b.  of  noble  Ger- 
man family,  d.  Rome,  ca.  1650; 
virtuoso  on  theorbo,  chitarrone,  lute, 
and  trumpet;  notable  composer. 

Karajan  (ka  -ra-yan) ,  Herbert  von;  cond.; 
1035,  Aachen;  later.  Vienna  Symph. 

Karasowski  (ka-ra-sfidf'-shklO,  Mo- 
ritz,  Warsaw,  1823 — Dresden,  1892; 
'cellist,  writer  and  composer. 

Karg-Elert  (karkh-a'-lSrt) ,  Sigfrid, 
Oberndorf,  Nov.  21,  1879— Leipzig, 
^pril  9,  1933;  pupil  Leipzig  Cons.; 
-eacher  and  composer;  after  1919, 
caught  at  Leipzig  Cons.;  eminent 
concert  organist;  toured  U.  S.  shortly 
before  his  death;  c.  a  large  variety 
of  works  for  org.,  incl.  sonatas,  etc. 

Karl,  Tom,  Dublin,  Jan.  19,  1846 — 
Rochester,.  N.  Y.,  1916;  tenor; 
studied  with  H.  Phillips,  San- 
giovanni  and  Trivulzi;  sang  in 
Italian  opera  for  years,  went  to 
America  with  Parepa-Rosa,  then 
with  "The  Bostonians"  in  comic 
opera  many  years;  retired  1896; 
later  vocal  teacher,  N.  Y. 

Karlovicz  (karl'-yo-vlch),  Mieczy- 
slav,  Wisznievo,  Lithuania,  Dec.  n, 
1876 — (in  an  avalanche),  Zakopane, 
Galicia,  Feb.  10,  1909;  composer; 
studied  in  Warsaw  and  Berlin;  c. 
symph.,  symphonic-trilogy  "Three 
Ancient  Songs"  (1907),  "Lithuanian 
Rhapsody"  (1908),  also  published 
Chopin  letters  and  documents  (War- 
jaw  and  Paris,  1905). 

Karpath  (kar'-p&t),  Ludwig,  Budapest, 
^866 — Vienna:,  1936;  singer  and 


critic;  pupil  Budapest  Cons.;  sang 
with  Nat'l.  Op.  Co.,  N.  Y.,  1886-88; 
after  1894,  critic  H*™?™™»$ 
Tageblatt"',  1910-17,  ed.,  "M*kei»t 
author  of  books  on  Wagner. 

E^sanOi,  Nicolai  Ivanovich,  Tiraspol, 
Dec.  17,  1869— St.  Petersburg,  1913 
(?);  Russian  composer;  pupil  Odessa 
Music  School  and  St.  Petersburg 
Cons.;  had  cond.  Russian  symph. 
concerts  in  Germany,  Bohemia,  etc.; 
c  symph.,  Sinfonietta,  cantata 
"Russalka"  (Munich,  1897),  and 
"Leonore"  (do.).  .  ^  . 

Kasatchen'ko,  Nicolai  Ivanovicn,  D. 
Russia,  May  3,  1858;  cond.;  pupil 
St.  Petersburg  Cons.;  1883  chorus 
master  at  the  Imperial  Opera;  cond 
"Russian  Concerts"  in  Paris,  1898-. 
after  1924  prof,  of  choral  singing, 
Leningrad  Cons.;  c.  symph.,  2 
oriental  suites,  2  operas,  "Prince 
Serebrianni"  (St.  Petersburg,  1892), 
and  "Pan  Sothin"',  d.  Leningrad  (?). 

Kasch'in,  Daniel  NiMtich,  Moscow, 
1773-1844;  composer  of  Polish  folk 
and  patriotic  songs :  also  three  operas. 

Kash'perov,  Vladimir  Nikitich, 
Simbirsk,  1827 — Romanzevo,  July 
8,  1894;  Russian  composer;  pupil 
of  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.  "Maria  Tudor" 
(Milan,  1859),  "Rienzi"  (Florence, 
1863),  "Consuelo"  (Venice);  1866-72 
he  was  singing  teacher  at  Moscow 
Cons.,  and  organised  public  chorus- 
classes;  c.  also  operas  "The  Weather" 
(St.  Petersburg,  1867).  and  "Tar as 
Bulba"  (Moscow,  1893). 

Kaskel  (kas'-k&),  Preiherr  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  Wiillner  and  Jen- 
sen, Cologne;  lived  in  Dresden;  c. 
succ.  i-act  opera  "  Hochzeitsmorgen" 
(Hamburg,  1893);  v.  succ.  opera 
"Sjvla"  (Cologne,  1895),  etc. 

KSssmeyer  (kSs'-mi-gr)  ,Moritz,  Vienna, 
1831 — 1884;  violinist;  c.  5  string- 
quartets,  some  of  them  humorous. 

KastaTsky,  Alexander  Dmitrievitch, 
Moscow,  Nov.  28,  1856 — Dec.  17, 
1926;  important  Russian  church 
composer;  after  1887  teacher  and 
conductor  at  the  School  of  the 
Synodal  Chorus,  renamed  the 
People's  Choral  Acad.  in  1918  and 


DICTIONARY  OF  MUSICIANS 


231 


merged  with  Moscow  Cons,  in  1923; 
also  c.  operas,  etc. 

Kastner  (kast'-ner) ,  (i)  Jn.  G.,  S trass- 
burg,  March  9,  1810 — Paris,  Dec.  19, 
1867;  pupil  of  Maurer  and  Romer; 
at  10,  organist;  at  20,  bandm.;  at 
25  had  prod.  4  operas,  and  was  sent 
*»y  the  town  council  to  Paris,  to  study 
with  Berton  and  Reicha;  1837, 
pub.  treatise  "On  Instrumentation"* 
among  others;  also  methods  adopted 
at  the  Paris  Cons.;  lived  thereafter 
at  Paris  as  teacher;  wrote  learned 
essays  and  an  itE,ncyclopedie  de  la 
musique"-  C.  3  later  operas  incl. 
"Le  dernier  roi  de  JudaJ*  his  master- 
piece, also  3  symphonies,  5  overtures, 
10  serenades  for  wind;  "Livres- 
partitions'  '•  (symphony-cantatas, 
prefaced  by  brilliant  historical  es- 
says, incl.  "Les  danses  des  marts"}, 
a  vol.  of  310  pages;  "La  harpe 
ffeole"  (1856);  "Les  voix  de  Paris,"- 
followed  by  "Les  cris  de  Paris"* 
grande  symphonic  humoristique  voc. 
et  instr.  (1857);  "Les  Sirenes"' 
etc.  Biog.  by  Jan  (Leipzig,  1886). 
(2)  G.  Fr.  Eugen,  Strassburg,  1852 
— Bonn,  1882;  son  of  above;  inv. 
the  pyrophone  (v.  D.  D.),  and  pub. 
work  on  it.  (3)  Emmerich,  Vienna, 
March  29,  1847 — 1916;  editor  and 
writer. 

Kate  (ka'-te1),  Andre*  Ten,  Amsterdam, 
1796 — Haarlem,  1858;  'cellist  and 
dram,  composer. 

Katims  (ka'-tlms),  Milton,  American 
violist;  cond.  with  NBC  Symph.; 
i954-$5,  cond.  Seattle  Symph. 

Kauer"  tkow'-Sr),  Fd.,  Klein-Thaya, 
Moravia,  Jan.  8,  1751 — Vienna, 
April  13,  1831;  prolific  c.  of  Sing- 
spiele;  organist,  conductor,  'cellist; 
c.  200  operas  and  operettas. 

KaTiffmann  (kowf'-man),  (i)  Ernst 
Ft.,  Ludwigsburg,  1803 — Stuttgart, 
1856;  ^pianist  and  composer.  (2) 
Emil^ Ludwigsburg,  Nov.  23,  1836 — 
Tubingen,  June  18,  1909;  violinist; 
son  of  above;  pupil  of  Stuttgart 
Cons.;  musical  dir,  Tubingen  Univ.; 
Dr.  Phil.,  1885.  (3)  Fritz,  Berlin, 
June  17,  1855 — Magdeburg^  Sept. 
29,  1934;  a  druggist,  Leipzig  and 
Hamburg;  took  up  music,  1878, 
entered  the  Akademische  Hochschule 
at  Berlin,  won  Mendelssohn  prize  for 
comp.  1881;  till  1889,  lived  in  Berlin 
as  a  teacher  and  ther*  cond.  of  the 
ktOesellschaftsconcerle"  at  Magde- 
burg; 1893,  Rc-a)  ' 


c.  comic  opera,  "Die  Herzkrankheit"  i 
symphony,  etc. 

Kann  (kown),  Hugo,  Berlin,  March 
21,  1863 — April  2,  1932;  pupil  at 
Royal  High  School  under  Grabau 

„  and  Fr.  Schulz;  also  with  K.  and  O- 
Raif,  and  Fr.  Kiel;  1887  took  up 
residence  in  Milwaukee,  Wis.,  as 
teacher  and  cond.;  1900  returned  to 
Berlin;  1912,  elected  to  Berlin  RoyaJ 
Academy;  c.  symph.  "An  Mein 
Vaterland,"  symph.  prolog  "Marie 
M 'agdalene" ';  symph.  poems;  festival 
march  "The  Star  Spangled  Banner" 
chamber  music  with  orch.,  "Nor- 
mannen  AbscMed";  i-act  opera  "Der 
Pietist"  or  "Oliver  Brown,"  and 
important  songs  and  piano  pieces. 

Kazynski  (kS-zgn'-shkl),  Victor,  Wilna, 
Lithuania,  Dec.  18,  1812 — St.  Peters- 
burg, 1870;  pupil  of  Eisner,  Warsaw; 
prod.  3  operas;  1843,  cond.  Imp.  Th. 
St.  Petersburg. 

Ke'fer,  Paul,  Rouen,  1875 — Rochester, 
N.  Y.,  1941;  'cellist;  pupil  Verviers 
Mus.  School  and  Paris  Cons.;  after 
1900  played  in  Paris  orchs.,  and  190^- 
13  with  N.  Y.  Symph.,  also  heard  as 
soloist. 

Keiser  (kl'-zSr),  Reinhard,  Teuchern, 
near  Weissenfels,  Jan.  9,  1674 — 
Hamburg,  Sept.  12,  1739;  the  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;  ^. 
116  operas  at  Hamburg  from  1694; 
mgr.  the  opera  there,  ct.  cond.  and 
later  canon  and  cantor;  c.  also  ora- 
torios, masses,  etc. 

Kerberine,  Alex,  Kiev,  1903 — N.  Y., 
Jan.  30,  1940;  pupil  of  Busoni  and 
Siloti;  toured  in  Europe;  N.  Y. 
d6but>  1928;  head  of  piano  dept., 
Sternberg  Cons.,  Phila.;  has  ap- 
peared as  soloist  with  leading  Amer. 
orchs. 

Keler-Bela  (rightly  Adabert  von  Keler) 
(ka'-lftr  ba'-la),  Bartfeld,  Hungary, 
Feb.  13,  1820 — Wiesbaden,  Nov.  20, 
1882;  violinist,  conductor  and  com- 
poser, 

Keller,  (i)  Gottfried  (called  Godfrey), 
b.  in  Germany;  teacher  and  writer  in 
London,  1707.  (2)  Max,  Trostberg, 
Bavaria,  1770 — Altotting,  1855; 
organist  and  composer.  (3)  ELM 
Dessau,  1784 — Schaffhausen,  1855; 
ct.-flutist,  conductor  and  composer. 
(4)  F.  A.  E.t  inv.,  1835  the  unsuco 


232 


DICTIONARY  OF  MUSICIANS 


'^pupttre^improvisateur"  (v.  D.  D.), 
and  pub.  a  method. 

Kellermann,  (x)  Berthold,  Nftrnberg, 
March  5,  1853 — Munich,  June  14, 
1926;  pianist;  pupil  of  his  parents 
and  of  Liszt,  1878-81  Wagner's 
secretary;  1882,  teacher  Munich  R. 
Mus.  Sctu ;  conductor  and  ct.-pianist. 
(2)  Chr.,  Randers,  Jutland,  1815 — 
Copenhagen,  1866;  'cellist  and  com- 
poser. 

Kelley,  Edgar  StUlman,  Sparta,  Wis., 
April  14, 1857 — N.  Y.,  Nov.  12, 1944;' 
composer;  pupil  of  F.  W.  Merriam, 
Clarence  Eddy,  and  N.  Ledochowski 
(Chicago),   and    1876-80    of    Seifria 
(comp.},   Kriiger   and   Speidel    (pf.) 
and  Fr.  Finck  (org.),  at  Stuttgart; 
organist  at  Oakland  and  San  Fran- 
cisco,    Cal.;     cond.     comic     opera, 
1890-91;  teacher  pf.,  org.,  and  comp. 
in  various  schools,  incl.  N.  Y.  Coll. 
of  Mus.;  critic  for  the  "Examiner," 
San  Francisco,  1893-95;  and  essayist 
for  various  periodicals;  1896  lecturer 
on  music  for  the  Univ.  of  New  York; 
1901-02  at  Yale  University:  1902-10, 
taught  in  Berlin;  then  head  of  comp. 
dept.,   Cincinnati   Cons.;  later  held 
comp.    fellowship,    Western     Coll., 
Oxford,  Ohio;  c.  "Gulliver,"  humor- 
ous symph.;   Chinese  suite,  "Alad- 
din," for  orch.;  comic  opera,  "Puri- 
tania"   (Boston,   1892);  succ.  incid. 
music  to   "Macbeth"   and  to   "Ben 
Hur,">  both  for  chorus  and  orch.; 
string-quartet   and   quintet;    "Wed- 
ding-Ode,"   for     tenor    solo,     male 
chorus   and    orch,    (MS.);    6  songs, 
"Phases    of    Love"-,    notable    songs, 
"Eldorado"  and  "Israfel,"  and  others. 
KelTner,  (i)  David,  dir.  German  ch. 
and  Th.   at   Stockholm,   1732.     (2) 
Jn.  Chp.,  Grafenroda,  1736 — Cassel, 
1803;  ct. -organist  and  dram,   com- 
poser. 

Kellogg,  Clara  Louise,  Sumterville, 
S.  C.,  July,  1842— New  Hartford, 
Conn.,  May  13,  1916;  noted  soprano; 
1856-61,  studied  in  New  York;  d6but 
Acad.  of  Mus.  (1861);  d6but,  Lon- 
don, at  H,  M's.  Th.  (1867),  as 
"Margherita,"  with  great  succ.;  sang 
in  many  capitals. 

Kelly,  Michael,  Dublin,  1764 — Mar- 
gate, 1826;  tenor  and  dram,  com- 
poser; friend  of  Mozart;  wrote 
musical  "Reminiscences." 
Kelterborn,  Louis,  Boston,  April  28, 
1891 — NeucMtel,  July  9,  1933; 
composer  and  conductor;  of  Swiss 


parentage;  studied  at  Basel  and 
Geneva  Cons.;  1917-19,  teacher  of 
theory  at  Wolff  Cons.,  Basel;  after 
1919,  org.  in  Burgdorf;  1927,  taught 
NeucMtel  Cons.;  c.  symph.,  choral 
and  org.  music. 

Kempff,  Wilhelm,  b.  Jiiterbog,  Ger- 
many, Nov.  25,  1895;  composer, 
pianist;  studied  at  Berlin  Hochsch., 
winning  both  Mendelssohn  prizes, 
1917;  toured  as  piano  and  org. 
virtuoso;  1924-29,  dir.  Stuttgart 
Cons.;  c.  orch.,  chamber  and  choral 
music. 

Kemp'ter,  (i)  K.,  Limbach,  Bavaria, 
1819 — Augsburg,  1871;  conductor. 
(2)  Lothar,  Lauingen,  Bavaria,  Feb. 
5,  1844 — Vitznau,  July  14,  1918; 
cond.,  professor,  and  dram,  com- 
poser; son  and  pupil  of  (3)  Fr.  K* 
(music-teacher) ;  studied  Munich 
Univ.,  then  with  Rheinberger; 
chorus-dir.;  1886  prof,  of  mus. 
theory,  Zurich  Mus.  Sch. 
Ken'nedy,  Daisy,  b.  Burra-Burra  near 
Adelaide,  Australia,  1893;  violinist; 
studied  at  Adelaide  Cons,  and  with 
Sevcik,  in  Vienna  Master  School; 
toured  Great  Britain,  Austria  and 
U.  S,;  m.  Benno  Moiseiwitsch, 
pianist;  divorced;  (2)  John  Drink- 
water,  dramatist. 

Ken/nedy-Fra'ser,  Marjory,  Perth, 
Scotland,  Oct.  i,  1857 — Edinburgh, 
Nov.  21,  1930;  composer,  alto  singer 
and  pianist;  esp.  known  for  her 
"Songs  of  the  Hebrides."" 
Ker'by,  Paul,  b.  South  Africa;  con- 
ductor, composer;  studied  at  London 
R.  Coll.  of  Mus.  (Associate);  began 
baton  career  at  Capitol  Theat., 
N.  Y.;  1926,  foreign  adviser  to 
Salzburg  Fest.:  res.  in  Vienna  1926- 
33,  appearing  as  cond.  with  Philh. 
and  Symph.  in  that  city,  also  as 
guest  in  Budapest,  Frankfort,  Wies- 
baden; mus.  dir.  in  Vienna  for 
Columbia  Phon.  Co.;  1933  led 
Chicago  Symph.  in  Viennese  concert 
as  official  repr.  of  Austrian  gov't.; 


season  N.  Y.  Philh.  at  Lewisohn 
Stadium. 

Kerekjar'to,  Duci  de  (rightly  Julius), 
b,  Budapest,  1898;  violinist;  studied 
at  Acad.  of  Mus.  there,  also  with 
Hubay;  toured  in  Europe  and  after 
1922  in  America. 

Kerle  (kgrl),  Jacques  de,  b,   Ypres, 


DICTIONARY  OF  MUSICIANS 


233 


Flanders,  i6th  cent.;  conductor  and 
composer. 

KerKl)  (Kherl,  Cherl),  Jn.  Caspar, 
Gaimersheim,  near  Ingolstadt,  1627 
-  —  Munich,  Feb.  13,  1693;  organist, 
ct.-conductor,  teacher,  and  notable 
composer  of  the  "Missa  nigra"  Call 
in  black  notes)  ,  etc. 

Kern,  Jerome  David,  b.  New  York, 
Jan.  27,  1885;  composer  of  operettas 
and  musical  comedies;  studied  with 
Gallico,  Lambert  and  Pierce,  also 
at  N.  Y.  Coll.  of  Mus.;  has  produced 
since  1915  many  operetta  scores 
marked  by  pleasing  melody  and 
tasteful  style,  among  which  some  of 
the  outstanding  were:  "Sally," 
tkSunny,"  "Show  Boat,"  "Music  in 
the  Air,"  "The  Cat  and  the  Fid 


Marshall  Rutgers,  b. 
New  York,  Dec.  14,  1880;  composer, 
editor;  pupil  of  Wetzler,  Knorr  and 
6k>etschius;  musical  editor  of  The 
Outlook  for  a  period;  later  pre&.  of 
Galaxy  Music  Corp.,  N.  Y.  publish- 
ing firm;  c.  (cantata)  "The  FooUsh 
Virgins"-,  "The  Sleep  of  Summer" 
for  women's  chorus  and  orch.;  and 
numerous  songs. 

Kes  (kas),  Willem,  Dordrecht,  Hol- 
land, Feb.  1  6,  1856  —  Munich,  Feb. 
21,  1*934;  violinist;  pupil  of  Bohm, 
etc.,  then  of  David,  and,  under  royal 
patronage,  of  Wieniawski,  and 
Joachrm;  1876,  leader  Park  Orch. 
and  Felix  Mentis  Soc.,  Amsterdam; 
then  cond.  "Society"  concerts,  Dor- 
drecht*, 1883-95  cond.  at  Amster- 
dam; 1895  Glasgow  orch.;  1898  cond. 
Philh.  and  dir.  Moscow  Cons.; 
1905—26,  dir.  Coblenz  Musikverein. 

Kess'ler,  (i)  Fr.,  preacher  and  writer, 
(2)  Fd.,  Frankfort-on-Main,  1793  — 
1856;  violinist  and  composer.  (3) 
(rightly  Kotzler)  (kSts'-l&r),  Jos, 
Chp.,  Augsburg,  1800  —  Vienna,  1872; 
teacher,  organist  and  composer. 

Kfitel'bey,  Albert  William,  b.  Birming- 
ham, England;  composer  and  con- 
ductor; studied  Trinity  Coll.,  Lon- 
don; cond.  at  theatres  there;  was 
music  ed.  and  also  dir,  of  Columbia 
Gramophone  Co.;  c.  pop,  orch. 
works,  of  which  "In  a  Monastery 
Garden"  has  wide  currency. 

Ket'ten,  H.,  Baja,  Hungary,  1848— 
Paris,  1883;  pianist  and  composer. 

KettenuB  (kgt-ta'-noos)  (or  kSt-ntis), 
Aloys,  Verviers,  1823  —  London, 
1896;  violinist  and  dram,  composer. 


Ketterer  (k£t-tu-ra),  Eugene,  Rouen, 
1831 — Paris,  1870;  pianist  and  conv* 
poser. 

Keurvels  (ktir'-v&s),  Edw.  H.  J.« 
Antwerp,  1853 — Eeckeren,  Jan.  19, 
1016;  pupil  of  Benolt;  till  1882, 
chonisra.  Royal  Th.;  cond.  Nat. 
Flemish  Th.,  Antwerp,  c.  operas, 
cantatas,  etc. 

Keiassler     (kois'-ler),     Gerhard     von, 

b.  Sclrwanenburg,   Livonia,   July  6, 
1874;  pupil  Leipzig  Cons.;  cond.   2- 
singing  societies  in  Prague;  1918— 31, 
Hamburg;  after  1931  in  Melbourne; 

c.  orch.'wks.;  d.  n.  Dresden,  1949. 
Kewitsch      (Kiewics)       (ka'-vltsh      or 

ke'-vech),  (Karl)  Thaodor,  Posilge, 
W.  Prussia,  Feb.  3,  1834 — Berlin, 
July  1 8,  1903;  son  and  pupil  of  an 
organist;  studied  with  Maslon. 

Khachatur'ian,  Aram,  b.  Tiflis,  1903; 
pupil  of  Moscow  Cons.;  c.  symphs., 
^f .  concerto,  etc. 

Kiefer  (ks'-ffcr),  Heinrich,  Nuremberg, 
Feb.  1 6,  1867 — Eisenach,  Aug.  15, 
1922;  'cellist;  pupil  of  Royal  Cons., 
1883  at  Munich,  1884,  Stuttgart, 
1887-90,  Frankfort-on-Main  with 
Cossmann;  1896,  soloist  of  Leipzig, 
Phil.;  1898  do.  of  Berlin.  Phil.;  1900, 
teacher  at  Stern  Cons.;  frorr  1902, 
co-founder  of  the  Munich  string 
quartet;  toured  widely. 

Kiel  (kSl),  Fr.,  Puderbach,  near  Siegen 
(Rh.  Prussia),  Oct.  7*  1821 — Berlin, 
Sept.  13,  1885;  notable  teacher  and 
composer  of  classic  sch.;  self-taught 
as  pianist  and  composer;  vln.-pupil 
of  Prince  Karl  von  Wittgenstein  and 
later,  on  stipend  from  Fr.  Wm.  IV., 
studied  with  Dehn;  lived  in  Berlin; 
1868  "Royal  Prof.";  c.  oratorios,  etc. 

Kiene  (ke'-ng).     Vide  BIGOT. 

Kienle  (kSn'-lS),  Ambrosius,  b.  Sieg- 
maringen,  May  8,  1852;  Benedictine 
monk  and  writer,  d.  Einsiedeln 
Convent,  June  18,  1905. 

Kienzl  (kents'-'l),  Wm.,  b.  Waizen- 
kirchen,  Jan,  17,  1857- — Vienna,  Oct. 
3,  1941;  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; 1899-1901  at  Graz  as  compose*. 
His  first  opera  "  Urvasi"  (Dresden, 


234 


DICTIONARY  OF  MUSICIANS 


ISOO;    Was    SUCC.,    as    was        jaewwu-r, 

der  Narr">  (Munich,  1892),  and  still 
more  so  ".Der  Evangelimann"  ;  his 
opera,  "  Kuhreigen"  (Vienna  Volk- 
soper,Nov.  25,  igxi)  asucc.inEurope; 
c.  also  "Don  Quichotej*  a  "musical 
tragi-comedy";  lie  finished  Jensen's 
"Turandot,"-  and  c.  also  songs, 
etc.;  author  of  books  on  music, 
volumes  of  memoirs,  etc* 

Kiepura  (ks-a-poo'-ra),  Jan;  Polish 
tenor;  after  1924  sang  at  Vienna 
State  Op.  with  sensational  succ., 
while  still  in  his  twenties  ;  also  heard  as 
guest  artist  in  many  other  Eur.  cities; 
with  Chicago  Op.  Co.,  1930;  has 
sung  in  motion  pictures  in  England 
and  Hollywood.  Met.  Op.,  1937-8. 

Kiesewetter  (ke'-zS-vSt-ter),  Raphael 
G.  (Edler  von  Wiesenbrunn),  Hol- 
leschau,  Moravia,  1773  —  Baden,  near 
Vienna,  1850;  important  coll.  of 
mus.  MSS.  and  historian  of  many 
obscure  periods,  etc.;  later  ennobled. 

Kiewics.     Vide  KEWITSCH. 

Kllen'yi,  Edward,  b.  Hungary,  Jan.  25, 
1884;  composer;  pupil  of  Nat'l.  Mus. 
School,  Rome,  and  Cologne  Cons.; 
1913,  Mosenthal  Fellow  at  Columbia 
Univ.;  studied  with  Mason  and 
Rybner;  c,  opera,  overture,  string 
quartet,  vln.  pieces  and  songs. 

Elpinen  (kn-p6'-n£n),  Yro,  b.  Helsing- 
fors,  Feb.  4,  1892;  studied  in  native 
city,  Vienna  and  Berlin;  comp.  of 
Lieder  in  romantic  style,  incl.  more 
than  400  works,  some  to  German 
texts. 

End  (kXnt),  J.  F.,  Leipzig,  1768  — 
Dresden,  1843;  librettist  of  "Der 
Freiscktilz,"  afterwards  composer. 

Kmdennann  (kint'-Sr-mSn),  (i)  Jn. 
Erasmus,  b.  Niirnberg,  1616  —  Venice, 
*655;  organist  and  composer.  (2) 
Aug.,  Potsdam,  1817  —  Munich,  1891; 
barytone.  (3)  Hedwig,  daughter  of 
above.  Vide  REICHER,  K. 

Endler,  Hans,  b.  Rotterdam,  Jan.  8, 


j-->-, 

studied  at  Rotterdam  Cons.;  also  later, 
with  Mossel,  Casals  and  Gerardy; 
served  as  teacher  of  'cello  at  Schar- 
wenka  Cons.,  Berlin,  and  chief 
'cellist  at  Charlottenburg  Op.;  had 
toured  widely  in  Eur,  countries; 
also  in  U.  S.,  where  he  had  been 
resident  for  some  years;  organised 
and  cond.  Nat'l.  Symph.  Orch., 
Washington,  D.  C.,  after  1930;  also 
Paris,  Brussels,  Vienna,  Prague, 
e,  Milan,  and  world  premiere 


of  Stravinsky's  "Apollon 
at  Washington  Fest, 

King,  (i)  Wm.,  1624 — 1680;  EngL 
organist  and  composer.  (2)  Robt., 
d.  after  1711;  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.,  London,  1855 — Sept., 
1923;  pianist;  pupil  of  W.  H.  Holmes, 
and  Reinecke,  Leipzig  Cons.;  pianist 
to  the  Princess  Louise,  1879;  toured 
Canada  and  New  York;  1899  pf.- 
prof.  at  R.  A.  M.;  c.  cantatas,  i47th 
Psalm,  with  orch.  (Chester  Festival, 
1888),  a  symphony,  "Night."*  (6) 
Julie.  Vide  RIVE-KING. 

Kingston,  Morgan,  Nottinghamshire, 
1875 — England,  1936;  operatic  tenor; 
in  early  life  a  coal  miner;  after  period 
of  struggle  secured  mus.  education 
and  made  de*but  at  Queen's  Hall, 
London,  with  succ.,  1909;  Amer.  d6but 
as  "Radames"  at  Century  Theat., 
N.  Y.,  1913;  mem.  of  Met.  Op.  Co., 
for  several  seasons  after  1916;  also 
sang  with  Chicago  Op.  Co.,  and 
at  Co  vent  Garden,  1924-25. 

Kinkeldey  (kgn'-kSl-di),  Otto,  b.  New 
York,  Nov.  27,  1878;  musicologist; 
M.  A.,  N.  Y.  Univ.  and  Columbia; 
Ph.  D.,  Univ.  of  Berlin;  studied  with 
MacDowell,  Radecke,  Thiel,  Flei- 
scher, Kretzschmar,  Egidi,  Wolf  and 
Friedlander;  was  choir  dir.  and 
teacher,  N.  Y.,  1898-1902;  prof, 
org.  and  theory,  Univ.  of  Breslau, 
1909;  royal  Prussian  prof.,  1910-14; 
chief  of  mus.  div.,  N.  Y.  Public 
Library  1915-23;  prof,  of  mus., 
Cornell  Univ.,  1923-27;  wrote  and 
ed.  scientific  works  on  music. 

Kipke  (kip'-kS),  K.,  Breslau,  Nov.  20, 
1850 — Leipzig,  Nov.  14,  1923;  editor. 

Kip'nis,  Alexander,  b.  Schitomir, 
Ukrainia,  Feb.  i,  1891;  bass;  grad. 
Warsaw  Cons.,  also  studied  Klind- 
wprth-Scharwenka  Cons.,  Berlin, 
with  Ernst  Grenzebach;  d6but,  Ham- 
burg Op.,  1915;  1916-18  in  Wies- 
baden; after  latter  year  sang  at 
Deutsche  Opernhaus,  Berlin;  toured 
America  with  Wagnerian  Op.  Co., 
1923;  sang  for  several  years  with 
Chicago  Op.,  also  in  Munich,  Lon- 
don, Milan,  Paris,  Buenos  Aires; 
after  1932  engaged  at  Berlin  State 
Op.,  and  in  ^1936  at  Vienna  State 
Op.,  has  a  wide  following  as  a  con- 
cert singer.  Mem.  Met.  Op.  Co. 


DICTIONARY  OF  MUSICIANS 


235 


Kip'per,  Hn.,  Coblenz,  Aug.  27,  1826 — 
Cologne,  Oct.  25,  1910;  pupil  of 
Anschutz  and  H.  Dora;  teacher 
and  critic  at  Cologne;  c.  operettas. 

Kircher  (kerkh'-Sr),  Athanasius,  Geisa 
(Buchow  ?),  near  Fulda,  1602 — 
Rome,  1680;  Jesuit  archasologist  and 
coll.  of  airs,  some  of  them  supposed 
to  have  curative  effects. 

Korchhofe  (kgrkh'-hsf),  Walther,  b. 
Berlin,  March  17,  1879;  tenor;  stud- 
ied with  Lilli  Lehmann  and  in  Milan; 
1906-1920,  a  leading  heroic  tenor  of 
the  Berlin  Op.,  thereafter  appearing 
in  Buenos  Aires  and  for  several 
seasons  at  the  Met.  Op.  House  in 
Wagnerian  r61es. 

Kirchner  (kerkh'-ngr),  (i)  Fz.,  Pots- 
dam, Nov.  3,  1840 — Berlin,  May  14, 
1907;  pianist;  pupil  Kullak's  Acad., 
where  he  taught  1864—89,  then  in  the 
Madchenheim  sch.,  Berlin;  c.  pf.- 
pcs.,  etc.  (2)  Hn.,  Wolfis,  Jan.  23, 
1861 — Breslau,  Dec.  26,  1928;  tenor, 
and  composer  at  Berlin.  (3)  Theo- 
dor,  Neukirchen,  Saxony,  Dec.  10, 
1823 — Hamburg,  Sept.  18,  1903; 

?upil  of  J.  Knorr  (pf.),  K.  F.  Becker 
Drg.),  Jn.  Schneider,  and  at  Leipzig 
Cons.;  1843-62,  organist  Winterthur; 
1862-72,  teacher  Zurich  Mus.  Sch., 
and  cond.;  1873-75,  dir.  Wiirzburg 
Cons.,  Leipzig;  1883,  Dresden;  1890, 
Hamburg;  c.  pf.-pcs.,  etc. 

Kirnberger  (kgrn'-b&rkh-Sr),  Jn.  Ph., 
Saalf  eld,  Thuringia,  1721  — B  erlin, 
1783;  eminent  theorist,  conductor 
and  composer. 

Kir^sten,  Dorothy,  American  soprano; 
studied  with  Astolf o  Pescia;  d6but  in 
Italy;  sang  Met.  Op.  from  1945, 
Mimi,  Louise,  Fiora,  etc. 

Kistier,  Cyrill,  Grossaitingen,  near 
Augsburg,  March  12,  1848 — Kissin- 
gen,  Jan.  i,  1907;  studied  with  Wiill- 
ner,  Rheinberger,  and  Fr.  Lachner; 
1883  teacher  Sondershausen  Cons.; 
since  1885  lived  in  Bad  KLissingen  as 
principal  of  a  sch.,  pub.  of  text-books, 
incl.  "A  Harmony,  based  on  Wag- 
ner"* etc.;  c.  2  operas;  a  succ. 
"musical  comedy"  "Eulenspiegel"- 
(Wttrzburg,  1893);  etc. 

Kist'ner,  (i)  Fr.,  Leip:  " 


pub. 
him. 


1797 — 1844; 
His  son  (2)  *  Julius  succeeded 


Kittel  (klt'-tel),  (i)  Jn.  Chr.,  Erfurt, 
Feb.  18,  1732 — May  18,  1809;  J.  S. 
Bach's  last  pupil;  organist  in  Erfurt; 
famous  but  ill-paid  virtuoso  and 
teacher.  (2)  Bruno,  b.  Entenbruch, 


Posen,  May  26,  1870;  conductor; 
studied  with  Sauret  and  others  in 
Berlin;  early  played  as  violinist; 
founded  chorus  named  after  him  in 
Berlin,  1902,  which  has  played  im- 
portant rdle  in  that  city's  music; 
cond.  at  R.  Theat.  there,  later 
founded  and  dir.  Brandenburg  Cons.; 
after  1935,  dir.  of  Stern  Cons., 
Berlin. 

Kittl  (klt'-'l),  Jn.  Fr.,  b.  Schloss,  Wor- 
lik,  Bohemia,  1806 — Lissa,  1868; 
conductor  and  dram,  composer. 

Kitzler  (klts'-lSr),  Otto,  Dresden, 
March  16,  1834 — Graz,  Sept.  6, 1915; 
pupil  of  Schneider,  Otto,  and  KLum- 
mer  ('cello),  later  of  Servais  and 
F6tis,  Brussels  Cons.;  'cellist  in 
opera-orchs.  at  Strassburg  and  Lyons; 
cond.  at  various  theatres;  1868  dir. 
Briinn  Mus.  Soc.  and  Mus.  Sch.,  also 
cond.  of  the  Mannergesangverein; 
he  was  Anton  Bruckner's  teacher; 
pub.  orch.-mus,,  pf.-pcs.,  etc. 

Kjerulf  (k'ya'-roolf),  Halfdan,  Chris- 
tiania,  Sept.  15,  1815 — Bad  Grafsee, 
Aug^.  n,  1868,  composer;  gave  up 
theology  for  music;  studied  at 
Leipzig;  settled  in  Christiania;  c. 
songs  and  pf.-pcs. 

Klafsky  (Lohse-Klafsky)  (klaf'-shkl), 
Katharina,  St.  Johann,  Hungary, 
1855 — Hamburg,  1896;  sopr.;  pupil 
of  Mme.  Marchesi ;  sang  in  comic 
opera  chorus,  later  leading  Wagner- 
ian r61es  in  Europe  and  America;  m. 
Otto  Lohse. 

Elatte  (kla'-tS),  Wilhelm,  b.  Bremen, 
Feb.  13,  1870;  author  biog.  of 
Schubert,  etc. 

Klauser  (klow'-zSr),  (i)  K.  (of  Swiss 
parents),  St.  Petersburg,  Aug.  24, 
1823 — Farmington,  Conn.,  Jan.  9, 
1905;  chiefly  self-taught;  1850,  New 
York;  1856,  Mus.-Dir.  Farmington 
Cons.;  editor.  (2)  Julius,  New 
York,  July  5,  1854 — Milwaukee, 
1907;  pupil  of  Wenzel,  Leipzig 
Cons. ;  mus.-teacher,  Milwaukee;  pub. 
"  The  Septonate  and  the  Centralization 
of  the  Tonal  System"  (1890). 

Klauwell  (klow'-vel),  (i)  Ad.,  Langen- 
salza,  Thuringia,  1818  —  Leipzig, 
1879;  teacher,  writer,  etc.  (2)  Otto, 
Langensalza,  April  7, 1851 — Cologne, 
May  12,  1917;  nephew  of  above; 
pupil  of  Schulpforta,  and  at -Leipzig 
Cons.;  Dr.  Phil.;  1875  prof.  Cologne 
Cons.;  1885,  dir.  Teachers'  Seminary; 
writer  and  dram,  composer. 

Klee  (kla),  L.,  Schwerin,  April  13,  1846 


236 


DICTIONARY  OF  MUSICIANS 


— Berlin.  April  14,  1920;  pupil  of 
Tli.  Kuliak,  and  until  1875,  teacher 
Kullak's  Acad.,  tlien  dir.  of  his  own 
sch.;  "Musik-Direktor,"  writer  and 
editor. 

Kleeberg  (kla-bSLr),  Clotilde,  Paris, 
June  27,  1866 — Brussels,  Feb.  7, 
1909;  pianist;  pupil  of  Mmes.  Rety 
and  Massart  at  the  Cons.,  won  ist 
prize;  debut,  at  12,  with  Pasdeloup 
arch.;  toured  Europe  with  great 
succ.;  1894,  Officier  de  FAcad6mie. 

Kleefeld  (kl§/-f&t),  Wilhefcn,  b.  May- 
ence,  April  2,  1868;  author  and 
camp.;  pupil  of  Radecke,  Hartel  and 
Spitta;  1891  cond.  in  Mayence,  etc.; 
1897  Ph,  D^  1 898-^01  teacher  at  the 
IQmdworth-Scharwenka  Cons.;  c. 
opera  "Anarella"  (Konigsberg,  1896), 
string  suite,  etc. 

Seeirmrm  (kla'-mSn),  K,,  Rudolstadt, 
Sept.  9,  1842 — Gera,  Feb.  18,  1923; 
pupil  of  MiiHer,  1878,  studied  in 
Italy;  then  2nd  opera  cond,  and  ct. 
mus  .-dir.  Dessau;  c.  2  symphonies, 
etc. 

Kleffel  (kl£f'-fel),  Arno,  Possneck, 
Thuringia,  Sept.  4,  i84<>y-near  Ber- 
lin, July  15,  1913;  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  legend, 
overtures,  etc, 

Kleiber  (kll'-ber),  Erich,  b.  Vienna, 
Aug.  5,  1890;  conductor;  served  in 
theatres  at  Darmstadt,  1912—19; 
Barmen-Elberfeld,  DUsseldorf  and 
Mannheim;  general  mus.  director  at 
Berlin  1923-35,  incl.  chief  conductor- 
ship  of  one  of  the  city's  State  Op. 
Houses  and  symph.  concerts;  also 
cond.  as  guest  in  Rome,  Paris,  Bar- 
celona, Budapest,  Prague,  Buenos 
Aires,  Copenhagen,  Bucharest,  Vi- 
enna, Leningrad;  N.  Y.  Philh.  Orch., 
1930-31;  in  Feb.,  1935,  he  resigned 
Berlin  post  as  consequence  of  artistic 
differences  with  Nat'l.  Socialist  re- 
gime and  took  up  res.  in  Mondsee, 
near  Salzburg,  Austria;  in  the 
autumn  of  that  year  he  was  invited 
to  direct  German  opnera  at  La  Scala, 
and  later  was  active  in  Buenos  Aires. 

Klein  (kiln),  (z)  Jn.  Jos.,  Arnstadt, 
1740 — Kahla,  near  Jena,  1823;  writer. 
(2)  Bd.,  Cologne,  1793 — Berlin,  1832; 
teacher  and  composer,  (3)  Joseph, 
1801 — 1862,  bro.  of  above;  lived  as 
composer  in  Berlin  and  Cologne. 


(4)  Bruno  Oscar,  Osnabrtick,  Han* 
over,    June    6,    1856 — New    York, 

gtne  22,  1911;  son  and  pupil  of 
)  Carl  K.  (organist  Osnabruck 
Cath.);  (4)  studied  at  Munich  Cons., 
1878,  gave  concerts  in  America;  1883, 
New  York;  1884,  chief  pf.-teacher 
Convent  of  the  Sacred  Heart;  also, 
1884-94,  organist  St.  Francis  Xavier, 
and  1837-92,  prof,  of  cpt.  and  comp. 
Nat.  Cons.;  1894-95,  gave  concerts 
in  Germany;  prod.  succ.  gr.  opera, 
"  Kenilworth"  (Hamburg,  1895),  vln.- 
sonata,  etc.  (6)  Hermann,  Norwich, 
Ettg.,  1856 — London,  March  10, 
1934;  critic  and  teacher;  studied  law; 
1874  singing  with  Manuel  Garcia; 
1881-1901,  critic  London  Sunday 
Times;  1887,  prof,  of  singing  at 
Guildhall;  1896,  dir.  opera-class  (vice 
Weist  Hill);  1901-09,  taught  N.  Y.; 
them  again  in  London;  author,  "30 
Years  of  Musical  Life  in  London,'* 
"The  Reign  of  Patti,"  etc. 

Kleinmichel  (klin'-mlkh-'l),  (i)  Her- 
mann; (?)  1816 — Hamburg,  1894; 
bandmaster.  (2)  Richard,  Posen, 
Dec.  31,  1846 — Berlin,  1901;  son  and 
pupil  of  above;  studied  also  at  Ham- 
burg and  at  Leipzig  Cons.;  teacher, 
Hamburg;  1876,  Leipzig;  1882,  mus. 
dir.  City  Th.;  c.  2  operas;  2  sym- 
phonies; chamber-music,  valuable 
6tudes,  etc.;  m.  a  dramatic  soprano, 
{3)  Clara  Monhaupt. 

Klem'perer,  Otto,  b.  Breslau,  May  15, 
1885;  conductor;  studied  Frankfort 
Cons.,  with  P.  Scharwenka  and 
Pfitzner;  after  1907  cond.  at  Prague 
Op.,  on  recommendation  of  Mahler; 
Hamburg  Op.,  1909,  also  in  Bremen, 
Strasbourg  and  Cologne  (1917-24); 
general  mus.  director,  Wiesbaden, 
1924-27;  similar  post  at  State  Op.  on 
Plata  der  Republik,  Berlin,  1927-31, 
and  that  on  Unter  den  Linden, 
i93i~33j  where  he  inst.  a  regime  of 
notable  enterprise  in  the  prod,  of 
modern  works  and  novel  scenic  dress, 
also  cond.  symph.  concerts;  resigned 
Berlin  posts  on  accession  to  political 
power  of  Nat'l.  Socialists;  after  1935, 
cond.  Los  Angeles  Philh.  Orch.,  also 
led  part  of  season  with  N.  Y.  Philh. 
Orch.,  1934  and  1935:  c.  opera, 
choral  works  and  songs. 

Kle'nau,  Paul  von,  b.  Copenhagen, 
Feb.  ii,  1883;  composer;  pupil  of 
Bruch,  Thuille  and  Schillings;  theatre 
cond,,  Freiburg,  1897-1908,  and  after 
1920  of  Copenhagen  Phillv;  c. 


DICTIONARY  OF  MUSICIANS 


237 


(operas)  "Sulamith"  (Munich,  1913); 
"Kjartan  und  Gudrun"  (Mannheim, 
1918);  "The  School  for  Scandal" 
(after  Sheridan),  prod.  Frankfort; 
(dance-play)  "Klein  Idas  B lumen" 
(Stuttgart,  1916);  4  symphonies, 
(orch.)  "Paolo  and  Francesca"-y  "Ges- 
frock  mit  dem  Tod"  for  alto  and 
orch.;  "Ebba  Skammelsen,"  ballade 
for  barytone  and  orch.;  piano  quin- 
tet, string  quartet,  songs. 

Klengel  (klSng'-el),  (i)  Aug.  Alex. 
("Kanon-Klengel"),  Dresden,  1783 — 
1852;  organist  and  composer  of  an  at- 
tempt to  rival  Bach's  "Well -tempered 
Clavichord,"  etc.  (2)  Paul,  b.  Leip- 
zig, May  13,  1854— April  24,  1935; 
violinist;  Dr.  Phil.,  Leipzig;  1 881—86, 
cond.,  Leipzig,  "Euterpe"  concerts; 
1888-93,  2nd  ct.-cond.,  Stuttgart; 
cond.  "Arion,"  Leipzig;  1898,  New 
York.  (3)  Julius,  Leipzig,  Sept.  24, 
1859 — Oct.  26,  1933;  bro.  of  above; 
'cellist,  pupil  of  Emil  Hegar  ('cello) 
and  Jadassohn  (comp.);  ist  'cello  in 
Gewandhaus  Orch.,  and  teacher  at 
the  Cons.;  composer. 

Klenov'ski,  Nicholas  Semenovich,  b. 
Odessa,  1857;  pupil  Moscow  Cons.; 
leader  of  private  concerts  there 
1883-93;  when  he  became  cond.  at 
the  Imperial  Theatre,  then  a  teacher 
at  Tinis  till  1902,  then  assistant 
cond.  of  the  Imperial  Chapel  at  St. 
Petersburg;  c.  ballets,  "Hasheesh,"* 
Moscow,  1885;  "Salanga"  (St.  Peters- 
burg, 1900);  orch.  suites,  cantatas; 
d.  Petrograd,  July  6,  1915. 

KHebert  (klg'-bSrt),  K.,  Prague,  Dec. 


Sch.  of  Mus.,  Wiirzburg. 
Klindworth  (klmt'-v6rt),  K.,  Hanover, 
Sept.  25,  1830 — Oranienburg  (Ber- 
lin), July  27,  1916;  pianist,  eminent 
teacher  and  editor;  self-taught  pian- 
ist; at  6  played  in  public;  at  17, 
cond.  of  an  opera-troupe;  1849, 
teacher  at  Hanover;  1852,  a  Jewish 
woman  advanced  him  money  to 
study  with  Liszt;  1854,  music-dSbut, 
London;  Wagner  admired  him,  and 
they  became  friends.  1854-68,  he 
gave  concerts  and  lessons,  London; 
then  pf.-prof.  Imp.  Cons.,  Moscow; 
while  here  he  completed  two  monu- 
mental works,  his  pf.-scores  of 
Wagner's  "Ring  des  Nibelungen"* 
and  a  rev.  ed.  of  Chopin.  1882-92, 
cond.  at  Berlin  the  Wagnerverein 


and  (with  Joachim  and  Wiillner)  the 
Philharm.  Concerts.  Est.  a  "Kla- 
vierschule"  (Sch.  of  Pf. -playing), 
later  united  with  the  Scharwenka 
Cons.,  1893,  when  he  retired  to 
Potsdam;  composed  piano-pieces. 

Kling,  H.,  Paris,  Feb.  14,  1842 — 
Geneva,  May  2,  1918;  prof.  Geneva 
Cons,  and  teacher  in  city  schools; 
writer  and  dram,  composer. 

KHtzsch  (klltsh),  K.  Emanuel,  Sch5n- 
haide,  Saxony,  1812 — Zwickau,  1889; 
writer  and  composer. 

Klose  (klo'-ze1),  Friedrich,  b.  Karlsruhe, 
Nov.  29,  1862;  composer;  pupil  of 
Lachner,  Ruthardt  and  Bruckner; 
1907—19,  teacher  of  comp.  at  the 
Akademie  der  Tonkunst,  Munich; 
c.  dramatic  symph.  "Ilsebill,"  or 
"The  Fishtr  and  His  Wife"  (Karls- 
ruhe, 1903);  mass  with  orch.;  symph. 
poem  in  three  parts  "Das  Leben  ein 
Traum"  with  organ  and  women's 
chorus,  chamber,  orch.  and  vocal 
music:  d.  n.  Lugano,  Dec.  24,  1942, 

Klose  (kl6-za),  Hyacinthe  Eleonore, 
Isle  of  Corfu,  1808 — Paris,  1880; 
clarinettist  and  prof-,  Paris  Cons.; 
composer. 

Klotz  (k!6ts),  family  of  Bavarian  violin- 
makers  at  Mittenwald.  The  first 
the  best;  another, 
-1743)-  Mat- 
Sebastian  and 


(4)  Joseph,  and  their  sons  (5)  Gee  _ 
(6)  Karl,  (7)  Michael,  and  (8)  ^Egi- 
dius,  Jr. 

Elughardt  (klookh'-hart),  Aug.  (Fr. 
Martin),  KQthen,  Nov.  30,  1847 — 
Dessau,  Aug.  3,  1902;  pupil  of 
Blassmann  and  Reichel,  Dresden; 
ct.-cond.  at  Neustrelitz  and  later  at 
Dessau;  prod.  4  operas,  the  sym- 
phonic poem,  "Leonore";  3  symph. 
(i.  "Waldweben"),  overtures  "Im 
Frilhline";  "Sophonisbe,"  "Siegesou- 
vertitre,'  and  "Pestouverture,"  etc. 

Knabe  (k'na/-b£),  (i)  Wra.,  Kreuz- 
burg,  Prussia,  1 797 — Baltimore,  1864; 
founder  of  pf.-factory  at  Baltimore, 
Md.;  succeeded  by  his  sons  (2)  Win. 
(1841 — 89)  and  (3)  Ernest,  and  they 
by  (4)  Ernest  J.  (b.  July  5,  1869) 
and  (5)  Wm.  (b.  March  23,  1872). 
In  1908  the  business  was  amalga- 
mated with  the  Amer.  Piano  Co.  of 
N.  Y. 

Knap'pertsbusch,  Hans,  b.  Elberfeld, 
Germany,  March  12,  1888;  con- 
ductor; studied  Bonn  Univ.  and 
Cologne  Cons.;  cond.  in  Elberfeld, 


238 


DICTIONARY  OF  MUSICIANS 


Leipzig,  Dessau,  and  1920-35  suc- 
ceeded Bruno  Walter  as  general 
music  director  of  Munich  Op.;  he 
resigned  this  post  following  contro- 
versy with  Nat'l.  Socialist  authorities 
as  to  his  political  views,  and  in  1936 
was  active  as  guest  cond.  at  Vienna 
State  Op. 

Knecht  (knSkht),  Justin  H.,  Biberach, 
Wiirtemberg,  Sept.  30,  1752—  Dec.  i, 
1817;  rival  of  Vogler  as  organist,  and 
important  theorist,  conductor  and 
composer. 

Kneisel  (knl'-zel),  (i)  Fz.  (of  German 
parents),  Bucharest,  Jan.  26,  1865  — 
Boston,  March  27,  1926;  violinist; 
pupil  of  Griin  and  Hellmesberger, 
Vienna;  Konzertmeister,  Hofb\irg 
Th.-Orch,;  then  of  Bilse's  Orch., 
Berlin;  1885-1903,  concertm.  and 
soloist,  Boston  Symphony  Orch.; 
1887,  founded  the  "Kneisel  Quartet," 
which  played  with  greatest  succ.  in 
America  and  Europe  until  1917; 
1902,  cond.  Worcester  (Massachu- 
setts) Festival;  after  1905,  prof,  of 
vln.,  Inst.  of  Mus.  Art,  N.  Y. 
(2)  Frank,  his  son,  and  (3)  Marianne, 
his  daughter,  both  accomplished 
string  players. 

Rniese  (kne'-zS),  Julius,  Roda,  near 
Jena,  Dec.  21,  1848  —  Dresden,  April 
22,  1905;  pianist  and  organist; 
pupil  of  Stade,  at  Altenburg,  Brendel 
and  C.  Riedel,  Leipzig;  1884-89, 
mus.-dir.  at  Aix;  1882,  chorusm.  at 
Bayreuth,  where  he  lived;  1889,  dir. 
Preparatory  Sch.  for  Stage-Singers; 
c.  opera,  "  K'tinig  Wittichis";  sym- 
phonic poem,  "Frithjof"  etc. 
niD'per,  Lyof,  b.  Tiflis,  Dec.  16,  1898; 


composer;  studied  in  Russia,  also 
with  Jarnach  in  Berlin;  c.  works  in 
modern  style,  some  in  satirical  vein, 
incl.  (operas)  "Til  Eulenspiegd* 
"Cities  and  Years";  (orch.)  "Legend 
of  a  Plaster  God'9  (Phila.  Orch.,  1930)  >, 
symphonies;  chamber  music;  (ballet) 
"Santanella."- 

Enoch  (kn6kh),  Ernst,  b.  Carlsruhe, 
Aug.  i,  1875;  conductor;  pupil  of 
Mottl;  esp.  known  as  interpreter  of 
Wagner  works;  1914,  cond.  for  Cen- 
tury Op.  Co.;  1916,  Ravinia  Park 
Op.;  also  with  many  other  touring 
organisations  in  U.  S. 

Knorr  (kndr),  (i)  Julius,  Leipzig,  1807 
—  1861;  pf.  -teacher  and  deviser  of 
standard  rudimentary  exercises;  pub. 
"Mettods,"  etc.  (2)  Ivan,  Mewe, 
West  Prussia*  Jan.  3,  1853  —  Frank- 


fort-on-Main,  Jan.  22,  1916;  studied 
Leipzig  Cons,  with  Richter,  Reinecke; 
1883,  prof,   of  theory,  Hoch   Cons. 
Frankfort-on-Main;  c.  2  suites,  etc. 
Knote,  Heinrich,  b.  Munich,  Nov.  20, 
1870;  tenor;  studied  with  Kirschner 
in  native  city,  where  he  was  mem. 
pf  Op.,  1892-1914;  guest  appearances 
in  America,  incl.  Met.  Op.  Co.,  1903; 
also  at  Charlott  enburg  Op.,  and  after 
J924  again  in  Munich;  one  of  leading 
Wagner  tenors;  d.   Garmisch,   1952. 
.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; 
composer  and  conductor. 
Kobbe  (k6b-b£),  Gustav,  New  York, 
March  4,  1857— Bay  Shore,  N.  Y., 
July  27,  1918;  studied  pf.  and  comp. 
with  Adolf  Hagen,  Wiesbaden;  later 
with    Jos.    Mosenthal,    New    York; 
1877,     graduated     Columbia     Coll.; 
1879,  Sch.  of  Law;  served  as  music 
critic  on  various  N.  Y.  papers;  wrote 
"Wagner's    Life   and    Works"    "The 
Ring  of  the  Nibelung"  etc.;  teacher; 
pub.  a  few  songs. 

Kobelius  (ks-ba'-ll-oos),  Jn.  Augustin, 
Wahlitz,  near  Halle,  1674 — Weisen- 
fels,  1731;  ct.-cond.  and  dram, 
composer. 

Koch  (k6kh),  (i)  H.  Clip.,  Rudolstadt, 
1:749 — 1816;    violinist;    writer    and 
composer.     (2)  Eduard  Emil,  Schloss 
Solitude,     near     Stuttgart,     1809— 
Stuttgart,  1871;  writer.     (3)  Emma, 
b.  Mayence;  pianist;  pupil  of  Liszt, 
Moszkowski,  etc.;  1898,  teacher  Stern 
Cons.     (4)  Fr.,  Berlin,  July  3,  1862 — 
Jan.  30,   1927;  pupil  of  the  Hoch- 
schule;  conductor,  'cellist  and  c.  of 
operas,  "Die    Halliger"*  and  "Lea" 
(Cologne,  1896),  etc.;  1901,  mem.  of 
the   Prussian   Acad.  of   Arts;   1917, 
head  of  theory  dept.,  Berlin  Hochsch. 
Kochanski  (ko-h^n^sks),  Paul,  Odessa, 
1887 — New    York,    Jan.    12,    1934; 
violinist;    studied    with    Mlynarski, 
and  C6sar  Thomson,  Brussels  Cons., 
d6but  with  Musical  Soc.,  Warsaw, 
1898;    toured    Europe    and    U.    S.; 
estab.  high  reputation  as  solo  and 
chamber  music  player;  was  dir.  oi 
vln.  dept.,  Juilliard  School  of  Mus.. 
N,  Y.,  until  his  death. 
KSchel  (kSkh/-'!),  L.  Ritter  yon,  Stein- 
on-Danube,  Lower  Austria,   1800—- 
Vienna,  1877;  writer. 
Kocher  (kokh'-er),  Conrad,  Ditzingen 


DICTIONARY  OF  MUSICIANS 


239 


near    Stuttgart,    1786  —  Stuttgart, 
1872;  mus.-dir.  and  dram,  composer. 

Kocian  (k6'-tsl-ttn),  Jaroslav,  b.  Wil- 
denschwert,  Bohemia,  Feb.  22,  1884; 
violinist,  son  and  pupil  of  a  school- 
teacher; studied  violin  at  34  years; 
at  12,  Prague  Cons,  under  Sevcik 
(vln.),  and  Dvofak  (comp.);  d6but, 
1901;  toured  Europe  with  much 
succ.;  1902,  Amer.;  d,  Prague,  1950. 

KoczalsM  (ko-chal'-shkO,  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.;  at  one  time  ct.-pianist  to  the 
Shah  of  Persia;  c.  i-act  operas, 
"Hagar,"  "Rymond"  etc.;  d.  1949. 

Kodaly  (k5-d3/-e),  Zoltan,  b.  Kecske- 
met, Hungary,  Dec.  16,  1882;  com- 
poser; Ph.  D.,  Budapest  Univ.,  1905; 
studied  Budapest  Acad.,  under 
Koessler;  made  researches  in  folk 
music  of  his  country,  incl.  about 
3500  melodies;  prof,  of  comp.  at 
Budapest  Acad.  since  1907;  his  works 
incl.  modern  harmonic  treatment, 
with  some  elements  of  atonality, 
and  abound  in  colourful  folk  inspira- 
tion and  brilliant  orchestration;  c. 
(comic  folk  opera)  "  Hary  Janos"* 
(Budapest,  1926);  (opera)  "Szekely 
Spinning  Room";  a  highly  praised 
"Psalmus  Hungaricus  for  tenor 
solo,  chorus  and  orch.,  heard  widely 
in  Europe,  also  in  U.  S.;  "Summer 
Evening,"'  tone  poem;  "Dances  of 
Marosszek"  for  orch.  (perf .  by  N.  Y. 
Philh.);  Serenade  for  2  violins  and 
viola;  2  string  quartets,  'cello  sonata; 
songs  with  orch.,  choruses,  etc. 

.Koechlin  (kSsh'-lSn),  Charles,  b.  Paris, 
Nov.  27,  1867;  studied  Paris  Cons., 
c.  ballets,  choral  and  chamber  music, 
orch.   works,   suites  for  various  in- 
struments;   choral,    piano    and   org. 
E'eces,  songs;  contrib.  to.  Lavignac's 
icycl.;  d.  Canaden,  Dec.  31,  1950. 

Koemmenich  (kgm'-m8-n3tkh;,  Louis, 
Elberfeld,  Germany,  Oct.  4,  1866 — 
New  York,  1922;  pupil  of  Anton 
ELrause,  Barmen  and  at  Kullak's 
Acad.  1890,  New  York,  as  con- 
ductor and  teacher;  since  1894,  cond. 
Brooklyn  Sangerbund;  1898,  organ- 
ised an  Oratorio  Soc.;  1912-17,  cond. 
N.  Y.  Oratorio  Soc.;  1913-19,  Men- 
delssohn Glee  Club;  after  1917  New 
Beethoven  Soc.;  c.  a  cantata,  cho- 
ruses, etc. 


Koenen  (ka'-nSn),  (i)  Fr.,  Rheinbach, 
near  Bonn,  1829 — Cologne,  1887; 
conductor  and  composer.  (2)  (koo'- 
n£n),  Tilly,  b.  Java,  Dec.  25,  1873, 
of  Dutch  parents,  her  father  a 
cavalry  general  and  Governor  of  the 
Province;  pupil  of  the  Amsterdam 
Cons,  and  with  Cornelie  van  Zanten; 
1899,  sang  in  London,  Berlin,  etc.; 
toured  U.  S.;  d.  Amsterdam,  1941. 

Koessler  (kSs'-ler),  Hans,  Waldeck, 
Jan.  i,  1853 — Ansbach,  May  23, 
1926;  organist;  pupil  Munich  Cons.; 
1877  teacher  at  Dresden  Cons.,  and 
cond.  of  the  Liedertafel;  1882-1908, 
teacher  at  Budapest  Landesakad.; 
c.  Psalm  for  16  voices,  winning  a 
prize  at  Vienna;  a  symph.,  an  opera 
*'Der  M&nzenfranss?i  (Strassburg, 
1902),  etc.;  a  personal  friend  of 
Brahms  and  an  eminent  teacher, 
numbering  among  his  pupils  a  whole 
generation  of  younger  Hungarian 
comps.;  after  1908  he  was  pensioned 
and  lived  in  Berlin  and  other  cities, 
but  returned  to  Budapest  to  cond.  a 
master  class  in  comp.,  1920-25. 

KofLer  (k6f  '-!&:),  Leo,  Brixen,  Austrian 
Tyrol,  March  13,  1837 — New  Or- 
leans, 1908;  from  1877,  organist  and 
choirm.  of  St.  Paul's  Chapel,  New 
York;  writer  and  composer. 

Kogel  (k5'-gel),  Gv.,  Leipzig,  Jan.  16, 
1849 — Frankfort-on-Main,  Nov.  13, 
1921;  pupil  of  the  Cons.;  th.-cond. 
various  cities;  1891—1902,  cond. 
Museum  Concerts,  Frankfort;  editor 
and  composer. 

KShler  (ka'-le'r),  (i)  Ernst,  Langenbie- 
lau,  Silesia,  1799 — Breslau,  1847; 
organist  and  composer.  (2)  (Chr.) 
Louis  (H.),  Brunswick,  1820 — K5- 
nigsberg,  1886;  pianist,  teacher  and 
dramatic  composer,  also  notable 
critic. 

Kolxut  (ko-hoot'),  Ad.,  Mindszent, 
Hungary,  Nov.  10,  1847 — Berlin, 
Sept.  21,  1917;  writer. 

Kolachev'ski,  Michail  Nicplaievicli,  b. 
Oct.  2,  1851;  pupil  Leipzig  Cons.; 
c.  "  Ukranian"  symph.  and  church 
music;  d.  (?). 

Ko'lar,  Victor,  b.  Budapest,  Feb.  12, 
1888;  composer,  violinist,  conductor; 
grad.  Prague  Cons.,  1904;  mem. 
N.  Y.  Symph.,  1907-19;  assoc.  cond. 
Detroit  Symph.,  after  1919;  c.  sym- 
phonic and  chamber  music. 

Kolbe  (k61'-be),  Oskar,  Berlin,  1836— 
1878;  composer  and  writer. 


249 


DICTIONARY  OF  MUSICIANS 


,  Osfcftf,  neat  Radom, 
Warsaw,     1890}    camp,    of    Polish 
dances  and  songs. 
KoHsch,  Rudolf,  b.  Klamm,  Austria, 

£ine  20,  1896;  violinist;  pttpil  of 
gghard,  GrSdener,  Sevcik,  Schreker 
and  Schonberg;  studied  at  Vienna 
Akad,  fur  Musik  and  TJniv.;  after 
1922  leader  of  the  Kolisch  String 
Quartet  (with  Felix  Khuner,  E. 
Lehner  and  B.  Heif  ete),  which  toured 
with  succ.  in  Europe  and  after  1933 
in  U.  S.  (dSbut  Coolidge  Fest., 
Washington,  D.  C.) 

Kolimann  (kdl'-man),  Aog.  Fr.  K., 
Engelbostel,  Hanover,  1756 — Lon- 
don, 1829;  organist,  theorist  and 
composer. 

ZSmpel  (kSm'-pel),  Aug.,  BrGckenau, 
1831 — Weimar,  1891;  violinist. 

Kom'zak,  (i>Karl,  Prague,  Nov.  8, 1850 
— Baden  near  Vienna,  April  23, 1905; 
cond.  of  military  bands;  composer  of 
many  pop.  dances,  operettas,  etc. 
His  son  (s>  Karl,  Jr.,  d.  Vienna, 
Sept.  s,  1924,  also  a  comp.  of  dance 
music. 

KSnigsl6w  (ka'-n&hs-l&v),  (i)  Jn.  Win. 
Cornelius  von,  Hamburg,  1745 — 
1835;  organist  and  composer.  (2) 
Otto  Fr.  von,  b.  Hamburg,  Nov.  13, 
1824 — Bonn,  Oct.  6,  1898;  pupil  of 
Fr.  Pacius  and  K.  Hafner,  and  at 
I^ip^g  Cons.;  toured  for  12  yearg; 
1858-81,  leader  Gttrzenich  Orch., 
Cologne;  vice-dir.  and  vln.-prof.  at 
the  Cons.;  Royal  Prof.;  retired  to 
Bonn. 

Konigsperger  (ka'-nlkhs-pSrkh-er), 
Marianus,  Rpding,  Bavaria,  Dec.  4, 
1708  —  Ratisbon,  Oct.  9,  1769. 
Benedictine  monk  who  devoted  the 
proceeds  of  his  very  successful  works 
to  the  Abbey;  c.  church  music,  also 
operas. 

Koning  (ko'-nfcig),  David,  Rotterdam, 
1820 — Amsterdam,  1876;  pianist, 
conductor  and  composer. 

Konradin  (kon'-r§,t-Sn),  K.  Fd.,  St. 
Helenenthal,  near  Baden,  1833 — 
Vienna,  1884;  dram,  composer. 

KoatsM  (k6nt'-shke),  (i)  Antoine  de, 
Cracow,  Oct.  27,  1817 — Ivanitchi, 
Novgorod,  Russia,  Dec.  2,  1899; 
pianist;  pupil  of  Markendorf  and 
Field;  made  v.  succ.  tours;  teacher, 
London;  lived  in  Buffalo,  N.  Y.;  at 
So  toured  round  the  world;  c.  an 
opera,  an  oratorio;  symph.;  pop.  pf.- 
pcs.,  ind.  "Le  Reveil  du  Lion,  etc. 
<a)  Chas,»  1815 — Paris,  1867;  com- 


poser. (3)  Apollinaire  de,  Warsaw, 
1825 — 1879;  violinist;  bro,  and  pupil 
of  (2).  (4)  Stanislas,  Cracow,  Oct. 
8,  1820 — ?;  bro.  of  above;  vln.- 
teacher  and  composer,  Paris. 

Koptjajev  (k6pt'-ya-yef),  Alexander 
Petrovich,  b.  St.  Petersburg,  Oct.  12, 
*868;  author  and  composer  of 
"Oriental  Dances*  and  "Efegie,">  for 
orch.,  etc. 

Kopylow  (k6'-p5-lof),  Alex.,  St.  Peters- 
burg July  14,  1854— Feb.  20,  1911; 
pupil  of  LiadofiE  and  Rimsky- 
Korsakoff;  teacher  of  singing  at  the 
Imp.  Court  Chapel;  c.  finale  for 
chorus  and  orch.  to  "The  Bride  of 
Messina"-',  also  orch.  and  chamber 
music,  piano  works,  etc. 

Zorestckenko  (kbr-Ssht-chSn'-ko),  AT- 
seni  ETicholaievieh,  Moscow,  Dec.  18, 
1^70 — 1918;  pupil  Cons.,  winning  a 
gold  Biedal  in  1891;  later  teacher 
there  and  in  the  School  of  the 
Synod;  c.  i-act  opera  "Belshazzar's 
Fttost">  (Moscow,  1892),  a-act  "The 
Angel  of  Death"*  "The  Ice  Palace"* 
(Moscow  1892);  two  "Symphonic 
Pictures"*  "Sym$honie  Lyrique"*  (op. 
23),  chamber  music,  etc. 

Kor'ganov,  German  Ossipovich,  Kwa- 
relia,  May  12,  1858 — Rostov,  April 
12, 1890;  pianist  and  composer;  pupil 
of  Leipzig  and  St.  Petersburg  Cons.; 
c.  piano  pieces,  etc. 

Kornauih  (kflr'-naut),  Egon,  b.  Olmtitz, 
Austria,  May  14,  1891;  composer; 
studied  at  Vienna  Acad.  of  Mus.; 
with  Fuchs,  Schreker,  Schmidt,  also 
at  TJniv.  tiiere  with  Guido  Adler; 
Ph.  D.;  toured  America  as  accom- 
panist, 1910;  solo  r£petiteur  at 
Vienna  Op.;  teacher  and  lecturer;  c. 
Baany  works  in  neo-Romantic  style, 
esp.  chamber,  orch.  and  vocal  music. 

KSrp.er  (kSr'-ner),  Gotthilf  Wm,,  Tei- 
cha,  near  Halle,  1809 — Erfurt,  1865; 
publisher. 

Korn'gold,  Erich  Wolfgang,  b.  Briinn, 
May  29, 1897;  composer  and  pianist; 
son  of  Julius  K.,  Viennese  mus. 
critic;  at  early  age  showed  remark- 
able prowess  as  a  comp.;  at  a  concert 
in  Berlin,  March,  1911,  his  trio  in 
D  Major,  op.  I.,  composed  at  the  age 
of  13,  was  played;  also  portions  of 
two  piano  sonata?,,  and  a  series  of 
"Fairy  Pictures"  \  he  c.  a  ballet  given 
at  the  Royal  Opera  and  elsewhere; 
trio  (Rose"  Quartet,  Berlin);  serenade 
and  pantomime,  "The  Snowman" 
(London,  1912);  his  one-act  operas, 


DICTIONARY  OF  MUSICIANS 


241 


"Violanta"  and  "D<tr  Ring  des 
Polykrates"  were  given  in  Munich, 
1916;  the  former  work  was  sung  at 
the  Met.  Op.,  1928,  and  the  latter 
prod,  by  the  Phila.  Civic  Op.  1927- 
28;  a  marked  succ.  was  won  by  his 
"Die  tote  Stadt)}  (Hamburg,  1920; 
Met.  Op.  Co.,  10 21,  with  Jeritza  in 
chief  r61e) ,  this  work  showing  a  some- 
what modernistic  idiom;  his  opera 
"Das  Wunder  der  Heliane"  (1927) 
was  sung  on  a  number  of  Central 
Eur.  stages;  K.  was  a  cond.  in  1919- 
20  at  the  Hamburg  Stadttheat.;  and 
for  a  time  after  1927  taught  at  the 
Vienna  Akad.  fur  Tonkunst;  he 
modernised  a  number  of  JohaTm 
Strauss  operettas  and  cond.  them  in 
Berlin  and  elsewhere;  after  1934  he 
was  active  as  comp.  for  motion  pic- 
tures in  Hollywood;  c.  also  incid. 
music  to  "Much  Ado  about  Nothing"', 
Sinfonietta;  string  sextet;  a  piano 
sonatas;  piano  trio;  vln.  sonata,  etc. 

Kort'schak,  Hugo,  b.  Graz,  Austria, 
Feb.  24,  1884;  violinist,  conductor; 
grad.  Prague  Cons.,  studied  with 
Sevcik;  d6but,  Prague,  1904;  mem. 
Berlin  Philh.,  Frankfort  Museum 
Quartet,  Chicago  Symph.,  founded 
Kortschak  Quartet  (later  reorg.  as 
Berkshire  String  Quartet),  which 
played  at  Berkshire  Fests.,  also 
appeared  as  soloist;  prof,  vln.,  Yale 
Univ.  School  of  Mus. 

Koschat  (ko'-shat),  Thos.,  Viktring, 
near  Klagenfurt,  Aug.  8,  1845 — 
Vienna,  May  19,  1914;  studied  sci- 
ence at  Vienna;  joined  the  ct.-opera 
chorus,  soon  became  leader;  1874, 
joined  cath.-choir;  1878,  the  Hofka- 
pelle.  1871,  he  began  the  pub.  of 
original  poems  in  Carinthian  dialect, 
which  he  set  to  music  for  male  quar- 
tets; these  had  great  popularity; 
1875,  founded  the  "K&rnthner  Quin- 
tett";  prod.  4-act  "Volksstiick  mit 
Gesang,"  "Die  Rosenthaler  Nachti- 
gall,"  and  succ.  "Singspiel"  "Der 
Bur  germeister  von  St.  Anna,"  etc. 

KSselitz  (ka'-zS-Hts),  H.,  Annaberg, 
Saxony,  1854 — 1918;  pupil  of  Rich- 
ter,  Leipzig  Cons,  and  Nietzsche, 
Basel,  lived  in  Italy;  under  the  name 
"Peter  Gast"  prod,  opera,  "Die 
Heimliche  Ehe"  (Danzig,  1891),  etc. 

Koslecfc  (k6s'-l£k),  Julius,  Neugard, 
Pomerania,  Dec.  i,  1825— Berlin, 
Nov.  5,  1905;  trumpet-  and  cornet- 
virtuoso;  member  of  the  royal  band, 
Berlin;  teacher. 


Kossmaly  (k6s '-ma-Is),  Karl,  1812— 
Stettin,  1893;  teacher,  conductor  and 
writer. 

Kostlin  (kest'45n),  (i)  K.  Kheinhold, 
Urach,  Wurtemb  erg,  1 8 1 9 — 1894 ; 
prof,  and  writer.  (2)  H.  Ad.,  b. 
Tubingen,  Sept.  4,  1846 — Kannstadt, 
June  4,  1907;  preacher;  1875  he 
united  the  choirs  of  three  towns, 
which  became  in  1877  the  Wurtem- 
berg  Evangelical  "Kirchengesang- 
verein,"  and  which  he  cond.;  1891, 
Darmstadt;  writer. 

Kotchetov,  Nikolai,  b.  Oranienbaurn, 
1864;  composer. 

Kothe  (ko'-tS),  Bd.,  Grobnig,  Silesia, 
1821 — Breslau,  1897;  teacher  and 
composer. 

KSttlitz  (keV-lfts),  (i)  Ad.,  Trier,  1820 
— Siberia,  1860;  dir.  anil  composer. 
His  wifs  (2)  Clothilde  (n^e  Ellendt), 
1822-67,  was  an  excellent  singing- 
teacher. 

KoC^zeluch  (kot'-zfc-lookh  or  kS'-zJiS- 
lookh),  (i)  Jm.  A.  (rightly  Jan  Aik- 
tofiifx),  Well  warn,  Bohemia  1738 — > 
Prague,  1814;  mus.-dir.:  conductor 
and  dram,  composer.  (2)  Ld.  An- 
ton, Well  warn,  1748 — Vienna,  1818; 
pupil  and  cousin  of  above;  conductor, 
teacher  and  composer. 

Kotzolt  (k6t'-ts61t),  H.,  SchneUwalde, 
Upper  Silesia,  1814 — Berlin,  1881; 
conductor  and  composer. 

B^otzschmar  (k6tsh'-mar),  Hn.,  Fin- 
sterwalde,  Germany,  July  4,  1829— 
Portland,  Me.,  1909;  his  father 
taught  him  various  instrs.;  studied 
also  with  his  uncle  Hayne  and  Jul. 
Otto,  Dresden;  in  the  opera-orch.; 
1848,  America,  with  Saxonia  Band; 
from  1849  lived  Portland,  Me.;  cond. 
"Haydn  Assoc.,"  and  was  long  active 
as  organist  there;  a  memorial  org. 
in  his  honour  was  presented  to  the 
city  by  Cyrus  H.  K.  Curtis. 

Koussevitziy  (kSo-sS-vet^ske"),  Serge, 
b.  Vishni  Volochok,  Russia,  June  30, 
1874 — Boston,  June  4,  1951;  grad. 
Moscow  Cons.;  hon,  Mus.  D.,  Brown 
Univ.,  1926;  after  1900  prof,  at  the 
Philh.  Mus.  School,  Moscow;  began 
career  as  double-bass  virtuoso  in  the 
Imp.  Theat.  orch.  there;  in  1910 
founded  his  own  symph.  orch,  which 
he  led  until  1918,  making  3  tours 
of  Russia  with  it  on  chartered 
steamer  down  the  Volga;  his  reputa- 
tion as  a  cond.  grew  rapidly  when  he 
led  the  Koussevitzky  Concerts  in. 
Paris  after  1920,  winning  tanfe  a&one 


242 


DICTIONARY  OF  MUSICIANS 


of  the  most  brilliant  leaders  of  the 
day,  and  making  guest  appearances 
in  Germany,  Italy,  England  and 
Spain;  since  1924,  cond.  of  the  Bos- 
ton Symph.;  where  he  had  main- 
tained an  aggressive  campaign  for 
the  introd.  of  outstanding  modern 
compositions;  founder  publishing 
house  for  Russian  music  in  Paris, 
1909;  French  Legion  of  Honour,  1924; 
cond.  Berkshire  Fest.,  Stockbridge, 
Mass.,  after  1935. 

Kovafovic  (k6-var'-zho-vfts),  Karl, 
Prague,  Dec.  9,  1862 — Dec.  6,  1920; 
pupil  of  the  Cons.,  and  of  Fibich; 
from  1899  cond.  at  the  Bohemian 
Landestheater  in  Prague;  where 
many  of  his  operas  given  from  1884 
to  "Fraquita"  (1902);  c.  ballet 
"Hasheesh,"  piano  concerto,  etc. 
Kowalski  (ko-val'-shkl),  H.,  b.  Paris, 
1841 — Bordeaux,  1916;  pianist;  pupil 
of  Marmontel  (pf.)  and  Keber 
(comp.);  composer. 

Kozlovski  (kds-Py^f'-ski),  Joseph  An- 
tonovich,  Warsaw,  1757 — St.  Peters- 
burg, Feb.  ir,  1831;  teacher  in  the 
household  of  Prince  Oginski;  went  to 
the  Turkish  war,  attracting  the  no- 
tice of  Prince  Potemkin,  who  took 
him  to  St.  Petersburg,  where  he  be- 
came director  of  the  court  balls,  and 
c.  a  war  song  which  was  for  a  long 
time  the  Russian  national  anthem; 
c.  also  requiem  to  the  Polish  King 
Stanislas,  and  the  Czar  Alexander  I, 
etc. 

Kraft  (kraft),  (i)  Anton,  Rokitzan, 
1752 — Vienna,  1820;  'cellist  and 
composer*  (2)  Kicolatis,  Esterhdza, 
Hungary,  1778 — Stuttgart,  1853; 
'cellist  and  composer;  son  and  pupil 
of  above;  became  a  member  of  tie 
famous  "Schuppanzigh  Quartett." 
Kram'er,  A.  Walter,  b.  New  York, 
Sept.  23,  1890;  composer,  editor; 
studied  with  father,  Maximilian 
Kramer,  also  with  Carl  Hauser, 
Richard  Arnold  and  James  Abra- 
ham; mem.  editorial  staff,  Musical 
America,  1916-21;  ed.-in-chief  1929- 
36;  vice-pres.  and  exec,  die.,  Galaxy 
Mus.  Corp.,  N.  Y.,  publishers;  c.  2 
Symph.  Sketches;  Symph.  Rhapsody 
for  vln.  and  orch.,  "Rococo  Ro- 
mance," choral  cycle;  "Interlude  for 
a  Drama,"  for  wordless  solo  voice, 
oboe,  viola,  'cello  and  piano;  "The 
H&&T  of  Prayer39  for  chorus;  other 
citoinises,  vln.  and  piano  works  and 
songs;  transc.  for  orchestra. 


Krantz  (krSnts),  Eugen,  Dresden,  1844 
— 1898;  pianist  and  critic,  teacher 
and  composer. 

Kraus    (krows),    (i)    Joseph.    Martin, 
Miltenberg,  1756— Stockholm,  1792; 
pupil  of  Abt  Vogler;   1778  director 
and   cond.   at   Stockholm   opera;   c. 
operas,    symphs.,    etc.     (2)     Ernst, 
Erlangen,     1863 — April     24,     19335 
tenor;   pupil   of    Galliera  and   Frau 
Schimon-Regan;  1893  sang  at  Mann- 
heim;    from     1896,     Berlin     Royal 
Opera;  (3)  Felix  von,  b.  Vienna,  Oct. 
3,  1870 — Munich,  Nov.,  1937;  bass; 
pupil  of  Stockhausen  but  largely  self- 
taught;  sang  Hagen  and  Gurnemanz 
at  Bayreuth;  from  1908  teacher  at 
Royal  Akad.  der  Tonkunst,  Munich. 
Has  wife  (4)  Adrienne,  (Osborne)  b. 
Buffalo,  N.  Y.,  1873;  pupil  of  Marie 
Gotze,  also  a  prominent  opera  singer. 
Krause  (krow'-zS),  (i)  Chr.  Gf.,  Win- 
zig,  1719 — Berlin,  1770;  writer.     (2) 
Karl  Chr.  Fr.,  Eisenberg,  Altenburg, 
1781 — Munich,     1832;     writer.     (3) 
Theodor,  Halle,  1833 — Berlin,  1910; 
rector  at  Berlin;  cond.  Seiffert  Soc.; 
R.  Mus.-Dir.,  1887;  composer.     (4) 
Anton,      Geithain,      1834 — Dresden, 
1907;  at  6  pupil  of  cantor  Dietrich; 
then  of   Fr.   Wieck,   Reissiger,   and 
Spindler,     Dresden,     later     Leipzig 
Cons.,   d6but,  as  pianist,    Geithain, 
1846;    1853-59,    teacher    and   cond. 
Leipzig     Liedertafel;    1859-97,     dir. 
Singverein     and     the     Concertgesell- 
schafi    (retired);    1877   Royal   Mus. 
Dir.;    prof.;    c.    "Prinzessin    Use.97 
"Riibezahl  Legend."     (5)  (Prof.  Dr.) 
Eduard,  Swinemiinde,  1837 — Berlin, 
1892;  pianist,  teacher  and  composer. 
(6)  (Dr.)  Emil,  Schassburg  in  Tran- 
sylvania,   1840  —  Hamburg,    1889; 
barytone.     (7)  Emil,  Hamburg,  July 
30,    1840 — Sept.    5,    1916;   pupil  of 
Leipzig  Cons.;  since  1860,  teacher  of 
pf.  and  theory  at  Hamburg;   since 
1885  at  the  Cons.;  c.  an  Ave  Maria 
at  6,  etc.     (8)  Martin,  Lobstadt,  near 
Leipzig,    June    17,    1853 — Plattling, 
Bavaria,  Aug.  2,   1918;  pianist  and 
teacher;  son  and  pupil  of  a  cantor, 
then    studied    with    Fuchs,    Borna 
Teachers'     Sem.,     and     at     Leipzig 
Cons.;    toured    Holland    and    Ger- 
many; had  the  friendship  and  ad- 
vice of  Liszt  for  years;   1885,  with 
Siloti  and  others,  founded  the  Leipzig 
"Lisztverein":  1892,  professor;  1901 
Munich   Cons;    1904,    Stern    Cons.» 
Berlin. 


DICTIONARY  OF  MUSICIANS 


243 


Kraushaar  (krows'-Mr),  Otto,  Cassel, 
jgj.2 — 1866;  writer  and  composer. 

Krauss  (krows),  (i)  Marie  Gabrielle, 
Vienna,  March  24,  1842 — Paris, 
Tan.  6,  1906;  soprano;  pupil  of 
Vienna  Cons,  and  Marchesi;  1860-67, 
Vienna  ct.  opera;  1867  Th.  des 
Italiens,  Paris;  1875-86,  Gr.  Op6ra, 
Paris;  then  a  teacher  at  Paris  and 
officier  d'Acad6mie.  (2)  Clemens, 
b.  Vienna,  March  31,  1893;  con- 
ductor; sang  as  boy  soprano  in  Imp. 
Chapel,  Vienna;  grad.  Cons,  there, 
1912;  cond.  German  Theatre,  Riga, 
1913-14;  Nuremberg,  1915-16;  Stet- 
tin, 1916-22;  Graz,  1921-22;  Vienna 
State  Op.,  1922;  Tonktinstler  Orch., 
there,  1923-27;  Frankfort  Op.  and 
Museum  Concerts,  1924-29;  dir., 
Vienna  State  Op.  from  1929  to  1934* 
when  he  was  appointed  to  similar 
post  at  Berlin  State  Op.;  dir.  Munich 
Op.  after  1936;  has  also  cond.  as 
guest  at  Munich  Fest.,  Salzburg 
Fest.,  at  Leipzig  Gewandhaus,  Buda- 
pest, Barcelona,  Paris,  Prague,  Len- 
ingrad; visited  America  in  1929,  as 
guest  cond.  of  N.  Y.  Philh.  and  Phila. 
Orch.;  d.  Mexico  City,  May  6,  I9S4- 

Krebs  (traps),  (i)  Jn.  L.,  Buttelstedt, 
Thuringia,  1713 — Altenburg,  1780; 
organist  and  composer.  (2)  Karl 
Aug.  (rightly,  Miedcke,  changed 
after  adoption  by  his  teacher  the 
opera-singer  J.  B.  Krebs),  Niirnberg, 
1804 — Dresden,  1880;  c.  operas. 

(3)  Marie  (Frau  Brenning),  Dresden, 
Dec.  5>  zSS* — June  27>  *9°o;  daugh- 
ter of   above;  pianist  and  teacher. 

(4)  K.,  b.  near  Hanseberg,  Wiirtem- 
berg,  Feb.  5,  1857;  studied  R.  Hoch- 
schule,  Berlin;  lived  in  Berlin  as  critic 
and  writer,  where  d.  Feb.  9,  1937- 

Kre&nan.     Vide  KRETSCHMANN. 

Krenbiel  (kra'-bel),  H*  Edw.,  Ann 
Arbor,  Mich.,  March  10,  1854— New 
York,  March  20,  1923;  prominent 
American  critic;  studied  law  at  Cin- 
cinnati, but  entered  journalism; 
1874-78,  mus.-critic  Cincinnati  Ga- 
zette; later  editor  New  York  Mus. 
Review,  and,  1880  to  his  death,  critic 
of  the  Tribune;  pub.  many  succ. 
books,  incl.  "Studies  in  the  Wagnerian 
Drama,"  "How  to  Listen  to  Music"; 
"Annotated  Bibliography  of  Fine 
Art,"  with  R.  Sturgis;  "Music  and 
Manners  in  the  i8th  Century,"  "Chap- 
ters of  Opera,"  "A  Book  of  Operas," 
"The  Pianoforte  and  Its  Music," 
"Afro- American  Folk  Songs,"  "A 


Second  Book  of  Operas,"  "More 
Chapters  of  Opera"',  prepared  Eng- 
lish version  of  "Parsifal";  was  mem. 
of  ed.  committee  for  "The  Music  of 
the  Modern  World"  (1895-9?),  Amer. 
ed.  for  2nd  edition  of  "Grove's  Dic- 
tionary," and  translated,  revised  and 
completed  Thayer's  life  of  Beetho- 
ven; mem.  French  Legion  of  Honour 

Krehl  (kral),  Stephan,  Leipzig,  July  5, 
1864 — April  8,  1924;  studied  Leipzig 
Cons,  and  Dresden  Cons.,  1889; 
teacher  of  pf .  and  theory,  Carlsruhe 
Cons.;  1902,  Leipzig  Cons.;  com- 
poser; wrote  5  treatises  on  comp. 

Krein  (i),  Alexander,  b.  Nizhny- 
Novgorod,  Russia,.  Oct.  20,.  1883; 
d.  Moscow,  Apr.  2,  1951;  cellist  in 
Moscow;  noted  for  the  employment 
of  ancient  Jewish  melodies  in  his 
works;  c.  "Salome,"  symph.  poem; 
chamber  music,  piano  pieces;  "  Ko> 
disch,"  a  requiem;  incid.  music  to 
Jewish  plays,  songs.  (2)  Grigori, 
bro.  of  (i);  b.  1879;  studied  with 
Juon  and  Glifcre;  Hves  In  Moscow;  c. 
chamber  music,  piano  sonata,  songs. 

Kreisler  (kris'-ler),  (i)  Jns.     Vide  E.1 

T.       A.      HOFFMANN.       (2)       FrftZ,       b. 

Vienna,  Feb.  2,  1875;  violinist;  pupil 
of  Massart  and  Delibes;  d6but  Paris; 
has  toured  Europe  and  U.  S.  with 
eminent  succ.  for  many  years;  he 
has  long  held  a  leading  rank  among 
the  world's  vln.  artists,  both  ^for 
stylistic  qualities  and  virtuosity; 
c.  a  string  quartet,  several  operettas 
many  pop.  smaller  pieces  for  his 
instrument  and  others,  some  of  which 
are  adaptations  of  Viennese  folk 
music;  the  bulk  of  them  he  long 
attributed  to  little  known  composers 
of  the  past,  whose  works  he  was  sup- 
posed to  possess  in  MS.;  but  in  1935 
he  astounded  the  musical  world  by 
announcing  that  they  were  his  own 
compositions. 

Kreissle  von  Hellborn  (kris'-lS  fon 
h&'-b6rn),  H.,  Vienna,  1812 — 1869; 
writer;  wrote  "Biog.  of  Schubert." 

Krejcl  (kra'-ch5),  Josef,  Milostin, 
Bohemia,  1822 — Prague,  1881;  or- 
ganist and  composer. 

Krempelsetzer  (krSm'-pl-zSts-e'r),  G.f 
Vilsbiburg,  Bavaria,  1827—1871; 
cond.  and  dram,  composer. 

Kremser  (krSm/-ze'r),  Eduard,  Vienna, 
April  10,  1838— Nov.  26,  1914;  from 
1869,  chorusm.  the  Vienna  "Manner- 
gesangverein";  c.  operettas,  a  ^  can- 
tata, with  orch.,  famous  "Altnieder- 


244 


DICTIONARY  OF  MUSICIANS 


Vms&ederJ'    and    other 


{kr£h8a'-£kX  Ernst,  b.  Vienna, 
5&goo  <;of  Czeck  ancestry); 
;  studied  with  Schreker,  but 
dfep4drte«l  frofca  that  composer's  D&an- 
ner  in  the  direction  of  extreme 
modernity,  his  works  embodying 
*t<m*£ity;  lived  in  Berlin  1920-24, 
tfefe  foBd-mag  year  in  Zurich;  sfctved 
as  chloral  T^petiteur  at  the  Cassel  fcoid 
ffiesbacko.  Ops.;  c,  (operas)  "I?& 
<2*&tgburg"  (Berlin  State  Op.,  1924); 
"£ter  Sprung  ilber  dew  Schatten" 
(Frankfort,  1923);  "Orpheus  und 
(1926),  "Jontny  SpieR 


Auf"  (Lei|>2ag,  1927,  tlie  last  soaking 
a  Sensational  but  brief  effect  because 
of  its  Sntrod.  of  jazz  motifs  and  story 
of  modem  "machine"  age,  sung  on 
mamy  German  stages,  also  at  Met. 
Op.  Htrnse,  in  1929);  3  one-act 
operas,  1928;  "Die  Heimkehr  des 
Orfe?*"  (1929);  "Karl  V,"  completed 
*933»  but  not  immediately  per- 
formed, partly  owing  to  ban  upon 
Ins  works  by  Nat'L  Socialist  regime 
in  Germany;  also  incid.  music  to 
Goethe's  '*  Triumph  der  Empfind- 
$€*mke&,"  ballets,  symphonies,  con- 
certi  grossi,  piano  concerto,  vln. 
concerto*  string  quartet,  piano  sona- 
tas, cirortises  and  songs;  m.  a  daugh- 
ter of  Mahler;prof  .  Vassar  Coll.,  1941- 

Kxtexm  (krSn),  Fz.,  Dross,  Ix>wer  Aus- 
tria, i  Si  6  —  St.  Andra  vorm  Hagen- 
thai,  1897;  organist,  compose^  and 
conductor;  prof,  harmony,  Vienna 
Cons. 

Eretsehmann  (or  Kre6man)  (kr^tch7- 
nasan),  Theobald,  b.  Vinos,  near 
Prague,  1850;  solo  'cellist,  Vienna 
ct^opera;  d.  Vienna,  Apr.  16,  1929. 

Krotschmer  {krgtsh'-mSr),  (i)  Ed- 
rnhind,  Ostiitz,  Saxony,  Aug.  31,  1830 
*^-I>resdeai,  Sept.  13,  1908;  pupil  of 
Otto  and  Schneider,  Dresden;  ct.- 
arganist;  founder  and  till  1897  conxL 
the  Cacilia  Singing-Soc.,  etc.;  teacher 
in  the  R.  "Kapellknaben-Institut," 
wbere  his  son  (2)  Fz.  succeeded  him; 
E.  K.  c.  text  and  music  of  2  impor- 
tant operas,  "Die  Folkunger"  (Dres- 
den, 1874)  and  "  Heinrich  der  Ldwe" 
(L^>zig,  1877);  operetta,  "Der 
Fluchtling"  (Him,  1881);  a  romantic 
opera  "Schon  Rohtraut"  (Dresden, 
1887);  "Geisterschlacht"  (prize,  Dres- 
den, 1865);  3-part  mass  for  male 
chorus  (Brussels  Acad.  prize,  1868); 
aaorch.  suite  "  Hochzeitsmusik,"  etc. 


Kjetzschmar  (kr^teh'-mAr)  (Atig. 
Hermann,  Olbernhau,  Saxony,  Jan. 
19,  1848 — Berlin,  May  u,  1924* 
organist  and  conductor;  pupil  of 
Otto  at  the  Ereuzschule,  Dresden, 
and  at  Iveipzig  Cons.;  1871  Dr.  Phil. 
&t  Leipzig,  with  a  thesis  on  nota- 
-tioB  prior  to  Guido  d'Arezzo;  then 
teadher  of  org.  and  harin.  at  the 
Cons,  and  cond.  several  societies; 
1887,  x&us.-dir.  of  Leipzig  UMv.  aind 
cond.  "Paulus."  1888-97?  cond.  of 
the  "Riedel-Verein,"  retired  because 
of  ill-health;  1890,  prof.,  critic,  lec- 
turer and  writer;  1904,  prof,  at  Ber- 
Ha  Univ.;  1907-22,  dir.  R.  Inst.  for 
Church  Music;  1909-22,  of  the 
"Hochschtile  fur  Musik.-Wissen- 
sehaft."  Author,  studies  of  Bach, 
Cornelius,  and  many  pop.  musical 
treatises;  c.  org.-pcs.  and  part-songs. 

Kreube  (kru-ba),  Gbtas.  Fr6d6ric,  Lune- 
ville,  1777 — at  his  villa,  near  St. 
Denis,  1846;  cond.  at  Paris  Op.  Com.; 
c.  10  comic  operas. 

Kreu(t)zer  (kroi'-tser),  (i)  Conxadin, 
Messkirch,  Baden,  Nov.  22^  1780 — 
Riga,  Dec.  14,  1849;  pupil  of  Riegard, 
Weibrauch  and  Albrechtsberger; 
toured  as  pianist;  ct.-cond.;  c.  36 
operas,  incl.  "Das  Nacktlager  von 
Granada"  (1834)  and  "Jery  und 
B&tely,"  stiU  played,  etc.  His  daugh- 
ter (2)  CaciJie  was  an  operatic  singer. 
is)  (pron.  in  France,  krttt-zar),  Ro- 
dolphe,  Versailles,  Nov.  16,  1766; 
— Geneva,  Jan.  6,  1831;  famous  vio- 
linist to  whom  Beethoven  dedicated 
the  "  Kr&utzer  Sonata";  son  and  pupil 
of  a  German  violinist  and  of  Stawitz; 
prof,  at  the  Cons.;  ct.-yiolinist  to 
Napoleon  and  to  Louis  XVIII., 
1802-26;  prod,  at  Paris  over  40 
operas,  inch  "Lodoiska"  also  collab- 
orated with  Rode  and  Baillot  in  a 
standard  method  and  c,  famous  vln.- 
e"tudes,  etc.  (4)  Aug.,  Versailles, 
1778 — Paris,  Aug.  31,  1832;  bro.  of 
above,  and  1826,  his  successor  as 
vln.-prof.  at  the  Cons.;  composer. 
($)  (Chas.)  Leon  (Fran.),  Paris,  1817 
— Vichy,  1868.  Son  of  (3);  writer 
and  composer.  (6)  Leonid,  b.  St. 
Petersburg,  March  13,  1884;  pianist 
and  conductor;  studied  Petersburg 
Cons.,  with  Essipov  and  Glazounoff; 
prof,  at  Berlin  Hochschule,  1920—33; 
since  1935  res.  in  Tokyo;  c.  (ballet) 
"Der  Gott  und  die  Bajadere"  (Mann- 
heim, 1921);  author  books  on  piano 
anded.  Chopin  wks.;  d.  Tokyo,  1953. 


DICTIONARY  OF  MUSICIANS 


245 


EriSka  (kr*sh'-ka),  Jaroslav,  b.  KelC, 

Moravia,  Aug.  27,  1882;  choral  dor. 
and  after  1918  teacher  at  the  Prague 
Cons.,  c.  (opera)  "Spuk  im  Schloss," 
which  blends  jazz  and  folk  themes  in 
lively  manner  and  attained  succ.  on 
several  German  stages;  also  canta- 
tas, overtures,  chamber  music,  cho- 
ruses and  song  cycles. 
Krieger  (kr6'-ger),  (i)  Adam,  Driesen, 
1634 — Dresden,  1666;  ct.-organist 
and  composer.  (2)  (Jn.)  "Phillip, 
Niirnberg,  1649 — Weissenfels,  1725; 
ct.-organist,  ct.-cond.,  and  dram, 
composer.  (3)  Jn.,  Ntirnberg,  Dec, 

28,  1651 — Zittau,  July  18,  1735;  fa- 
mous contrapuntist;  bro.  and  pupil  of 
?bove,  and  his  succ.  as  ct.-cond. 

Kriens,  Christiaan,  Amsterdam,  April 

29,  1881 — West    Hartford,    Conn., 
Dec.  17,  1934;  composer,  conductor; 
studied    at    Hague    Cons.,    winning 
gold    medal;    d6but    1895    with    his 
father's  orch.  in  Amsterdam,  cond. 
own  symph.  and  playing  both  vin. 
and  piano  concertos;  toured  France, 
Holland,  Belgium;  came  to  U.  S.  1906 
as  cond.   of   French  Op.    Co.,   New 
Orleans;  after  1907,  active  as  teacher 
and  cond.  in  New  York,  founding 
an<J  leading  there  a  Symph.  Club  to 
train  young  players. 

Krips,  Josef,  b.  Vienna,  1902;  vlnst.; 
1933 >  cond.  Vienna  Op.;  1954,  cond. 
Buffalo  Philharm.  Orch. 

Eroeger  (kra'-g&r),  Ernest  R.,  St.  Louis, 
Mo.,  Aug.  10,  1862 — April  7,  1934; 
composer,  organist  and  teacher;  ac- 
tive as  recitaUst  (piano),  dir.  of  mus. 
at  Forest  Park  Univ.  and  after  1904 
head  of  his  own  music  school  in 
St.  Louis;  mem.  French  Academie 
and  Nat'l  Inst.  of  Arts  and  Letters; 
c.  overtures,  orch.  suite,  "Lalla 
Rookh";  various  typos  of  chamber 
music,  a  piano  sonata  op.  33,  concert 
studies  for  the  piano,  violin  and 
piano  sonata;  and  many  other  piano 
pieces,  songs,  etc. 

Krogulski  (kr5-gool'-skl),  Joseph,  Tar- 
no  v,  1815 — Warsaw,  Jan.  9,  1842; 
composer;  pupil  of  Eisner;  c.  10 
masses,  an  oratorio,  etc. 

Srohn  (kron),  Umari  Henrik  Rhein- 
hold,  b.  Helsingfors,  Nov.  8,  1867; 
Finnish  author  and  comp.  of  sacred 
songs,  piano  sonatas,  etc. 

Krommer  (krdm'-me'r),  Fz.,  ELamenitz, 
Moravia,  1760 — Vienna,  1831;  vio- 
linist, organist  and  conductor. 

Kronach.     Vide  KLITZSCH. 


Kronke   (kr6nk'-S),  Emily  b.   Danzig, 

Nov.  29,  1865;  pianist;  pupil  o^ 
Reinecke  and  Paul,  Nicod6  and  Th. 
ELirchner,  Dresden;  1886  won  pf.- 
prize,  Dresden  Cons.;  1887,  diploma 
of  honour;  ed.  of  Liszt's  wks.; 
d.  Dresden,  Dec.  16,  1938. 

Kroy'er.  Theodor,  b.  Munich,  Sept,  9, 
1873;  author,  critic  and  conip.  stud- 
ied theology,  then  music  at  the 
Akademie  der  Tonl^unst;  1897,  Ph. 
D.  Munich  University;  1920,  taught 
Heidelberg  Univ.;  1922,  Leipzig, 
where  developed  school  for  musical 
science;  after  1933  at  Cologne  Univ. 
c.  2  symphonies  with  chorus  and  soli, 
chamber  music,  etc. 

Krueger  (krii'-ger),  Karl,  b.  New  York, 
1894;  conductor;  studied  with  Fuchs, 
Schalk,  Weingartner  and  Nikisch; 
early  active  as  'cello  and  organ  vir- 
tuoso, touring  in  Europe  and  South 
America;  asst.  cond.  Viertoa  Op.;  1926 
-31,  led  Seattle  Symph.  Orch.,  fol- 
lowing its  reorganisation;  also  guest 
cond.  Phila.  Orch.  and  in  Hollywood 
Bowl,  CaL;  after  1933  cond.  Kansas 
City  Philh.  Orch.  and  chamber  opera 
perls.;  cond.,  Detroit  Symph.,  1943. 

Krug  (krookh),  (i)  Fr.,  C^ssel,  iSi$— 
Carlsruhe,  1892;  op.  barytone  and 
dram,  composer.  (  2)  Dietrich,  Ham- 
burg, 1821 — 1880;  piarBsist  and  com- 
poser. (3)  Arnold,  Hamburg,  Oct. 
16,  1 849-^- Aug.  4,  1904;  son  and 
pupil  of  above;  studied  also  with 
Gurlitt  and  Reinecke;  won  Mozart 
scholarship,  1869;  studied  with  Kiel 
and  Ed.  Franck,  Berlin;  1872-77, 
pf. -teacher,  Stern  Cons.;  won  Meyer»- 
beer  scholarship,  and  studied  in 
France  and  Italy;  1885,  ct.-cond.  at 
the  Hamburg  Cons.;  pub.  a  symph., 
sympa.  prologue  "OteHo>3  and  orch. 
suite;  choral  works,  etc,  (4)  (Wen- 
zel)  Jos.  (called  Ejrag-WaJnisee), 
Waldsee,  Upper  Swabia,  Nov.  8, 1858 
— Magdeburg,  Oct.  S,  1915;  chiefly 
self-taught  until  1872,  then  studied 
vin.,  pf.,  singing  and  comp.  with 
Faiszt,  at  Stuttgart  Cons.;  1882-89, 
cond.  at  Stuttgart;  1889,  chorusm., 
mus.-dir.  Municipal  Th.,  Hamburg; 
1892,  th.-cond.  various  cities;  1889, 
Munich;  1900,  Ntirnberg;  1901,  Mag- 
deburg; c.  concert-cantatas,  "Dorn- 
rdschen,"  "  H ochzeitslied,"  "Geiger 
zu  Gmund"  and  "Seebilder";  succ. 
opera  "Astorre"  (Stuttgart,  1896): 
"secular  oratorio"  "  Konig  Rother, 
etc. 


246 


DICTIONARY  OF  MUSICIANS 


Erfiger  (kni'-gSr),  Eduard,  Luneburg, 
1807 — Gottingen,  1885;  prof,  and 
writer. 

Kruis  (krls),  M.  H.  van,  Oudewater, 
Holland,  March  8,  1861 — Lausanne, 
Feb.  14,  1919;  pupil  of  Nikolai  at 
The  Hague;  1884,  organist,  teacher 
and  writer,  Rotterdam;  1886,  founded 
monthly  "Het  Orgel";  c.  an  opera 
"De  Bloem  Van  Island,"  3  symph., 
8  overtures,  etc. 

Krumplioltz  (kroomp'-h61ts),  (i)  Jn. 
Bap.,  Zlonitz,  near  Prague,  ca.  1745 
— Paris,  Feb.  19,  1790;  harpist,  com- 
poser; he  m.  his  1 6-year  old  pupil, 
Frl.  Meyer,  a  brilliant  harpist;  they 
gave  concerts  together,  until  her 
elopement,  when  he  drowned  himself 
in  the  Seine.  (2)  Wenzel,  1750 — 
Vienna,  1817;  bro.  of  above;  violinist 
and  composer. 

Kubelik    (koo'-bS-Hk),     (i)     Jan,    b. 
Michle,  July  5,  1880 — Prague,  Dec. 
5,  1940;  violinist;  son  and  pupil  of 
a  Bohemian  gardener;   pupil   for   6 
years  of  Sevcik,  Prague  Cons.;  stud- 
ied   later    at    Vienna;    d6but    there 
1898;    then    toured    Europe,    1900, 
with  great  success;  1901,  U.  S.  (2) 
Rafael,     b.     Batchory,     Czechoslo- 
vakia, 1914?  son  of  (i);  conductor; 
grad.    Prague    Cons.;    cond.    Czech 
Philh.,  1936-1948;  guest  cond.  Lon- 
don,   Paris,    etc.;    1950,   mus.    dir., 
Chicago  Symph.  Orch. 
Kuchari  (koo'-charzh),  Jn.  Bap.,  Cho- 
tecz,  Bohemia,  1751 — Prague,  1829; 
organist  and  conductor. 
Kticken  (klk'-'n),  Fr.  Wm.,  Bleckede, 
Hanover,    1810  —  Schwerin,     1882; 
composer  of  operas  and  pop.  songs; 
for  some  time  cond.  at  Stuttgart. 
Kuczynski  (koo-ch5n'-shkl),  Paul,  Ber- 
lin, Nov.   10,   1846 — Oct.  .21,   1897; 
Polish  composer;  pupil  of  von  Btilow; 
c.  succ.  cantata  "Ariadne" 
Kudelski     (koo-d&'-shki),     K.     Mat., 
Berlin,    1805 — Baden-Baden,    1877; 
violinist,  composer  and  conductor. 
Kufferath  (koof'-fSr-at),   (i)  Jn.  Hru, 
Muhlheim-on-the-Ruhr,  1797 — Weis- 
baden,  1864;  conductor.     (2)  Louis, 
Miihlheim,    1811  —  near    Brussels, 
1882;  pianist,  teacher  and  composer. 
(3)  Maurice,  Brussels,  Jan.  8,  1852 — 
Dec.  8,  1919;  studied  with  Servais 
(p&re    and    fils)     'cello;     1873-1900, 
editor  "Guide  musicale,"  later,  pro- 
prietor; writer  and  translator;  1900, 
dir.  Theatre  de  la  Monnaiea  Brussels* 


Kiiffner    (ktf'-nSr),    Jos.,    Wtirzburg, 

1776 — 1856;  dram,  composer. 
Rugelmann  (koo'-gSl-man),  Hans,    d. 
K6nigsberg,    1542;    tiumpeter    and 
composer. 

Kuhe  (koo'-S),  Wm.,  Prague,  Dec.  10, 
1823 — London,  Oct.  9,  1912;  pianist; 
pupil  of  Proksch,  Tomaschek  and 
Thalberg;  1845,  London;  from  1886 
prof,  the  R.  A.  M.;  composer. 
Kuhlau  (koo'-low),  Fr.,  Ulzen,  Han- 
over, Sept.  n,  1786 — Copenhagen, 
March  12,  1832;  ct.-flutist,  dram, 
composer,  teacher  and  composer  of 
important  technical  pf.-pcs.,  etc. 
Ki'ihmstedt  (kflm'-shtfit),  Fr.,  Oldisle- 
ben,  Saxe- Weimar,  1809 — Eisenach, 
1858;  theorist,  composer,  writer  and 
teacher. 

Kuhnau     (koo'-now),     Jn.,     Geysing, 
Saxony,     April     6,      1660 — Leipzig, 
June  5,  1722;  pupil  of  Henry,  Albrici 
and     Edelmann;     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. 
Ktdenkampff      (koo'-Pn-kampf),      (i) 
Gus.,  Bremen,  Aug.  n,  1849 — Ber- 
lin,  Feb.   10,    1921:   concert  pianist 
and    teacher;    pupil    of    Reinthaler, 
Barth    and    Bargiel,    Berlin    Hoch'* 
schule;  organised  the  succ.  "Kulen- 
kampscher         Frauenchor";         dir, 
Schwantzer  Cons,  at  Berlin  for  a  few 
years;   c.   succ.   comic   operas   "Der 
Page"    (Bremen,     1890)    and    "Der 
Mohrenf&rst"     (Magdeburg,     1892); 
"Die  Braut  von  Cypern"  (Schwerin, 
1899) ;  male  choruses,  etc.    (2)  Georg, 
b.    Bremen,    Jan.    23,    1888;    noted 
violinist;  pupil  of  Willy  Hess;  prof. 
Berlin  ~Hoc~hschule;  d.  Switz.,  1948. 
Kullak  (kool'-lak),  (i)  Theodor,  Kro- 
toschin,  Posen,  Sept.  12,  1818 — Ber- 
lin, March  r,  1882;  eminent  teacher; 
Prince  Radziwill  had  him  taught  by 
the  pianist  Agthe;  at  ri  he  played  at 
a   ct. -concert;    studied   with    Dehn, 
Czerny,   Sechter  and  Nicolai;   then 
teacher  to  the  royal  family;  1846,  ct.- 
pianist,  Berlin;  1850,  founded  (with 
Julius   Stern  and  Bern.   Marx)   the 
Berlin  (later  Stern)  Cons.;  1855,  re- 
signed, established  his  famous  "Neue 
Akademie    der     Tonkunst";     1861, 
royal  prof.;  wrote  standard  works, 
"Sck.     of    Octave-playing,"     "Seven 
Studies  in  Octave-playing,"  etc.;  c.  a 
concerto,  sonata  and  other  brilliant 


DICTIONARY  OF  MUSICIANS 


247 


pf.-pcs.,  etc.,  incl.  "  Kinderleben." 
(2)  Ad.,  Meseritz,  1823 — Berlin, 
3862;  bro.  of  above;  writer  and  com- 
poser. (3)  Fz.,  Berlin,  1844 — 1913; 
son  and  pupil  of  (i);  studied  with 
Wieprecht  and  Liszt;  1867,  pf.- 
teacher  and  dir»  orch.-class  in  Acad. 
of  Ms  father,  on  whose  death  he  be- 
came dir.  in  1890;  writer;  c.  an  opera 
"Ines  de  Castro"  (Berlin,  1877),  etc. 

KulTmann,  Charles,  b.  New  Haven, 
Conn.,  Jan.  13,  1903;  tenor;  studied 
JuiUiard  School  of  Music,  also  at 
Fontainebleau,  and  with  Francis 
Rogers  and  Mme.  Schoen-Ren6; 
toured  Europe  as  soloist  with  Yale 
Glee  Club;  op.  d6but  with  Amer. 
Op.  Co.,  1929;  sang  with  Berlin 
State  Op.  and  at  Vienna  with  succ. 
for  several  years;  also  at  Salzburg 
Fest.;  debut,  Met.  Op.,  1035-36. 

Kummer  (koom -m'r),  (i)  Kaspar, 
Erlau,  1795 — Coburg,  1870;  flute- 
virtuoso.  (2)  Fr.  Aug.,  Meiningen, 
Aug.  5,  1797 — Dresden,  Aug.  22, 
1879;  notable  'cellist  and  composer 
for  'cello;  wrote  method. 

JMmmerle  (klm'-mSr-le"),  Salomon, 
Malmsheim,  near  Stuttgart,  1838 — 
Samaden,  1896;  prof,  and  composer. 

Ktin'its,  Luigi  von,  Vienna,  July  30, 
1870 — Toronto,  Oct.,  193  r;  violinist, 
conductor;  grad.  Univ.  of  Vienna; 
studied  vln.  with  Krai,  Gruen  and 
Seycik,  comp.  with  Bruckner;  led 
string  quartet  of  Tonkiinstlerverein 
there;  came  to  America  1893  and 
taught  in  Chicago;  1896-1910,  con- 
certm.  of  Pittsburgh  Orch.;  taught 
at  Cons,  there;  1910-12  in  Vienna; 
after  latter  year  in  Toronto,  where 
prof,  in  Canadian  Acad.  of  Music, 
and  leader  of  Symph.  Band. 

Kunwald  (koon'-valt),  Ernst,  b.  Vienna, 
April  14,  1868 — Dec.  12,  1939;  stud- 
ied music  at  Leipzig  Cons.;  became 
correpetitor  at  the  city  theatre;  1895, 
cond.  operetta  at  Rostock,  1901—02 
at  Teatro  Real,  Madrid,  where  he 
gave  Wagner's  Ring  cycle  complete 
and  was  decorated  by  the  Queen  of 
Spain;  1902,  cond.  at  opera  Frank- 
fort. 1906  cond.  at  Nuremberg  city 
theatre;  conducting  two  concerts  of 
the  New  York  Phil,  as  guest,  Feb. 
1906;  1907  director  of  the  Berlin 
Phil,  orch.;  1912  engaged  to  conduct 
the  Cincinnati  Symph.  Orch.;  held 
post  till  19 1 7;  interned  as  enemy  alien; 
1922-27,  gen.  mus.  dir.,  Konigsberg; 
10,28-32.  cond.,  Berlin  Symphony  * 


Ktraz  (koonts),  Konrad  Max,  Schwan- 
dprf,  Bav.  Palatinate,  1812 — Mu- 
nich, 1875;  conductor  and  composer. 

Kunzen  (koonts'-'n),  (i)  Jn.  Paul,  Leis- 
nig,  Saxony,  1696 — Ltibeck,  1757; 
organist  and  composer.  (2)  K.  Ad., 
Wittenberg,  1720 — Lubeck,  1781; 
organist,  pianist  and  composer. 
(3)  Fr.  L.  Jtemilius,  Lubeck,  1761— 
Copenhagen,  1817;  ct. -conductor  and 
composer. 

Kupf  er-Berger  (koop  '-f  'r-b&rkh-'r), 
Ludmilla,  Vienna,  1850 — May  12, 
X9°5;  pupil  of  the  Cons.;  d6but  Linz- 
on-Danube,  1868,  then  at  the  Berlin 
Ct.-opera;  m.  the  Berlin  merchant 
Kupfer;  later  at  Vienna,  ct.-opera  as 
alternate  with  Materna. 

Kurenko  (koor-ygnk'-S)  Maria,  b. 
Tomsk,  Siberia;  law  grad.  Moscow 
Univ.,  also  Cons,  there,  with  Masetti 
and  Gontzoff;  d6but  in  op.  at  Khar- 
kov; has  sung  with  Moscow  Op.; 
in  N.  Y.,  Chicago  and  Los  Angeles; 
concert  appearances  Europe  and 
America. 

Kurpinski  (koor-pfca'-shkl),  Karl  (Ka- 
Simir),  Luschwitz,  Posen,  1785 — 
Warsaw,  1857;  conductor  and  dram, 
composer. 

Kurt,  Melanie,  b.  Vienna,  1880— 
N.  Y.,  March  n,  1941;  studied  at 
Vienna  Cons,  and  as  pianist  with 
Leschetizky;  toured  in  that  capacity, 
then  turned  to  singing,  working  with 
Lilli  Lehmann;  sang  Lubeck  and 
Leipzig,  after  1905  at  Brunswick 
Op.;  1908-12,  Berlin  Op.;  1915-17, 
pronounced  succ.  in  d6but  with  Met. 
Op.  in  Wagnerian  r61es. 

Kurtz  (koorts),  Efrem,  b.  Berlin,  1900; 
conductor;  cUbut  1920  there;  cond. 
Ballet  Russe;  later  of  Houston  Symph. 

Ktister  (kis'-t&r),  Hn.,  Templin,  Bran- 
denburg, 1817 — Herford,  Westpha- 
lia, 1878;  ct.-organist,  theorist  and 
composer. 

Kiizdb;,  Victor,  b.  Budapest,  1869; 
violinist;  grad.  of  Cons,  there  at  13; 
tours  of  Europe  and  after  1884  in 
U.  S.;  further  study  with  Lotto  and 
Auer;  after  1887,  lived  as  concert 
artist  and  teacher  in  New  York. 

Kuzniet'zof,  Maria,  b.  Odessa,  1884; 
operatic  soprano;  has  appeared 
widely  in  Russia,  Spain,  France, 
England,  TJ.  S.  (after  1915)  and  in 
South  America. 

Kwast  (kwast),  Jas.,  Nijkerk,  Holland, 
Nov.  23,  1852 — Berlin,  Oct.  31,  1927; 
Dianist;  pupil  of  his  father  and  Fd. 


24:8 


DICTIONARY  OF  MUSICIANS 


BShme;  Reinecke  and  Richter,  Kul- 
lak  and  Wuerst,  Brassin  and  Gevaert, 
Brussels;  1874  teacher  Cologne 
Cons.;  1883-1903,  Hocli  Cons., 
Frankfort;  then  Stern  Cons.;  com- 
poser. 

L 

Labarre   (la-b&r),  Th.,   Paris,    1805 — 

1870;  harpist  and  dram,  composer. 
Labey  (&-be"),  Marcel,  b.  Dept.  Besi- 
net,  France,  1875;  studied  law  in 
Paris,  then  with  d'Indy  at  the  Schola 
Cantorum,  where  until  19  r  4  taught 
piano  and  orch.  classes;  c.  symph., 
f antasie  for  orch.,  sonatas,  songs,  etc. 
Labitzky  (13,-btt'-shkl),  (i>  Jos.,  Sein- 
feld, near  Eger.  1802 — Carlsbad, 
1881;  violinist.  (2)  Aug.,  Petschau, 
Saxony,  Oct.  22,  1832 — Reichenhall, 
Aug.  28,  1903;  pupil  of  Prague  Cons., 
of  David  and  Hauptmann,  Leipzig; 
1853,  cond.  and  composer  at  Carls- 
bad. 

Lablache     (la-bl£sh),    Lttigi,     son    of 
French    father    and    Irish    mother, 
Naples,  Dec.  6,  1794 — Jan.  23,  1858; 
eminent    bass,    with    powerful    and 
flexible  voice  with  compass  (Et>-e'); 
pupil  of  Valesi,   pupil   Cons,    della 
Pieta;  d€but  Naples  as  buffo;  later 
in  heroic  r61es  throughout  Europe; 
wrote  "MSthode  de  chant." 
Labor  (Ia'-b6r),  Josef,  Horowitz,  Bo- 
hemia, June  20,  1842 — Vienna,  April 
26,  1924;  a  blind  pianist  and  organ- 
ist;  pupil   of    Sechter    and   Pirkjer, 
Vienna  Cons.;  chamber-pianist  and 
teacher  of  the  Princess  of  Hanover; 
after    1866    taught   in    Vienna,    his 
pupils   incl.    Schonberg   and   Julius 
Bittner;  composer. 
Laborde.     Vide  DELABOKDE. 
Labro'ca,  Mario,  b.  Rome,  Nov.   22, 
1896;    composer    and    music    critic; 
studied  with  Respighi  and  Malipiero; 
c.   ballets,   chamber  symph.,   piano 
concerto,  chamber  music  and  vocal 
works;  1936  appointed  pres.  of  Flor- 
ence Teatro  Comunale. 
Lachnrand  (lakh'-moont),  Carl  V.,  b. 
Booneville,     Mo.,      1857 — Yonkers, 
N.  Y.,  Feb.  20,  1928;  at  13  studied 
in  Cologne  with  Heller,  Jensen  and 
Seiss;  then  Berlin,  also  4  vears  with 
Liszt  at  Weimar;  c.  trio  (played  by 
Berlin    PhiJh.     orch.),     "Japanese" 
overture     (perf.     by    Thomas    and 
Seidl),  etc.;  lived  in  New  York  as 
teacher,  conductor  and  composer. 
Lachner  ftakh'-nSr).   (i)   Theodor,  b. 


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;  organist 
at   Rain.     (4)   Fz^   Rain,    April   z, 
1803 — Munich,  Jan.  20,  1890;  half- 
brother     of     above;     studied     with 
Eisenhofer  (comp.)j  and  with  Ett; 
1882,    organist    Protestant    Church. 
Vienna,   and  studied  with   Stadler, 
Sechter,    and    WeigJ;    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  grow- 
ing Wagnerianism  at  court;  his  eight 
orch.  suites  are  his  best  work,  show- 
ing his  contrapuntal  gifts  at  their 
best;  he  prod.  4  operas,  2  oratorios^ 
8  symphs.,  incl.  the  "Appassionata,' 
chamber-music,     etc.       (5)     Ignaz, 
Rain,  Sept.  n,  1807 — Hanover,  Feb. 
24,  1895.     Bro.  of  (4)  and  his  suc- 
cessor as  organist,  1825.     2nd  cond. 
of    court-opera,    later    ct.-mus.-dir., 
Stuttgart;    1858,    ct.-cond.,    Stock- 
holm; c.  operas,  pop.  Singspiele,  etc. 
(6)  Vincenz,  Rain,  July  19,  1811 — 
Carlsruhe,   Jan.    22,    1893;    bra,    of 
above;  his  successor  as  organist  and 
later  successor  of  Fz.,  as  ct.-cond.; 
teacher  and  composer. 
Lachnith    (lak'-nlt),    L.    Wenzel,    b. 
Prague,  1746;  horn-player,  and  de- 
ranger  of  famous  works. 
Lack  (lak),  Theodore,  Quimper,  France, 
Sept.  3,  1846 — Paris,  Nov.  25,  1921; 
pupil  of  Marmontel  (pf.)  and  Bazin 
(harm.)     Paris    Cons.;    teacher    at 
Paris;  1881  officier  of  the  Acad6mie; 
officier  of  public  instruction;  c.  much 
light  and  graceful  pf  .-music. 
Lackowitz  (lak'-6-vrts),  Walter,  Tre1> 
bin,   near   Berlin,   Jan.    13,    1837 — 
Berlin,    March    n,    1916;   pupil   of 
Erk,  ELullak,  and  Dehn;  editor. 
Lacombe  (Ia-k6nb),  (i)  Louis  (Brouillon- 
Lacombe),  Bourges,  France,  Nov.  26, 
1818 — St.  yaast-la-Hougue,  Sept.  30, 
1884;  pianist;  pupil  of  Paris  Cons.; 
writer    and    dram,    composer.     (2) 
Paul,    Carcassonne,    Oude,    France, 
July  ii,  1837 — June  5,  1927;  studied 
with    Teysseyre,    but    mainly    self- 
taught;  1880  won  the  Prix  Chartier, 
for  chamber-mus.;  c.  also  3  symph*., 
a  symph.  overture,  etc. 


DICTIONARY  OF  MUSICIANS 


249 


tacome  (UUkttm),  Paul  (P.  J.  Jac. 
Lacome  de  L'Estaleux),  Houga, 
Gers,  France,  March  4,  1^38— 
Pec.  12,  1920;  lived  since  1860,  Paris; 
essayist  and  composer  of  many  light 
operas,  incl.  "Jeanne,  Jeannette  et 
Jeanneton",  orchestral  suites;  songs, 
incl.  " V Estudiantina,"  etc. 

JU'cy,  Michael  Rophino,  Bilbao,  1795 
— Pentonville,  1867:  Knglish  violin- 
ist and  composer. 

Ladegast  (la'-dS-gast),  Fr.,  b.  Hoch- 
hermsdorf,  near  Leipzig,  Aug.  30, 
1818;  org.-builder;  d.  Weissenfels, 

Ladmirault  (iad-me-r5),  Paul  ISmile,  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  opera 
"Gilles  de  Retz,"  was  given  at  Nantes 
^1893);  the  next  year  he  refused  to 
allow  its  repetition;  he  took  first 
harmony  prize  at  the  Nantes  Cons, 
and  1895  entered  Paris  Cons,  under 
Taudou,  winning  first  harmony  prize 
1899.  After  a  year  of  military  serv- 
ice, he  entered  the  classes  of  Faur6 
and  G6dalge;  failing  three  times  to 
win  the  Prix  de  Rome,  he  left  the 
Cons.  His  comps.  include  "Le 
ChQBur  des  times  de  la  For$t"  (1903), 
"Suite  Bretonne"  for  orch.  (1904),  a 
"Tantum  Ergo"  (1907)  crowned 
by  the  Soci6t6  des  Gompositeurs 
de  Musique;  prelude  symphonique, 
"Broceliande  au  Matin,"  a  portion 
of  a  dramatic  work  "Myrdhin"*,  a 
aphony  in  C  major,  1910;  songs, 
no  pieces,  and  pieces  for  military 
id;  d.  Brittany,  1944. 

Laduchin  (Iad'-oo-ch5n),  Nikolai  Mi- 
kailovich,  b.  St.  Petersburg,  Oct.  3, 
1860;  violinist  and  pianist;  pupil  of 
Taneiev  at  Moscow  Cons.;  c.  sym- 
phonic variations;  100  children's 
songs,  "Liturgy  of  Johann  Slatoust" 
for  chorus,  etc. 

Ladurner  (la-door '-n§r),  Ignaz  Ant. 
Fz.,  Aldein,  Tyrol,  1766— Villain 
(Massy),  1839;  pianist  and  com- 
poser. 

Lafage  (la-fazh),  Juste  Adrian  Lenoir 
de,  Paris,  1801 — Charenton  Insane 
Asylum,  1862;  singing- teacher,  con- 
ductor, composer  and  writer. 

Lafont  (la-fdn),  Chas.  PhiHppe,  Paris, 
1781 — near  Tarbes,  1839;  violinist 
and  composer. 

La  Forge,  Frank,  b.  Rockford,  111., 
Oct.  22,  1877;  pupil  of  his:  sister-in- 


law,  Mrs.  Ruth  La  FTrrge,  then  of 
Harrison  M.  Wild  of  Chicago,  1900- 
04,  Leschetizky,  Vienna,  and  Josef 
Labor  (theory);  accompanist  to 
Gadski  and  Sembrich  on  their  tours; 
later  had  lived  in  N.  Y.  as  voice 
teacher,  coach  of  noted  singers,  and 
c.  piano  pieces  and  songs;  d.  while 
giving  concert,  N.  Y.,  May  5,  1953- 

La  Grange  (la  granzh),  Mme.  Anna 
(Caroline)  de,  b.  Paris,  July  24,  1825 
— April,  1905;  colorature  soprano  of 
remarkable  range  and  flexibility; 
pupil  of  Bordogni  and  Lamperti; 
d£but  1842,  at  Varese;  m.  the 
wealthy  Russian  Stankowich,  lived 
in  Paris  as  teacher. 

La  Harpe  (la-&rp),  J.  Fran,  de,  Paris, 
1739 — 1803;  critic. 

Lahee',  (i)  H.,  Chelsea,  England,  April 
n,  1826 — London,  April  29,  1912; 
pupil  of  Bennett,  Potter  and^  J.  Goss 
(comp.);  concert-pianist;  lived  in 
Croydon  as  teacher;  c.  5  cantatas, 
etc.  His  son  (2)  H.  Chas,,  b.  Lon- 
don, 1856;  writer;  after  about  1883 
in  U.  S.,  and  1891-99  sec'y  of 
N.  E.  Cons.,  Boston;  author,  "An- 
nals of  Music  in  America"-  d.  1953- 

Laidlaw,  Anna  Robena  (Mrs.  Thom- 
son), Bretton,  Yorkshire,  April  30, 
1819 — May,  1901;  successful  concert- 
pjanist  until  her  marriage,  1852. 

Lajarte  (la-zhirt),  Th.  Ed.  Dufaure 
de,  Bordeaux,  1826 — Paris,  1890; 
writer  and  dram,  composer. 

Lajeunesse,  M.     Vide  ALBANI. 

Lajtha  (loi'-ta),  Ladislas,  b.  Budapest, 
June  30,  1892;  composer;  c.  chamber 
music,  incl.  four  string  quartets  (No. 
3  perf.  at  Coolidge  Fest.,  Washing- 
ton, 1930). 

Lalande  (la-land),  (i)  Michel  Richard 
de,  Paris,  1657 — 1726;  organist,  con- 
ductor and  composer.  (2)  (MSrio 
Lalande)  Henrierte  CISmentine, 
Dunkirk,  1798 — Paris,  1867;  brilliant 
soprano. 

La  Lau'rencie,  Lionel  de,  Nantes, 
July  24,  1861 — Paris,  Nov.  21,  193^.5 
eminent  writer  on  music;  ed.  La- 
vignac's  Encyclopedia  of  Music; 
wrote  life  of  Rameau,  etc. 

Lalevicz  (la-la '-vlch),  Georg  von,  b. 
St.  Petersburg,  Aug.  21,  1876;  piano 
teacher;  pupil  of  the  Cons.;  1900, 
won  the  Rubinstein^  competition  in 
Vienna;  1902-05  prof,  in  Odessa 
Cons.,  then  Cracow,  Vienna,  Lena- 
berg,  Paris;  lives  Buenos  Aires. 


250 


DICTIONARY  OF  MUSICIANS 


Lalo',  (i)  Edouard  Victor  Antoine,  Lille, 
Jan.  27,  1823 — Paris,  Apr.  22,  ^1892; 
eminent  French  composer;  studied  at 
Paris  Cons.,  winning  the  2nd  Prix  de 
Rome  in  1847;  little  known  until  1872 
when  his  orchestral  works  began  to 
appear,  and  1874  when  Sarasate 
played  his  vln.  concerto.  C.  (operas) 
T'Le  Roi  d'  Ys,"  "Savonarola"  and 
"La  Jacquerie"  (latter  2  fragmen- 
tary, last  completed  by  Coquard, 
1895);  3  symphonies  and  many 
shorter  orchestral  works,  a  string 
quartet,  piano  trios,  sonatas  for  vln. 
and  for  'cello,  vln.  concertos;  "Sym- 
phonic Espagnole,"  for  vln.  and  orch.; 
choral  church  music  and  many  songs. 
The  popularity  of  his  works,  par- 
ticularly the  vln.  concertos  and  the 
"Symphonie  Espagnole,"  is  owing  to 
their  genial  melodic  qualities.  After 
early  neglect  he  established  his  place 
among  the  more  gifted  French 
comps.  of  his  time.  "Le  Roi  d'  Ys" 
has  held  the  stage  in  France.  He 
m.  the  contralto,  Mile.  Bernier  de 
Maligny.  (2)  Pierre,  his  son,  critic 
in  Paris. 

Laloy',  Louis,  b.  Graz,  1874;  musicol- 
ogist. 

La  Mara.     Vide  LTPSIUS,  MAKIE. 

Lambert  (Ian-bar),  (i)  Michel,  Vi- 
vonne,  Poitou,  1610 — Paris*  1696; 
conductor  and  composer.  (2)  ^Lu- 
cien,  b.  Paris,  Jan.,  1861;  pupil  of 
Paris  Cons.;  1883,  took  Prix  Rossini 
w.  cantata  "Promethge  Enchaine""; 
c.  lyric  dram.  "Le  Spahi"  (Op.-com,, 
1897),  "Broc&iande,"  "Marseillaise," 
etc. 

Lambert  (lam'-bSrt),  (i)  Jn.  H.,  Mtihl- 
hausen,  Alsatia,  1728 — Berlin,  1777; 
writer.  (2)  Geo.,  b.  Beverley,  1795; 
organist  there,  succeeded  by  his  son 
(3)  Geo.  Jackson  in  1818;  retired, 
1874.  (4)  Alex.,  Warsaw,  Poland, 
Nov.  i,  1862 — New  York,  Dec.  31, 
1929  (tilled  by  taxicab);  pianist;  son 
and  pupil  of  (5)  Henry  L. ;  (4)  studied 
at  Vienna  Cons.;  graduated  at  16; 
studied  with  Urban,  Berlin;  toured 
Germany  and  Russia;  studied  some 
months  at  Weimar  with  Liszt;  1884, 
America;  1888,  dir.  N.  Y.  Coll,  of 
Mus.;  long  active  as  teacher  in 
N.  Y.;  c.  piano  works.  (6)  Con- 
stant, b.  London,  1905;  composer; 
began  piano  ,study  at  early  age;  at 
1 6  won  gold  medal  award  and  en- 
tered R.  Coll.  of  Music,  studying 
TOth  Vaughan  Williams  and  K-  O. 


Morris;  Adrian  Boult  and  Malcolm 
Sargent  (cond.);  c.  (ballets)  "Romeo 
and  Juliet"  (ist  work  commissioned 
from  an  Englishman  by  DiaghilefT); 
"Pomona"',  also  "Music  for  Orch."; 
settings  of  7  poems  by  Li  Po;  "The 
Rio  Grande,"  for  contralto,  chorus, 
orch.  and  piano  (setting  of  poem  by 
Sacheverell  Sitwell),  with  pungent 
use  of  barbaric  rhythm  and  jazz, 
which  had  immense  succ.,  and  ;tvas 
given  in  U.  S.;  piano  music,  inch 
sonata  and  "Elegiac  Blues,"  etc.; 
wrote  book,  "Music  Hoi"  subtitled 
"A  study  of  music  in  decline."  Cond. 
for  Sadler's  Wells  Ballet  and  c. 
many  works  for  this  medium;  toured 
U.  S.;  d.  London,  Aug.  2,  1951. 

Lamberti  (lam-beV-te^  Gins.,  Cuneo, 
Italy,  1820  (?) — Turin,  1894;  dram 
composer. 

Lam'beth,  H.  A.,  b.   Hardway,  near 
Gosport,  1822;  organist;  d.  Glasgow, 


LambiUotte  (ten-b*-y6t),  Pere  Louis, 
Charleroi,  Hainault,  1796 — Vaugi- 
rard,  1855;  organist,  conductor  and 
composer.  ; 

Lambrino  (Iam-bre'-n5),  TelSmaque, 
Odessa,  Oct.  27.  1878  (of  Greek 
parents) — Leipzig,  Fell  25,  1930; 
pianist;  studied  music  at  the  Royal 
Akad.  der  Tonkunst,  Munich,  and 
with  Teresa  Carreno;  from  1900 
lived  in  Leipzig,  from  1908  teacher 
at  the  Cons. 

Lamond',  (i)  Frederic,  b.  Glasgow, 
Jan.  28,  1868;  eminent  pianist  (pupil 
of  his  bro.  (2)  David);  1882  at  Raff 
Cons.,  Frankfort;  later  with  von 
Billow  and  Liszt;  dSbtit,  Berlin, 
1885;  toured  Europe:  after  1902, 
America;  c.  symph.,  overture,  etc.; 
d.  Stirling,  Scotland,  Feb.  21 9  1948. 

Lamont',  Forrest,  Springfield,  Mass., 
1880 — Chicago,  Dec.  r7,  1937;  tenor; 
studied  in  U.  S.  and  Europe;  op. 
debut,  Rome;  toured  Italy,  West 
Indies  and  South  America;  after  1917 
sang  for  several  years  with  Chicago 
Op.  Co.,  also  with  Cincinnati  and 
Phila.  Operas. 

Lamoureux  (12,m-oo-ru')»  Chas.,  Bor- 
deaux, Sept.  28,  1834 — Paris,  Dec. 
21,  1899;  eminent  conductor;  pupil 
of  Girard,  Paris  Cons.;  later  with 
Tolbecque,  Leborne  and  Chauvet; 
co-founder  of  a  soc.  for  chamber- 
mus.;  1872,  organist  "Soci6t6  de 
musique  sacrSe;"  1876,  assist.-cond. 
Paris  Op6ra;  18783  first  cond.? 


DICTIONARY  OF  MUSICIANS 


251 


1872-78,  also  assist.  -cond.  the  Cons. 
Concerts;  resigned  from  the  Opfra, 
1  88  1,  and  est.  the  celebrated  "Con- 
certs Lamoureux"  (Nouveaux  Con- 
certs). 

Lampadius  (lam-pa  '-d3t-oos),  Win.  Ad., 
1812  —  Leipzig,  1892;  writer. 

Lamperti  (lam-pSr'-tS),  (i)  Fran.,  Sa- 
vona,  Italy,  March  n,  1813  —  Como, 
May  i,  1892;  eminent  singing- 
teacher;  pupil  of  Milan  Cons,  and 
teacher  there,  1850-76;  pub.  treatises. 
(2)  Giovanni  Battista,  Italy,  1839  — 
Berlin,  March  19,  1910.  Famous 
singing  master;  wrote  "The  Technic 
of  Bel  Canto,"  1905. 

Lampugnani  (iSm-poon-ya'-ne1),  Giov. 
Bat.,  Milan,  1706  —  ca.  1780;  dram. 
composer. 

Land  (lant),  Dr*  Jan  Pieter  Nicolaas, 
Delft,  1834  —  Arnhem,  1897;  pro- 
fessor; pub.  important  results  of 
research  in  Arabian  and  Javanese 
mus.,  etc. 

Landi  (Lan'-dS),  (i)  Stefano,  Rome,  ca. 
1590  —  ca.  1655;  conductor,  com- 
poser and  singer.  (2)  Camilla,  b. 
Geneva  1866;  mezzo-soprano, 
daughter  and  pupil  of  singers;  d£but 
1884  Florence;  1886-92  in  Paris, 
then  in  London  where  her  mother 
taught;  toured  widely  and  returned 
to  Geneva. 

Landino  (lan-d§'-no),  Fran,  (called 
Francesco  Cieco  "the  blind,"  or 
Degli  Organi),  Florence,  ca.  1325  — 
1397;  notable  organist  and  composer. 

Landolfi  (lan-ddr-fe)  (or  Landul'- 
phus),  (i)  Carlo  Fdo.,  1.  Milan, 
1750-60;  maker  of  'cellos,  etc.  (2) 
Pietro,  instr.-raaker  at  Milan  ca. 
1760,  probably  son  or  bro.  of  above. 

Landormy  (lS,n-d6r-m5),  paui  Cliarles 
" 


,, 

Rene",  b.  Issy,  near  Paris,  Jan.  3, 
1869;  studied  singing  with  Sbriglia 
and  Plan^on;  published  philosophical 
wks.;  biog.  of  Brahms;  d.  Paris,  1943. 
Landowska  (Uln-dbf  '-ska),  Wanda;  b. 
Warsaw,  July  5,  1877;  harpsi- 
chordist and  pianist;  studied  Warsaw 
Cons.,  and  with  Michalowski,  Mosz- 
kowski  and  Urban;  d6but  at  n  in 
native  city;  teacher  of  piano,  Schola 
Cantorum,  Paris,  1900-13;  of  harpsi- 
chord (newly  estab.  class)  at  Berlin 
Hochsch.,  1913-19;  founded  her  own 
school  of  music  at  St.  Leu-La-Foret, 
France,  1927;  has  internat'l.  repu- 
tation as  performer  of  cembalo 
music,  1  7th  and  i8th  cent,  in  par- 
ticular; wrote  "Bach  et  ses  Inter- 


fretes,"  "La  Musique  Ancienne," 
"Les  Allemandes  et  la  Musique 
Frangaise  au  XVIII  Siecle";  toured 
Europe  and  America  as  recitalist 
and  orch.  soloist;  Amer.  d6but  with 
Phila.  Orch.,  1923. 

Lang  (lang),  (i)  (Lang-Kostiin),  Jo- 
sephine, Munich,  1815 — Tubingen, 
1880;  composer.  (2)  Benj.  John- 
son, Salem,  Mass.,  Dec.  28,  1837 — 


Boston,  Jaell  and  Satter,  later  in 
Berlin,  and  with  Liszt;  organist 
various  churches,  Boston;  for -over 
25  years  organist  Handel  and  Haydn 
Soc.  and  cond.,  1895;  also  cond.  the 
Apollo  Club  and  the  Cecilia,  etc.; 
c.  an  oratorio  "David'9;  symphs., 
etc.  (3)  Margaret  Ruthven,  b. 
Boston,  Nov.  27,  1867;  daughter 
and  pupil  of  above;  studied  also  with 
Schmidt  of  Boston,  Drechsler  and 
Abel  (vln.)  and  Gluth  (comp.)  in 
Munich;  pub.  many  songs  and  pf.- 
pcs. 

Langbecker  (lang'-bSk-Sr),  Emanuel 
Chr.  GL,  Berlin,  1792 — 1843;  writer. 

Lange  (lang'-S),  (i)  Otto,  Graudenz, 
1815 — Cassel,  1879;  editor  and  writer. 
(2)  Gustav,  Schwerstedt,  near  Erfurt, 
1830 — Wernigerode,  1889;  pianist 
and  composer.  (3)  Samuel  de, 
Rotterdam,  Feb.  22,  1840 — Stutt- 
gart, July  7,  1911;  son  and  pupil  of 
the  organist,  (4)  Samuel  de  L. 
(1811 — 1884);  later  studied  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 
1895,  dir.;  c.  oratorio  "Moses" 
8  organ  sonatas,  3  symph.,  etc. 
(5)  Daniel  de,  Rotterdam,  July  u, 
1841— Point  Loma,  Cal.,  Jan.  31, 
1918;  bro.  of  above;  studied  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 — 1913, 
dir.  Amsterdam  Cons.,  and  cond.; 
also  critic;  c.  opera  "De  Val  Van 
Kuilenburg";  two  symphs.;  overture, 
"Willem  van  Holland,"  etc.  (6) 
Aloysia.  Vide  WEBER.  (7)  Hiero- 
nymus  Gregor,  Havelberg,  Branden- 


252 


DICTIONARY  OF  MUSICIANS 


burg — Breslau,  1587;  in  1574  cantor 
at  Frankfort-am-Oder;  comp.  of 
Latin  motets  and  songs.  (8)  Hans, 

b.  Constantinople,    Feb.    14,    1884; 
pupil  of  Brassin  and  Wondra;  then 
of  Prague  Cons.;  d£but  Berlin,  1903; 
1910,     concertm.,     Frankfort     Op.; 
also  led  a  string  quartet  there;  came 
to  America  and  played  in  the  N.  Y. 
Philh.  Orch.,  after  1924  serving  as 
concertm.  and  asst.  cond.;  his  duties 
in  the  latter  capacity  were  extended 
until  in  1934-36,  under  Toscanini's 
regime,  he  led  annually  a  number  of 
concerts  of  the  organisation,  showing 
high    musicianship    and    presenting 
a  number  of  new  works;  in  1936  he 
presented  in  N,  Y.  the  ist  of  a  series 
of  historical  concerts  by  the  N.  Y. 
Philh.  Chamber  Orch.,  composed  of 
solo  players  in  the  larger  ensemble; 
and  he  has  also  appeared  as  guest 
cond.    in    several    other    American 
cities;  1936-37,  assoc.  cond.,  Chicago 
Symph.;  1950.  Albuquerque  Symph. 

Laage-Miiller  (Iang'-S-ma-l£r),  Pfcter 
Erasmus,  Frederiksberg,  Dec.  i, 
1850 — Feb.  25,  1926;  Danish  com- 
poser; pupil  of  Copenhagen  Cons.; 

c.  operas  "Tone"  (to  his  own  libretto 
1878);     "The     Spanish     Students," 
(1883);  "Frau  Jeanna"   (1891)   and 
"VikingeUod"      (Copenhagen      and 
Stockholm,     1900);     symph.     "Au~ 
tumn"\    incid,    music    to    "FwMa" 
and   "Bs  war  einmal99!   orch,   suite 
"Alhambra"  and  songs  of  decidedly 
natioaal  feeling. 

Larger  (lang'-er),  (z)  Hn,,  HScken- 
dorf,  near  Tharandt,  Saxony,  1819 — 
Dresden,  1889;  organist,  conductor 
and  teacher.  (2)  Fd.,  Leimen,  near 
Heidelberg,  Jan.  21,  1839 — BLirneck, 
Aug.  25,  1905;  'cellist  at  Mannheim 
ct.-Th.,  and  later  2nd  cond.;  prod, 
there  5  succ.  operas.  (3)  Victor, 
Pesth,  Oct.  14,  1842 — March  19, 
1902;  pupil  R.  Volkmanu,  and 
Leipzig  Cons.;  teacher,  th.-cond. 
and  editor;  pub.  under  the  name  of 
"Aladar  Tisza"  very  pop,  songs,  etc. 

Lftjagert  (lang'-grt);  (J-pJ  Aug. 
(Ad.),  Coburg,  Nov.  26,  1836 — 
Dec.  28,  1920;  dram,  composer; 
th.-cond.  Coburg;  1872,  teacher  of 
comp.  Geneva  Cons.;  1873,  ct.-cond., 
Gotha,  reappointed  1893;  prod.  7 
operas. 

Langfcans  (lang'-hans),  (F*.)  Wm., 
mburg,  iSss^-Berlin,  i8$s;  writer. 


Monaco,  1741 — VilHeps^le-Bei,  near 
Paris,  1807;  mufl.-dir.,  theorist  and 
composer. 

Laniere  (Lanier  or  Lanieri)  (lin-yar, 
lan-er7,  or  lan-X-a'-rS),  (i)  Kicholas, 
London,  Sept.  10,  1588 — London, 
Feb.,  1666;  son  of  (2)  Jos.,  and 
nephew  of  (3)  Nicholas.  (2)  and  (3) 
came  to  England,  were  mus.  to  Queen 
Elizabeth,  (i)  was  ct.-musician  to 
Charles  I;  a  prolific  composer  and 
singer  who  introduced  the  recitative 
style  into  England. 

Banner  (lan'-ner),  (i)  Jos.  (Fz.  K.), 
OberdobKng,  near  Vienna,  1801 — 
1843;  violinist,  composer  and  con- 
ductor. (2)  Aug.  (Jos.)7  1834 — 1855; 
son  of  above;  violinist,  conductor 
and  dance-composer  of  procainjence. 

I<anzetti  (liln-tsSt'-te),  Salvatore* 
Naples,  ca.  1710 — -Turin,  ca.  1780; 
one  of  the  earliest  'cellp  virtuosi; 
c,  'cello  sonatas  and  a  method. 

Lapar'ra,  Raoul.  Bordeaux,  France, 
1876 — (airraid)  194  2;  composer;  pupil 
Paris  Cons,  with  Godard,  Lavignac, 
Dimmer,  G6dalge,  Massenet  and 
Faure";  Prix  de  Rome,  1903;  Cheva- 
lier, Legion  of  Honour,  1923;  Inspec- 
tor of  Musical  Instruction  for  French 
govt.,  after  1030;  c.  (operas)  "La 
Habanera"  (Paris  Op.-Comique, 
1908;  Boston,  1910;  Met.  Op.,  1924}; 
"La  Jota"  (Op.-Comique,  1911); 
"Le  Joueur  de  Viole"  (do.,  1925); 
"Las  Toreras"  (Lille,  1929);  <rAm- 
phitryon"  "L*  A  venture  Pittoresque" ; 
also  chamber  and  piano  works^  latter 
incl.  two  series  for  children  "Iberian. 
Scenes'9  and  "Book  of  the  Dawn"; 
wrote  "La  Musique  Populaire  en 
Espagne." 

(la-pl-chg^da),  Erasmus,  i6th 
cent,  composer. 

Laporte  (Ia-p6rt),  Jos.  de,  Befort, 
I7f3 — Paris,  1779;  Jesuit  abbe*; 
writer. 

Lara  (la'-ra),  Isidore  de  (rightly 
Cohen),  London,  Aug.  9,  1858 — 
Paris,  Sept.  2,  1935;  of  English 
father  and  Portuguese  mother; 
studied  at  Milan  Cons.;  took  ist 
prize  for  comp.  at  age  of  17;  c.  operas: 
**L*  Luce  deW  Asia,"  founded  on 
Sir  Edwin  Arnold's  poem  (London, 
1892);  "Amy  Robsart"  (1893): 
"Moina"  (1897);  "Messaline," 
Monte  Carlo  (1899),  very  successful; 
"Le  R&ueil  de  Bouddha"  (1904), 
"Sangff*  (1906),  "Solea"  (x907), 
"Les  Trois  Masques"  (191  sj,  etc. 


DICTIONARY  OF  MUSICIANS 


253 


Laroche  (Ia-r6sh),  Hermann,  St. 
Petersburg,  May  25,  1845 — Oct.  18, 
1904;  critic  and  comp;  pupil  of  the 
Cons,  and  of  Tchaikovsky,  whose 
friend  and  biographer  he  was;  prof, 
at  Moscow,  later  at  St.  Petersburg 
Cons.;  c.  overture,  etc. 

La  Rue  (la-rii),  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  Desprds)  of  Okeghem; 
ct.-singer  and  favourite  of  Margaret 
of  Austria. 

Laruette  (la-ril-St),  J.  L.,  Toulouse, 
1731 — 1792;  composer. 

Lashan'ska,  Hulda,  b.  New  York; 
soprano;  studied  with  Frieda  Ash- 
forth  and  Mme.  Sembrich;  d6but  as 
soloist  with  N.  Y.  Symph.;  has  made 
concert  tours  and  fest.  appearances. 

Lassale  (13.s-sal),  Jean,  Lyons,  France, 
Dec.  14,  1847 — Paris,  Sept.  7,  1909; 
studied  Paris  Cons.;  notable  bary- 
tone; d6but,  Brussels,  1871;  sang  at 
Paris  Op6ra,  in  America,  etc.;  after 
1903,  prof.  Paris  Cons. 

Lassen  (las'-s&n.),  Eduard,  Copen- 
hagen, April  13,  1830 — Weimar, 
Jan.  15,  1904;  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  1851  Prix  de  Rome; 
travelled  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; 
<:.  operas  "Frauenlob"  (Weimar, 
1860);  "Le  Captif"  (Brussels,  1865; 
in  German,  Weimar,  1868);  n  char- 
acteristic orch.-pcs.;  Bible-scenes 
with  orch.;  cantatas,  2  symphs., 
pop.  songs,  etc. 

l^asserre  (l&s-sar),  Jules,  Tarbes,  July 
29,  1838 — Feb.  19,  1906;  pupil  Paris 
Cons.;  took  ist  and  2nd  prize  as 
'cellist;  lived  for  some  time  in  Madrid 
and,  after  1869,  in  London;  com- 
poser. 

l,asso  (lSs'-s6),  (i)  Orlando  di  (rightly 
Roland  de  Lattre,  Lat.  Orlan'dus 
Las'sus),  Mons  (Hainault),  1530 — 
Munich,  June  14,  1594;  most  emi- 
nent of  Netherland  and  (except 
Palestrina)  of -i 6th  cent,  composers 


and  conductors.  Haberl  claims  that 
he  was  born  in  1532,  in  spite  of 
Vinchant's  contemporary  statement 
that  1520  was  the  date,  and  Quichel- 
berg's  that  1530  was  the  date.  Hi* 
f amily  seems  to  have  used  the^  name 
Lassus  for  some  time  before  him;  he 
signed  his  own  name  variously.  C. 
2,500  compositions,  still  beautiful 
to  modern  ears,  as  his  melodic 
suavity  was  not  smothered  by  the 
erudition  which  gave  him  even 
among  contemporaries  the  name 
"Prince  of  Music."  Befriended  by 
various  noblemen  and  given  much 
Italian  travel,  he  became  1541-48 
cond,  at  S.  Giovanni  in  Laterano 
at  Rome;  then  visited  Mons  and 
ca.  1554,  England,  settling  in  Ant- 
werp 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  &  Hartel)  include  his  fa- 
mous "P salmi  Davidis  poenitenti- 
ales,"  masses,  psalms,  and  secular 
compositions  of  occasionally  humor- 
ous vein.  Biogr.  by  Dehn  (1837), 
Baumkehr  (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. 

L£szl'6  (Iash'-l6),  Alexander,  b.  Buda- 
pest, Nov.  22,  1895;  composer; 
studied  at  Acad.,  in  native  city; 
best  known  as  inventor  of  a  system 
of  music  synchronized  with  color. 

Latilla  (la-tll'-la),  Gaetano,  Ban, 
Naples,  1711 — Naples,  1791;  con- 
ductor, teacher  and  composer. 

,La  Tombelle.     Vide  TOMBEIXE. 

Latrobe,  (i)  Rev.  Chr.  L,  Fulnes, 
Leeds,  1758 — F  airfield,  near  Liver- 
pool, 1836;  composer.  (2)  J.  Antes, 
London,  1799 — Gloucester,  1878; 
son  of  above;  organist  and  composer. 

Lattre,  de*     Vide  LASSO. 

Lattuada  (lat-6o-a'-da),  Felice,  b. 
Casella  di  Morimondo,  Italy,  Feb. 
5,  1882;  composer;  grad.  in  comp.  of 
Verdi  Cons.,  Milan;  c.  (operas) 
"Sandha,"  (Genoa,  1921);  "La  Tem- 
pesta,"  based  on  Shakespeare  (Dal 
Verme,  Milan,  1922);  "Le  Preziose 
Ridicole,"  after  Moliere  (La  Scala, 
1929;  Met.  Op.,  1930);  "Don  Gio- 
vanni" (Naples,  1929);  also  (orch.} 


254 


DICTIONARY  OF  MUSICIANS 


Sinfonia    Romantica,    and    chamber 

music,     songs;     ed.     "Raccolta     di 

canzoni  populari." 
Laub     (lowp),    Fd.,     Prague,     1832 — 

Gries,    Tyrol,     1875;    vln.- virtuoso; 

teacher  and  composer. 
Laubenfhal    (la'-b£n-tal),    Rudolf;    b. 

Diisseldorf;  tenor;  sang  with  Berlin 

Op.    at     Co  vent    Garden,    and    for 

nearly  a  decade  until  1932  with  Met. 

Op.,  N.  Y.,  in  Wagnerian  rdles,  etc. 
Laurencie,  see  LA  LAURENCTE. 
Laurencin     (low'-rSn-sen),     Graf    Fd. 

P.,      Kremsier,      Moravia,      1819 — 

Vienna,  1890;  writer. 
Lauri-Volpi  (l&-o6-re-v61'-peO,  Giacomo 

Sightly  Volpi),  b.  Lanuvio,  Italy, 
ec.  12,  1892;  tenor;  early;  studied 
law;  served  in  the  war,  winning  3 
decorations;  d6but  as  singer  at  the 
Costanzi,  Rome,  1920,  as  Des 
Grieux;  has  sung  in  leading  theatres 
of  Europe  and  was  mem.  of  Met. 
Op.  Co.  for  several  years  after  1925. 

Lauska  (la-oos'-kS),  Fz.  (Seraphinus 
Ignatius),  Briinn,  Moravia,  1764 — 
Berlin,  1825;  teacher,  composer, 

Lauterbach  (low'-tSr-bakh),  Jn.  Chr., 
Culmbach,  Bavaria,  July  24,  1832 — 
Dresden,  March  28,  1918;  pupil 
Wiirzburg  Mus.  Sch.,  and  of  Fe"tis 
and  de  B&riot  at  Brussels  (1850), 
won  gold  medal  for  vln.-playing, 
1851;  1853  Munich  Cons.;  1860-77 
Dresden  Cons.;  1889,  pensioned; 
composer. 

Lavall6e  (la-v21-la),  Calixa,  Verdures, 
Canada,  1842 — Boston,  Mass.,  1891; 
concert-pianist;  toured  U.  S.,  giving 
frequent  concerts  of  American  com- 
posers' works,  1886-87;  c-  2  operas, 
an  oratorio,  a  symph.,  etc. 

Lavigna  (la-ven'-ya),  y.,  Naples,  1777 
— Milan,  ca.  1837;  teacher  and  dram, 
composer. 

Lavignac  (lS-ven-y£k),  Albert,  Paris, 
Jan.  21,  1846 — May  28,  1916;  pupil 
of  the  Cons.,  and  from  1882  prof, 
there;  author  of  many  important 
works;  ed.  notable  "Encyclopedic 
de  Musique,"  subsidized  by  French 
Gov't.  (1903);  new  edition  by  Lionel 
de  la  Laurencie,  1929;  pub.  a  "Cours 
complet  th&orique  et  pratique  de  dictee 
musicale,**  1882,  which  led  to  the 
general  adoption  in  mus.  schs.  of 
courses  in  mus.  dictation;  also 
"La  HMisique  et  le$  musiciens" 

Lavigne  (la-ven),  (i)  Jacques  Entile, 
Paii,  1782—1855;  tenor.  (2)  A.  Jos., 


Besangon,  France,  March'  23,  1816 — 
Manchester,  Aug.  i,  1886;  oboist; 
pupil  Paris  Cons.;  from  1841  in 
Drury  Lane  Promenade  Concerts, 
later  in  Halle's  Manchester  orch.; 
he  partially  adapted  B6hm's  system 
to  the  oboe. 

Lavoix  (la-vwa),  H.  M.  Fran.,  Paris, 
1846 — 1897;  writer  and  composer. 

Lawes  (16z),  (i)  Wm.,  Salisbury,  Wilt- 
shire, 1582 — killed  at  the  siege  of 
Chester,  1645;  composer.  (2)  H., 
Dinton,  near  Salisbury,  Dec.,  1595 — 
London,  Oct.  21,  1662;  bro.  of  above; 
one  of  the  most  original  and  impor- 
tant of  song-writers,  forestalling  in 
his  principles  those  of  Franz,  etc., 
in  that  he  made  his  music  respect  the 
poetry  he  was  setting;  Milton,  Her- 
rick  and  others  accordingly  praised 
him.  Pupil  of  Coperario.  1625^ 
Epistler  and  Gentleman,  Chapel 
Royal;  on  Charles  I's  execution  he 
lost  his  places  but  re-found  them  in 
the  Restoration  in  1660;  buried  in 
Cloisters  of  Westminster  Abbey;  c. 
the  music  to  Milton's  "Comus,"  etc. 

Lawrence,  Marjorie,  b.  Melbourne, 
Australia;  dram,  soprano;  studied 
in  Paris;  d6but  at  Monte  Carlo, 
1932,  as  "Elisabeth";  sang  heroic  r61es 
with  Paris  Op.,  incl.  "Briinnhilde", 
"La  Juive",  "Salome"  and  "Aida"; 
d6but,  Met.  Op.,  N.  Y.,  1935-36. 

Layol(l)e  (or  dell'Aiole,  Ajolla)  (H- 
y61r,  or  a-y5'-le),  Fran.,  Florentine 
composer  i6th  cent. 

Lazar  (la'-zar),  Filip,  b.  Craiova,  1894; 
composer -of  orch.,  piano  and  vocal 
music;  played  his  pf. -concerto  with 
Boston  Symph.,  1936;  d.  Paris,  1936. 

L&zaro  (la/-thar-6),  Hip61ito;  b.  in 
Catalonia;  tenor;  noted  for  his  virile 
timbre  of  voice;  sang  at  Teatro  Real, 
Madrid;  at  Barcelona,  La  Scala  and 
at  Met.  Op.  House,  N.  Y. 

Laz'arus,  (i)  H.,  London,  1815 — 1895; 
clarinettist.  (2)  Gustav,  Cologne, 
A 86 1 — Berlin,  1920;  pianist,  com- 
poser. 

Lazzari  (lad-za'-rS) ,  (i)  Silvio,  Bozen, 
1858 — Paris,  June  15,  1944;  pupil 
Franck,  Paris  Cons.;  composer 
of  operas  "La  L€preuse"  (Op,  Com., 
Paris,  1912),  "Moelenis,"  lyric  drama 
"Armor"  (prelude  at  Lamoureux 
concerts,  1895 — prod,  at  opera  Lyons 
1903,  revived  1912);  "Le  Sauteriot" 
^Chicago,  1917);  "La  Tcur  de  Feu" 
(Paris  Op.,  1928,)  orch.,  chamber 
music,  songs,  etc.  (2)  Carolina? 


DICTIONARY  OF  MUSICIANS 


25S 


1892 — 1946;    contralto;    sang    -with 
Chicago    Op.,     1918;     (3)     Virgilio, 

b.  Assisi,  Italy;  bass;  pupil  of  Cotogni; 
sang  with  Chicago  Op.  after   1918; 
Met.  Op.s  after  1934;  also  widely  in 
Europe;  d.  Castel  Gandoln,  1953. 

Le  Be*  (Iti-ba),  GuiL,  i6th  cent.  French 
type-founder. 

Le  Beaa  (lti-bo),  Louise  Adolpha, 
Rastatt,  Baden,  April  25,  1850 — 
Baden-Baden,  July  2,  1927;  concert- 
pianist;  pupil  of  KalHwoda,  Frau 
Schumann,  Sachs,  Rheinberger  and 
Fr.  Lachner;  c.  choral  works,  piano 
works,  songs,  etc.;  pub.  memoirs. 

Lebegue  (Ixi-bSg),  Nicolas  A.,  Laon, 
1630 — Paris,  1702;  ct.-organist  and 
composer. 

Lebert  (la'-bert)  (rightly  Levy),  Sieg- 
nmnd,  Ludwigsburg,  near  Stuttgart, 
1822 — Stuttgart,  1884;  teacher, 
writer  and  composer;  co-founder  of 
Stuttgart  Cons.  (1856-57). 

Lebeuf  (Itt-buf),  Abb6  Jean,  Auxerre, 
1687 — 1760;  writer. 

Leblanc  (m-blari) ,  Georgette,  Rouen — 
Cannes,  Oct.  26,  1941 ;  pupil  of  Bax; 
debut  Op.  Com.,  Paris,  1893,  in 
"L'Attaque  de  Moulin."  1895,  Th.  de 
la  Monnaie,  Brussels ;  then  gave  song 
recitals  in  costume  with  much  effect. 

Lebprne  (lu-b6*Ti);  (i)  Aime  Ambroise 
Simon,  Brussels,  ^707 — Paris,  1866; 
teacher  and  writer.  (2)  (or  Le 
Borne),  Fd.,  Charleroi,  March  10, 
1862 — Paris, '  February,  1929;  pupil 
of  Massenet,  Saint-Saens,  andFranck, 
Paris  Cons.;  lived  in  Paris  as  critic; 

c.  operas;  a  symph.  16gende;  symphs., 
etc. 

Lebouc  (Itt-book),  Chas.  Jos.,  Besan- 
C<pn,  .  1822 — Hyfcres,  1893;  'cello- 
virtuoso. 

Lebrun  (lg-broon'),  (i)  L.  Aug.,  Mann- 
heim, 1746 — Berlin,  1790;  greatest 
oboist  of  the  i8th  cent.;  composer. 

(2)  (ne'e  Danzi),  Franciska,  Mann- 
heim,   1756 — Berlin,    1791;   wife   of 
above;  soprano.  Their  two  daughters, 

(3)  Sophie  and  (4)  Rosine,  were  dis- 
tinguished singers. 

Lebrun  (lii-brtln),  (i)  Jean,  Lyons, 
1759 — suicide,  Paris,  1809;  horn- 
virtuoso.  (2)  Louis  Sebastien, 
Paris,  1764 — 1829;  tenor  and  teacher. 
(3)  Paul  H.  Jos.,  Ghent,  April  21, 
1 86 1 — Lou  vain,  Nov.  4,  1920;  pupil 
of  the  Ghent  Cons.;  1891  won  the 
Prix  de  Rome  for  composition  and 
the  Belgian  Academic  ist  prize  for  a 
symphony;  1889,  prof,  of  theory  at 


Ghent  Cons.,  after  1913  dir.  of  a 
mus.  school  in  Louvain. 

Lechner  (ISkh'-ne'r),  Ld.,  ca.  1550, 
Etschthal,  Switzerland  (?) — Stutt- 
gart, 1606;  ct.-cond.  and  composer* 

Leclair  (la-klar),  J.  M.,  Lyons,  1697 
— assassinated,  Paris,  1764;  violin- 
ist; c.  operas,  48  notable  vln.-sonatas, 
etc.;  his  wife,  a  singer,  engraved  his 
compositions. 

Lecocq  (Iii-k6k),  (Alex.)  Chas.,  Paris, 
June  3,  1832 — Oct.  24,  1918;  studied 
at  the  Cons.,  won  ist  prize  for  harm., 
and  2d  prize  for  fugue;  his  first  work, 
"Le  Docteur  Miracle"  in  conjunction 
with  Bizet  (prod.,  1857),  won  a  prize 
offered  by  Offenbach  for  opera  buffa; 
smaller  succ.  culminated  in  "Fleur 
de  Th$"  (1868);  followed  by  the 
sensational  succ.  "La  Fille  de  Mme. 
Angot"  (Brussels,  1872;  Paris,  1873), 
which  ran  uninterruptedly  over  a 
year;  its  succ.  was  equalled  by 
"Girofle-Girofla"  (1874);  1894,  chev. 
of  the  Legion  of  Honour;  prod,  over 
40  operas-bouffes,  comic  operas  and 
operettas,  written  with  scholarship 
and  brilliant  instrumentation;  sacred 
and  other  songs,  etc. 

Le  Couppey  (lit  koop'-pe"),  FSlix, 
Paris,  April  14,  i8ir — 'July  5,  1887; 
prof.,  pf .-teacher  and  composer. 

Ledebur  (la'-dS-boor),  K.  Freiherr 
von,  Schildesche,  near  Bielefeld, 
April  20,  1806 — Stolp,  Oct.  25,  1872; 
Prussian  cavalry  officer  and  lexi- 
cographer. 

Leduc  (lii-dtik),  Alphonse,  Nantes, 
1804 — Paris,  1868;  pianist,  bassoon- 
ist and  composer. 

Lee  (la),  Louis,  Hamburg,  Oct.  19,, 
1819 — Ltibeck,  Aug.  26,  1896;  'cell- 
ist; pupil  of  J.  N.  Prell;  at  12  gave 
concerts;  'cellist  in  the  Hamburg 
Th.;  lived  several  years  in  Paris; 
organist,  charnber-mus.  soirees, 
Hamburg;  until  1884,  teacher  in 
the  Cons,  and  ist  'cello;  c.  sym- 
phonies, overtures,  etc. 

Lefgbure-Wely  (Iti-fS-bur-va-le),  L. 
Jas.  Alfred,  Paris,  1817 — 1869;  noted 
organist;  c.  opera,  masses,  etc. 

LefSbyre  (l*-f£v'-r),  Chas.  fidouard, 
Paris,  June  19,  1843 — Aix-les-Bains, 
Sept.  8,  1917;  pupil  of  Ambr. 
Thomas,  Paris  Cons.;  1870,  Grand 
prix  de  Rome;  1873,  after  touring 
the  Orient  settled  in  Paris;  after 
1895,  theory  prof.,  Paris  Cons.;  c. 
succ.  opera,  "Djelma"  (1894); 
"Zatre"  (1887),  etc. 


256 


DICTIONARY  OF  MUSICIANS 


Lefevre  (Itt-f&v'-r),  J,  X.,  Lausanne, 
1763 — Paris,  1829;  clarinettist,  com- 
poser and  professor. 

Le  Flem  (lii  fltiin'),  Paul,  b.  L&zardieux 
(Cdtes  du  Nord),  France,  March  18, 
1881;  composer;  pupil  of  d'Indy; 
studied  at  Paris  Cons,  and  Schola 
Cantorum;  winner  Laserre  Prize, 
28;  Chevalier,  Legion  of  Honour;  c. 
ric  fable)  "Aucassin  et  Nicolette"; 
ist  symphony;  "La  Voix  du 
(symph.  sketch);  "Pour  les 
forts,"  "Danse"  and  ''Invocation," 
comprising  symph,  in  form  of 
triptych;  piano  quintet;  vln.  sonata, 
fantasie  for  piano  and  orch.,  works 
for  piano,  for  chorus,  and  songs. 

Legin'ska,  Ethel  (rightly  Liggins),  b. 
Hull,  England,  April  13,  1890;  com- 
poser, pianist,  conductor;  studied 
Frankfort  Cons,  and  with  Lesche- 
tizky;  toured  Europe  and  TJ.  S.  as 
pianist,  N.  Y.  d6but,  1913;  cond. 
Boston  Philh.,  Chicago  Women's 
Symph.,  and  similar  orch.  in  Boston, 
also  operatic  prod,  of  Suppers 
" Boccaccio" ';  c.  orchestral  and  other 
works;  also  one-act  opera  "Gale," 
prod,  by  Chicago  Op.,  1935;  she 
later  lived  as  pianist  and  teacher 
on  the  Pacific  Coast. 

Legottix  (Iti-gwex),  Isidore  EdU,  Paris, 
AprE  i,  1834 — Boulogne,  Sept., 
1916;  pupil  of  Reber  and  Thomas 
at  the  Cons.;  prod.  4  operas,  etc. 

Legrenzi  (la-grSn'-tse),  GiovM  Clusone, 
near  Bergamo,  1626 — Venice, 
1690;  organist,  conductor  and  dram, 
composer. 

Lehar  (IS-harO,  Franz,  b,  Klomorn, 
Hungary,  April  30,  1870;  composer 
of  the  world  sweeping  operetta  "Die 
Lttstige  Witwe"  (Vienna,  1905,  in 
New  York  and  London  as  "The 
Merry  Widow"),  lived  in  Vienna; 
c.  also  operas  "  Kukuska,"  Leipzig, 
1896,  revised  as  "Tatjana,"  Brtan, 
1905;  operettas  "Wiener  Frozen" 
(Vienna,  1902;  revised  as  "D&r 
ScH&ssel  zum  Paradiese"  Leipzig, 
1906);  "Mitislav"  (Vienna,  1907^; 
"Edelweiss  und  Rosenstock"  (1907); 
"Peter  and  Paid  reisen  ins  Scklar- 
affenland"  (Vienna,  1906);  "Der 
Mann  mU  den  drei  Frauen"  (1908); 
"Das  Furstenkind,"  "Der  Graf  von 
Luxemburg,"  "Zigeunerliebe,"  "Die 
Uaue  Mazur,"  "Frasquita,"  "Pago- 
nwi,"  "Friederike,"  "Zarevitch," 
"Das  Land  des  Lachelns"  (revision 
of  "Die  blaue  Jacke"*),  and  the 


grand  opera,  "Giuditta,"  (Vienna, 
1934),  etc.;  d.  Ischl,  Oct.  24,  1948. 
Lehmann  (la'-mSn),  (i)  T.  Marie, 
(I.)  prima  donna  at  Cassel  under 
Spohr;  (2)  Lilli,  Wiirzburg,  Nov. 
24,  1842 — Berlin,  May  16,  1929; 
daughter  and  pupil  of  above;  emi- 
nent soprano;  dlbut  at  Prague  as 
"First  Boy"  in  "Die  Zauberflote"; 
1868,  at  Danzig,  and  Leipzig,  1870; 
in  the  same  year  obtained  a  life- 
engagement  at  the  Royal  Opera, 
Berlin,  with  the  title  (1876)  of  Imp. 
Chamber-singer;  she  sang  "Wog- 
linde,"  "  Hdmwige"  and  the  "Bird," 
at  their  first  performance,  1876; 
1885,  broke  her  contract,  and  sang  in 
the  U.  S.;  was  as  a  result  banned 
from  German  stages  for  several 
seasons  but  restored  to  favor  by 
Emperor;  sang  at  Met.  Op.  Co., 
N.  Y.,  1885-89  and  1891-92,  reveal- 
ing highest  dram,  and  technical 
powers  in  such  r61es  as  "Isolde"  and 
even  some  Italian  parts;  she  lived 
in  Berlin  after  1892,  and  also  took 
active  share  in  Salzburg  Fests., 
devoting  much  of  her  time  to  teach- 
ing, but  continuing  to  appear  in 
opera  occasionally  as  late  as  1910; 
m.  Paul  Kalisch,  tenor.  (3)  Marie 
(II.),  Hamburg,  May  15,  1851 — 
BerHn,  Etec.  9,  1931;  daughter  and 
pupil  of  (i);  at  16  sang  in  Leipzig 
City  Th.;  for  many  years,  till  1897, 
Vienna  ct.-opera;  lived  in  BerHn. 
(4)  Liza  (Mrs.  Herbert  Bedford), 
London,  July  n,  1862 — Sept.  19, 
1918;  concert-soprano;  pupil  of  Ran- 
degger  and  Raunkilde  at  Rome 
(voice)  and  of  Freudenberg  (Wies- 
baden), and  Hamish  MacCunn 
(comp.);  d£but,  Nov.  23,  1885,  at  a 
Monday  Pop.  Concert;  1887,  sang 
at  the  Norwich  Festival;  1894,  m. 
and  retired;  c.  many  songs  incl.  the 
very  pop.  song-cycle  from  Omar 
Khayyam,  "/»  a  Persian  Garden" 
also  "In  Memoriam"  etc.  (5)  Lotte, 
b.  Perleberg,  Germany,  July  2,  1885; 
soprano;  studied  Berlin  R.  Acad.  of 
Music  and  with  Mathilde  Mallinger; 
d6but,  Hamburg,  1910;  won  high 
rank,  as  lyric-dram,  soprano,  being 
heard  in  Dresden,  BerUn,  and  as  a 
regular  mem.  of  the  Vienna  State 
Op.,  where  she  has  enjoyed  much 
popularity  for  her  perfs.  in  Wagner, 
Strauss  and  other  works;  created 
role  of  the  composer  in  "Ariadne 
auf  Naxos";  heard  at  Salzburg  Fest*f 


DICTIONARY  OF  MUSICIANS 


257 


Covent  Garden,  Chicago  Op.,  (d6but 
as  "Sieglinde,"  1930),  and  after  1934 
at  Met.  Op.,  N.  Y.;  also  balds 
distinguished  place  as  Lieder  singer; 
awarded  decoration  of  Officer  Public 
Instruction,  France;  Swedish  Medal 
of  Arts  and  Sciences. 

teibrodt  (Kp'-r6k),  Jos.  Ad-,  Bruns- 
wick, 1808 — Berlin,  1886;  writer  and 
composer. 

Leichtemtritt  (Hkh'-t&a-trftX  Hugo, 
b.  Pleschen,  Posen,  Jan.  i,  1874; 
at  15  taken  to  America,  where  he 
studied  with  J.  EL.  Paine,  Boston, 
then  at  the  Royal  Hochschule,  Ber- 
lin; 1901,  Ph.  D,;  wrote  theoretical 
and  historical  works  and  c.  chamber 
music  a-nd  songs;  1902-24,  taught 
KJHndworth-Scharwenka  Cons.,,  Ber- 
lin; after  1933,  at  Harvard  tJaiv., 
d.  Cambridge,  Mas's.,  Nov.  13,  1951. 

LeJder  (ll'-der),  Frida,  b.  Berlin,  April 
i8>  1888;  soprano;  studied  in  Berlin 
and  Milan;  sang  in  many  opera 
houses  of  her  native  country-,  mcl. 
Rostock,  Aachen  and  Hamburg; 
after  1924  with  the  Berlin  State 
Op.;  beginning  1928  at  Bayreuth 
Fest.  ("Briinnhilde,"-  "Kundry");also 
at  Co  vent  Garden;  Chicago  Civic 
Op.,  1930;  thereafter  for  several 
seasons  at  Met.  Op.,  N.  Y.,  in 
Wagnerian  r61es. 

Leighton  (la'-tttn),  Sir  Win.,  EngL 
cofnposer,  1641. 

Leins'dorf ,  Erich-,  b,  1912;  cond.  Met. 
Op.,  1937-43;  Cleveland  Symph., 
1943;  Rochester  PMth.,  1946. 

Leitert  (ll'-tSrt),  Jn.  G.,  Dresden,  Sept. 
29,,  1852 — 1901;  pianist;  pupil  of 
Kragen  and  Reichel  (pf .)  and  Risch- 
bieter  (harm.);  d6but  Dresden,  1865; 
studied  with  Liszt;  1879-81  teaclier 
Horak  Mus.  Sch,,  Vienna;  composer. 

Le  Jeune  (lu-zhtin),  Claudin,  Valen- 
ciennes, 1528 — 1602;  highly  original 
French  contrapuntist  and  composer. 

Lekeu  (lti-ku),  Guillaume,  Heusy-les- 
Verviers,  Jan.  20,  1870 — Angers, 
Jan.  21,  1894;  composer.  His  death 
at  24  left  many  unfinished  works,  but 
enough  were  complete  to  assure  his 
fame,  among  them  3  etudes  sym- 
phoniques  (1889,  1890);  adagio  for 
quatuor  and  orch.  (1891),  epithalam&y 
for  string  quintet,  organ  and  3  trom- 
bones; introduction  and  adagio  for 
orch.  with  tuba  solo;  fantaisie  sym- 
phonique  sur  deux  airs  popuiaires 
angevins,  1892;  (unfin.)  comedy, 
"Barberine";  cantata,  "Andromede" 


(snd  Prix  de  Rome  at  Brussels,  1891); 
chamber  music,  including  sonata  for 
piano  and  3ceDo,  teished  by  V. 
d'Indy,  1910,  and  a  quatuox  finished 
by  the  same;  sonata  for  piano  and 
vi0Hn  (ded.  to  and  played  by  Ysaye), 
'etc. 

Le  Maistre  (Itt-ra6tr)  (or  Le  Maitre), 
Ma^thetis,  d.  1577;  Netherland 
contrapuntist;  ct.-coaductor  and 
ccxmposer. 

Lemare  {IS-mSlrO,  Edwin  Henry, 
Ventnor,  Isle  of  Wight,  Sept,  9, 
1865 — March  19,  1929;  organist; 
frtipil  R.  Av  M.  London,  with  Goss 
Scholarship,  then  maxie  an  associate, 
later  a  fellow;  1884  fellow  RoSyal 
College  of  Organists;  occt^ied  vari- 
ons  church  positions,  and  gave 
reditals;  1902*04,  organist  at  Carne- 
gie Hall,  Pittsburgh,  Pa.;  1905, 
again  in  London;  c.  symph.,  a 
pastorale  and  much  organ  music. 

Lemmens  (l&m  '-m£ns) ,  Nicolas 
Jacques,  Zoerle-Parwys,  Belgium, 
1823 — Castle  Linterport,  near  Ma- 
lines,  1881;  organist,  professor  and 
composer. 

Lemoine  <liim-wan),  (i)  Aat.  Marcel, 
Paris,  1763 — 1817;  publisher,  ct.- 
comductor  and  writer.  (2)  H.,  Paris, 
1786 — 1854;  son  of  above  and  his 
successor  in  business;  writer.  (3) 
Aime,  b.  1795  (?);  pub.  "M6thode 
du  M61oplaste";  teacher. 

Lemoyne  (Ittm-wan)  (rightly  Mpyne) 
(mwS,n),  J.  Bap.,  Eymet,  P6rigord, 
1731 — Paris,  1796;  conductor  and 
dram,  composer. 

Lenaerts  (lu-nS,rts),  Constant,  b. 
Antwerp,  March  9,  1852;  prnpfl  of 
Benott;  at  18  dir.  Flemish  National 
Th.;  teacher  Antwerp  Cons.;  founder, 
1914,  Soci6t6  Royale  de  Tharmonie; 
d.  (?). 

Lendvai  (ISnd'-vf),  Erwin,  b.  Budapest, 
June  4,  1882;  composer  j  pupil  01 
Koessler  and  Puccini;  after  1901 
lived  in  Germany,  teaching  at 
Dalcroze  School,  Hellerau,  1914; 
later  prof,  at  Hoch  Cons.,  Frankfort; 
1919  at  Klindworth-Scharwenka 
Cons.,  Berlin;  also  in  Jena;  1923, 
choral  dir.  in  Hamburg- Altona; 
1926  at  Coblentz;  and  since  1929  ID 
Stockdorf  and  Erfurt;  c.  opera, 
"Elga"  (1916),  a  symph.  and  other 
orch.  works,  chamber  music,  choral 
pieces,  songs,  etc.,  in  modern  style; 
a  study  of  his  work  has  been  written 
by  Leichtentritt. 


258 


DICTIONARY  OF  MUSICIANS 


Lenepven  Qtt-niip'-vu),  Chas.  Fd., 
Rouen,  Oct.  4,  1840 — Paris,  Aug. 
1 6,  1910;  studied  with  Servais,  in 
1 86 1  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  "Le  Floren- 
tin"  (Op.-com.,  1874);  prod.  gr. 
opera  "Velleda"  (Covent  Garden, 
1882);  1891  harm.-prof.  in  the  Cons. 
and  1893  prof,  of  comp.;  1896, 
Academic  des  Beaux- Arts;  Chev. 
of  the  Legion  of  Honour,  and  officer 
of  pub.  instruction;  c.  lyric  drama 
"  Jeanne  d' Arc"  (Rouen  Cath.,  1886); 
"Hymne  funebre  et  triompkal"  (V. 
Hugo)  (Rouen,  1889),  etc. 

L6ner,  Jenb",  b.  Szabadka,  Hungary, 
June  24,  1871;  violinist;  studied  with 
Hubay,  Budapest  Acad.  of  Music; 
d£but  in  that  city,  1913;  solo  player 
with  Budapest  Philh.,  until  1918; 
founded  and  led  after  1920  the 
eminent  string  quartet  named  after 
him,  with  headquarters  in  London; 
N.  Y.,  1929;  where  d.  Nov.  4,  1948. 

Le'normand,  Rene,  Elbeuf,  Aug.  5, 
1846 — Paris,  Dec.  5,  1932;  pianist, 
composer;  c.  many  songs,  orch. 
works,  chamber  music  and  stage 
pieces;  author,  study  of  modern 
harmony. 

Len'ton,  J.,  d.  after  1711;  band-mu- 
sician and  composer,  London. 

Lenz  (ISnts),  Win.  von,  Russia,  1808 
— St.  Petersburg,  Feb.  12,  1883; 
pianist;  wrote  genial  and  enthusiastic 
studies  of  musicians,  "Beethoven  et 
ses  trois  styles"  (1852),  etc.,  being  the 
first  so  to  divide  B.'s  art. 

Leo  (la'-o),  Leonardo,  Brindisi,  1604 
— Naples,  1744;  eminent  pioneer  in 
the  Neapolitan  Sch.  and  noted 
teacher,  conductor  and  organist; 
pupil  of  Aless.  Scarlatti,  Fago,  and 
Pitoni;  ct.-organist;  c.  60  operas, 
also  religious  mus.,  incl.  a  noble 
8-part  "Miserere,"  a  cappella. 

Leonard  (la-o-nar),  Hubert,  Bellaire, 
near  Li£ge,  April  7,  1819 — Paris, 
May  6,  1890;  eminent  violinist;  pub. 
technical  studies. 

Leoncavallo  (la-6n-ka-val'-lo),  Rug- 
giero,  Naples,  March  8,  1858 — 
Montecatini  near  Florence,  Aug.  9, 
1919;  noted  opera  composer;  studied 
Naples  Cons,,  and  at  16  made  a 
tour  as  pianist;  his  first  opera 
uTommaso  Chatterton,"  failed  at 
first  but  was  succ.  revived  at  Rome, 
1896;  a  disciple  whom  Wajarner  per- 


sonally encouraged,  he  spent  6  years 
in  researches,  resulting  in  an  "his- 
toric" trilogy  (uncompleted)  "Cre- 
pusculum"  ("Twilight"),  I.  Medici, 
II.  Girolamo  Savonarola,  III.  Cezare 
Borgia;  toured  as  pianist  through 
Egypt,  Greece,  Turkey,  etc.;  lived 
in  Paris  some  years  and  had  an 
opera  "Songe  d'une  Nuit  d'fite," 
privately  performed,  and  many  songs 
published;  he  prod.  2-act  opera 
seria  "/  Pagliacci"  (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  universal  succ.  The  first 
part  of  the  trilogy,  the  4-act  "I 
Medici"  was  not  succ.  (La  Scala, 
Milan,  1803);  the  4-act  opera  "La 
Boheme"  (Venice)  was  a  succ.  but 
was  overshadowed  by  that  of  Puc- 
cini and  did  not  hold  the  repertoire; 
other  of  his  works  were  moderate 
successes,  notably  "Zaza"  (Milan, 
1900),  sung  in  other  cities  and  re- 
vived at  Met.  Op.  1919-20  as  an 
effective  vehicle  for  Farrar;  the 
Kaiser  commissioned  "Roland,"  but 
it  failed  (Berlin  R.  Op.,  1904). 
Other  later  works  were  "La  Jeunesse 
de  Figaro"  (sung  in  America,  1906); 
"Maja"  (Rome,  1910);  "Malbruck" 
(operetta,  do.);  "La  Reginetta  della 
Rose"  (operetta,  Rome,  1912);  "I 
Zingari"  (London  and  Milan,  1912); 
"La  Candidata"  (operetta,  Rome, 
1915);  "Gojfredo  Mamdi"  (Genoa, 
1916);  "Edipo  Re"  (one  act,  Chicago 
Op.,  1920);  and  a  number  of  other 
works  that  never  saw  the  stage. 
L.  also  served  as  librettist  for 
Machado  and  Pennachio,  and  his 
song  texts  were  set,  among  others, 
by  Tosti.  He  also  c.  a  symph.  poem, 
"Nuit  de  Mai,"  ballets,  choral 
works,  and  an  unfinished  operetta, 
"La  Maschera  Nuda"  orchestrated 
by  S.  Allegra  and  given  at  Naples, 
1925.  He  visited  the  U.  S.,  1906 
and  1913. 

Leonhard  (la/-5n-hart),  Julius  Emil> 
Lauban,  1810 — Dresden,  1883;  pro- 
fessor and  composer. 

Leoni  (la-O'-ng),  (i)  Leone,  cond, 
Vicenza  Cath.,  1588 — 1623,  and 
composer.  (2)  Carlo,  Italian  com- 
poser; prod.  3-act  operetta  "Per  un 
Bacio"  (Siena,  1894),  and  text  and 
music  of  succ.  comic  opera  "  Urbano" 
(Pienza,  1896).  (3)  Franco,  b. 


DICTIONARY  OF  MUSICIANS 


259 


Milan,  Oct.  24,  1865 — London,  1949; 
pupil  of  Ponchielli;  for  25  years  res. 
in  London;  after  1914  in  Milan; 
c.  pop.  realistic  one-act  opera 
"L'Oracolo,"  a  melodrama  of  China- 
town,  which  gave  striking  role  to 
Scotti  at  Met.  Op.;  also  opera,  "Rip 
Van  Winkle"  (London,  1897);  can- 
tata "Sardanapalits"  and  many 
other  stage  works  and  pop.  songs. 

Leono'va,  Daria  Mikhailovna,  in  the 
Russian  Govt.  of  Twer,  1825 — St. 
Petersburg,  Feb.  9,  1896;  alto;  d6but 
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)  (I'v6f  '-chSk), 
Martin,  Lemberg,  ca.  1540 — Cracow, 
1589;  from  1560  Polish  court  com- 
poser; c.  masses,  chorales,  etc. 

Ler'ner,  Tina,  b.  Odessa,  1890;  pianist; 
toured  Europe;  from  1908,  toured 
America;  m,  Louis  Bachner;  (2) 
Vladimir  Shavitch,  conductor. 

Le  Roi  (liir-wa),  Adrien,  i6th  cent.; 
partner  of  Ballard  (q.  v.). 

terottx  (ItL-roo),  Xavier,  Velletri, 
Papal  States,  Oct.  u,  1863 — Paris, 
Feb.  2,  1919;  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  Ratclif"  and  "L'Epavo" 
(not  prod.);  "Astarte"  (Gr.  Op6ra, 
1901),  "La  Reine  Fiammette"  (1902), 
"Thtodora?'  (Monte  Carlo,  1907); 
"Le  Chemineau"  (Paris  Op.-Comique, 
1907,  also  with  succ.  at  Ravinia 
(Chicago));  "Le  Carilloneur"  (Op.- 
Comique,  1913);  "La  Fille  de  Figaro9' 
(Paris,  1914);  "Les  Cadeaux  de 
Noel"  (do.,  1916);  "18— "  (do., 
1918);  and  the  posthumous  "  Nausi- 
thoe"  (Nice,  1920);  also  "L'Ingfnu" 
(unpub.);  and  partially  finished 
work,  "La  Plus  For — "  orch.  by 
Biisser  and  prod.  Op.-Comique. 
He  was  a  prof,  at  the  Paris  Cons. 

Lett,  (i)  Ernst,  b.  Vienna,  May  12, 
1883;  theatre  and  opera  director; 
Ph.  IX;  stage  director,  Breslau  Op., 
1909;  Leipzig  Op.,  1912;  Basel,  1919; 
Frankfort  Op.,  1920-23;  also  for  a 
season  at  Met.  Op.,  N.  Y.;  teacher 
at  Curtis  Inst.,  Phila.  (2)  Richard, 
b.  Vienna,  Sept.  19,  1885;  conductor; 
bro.  of  Ernst;  cond.  at  Diisseldorf, 
Darmstadt,  Breslau,  and  (1929-32) 
at  Berlin  State  Op.,  later  res.  in 
Los  Angeles  as  orch.  and  choral 


cond.,    including    Hollywood    Bowl 
appearances. 

Lesage  de  RichSe  (Iti-sazh-dtL-re-sha), 
Philipp  Fz.,  lutenist  and  composer. 

Leschetizky  (IS-shS-tlt'-sbM),  Theodor, 
Lancut,  Austrian  Poland.,  June  22, 
1830 — Dresden,  Nov.  14,  1915;  emi- 
nent pf.  teacher;  son  and  pupil  of  a 
prominent  teacher  in  Vienna;  studied 
with  Czerny  (pf.)  and  Sechter 
(comp.);  at  15  began  teaching;  1842 
made  succ.  tours;  1852  teacher  in 
the  St.  Petersburg  Cons.;  1878 
toured;  1880  m.  his  former  pupil 
Annette  Essipoff,  and  settled  as  a 
teacher  in  Vienna;  c.  succ.  opera, 
"Die  Erste  Falte"  (Prague,  1867), 
piano  pieces,  etc. 

Les 'lie,  (i)  H.  David,  London,  1822 
— London,  1806;  'cellist,  cond.  and 
composer.  (2)  Ernest,  pen-name  of 
Brown,  O.  B. 

Les 's el,  Fz.,  Pulaivi,  Poland,  1780 — 
Petrikow,  1838;  composer. 

Less 'man  (W.  J.),  Otto,  Rudersdorf, 
near  Berlin,  Jan.  30,  1844 — Jena, 
April  28,  1918;  critic  and  composer; 
teacher  at  Stern's  Cons.;  then  at 
Tausig's  Acad.  until  1871;  organised 
a  piano-sch.  of  Ms  own;  1882  pro- 
prietor and  ed.  Allgm.  Musik- 
Zeitung. 

Le  Suettr  (lu-stir)  (or  Lesueur),  J.- 
Fran., Drucat-Plessiel,  near  Abbe- 
ville, France,  Feb.  15,  1760 — Paris, 
Oct.  6,  1837;  chiefly  self-taught; 
1786  cond.  at  Notre  Dame,  Paris, 
where  he  drew  crowds  and  criticism 
by  his  progammatic  mus.;  he  pub. 
pamphlets  defending  "dramatic  and 
descriptive"  church-mus.;  the  oppo- 
sition prevailed,  however,  and  he  re- 
tired to  the  country  for  4  years;  1793 
he  prod.  succ.  opera  "La  Caverne," 
followed  by  others;  1804  Napoleon 
raised  him  from  distress  to  the  post 
of  ct,-cond. 

Letz,  Hans,  b.  Ittenheim,  Alsace, 
March  18,  1887;  violinist;  studied 
Strasbourg  Cons,  and  Berlin  Hochsch. 
(with  Joachim) ;  recital  d6but,  N.  Y., 
1909;  concertm.  Thomas  Orch., 
Chicago,  1910—12;  mem.  ELneisel 
Quartet,  later  org.  Letz  Quartet; 
taught  Juilliard  School  of  Music 
and  N.  Y.  School  of  Music. 

Leuckart  (loik'-art)^  F.  Ernst  Chp.i 
founded  mus.  business  at  Breslau, 
1782,  bought  1856  by  C.  Sanders, 

Leva  (d£  la'-va),  Enrico  de,  b.  Naples, 
Jan.  1 8,  1867;  singing  teacher,  puj 


260 


DICTIONARY  OF  MUSICIANS 


oi  Puzone  a^rd  Arienzo;  c.  opera 
"Za  Camargo,"  (Naples,  1898);  sere- 
nade "A  Capomonte"  and  popula* 
Neapolitan  canzonets. 

LevadS  (L&*v&-d&Q>  Charles  Gaston, 
b.  Paris,  Jan.  3,  1869;  pupil  of 
Massenet  at  the  Cons.;  c*  opera 
"Les  Hfr&iques"  (B6ziers»  1905)* 
operetta  "U  Amour  d'  H  &io&  oro>" 
(Paris,  1903),  pantomime,  suites, 
etc. 

Levasseur  (m-vSs-siirX  (i)  P.  Fran-, 
b.  Abbeville,  France,  1753;  'ceWfct, 
Paris  Grand  Op£ra;  cenjpose*.  (2) 
J.  H.,  Paris,  1765  —  1823;  'csH&t. 
(3)  Rosalie,  soprano,  Paris  Of>£ra, 
1766-85,  (4)  Kichotes  Pu-osjec,  b. 


in  Picardy,   March.   9,   17^x5 

bass  and  professor;  d.  Paris,  D<ec-  7* 

1871. 

I^v'ey»  Wi 

London,  1894;  dram,  compose*. 

Levi  (i§/-vs)7  (i)  Herman^  G&e 
Nov.  7,  1839—  Mumkh,  May  13* 
1900;  eminent  conductor;  pupil  el 
V.  Laehner  and  of  Leipzig  Ctaoe.; 
1859-61,  mus,-dir.,  Saazbriick^n; 
1861-64,  cond.  German  Opera  at 
Rotterdam;  1864-72,  ct^cond,  at 
OaFlsruhe;  from  1872,  ct.-coad.  at 
Muaich;  1894,  Gen.  miss,  dir. 
Munich;  1896,  pensioned.  (2)  Lsvi 
(or  Levy,  Lewy).  Vidje  LEBEB.T. 

LeritzM  (IS-vet'-ske),  Mischa,  b. 
Krementchug,  Russia,  May  25,  18^8; 
d;  Avo^  N.  J.,  Jan.  2,  1941;  studied 
N.  Y.,  and  Berlin  Hochsch.  under 
Dohnanyi;  grad*  witk  artist's 
diploma;  d6but,  Berlin,  1914;  has 
toured  widely  in  Europe,  America 
$nd  Orient  as  recitalist  and  with 
orchs.  following  N»  Y.  d^but»  19^6; 
a  brilliant  t-eciuiician;  btas  alsp  c. 
piano  works. 

Lewa&et  (IS-vaT-ter),  Johaiui,  b. 
Cassd.,  Jan.  24,  1862;  pupil  X*eipzig 
Cons.;  from  1886  music  teacher  and 
writer;  d.  Cassal,  1941. 

Eewmger  (la'-vlng-er),  M^x, 
aaar    Cracow,    March    17, 
Dresden,   Aug.  31,    3^0S;   ^ 
pupil  oi  Cracow  aRJd  Lemberg^ 
and  with  Griins  SchoIfLrship^  «4k  the 
VieoaKi    Cons.;   feom    189^ 
teacher  at  Bucharest  Cons,; 
to     SelsingEors     as     con^ejnfe 
s&pT^  do*  at  the  Gewandhau^ 
Leipzig;   1898  Royal  Cpu»t 
eE  in  Dresden- 
Ms*y-,  b, 


choir  in  native  state,  later  entered 
musical  comedy  in  N.  Y.;  op.  d^but 
as  "Marguerite,"  Vienna  Volksop., 
1923;  sang  in  Monte  Carlo,  Londim 
and  Paris,  1924-25;  concert  d£but 
with  State  SympL,  Orch.,  N.  Y.; 
Wiem.  Mat.  Op.  Co.,  1926-30*  d^but  as 
"Mimi";  sang  "Marguerite"  at  Berlin 
Op.,  1927;  also  appeared  in  recitals 
in  U.  S.;  m.  Michael  Bohnen,  bass; 
divorced;  (2)  Robert  Hague. 

Lewy  (la'-ve),  (i)  Eduard  Constantin, 
3aiut-Avold,  Moselle,  1796 — Vienna, 
1846;  horn-virtuoso  and  prof,  (2) 
Jos.  Rodolphe,  Nancy,  1804 — Ober- 
lissnitz,  near  Dresden,  1881;  bro.  and 
pupil  of  9.bove;  horn-virtuoso.  (3)^ 
Cfeas.,  Lausanne,  1823 — Vienna, 
$$183;  son  of  (i);  pianist  and  com- 
poser. (4)  Richard  Levy,  Vienna, 
x8-27*— 1^883;  son*  of  (i);  horn-player* 
SM?ging-teacher.  (5)  Vide  LEBERT. 

tevbach  Qi'-bakh)^  Ignace,.  Gamfos- 
heim^  Alsatia,  18 1  T — Toulouse, 
1891;  pianist,  teacher  and  composer. 

L'Heritier  (ISnrlt^ya),  (i)  Jean, 
Nourished  1519-1588;  French  pupil 
of  D^pr^s;  c.  masses  and  son^  (2) 
Antoine,  court  musician,  to  Chafes 
V,  at  Toledo,  1520-1531;  (3) 
l^obably  the  same  as  Jean. 

I/hevinne  (la'-ven),  (i)  Josef, 

Pec.  3,  1874 — N,  Y.,  Dec.  2,  1944; 
Doted  pianist;  pupil  of  his  father 
and  of  Chryaander;  later  also  of 
the  noted  p&ni&t  and  conductor,  W. 
SafonofE  at  the  Cons.;  1885,  winning 
highest  honours;  1895  won  Rubin- 
Stein  prize;  1902-06  teacher  at  the 
Cons.,  and  toured  Europe;  1905 > 
the  U.  S.;  again,  1912;  resided  in 
N.  Y.  and  had  toured  widely,  giving 
two-piano  programmes  with  his  wife, 
(2)  Rosina  L.;  also  a  noted  teacher. 

Liadoff  (or  Liadow)  (I'y£/-d6f),  Ana- 
tole,  St.  Petersburg,  May  12,  1885 — 
Novgorod,  Aug.  28,  1914;  pupil 
Johansen  (cpt-  and  fugue)  and 
JJimsky-Korsakov  (£orjtn  and  instr.) 
at  St,  P.  Cons.;  187^  pasof.  of  har* 
th^e;  also  at  the  Imp.  Chapel; 
<5O»d-  Mus.  Soc,;  in  1908  he 
ed  on  account  ol  the  expulsion 
Rinisky-Korsakov  Cq-v.)^  a^id.  was 
in  the<  Cons.;  c. 
oreh,;  the  popular,  sjon- 
"Tfa  E>nckante4  Lake" 
";  "Ba,ba-Ya$a"  tone- 
5>  Boston  Syraph,,  i^?o), 
for  ordjt.;  suj^e  "To 


in 


DICTIONARY  OF  MUSICIANS 


261 


orch.;  "The  Music  Box,"  and  other 
piano  pieces  and  songs. 
Liapunov   (or   Liapounow)    (lg-a'-poo- 


nbf),  Serge  Michailovitch,  Jarslavi, 
Russia,  Nov.  30,  1859 — Paris,  Nov. 
9,  1924;  pupil  Klindworth  and 
Pabst  (pf.)  and  Hubert  (comp.) 


Moscow  Cons.;  sub-dir.  Imp.  Choir, 
St.  Petersburg,  and  a  member  of  the 
Imp.  Geographical  Soc.,  which  ^893 
commissioned  him  to  collect  the 
folk-songs  of  Vologda,  Viatna  and 
Kostroma,  which  he  pub.  1897;  1894, 
mus.-master  to  the  Grand  Duke; 
pub.  concerto,  a  symph.,  pf  .-pcs.,  etc. 

LiDon  (l6'-bon),  Felipe,  Cadiz,  Aug.  17, 
1775 — Paris,  Feb.  5,  1838;  violinist 
and  comp.  for  violin. 

Lichey  (lekh'-l),  Kheinhold,  b.  Neu- 
mark,  near  Breslau,  March  26, 
1880;  organist;  pupil  of  Baumert  and 
Rudnick,  later  at  the  Royal  High 
School  in  Berlin;  from  1907  org. 
Konigsberg;  c.  organ  pieces,  choruses, 
etc. 

Lichtenberg  (llkh'-t'n-b&rkh),  Leopold, 
San  Francisco,  Nov.  22,  1861 — 
Brooklyn,  N.  Y.,  May  16,  1935;  vln.- 
virtuoso;  pupil  pf  Beaujardin;  at  8 
played  in  public;  at  12  pupil  of 
Wieniawski,  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  con- 
course"; toured  America  and  Europe; 
member  of  Boston  Symph.  Orch.; 
1899,  vln.  prof.  Nat.  Cons.,  New 
York. 

Lichtenstein  GXkh'-t'n-shtin),  K.  Aug., 
Freiherr  von,  Lahm,  Franconia, 
1767 — Berlin,  1845;  c.  operas. 

X/ichtenthal  (l!tkh'-tjn-tal),  Peter,  Press- 
burg,  1780 — Milan,  1853;  dram, 
composer  and  writer  on  mus. 

Lidon  (le'-thon),  Jose*,  Bejar,  Sala- 
manca, 1752 — Madrid,  Feb.  n, 
1827;  organist;  1808,  royal  chapel 
organist  and  royal  cond.  at  Madrid; 
c.  operas,  church  music,  etc. 

Lie  (le),  (i)  Erica  (Mme.  Nissen), 
Kongsvinger,  near  Christiania,  Jan. 
17,  1845 — Christiania,  Oct.  27,  1903; 
pianist,  pupil  of  Kjerulf,  and  of  Th. 
Kullak;  teacher  at  the  Kullak's 
Acad.,  toured  Germany,  etc.;  mem- 
ber R.  Acad.,  Stockholm.  (2)  (1'ya), 
Sigurd,  May  23,  1871 — Sept.  29, 
1904;  important  Norwegian  con- 
ductor and  composer;  pupil  Leipzig 
Cons.:  1894  cond.  in  Bergen,  studied 


again  in  Berlin;  cond.  of  vocal  society 
in  Christiania;  c.  symph.,  Marche 
symphonique;  orch.  suite,  "Oriental- 
isk"  cantatas,  chorals  and  songs. 

Liebe  (le'-be),  Ed.  L.,  Magdeburg, 
Nov.  26,  1819 — Coire,  Switz.,  1900; 
pianist,  organist  and  dram,  composer. 

Liebig  (le'-blkh),  K.,  Schwedt,  1808— 
Berlin,  1872;  staff  oboist  in  a  Regt.-, 
1843,  est.  Berlin  "Symphonieka- 
pelle";  1860,  R.  Mus.  Dir. 

Liebling  (lep'-ling),  (i)  Emil,  Pless, 
Silesia,  April  12,  1851 — Chicago, 
Jan.  20,  1914;  concert-pianist;  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" m, 
pub.  pf.-pcs.  and  songs.  (2)  G.,  b. 
Berlin,  1865 — d.  N.  Y.,  1945;  pupil 
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;  1908-23,  res.  in 
Munich;  more  recently  in  Los  Angeles . 

(3)  Leonard,   b.    N.   Y.,    1880— d. 
N.  Y.,   1945;  pianist,  editor;   grad. 
CoU.  of  the  City  of  N.  Y.;  pupil  of 
Kullak    and    Godowsky    at    Berlin 
Hochsch.;  taught  piano  in  Berlin  and 
N.  Y.  for  several  years;  after  1899, 
active  as  critic  and  librettist;  joined 
stafE  of  Musical  Courier,  1902;  and 
has   regularly  written   "Variations" 
column  in   that  paper;   after   1911, 
ed.-in-chief;   music   critic   of   N.   Y. 
American  until    1936;   wrote  plays. 

(4)  Estelle,    b.    New    York,    1886; 
soprano  and  teacher;  sang  opera  in 
Europe   and   U.    S.;   faculty   mem., 
Curtis  Inst. 

Lienau  (le'-now),  Robt.,  Neustadt, 
Holstein,  Dec.  28,  1838 — July  22, 
1920;  mus.-pub.,  Berlin. 

Lier  (van  l5r),  Jacques  Van,  b.  The 
Hague,  April  24,  1875;  pupil  of 
Hartog,  Giese  and  Eberle;  1891  first 
'cellist  Amsterdam  Palace  Orch.; 
1897  Berlin  Phil.  Orch.;  teacher  at 
KUndworth-Scharwenka  Cons,  until 
1915;  later  in  The  Hague;  'cellist 
of  the  Dutch  Trio  and  the  Dutch 
String  Quartet;  author  of  methods. 

Liliencron  (IS'-lI-Sn-krdn),  Rochus, 
Freiherr  von,  Plon,  Holstein,  Dec. 
8,  1820 — Coblenz,  March  5,  1912; 
prof.;  commissioned  by  the  Historical 


262 


DICTIONARY  OF  MUSICIANS 


Commission  of  Munich  to  collect 
the  mediaeval  German  folk-songs, 
and  pub.  them. 

Lillo  (Itt'-lS),  Gius.,  Galatina,  Lecce, 
Italy,  1814 — Naples,  1863;  teacher 
and  dram,  composer. 

Lim'bert,  Frank  L.,  b.  New  York, 
Nov.  15,  1866;  at  8  taken  to  Ger- 
many; pupil  of  Hoch  Cons,  and  of 
Rheinberger;  1894  Ph.  D.  Berlin; 
looi  cond.  of  the  Diisseldorf  Singing 
Society,  and  teacher  at  the  Cons. 
1906,  at  Hanau;  c.  choral  works  with 
orch.,  etc. 

Limnan'der  de  Nieuwenhove  (na'- 
vgn-ho-vS),  Armand  Marie  Ghis- 
lain,  Ghent,  1814 — Moignanville 
1892;  dram,  composer. 

Lincke  (llnk'-S),  (i)  Jos.,  Trachenberg, 
Silesia,  1783 — Vienna,  1837;  'cellist. 
(2)  Paul,  b.  Berlin,  Nov.  7,  1866 — 
d.  Sept.  4,  1946;  composer. 

land  (lint),  Jenny,  Stockholm,  Oct.  6, 
1820 — at  her  villa,  Wynds  Point, 
Malvern  Wells,  Nov.  2,  1887;  "The 
Swedish  Nightingale,"  one  of  the 
most  eminent  and  pop.  of  sopranos; 
had  a  remarkably  sympathetic  voice 
of  great  compass  (d'  -e'",  v.  CHART 
OF  PITCH),  remarkable  purity, 
breath,  endurance  and  flexibility; 
studied  with  Berg  and  Lindblad,  at 
the  court  where  she  made  her  very 
succ.  d£but,  1838,  in  "Der  Frei- 
schtitz"i  1841,  studied  with  Manuel 
Garcia,  in  Paris,  for  nine  months; 
1842,  sang  at  the  Op6ra,  but  was  not 
engaged;  1844,  studied  German  at 
Berlin,  and  sang  with  greatest  succ. 
in  Germany  and  Sweden;  1847,  made 
a  furore  in  London;  1849,  she  left 
the  operatic  stage,  and  created  even 
greater  sensations  in  concert;  1850- 
52,  under  the  management  of  P.  T. 
Barnum,  she  toured  the  U.  S.,  earn- 
ing $120,000;  1852,  shem.  Otto  Gold- 
schmidt  in  Boston;  lived  in  Dresden; 
1856,  London,  appearing  especially 
with  the  Bach  Choir  which  her  hus- 
band cond.  Her  last  pub.  appear- 
ance was  in  his  oratorio  "Ruth," 
Diisseldorf,  1870.  Her  private  life 
was  unusually  serene,  impeccable, 
and  generous.  Her  bust  is  in  West- 
minster Abbey.  Biogr.  by  A.  J. 
Becher  (1847),  Rockstro  and  Wil- 
kens. 

Lindblad  (Untwist)  Ad.  Fr.,  L6f- 
vingsborg,  near  Stockholm,  1801 — 
i#7&;  teacher  of  Jenny  Lind;  c.  ex- 
cellent Swedish  sengs  and  an  opera. 


Lind'egren,  Johan,  Ullared,  Sweden, 
Jan.  7,  1842 — Stockholm,  June  8, 
1908;  teacher  of  theory  and  contra- 
puntist; from  1884  cantor  at  the 
Stockholm  Storkyrka;  c.  and  edited 
church  music. 

Linden  (lint'-'n),  Cornells  van  der, 
Dordrecht,  Aug.  24,  1839 — Dor- 
drecht, May  28,  1918;  prominent 
Dutch  cond.;  pupil  of  Kwast  (pf.) 
and  F.  Bohme  (theory);  1860  cond. 
Dordrecht;  later  bandm.  the  Nat. 
Guard  (1875);  cond.  Netherland 
Musicians7  Assoc.;  c.  cantatas  with 
orch.,  2  operas,  etc. 

Linder  (lXn*-dgr),  Gf.,  Ehingen,  July 
22,  1842 — Stuttgart,  Jan.  29,  1918; 
pupil  Stuttgart  Cons.;  from  1868 
teacher  there;  1879  professor;  c. 
2  operas;  overture  "Aus  nordischer 
Hddenzeti"  etc. 

Lindley,      (i)      Robert,     Rotherham, 
Yorkshire,       1776 — London,       1855; 
'cellist.  (2)  Wm.,  1802 — Manchester, 
1869;  son  of  above;  'cellist.      • 
Lindner    (Hnt'-ner),    (i)   Fr.,   Liegnitz 
ca.  1540 — Niirnberg,  1597;  composer. 
(2)  Adolf,  Lobenstein,  1808 — Leipzig, 
1867;  horn-player.     (3)   Ernst  Otto 
Timothetis,    Breslau,    1820 — Berlin, 
1867;  conductor  and  writer. 
Lindpaintner     (llnt'-plnt-ner),     Pete> 
Jos.  von,   Coblenz,   Dec.   9,    1791— 
Nonnenhorn,  Aug.  21,  1856;  eminent 
conductor,  ct.-conductor  and  dram, 
composer. 

Linley,  (i)  Thos.,  Sr.,  Wells,  1732 — 
London,  1795;  conductor  and  dram, 
composer;  owner  with  Sheridan  of 
Drury  Lane  Th.,  1776.  (2)  Thos., 
Jr.,  Bath,  1756 — drowned  at  Grims- 
thorpe,  Lincolnshire,  1778;  violinist 
and  composer. 

Lipafti,  Dinu,  b.  Bucharest,  1919 — d. 
Switz.,  Dec.  2,  1950;  noted  pianist. 
Lipinski  (U-pXn'-shkl),  K.  Jos.,  Rad- 
zyn,  Poland,  Nov,  4  (Oct.  30  ?),  1790 
— Urlow,  near  Lemberg,  Dec.  16, 
1861;  noted  violinist  and  composer; 
pupil  of  Pagan ini;  lived  in  Dresden, 
1839-50. 

Lipsius  (Irp'-sX-oos),  Marie,  Leipzig, 
Dec.  30,  1837 — near  Wurzen,  Sax- 
ony, March  2,  1927;  noted  writer  on 
Liszt,  Beethoven;  edited  letters  of 
Liszt,  Berlioz,  etc.;  wrote  tinder 
pen-name  "La  Mara.'1 
Lischin  (ISsh'-In),  Grigory  Andree- 
vitch,  1853 — St.  Petersburg,  June 
27,  1888;  c.  operas,  incL  "Don  Cteat 
de  Bazan." 


DICTIONARY  OF  MUSICIANS 


263 


Lissenko  (or  Lysenko),  Nikolai  Vitalie- 
vich,  Grinjki,  March  22,  1842 — Kiev, 
Nov.  11,  1912;  popular  Little  Rus- 
sian comp.;  pupil  of  Panochiny, 
Dimitriev  and  Vilczek;  then  of 
Leipzig  Cons.;  1868,  teacher  at  Kiev; 
c.  6  operas;  children's  opera,  and 
popular  songs. 

Lissmann  (leV-man),  (i)  H.  Fritz, 
Berlin,  1847 — Hamburg,  1894;  bary- 
tone; m.  the  sopr.  (2)  Anna  Marie 
Gutzschbach. 

List,  Emannel,  b.  Vienna;  operatic 
bass;  sang  as  a  boy  chorister  at 
Theater  an  der  Wien;  later  toured 
as  mem.  of  quartet  and  in  solo  pro- 
grammes; came  to  U.  S.  from  England 
in  1914  and  studied  in  N.  Y,  with 
Josiah  Zuro,  appearing  in  feature 
radio  theatre  presentations;  1922, 
returned  to  Europe,  studied  with 
fidouard  de  Reszke  and  was  engaged 
for  Vienna  Volksoper;  later  for 
Berlin  Municipal  Op.  and  then  for 
State  Op.  on  Unter  den  Linden, 
where  he  remained  for  ten  years; 
after  1932,  mem.  Met.  Op.;  noted 
for  his  portrayal  of  "Baron  Ochs"  in 
"Der  RosenkavaHer"  and  for  Wag- 
nerian  impersonations;  has  sung  at 
Co  vent  Garden,  at  Bayreuth,  and  in 
other  leading  Eur.  op.  houses. 

Listemann  (Hs'-t£-man),  (i)  Fritz, 
Schlotheim,  Thuringia,  March  25, 
1839 — Boston,  Dec.  28,  1909;  violin- 
ist; 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 
vln.  Thomas  Orch.;  from  1878,  ist 
vln.  Philh.  Orch.;  1881-85  Symph. 
Orch.;  taught  and  toured  with 
"Listemann  Concert  Co.";  c.  2  vln.- 
concertos,  etc.  (2)  Bernhard,  Schlot- 
heim, Aug.  28,  1841 — Chicago,  Feb. 
n,  1917;  bro.  of  above;  pupil  of 
Ullrich,  and  David,  Vieuxtemps  and 
Joachim.  1859-67,  ist  vln.  in 
Rudolstadt  ct.-orch.;  came  to  Amer- 
ica with  his  bro.,  lived  in  Boston; 
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  "Method."  (3)  Paul,  b. 
Boston,  Oct.  24,  1871;  son  and  pupil 


of  (2);  studied  also  with  (i)  and 
was  a  member  of  the  Quartet  and 
Concert  Co.,  1890-93;  studied  with 
Brodsky  and  Hilf,  Leipzig,  and  with 
Joachim,  at  Berlin;  concert  m.  of 
the  Pittsburgh  (Pa.)  Orch.;  1896, 
of  the  "American  Orch.,"  N.  Y.; 
soloist  of  the  "Redpath  Concert  Co." 
(4)  Fz.,  New  York,  Dec.  17,  1873 — 
Chicago,  March  11,  1930;  bro.  of 
above;  'cellist;  pupil  of  Fries  and 
Giese  at  Boston,  of  Julius  Klengel, 
Leipzig;  and  Hausmann,  Berlin; 
ist  'cep.0  Pittsburgh  Orch.  for  a  year, 
then  lived  in  N.  Y.  as  teacher  and 
concert-performer. 

Liszt  (list),  Franz  (originally  Ferencz), 
Raiding,  near  Oedenburg,  Hungary, 
Oct.  22,  1811 — Bayreuth,  July  31, 
1886;  in  many  ways  the  most  bril- 
liant of  all  pianists,  and  a  composer 
whose  poorest  works  are  too  popular, 
while  he  is  not  granted  the  credit 
due  his  more  solid  achievements; 
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'  E[>  concerto.  A 
group  of  Hungarian  counts  sub- 
scribed a  6  years'  annuity  of  600 
florins,  and  the  family  moved  to 
Vienna,  where  L.  studied  with 
Czerny  (pfj,  and  Salieri  (theory)  for 
1 8  months.  Beethoven  hearing  him 
play  his  trio  op.  97,  embraced  him. 
At  12  he  gave  v.  succ.  concerts  hi 
Vienna  and  his  father  took  him  to 
Paris,  where  he  was  refused  as  t  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,  "Don  Sancho"  liad 
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  Chopin,  von 
Weber,  Paganini  and  Berlioz.  He 
had  a  brilliant  series  of  heart-affairs, 
beginning  with  the  literary  Countess 
H'Agoult  ("Daniel  Stern"),  with 
whom  he  lived  in  Geneva  (1835-39). 
She  bore  him  a  son  and  three  daugh- 
ters; Cosima,  the  youngest,  became 
the  wife  of  von  Billow,  later  of 
Wagner.  1839,  he  successfully 
undertook  to  earn  by  concerts  money 
enough  for  the  completion  of  the 


264 


DICTIONARY  OF  MUSICIANS 


Beethoven  monument  at  Bonn. 
1849,  ct.-cond.  at  Weimar,  with 
royal  encouragement  to  aid  mus. 
progress.  He  made  himself  ^the 
greatest  patron  among  creative  artists, 
aiding  Wagner  materially  by  pro- 
ductions of  his  works  at  Weimar  and 
by  pf.-rranscriptions,  aiding  also 
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,  Pius 
IX.,  made  him  an  abb6.  1870  he 
was  reconciled  with  the  Weimar 
Court.  1875  Pres-  of  tk®  new  Aca4« 
of  Mus.  at  Pesth;  he  spent  his 
last  years  at  Weimar,  Pesth,  and 
Rome,  followed  by  a  large  retinue  of 
disciples  and  pupils  whom  he  taught 
free  of  charge.  He  died  during  a 
Bayreuth  Festival.  C.  2  SYMPHS.: 
"Dante"  (after  the  "Divina  Corn- 
media"  with  female  chorus);  "Eine 
Faustsymphonie"  ("Faust,"  "Gret- 
chen,"  "Mephistopheles,"  with  male 
chorus);  SYMPH.  POEMS:  "Ce  qu'on 
intend  sur  la  montagne"  (Victor 
Hugo):  "Tassoy  lamento  e  trionfo"; 
"Les  Preludes"-,  "Orpheus";  "Prome- 
theus"; "Mazeppa";  "Festkl&nge"; 
"  Herotde  funebre" ;  "  Hungarfo"; 
"Hamlet";  "  Sunnenschlacht" ;  "Die 
Ideale"  (Schiller);  and  "Von  der 
Wiege  bis  zum  Grabe"  (Michael 
Zichy);  ALSO  TOR  ORCH.  "*Zwei 
Episoden  aus  Lenaus  Faust"  (Der 
nachtliche  Zug,  2  Mephisto-wSlzer), 
etc.  FOR  PIANO:  2  concertos; 
"Danse  macabre"  with  orch.;  "Con- 
certo path€tique";  15  "Rhapsodies 
hongroises";  "Rhapsodie  espagnole"; 
"Sonata  in  B  Min.";  "Fantasia 
and  Fugue  on  B-A-C-  H" ;  variations 
on  a  theme  from  Bach's  B-min.  mass; 
10  "Harmonies  po£tiques  et  r&- 
ligieuses";  "Ann&es  de  p&erinage"; 
3  "Apparitions,"  2  ballades;  6 
"Consolations";  2  61€gies;  2  ISgendes 
("St.  Francois  D'Assise"  and  "St. 
Francois  de  Paul");  "  Liebestr&ume" 
(Notturnos);  "Etudes  d*  execution 
transcendante" ;  "Ab  irato,  Stude  de 
perfectionnement";  concert-6tudes, 
"Waldesrauschen"  and  "Gnomen- 
reigen";  "Technische  Studied*  (12 
books),  etc.,  and  many  transcriptions 
of  symphs.,  overtures,  50  songs  by 
Schubert,  etc.  Vocal  comps.:  4 
masses,  inch  Miss  a  solennis  (the 
"Graner"  Festival  Mass);  requiem; 


3  oratorios,  "Die  Legende  non  def 
HeiUgen  Elisabeth,"  "Stanislai&s," 
and  "Cfoistus";  Psalms  i3th,  iSth, 
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.  There  is  an 
extensive  Liszt  literature;  among 
studies  of  his  life  and  work  are  those 
by  Gollerich,  Kapp,  Schxader, 
Raabe,  Corder,  Habets,  He^vey, 
Huneker,  N-ewman,  Pourtal^s,  Sit- 
well,  W.  Walla  o  and  La  Mara;  a 
complete  edition  of  his  musical 
works  is  being  prepared  by  Breitkopf 
and  Hartel,  under  the:  auspices  of  a 
committee,  headed  by  Raabev  (See 
article,  page  502.) 

Litolff  (le'-tdlf),  H.  Chas.,  London, 
Feb.  6,  1818 — Paris,  Aug.  6,  1891; 
prominent  pianist,  conductor,  pub^ 
lisher  and  composer. 

Litta  (Irt'-ta),  Duca  GitiHo,  Yisconte 
Arese,  MUan,  1822 — Vedano,  neaf 
Monza,  1891;  dram,  composer. 

Litvinne  (let'-vln),  FeHa,  St.  Peters- 
burg-, 1:860  (?)—  Paris,  Oct.  12,  1936; 
soprano;  pupil  of  Mme.  Barth- 
Banderoli  and  Maurel,  d£but  Th. 
des  Italiens,  Paris;  1896-97,  sang 
Wagner  at  Met.  Op.,  N.  Y.;  then 
in  St.  Petersburg;  later  res.  in  Paris; 
sister-in-law  of  Ed?,  de  Reszke, 

Litzau  (let'-tsow),.  Jn.  Barend,  Rotter- 
dam, 1822-^1893;.  pianist,  organist 
and  composer. 

Liverati  (Le-v6-ra'-tg),  Giov.,  Bologna, 
1772 — after  18x7;  noted  tenor  con 
ductor  and  duam.  composer. 

Ljungberg,  <£6'ta  (y^t'-taryoong^- 
bSrkh),  b.  Sundsvall,  Sweden,  Oct. 
4,  1893;  soprano;  studied  in  Stock- 
holm; 1924,  guest  at  Covent  Garden 
as  "Salome";  sang  Met.  Op.,  N.  Y., 
in  same  rdle,  also  Wagner  operas, 
and  Howard  Hanson's.  "Merry 
Mount." 

Lloyd  (loid),  (i)  Edw«9  London,  March 
7,  1845 — March  31,  1927;  noted 
concert  tenor;  choir-boy,  West- 
minster Abbey,  with  Jas.  Turle, 
till  1860;  from  1874,  first  tenor, 
Leeds  Festival;  sang  at  Cincinnati 
Festival  1888,  and  had  toured  the 
U.  S.;  gave  farewell  concert,  London, 
1900.  (2)  Chas.  Harford,  Thorn- 
bury,  Gloucestershire,  EngL,  Oct. 
1 6,  1849 — London,  Oct.  16^  1919; 
1891,  Mus.  Doc.  Oxford;  x8?6, 


DICTIONARY  OF  MUSICIANS 


265 


organist  Gloucester  Cath.;  1892 
precentor  and  mus.  -teacher  Eton 
Coll.;  founded  Oxford  Univ.  Mus.- 
Club;  1877-80,  cond.  Gloucester 
Festivals;  Oxford  Symph.  Concerts; 
c.  7  cantatas,  mus.  to  "Alcestis" 
(Oxford,  1887);  full  cath.  service, 
etc. 

e  (lo'-bfc),  Jn.  Chr.,  Weimar,  May 
0,    1797—  Leipzig,   July    27,    1881; 
utist,  vla.-player,  and   dram,  com- 
poser; wrote  important  treatises. 


3 
fl 


(or  Lopez)  (l6'-pes)  (or  Lupus), 
Duarte,  Portuguese  composer  at 
Lisbon,  1600. 

locate!!!,  Pietro,  Bergamo,  1693  — 
Amsterdam,  1764;  vln.-virtuoso,  re- 
garded as  marvellous  for  his  double- 
stopping  and  effects  procured  by 
changed  accordature  (v.  D.  D.)  in 
which  Paganini  imitated  him;  com- 
poser. 

Locke,  Matthew,  Exeter,  England, 
1632  (33  ?)  —  London,  1677;  com- 
poser. ""  " 

Lo'der,  (i)  Edw.  Jas.,  Bath,  1813  — 
London,  1865;  dram,  composer. 
(2)  Kate  Fanny  (Lady  Thompson) 
Bath,  Aug.  21,  1825  —  London,  Aug. 
30,  1904;  pianist,  cousin  of  E.  J. 
Loder  (q.  v!);  pupil  of  the  R.  A.  M., 
London,  winning  the  King's  scholar- 
ship, 1839  and  1841;  from  1844  Prof. 
of  harmony  there;  played  with  great 
success  at  Phil,  concerts  and  else- 
where; 1851  married  the  surgeon 
Henry  Thompson,  afterward 
knighted;  c.  an  opera,  overture, 
violin  sonata,  etc. 

Loeb  (lap),  Jules,  Strassburg,  May  13, 
1852  —  Paris,  Nov.,  1933;  pupil  or 
Chevillard,  Paris  Cons.,  won  ist 
prize;  solo  'cellist  at  the  Op6ra, 
and  the  Cons.  Concerts;  member  of 
the  Marsick  Quartet,  and  the  "So- 
ci6t6  pour  instrs.  a  vent  et  a  cordes." 

Loeffler  (ISf-lSr),  Chas.  Martin  Tor- 
nov,  Muhlhausen,  Alsatia,  Jan.  30, 
1861  —  Medfield,  Mass.,  May  20, 
1935;  violinist  and  notable  composer; 
pupil  of  Massart,  Leonardi,  Joachim 
and  Guiraud  (comp.);  played  in 
Pasdeloup's  orch.;  later  in  Prince 
Dervier's  orch.;  resigned  from  th£ 
Boston  Symph.  Orch.,  1903,^0  give 
his  time  entirely  to  composition;  c. 
a  fantastic  concerto  for  'cello 


^ 

orchk  ^894);  divertimento  for  violin 
and  orch.  (1897);  his  symph.  poem 
for  2  viole  d'amore  "La  Mort  des 


Tintagiles"  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"  for  saxo- 
phone, and  orch.  was  prod.  1901;  his 
2  symph.  poems,  "Avant  que  tu 
ne  fen  allies"  (after  Verlaine's  "La 
bonne  chanson,")  and  "Vittanelle  du 
diaUe"  (after  Rollinat)  were  prod. 
1902;  his  "Pagan  Poem"  for  orch., 
piano,  3  trumpets  and  Engl.  horn 
1907.  Other  works  include  (for 
otch.)  "Les  Veillees  de  P  Ukraine" 
(1891),  "Memories  of  My  Child- 
hood" both  showing  impressions 
gained  in  early  visit  to  Russia; 
"Poem"-,  and  "Evocation"  for  orch. 
with  choral  voices;  (for  chorus) 
"Hora  Mystica"  "By  the  Rivers  of 
Babylon,"  "Canticum  Fratris  Solis" 
(setting  of  St.  Francis'  Canticle  to 
the  Sun);  (chamber  works)  Music 
for  4  stringed  instruments;  2  Rhap- 
sodies for  oboe,  viola  and  piano; 
"To  the  Memory  of  Victor  Chapman" 
for  string  quartet;  Sextet  for  strings; 
Octet  for  strings,  harp  and  two 
clarinets;  and  important  songs. 

LoeiUet  (lwa-ya/),  J-  Bap.,  Ghent, 
1653 — London,  1728;  noted  virtuoso 
on  flute  and  harp;  composer. 

Loewe.     Vide  LOWE. 

Loewengard  (la/vfin-gart),  Max  Julius, 
Frankfort-on-Main,  Oct.  2,  1860 — 
Hamburg,  Nov.  19,  1915;  writer 
and  composer;  pupil  of  Raff,  then 
teacher  at  Wiesbaden  Cons.;  1904 
critic  in  Hamburg  and  1908  teacher 
at  the  Cons.;  author  of  text  books 
in  theory;  c.  comic  opera  "Die  14 
Nothelfer." 

Logier  (lo'-jer),  Jn.  Bd.,  Cassel,  1777 — 
Dublin,  1846;  flutist,  writer  and 
composer;  invented  the  "chiroplast." 

Logroscino  (16-gr5-shS'-no),  Nicola, 
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. 

LShlein  (la'-lin),  Georg  Simon, 
Neustadt,  1727 — Danzig,  1782, 
pianist  and  teacher. 

Lonmann  (lo'-man),  Peter,  Schwelm, 
Westphalia,  April  24,  1833 — Leipzig, 
Jan.  10,  1907,  where  he  had  lived 
since  1856;  1858-61,  writer  for  "Neite 
ZeitschrJftfiir  Musik";  wrote  treatises 


266 


DICTIONARY  OF  MUSICIANS 


and  several  dramas  set  to  music  by 
Huber,  Goetze,  etc. 

'lar),  (i)  G.  Augustus,  Norwich, 
EngL,  1821 — Leicester,  1897;  organ- 
ist and  conductor.  (2)  Richard 
EL,  Leicester,  EngL,  June  13,  1856 — 
St.  Leonard's-on-Sea,  Jan.  16,  1927; 
studied  R.  A.  M.,  won  two  medals; 
organist,  London;  1882,  concert- 
pianist;  c.  oratorios;  wrote  "Primer 
of  Music,"  etc. 

Lotise    (lo'-ze*),  Otto,  Dresden,    Sept. 
21,     1858 — Baden-Baden,     May    5, 
1925;  for  years  cond.  Hamburg  City 
Th.,  1895-96,  Damrosch  Op.  Co.,  in 
which  the  prima  donna  was  his  wife 
Eafsky  (q.  v.);  cond.  Covent  Gar- 
den, 1901;  cond.   City  Th.,  Strass- 
burg,    1897 — 1904;    after    1904,    in 
Cologne;    1912-23,    dir.    of   Leipzig 
Op.;    c.    succ.    opera    "Der    Prinz 
Wider  Willen"  (Cologne,  1898). 
LolH  (16I'-1JL),  Ant.,  Bergamo,  ca.  1730 
('40  ?) — Palermo,  1802;  violinist  and 
leader;  composer  and  writer. 
Lomagne,  B.  de.    Vide  SOTTBIES. 
Lo'makin,        Gabriel        Joakimovich, 
St.  Petersburg  April  6,  1812 — Gats- 
china,  May  21,  1885;  teacher. 
London,  George,  b.   Canada;  studied 
San  Francisco;  basso;  de"but,  Vienna 
Op.,  1949;  La  Scala;  Met  Op.,  1951. 
Long'hurst,    (i)    Wm.    H.,    Lambeth, 
EngL,    Oct.    6,    1819 — Canterbury, 
1904;  chorister  in  Canterbury  Cath.; 
later   asst.-organist,    master   of   the 
choristers  and  lay-clerk;  1873,  organ- 
ist;   1875,    Mus.    Doc.    and    mus.- 
lecturer;  c*  oratorios,  cath.  service, 
etc.  (2)  J.  Alex,  1809-1855,  singer. 
Long'o,  Alessandro,  Amantea,   1864 — 

Naples,  1946;  pianist;  ed.  D.  Scarlatti. 
Longy  (16n-zheO,  00  Gustave  Georges 
Leopold,  Abb&ville,  Aug.  29,  1868 — 
April  14,  1930;  pupil  Paris  Cons, 
taking  second  oboe  prize  1885,  first 
prize  1886;  oboist  with  Lamoureux 
and  at  Op.  Com.;  from  1898  first 
oboist  Boston  Symph.,  founding 
ipoo  the  Longy  Club  (flute,  oboe, 
Jarinet,  horn,  bassoon,  piano),  and 
giving  important  concerts;  1890- 
1913,  also  cond.  of  the  Orchestral 
Club,  and  from  1915  dir.  of  the 
MacDoweH  Orch.  In  1916  he 
founded  the  notable  Longy  School 
of  Music,  with  a  faculty  ind.  many 
solo  players  of  the  Boston  Symph. 
Orch.  This  institution  has  had  a 
continued  existence  until  the  present  ' 
day,  upholding  high  standards  and 


moving  its  headquarters  to  Cam- 
bridge, Mass.,  after  many  years  in 
Boston.  (2)  Ren6e  (Longy-Mi- 
quelle),  his  daughter,  also  an  able 
musician,  especially  known  as  a 
teacher  of  solfige;  mem.  faculty, 
Curtis  Inst.  of  Music,  Philadelphia. 
Loo 'mis,  Harvey  Worthington,  b. 
Brooklyn,  N.  Y.,  Feb.  5,  1865— 
Roxbury,  Mass.,  Dec.  ^25,  1931; 
composer;  pupil  of  Dvorak  at  the 
National  Cons.,  New  York,  1892, 
winding  a  3-yearsJ  scholarship;  lived 
in  New  York;  c.  pantomimes  and 
music  to  poems;  pf.-pcs.  and  songs. 
Lopat'nikoff,  Nikolai,  b.  Reval,  March 
16,  1903;  composer;  studied  at 
Petrograd  Cons.,  also  with  W, 
Rehberg,  Grabner  and  Toch;  after 
1920  res.  in  Karlsruhe,  later  in 
Helsingfors;  c.  modern-style  works 
of  originality  and  strong  formal 
sense,  among  which  a  symph.  was 
performed  by  N.  Y.  Philh.  Orch. 
under  Lange;  also  chamber  music 
and  piano  works. 
Lopez.  Vide  LOBO. 

Lorenz  (l6'-rSnts),  (i)  Fz.,  Stein,  Lower 
Austria,  1805 — Vienna,  1883;  writer. 
(2)    Karl   Ad.,    K6slin,    Pomerania, 
Aug.    13,    1837 — Stettin,    March    3, 
1923;  c.  quartets,  etc.,  as  a  sch,-boy; 
studied  with  Dehn,  Kiel  and  Gehrig, 
Berlin,  and  at  Berlin  Univ.;   1861, 
Dr.    Phil.;    1866,    Municipal    Dir., 
Stettin,  ^cond.  symph.  concerts,  etc.; 
teacher  in  two  gymnasiums;  founded 
the  "Stettin  Musikverein"  (for  ora- 
torio);   1885,   professor;    c.    2    succ. 
operas,   overtures,   etc.     (3)    Julius, 
Hanover,     Oct.     i,     1862 — Glogau, 
Oct.    i,     1924;    from     1884,    cond. 
Singakademie,  Glogau;  1895,  of  the 
"Arion,"    New    York;    c.    an   opera 
"Die  Rekruten"  and  overtures.     (4) 
Max,  b.  Diisseldorf,  May  19,  1901; 
tenor;     studied    with     Grenzebach; 
sang  heroic  r61es  at  Dresden  Op.,  and 
after  1934  at  Berlin  State  Op.;  also, 
beginning  1933,  at  Bayreuth  Fest., 
("Parsifal,"  "Siegfried,"  "Walther"); 
was  mem.  of  Met.  Op.  Co.,  N.  Y., 
for  several  seasons. 
Lo'ris,  LorTtus.     Vide  GLAKEANTJS. 
Lortzing    (Idrt'-tslfrg),    (Gv.),    Albert, 
Berlin,  Oct.  23,  1801— Jan.  21,  1851; 
an  actor,  son  of  actors,  and  m.  an 
-actress,    1823.     Had   a   few  lessons 
with     Rungenhagen;     chiefly     self- 
taught;    1826,    actor    at    Detmold; 
prod.  2  vaudevilles  with  succ.;  1833- 


DICTIONARY  OF  MUSICIANS 


267 


44>  tenor  at  Leipzig  th.;  prod.  succ. 
"Die  beiden  Sckutzen";  1837  and 
1839,  "Czar  und  Zimmerman";  4 
others  followed,  then  "Der  Wild- 
schiitz"  1842;  cond.  at  Leipzig  Op., 
then  travelled,  producing  6  more  op- 
eras, incl.  "Undine"  (1845);  (SDer 
Waffenschmied"  (1846);  his  melo- 
dious unction  keeps  those  works  men- 
tioned still  popular,  and  his  "Regina"  pi 
was  posthumously  prod .  Berlin,  1 899 .  b; 

Los  An'geles,  Victoria  de,  b.  Spain;  won 
Internat'l  Contest,  Geneva;  Met  Op., 
from  1950;  Co  vent  Garden;  soprano 
noted  for  lyric,  coloratura  roles;  has 
sung  Elsa,  Butterfly,  Rosina. 

LSschhorn  (Igsh"'-h6rn),  Albert,  Berlin, 
June  27,  1819 — June  4,  1905;  pupil 
of  L.  Berger,  Kollitschgy,  Grell  and 
A.  W.  Bach  at  the  R.  Inst.  for  Church- 
music;  1851,  pf.-teacher  there;  1859, 
professor;  noted  teacher;  writer  and 
composer. 

Lossius,  Lucas,  Vacha,  Hesse-Cassel, 
Oct.  18,  1508 — Ltineburg,  1382;  rec- 
tor, theorist  and  compiler. 

Lotti  (I6t'-te),  Ant.,  Venice,  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. 

Lotze  (16t'-tsS),  Rudolf  Hn.,  Bautzen, 
1817 — Berlin,  1881;  professor  and 
writer. 

Xrouis  (loo '-6s),  (i)  Fd.,  Friedrichsfelde, 
near  Berlin,  1772 — Saalfeld,  1806; 
Prince  of  Russia,  nephew  of  Frede- 
rick IL;  composer.  (2)  (loo'-S), 
Rudolf,  Schwetzingen,  Jan.  30,  1870 
— Munich,  Nov.  15,  1914;  pupil  at 
Geneva  and  Vienna,  where  he  was 
made  Ph.  D.,  studied  conducting 
with  Mottl;  theatre-cond.  at  Land- 
shut  and  Liibeck;  after  1907  writer 
and  theory  teacher  in  Munich;  c. 
symph.  fantasie  "Proteus"  (Basel, 


Lowe  (16),  Edw.,  Salisbury,  Engl.,  1610 
(-15?) — Oxford,  1682;  organist,  pro- 
fessor and  composer. 

LBwe  (la'-vS)  (Jn.)  Karl  (Gf.),  Lobe- 
jun,  near  Halle,  Nov.  30,  1796 — Kiel, 
April  20,  1869;  son  and  pupil  of  a 
cantor;  studied  with  Turk  on  a  royal 
stipend;  1821-66  town  mus.-dir.  at 
Stettin;  toured  Europe  singing  his 
own  fine  "ballades"  or  dramatic 


solos;  also  c.  5  operas,  17  oratorios, 
etc.,  wrote  a  "Selbst-biographie 
(1870)."  His  "Edward"  and  "Erl- 
konig"  famous. 

LSwenstern  (l3/-vSn-sht5rn)  (orLeuen- 
stern     or     Leonastro),     Matthaeus 
Apelles  von,  Neustadt,  1594 — Bern- 
stadt,  1648;  poet  and  composer;  son 
of  a  saddler  named  Lb'we;  became  a 
rivy  councillor  and  was   ennobled 
y  Ferdinand  II.,  taking  the  name  of 
von  Loewenstern;  c.  words  and  music 
of    "FrtthUngs-Morgen"    £30    sacred 
songs),  oratorio  "Judith"  (1646),  etc. 

Lualdi  (loo-al'-de),  Adriano,  b.  Larino 
(Campobasso),  March  22,  1887; 
composer  of  stage  works;  editor. 

Liibeck  (lii'-bek),  (i)  Vincentius,  Pad- 
dingbtittel,  near  Bremen,  1654 — 
Hamburg,  Feb.  9,  1740;  famous 
organist.  (2)  Jn.  H.,  Alphen,  Hol- 
land, 1799 — The  Hague,  1865;  violin- 
ist and  ct.-conductor.  (3)  Ernst, 
The  Hague,  1829 — Paris,  1876;  son 
of  above;  pianist.  (4)  Louis,  The 
Hague,  1838 — Berlin,  March  8,  1904; 
bro.  of  above;  pupil  of  Jacquard; 
1863-70,  'cello-teacher,  Leipzig 
Cons.;  then  in  Frankfort. 

Lii'benau,  L.     Vide  JADASSOHN,  s. 

Luboshutz  (loo '-bo-shoots),  Lea,  b. 
Odessa,  Feb.  22,  1889;  studied  at 
Moscow  Cons.,  and  with  Hrimaly 
and  Ysaye;  violinist  and  soloist  with 
orchs.  in  Europe  and  U.  S.;  teacher, 
Curtis  Inst.  of  Music,  Philadelphia. 

Lubrich  (loo'-brlkh),  Fritz,  b.  Bars- 
dorf,  July  29,  1862;  1890  cantor  at 
Peilau,  Silesia;  editor  and  composer. 

Lu'cas,  (i)  Chas.,  Salisbury,  1808 — 
London,  1869;  'cellist  and  composer. 
(2)  Stanley,  after  1861  secretary  to 
the  R.  Soc.  of  Mus.;  and  1866-80  of 
the  Philh.  Soc.  (3)  Clarence,  b. 
Canada,  1866;  studied  Paris  Cons.; 
critic;  conductor;  comp.  of  operas, 
etc. 

Lucca  (look'-ka),  Pauline,  Vienna, 
April  25,  1841 — Feb.  28,  1908; 
famous  soprano;  studied  with  Usch- 
mann  and  Lewy;  in  chorus  Vienna 
Op.;  1859  won  attention  as  "First 
Bridesmaid"  in  "Der  Freischittz,"  en- 
gaged at  Olmiitz,  for  leading  r61es; 
Meyerbeer  chose  her  to  create 
"Selika"  in  "UAfricaine"  at  Berlin, 
where  she  was  engaged  as  ct.-singer 
for  life;  sang  in  London  annually, 
and  broke  her  Berlin  engagement 
(1872)  to  sing  in  the  United  States 
for  two  years;  1869  m.  Baron  von 


268 


DICTIONARY  OF  MUSICIANS 


Rhaden  (divorced,  1872);  m.  von 
Wallhofen  in  America;  lived  in 
Vienna. 

Luck'stone,  Isidore,  Baltimore,  Md., 
Jan.  29, 1861 — N.  Y.,  March  12, 1941; 
pupil  of  P.  Scharwenka;  toured  as 
accompanist  for  many  noted  artists; 
after  1897  in  N.  Y.  as  teacher  of 
singing,  where  he  headed  vocal  dept., 
N.  Y.  Univ.,  for  a  time. 

Ludikar  (loo'-de-kar),  Pavel,  b.  Prague; 
studied  law  at  Univ,  of  Prague;  also 
music;  his  father  a  cond.  of  Prague 
Opera  and  prof,  at  Cons,  there,  his 
mother  an  opera  singer;  d6but  as 
"Sarastro,"  Prague,  1906;  sang  with 
Boston  Op.  Co.,  1913-14;  later  mem, 
Met,  Op,  Co.,  3ST.  Y.,  for  several 
seasons;  also  sang  at  La  Scala,  in 
Paris  and  at  Baden-Baden  Mozart 
festivals. 

Ludwig, 
Saxony, 

COmp.;  J.SU.J^M_I.  vx   v^v/JiuigjJic  ajj.u.  -tvj  mnA.-.'A 

Cons.;    attracted   attention    by   the 
completion  of  Schubert's  Unfinished 
symph.,  with  a  "Philosophic  scherzo" 
and  a  "March  of  Fate";  c.  also  an 
overture    "Ad    Astra,"    songs,    etc. 
(2)  Friedrich,  Potsdam,  May  8,  1872 
— Gpttingen,  Oct.  3, 1930;  historian  of 
music;  docent  at  Strassburg  Univer- 
sity; after  1920,  prof,  musical  science, 
Gottingen;  author  works  on  music 
of  13 th  and  i4th  century. 
Lugert     (loo'-ggrt),     Josef,     Frohnau, 
Bohemia,  Oct.  30,  1841 — Linz,  Jan. 
17,    1928;   teacher;   pupil  of  Prague 
Organ  School,  and  violinist  in  Ger- 
man Landes  theater  there;  later  piano 
teacher  at  Prague  Cons.;  1905  Royal 
Music  Inspector;  organised  orchestra 
schools,  and  won  fame  as  a  teacher; 
c.  symph.,  serenades  for  orch.,  "In 
Memoriam"  for  full  orch.  with  Eng- 
lish horn  solo;  also  wrote  technical 
books. 

Ltrigmi  (lw€-zhg'-ne),  Alexandre  (Cle*- 
ment  L.  Jos.)  Lyons,  March  9,  1850 
— Paris,  July  29,  1906;  pupil  and 
prize-winner  at  the  Cons.;  1869 
leader  in  Grand  Theatre,  Lyons,  and 
founder  of  the  Cons,  concerts  and 
prof.;  1897  cond.  at  Op.  Comique, 
Paris;  c.  comic  operas,  (6Les  caprices 
de  Mar  got"  (Lyons,  1877),  "Faublas" 
<i8Si),  ballets,  etc. 

ladly  (rightly  Lulli)  (lul-le,  or  lool'-H), 
(i)  J.  Bap.  de,  Florence,  Nov.  29, 
1632 — Paris,  March  22,  1687.  A 
Franciscan  monk  taught  him  the 


violin  and  guitar.  His  parents  were 
poor;  the  Chev.  de  Guise  took  the 
boy  in  1646  to  France  to  entertain 
Mile,  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  studied  the 
harps,  and  comp.  with  M6tru,  Rober- 
day,  and  Gigault,  and  became  a 
member  of  the  King's  private  or- 
chestra; 1652,  he  became  head  of  the 
"24  violins";  he  organised  a  second 
group,  "les  petits  violons,"  of  16 
instrs.  and  made  it  the  best  orchestra 
in  France.  1653,  ct.-comppser  and 

Erod.  masques  and  ballets  in  which 
ouis  XIV.  took  part  and  LuUy  as 
"M.  Baptiste,"   danced  and  acted. 
1672,  the  king  held  him  in  such  fa- 
vour that  he  gave  him  letters  patent 
for  an  " Academic  rovale  de  musique'* 
(now  the  Gr.  Op6ra);  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  vogue  till  Gluck  put  Mm 
in     eclipse.     L.     was     dir.,     stage- 
manager,    conductor,    and    even    at 
times  machinist,  as  well  as  composer. 
He  was  fortunate  in  his  librettist, 
Quinault.     He  developed  the  over- 
ture, and  introduced  the  brass  into 
the  orch.     He   was  famous  for  his 
temper  and  once  while  cond.   furi- 
ously struck  his  own  foot  with  the 
baton,    producing    a    fatal    abscess. 
His  works,  mainly  on  classical  sub- 
jects, include  "Les  Fetes  de  V Amour 
et  de  Bacchus";  a  pastoral  pasticcio 
(1672);      "Cadmus     et      Hermione"\ 
"Alceste";  "Thesee";  "Le  Carnaval," 
opera-ballet;          "Atys"          "Isis" 
"Psyche";    "Bellerophon";     "Proser- 
pine"; "Le  Triomphe  de  L9 Amour"; 
"PersSe";    "Phaeton";    "Amadis    de 
Gaule";      "Roland"-,      "Armide      et 
Renaud";  "Acis  et  Gcdatee,"  historic 
pastoral  (1686),  etc.,  also  symphs.,  a 
mass,    etc.     (2)    Louis     de,     Paris, 
1664 — after    1713;    son    of     above; 
dramatic  composer. 

Lum'bye,  (i)  Hans  Cnr.,  Copenhagen, 
1 8 10 — 1874;  conductor  and  com- 
poser of  pop.  dance-mus.  His  son 


DICTIONARY  OF  MUSICIANS 


269 


and  successor  (2)  G.,  c.  opera  "The 
Witch's  Fluted 

Lund,  John  Reinhold,  Hamburg,  Ger- 
many, Oct.  20,  1859 — Buffalo,  N.  Y., 
Feb.  i,  1925;  conductor,  composer; 
studied  at  Leipzig  Cons.;  cond.  of 
chorus,  Bremen  Op.,  1880-83;  after 
1884  asst.  cond.  to  Damrosch  with 
German  Op.  Co.,  N.  Y.;  1887-1903, 
cond.  Buffalo  Orch.  and  Orpheus 
Soc.;  toured  as  cond.  of  Herbert 
operettas;  after  1914  again  in 
Buffalo. 

Lunn,  (i)  Henry  Charles,  London,  1817 
— Jan.  23,  1894;  editor  and  author; 
pupil  Royal  Acad.  of  Music,  later 
dir.;  1863-87,  edited  The  Musi- 
cal Times,  London.  (2)  (Louisa) 
Kirkby,  Manchester,  Nov.  8,  1873 — 
London,  Feb.  17,  1930;  mezzo- 
soprano;  pupil  of  J.  H.  Greenwood, 
then  of  Visetti,  R.  A.  M.,  London, 
gaining  a  scholarship  in  1894. 
Appeared  in  a  student  performance 
of  Schumann's  "Genoveva,"  1893, 
with  such  success  that  she  was  en- 
gaged by  Sir  Augustus  Harris; 
1897—09  contralto  of  Carl  Rosa 
Company;  then  married  W.  J.  K. 
Pearsen;  sang  in  concert;  1901  began 
engagements  at  Co  vent  Garden;  sang 
nuch  at  festivals;  1902  at  Met.  Op. 
House,  New  York  and  with  Boston 
Symph.  and  other  orchs.,  1907  cre- 
ated "Kundry"  in  first  English  per- 
formance of  "Parsifal"  by  the  Henry 
W,  Savage  Company. 

lAiporini  (loo-po-re'-ne"),  Gaetano,  b. 
Lucca,  Italy,  Dec.  12,  1865;  pupil  of 
Primo  Quifici,  graduating  from  the 
Pacini  Mus.  Inst.;  c.  opera  "Mar- 
cello,"  succ.  lyric  comedy,  "I  Dis- 
fetti  Amorosi"  (Turin,  1894);  v. 
succ.  opera  "La  Collana  di  Pasqua" 
(Naples,  1896),  etc.;  cond.  at  Lucca. 

Lupot  (Iu-p5),  (i)  Nicolas,  Stuttgart, 
i7S? — Paris,  1824;  chief  of  a  French 
family  of  vln.-makers,  incl.  his  great 
grandfather  (2)  Jean;  his  grand- 
father (3)  Laurent  (b.  1696),  his 
father  (4)  Francois,  his  bro.  (5)  Fran- 
fiois  (d.  1837),  and  his  son-in-law, 
Chas,  Fr.  Gand  of  Gaud  &  Bernar- 
del,  Paris. 

I/usci'nius  (Latin  form  of  Nachtgall 
or  Nachtigall  (nakht'-(I)-gal), 
"Nightingale")?  Othmar,  Strassburg, 
1487 — ca.  1536;  organist,  theorist 
and  composer. 

/Aissan  (du  Itis-san),  ZSlie  de,  b.  New 
ifork,  1863;  pupil  of  her  mother; 


d6but  in  concert  and  stage,  1886; 
1889,  Carl  Rosa  Co.,  London;  1894-5, 
Met.  Op.;  Co  vent  Garden,  1895- 
1902;  d.  London,  Dec.  18,  1949. 

Lussy  (loos'-se"),  Mathis,  Stans,  Switz., 
April  8,  1828 — Montreux,  Jan.  21. 
1910;  pupil  of  Businger  and  Nageli; 
pf  .-teacher,  Paris,  and  writer. 

Lustig  (loos'-tlkh),  Jacob  Wm.,  Ham- 
burg, Sept.  21,  1706-1796;  organist 
and  theorist. 

Lustaer  (list'-n'r),  (i)  Ignaz  P., 
Poischwitz,  near  Jauer,  1793 — Bres- 
lau,  1873;  violin  teacher.  His  four 
sons  were  (2)  K.,  Breslau,  Nov.  10, 
1834 — Wiesbaden,  April  9,  1906; 
pianist  and  'cellist;  after  1872, 
teacher  in  Wiesbaden.  (3)  Otto, 
Breslau,  1839 — Barmen,  1889;  town 
mus.-dir.  at  Barmen.  (4)  Louis, 
Breslau,  June  30,  1840 — Wiesbaden, 
Jan.  24,  1918;  violinist,  and  after 
1874,  cond.  at  Wiesbaden.  (5)  G., 
1847 — 1887;  'cellist;  ct.-cond.  at 
Berlin. 

Luther  (loo'-ter),  Martin,  Eisleben, 
Nov.  10,  1483 — Feb.  18,  1546;  the 
great  reformer  concerned  himself  also 
with  church-mus.,  issuing  "Formula 
missae"  (1523),  and  a  new  order  for 
the  German  mass.  He  wrote  the 
words  of  at  least  36  chorals,  and  is 
generally  believed  to  have  c.  13 
choral- tunes  (incl.  the  famous  "Ein 
feste  Burg  ist  unser  Gott"  and  "Jesaia 
den  Propheten  das  gescha"),  his 
method  being  to  play  them  on  the 
flute  (which  he  played  well)  while  his 
friends  and  assistants,  the  cond. 
ELonrad  Rupff  and  cantor  Jn.  Wal- 
ther,  wrote  them  out. 

Lut'kin,  Peter  Christian,  Thompson- 
ville,  Wis.,  March  27,  1858 — Evans- 
ton,  111.,  Dec.  27,  1931;  teacher, 
conductor  and  composer;  studied  al 
Berlin  Hochsch.;  with  Stepanov> 
Moszkowski,  Leschetizky  and  others; 
after  1888  theory  teacher,  Amer. 
Cons.,  Chicago;  and  following  1891 
at  the  school  of  music,  Northwestern 
Univ.,  Evanston,  111.;  there  after 
1908  he  conducted  the  annual 
Chicago  North  Shore  Fests.;  in  1911 
and  1920  was  pres.  of  the  Music 
Teachers'  Nat'l  Association. 

Lutz  (loots),  Win.  Meyer,  Kissingen, 
1822 — West  Kensington,  Jan.  31, 
1903;  pianist  and  dram,  composer; 
from  1848,  conductor  at  London. 

Lux    (looks) s    Fr.,    Ruhla,    Thuringia, 


270 


DICTIONARY  OF  MUSICIANS 


1820 — Majence,     1895;     conductor, 
organist,  pianist  and  dram,  composer. 

Luython  (or  Ltdton)  (H-t6n),  Carl, 
Antwerp  (?) — Prague,  1620;  impor- 
tant composer  of  madrigals,  masses, 
fugues,  etc.;  1576  court  organist  to 
Maximilian  II.  and  to  Rudolf  II. 

Luzzaschi  (lood-z£s'-ke),  Luzzasco,  d. 
Ferrara,  1607;  court  organist;  pupil 
of  Ciprian  de  Rore,  and  teacher  of 
Frescobaldi;  c.  madrigals,  etc. 

luzzi  (lood'-ze),  Luigi,  Olevano  di 
Lomellina,  1828 — Stradella,  1870; 
dram,  composer. 

T,voff  (or  Lwoff)  (Pv6f),  Alexis, 
Reval,  1799 — on  his  estate,  Govt.  of 
Kovno,  1871;  violinist  and  conduc- 
tor; c.  the  Russian  national  hymn 
and  4  operas. 

Lyra  (le'-ra),  Justus  "W.,  Osnabiiick, 
1822 — Gehrden,  1882;  composer. 

Lysberg    (Igs-bSrkh)     (rightly    Bovy), 
Chas.  Samuel,  Lysberg,  near  Geneva, 
1821 — Geneva,     1873;    pianist    and 
dram,  composer. 
Lyssenko,  vide  IJSSENKO. 

M 

Maas  (mas),  (i)  Jos.,  Dartford,  1847— 
1886;    tenor.     (2)    Louis    (Ph.    O.), 
Wiesbaden,    1852  —  Boston,    1889;' 
pianist,    conductor    and    composer. 
(3)   Gerald  Christopher,  b.   Mann- 
heim,  1888;  'cellist;  pupil  of  Paris 
Cons,  and  of  Julius  Klengel;  played 
in     Munich     Konzertverein     orch.; 
1912,  Berlin  Op.  orch.;  1914,  taught 
at   Hoch   Cons.,    Frankfort;   played 
in   Rebner    Quartet;   after    1916   in 
U.  S.,  where  he  was  a  member  of 
Letz  Quartet,  1917-21. 
Mabellini     (ma-b€l-le'-ne),     Teodulo, 
Pistoia,  Italy,  1817 — Florence,  1897; 
ct.-conductor  and  dram,  composer. 
Macbeth7,  (i)  Allan,  Greenock,  Scot- 
land,    March     13,     1856 — Glasgow, 
1910;  pupil  of  Leipzig  Cons.;  organ- 
ist in  Glasgow;  after  1890,  principal 
sch.  of  mus.,   Glasgow    Athenaeum; 
c.  an  operetta,  2  cantatas,  chamber- 
mus.,   etc.     (2)   Florence,   b.    Man- 
kato,    Minn,,    1891;    coloratura    so- 
prano; studied  with  Yeatman  Grif- 
fith;  sang  in   England;   op.   d6but, 
Darmstadt,    1913;   after   1914   sang 
with  .  Chicago    Op.     Co.,     also    at 
Ravinia  Op.  and  in  concerts, 
fifacCtnm',  TTfl-mtgh3   Greenock,   Scot- 
land,    March     22,     1868 — London, 
Aog.    2a    1916;    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  concerts  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,  "Jeanie  Deans" 
(Edinburgh,  1894),  "Diarmid  and 
Ghrine"  (Covent  Garden,  1897);  5 
cantatas  incl.  "The  Death  of  Parry 
Reed"  (male  chorus  and  orch.),  over- 
tures "Cior  Mhor,"  "The  Land  of 
the  Mountain  and  the  Flood";  ballad 
overture,  "The  Dowie  Dens  o' 
Yarrow";  ballade,  "The  Ship  o'  the. 
Fiind,"  with  orch.;  8th  Psalm  with 
orch.,  etc. 

MacDow'ell,     Edward,     New     York, 
Dec.  18,  1861 — Jan.  23,  1908;  emi- 
nent American  composer  and  one  of 
the    most    original    and     virile     of 
creators    among    his     countrymen; 
pupil  of  J.  Buitrago,  P    Desvernine 
and  Teresa   Carreno,   N.    Y.;  1876, 
Paris    Cons.;    1879,   with   Heymann 
(pf.)   and   Ratl   (comp.)    Frankfort 
1881-82,  chief  pf.  teacher  at  Darm- 
stadt Cons.;  at  21,  Raff  (who  was 
deeply    interested    in    his    progress) 
and  Liszt  procured  the  performance 
of  his  works  at  the  annual  festival  of 
the  "Allgemeiner  deutscher  Musik- 
verein";  lived  in  Wiesbaden;   1888, 
Boston;     1896,    prof,     of    mus.    in 
Columbia  Univ.,  New  York;  Mus. 
Doc.  h.  c.,  Princeton  Univ.  and  1902, 
Penn.  U.  also;  he  gave  frequent  pf.- 
recitals,    and   played   his    concertos 
with  the  Boston  Symph.  and  other 
orchs.     In  Jan.  1904,  he  resigned  his 
professorship  at   Columbia   Univer- 
sity from    dissatisfaction   with    the 
faculty's  attitude  toward  music  as  a 
high  art.     He  was  succeeded  by  Cor- 
nelius Rybner  (q.  v.).     He  had  cond. 
the  Mendelssohn  Glee  Club  for  two 
years.     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  his  death,  Jan.  23,  1908, 
at  New  York.     So  great  was  his  hold 
upon   the   American  public   that   a 
MacDowell  Club  with  many  branches 
was  formed  to  carry  on  his  ideals  of 
art  and  to  aid  the  struggling  musi- 
cian;   a    choral    branch    under    the 
leadership  of  Kurt  Schindler  attained 


DICTIONARY  OF  MUSICIANS 


271 


a  very  high,  standard,  taking  the  title 
of  "Schola  Cantorum"  in  1912;  a 
biography  of  MacDowell  was  written 
by  Lawrence  Oilman,  1905.  His 
widow  has  been  an  active  force  in 
Amer.  music,  having  founded  the 
MacDowell  Colony  on  the  com- 
poser's estate  at  Peterboro,  N.  H., 
as  a  creative  centre  for  young  Amer. 
comps.,  scholarships  there  being  de- 
frayed by  M.-  Clubs  throughout 
U.  S.  ORCHESTRAL  COMPOSITIONS: 

2  poems  "Hamlet"  and  "Ophelia"9, 
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"'),    "Scandinavian" 
and    "Celtic"9,    prelude    and    fugue, 
modern  suite;  forest  idyls,  3  poems, 
"Moon-pictures"     6     poems     after 
Heine,   4  "Little   Poems"9,   technical 
exercises  (3  books),  and  12  virtuoso- 
studies,  etc.,  and  many  songs  of  great 
charm   and  individuality.    (See    ar- 
ticle, page  503.) 

Mace,   Thos.,   ca.    1613  —  ryog;    Engl. 


lutenist,  inventor  and  writer. 

Macfarlane,  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. 

Macfar'ren,  (i)  Sir  G.  Alex.,  London, 
March  2,  1813  —  Oct.  31,  1887;  not- 
able English  composer  and  scholar; 
son  and  pupil  of  the  plajrwright 
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 
Dperas,  9  of  them  prod.;  4  oratorios, 
5  cantatas,  8  symphonies,  7  over- 
tures, incl.  "Chevy  Chase,"  "Don 
Carlos,"  "Hamlet"  and  "Festival," 
concertos,  sonatas,  etc.;  wrote  text- 
books, articles;  ed.  old  texts,  etc.; 
biog.  by  Banister  (London,  ,'91). 

(2)  Natalia,    Ltibeck,    1827  —  Bake- 
well,  April  9,  1916;  wife  of  above; 
contralto,     translator     and     writer. 

(3)  Walter  Cecil,  London,  Aug.  28, 
1826  —  Sept.  2.  1905;  bro*  and  pupil 
(in  comp.;  of  (i);  studied  with  Turle, 
Holmes    (pf.)    and   Potter    (comp.); 
from  184$.  pf  .-prof,  at  the  R.  A.  M., 
of  which  he  was  a  Fellow;  1873-80, 


cond.  Acad.  Concerts;  dir.  and  treas- 
urer Philharm.  Soc.;  pianist,  lecturer, 
editor,  and  composer  of  a  symph., 
7  overtures,  a  cantata  "The  Song  of 
the  Sunbeam,"  services,  etc. 

Machault  (or  Machau,  Machaud,  Ma- 
chut)  (ma-sh5),  Guillatiine  (Guliel- 
mus)  de  Mascandio,  Machault  in 
the  Ardennes,  1300 — ca.  1372; 
troubadour;  composer. 

Mackenzie,  Sir  Alex.  Campbell,  Edin- 
burgh, Aug.  22,  1847 — London, 
April  28,  1935;  notable  British  com- 
poser; pupil  of  Ulrich  (pf.)  and  Stein 
Qcomp.;,  Sondershausen  Cons.;  at 
14  a  violinist  in  the  Ducal  Orch.; 
1862,  won  the  King's  scholarship, 
R.  A.  M.,  and  studied  with  Sainton, 
Jewson,  and  Lucas;  from  1865 
teacher  and  cond.  Edinburgh;  1888 
of  Cambridge;  1896  of  Edinburgh 
U.;  1894  knighted;  1888—1924,  prin- 
cipal R.  A.  M.  (vice  Macfarren); 
1892  cond.  Philh.  Soc.;  c.  operas. 
"Colomba"  (Drury  Lane,  1883),  "The 
Troubadour"  (ibid.  1886),  and  "His 
Majesty,  or  the  Court  of  Vingotia*9 
(1897;  comic),  "Cricket  on  the 
Hearth"  (MS.);  oratorios,  "The  Rose 
of  Sharon"  (Norwich  Festival,  1884), 
and  "Bethlehem"  (1894);  cantatas, 
"Jason"  (Bristol  Festival,  1882), 
"The  Bride,"  "The  Story  of  Sayid" 
(Leeds  'Festival,  '86),  "The  New 
Covenant,"  "The  Dream  of  Jubal? 
"The  Cotter's  Saturday  Night,"  and 
"Veni,  Creator  Spiritus";  2  Scottish 
rhapsodies,  a  ballad,  with  orch.,  "La 
"belle  dame  sans  merci"*,  overtures 
"Cervantes,"  "To  a  comedy,"  "Tempo 
di  baUo,"  "Twelfth  Night,"  "Britan- 
nia"*, a  vln.-concerto,  a  "Pibroch** 
for  vln.  and  orch.;  "Scottish  Con- 
certos" for  pf.,  etc. 

Maclean7,  (i)  Chas.  Donald,  Cam- 
bridge, March  27,  1843 — London, 
June  23,  1916;  pupil  of  Ferdinand 
Killer;  organist  at  Oxford,  later  at 
Eton  and  (after  1880)  in  London;  foat 
a  time  in  India;  c.  oratorios,  etc. 
(2)  Alex.  Morvaren,  Eton,  July  20, 
1872 — London,  May  18,  1936;  active 
for  many  years  as  theatre  cond.  and 
comp.  of  music  for  plays  in  London; 
also  orch.  and  choral  works.  (3) 
Quentin  Morvaren,  b.  London,  May 
14,  1896;  son  of  (2);  also  a  prolific 
comp.  of  music  for  the  stage;  a  pupil 
of  Straube,  Reger  and  Krehl. 

Maclen'nan,  Francis,  Bay  City,  Mich., 
1870 — Port  Washington,  N.  Y.t 


272 


DICTIONARY  OF  MUSICIANS 


r935;  tenor;  studied  New  York, 
London  and  Berlin;  sang  in  London, 
1902;  after  1904  with  Savage  Op. 
Co.,  in  U.  S.;  1907,  Royal  Op., 
Berlin;  1913,  Hamburg  Op.;  1915-17, 
Chicago  Op.  Co.,  later  again  in 
Berlin;  m.  Florence  Easton,  soprano; 
divorced. 

MacMill'an,  Sir  Ernest  Campbell,  b. 
Mimico,  Ontario,  Aug.  18,  1893; 
composer,  conductor,  organist;  stud- 
ied in  Toronto  and  Edinburgh  with 
Niecks,  Hollins  and  W.  B.  Ross; 
Mus.  D.,  Oxford,  1918;  Fellow  of  the 
R.  Coll.  of  Music,  London;  1926, 
principal,  Toronto  Cons.,  and  dean 
of  faculty  of  music,  Univ.  of  Toronto; 
1935,  knighted  by  British  Gov't.;  c. 
and  arr.  choruses  and  songs,  c.  orch. 
and  chamber  music;  cond.  Toronto 
Symph.  Orchestra. 

Macmil'len,  Francis,  b.  Marietta,  Ohio, 
Oct.  14,  1885;  violinist;  pupil  of 
Listemann,  Chicago;  at  10,  pupil  of 
Markees,  Berlin;  at  15  of  C6sar 
Thomson  at  Brussels  Cons.;  sharing 
first  violin  prize  1902  and  taking 
Van  Hal  prize;  played  in  Brussels, 
etc.;  1903  London;  after  1906  toured 
U.  S. 

Macpher'son,  (i)  Charles  Stewart, 
composer;  b^  Liverpool,  March  29, 
1865;  pupil  of  R.  A.  M.,  London, 
with  a  scholarship;  gained  also  tie 
Balfe  scholarship  and  medals;  1887 
prof,  there;  1892  a  fellow;  1903  prof. 
Royal  Normal  College  for  the  Blind; 
c,  symph.,  2  overtures,  a  £ne  mass 
with  prch.  (1898);  "Concerto  alia 
fantasia"  for  violin,  etc.;  wrote 
theoretical  text  books.  (2)  Charles, 
Edinburgh,  May  10,  1870— May  28, 
1927;  1890  pupil  R.  A.  M.,  winning 
Lucas  prize  1892;  later  teacher 
of  counterpoint  there;  1895,  sub- 
organist  at  St.  Paul's,  London;  c. 
overture  "Cridhe  an  Ghaidhil"  Ckon- 
don,  1895);  orch.  suites,  "Highland?? 
and  "Hallowe'en";  "Psalm  iStf*  for 
choir  and  orch.,  etc. 
Macque  (m&k)3  Jean  de,  Flemish  cjioir- 
master  in  Rome  1576-82;  1610  at 
Royal  Chapel  Naples;  c.  madrigals 
and  motets. 

Mad'dy,  Joseph  Edgar,  b.  Wellington, 
Kans.,  Oct.  14,  1891;  conductor, 
educator;  studied  with  Czerwonky, 
Ludwig  Becker,  Arthur  Hartmanns 
hon,  Mus.  D.,  Cindnp&ti  Cons., 
1930;  mem.,  Minneapolis  Symph., 
1900-14;  prof,  public  school  nmsica 


Univ.  of  Mich.;  organised  arid  cond. 
Nat'l  High  School  Orch,  after  192,6; 
dir.  summer  school  and  camp  of  this 
group  at  Interlochen,  Mich.;  pres. 
Music  Educators  Nat'l  Conference, 
1936;  author  of  books  on  instr.  tech- 
nique and  teaching. 

Mader  (ma'-dSr),  Raoul  (M.),  b.  Press- 
burg,  Hungary,  June  25,  1856;  stud- 
ied Vienna  Cons.;  took  ist  prize  for 
pf.  and  comp.,  and  the  great  silver 
medal  and  the  Liszt  prize  as  best 
pianist  in  the   Cons.;   1882-95,   *st 
"coach"    for    solo    singers,    Vienna 
ct,-opera,     also     asst.-cond.     From 
1895  cond.  Royal  Opera,  Budapest; 
1917-19,     dir.    Vienna,    Volksoper; 
1921-25,    dir.    Budapest    Op.;    c.    2 
comic  operas,  4  ballets,  incl.   "Die 
Sireneninsel,"  and  "She"  (after  Rider 
Haggard)  ^    parody    on    Mascagni'r 
"Cavalleria  Rusticana"  (Th-.  an  del 
_  Wien,  1892);  d.  (?). 
Madeto'ja,  Leevi,   K   Oiilli,   Finland, 
Feb.  17,  1887;  composer;  studied  at 
Hplsingfors  Univ.  and  at  Music  In- 
stitute   there   under   Jarnefelt   and 
Sibelius;  also  in  Paris  with  d;Indy 
and  in  Vienna  with  F-uchs;  1912-14, 
second  cond.  of  Helsingfors  Philh.; 
1914-16,  cond.  Wiborg  Orch.;  since 
then  teacher  of  comp.  and  mem,  of 
directorate  at  Helsrq.g£ors,Mus.  lust.; 
c.     opera     "Pohjalatsia*9*     3*    sym- 
phonies; "Stabat  Mater"  for  women'& 
chorus;  other  choral  wonksv  chamber 
music,  pf.  pcs.,  sojigs;'cL  1947. 
Maganini   (mag-a-ne^nS),    Qtrfnto,  b. 
Fairfield,  CaL,  Nov.  30,  1897;  com- 
poser,    conductor,     flutist;     studied 
with  BarrSre  and  Nadia  Boulanger; 
winner  of  Pulitzer  Prize,  1927,  and  of 
Guggenheim  Fellowship;  played  as 
flutist  in  San  Francisco  and  N.  Y. 
Symph.    Orchs.;    guest    cond.    with 
leading  orchs.  and  also  o£  his  own 
Little    Symph.;    c.    orch.,    chamber 
music  and  vocal  works. 
Mag(g)ini   (mad-jg'-n6)    (or  Magino), 
Giov.  Paolo,  Botticini-Marino,  Italy, 
1580 — Brescia,  ca.  1640;  vln.-maker, 
rivaling  Stradivari  and  Guarneri;  his 
double-basses  particularly  good;  la- 
bel, "Gio.  Paolo  Maggini,  Brescia." 
Magnard    (min-yar),    Albgric,    Paris, 
June    9,    1865— killed    by    German 
soldiers  while  defending  his  estate  at 
SenHs,  Sept.  3.  1914;  composer;  pupil 
of  the  Cons,  (winning  first  harmony 
prize   1888),    then   of   d'Indy;    c.   3 
symph.,   overture,   suite  in  ancieni 


DICTIONARY  OF  MUSICIANS 


273 


style;  hymns  to  "Justice"  and  to 
*  Venus,"  i-act  opera  "  Yolande" 
(Brussels,  1892);  3-act  "Guercceur"-, 
important  chamber  music,  etc. 

Ifag'nus,  D6sire  (rightly  Magnus 
Deutz),  Brussels,  1828 — Paris,  1884; 
teacher,  composer  and  critic. 

MahiUon  (ma-e-y6n),  Chas.  Victor, 
Brussels,  March  10,  1841 — St.  Jean, 
Cape  Ferrat,  June  17,  1924;  after 
1877  custodian  of  mus.  instrs.,  Brus- 
sels Cons.;  editor  and  writer;  man- 
ager wind-inst.  factory  of  his  father. 

Mahler  (ma'-ler),  (i)  Gustav,  Kalischt, 
Bohemia,  July  7,  1860 — Vienna, 
May  1 8,  1911;  highly  gifted  com- 
poser and  conductor;  pupil  of  the 
Cons,  and  Univ.  at  Prague  and 
Vienna,  with  Bruckner  as  one  of  his 
teachers;  began  his  career  in  1880  as 
theatre  cond.  in  Hall,  Lubjlana  and 
Olmiitz;  asst.  cond.,  Cassel,  1883; 
asst.  to  Angelo  Neumann  at  the 
Prague  German  pp.,  1885-86;  in 
tatter  year  at  Leipzig  Op.,  under 
Nikisch;  at  Budapest  Royal  Op., 
1888-91;  at  the  Hamburg  City 
Theatre,  1891-97,  and  orch.  cond. 
as  successor  to  Billow.  Beginning 
1897  he  was  in  Vienna,  ist  as  cond. 
at  the  Court  Op.,  then  from  1900  to 
1907  its  dir.  during  a  most  brilliant 
period.  In  1907  he  was  called  to  the 
Met.  Op.,  where  he  led  German 
operas,  and  in  1909  was  elected  cond. 
of  the  N.  Y.  Philh.  Orch.  at  what  was 
then  the  largest  salary  ever  paid  a 
leader  ($30,000  per  annum).  Par- 
tially as  a  result  of  a  typhoid  infec- 
tion and  partly  of  a  nervous  break- 
down, he  gave  up  his  post  and  re- 
turned to  Vienna  in  1911,  where  he 
died  the  following  year.  He  has  had 
a  strongly  augmented  fame  as  a 
comp.  in  recent  years,  owing  to  the 
championship  of  various  notable 
conductors,  such  as  Mengelberg, 
Bruno  Walter,  etc.,  and  also  to  the 
organization  of  Mahler  societies  in 
various  countries,  of  which  there  is 
one  in  the  XL  S.  His  output  is 
highly  individual,  but  there  is  ^  a 
strong  division  of  opinion  as  to  its 
ultimate  artistic  rank.  That  he  was 
a  master  of  orchestration  is  generally 
admitted;  he  chose  subjects  of  vast 
scope  for  his  compositions,  with  pro- 
grammes drawn  from  literature,  and 
in  several  of  his  symphs.  he  employs 
the  human  voice  as  an  adjunct ;  he  gen- 
erally uses  a  large  musical  apparatus. 


His  comps.  include:  10  symphonies, 
i,  D  major  (1891);  2,  C  minor,  with 
contralto  and  chorus  (1895);  3,  D 
minor,  known  as  "La  Programma- 
tic a,"  with  contralto  soloist,  men's 
and  boys'  choruses  (1896);  4,  G 
major,  known  as  "The  Heavenly 
Life,"  with  soprano  soloist  (1901); 
5,  C#  minor  (1904);  6,  A  minor 
(1906);  7,  E  minor  (Prague,  1908); 
8,  E  flat  major,  in  2  sections,  known 
as  "the  symphony  of  a  thousand" 
from  the  large  choral,  orch.  and  solo 
forces  employed  (Munich,  1910);  p, 
ID  major,  posthumous,  ist  heard  in 
Vienna  under  Bruno  Walter,  1912; 
and  10,  left  unfinished  but  ed.  by 
Franz  Mikorey,  and  prod,  under  the 
title  "Sinfonia  Engadine"  in  Berlin, 
1913.  His  other  principal  works  are : 
"Das  Lied  von  der  Erde"  for  tenor 
and  alto  soloists  and  orch.,  after  old 
Chinese  poems  (also  a  posth.  work, 
first  heard  1911,  and  since  o^ten 
perf.  with  growing  popularity);  "Das 
Klagende  Lied,"  for  soloists,  chorus 
and  orch.;  4  "Lieder  eines  Fahrenden 
Gesellen,"  '  12  songs  from  "Des 
Knaben  Wunderhorn" ;  songs  to 
poems  by  Riickert;  5  "  Kind er toten- 
lieder"',  3  "  Hefte  Lieder"',  and  other 
songs  from  his  earlier  period;  frag- 
ments from  a  youthful  opera,  "Die 
Argonauten" ;  a  fairy  tale  opera, 
"Rubezahl"  with  text  by  the  com- 
poser; sketches  for  an  opera  based 
on  Weber's  "Die  Drei  Pintos,"  early 
chamber  music,  etc.  Studies  of 
Mahler  have  been  written  by  Specht, 
Bekker,  Stefan,  Guido  Adler  and 
Arthur  Neisser.  (2)  Alma  Maria 
(n6e  Schindler),  his  wife,  a  pupil  of 
Labor  and  Zemlinsky,  c.  songs; 
(3)  Fritz,  his  nephew,  a  conductor, 
active  in  Germany  and  (1936)  in  the 
U.S. 

Mahu  (ma'-oo),  Stephan,  b.  Germany, 
ct.-singer  and  composer,  1538. 

Maier  (ml'-er),  (i)  Julius  Jos.,  Frei- 
burg, Baden,  1821 — Munich,  1889; 
teacher  and  writer.  (2)  Guy,  D 
Buffalo,  N.  Y.,  1892;  pianist;  studied 
at  New  England  Cons,  with  Proctor 
and  Schnabel;  d6but,  Boston,  1915; 
has  toured  as  solo  pianist  and  in  two- 
piano  programmes  with  Lee  Patti- 
son;  prof,  piano,  Univ.  of  Mich.;  has 
given  many  lecture-recitals  for  chil- 
dren on  lives  of  composers. 

Maikapar    (ma'-ka-par),    Samuel,    b, 
Chersson,    Russia,    Dec.    18,    1367; 


274 


DICTIONARY  OF  MUSICIANS 


pianist;  pupil  of  the  Cons.,  and  of 
Leschetizky;  settled  in  Moscow;  c. 
piano  pieces. 

MaillardT  (ml-ySr),  Jean,  i6th  century 
French  composer;  pupil  of  Deprfcs; 
c.  important  motets  and  masses, 
from  one  of  which  Palestrina  took 
themes  for  a  mass  of  his  own. 

Maillart  (ml-yar),  Louis  (called  Aime), 
Montpellier,  Herault,  France,  1817 — 
Moulins,  Allier,  1871;  dram,  com- 
poser. 


Maflly  (mi-ye),  Alphonse  J.  Em 
Brussels,  Nov.  27,  1833 — Jan.,  1918; 
pianist,  and  organ  virtuoso;  pupil  of 
Girschner,  Brussels  Cons.;  1861  pf.- 
teacher  there;  1868  organ-teacher; 
•omposer. 

Mainardi    (ma-e-nar'-d€),    Enrico,    b. 
Milan,  May  19, 1897;  'cellist;  studied 
Verdi   Cons.,   Milan  and  in   Berlin 
with  Hugo  Becker;  d6but  in  Milan, 
1*909;  taught  at  Rome  Acad.  after 
*933>  I929~3r>  *st  'cellist  of  Berlin 
State  Op.  orch.;  has  made  concert 
appearances  in  Eur.  countries. 
Mainzer  (mln'-tser),  Abbe  Jos.,  Trier, 
1807 — Manchester,     1851;     singing- 
teacher,  writer  and  dram,  composer. 
JMaison  (ma-s6n'),  Rene",  b.  Trameries, 
Belgium,  Nov.  24,  1895;  tenor;  stud- 
ied   Antwerp,    Brussels    and    Paris; 
mem.  of  Monte  Carlo  Op.,  1922-25; 
later  sang  at   Paris  Op.   and   Op.- 
Comique;  for  several  seasons  with 
Chicago  Oj>.,  and   1935  with  Met. 
Op.,  N.  Y.,  in  Wagnerian  and  French 
roles,  also  in  "Fiddio." 
Maitland  (mat'-land)  J.  Alex,  roller-, 
London,    April    7,    1856 — Canforth, 
Lancashire,  March  30,   1936;   1882, 
M.  A.  Trinity  ColL,  Cambridge;  lec- 
turer and  critic  for  various  papers; 
1889-1911   London    Times;  ed.   the 
Appendix  to  Grove's  Diet.;  pianist  at 
the    Bach    choir     concerts;     wrote 
"Masters    of   German    Music"    and 
many  authoritative  works.     Edited 
the     "Fitzwtiliam     Virginal     Book" 
with  Barclay  Squire. 
Majo  (mS/-y5),  Fran,  di  (called  Ciccio 
di  Majo),  Naples,  ca.  1740 — Rome, 
1770;  organist  and  noted  composer  of 
operas  and  church-mus. 
Major  (ma'-y6r),  Julius  J.,  Kaschau, 
Hungary,  Dec.  13,  1859— Budapest, 
Tan.  30,  1925;  pupil  of  the  Landes- 
Husik  Akad.  at  Budapest;  founded 
, '  a/joawsic  school  and  singing  societies 
-  -4here;  -c.  a  symph,,  operas,  "ftisbeth" 


and  "Erysika"  (Pest,  1901),  "SzecM 
Maria"  (Klausenburg,  1906),  etc. 
Majorano.     Vide  CAPFARELLI. 
Malashldn,  Leonid  Dimitrievitch,  1842 
— Moscow,  Feb.   u,  1902;  Russian 
composer   of   an   opera,   a   symph., 
songs,  etc. 

Malder  (mal'-der),  Pierre  van,  Brus- 
sels, 1724 — 1768;  violinist  and  com- 
poser. 

Malherbe  (m£l-£rb),  Chas.  Theodore, 
Paris,  April  21,  1853 — Oct.  5,  1911; 
at  first  a  lawyer,  then  studied  with 
Danhauser,  Wormser,  and  Massenet; 
also    pub.    some    original    comps., 
and  transcriptions;  Danhauser Js  sec.; 
1896,     asst.-archivist,     Gr.     Op6ra; 
Officer  of  the  Acad.  and  of  Pub.  In- 
struction;  Chev.  of  various  orders. 
Ed.,      Le     Mtnestrd,     and     prolific 
writer  on  Wagner,  etc.;  owned  prob- 
ably the  best  private  coll.  of  mus.» 
autographs   in   the  world;   ed.   Ra- 
meau's  complete  works. 
Malibran  (mai-I-brafi),  (i)  M.  Feliciti 
(ne'e  Garcia),  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  register 
and    several    well-concealed    "head 
tones"  between;  she  improvised  fre- 
quently on  the  stage,  and  also  c.; 
at  5  she  played  a  child's  part  and 
one  evening  broke  out  singing  the 
chief  rdle  to  the  amusement  of  the 
audience;  at  7  studied  with  Pauseron; 
at   15   studied   with  her  father   (v. 
GARCIA);  d€but,  London,  1825;  sang 
in  opera  in  New  York,  1825-27  with 
great  succ.;  she  had  a  personality 
that  compelled  extraordinary  hom- 
age.    She  m.  Malibran;  when  he  be- 
came  bankrupt   she   divorced   him 
and  1836  m.  De  B&riot,  ct. -violinist 
with  whom  she  had  lived  since  1830. 
(2)  Alex.,  Paris,  1823 — 1867;  violin- 
ist and  composer. 

Malipiero  (mal-e-pg-a'-ro),  Gian  Fran- 
cesco, b.  Venice,  March  18,  1882; 
composer;  mem.  of  a  familv  line  of 
musicians  for  some  generations;  pu- 
pil of  the  Liceo  in  Bologna,  studying 
with  Enrico  Bossi;  after  1913  lived 
for  a  time  in  Paris  in  touch  with, 
modern  musical  circle  incl.  Casellaj 
'  at  this  time  submitted  5  scores  ta 
Italian  Natl  Contest  and  won  4. 
prizes  under  different  names;  this 


DICTIONARY  OF  MUSICIANS 


275 


occasioned  criticism  when  his  earlier 
scores  were  performed  in  Italy, 
where  his  recognition  has  been  slower 
than  in  other  countries;  after  1920 
he  came  to  be  recognised  as  one  of 
the  leading  creators  of  his  country, 
a  cultivated,  intellectual  personality, 
and  in  his  music  embodying  roman- 
tic and  poetic  qualities,  individual 
color  and  atmosphere,  with  an  idiom 
of  marked  modernity;  after  1921  he 
taught  comp.  at  the  Parma  Cons.; 
his  productions  before  1911  have 
been  disavowed  by  him  as  not  repre- 
sentative; later  works  include:  (ope- 
ras) "Sette  Canzoni,"  orig.  series  of 
short  operatic  sketches;  "Pantea"; 
"  Three  Goldoni  Comedies";  "Filomela 
e  I' Infatuate";  "Orfeo";  "II  Mistero 
di  Venezia";  "La  Favola  di  Figlio 
Cambiato"  (to  Pirandello  book,  which 
had  premiere  in  Brunswick,  Ger- 
many, but  on  Rome  hearing,  1934, 
was  stormily  hissed  and  withdrawn 
after  one  perf.  owing  to  satire  on 
royalty  and  church) ;  "Giulio  Cesare" 
(Genoa,,  1935—36  with  succ.);  "An- 
tonio e  Cleopatra,"  Florence,  1938. 
(Ballets)  "La  Baritffe  Chiozzotte," 
"La  Mascherata  delle  Principesse 
Prigionere";  (orch.)  "Impressioni  del 
Vero"  (2  series);  "Paitse  del  Silen- 
vio";  "Ditirambo  Tragico";  "Oriente 
Immaginario" ;  "La  Cimarosiana"; 
Symphony;  vln.  concerto;  (chamber 
music)  "Ris petti  e  Strambotti"  and 
"Stornelli  e  Ballate"  for  string  quar- 
tet; Sonata  a  Tre;  'cello  sonata; 
(choral  works)  "San  Francesco  d' As- 
sist," mystery  for  soloists>  chorus 
and  orch.  (N.  Y.,  1921);  "Princess 
Ettlalia"  for  soloists,  chorus  and 
orch.  (N.  Y.  Oratorio  Soc.,  1927); 
also  piano  music,  songs,  etc. 

Mailing,  (i)  Jorgen,  Copenhagen, 
1836 — July  12,  1905;  Danish  com- 
poser and  teacher;  from  1875  in 
Vienna.  His  brother  (2)  Otto  (Bal- 
demar),  Copenhagen,  June  i,  1848 
— Oct.  5,  1915;  pupil  of  Gade  and 
Hartmann  at  the  Cons.,  later  teacher 
there;  organist  and  founder  of  con- 
cert association;  c.  symph.;  violin 
fantasie  with  orch.,  overture,  cham- 
ber music,  and  valuable  organ  pieces. 

Mallinger  (mal'-ling-er),  Mathilde  (nee 
Lichtenegger),  Agram,  Feb.  17,  1847 
— Berlin,  April  19,  1920;  soprano; 
pupil  of  Giordigiani  and  Vogl, 
Prague  Cons.,  and  Lewy,  Vienna; 
d6but,  Munich,  1866;  1868,  created 


"Eva"  in  the  "  Meister singer" ;  m* 
Baron  von  Schimrnelpfennig;  1890, 
singing-teacher,  Prague  Cons. 

Malten  (mST-tSn),  Therese,  Inster- 
burg,  East  Prussia,  June  21,  1855 — 
Dresden,  Tan.  2,  1930;  soprano;  pupil 
of  Engel  (voice),  and  ELahle  (action), 
Berlin;  at  18  debut,  Dresden  as 
"Pamina,"  and  engaged  there  for 
life;  created  "Sundry"  ("Parsifal") 
atBayreuth,  1882;  1898,  ct.-chamber 
singer. 

Malvezzi  (mal-vSd'-ze),  Christofano, 
Lucca,  1547 — Florence,  1597;  canon 
in  Florence;  and  chapel  master  to  the 
Grand  Dukes  of  Tuscany;  collected, 
and  composed  dramatic  intermezzi, 
1591,  etc. 

MSlzel  (m&'-tsel),  Jn.  Nepomuk,  Rat- 
isbon,  1772 — on  a  voyage,  July  31, 
1838;  mus.-teacher;  inv.  "panhar- 
monion"  (a  sort  of  orchestrion),  aq 
automaton-trumpeter,  and  an  auto- 
matic chess-player;  while  experi- 
menting with  his  "chronometer,"  4 
sort  of  metronome  (v.  D.  D.)»  he  sa^» 
WinkePs  invention,  adopted  its  chief 
features  and  patented  tbe  result  a* 
MSlzel's  metronome  (v.  D.  D.). 

Mana-Zuc'ca  (rightly  Zuckerman),  b. 
New  York,  1891;  woman  composer; 
studied  in  U.  S.  and  Europe;  toured 
as  pianist,  also  sang  in  light  opera; 
has  c.  works  for  orch.,  chamber 
music,  and  a  large  number  of  highly 
successful  songs. 

Man 'chester,  Arthur  Livingston,  b. 
Bass  River,  N.  J.,  Feb.  9,  1862; 
organist,  editor,  educator;  pupil  oi 
Zeckwer,  Gilchrist,  Bussmann  and 
Tubbs;  dir.  of  music  schools;  from 
1904-13  at  Converse  Coll.,  Spartan- 
burg,  S.  C.;  1913-18,  Southwestern 
Univ.,  Georgetown,  Tex.,  and  after- 
ward at  Hardin  Coll.;  assoc.  ed.  The 
£tude,  1893-96;  ed.  The  Musician 
(Boston),  1896-1902;  pres.  of  M.  Tv 
N.  A.,  1900-02,  and  ed.  its  pub,, 
The  Messenger. 

Mancinelli  (man-ch*-nSl'-li),  Ltiigi,  Or- 
vieto,  Papal  States,  Feb.  5,  1848 — 
Rome,  Feb.  2,  1921;  intended  for 
commerce,  self-taught  on  the  pf., 
but  permitted  to  study  at  14  with 
Sbolci  (Florence,  'cello;;  at  15,  3rd 
'cellist  Pergola  Th.,  earning  his  living 
the  next  8  years;  studied  with  Ma- 
bellini  (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  best 


276 


DICTIONARY  OF  MUSICIANS 


in  Italy;  1886-88,  cond.  at  Drury 
Lane,  London;  1888-95,  Royal  Th., 
Madrid;  till  1906  at  Covent  Garden, 
London,  and,  1894-1902,  at  Met. 
Op,,  N.  Y.;  in  Italy  called  "il 
Wagnerista"  for  his  advocacy;  c. 
opera  "Isora  di  Provenza"  (Bologna, 
1884);  succ.  "Era  e  Leandro"  (Ma- 
drid, 1897,  New  York,  1899);  an 
oratorio,  etc.;  overture  and  entr'acte- 
mus.  to  Cossa's  "Cleopatra." 

Ifancini  (man-chg'-ne),  (i)  Fran., 
Naples,  1679 — 1739  cond.  and  drarn> 
composer.  (2)  Giambattista,  Ascoli, 
1716 — Vienna,  1800;  writer  on  voice. 

Manci'nus,  Thomas,  Schwerin,  1550 — 
Wolfenbiittel  ca.  1620;  Dutch  com- 
poser of  "Passions  according  to  St. 
Matthew  and  St.  John";  cond.  to 
Duke  of  Brunswick, 

Mandl  (mant'-'l),  Richard,  Prossnitz, 
Moravia,  1859 — Vienna,  April  i, 
1918;  pianist;  pupil  Vienna  Cons., 
later  of  Delibes,  Paris,  where  he 
settled  1886;  c.  i-act  opera  "Ren- 
contre Impr&oue"  (Rouen,  1889); 
"Chanson  Provencal"  for  voice  and 
orch.,  orch.  scherzo  (Lamoureux 
concerts,  1894);  symph.  poem,  with 
organ,  mezzo-sopr.  and  female 
chorus,  "Griselidis"  (Vienna,  1906?); 
overture  "To  a  Gascon  Knight 
Zrama"  (Wiesbaden,  1910),  piano 
nieces,  etc. 

Mandyczewski  (man-dS-chSf'-ski),  Eu- 
sebms,  Czernovitz,  Aug.  18,  1857 — 
Vienna,  July  15,  1929;  pupil  of  Fuchs 
and  Nottebohm;  from  1897  teacher 
Vienna  Cons.;  writer  and  editor  of 
Schubert's  works,  for  which  he  was 
made  Ph.  D.,  Leipzig.  After  1914 
he  was  comp.  teacher  at  the  Vienna 
Cons.;  he  trained  the  Vienna  Sing- 
akademie  chorus  from  1887,  and  was 
librarian  of  the  Musikfreunde,  whose 
historic  archives  he  kept;  also  chair- 
man of  the  Tonktinstlerverein,  and  a 
personal  friend  of  Brahms,  whose 
complete  works  (as  well  as  those  of 
Haydn)  he  edited. 

Manen  (m5/-nan)  Joan,  b.  Barcelona, 
March  14,  1883;  violinist;  composer; 
travelled  as  prodigy  pianist,  then 
took  up  violin;  pupil  of  Alard;  c. 
operas  "Giovanni  di  Napoli"  (Bar- 
celona, 1903),  "Akte"  (do.);  "Der 
Fackeltanz"  (Frankfort  -on  -  Main 
1909);  symph.  poem  "  Nuova  Catalo- 
nia," violin  concertos,  etc. 

Umifrednii  (mSn-irS-de'nS),  (i)  Fran- 
cesco, b.  Pistoja,  1688;  violinist;  1711 


cond.  at  Monaco;  c.  oratorios,  con- 
certos, etc.  His  son  (2)  Vincenzo, 
Pistoja,  1737 — St.  Petersburg,  1799, 
as  court  cond.,  c.  sonatas,  etc. 

Mangeot  (man-zho),  Ed.  Jos.,  Nantes, 
France,  1834 — Paris,  1898;^. -maker 
and  editor;  inv.  piano  e  sL  double 
clavier  renvers6." 

Mangold  (man'-g61t),  (i)  G.  M.,  1776 
— 1835;  violinist.  (2)  (Jn.)  Win., 
Darmstadt,  1796 — 1875;  conductor 
and  dram,  composer.  (3)  K.  (L, 
Amand),  Darmstadt,  1813 — Obersf 
dprf,  Algau,  1889;  bro.  of  above> 
dir.,  conductor  and  composer.  (4) 
K.  G.,  1812 — London,  1887;  pianist, 
composer  and  teacher. 

Mann,  Arthur  Henry,  Norwich,  EngL, 
May  1 6,  1850— Cambridge,  Nov.  11, 
1929;  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  Homo,"  with  orch.;  "Te 
Deum"  "Evening  Service,"  for  orch., 
etc. 

Man'ners,  (i)  Charles  (rightly  South- 
cote  Mansergh),  London,  Dec.  27, 
1857 — Dublin,  May  3,  1935;  bass; 
pupil  Dublin  Academy  and  R.  A.  M., 
London,  and  of  Shakespeare;  de"but 
1882;  1890  Covent  Garden;  1893 
toured  America;  1896  South  Africa; 
1897,  organised  Moody-Manners 
Opera  Co.  touring  the  provinces  with 
three  companies,  two  seasons  at 
Covent  Garden.  In  1890  he  married 
(2)  Fanny  Moody,  b.  Redruth,  Nov. 
23,  1866;  soprano;  pupil  of  Mme. 
Sainton  Dolby;  dSbut  1887  with 
Carl  Rosa  Co.,  from  1890  sang  with, 
her  husband;  d.  1945. 

Marines  (man'-ngs),  (i)  David,  b.  New 
York,  Feb.  16,  1866;  violinist,  con- 
ductor, educator;  studied  in  New 
York,  Berlin  and  Brussels;  played  in 
N.  Y.  Symph.,  1898  concertm.;  cond. 
Symph.  Club  after  1902;  taught  at 
Music  School  Settlement,  N.  Y.,  for 
some  years;  beginning  1916,  founded 
and  dir.  the  David  Mannes  Music 
School,  with  his  wife  (2)  Clara  (n6e 
Damrosch)  as  co-dir.;  cond.  of  con- 
cert series  at  Met.  Museum  of  Art 
beginning  1920;  gave  concerts  for 
young  people  and  adults  in  cities 
near  N.  Y.;  toured  in  sonata  recitals 


DICTIONARY  OF  MUSICIANS 


277 


his  wife,  an  accomplished  pian- 
ist; ed.  New  Songs  for  New  Voices, 
with  Mrs,  Mamies  and  Louis  Unter- 
meyer,  1028.  <s)  Leopold  Dam- 
rosch,  b.  New  York,  Dec.  6,  1899; 
son  of  the  preceding;  composer  and 
pianist;  grad.  Harvard  Univ.;  pupil 
of  Guy  Maier,  Cortot,  Scalero  and 
others;  Pulitzer  Prize  for  comp.;  also 
Guggenheim  Fellowship;  teacher  of 
comp.  and  lecturer  at  David  Mannes 
Music  School;  and  of  theory  at  Inst. 
of  Mus.  Art,  N.  Y.;  c.  string  quartet, 
variations  for  piano,  suite  for  2 
pianos,  suite  for  orch.;  introd.  and 
allegro  for  vln.  and  piano;  songs; 
incid.  music  to  "The  Tempest,"  etc. 

Man'ney,  Chas.  Fonteyn,  b.  Brooklyn, 
1872;  studied  with  Wm.  Arms  Fisher 
and  J.  Wallace  Goodrich,  Boston; 
comp.;  d.  N.Y.,  Oct.  31,  1951- 

Manns  (mans),  Sir  Augustus,  Stolzen- 
burg,  near  Stettin,  March  12,  1825 — 
London,  March  2,  1907;  noted  con- 
ductor; son  of  a  glass-blower,  who 
with  his  sons  formed  a  quintet  (vlns., 
'cello,  horn,  and  flute);  at  15,  appren- 
ticed to  Urban  of  Elbing;  later  ist 
clar.  of  a  regimental  band,  Dantzig; 
1848,  at  Posen.  Wieptecht  got  him 
a  place  as  ist  vln.  in  GungPs  orch.  at 
Berlin;  1849-51,  cond.  Kroll's  Gar- 
den; regimental  bandm.  KSnigs- 
berg  and  Cologne  (1854);  .  joined 
Crystal  Palace  band,  London,  as 
asst.-cond.  to  Schallen,  who  pub.  as 
his  own  M.'s  arrangement  of  certain 
quadrilles;  whereupon  M.  resigned, 
publicly  stating  the  reason;  1859  he 
succeeded  S.,  he  later  made  the  band 
a  full  orch.,  giving  famous  and  very 
popular  Saturday  Concerts  till  1900, 
when  the  public  ceased  to  support  it; 
he  also  cond.  7  Triennial  Handel 
Festivals,  concerts  of  the  Glasgow 
Choral  Union,  1879-92,  etc.  He  was 
knighted  1904. 

MannstSdt  (man'-shtSt),  Fz.,  Hagen, 
Westphalia,  July  8,  1852 — Wies- 
baden, Jan.  1 8,  1932;  pupil  Stern 
Tons.,  Berlin;  1874,  cond.  at  May- 
ence;  1876,  Berlin  Symph.  Orch.; 
1879,  pf.-t.  Stern  Cons.;  1893-97, 
cond.  Berlin  Philh.;  then  returned  to 
Wiesbaden,  where  he  had  been  a 
conductor  and  teacher. 

Mantras  (mSn'-tsX-oos),  Ed.,  Schwerin, 
1806 — Bad  Ilmenau,  1874;  tenor. 

Man'uel,  Roland  (rightly  Levy),  b. 
Paris,  March  22.  1891;  composer, 
critic. 


Manzuoli  (man-tsoo-6'-le),  Giov.,  b. 
Florence,  ca.  1725;  famous  sopfano- 
musico. 

Ma'pleson,  Col.  Jas.  H.,  London, 
May  4,  1828 — Nov.  14,  1901;  famous 
impresario;  studied  R.  A.  M.,  Lon- 
don; a  singer,  and  vla.-player  in  an 
orch.;  1861,  managed  Italian  Opera 
at  the  Lyceum;  1862-68,  was  at 
H.  M.'sTh.;  1869,  Drury  Lane;  1877, 
reopened  H.  M.'s  Th.;  gave  opera  at 
Acad.  of  Mus.,  New  York,  with 
varying  succ.  in  different  seasons, 

Mara  (ma'-ra),  Gertrud  Elisabeth  (nee 
Schmeling),  Cassel,  Feb.  23,  1749 — 
Reval,  Jan.  20,  1833;  phenomenal 
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  1^73,  the  'cellist 
Mara,  divorced  him  1799;  teacher. 

Mara,  La.     Vide  LTPSIUS,  MABTE. 

Marais  (inSUre"),  (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.  pcs.  for 
gamba. 

Mar'beck,  J*  (or  Merbecke),  1523— 
1585;  Engl.  organist  and  composer. 

Marcello  (mar-ch£l'-l6),  Benedetto, 
Venice,  July  24,  1686 — Brescia,  July 
24,  1739;  noted  composer,  pupil  of 
Gasparini  and  Lotti;  held  gov't  posi- 
tions; pub.  satires,  and  c.  50  psalms, 
madrigals,  operas,  oratorios,  etc, 

Marchand  (mSlr-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;  c.  clavecin  pcs,, 
etc. 

Mar'chant,  Arthur  Wm.,  London, 
Oct.  18,  1850 — Sterling,  Nov. .  23, 
1922;  organist  in  English  churches; 
1880-82,  St.  John's  Cath.,  Denver, 
Col.;  1895,  organist,  Dumfries,  Scot- 
land; wrote  text-books;  c.  Psalm  48, 
with  orch.;  "A  Morning  Service3'  and 
an  "Evening  Service"  etc. 

Marchesi  (mSr-kS'-ze),  (i)  Luigi 
("Matchesi'ni"),  Milan,  1755— In- 
zago,  Dec.  14,  1829;  soprano  musico. 
(2)  Salvatore,  Cavaliere  De  Castrone 
(da-kSs-tro'-ne')  (Marchese  Bella 
Rajata),  Palermo,  Jan.  15,  1822 — 
Paris,  Feb.  20,  1908;  studied  mus. 
with  Raimondi,  Lamperti  and  Fon- 
tana;  exiled  *£jer  the  Revolution  of 


278 


DICTIONARY  OF  MUSICIANS 


1848,  and  d6but  as  barytone,  N.  Y.; 
then  studied  with.  Garcia,  London; 
a  succ.  concert-singer;  1852  m.  Ma- 
thilde  Graumann  (v.  infra),  and  they 
gang  together  in  opera,  later  taught 
together  at  Vienna  Cons.,  1865-69, 
Cologne  Cons.;  1869-81,  Vienna, 
then  in  Paris;  pub.  a  vocal  method, 
translations,  etc.;  c.  songs.  (3)  Ma- 
thilde  (nee  Graumann),  Frankfort- 
en-M.,  March  24,  1821 — London, 
Nov.  18,  1913;  famous  singing- 
teacher;  pupil  of  Nicolai,  Vienna, 
and  Garcia,  Parii>;  sang  in  concert; 
wife  of  above  (q.  v.);  pub.  a  vocal 
niethoflyf  vocalisejs,  and  autobiog. 
't&VKkesi  and  Music,"  enlarged 
f*om  "Aus  meinem  Leben"  (Diissel- 
dorf,  1887).  (4)  Blanche,  Paris, 
1863 — London,  1940;  daughter  of 
(3)  and  (2);  soprano;  after  1896  lived 
in  London  as  singing  teacher;  later 
in  Paris;  author,  "A  Singer's  Pil- 
grimage"; m.  Baron  Andr€  Caccamisi. 
Marchetti  (mar-kSt'-tl),  Fffippo,  Bo- 
lognola,  Italy,  Feb.  26,  1831 — Rome, 
Jan.  1 8,  1902;  pupil  of  Lillo  and 
Conti,  Royal  Cons.,  Naples;  at  21 
prod.  succ.  opera,  "Gentile  da  Vara- 
np"  (Turin),  "La  Demente"  (1857); 
singing-teacher,  Rome;  went  to 
Milan  and  prod,  succ.  "Giulietta  e 
Romeo93  (1865).  and  "Ruy-Blas" 
'  (La  Scala,  1869).  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.  (Ger- 
bert.) 

Marchisio  (mHr-ke'sI-5),  (i)  Barbara, 
Turin,  Dec.  12,  r834 — Mira  near 
Venice,  April  19,  1919;  opera  singer 
£n  Paris  and  London;  sang  usually 
with  her  sister.  (2)  Carlotta,  Turin, 
1836 — 1872, 

Marcoux  (mar-kooO,  Vanni,  b.  Turin, 
1879;  barytone;  of  French-Italian 
ancestry;  studied  with  Collino  and 
Bciyer;  after  1899  appeared  with 
succ.  in  Paris,  London  and  Brussels; 
came, to  U.  S.  and  was  active  with 
Chicago  Op.  for  a  number  of  seasons; 
refinement  of  character  portrayal  and 
diction  distinguished  his  perfs.  of 
such  rdles  as  "Boris  Godounoff"  and 
"Don  Quichotte." 

Mar€chal     (mar-a-shal),     (i)     Henri, 
Paris,  Jan.  22,  1842 — May  10,  1924; 
of  Cons.,  1870,  won  Grand  Prix 


de  Rome;  prod,  i-act  op.-com.  "Le& 
Amoureux  de  Catherine''  (Op.-Gom., 
1876);  also  3-act  op.-com.  "La  Tra- 
verne  des  Trabans"  (ibid..  '81); 
"D&idamie"  (Gr.  Op6ra,  '93);  "Co- 
lendal"  (Rouen,  '94);  c.  sacred  drama 
"Le  Miracle  de  Nairn"  ('91),  etc. 
(2)  Maurice,  b.  Dijon,  France,  Oct.  3, 
1892;  'cellist;  pupil  of  Paris  Cons.; 
ist  prize  in  'cello;  after  1912  soloist 
with  leading  Paris  orchs.;  played  in 
trio  with  TMbaud  and  Cortot;  toured 
U.  S.  as  recitalist. 

Marenco  (ma-r£n'-ko),  Romualdo, 
Novi  Ligure,  Italy,  March  i,  1841 — 
Milan,  Oct.  10;  1907;  violinist;  then 
2d  bassoon,  Doria  Th.,  Genoa,  where 
he  prod,  a  ballet;  studied  cpt.  with 
Fenaroli  and  Mattoi;  1873,  dir.  of 
ballet  at  La  Scala,  Milan;  c.  4  operas, 
and  over  20  ballets. 

Marenzio  (ma-r£n'-tsI-6),  Luca,  Coo 
caglio,  near  Brescia,  ca.  1553 — ("of 
love  disprized")  Rome/  Aug.  22, 
1599;  famous  composer  of  madrigals, 
also  of  motets,  etc. 

Mare§  (mS'-rgsh),  Johann  A.,  Chotebor, 
Bohemia,  1 719 — St.  Petersburg,  1794; 
invented  the  Russian  "hunting-horn 
mus.,"  each  horn  sounding  one  tone. 
Maretzek  (ma-rSt'-shSk),  Max,  Briiim* 
Moravia,   June   28,    1821 — Pleasant 
Plains,  Staten  Island,  N.  Y.,  May  14, 
1897;    well-known   impresario;    also 
dram,  composer  and  teacher. 
Mariani  (ma-r*-a'-n5),  Angelo,  Raven- 
na, Oct.  ir,  1821 — Genoa,  June  13, 
1873;  famous  conductor. 
Marimon  (ma,-re-m6n),  Marie,  b.  Li6ge, 
l839?  pupil  of  Duprez;  d6but,  1857; 
soprano;  d.  (?).  - 

Marm  (m^-ran),  M.  Martin  Marcelle 
de,  b.  Bayonne,  France,  Sept.  8, 
1769;  harpist  and  composer. 
Marini  (ma-rg'-ng),  (i)  Biagio,  Brescia 
— Padua,  ca.  1660;  violinist  and 
composer.  (2)  Carlo  A.,  b.  Bergamo; 
violinist  and  composer,  1696. 
Marinuzzi  (mar-e-nood'-sg),  Gino,  b. 
Palermo,  March  24,  1882;  conductor 
and  composer;  dir.  Bologna  Liceo, 
1915-18;  con'd.  Costanzi  Theatre, 
Rome,  anct  1919-21  with  Chicago 
Op.,  where  his  "Jacquerie"  was  prod., 
1921;  later  res.  in  San  Remo;  has  also 
cond.  in  South  America,  in  Turin, 
Milan  and  at  Rome  with  much  succ.; 
c.  also  operas,  "II  Sogno  del  Poeta>" 
"Barberina";  .(°rch.)  "Suite  Sici- 
liano";  Requiem,  etc.;  d.  "Milan,  1945. 
Mario  (ma'-rS-o),  (i)  Giuseppe,  Conte 


DICTIONARY  OF  MUSICIANS 


279 


di  Candia,  Cagliari,  Sardinia,  Oct.  17, 
1810 — Rome,  Dec.  u,  1883;  eminent 
tenor;  pupil  of  Bordogni  and  Pon- 
charde;  d6but,  Paris  Opera,  1858; 
toured  Europe  and  America  with 
greatest  success;  m.  Giulia  Grisi. 
(2)  Queena  (rightly  Tillotson),  b. 
Akron,  Ohio,  August  21,  1896;  so- 
prano; studied  with  Oscar  Saenger 
and  Sembrich;  mem.  of  Met.  Op.  Co., 
author  of  a  novel;  m.  Wilfred  Pelle- 
tier;  divorced;  d.  N.  Y.,  1951. 

VTflr'iotte,  Antoine,  b.  Avignon,  Dec. 
22,  1875;  pupil  of  d'Indy;  composer 
operas,  etc.;  d.  during  World  War  II. 

Markevitch  (mar-kya'-v6ch),  Igor,  b. 
Kiev,  Russia,  July  27,  191.5;  com- 
poser and  pianist;  studied  with 
Nadia  Boulanger  in  Paris,  where  he 
lived  after  1926;  also  for  a  time  with 
Vittorio  Rieti;  commissioned  by 
Diaghileff  to  write  a  ballet,  but  that 
impresario  died  before  it  could  be 
written;  ist  came  into  prominence 
with  perf ,  of  his  Concerto  Grosso  in 
Paris,  1929,  and  Piano  Concerto, 
same  year  in  London;  his  works  re- 
veal a  polyharmonic  style  of  uncom- 
promising harshness,  much  rhythmic 
vitality  and  logical  clarity,  but  an 
almetet  total  lack  of  feeling;  his  music 
has  been  called  highly  original  and 
significant  by  some,  merely  sen- 
sational by  other  critics;  c. 
(orch.)  Sinfonietta;  Concerto  Grosso; 
Piano  Concerto;  Partita;  "Rebus"; 
"Hymnes"  (an  excerpt  played  by 
Boston  Symph.,  1934);  (chamber 
music)  Serenade  for  vln.,  clar.  and 
bassoon;  (choral  works)  Psalm  (the 
last  causing  a  bitter  division  of  opin- 
ion between  adherents  and  detractors 
when  played  at  the  I.  S.  C.  M.  Fest. 
in  Florence);  and  a  cantata,  "Par&- 
dise  Lost'9  (perf.  in  London  and 
Paris,  1936). 

Marktdl  (m&r-koolO,  **•  Wm.,  Reich- 
enbach,  near  Elbing,  1816 — Danzig, 
1887;  pianist,  critic  and  dram,  com- 
poser. 

Markwort  (m.ark'-v6rt),  Jn.  Chr., 
Riesling,  near  Brunswick,  1778 — 
Bessungen.  1866;  tenor  and  writer. 

Marmontel  (mar-m6n-tel),  Ant.  Fran., 
Clermont-Ferrand,  Puy-de-D6me, 
July  18,  1816 — Paris,  Jan.  15,  1898; 
pupil  Paris  Cons.,  1848;  pf.-teacher 
there,  noted  for  famous  pupils;  writer 
of  historic  and  didactic  treatises; 
composer. 

Marpurg  (mar'-poorkh),  (i)  FT.  Win., 


Seehausen,  Altmark,  Nov.  21,  1718 — 
Berlin,  May  22,  1795;  important 
theorist;  wrote  treatises  of  great  his- 
toric and  theoretic  value,  much 
translated.  (2)  Fr.,  Paderborn,  1825 
— Wiesbaden,  1884;  great-grandson 
of  above;  violinist,  pianist,  cond.  and 
dram,  composer. 


piece  "Aucassin  '  und  Nicolette'' 
(Stuttgart,  1907);  incid.  music  to 
"Und  Pippa  tanzt"  (Berlin,  1906), 
and  to  Maeterlinck's  "Sister  Bea- 
trice" (Berlin,  1904);  critic  of  Berlin 
"  Vossische  Zeitung"  i89<-i933- 
Marschner  (marsh'-nSr),  (i)  H.  (Au- 
•  gust),  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.  1813, 
then  turned  to  mus.  entirely;  pupil 
of  Schicht;  the  Graf  von  Amad6e  be- 
came his  patron,  and  he  went  to 
Vienna;  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  Vam- 
pyr"  (1828)  and  "Der  Templer  und 
die  Jttdin"\  both  widely  succ.  and 
still  heard;  1831-59,  ct.-cond.  Han- 
over, when  he  was  pensioned;  while 
ct.-cond.  he  prod.  "Hans  Heiling" 
(Berlin,  1833;,  also  very,  succ:  and 
still  alive;  he  prod.  8  other  operas;  c. 
incidental  music,  choruses,  etc.  (  2)  Fz.t 
b.  Leitmeritz,  Bohemia,  March  26, 
1855;  pupil  Prague  Cons.,  and  Bruck- 
ner, Vienna;  after  1886,  teacher  Fe- 
male Teachers'  Seminary,  Vienna; 
pub.  a  treatise  on  piano-touch;  d.  n. 
Poggstall,  Austria,  Aug.  28,  1932. 
Marshall,  (i)  John  Patton,  b.  Rockf  ort, 
Mass.,  1877 — Boston,  1941;  pupil 
B.  J.  Lang,  MacDowell,  Chad  wick, 
and  Norris;.  1903  Prof,  of  Music, 
Boston  University;  c.  songs  and 
piano  pieces.  (2)  Charles;  b.  Water- 
ville,  Me.;  tenor:  studied  with  Wil- 
liam Whitney,  Vannucini  and  Lom- 
bard!; sang  in  Italian  opera  houses 
after  d6but  in  Florence,  1901;  also  in 
Russia,  Greece  and  Turkey;  mem. 
Chicago  Op.  for  a  decade  after  1921 


280 


DICTIONARY  OF  MUSICIANS 


singing  heroic  tenor  roles  in  Italian; 
d.  Lake  George,  N.  Y.t  May,  1951. 
Marsack  (mar-sXk),  (i)  Martin  P.  Jos., 
Jupille,  near  Li£ge,  Belgium,  March 
9,  1848 — Paris,  Oct.  21,  1924;  prom- 
inent violinist;  pupil  of  De'sire* 
Haynberg,  LI6ge  Cons.;  at  12  organ- 
ist of  the  cath.,  and  a  vocalist;  pupil 
of  Leonard,  Brussels  Cons.,  later  of 
Massenet  at  Paris  Cons,  (taking  ist 
vln.  prize);  and  of  Joachim  at  Berlin; 
d6but,  Paris,  1873;  toured  Europe 
and  (1895-96)  tL  S.;  1892,  vln.-prof., 
Paris  Cons.;  c.  3  vln.-concertos,  etc. 
(2)  Arm  and,  b.  Lie"ge,  1878;  pupil  of 
Ropartz  and  d'Indy;  1900,  teacher 
and  conductor  in  Athens;  composer. 
Marteati  (mSx-to"),  Henri,  Rieims, 
March  31,  1874 — Lichtenberg,  Oct. 
3>  1934;  excellent  violinist;  pupil 
Paris  Cons.;  1892,  took  ist  prize; 
toured  TL  S.,  1893,  1898;  Russia, 
1899;  then  compelled  to  spend  a  year 
in  the  French  army;  founded  "Mar- 
teau  Prize  for  vln.-sonata  c.  by  a 
native-born  American";  1900  toured 
America;  from  1900  teacher  at 
Geneva  Cons.;  1908-15,  successor  to 
Joachim  at  the  Royal  Hochschule 
fur  Musik,  Berlin;  1921,  Prague; 
1926-28,  Leipzig  Cons.;  later  Dres- 
den; c.  chamber  music,  vln.  works, 
etc. 

Martetti,  E.  Vide  COTTRATT,  T. 
Martin  (m&r-t&n),  (i)  Jn.  Blaise, 
Lyons,  1768 — Paris,  1837;  barytone. 
(2)  Sir  George  Clement,  Lam'bourne, 
Berks,  Sept,  n,  1844 — London, 
1916;  organist  various  churches; 
teacher  in  R.  Coll.  of  Mus.;  c. 
anthems;  knighted,  1889.  (3)  Ric- 
cardo  (Hugh  "Whitfield),  b.  Hopkins- 
ville,  Ky.,  Nov.  18,  1881;  tenor; 
studied  violin;  comp.  with  Mac- 
Do  well;  singing  with  Escalais, 
Sbriglia  and  Lombardi;  d6but  as 
"Faust,"  Nantes,  France,  1904;  sang 
in  Verona  and  Milan;  made  Amer. 
d€but  with  French  Op.  Co.,  New 
Orleans;  sang  with  Met.  Op.  Co., 
1907-15;  Boston  Op.  Co.,  1915-17; 
at  Co  vent  Garden,  and  after  1920 
with  Chicago  Op.,  also  in  concerts; 
d.  N.  Y,,  Aug.  n,  1952. 
Martin  y  Solar  (mar-tSn'-e-s5-lar'), 
Vicente,  Valencia,  Spain,  1754 — St. 
Petersburg,  March  3,  1806:  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. 

Martinelli,  Giovanni,  b.  Montagnana, 
Italy,  Oct.  22,  1885;  notable  tenor; 
at  first  an  instrumentalist  in  Milan; 
d6but  1912,  Covent  Garden  in  "La 
Tosca"  with  great  success;  mem.  of 
Met.  Op.  Co.,  N.  Y.,  since  1913,  with 
outstanding  rank  in  wide  variety  of 
Italian  and  French  roles;  has  sung  in 
South  America,  in  Brussels  and  in 
many  Italian  theatres  with  eminent 
succ.;  also  in  concerts. 
Martines  (mSr-te'-ngs)  (or  Martinez) 
(mar-tS'-ngth),  Marianne  di,  Vienna, 
1744 — 1812;  singer,  pianist  and  com- 
poser. 

Martini  (mSr-tg'-ne),  (i)  Giambattista 
(or  Giov.  Bat*)  (known  as  Padre  M.), 
Bologna,  April  24,  1706 — Oct.  4, 
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  Fran- 
cisco, Bologna;  as  a  composer  of 
church-mus.,  a  theorist  and  teacher 
he  won  European  fame;  he  also  pub. 
a  history-  of  ancient  mus.,  atid  trea- 
tises. (3)  (rightly  Schwarzendorf) 
<shVairtsy-&i-d6rf),  Jean  Paul  Egide, 
Freistadt,  Palatinate,  1741 — Paris, 
i  Si  6;  dram,  composer.  (4)  Nino,  b. 
Vesrona,  Italy,  1905;  tenor;  pupil  of 
Giovanni  Zenatello;  op.  d&but  in 
Italy  at  21,  in  "7  Puritani"}  Amer. 
46but  as  the  "Duke"  in  "Rtgoletto" 
with  -Phila.^  Grand  Op.  Co.,  1931; 
mem.  Met.  Op.  Co.,  after  1933;  also 
active  as  concert,  radio  and  .film 
artist. 

Martin'u,  Bobuslav,  b-  Policka,  Bohe- 
mia, Dec.  8,  1*890;  composer;  studied 
at  Prague  Cons,  (violin),  also  comp. 
with  Suk  and  Roussel;  c,  sacred 
opera,  "Mysteries  of  the  Virgin 
Mary'9 1  many  chamber  music  works 
in  advanced  modern  manner,  among 
which  are  several  string  quartets, 
quintet,  concerto  for  string  quartet 
and  orch.,  ^  harpsichord  concerto; 
symph.  music  and  accompaniment  to 
films;  some  of  his  works  perf.  in 
America  by  Boston  Symph.  and  at 
Coolidge  Fest.,  Pittsfield,  Mass. 
Martucci  (mar-toot '-che),  Gius.,  Ca- 
pua, Jan.  6,  1856— Naples,  June  i, 
1909;  son  and  pupil  of  a  trumpet- 
player;  dSbut  as  pianist  Naples, 
1867;  studied  at  the  Cons.;  1874, 


DICTIONARY  OF  MUSICIANS 


281 


prof,  there;  cond.  the  orch.  and  con- 
certs estab.  by  Prince  d'Ardore,  and 
dir.  of  the  Societa  del  Quartetto; 
from  1875,  toured  with  succ.  as 
pianist;  1886-1902,  dir.  Bologna 
Cons.;  1902,  Naples;  c.  2  symph., 
pf .-concerto,  chamber,  choral  works, 
etc. 

Marty  (m3,r-te),  G.  Eugene,  Paris, 
May  1 6,  1860 — Vichy,  Oct.  n,  1908; 
studied  at  the  Cons.  1882;  won  the 
Grand  Prix  de  Rome  with  cantata 
"Edith";  since  1894,  prof,  for  ensem- 
ble singing  there;  1895-96,  chorusm. 
and  cond.  of  the  Concerts  de  TOp6ra; 
1901,  dir.  concerts  of  the  Cons.;  c. 
several  suites  for  orch.,  pantomime, 
"Le  Due  de  Ferrare"  3-act  opera 
(1896),  etc. 

Marx  (marx),  (i)  Ad.  Bd.,  Halle, 
May  15,  1795 — Berlin,  May  17,  1866; 
eminent  theorist;  founded  with 
Schlesinger,  "Berliner  allgemeine  mu- 
sikalische  Zeitung"\  editor,  prof,  and 
mus.-dir.,  1832;  c.  opera;  wrote 
v.  succ.  and  important  treatises. 
(2)  Joseph,  b.  Graz,  Austria,  May  ir, 
1882;  composer,  educator;  studied 
with  Degner,  also  at  Univ.,  Ph.  D.; 
prof.  Vienna  Akad.,  after  1914;  suc- 
ceeded Loewe  as  dir.,  1922—25; 
1925-27,  also  rector  of  the  Hoch- 
schule;  known  for  his  songs,  espec. 
" Italienisches  Liederbuch" ;  also  c. 
orch.,  chamber  and  choral  music;  a 
symph.;  "Castella  Romano,"  for  piano 
and  orch.,  etc. 

Marxsen  (marx'-zSn),  Eduard,  Nien- 
stadten,  near  Altona,  1806 — Altona, 
1887;  organist  and  teacher. 

Marzials  (mar-tsl-Sls'),  Theodor,  Brus- 
sels, Dec.  21,  1850 — Feb.,  1920;  pupil 
of  M.  L.  Lawson,  London;  studied 
later  in  Paris  and  Milan;  1870,  supt. 
mus.-dept.  British  Museum;  bary- 
tone and  composer  of  pop.  songs. 

Marzo  (mar'-tso),  Ed.,  Naples,  1852 — 
June  7,  1929;  pupil  of  Nacciarone, 
Miceli  and  Papalardo;  1867,  New 
York,  as  boy  pianist;  became  opera 
and  concert-cond.,  and  accompanist 
to  Carlotta  Patti,  Sarasate,  etc.;  or- 
ganist 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;  lived  in 
N.  Y.  as  singing  teacher;  pub.  6 
masses  (3  with  orch.),  etc. 

Mascagni  (mas-kan'-yje),  Pietro,  b. 
Leghorn,  Dec.  7, 1 863— d.  Rome,  Aug. 
2,  1945;  baker's  son;  disliked  law 


study;  secretly  studied  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  uncle's 
death  he  was  befriended  by  Count 
Flprestan,  while  studying  with  Pon- 
chielli  and  Saladino,  at  Milan  Cons. 
He  was  cond.  of  various  small 
troupes,  finally  cond.  of  the  mus.-soc. 
at  Cerignola;  he  won  the  prize  offered 
by  the  mus.-pub.  Sonzogno,  for  a 
i-act  opera,  with  "Cavalleria  Rttsti- 
cana,"  which  had  a  sensational  succ. 
(Costanzi  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  real- 
ism and  strenuousness,  yet  offering  a 
much-needed  relief  from  the  eternal 
classic,  mythologic  or  costume-play 
plots  and  bringing  serious  opera  a"s 
close  home  to  real  life  as  comic  opera; 
1895,  dir.  of  the  Rossini  Cons,  at 
Pesaro.  M.'s  later  operas  have  not 
fared  so  well  as  his  "Cavalleria 
Rusticana" ;  they  include;  "L9 Arnica 
Fritz"  (Rome  and  Berlin,  1891), 
"/  Rantzau"  (Florence,  1892).  fairly 
succ.;  "Guglielmo  Ratclijf"  (Milan, 
La  Scala,  1895),  "Silvano"  (ibid., 
1895);  i-act  "bozzetto"  "Zanetto" 
(Pesaro,  1896);  and  the  fairly  succ. 
"Iris"  (Rome,  1898;  revised  La 
Scala,  Milan,  1899);  "Le  Maschere" 
simultaneously  prod,  without  succ. 
in  6  cities  in  Italy,  Jan.,  loot;  he  c. 
also  (previously  to  Cav.  Rust.)  2-act 
opera  "//  Filanda,"  and  Schiller's 
"Hymn  to  Joy"-,  also  a  "Hymn  in 
Honor  of  Admiral  Dewey,  U.  5.  N." 
(July,  1899),  etc.  1902,  toured 
America  with  his  own  opera-troupe; 
he  was  dir.  of  Pesaro  Cons,  until 
1903;  1909,  cond.  at  Teatro  Costanzi, 
Rome;  c.  also  "Arnica"  (Monte 
Carlo,  1905,  Cologne,  1907);  1910  he 
c.  opera  "Isabeau"  for  the  U.  S.  but 
not  completing  it  on  time  became 
involved  in  a  lawsuit.  The  opera 
was  prod,  at  Venice  and  Milan  simul- 
taneously, 1912,  with  moderate  succ. 
Later  operas  include  "Parisina" 
(Milan,  1913);  "Lodoletta"  (Rome, 
1917);  operetta,  "Si"  (Rome,  1919); 
"II  Piccolo  Marat"  (Rome,  1921, 
with  succ.  of  short  duration); 
"  Nerone"  (Rome,  1935),  an  attempt 
to  show  Nero  as  an  art-lover  and 


282 


DICTIONARY  OF  MUSICIANS 


amorist;  also  symph.,  choral  and 
other  works.  M.  has  appeared 
widely  in  Italy  as  a  cond.  of  his 
works,  also  in  orch.  concerts;  mem. 
of  Italian  Academy. 
Maschek  (m£-shak'),  (i)  Vincenz, 
Zwikovecz,  Bohemia,  1755 — Prague, 
1831;  pf.  and  harmonica-virtuoso; 
organist  and  dram,  composer.  (2) 
Paul,  1761 — Vienna,  1826;  bro.  of 
above;  pianist. 

Mascheroni  (mas-k€-ro'-ne),  Edoardo, 
Milan,  1857 — March  4,  1941;  cond. 
and  composer;  pupil  of  Boucheron; 
1883  theatre  cond.  at  Leghorn,  later 
at  Teatro  Apollo,  Rome;  1893  chosen 
to  cond.  Verdi's  "Falstajf"  at  La 
Scala;  c.  "Requiem"  for  King  Victor 
Emanuel,  also  by  Royal  command 
another  "Requiem"  for  the  royal 
chapel;  c.  operas  "Lorenzo,"  (Rome, 
1901)  successful  throughout  Europe 
and  South  America;  "La  Perugina," 
etc. 

Ma'son,  (i)  Rev.  Win.,  Hull,  EngL, 
1724 — Aston,  1797;  writer  and  com- 
poser. (2)  Lowell,  Medfield,  Mass., 
Jan.  24,  1792 — Orange,  N.  J.,  Aug. 
n,  1872;  pioneer  in  American  comp. 
and  teaching;  c.  v.  succ.  and  remu- 
nerative colls.,  principally  of  sacred 
music.  (3)  Win.,  Boston,  Mass., 
Jan.  24,  1829 — New  York,  July  14, 
1908;  prominent  American  teacher 
and  technician;  son  of  above;  studied 
with  Henry  Schmidt  (pf.)  in  Boston; 
at  17,  d£but  as  pianist  there;  1849, 
studied  with  Moscheles,  Hauptmann 
and  Richter,  at  Leipzig^  with  Drejr- 
schock  at  Prague;  and  Liszt,  at  Wei- 
mar; he  played  in  Weimar,  Prague, 
and  Frankfort,  London,  and  1854-55 
in  American  cities;  1855  lived  in 
New  York  as  teacher;  1872,  Mus. 
Doc.  h.  c.,  Yale;  pub.  "Touch  and 
Technic,  a  Method  for  Artistic  Piano 
playing"-,  "A  Method  for  the  Pf." 
with  E.  S.  Hoadley  (1867);  "System 
for  Beginners"  (1871);  "Mason's  Pf.- 
Technics"  (1878);  and  "Memoirs" 
(New  York,  1901);  c.  a  serenata  for 
'cello  and  many  pf.-pcs.  in  classical 
form.  (4)  Luther  Whiting,  Turner, 
Maine,  1828  —  Buckfield,  Maine, 
1896;  devised  the  v.  succ.  "National 
System"  of  mus.-chaxts  and  books; 
wrote  "Die  neue  Gesangschule" 
(5)  Daniel  Gregory^  b.  Brookline, 
Mass.,  Nov.  20,  1873 — preen wich, 
Conn.,  I>ec.  4,  1953;  pupil  of  Johns, 
Nevin,  J.  K.  Paine,  Chad  wick,  d'Indy 


and  Goetschius;  graduated  Harvard, 
1895;  author  of  articles  and  books 
on  musical  topics;  c.  violin  and  piano 
sonata,  piano  variations,  quartet  in 
A  major;  pastorale  for  violin,  clarinet 
and  piano;  elegy  for  piano,  sym- 
phonies and  other  orch.  works, 
songs,  etc.;  prof,  of  music  at  Colum- 
bia Univ.,  N.  Y.  Author,  "From 
Grieg  to  Brahms,"  "Guide  to  Music," 
"Beethoven  and  His  Forerunners," 
"Great  Modern  Composers,"  ''The 
Romantic  Composers,"  "Appreciation 
of  Music"  (with  T.  W.  Surette); 
"Orchestral  Instruments,"  etc.;  ed. 
"The  Art  of  Music."  (6)  Henry 
Lowell,  b.  Boston,  1864;  grandson 
of  Lowell  M.;  mem.  of  firm  of  Mason 
&  Hamlin,  piano  mfrs.  after  1888; 
pres.,  1915;  author  of  histories  of 
piano  and  reed  organ,  and  stories  of 
operas.  (7)  Edith  Barnes,  b.  St. 
Louis,  Mo.,  1892;  soprano;  studied 
with  Clement  and  Maurel;  mem. 
Boston  Op.,  1913;  Met.  Op.  Co., 
1915-17,  and  again  after  1935; 
appeared  with  Paris  Op.  and  Op.- 
Cbmique,  1918-21;  Chicago  Op., 
1921-30;  also  at  La  Scala,  Monte 
Carlo,  Havana,  Mexico  City  and 
at  Ravinia  (Chicago),  in  lyric  rdles; 
m.  Giorgio  Polacco,  conductor. 

Massa  (mas'-sa),  Nicold,  Calice,  Li- 
gure,  Italy,  1854 — Genoa,  1894;  c. 
operas. 

Massaini  (mas-sa-e'-ne),  Tiburzio,  b. 
Cremona,  i6th  cent.;  Augustine 
monk;  cond.  and  composer. 

Massart  (mas-s&r'),  (i)  Lambert  Jos., 
LiSge,  July  19,  1811 — Paris,  Feb.  13, 
1892;  violinist  and  prof.  Paris  Cons. 
(2)  Louise  Aglse  (nee  Masson), 
Paris,  1827 — 1887;  wife  of  above; 
pianist  and,  1875,  teacher  at  the 
Cons.  (3)  3STestor,  H.  J.,  Ciney, 
Belgium,  1849 — Ostende,  1899;  tenor 
opera  singer;  operatic  favourite  in 
Europe  and  America. 

Masse  (m£s-sa),  Felix  M.  (called  Vic- 
tor), 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.  "Les  noces  de  lean- 
nette"  (Op.  Com.  1853). 

Massenet  (m£s-na),  Jules  (ferule  Fr.), 
Montaud,  near  St.  fitienne,  France, 
May  12,  1842 — Paris,  Aug.  13,  1912 
(of  cancer);  eminent  French  opera- 
composer;  pupil  of  Laurent  (pf.), 
Reber  (harm.),  Savard  and  Ambr. 


DICTIONARY  OF  MUSICIANS 


283 


Thomas  (comp.)  at  the  Cons.;  took 
first  prizes  for  piano  and  fugue;  1863, 
the  Grand  prix  de  Rome  with  can- 
tata "David  Rizzio";  1878-96  prof,  of 
comp.  at  the  Cons.;  1878,  member  of 
the  Acad6mie,  Commander  of  the 
Legion  of  Honour.  C.  operas,  al- 
most all  of  them  succ.  and  many  still 
in  the  repertory  of  the  Paris  Op6ra 
and  Op.  Com.,  i-act  comic  opera 
"La  Grand  Tanta"  (1867);  the 
operas,  "Don  Cesar  de  Bazan" 
(1872);  "Le  Roi  de  Lahore"  (1877); 
"Eerodiade"  (1884);  "Manon  Les- 
caut"  (one  of  the  greatest  successes 
in  the  history  of  the  Op.-Com.), 
"Le  Cid"  (1885);  fairy-opera  (1880) 
"Esclarmonde";  "Le  Mage"  (1891); 
"Werther"  (1892);  lyric  comedy, 
"Thais"  (1894);  i-act  com.-op.  "Le 
Portrait  de  Manon"  (1894);  lyric 
episode,  "La  Navarraise"  (London, 
1894;  Paris,  1895);  "Sapho"  (Op.- 
Com.,  1897);  "Cendrillon"  (Op.- 
Com.,  1899);  also  4-act  drama 
"Marie-Magdeleine"  (Od6on  Th., 
1873);  "£ve,"  a  mystery,  1875;  ora- 
torio, "La  Vitrge,"  1880;  conte 
lyiique"Griselidis"  (Op.-Com..  1901); 
"Jongleur  de  Ndtre  Dame"  (Monte 
Carlo,  1902)  (sung  widely;  Covent 
Garden,  1906,  New  York  Manhattan 
Opera,  1910):  "Cherubin"  (Op.  Com. 
Paris,  1905);  "Ariane"  (1906}; 
"Therese"  (Monte  Carlo,  1907); 
"Don  Quichotte"  (Paris,  1911);  "Ro- 
ma" (Paris,  Op6ra,  1912);  oratorios 
"La  Terre  Promise"  (Paris,  1900); 
piano  concerto  (1903):  ballets,  "La 
cigale"  (Paris,  1903),  "Espada" 
(Monte  Carlo,  1908),  "Bacchus" 
(1909),  "Panurge"  (19*3)5  opera 
"Cleopdtre";  orch.  suites;  overtures 
incl.  "Ph&dre";  pf.-pcs.,  songs,  etc. 

Maszynski  (ma-shjtn'-shkl),  Peter,  b. 
Warsaw,  1855;  pianist  and  composer; 
pupil  of  Mikhalovski,  Roguski  and 
Noszkowski;  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.;  d.  (?). 

Materna  (ma-tSr'-na),  Amalie,  St. 
Georgen,  Styria,  July  10,  1845 — 
Vienna,  Jan.  18,  191 8;  noted  soprano; 
daughter  of  a  sch.-master;  sang  in 
church  and  concert  at  Graz;  d6but 
1865  in  opera  as  soubrette;  m.  an 
actor,  K.  Friedrich,  and  sang  with 
him  in  operetta  at  the  Carl  Th., 


Vienna;  1869-96  prima  donna,  Vi- 
enna ct.-opera;  toured  America  1884 
and  1894;  she  created  "Brtinnhilde,'' 
at  Bayreuth,  1876,  and  "Kundry"  in 
"Parsifal,"  1882;  after  1900  taught 
in  Vienna. 

Math/ews,  Wm.  Smyth  Bab  cock,  New 
London,  N.  H.,  May  8,  1837 — Den- 
ver, Col.,  April  8,  1912;  prominent 
teacher  and  writer;  studied  at  New 
London;  later  at  Lowell  and  Boston; 


critic  of  Chicago  Times,  Morning 
News,  and  Tribune;  1891,  founded 
and  ed.  the  magazine  Music;  pub. 
many  books  of  educational  value. 

Mathias  (ma-te'-as),  Georges  (Amed6c 
St.  Clair),  Paris,  Oct.  14,  1826 — 
Oct.  14,  1910;  pupil  of  Kalkbrenner 
and  Chopin  (pf.)  and  of  Paris  Cons.; 
1862,  pianist  and  prof,  there,  c. 
symph.,  overtures,  etc. 

Mathieu  (mS,t-yu),  (i)  Adolphe  Chas* 
Ghislain,  Mons,  Belgium,  June  22, 
1840 — Paris,  1883;  custodian  of 
MSS.  Brussels  Library;  writer.  (2) 
fimile  (Louis  V.),  Lille,  Oct.  16,  1844 
— Sept.,  1932;  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.;  1898,  dir.  R. 
Cons,  at  Ghent;  c.  7  operas,  mostly 
comic,  a  ballet,  5  cantatas  and  2 
children's  cantatas,  3  (text  and 
music)  "Poemes  lyriques  et  sym- 
phoniques9"  symph.  poems,  etc. 

Mattel  (m&t-ta/-S),  (i)  Abbate  Stanis- 
lao,  Bologna,  1750 — 1825;  professor, 
conductor  and  writer.  (2)  Tito, 
Campobasso,  near  Naples,  May  24, 
1841 — London,  March  30,  1914; 
pianist  to  the  King  of  Italy;  pupil 
at  ii  and  later  "Professore,"  Accad. 
di  Santa  Cecilia,  Rome;  received  a 
gold  medal  from  Pius  IX.;  toured 
Europe;  1865-71,  cond.  at  H.  M.'s 
Th.,  London;  c.  3  operas  incL 
"Maria,  di  Gand"  (H.  M.'s  Th., 
1880);  ballet,  pop.  songs,  etc. 

Matteis  (mat-t5/-5s),  (i)  Nicola,  Italian 
violinist,  1672,  London.  (2)  Nicola, 
d.  1749,  son  of  above;  teacher. 

Matthay',  Tobias  Augustus,  b.  London, 
Feb.  19, 1 85 8;  pianist;  pupil  R.  A.  M., 
teacher  there;  c.  "  Hero  and  Leander" 
for  chorus  and  orch.,  etc.  One  of 


284 


DICTIONARY  OF  MUSICIANS 


most  eminent  piano  masters,  with 
many  famous  pupils.  An  Amer. 
M.  Assoc.  formed  among  these 
which  annually  awards  a  scholarship 
in  his  memory.  Author  of  important 
treatises;  d.  Haslemere,  1945. 
Mat(t)heson  (mat'-t€-zon),  Jn.,  Ham- 
burg, Sept.  28,  1 68 1 — April  17,  1764; 
versatile  diplomat  and  musician, 
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  treatises; 
c.  88  works;  1715-28,  mus.  dir., 
Hamburg  Cath. 

Matthison-Hansen  (mat'-tt-zOn-han'- 
z£n),  (i)  Hans,  Flensburg,  Den- 
mark, 1807 — Roeskilde,  1890;  organ- 
ist and  composer.  (2)  Godfred, 
Roeskilde,  Nov.  i,  1832 — Copen- 
hagen, Oct.  14,  1909;  son  of  above; 
1859,  organist  German  Friedrichs- 
kirche,  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. 

Matzenauer  (mat'-sSn-ow-e'r),  Marga- 
rete,  b.  Temesvar,  Hungary,  June  i, 
1881;  contralto;  her  father  a  conduc- 
tor and  mother  an  opera  singer; 
studied  with  Mmes.  MieLke  and 
Neuendorf  and  Franz  Emerich; 
de*but,  Strasbourg,  1901;  mem.  of 
this  co.  to  1904;  thereafter  until 
1911  with  Munich.  Op.;  Met.  Op., 
N.  Y.,  1911-30;  also  soloist  with 
orchs.,  and  in  recital;  has  taught 
and  appeared  in  films;  m.  Edoardo 
Ferrari-Fontana,  tenor;  divorced. 

Maubourg  (m6'-boorg),  Jeanne,  b. 
Namur,  1875;  soprano;  her  teachers 
included  Mmes.  Labarre  and  Jouron- 
Duvernay;  she  sang  at  La  Monnaie, 
Brussels,  1897-1907;  at  Covent 
Garden  after  1900,  and  at  Met.  Op., 
N.  Y.,  1909-14;  afterward  teaching 
ia  New  York. 

Mauduit  (m5-dwe),  Jacques,  Paris, 
Sept.  16,  1557 — Aug.  ar,  1627; 
rate  player  and  composer  of  chan- 
sons and  a  requiem  for  the  poet 
Ronsard. 

Mauke    (mow'-ke%    Wilhelm,    Ham- 


burg, Feb.  25,  1867 — Wiesbaden 
Aug.  25,  1930;  pupil  ^  of  Lowe  and 
Huber;  then  at  Munich  Akad.  dei 
Tonkunst;  acted  as  critic;  c.  symph 
poem  " Einsamkeit"  (arter  Stuck  and 
Nietzsche),  operas,  songs,  etc. 
Maurel  (m6~rel),  Victor,  Marseilles 
June  17,  1848 — New  York,  Oct.  22 
1923;  eminent  barytone;  studied 
Marseilles  and  with  Vauthrot  at 
the  Paris  Cons.,  gaining  ist  prizes 
in  singing  and  opera;  d£but,  1868 
at  the  Gr.  Op6ra  as  "de  Nevers" 
in  "Les  Huguenots";  1870,  sang  at 
La  Scala,  Milan,  then  in  New  York, 
Egypt,  Russia  with  Patti,  London, 
etc.;  1883,  co-director  Th.  Italien, 
Paris,  without  succ.;  sang  in  all  the 
capitals  as  the  supreme  dramatic 
artist  of  his  operatic  generation, 
his  splendid  impersonation  and  vocal 
art  carrying  conviction  after  his  voice 
lost  its  youth;  he  created  "lago" 
in  Verdi's  "Otello,"  1887,  and 
stamped  "Don  Giovanni"  and  other 
rdles  with  his  own  personality  as  a 
criterion;  after  1909  taught  in  New 
York. 

Maurer  (mow'-rer),  L»  Wm.,  Potsdam, 
Feb.  8,  1789— St.  Petersburg,  Oct. 
25,  1878;  distinguished  violinist 
and  dram,  composer. 
Mattrin  (mo-ran),  Jean  Pierre,  Avi- 
gnon, 1822 — Paris,  1894;  violinist 
and  teacher. 

May,  (i)  Edw.  Collett,  Greenwich, 
1806 — London.  1887;  vocal  teachei 
and  writer.  (2)  Florence,  pianist, 
London;  daughter  of  above;  wrote 
biography  of  Brahms,  of  whom  she* 
was  a  pupil. 

Mayer  (ml'-er),  (i)  Chas,,  Konigsberg, 
1799 — Dresden,  1862;  pianist  and 
composer.  (2)  Emilie,  Friedland, 
Mecklenburg,  May  14,  1821 — Berlin, 
April  io,  1883;  pupil  of  Lowe,  Marx 
and  Wieprecht;  lived  in  Berlin;  c. 
7  symphonies,  12  overtures,  an 
operetta,  "Die  Fischerin,"  etc*  (3) 
Wm.  (pseud.  W.  A.  Remy),  Prague, 
1831 — Graz,  1898;  excellent  teacher 
of  cpt.  and  comp.;  composer.  r(4) 
Vide  MAYER. 

Mayerhoff  (ml'-Sr-hdf),  Fz.,  b.  Chem- 
nitz, 1864 — 1938;  studied  at  Leipzig 
Cons.;  theatre-cond.  various  cities; 
from  1885,  Chemnitz;  1888,  cantor 
Petrikirche,  and  cond.  Mus.  Soc.; 
1910,  cond.  of  Lehrergesangverein; 
1915^  Leipzig  Riedel-Verein;  1911, 
Royal  Prof.,  c*  sacred  choruses,  etc. 


DICTIONARY  OF  MUSICIANS 


285 


May'nor,  Dorothy,  noted  Negro  lyric 
soprano;  d6but,BerkshireFest.,  1939. 
Mayr  (mjr),  (i)  (Jn.)  Simon,  Mendorf, 
Bavaria,  June  14,  1763 — blind, 
Bergamo,  Dec.  2,  1845;  famous 
teacher  and  dram,  composer;  pupil 
qf  Lenzi  and  Bertoni;  lived  in  Venice 
as  church-composer;  1794  prod.  v. 
succ.  opera  "Sqjfo"  followed  by  70 
more;  2802,  cond.  Santa  Maria 
Maggiore,  Bergamo,  and  1805,  dir. 
Mus.  Inst.;  wrote  a  life  of  Haydn, 
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). 
(2)  Richard,  Salzburg,  Nov.  18, 1877 — 
Vienna,  Dec.  i,  1935;  bass;  studied 
at  Vienna  Cons.,  made  cUbut  as 
"Hagen"  at  Bayreuth  Fest.,  1502; 
mem.  of  Vienna  Op.,  1902-35,  sing- 
ing wide  range  of  r61es,  but  especially 
renowned  for  his  buffo  character- 
izations, such  as  "Baron  Ochs"  in 
"Der  Rosenkavalier";  Coveni  Gar- 
den, 1924;  Met.  Op.,  1$T.  Y.,  1927 
(d6but  as  "Pogner"  in  "Die  Meister- 
singer");  also  heard  in,  Wagner  an,d 
Mozart  r61es  at  Salzburg:  festivals. 

Mayrberger  (mir'-b&rkh-er),  K., 
Vienna,  1828 — Pressburg,  1881,;  con- 
ductor and  dram,  composer. 

Mayseder  (mi'-za-de'r),  Jos.,  Vienna, 
Oct.  26,  1789 — Nov.  2i>  1863;  emi- 
nent violinist,  teacher  and  composer; 
2nd  vln.  of  famous  "Schuppanzigh 
Quartet." 

Mazas  (ma,-za,s),  Jacques  Fereol, 
B6ziers,  France,  1782 — 1849;  violin- 
ist, writer  and  dram,  composer. 

Mazzinghi  (mad-zgn'-gl),  Jos.,  of 
Corsican  extraction,  London,  1765 
— London,  1839;  organist,  teacher 
and  dram,  composer. 

Mazzocchi  (mad-z6k'-kX),  Dom., 
Civita  Castellana,  Rome,  ca.  1590-*- 
ca.  1650;  composer. 

Mazzplani  (mad-zQ-la'-ne"),  Antonio, 
Ruina,  Ferrara,  Dec.  26,  1819 — 
Ferrara,  Jan.  25,  1900;  composer 
of  successful  operas  and  choruses. 

Mazzucato  (m3,d-zoo-kat'-to),  Alberto, 
Udine,  1813 — Milan,  1877;  violinist, 
teacher,  editor  and  composer. 

McConathy,  Osbourne,  b.  Pitts  Point, 
Ky.,  1875;  educator,  conductor; 
studied  with  Luther  Mason,  Karl 
Schmidt,  Percy  Goetschius;  dir. 
Louisville  Fests.,  1900-03;  cond.  in 
Boston,  choruses,  bands,  etc.,  1904- 
12;  assoc.  cond.,  Evanston,  111., 


North  Shore  Fests.,  1913-25;  teacher 
of  theory  and  methods  at  various 
Amer.  univs.;  has  served  as  pres., 
Music  Teachers  Natl  Ass'n.  and 
Music  Supervisors  Nat'l  Conference; 
author  and  ed.  of  works  on  school 
music;  d.  1949. 

McCor'mack,  John,  b,  Athlone, 
1884;  tenor;  pupil  of  Sabatini,  Milan; 
d6but  Covent  Garden,  1907,  with 
great  success;  1910  sang  with  Phila- 
delphia Opera  Co.;  1911  Chicago 
Opera  Co.;  toured  Australia,  1912, 
with  the  Melba  Opera  Co.  and  in 
concert  with  immense  succ.  in  U.  S. 
and  Europe;  created  a  Papal  Knight; 
d.  at  his  estate  near  Dublin,  1945- 

McEw'en,  Sir  John  Blackwood,  b. 
Hawick,  April  13,  1868;  Scots  com- 
poser and  pupil  R.  A.  M.;  from  1898 
prof,  there  and  dir.,  1924;  knighted, 
X934;  c.  symph.,  2  overtures, 
"Hellas"  for  women's  voices  and 
orch.  "The  Last  Chantey,"  chorus 
and  orch.  Milton's,  "  Nativity,"  do.; 
c~  vln.  aijid  chamber  wks.,  songs; 
d,  London,  June  14,  194$. 

McKin'tey,  Carl,  b.  Yarmouth,  Me., 
Oct.  9>  1895;  composer; 


^.,  Gal^sfeurg,  111,;  alsp  of  Har- 
Univ^;  studied  with  G.  Dethier, 
RothweU,  R.  Goldmark,  and  Nadia 
Boulanger;  his  symph.  poem,  "*Tfo 
Blpte  Flawer"  won  Flagler  Pri^je, 
X92i;;  cond.  his,  "Masquerade"  at 
N.  Y.  Stadium  concerts,  1926;  won 
Guggenheim  Fellowship,  1927-29; 
was  solo  rSpetiteur  at  Munich  Op., 
later  teacher  of  organ,  theory  and 
liistory  of  music  at  N.  E.  Cons. 

McPhee',  Colin,  b.  Canada,  1901; 
composer,  of  modern  style  works, 
inci.  piano  concertos  with  orch.  and 
also  with  wind  octet;  sonatina  for 
two.  flutes,  clar.,  trumpet  and  piano; 
"Sea  Chanty,"  suite  for  barytone  and 
unison  male  chorus;  symph.  in  one 
movement,  and  "Sarabande"  for 
©rch.;  also  music  for  films  and  songs. 

Mederitsch  (mS'-dS-rftsh),  Jn.  (called 
Gallus),  b.  Nimburg,  Bohemia,  ca. 
1765  —  died  1835,  Lemberg;  pianist 
and  composer. 

Medt'ner,  Nicholas,  b.  Moscow,  Dec. 
24,  1879;  composer,  pianist;  studied 
with  Safonoff,  at  Moscow  Cons; 
won  medal  there  and  also,  Rubin- 
stein prize,  Vienna,  1900;  prof.  Mos 
cow  Cons.,  1902-3;  has  toured  in 
many  Eur.  cities,  also  America 
1929-30  in  programs  of  his  works: 


286 


DICTIONARY  OF  MUSICIANS 


these  exhibit  a  more  or  less  classical 
approach  with  some  descriptive 
qualities;  c.  many  works  for  piano, 
inch  sonatas,  **  Dithyramben"  "  No- 
vellen,"  "Fairy-  Tales,"  "  Tragodie- 
Fragment"}  also  vln.  sonata  and 
songs;  d.  London.  Nov.  13,  1951. 

Meerens  (mS-rans),  Chas.,  Bruges, 
Dec.  26,  1831 — near  Brussels,  Jan. 
14,  1909;  'cellist  and  acoustician. 

Meerts  (marts),  Lambert  (Jos.),  Brus^ 
sels,  1800 — 1863;  violinist,  professor 
and  composer. 

Mees  (maz),  Arthur,  Columbus,  Ohio, 
Feb.  13,  1850 — New  York,  April  26, 
1923;  pupil  of  Th.  Kullak  (pf.), 
Weitzmann  (theory),  and  H.  Dorn 
(cond.),  Berlin;  cond.  Cincinnati 
May  Fest.  Chorus;  asst.-cond.  vari- 
ous societies  in  New  York,  Albany, 
etc.;  1896,  asst.-cond.  Thomas  Orch., 
Chicago;  1898 — 1904,  cond.  Men- 
delssohn Glee  Club,  New  York; 
1887-96,  wrote  programme  notes  for 
N.  Y.  Philh.  Orch.,  pf.-studies;  pub. 
"Choirs  and  Choral  Music." 
Megerlin  (ma-gSr-Un),  Alfred,  b.  Ant- 
werp, Belgium,  1880;  violinist;  pupil 
Antwerp  and  Brussels  Cons.;  after 
1914  in  U.  S.  and  for  a  period  b« 
ning  1917,  concertm.  of  N.  Y.  PJ 

Mehlig  (ma'-llkh),  Anna,  Stuttgart, 
July  ii,  1846 — Berlin,  July  16,  1.928; 
pianist,  pupil  of  Lebert  and  Liszt; 
m.  Antwerp  merchant  Falk. 

Mehrkens  (mar'-kSns),  FT.  Ad.,  Neuen- 
kirchen,  near  Otterndorf-on-Elbe, 
April  22,  1840 — Hamburg,  May  31, 
1899;  pupil,  Leipzig  Cons.;  lived  in 
Hamburg  as  pianist,  teacher  and 
conductor;  from  1871,  cond.  of  the 
Bach-Gesellschaft;  c.  a  symph.,  a 
Te  Deum,  etc. 

M€hul  (mS-iil),  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  performed 
after  the  succ.  of  the  op.-com. 


"Euphrosyne      et      Coradin"      (Th. 
Italien,  1790);  15  other  operas  fol- 
lowed    with     general     succ.     incl. 
"Stratonice"     (1792),     "Le     Congres' 
des  Rois"  (1793)  with  n  collabora- 
tors;   1705,    inspector    of    the    new 
Cons.,  and  a  member  of  the  Acade- 
mic;  1797,   "Le  Jeune    Henri"  was 
hissed     off     as     irreverent     toward 
Henri  IV.,  though  the  fine  overture 
had    been    demanded    three    times; 
the      opera      buff  a      "L'irato,      ou 
Vemporte"   (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  incl. 
" Valentine  de  Milan"  completed  by 
Daussoigne-M6hul,  and  prod.  1822; 
he  c.  also  inferior  symphs.  and  pf.- 
sonatas,    and    very    pop.    choruses 
"Chant  du  depart,"  "C.  de  mctoire," 
"Chant  de  retour"  etc.     Biogr.   by 
Vieillard,  1859,  an<l  A.  Pougin,  1889. 
Meibom  (mi'-bdm)    (or  Meibo'mius), 
Marcus,    Terming,    Schleswig,    1626 
(?) — Utrecht,     1711;     theorist     and 
collector;  his  great  work  is  a  valuable 
historical  coll.  of  old  composers. 
Meifred   (mS-fra),   Jos.  J.  P.   fimile, 
Colmars,   Basses- Alps,    1791 — Paris, 
1867;   horn-virtuoso,    professor   and 
writer. 

Meiland  (ml'-lSnt),  Jakob,  Senften- 
berg,  Lower  Lusatia,  1542 — Celle, 
1577;  important  contrapuntist. 
Meinardus  (ml-nar'-doos),  L.  Sieg- 
fried, Hooksiel,  Oldenburg,  1827 — 
Bielefeld,  1896;  writer  and  dram, 
composer. 

Meiners  (ml'-nSrs),  Giov.  Bat.,  Milan, 
1826 — Cortenova,  Como,  1897;  con- 
ductor and  dram,  composer. 
Meisle  (miz'-l5),  Ekthryn,  b.  Phila- 
delphia; contralto;  studied  at  Phila. 
Cons.,  d6but  as  soloist  with  Minne- 
apolis Symph.,  1921,  and  won 
reputation  as  a  concert  singer  before 
entering  opera;  d^but  in  latter 
field  as  "Erda,"  Chicago  Op.,  1923; 
also  as  guest  with  Cologne  Op.,  and 
after  1934  with  Met.  Op.  Co.;  m. 
Calvin  Franklin,  concert  manager. 
Meister  (ml'-shter),  K.  Severin,  K5- 
nigstein  (Taunus,).  1818 — Monta- 
baur,  (Westerwald),  1881;  teacher 
and  mus.  director. 
Mel  (mel),  Rinaldo  de,  Flemish 

musician,  i6th  cent. 
Mela  (ma'-la),  (i)  del  M.     Vide 


DICTIONARY  OF  MUSICIANS 


287 


(2)  Vincenzo,  Verona,  1821 
— Cologna,  Vaneta,  1897;  dram, 
composer. 

Melar'tin,  Erkki,  Kexholm,  Finland, 
Feb.  7,  1875 — Helsingfors,  Feb.  14, 
I937J  pupil  of  Wegelius;  after  1911 
dir.  of  Helsingfors  Cons.;  c.  orch. 
music,  songs,  etc. 

Melba  (mSl'-ba),  NeUie  (rightly  Mit- 
chell), Melbourne,  Australia,  May 
19,  1861 — Feb.  23,  1931;  one  of^the 
chief  colorature-sopranos  of  her  time, 
with  a  voice  of  great  range,  purity 
and  flexibility;  pupil  of  Mme.  Mar~ 
chesi;  d6but  Th.  de  la  Monnaie, 
Brussels,  1887,  as  "Gilda"  in  "Rigo- 
letto,"  sang  in  Europe  and  America 
with  greatest  succ.  hi  both  opera  and 
concert;  after  1888  at  Covent  Gar- 
den; the  following  year  in  Paris 
as  "Ophelia";  from  1893  at  Met.  Op., 
N.  Y.,  where  she  was  one  of  tie 
notable  luminaries  in  casts  with  the 
brothers  de  Reszke;  1906-07  at 
Manhattan  Op.,  and  in  1917,  Chi- 
cago Op.;  she  gave  a  series  of  special 
perfs.  in  19227-23  with  the  British 
NTat'l  Op.  Co.  in  London,  then 
organized  her  own  co.  for  a  season 
in  Australia;  as  a  reward  for  her 
extensive  work  in  giving  benefit 
concerts  during  the  war  was  created 
a  Dame  Commander  of  the  British 
Empire;  her  gala  "farewell"  at 
Covent  Garden,  when  she  appeared 
in  scenes  from  her  favorite  operas, 
was  in  1926;  founded  Melba  Scholar- 
ship for  women  singers  in  her  native 
country. 

Melcer  (m&'-tsSr),  H.  von,  Kalish, 
Poland,  Sept.  21,  1869 — killed  in 
battle,  Galicia,  1915;  pianist  and 
composer;  1895  *  won  Rubinstein 
prize  with  Concertstiick  for  pf .  and 
orch. 

Melchior  (mSl'-kI-6r),  (i)  Edw.  A.,  b. 
Rotterdam,  Nov.  6,  1860;  .teacher 
and  lexicographer.  (2)  Lauritz,  b. 
Copenhagen,  March  20,  1890;  tenor; 
studied  at  Cons,  in  native  city, 
d6but  Royal  Op.  there,  1913;  after- 
ward a  pupil  of  Beigel,  Grenzebach, 
Mme.  Bahr-Mildenburg  and  Karl 
Kittel;  Covent  Garden,  1924,  same 
year  at  Bayreuth,  where  his  "Parsifal" 
roused  much  admiration;  after  1926 
mem.  of  Met.  Op.  Co.,  excelling  in 
Wagnerian  r61es;  has  also  sung 
"Otello"  at  Covent  Garden  and  with 
San  Francisco  Op.  Co. 

Metchiori  (mSl-H-d'-re).  Ant.. 


1827 — Milan,     1897;    violinist    and 
composer. 

Melgunow  (mSl'-gpo-n6f),  Julius  von, 
Kostroma,  Russia,  Sept.  n,  1846 — 
Moscow,  March  31,  1893;  pupil  ol 
Henselt  and  the  Rubinsteins;  also 
of  Moscow  Cons,  and  R,  V/estphal, 
whose  system  he  adapted  to  Bach's; 
pub.  a  coll.  of  folk-songs. 

Mel 'is,  Carmen,  b.  Cagliari,  Sardinia, 
1885;  soprano;  sang  1909  at  Man- 
hattan Op.  House,  N.  Y.;  19  n, 
Boston  Op.  Co.;  after  1913  for  a 
time  with  Met.  Op.,  also  appearing 
at  the  Paris  Op.  and  widely  in  Italy. 

Mel'ton,  JasM  tenor,  b.  1904;  Met.  '42. 

Meltz/er,  Charles  Henry,  London, 
June  7,  1853  of  Russian  parentage — 
New  York,  Jan.  14,  1936;  critic; 
pupil  of  the  Sorbonne,  Paris,  later 
journalist  on  various  New  York 
papers;  author  and  translator  of 
plays  and  librettos*. 

Meluzzi  (ma-lood'-z5),  Salvatore, 
Rome,  July  22,  1813 — April  17, 
1897;  eminent  organist,  composer 
and  conductor. 

Membree  (man-bra),  Edmond,  Valen- 
ciennes, 1820 — Chateau  Damont, 
near  Paris,  1882:  dram,  composer. 

Mendel  (mSn'-del),  Hn.,  Halle,  1834 
— Berlin,  1876;  writer  and  lexicogra- 
pher. 

Mendelssohn,  (i)  (Jakob  Ludwig) 
Felix  (rightly  Mendelssohn-Bar- 
tholdy)  (mgn'-d'l-zQn-bar-t61'-dg), 
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  10  he  entered  the  Singa- 
kademie,  as  an  alto;  the  same  year 
his  setting  of  the  i9th  Psalm  was 
performed  by  the  Akademie.  Every 
Sunday  a  small  orch.  performed  at 
his  father's  house,  and  his  coinps. 
were  heard  here  early  and  often;  he 
usually  cond.  these  concerts  even  as 


288 


DICTIONARY  OF  MUSICIANS 


a  child.  1835  kis  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  pcs,, 
incl.  a  cantata,  a  mus.  comedy,  a 
pf.-trio,  2  pf.-sonatas,  a  vln.-sonata, 
songs,  etc.  At  9  he  had  played  the 
pf,  ijj.  public;  at  12  he  was  a  notable 
improviser  (while  playing  a  Bach 
fugue  at  Goethe's  request  he  ex- 
temporised the  Development  which 
he  had  suddenly  forgotten).  At 
17  he  c.  the  remarkably  original, 
beautiful  and  (in  advance)  Wag- 
nerian  overture  to  "A  Midsummer 
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  Hoch- 
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  Singakadejuoie. 
This  was  the  first  step  in  the  great 
crusade  he  waged,  taking  Bach  out 
of  obsolescence  into  the  pre-eminence 
he  now  keeps.  1830,  M.  declined 
the  chair  of  mus.  at  the  Berlin  Univ. 
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  anniversary 
of  the  emancipation  of  the  natives  of 
Ceylon,  and  in  his  letters  (in  which 
his  sunny  nature  finds  free  play)  he 
referred  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  retiirniiig  to  London,  conducted 
the  "Hebrides"  overture,  played  his 
G  min.  concerto  and  B  min.  Capric- 
cio  brillant,  and  pub.  his  first  6 
"Songs  without  Word.*"  (c,  in  Ven- 


ice, 1830).  His  race  and  his  amazing 
energy  and  succ.  made  him  much 
opposition  at  Berlin,  and  he  was  re- 
fused the  conductorship  of  the  Sing- 
akademie  in  1833,  although  he  had 
arranged  a  series  of  concerts  for  the 
benefit  of  the  Orch.  Pension  Fund. 
1833,  he  cond.  the  Lower  Rhine 
Mus.  Festival  at  Dtisseldorf,  and  be- 
came Town  Mus.  Dir.  of  the  cn.- 
mus.,  the  opera,  and  two  singing- 
societies,  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,  Dtisseldorf,  in  1837 
also    at    the    Birmingham    Festival. 

1837,  he  m.  CScile  Charlotte  Sophie 
Jeanrenaud  of  Frankfort,   daughter 
of  a  French  Protestant  clergyman. 
She   bore   him   five   children,    Karl, 
Marie,     Paul,     Felix,     and     "Lili" 
(Elisabeth).     In       1841       Friedrich 
Wilhelm   IV.    invited   him    to    take 
charge  of  the  grand  orch.  and  choral 
concerts    at    Berlin.     The    hostility 
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    "Domchor" 
(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  Gewand- 
haus Concerts.     1845  he  cond.  "Eli- 
jah" at  Birmingham.     He  resigned 
the    Gewandhaus    conductorship    to 
Gade,      and     the     piano-dept.      to 
Moscheles,   whom  he   invited  from 
London.     Upon    hearing    the    news 
of  the  sudden  death  of  his  idolised 
sister,    Fanny    Hensel,    he    fell    in- 
sensible and  Lived  only  6  months. 
M.  was  kept  from  opera  by  inability 
to  find  a  satisfactory  libretto.     Be- 
sides  "Die    Hochzett   des   Camacho-' 
he  left  an  unfinished  opera  "Loreler\" 
an    operetta    "Son    and    Stran^r," 
and  5  small  unpub.  operas.     He  c. 
3    oratorios,    "Paulus"    (Si.    Paul) 
"Elias"     (Elijah),     and    "Christus" 
(unfinished),     the     symph.     cantata 
"Lobgesang,"    op.    52;    the  l»allade, 
with    orch.    "Die    erste    Walpurgis- 


DICTIONARY  OF  MUSICIANS 


289 


nacht,"  op.  60;  2  "Festgesange," 
"An  die  Kilnstler"  (for  male  chorus 
and  brass),  and  "Zur  S&cularfeier 
der  Buchdntckerkunst"  ("Gutenberg 
Cantata")?  with,  orch.;  mus.  to  the 
plays  "Antigone"  (op.  55),  "Athalie" 
(op.  74),  "CEdipus  in  Colonos" 
(op.  93),  and  "A  Midsummer  Night's 
Dream"  (op.  61);  c.  also  vocal  works 
with  orch.,  hymn,  "Tu  es  Petrus" 
Psalms  114?  iIS>  and  95,  prayer 
"Verleih*  uns  Frieden"  and  sopr. 
concert-aria  "Infelice"  (op.  94). 
4  SYMPHONIES,  in  C  min.;  A  min. 
(or  "Scotch");  A  (or  "Italian"); 
D  (or  "Reformation"),  OVER- 

TURES, "Sommernachtstraum"  ("A 
Midsummer  Night's  Dream")?  op. 
21 ;  "Hebrides,"  "Die  Fingalshohle" 
(or  "Fingal's  Cave"),  op.  26;  "Meer- 
stille  und  gliickliche  Fahrt"  ("Calm 
Sea  and  Prosperous  Voyage"),  "Die 
Schb'ne  Melusine"  ("The  lovely 
Melusine")  (op.  32),  "Ruy  Bias" 
(op.  95).  "Trumpet"  overture,  and 
an  overture  for  wind-band  (op.  24); 
c.  also  andante,  scherzo,  capriccio, 
and  fugue,  for  string-orch.  (op.  81), 
funeral  march  (op.  103),  and  march 
(op.  108);  2  pf. -concertos,  in  G.  min. 
and  D.  ^rnin.;  capriccio  brillant; 
rondo  brillant,  and  serenade  and 
allegro  giocoso,  for  pf.  with  orch.; 
vln.-concerto  in  E  min.  (op.  64);  a 
string  octet,  quartets,  2  quintets,  a 
pf.-sextet,  7  string-quartets,  3  pf.- 
quartets,  2  pf  .-trios,  2  trios  for  clar., 
basset  horn,  and  pf.;  2  'cello-sonatas, 
a  sonata  for  vln.,  variations  con- 
certantes  (op.  17)  and  "Lied  ohne 
Worte"  (op.  109),  for  'cello  with  pf., 
religious  and  secular  choruses,  13 
vocal  duets,  and  83  songs.  FOR 
PIANO,  3  sonatas;  capriccio; 
Charakterstiicke;  rondo  capriccioso; 
4  fantasias,  incl.  "The  Last  Rose  of 
Summer";  "Lieder  ohne  Worte" 
("Songs  without  Words")  in  8  books; 
"Sonate  ecossaise"  6  preludes  and 
fugues,  "Variations  sfrieuses,"  etc.; 
6  Kinderstucke,  3  preludes  and  3 
studies,  op.  104;  "  Albumblatt," 
"Perpetuum  mobile"  etc.  4-hand 
variations;  4-hand  allegro  brillant; 
duo  concertant  (with  Moscheles), 
for  2  pfs.  on  the  march-theme  in 
Weber's  "Preciosa."  FOR  ORGAN, 
3  preludes  and  fugues;  5  sonatas,  op. 
3s;  preludes  in  C  min. 
Biogr.  by  his  eldest  son  Karl  (1871); 
t>r  Hille^  ^i87O :  s-  Hensel  (1870): 


Eckardt  (1888);  an  extended  article 
by  Grove  (in  his  Dictionary),  etc. 
Numerous  editions  of  his  letters  arc 
published.  Memoirs  by  Lampadius, 
Kaufman,  Rockstro,  Runciman  and 
Stratton.  (See  article,  page  504.) 
(2)  Arnold,  Ratibor,  Dec.  26,  1855 — 
Darmstadt,  Feb.  19,  1933;  grand- 
nephew  of  above;  studied  with 
Haupt,  Kiel,  Grell,  Taubert;  organist 
and  teacher  in  the  Univ.  at  Bonn; 
then  teacher  at  Cologne  Cons.;  then 
at  Darmstadt,  professor;  from  1912 
taught  Hoch  Cons.,  Frankfort-on- 
Main;  D.  TheoL,  Giessen  Univ., 
1917.  C.  operas  "JElsi"  (Cologne 
City  Th.,  1894),  "Der  B&renhttuter," 
and  "Die  Minneburg";  also  many 
choral  works  of  high  quality;  songs, 
etc. 

Mendes  (man-dSs),  Catulle,  Bordeaux 
May  22,  1841 — Paris,  Feb,  8,  1909; 
poet;  librettist  of  pop.  poems  and 
operettas. 

Mengal  (man-gal),  Martin  Jos., 
Ghent,  1 784 — 1 85 1 ;  horn- virtuoso 
_and  dram,  composer. 
Meng'elberg  (i),  Willem,  b.  Utrecht, 
March  28,  1871 — Chur,  Switz., 
March  21.  1951;  pupil  Hoi,  WurflE 
and  Petri  at  Utrecht^,  then  at 
Cologne  Cons.;  1891,  dir.  at  Lu- 
cerne; from  1895  to  1945  Mengelberg 
has  been  the  brilliant  cond.  of  the 
Amsterdam  Concertgebouw  Orch., 
an  organisation  which  he  shaped  into 
one  of  the  leading  ensembles  in 
Europe;  after  1898  also  of  the  Toon- 
kunst  choral  society  there.  Begin- 
ning 1903  he  served  as  guest  leader 
of  many  Eur.  orchs.,  incl.  the  London 
Philh.;  1905  he  visited  !N*.  Y.  as  one 
of  the  conductors  of  the  Philh.  Orch.; 
1907  led  the  Frankfort  Museum 
Concerts  and,  1908,  the  Caecilien- 
verein  there;  in  1921  he  returned  to 
N.  Y.  as  cond.  of  the  short-lived 
Nat'l  Symph.  Orch.,  and  made  so 
powerful  an  impression  that  he 
was  engaged  for  the  Philh.  when  the 
former  orch.  was  merged  with  it. 
He  conducted  annually  in  N.  Y. 
until  1930  with  a  pronounced  musi- 
cal following;  he  also  appeared  as 
guest  cond.  in  the  principal  Eur. 
capitals.  Also  a  proficient  pianist, 
and  a  notable  champion  of  the 
works  of  Mahler.  (2)  Rudolf,  b. 
Crefeld,  Germany,  Feb.  i,  1892;  cousin 
of  (i);  composer  and  writer;  wrote 
programme  notes  for  Amsterdam 


290 


DICTIONARY  OF  MUSICIANS 


Concertgebouw,  of  which  after  1925 
he  was  vice-director. 

Menges,  Isolde,  b.  Brighton,  Engl., 
1894;  violinist;  studied  with  her 
father,  who  was  dir.  of  Brighton 
Cons.;  then  with  Leon  Sametini 
and  Auer;  d6but,  London,  1913; 
U.  S.,  ipr6. 

Mengewein  (me'ng'-e'-vin),  K*, 
Zaunroda,  Thuringia,  Sept.  9,  iC52 — 
near  Berlin,  April  7,  1908;  from 
1881-86,  teacher  at  Freudenberg's 
Cons.  Wiesbaden;  co-founder  of  a 
Cons,  at  Berlin,  1886;  c.  oratorio, 
festival  cantata,  operetta,  overture 
*l Dornroschen"  etc. 

Mengozzi  (m£n-g6d'-ze),  Bdo.,  Flor- 
ence, 1758 — Paris,  March,  1800; 
tenor,  writer  and  composer  of  13 
operas. 

Menotti,  Gian-Carlo,  b.  Milan,  1911; 
composer;  studied  Curtis  Inst . ,  Phila.; 
c.  one-act  opera,  "Amelia  Goes  to  the 
Ball,"  Met.  Op.,  1937-8;  "  The  Island 
God"  (ibid.,  1942);  2-act  opera,  "The 
Medium";  3-act,  "The  Consul";  i-act 
"The  Telephone";  ballet  "Sebastian." 

Menter  (mSn'-te'r),  (i)  Jos.,  Deuten- 
kofen,  Bavaria,  1808 — Munich.  1856; 
'cellist.  (2)  (Menter-Popper)  So- 
phie, Munich,  July  29,  1846 — near 
Munich,  Feb.  23,  1918;  daughter  of 
above;  eminent  pianist;  pupil  of 
Sch6nchen,  Lebert  and  Niest;  d€but, 
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.; 
then  lived  at  her  country-seat, 
Castle  Itter,  in  the  Tyrol. 

Memihin  (mSn'-oo-hln;,  (i)  Yehudi, 
b.  New  York,  Jan.  22,  1917;  re- 
markable for  his  precocious  genius 
as  violinist;  res.  in  San  Francisco  as 
child;  began  vln.  study  at  4  with 
Louis  Persinger;  at  7  d£but  with 
San  Francisco  Orch.,  creating  a 
furore  as  prodigy;  N.  Y.  recital, 
following  year,  roused  much  interest; 
was  then  taken  to  Paris  for  study 
with  Enesco;  d£but  at  10  in  that 
city  with  Lamoureux  Orch.  was 
triumphal  event,  closely  followed  by 
Ms  appearance  as  soloist  with  N.  Y. 
Symph.  in  Beethoven  concerto,  then 
further  Eur.  conquests  incl.  remark- 
able feat  of  playing  Bach,  Beethoven 
and  Brahms  concertos  in  one  evening 
with  Berlin  Symph.  under  Bruno 
Walter;  at  15,  chosen  to  play  Brahms 


concerto  with  N.  Y.  Philh.,  showing 
ripened  stylistic  authority;  has  also 
been  a  pupil  of  Adolf  Busch,  and  has 
appeared  in  sonata  recitals  with  his 
young  sister  (2)  Hephzibah,  pianist, 
in  London,  Paris  and  New  York 
with  equal  applause;  following  world 
tour,  incl.  Antipodes,  1935-36,  he 
went  into  temporary  retirement  of 
2  years  on  his  ranch  in  Cal.  for 
further  musical  study  and  recrea- 
tion. 

Merbecke,  J.     Vide  MARBECK. 

Mercadante  (mSr-ka-dan'-tg),  Gins. 
Saverio,  Altamura,  Sept.  17,  1795 — 
Naples,  Dec.  17,  1870;  pupil  of  Zin- 
garelli  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.  "Elisa 
e  Claudio"  (Naples,  1866),  "II  Giu- 
ramento"  (Milan,  1837);  he  lived  in 
various  cities;  1833  cond.  at  Novara 
Cath.;  1862  he  went  blind;  he  c.  also 
2  symphonies,  4  funeral  symphonies, 
20  masses,  etc. 

M€reaux  (ma-ro),  (i)  J.  Nicolas 
Am€dee  Lefroid  de,  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'-rf-an),  Hans,  Basel,  1857 
— Leipzig,  1905;  writer* 

M€ric  (ma-rlk).     Vide  LALANDE. 

Meriel  (ma-rl-el),  Paul,  Mondoubleau, 
1818 — Toulouse,  1897;  violinist, 
cond.  and  dram,  composer;  dir.  Tou- 
louse Cons. 

Merikan'to,  Oscar,  Helsingfors,  Aug. 
5,  1868 — Feb.  17,  1924;  organist  and 
composer;  studied  Helsingfors,  Leip- 
zig and  Berlin;  organist  and  cond.  at 
Nat'l  Op.,  Helsingfors;  c.  (operas) 
"The  Girl  of  Pohja"  and  "The  Death 
of  EHina";  works  for  organ,  piano, 
violin,  songs;  ed.  collection  of  folk- 
songs. 

Merk  (m£rk),  Jos.,  Vienna,  1795 — 
Ober-Dobling,  1852;  violinist  and 
composer. 

Merkel  (m£r'-kSl),  (i)  Gustav  (Ad.), 
Oberoderwitz,  Saxony,  Nov.  I2; 
1827 — Dresden,  Oct.  30,  1885;  org. 
and  composer.  (2)  K.  L.,  wrote 
treatises  on  throat,  etc. 

Merklin  (mar'-klen),  Jos.,  Oberhausen, 
Baden,  Jan.  17,  1819 — Nancy,  June 


DICTIONARY  OF  MUSICIANS 


291 


10,  1005;  org.-builder  at  Brussels; 
son  of  an  org.-builder;  took  his 
brother-in-law,  F.  Schiitze,  into 
partnership,  as  "Merklm-Schutze," 
1858;  in  1855,  est.  a  branch  in  Paris. 

MSro,  Yolanda,  b.  Budapest,  Aug.  30, 
1887;  pianist;  studied  at  Cons,  there, 
and  made  her  d6but  as  soloist  with 
Dresden  Philh.,  1907;  toured  in 
Eur.  cities,  also  South  and  Central 
America,  has  lived  in  U.  S.  for  a 
number  of  years,  where  she  gave 
many  recitals;  c.  "Capriccio  Ungha- 
rese"  for  piano  and  orch.;  m.  Her- 
mann Irion,  mem.  firm  of  Steinway 
&  Sons. 

Merola  (ma'-rS-la),  Gaetano,  b. 
Naples,  Jan.  4,  1881;  conductor; 
studied  Naples  Cons.;  1899,  asst. 
cond.,  Met.  Op.;  later  with  Savage 
Op.  Co.,  at  Manhattan  Op.,  and  for 
some  years  gen'l  dir.  of  San  Fran- 
cisco Op-;  d.  while  conducting  a  con- 
cert, San  Francisco,  Aug.  30,  195 j. 

Mersenne  (mSr-s£n),  Marin,  Oize 
(Maine),  France,  Sept.  8,  1588 — 
Paris,  Sept.  i,  1648;  writer  of  mus. 
treatises. 

Mertens  (mar'-tSns),  Jos.,  Antwerp, 
Feb.  17,  1834 — Brussels,  June  30, 
1901;  ist  vln.  at  the  opera  there  and 
teacher  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  Zwarte  Kapi- 
tein"  (The  Hague,  1877). 

Mertke  (mSrt'-ke),  Ed.,  Riga,  1833— 
Roga,  1895;  pianist,  violinist, 
composer  and  collector. 

Mertz  (m&rts),  Jos.  K.,  Pressburg, 
Hungary,  1806 — Vienna,  1856; 
guitar- virtuoso . 

Merula  (ma-roo'-la),  Tarquinio,  b. 
Bergamo;  violinist  and  composer, 
1623—40. 

Merulo  (ma-roo'-l5)  (rightly  Merlot'ti), 
Claudio  (caUed  "Da  Coreggio"), 
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  sclu  and 
bordered  on  the  new  tonality. 

Merz  (m&rts),  K.,  Bensheim,  near 
Frankfort-on-Main,  1836 — Wooster, 
Ohio,  1890;  teacher  and  writer. 

Messager  (mgs-s5,-zhs),  AndrS  (Chas. 
Prosper),  Montlucon,  AHier,  France, 
Dec.  30,  1853 — Paris,  Feb.  24,  1929; 
pupil  of  Niedermeyer  School  and  of 


Saint-Sagns;  1874,  organist  of  the 
choir,  St.  Sulpice;  cond.  at  Brussels; 
organist  at  St. -Paul-Saint-Louis; 
Paris,  cond.  at  Sainte  Marie  des 
Batignolles;  1898-1903,  cond.  Op. 
Com.;  Chev.  of  the  Legion  of  Hon- 
our; 1901-07,  mus.-dir.  Covent  Gar- 
den, London;  1907-19,  one  of  direc- 
tors of  the  Opera  at  Paris,  and  from 
1908  cond.  of  the  concerts  of  the 
Cons.;  1919-20,  dir.  Op.-Comique; 
completed  Bernicat's  unfinished 
score,  "Francois  les  Bos  Bleus" 
(Folies-Dramatiques,  1883),  follow- 
ing it  with  about  20  other  comic 
operettas,  and  operas,  incl.  the  succ. 
*\Le  Chevalier  dy  Harmental"  (Op.- 
La  Basoche"  (Op.- 


Com., 
Com., 


1896); 

1890,  Bremen,  1892,  as 
"Zwei  Konige");  "Mirette"  (Savoy, 
London,  1894);  "Les  P'tttes  Michu" 
(Paris,  1894)  enormous  success; 
"Veronique"  (1899);  "Fortunio"  (Op. 
Com.  1907) ;  "Beatrice"  _  (Monte 


••  rassionnement"     <,ao.,     1920;;    tne 
ballets,   "Scaramouche,"   "Les   Deux 


Pigeons",  songs,  etc. 

Messchaert  (ma '-start),  Johannes, 
Hoorn,  Holland,  18^7 — Zurich,  1922; 
barytone;  teacher,  cond.;  toured. 

Messiaen,  Olivier,  b.  Avignon^  1908; 
comp ., organist.  (V. Composers'  List.) 

Mestrino  (mas-tr6'-n5),  Niccold,  Milan, 
1748 — Paris,  1789;  violinist,  conduc- 
tor, and  composer. 

Metastasio  (ma-tas-ta7-zX-6)  (rightly 
Trapassi,  but  changed  to  M.,  a 
pun  on  T.  to  please  his  patron 
Gravina),  P.  Ant.  Dom.  Bpnaventura, 
Rome,  Jan.  13,  1698 — Vienna,  April 
12,  1782;  poet  and  dramatist;  wrote 
librettos  set  to  mus.  by  Gluck  and 
Mozart. 

Methfessel  (mat'-fSs-sel),  Albert  GL, 
Stadtilm,  Thuringia,  1785 — Hecken- 
beck,  1869;  dram,  composer. 

MStra  (ma-tra),  (Jules  Louis)  Olivier, 
Rheims,  1830 — Paris,  1889;  violinist 
and  double-bass  player,  conductor 
and  dram,  composer. 

Mettenleiter  (mSt'-tSn-U-tgr),  (i)  Jn. 
G.,  St.  Ulrich,  near  Ulm,  1812 — 
Ratisbon,  1858;  organist  and  com- 
poser. (2)  Dominicus,  Thann- 
hausen,  Wurtemberg,  1822 — Ratis- 
bon, 1868,  brother  of  above;  writer 
and  composer. 

Metzdorff  (m£ts'-d6rf),  Richard,  Dan- 
zig, June  28,  1844 — Berlin,  April 


292 


DICTIONARY  OF  MUSJCIANS 


26,  1919;  pupil  of  FL  Geyer,  Dehn, 
and  Kiel,  Berlin;  cond.  at  various 
cities;  c.  opera  " Rosamunde"  (Wei- 
mar, 1875);  succ.  "  Hagbart  und 
Signe"  (Weimar,  1893);  c.  also  3 
symph*  incl.  "Tragic";  overture 
"King  Lear";  "Frau  Alice,"  ballade, 
with  orch.,  etc. 
Meurs,  de.  Vide  MURIS,  DE. 
Meursius  (mtir'-sl-oos),  Jns.,  Looz- 
duinen,  near  The  Hague,  1579 — 
Denmark,  1639;  prof,  and  writer. 
Merer  (ml'-er),  (i)  Ld.  von  (cafled 
"De  Meyer"),  Baden,  near  Vienna, 
1816 — Dresden,  1883;  pianist  and 
composer.  (2)  Jenny,  Berlin,  1834 
— 1894;  concert-singer;  1865  teacher, 
1 888 "proprietress  Stern  Cons.  Berlin. 
(3)  waldemar,  b.  Berlin,  Feb.  4, 
1853;  violinist,  pupil  of  Joachim; 
1873-81,  member  of  the  Berlin  ct. 
orch.  (4)  Gustav,  b.  Konigsberg, 
Prussia,  June  14,  1859;  pupil  of 
Leipzig  Cons.;  cond.  various  cities; 
1895,  Leipzig  City  Th.  1903,  Prague; 
c.  4-act  farce,  ballet-pantomime, 
etc.  D.  Prague,  ?. 

Meyerbeer  (mi'-Sr-bar),  Giacomo 
(rightly  Jakob  Liebmann  Beer; 
by  adding  the  name  "Meyer"  he 
secured  a  large  inheritance  from  a 
wealthy  relative;  he  then  Italianised 
"Jacob"  as  "Giacomo"),  Berlin, 
Sept.  5,  1791 — Paris,  May  2, 
1864;  son  of  a  Jewish  banker;  a 
precocious  and  remarkable  pianist; 
pupil  of  Lauska  and  Clementi;  at  7 
played  in  public;  studied  with 
Zelter,  Anselm,  Weber;  1810,  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 
"JepkthasGelubde"  (Ct.-Op.,  Munich, 
1813)  and  "Alimilek"  (Munich, 
1813),  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  onlv  to  understand  the 
voice,  and  advised  an  Italian  jour- 
ney. He  went  to  Venice  in  1815 
and,  carried  away  with  Rossini's 
vogue,  c.  6  Italian  operas  which  had 
succ,,  especially  "77  Crociato  in 
Egitto\>  (Venice,  1824).  While  writ- 
ing this  last  he  went  to  Berlin  hoping 
to  prod.  3-act  German  opera,  "Das 
Srandenburger  Thor";  though  he 


found    no    hearing,    Weber    begged 
him  not  to  give  himself  up  to  Italian 
influences.     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  opera 
from  Lully  down,  forming  his  third 
stjrle,  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    le    Diable"     (Gr.     OpSra, 
1831),  was  an  enormous  succ.,  finan- 
cially establishing  the  Op6ra  itself, 
though  M.  had  had  to  pay  the  man- 
ager V£ron  a  large  sum  to  secure  its 
g  reduction.     Less  pop.  succ.  at  first, 
ut   more   critical  favour  attended 
"Les    Huguenots"   (1836);  its  prod, 
at  Berlin,  1842,  led  King  Fr.  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; 
returning  to  Berlin  he  prod.  Wagner's 
new    work    "Rienzi";    later    he    ob« 
tained     "The     Flying     Dutchman'* 
performance,  after  its  rejection  else- 
where.    The  extent  to  which  he  be- 
friended Wagner  is  matter  of  bittei* 
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  Meyerbeer.     Yet,  whether 
or  no  Wagner  borrowed  money  from 
M.,  he  certainly  borrowed  number- 
less  points   of  artistic   construction 
from  him.     In  1849,  "Le  Prophete" 
(finished  1843)  was  prod,  at  the  Paris 
Gr.   Op6ra   (1849)  followed  by  the 
successes   "L'Etoile  du  Nord"  (Op.- 
Com.,  1854),  some  of  it  taken  from 
his  "Das  Feldlager  in  Schlesien";  and 
"Dinorah,   ou  le   Pardon  de   Plo'er- 
mel"    (Op.    Com.,    1859).     "L'Afri- 
caine"  (worked  on  with  constant  and 
characteristic    changes    from    1838) 
•was  prod,  at  the  Paris  Gr.  Op6ra, 
1865,   a  year  after  his  death.     M. 
left  by  will  10,000  thaler  ($7,500) 


DICTIONARY  OF  MUSICIANS 


293 


for  the  foundation  of  a  Meyerbeer 
Scholarship,  for  which  only  Germans 
under  28,  and  pupils  of  the  Berlin 
"Bochschule,"  the  Stern  Cons.,  and 
the  Cologne  Cons.,  are  eligible. 
Competitors  must  submit  a  vocal 
fugue  d  8  (for  double  chorus),  an 
overture  for  full  orch.,  and  a  dram, 
cantata  d  3,  with  orch.  (text  of 
cantata,  and  text  and  theme  of 
fugue  being  given).  The  fund  gives 
six  months  in  Italy,  six  in  Paris,  and 
six  more  in  Vienna,  Munich  and 
Dresden  together.  M.  c.  also  incid. 
music  to  "Struensee"  (the  tragedy 
by  his  brother,  Michael  Beer;  Berlin, 
1846),  choruses  to  ^Eschylus'  "Eume- 
nides";  festival-play  "Das  Hojfest 
von  Ferrara";  monodrama  "Theve- 
lindens  Liebe"  for  sopr.  solo,  chorus 
with  clar.  obbligato  (Vienna,  1813); 
cantatas,  "Gutenberg"  and  "Maria 
und  ikr  Genius'3  (for  the  silver  wed- 
ding of  Prince  and  Princess  Carl  of 
Prussia);  "Der  Genius  der  Musik 
am  Grabe  Beethoven'9;  serenade 
"Brautgeleite  aus  der  Heimath"  (for 
.  the  wedding  of  Princess  Louise  of 
Prussia);  ode  to  Rauch  (the  sculp- 
tor), with  orch.;  7  sacred  odes  a 
cappella;  "Festhymnus"  (for  the  King 
of  Prussia's  silver  wedding);  3 
"Fackeltanze,"  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  SchiU 
kr  Centenary  (1859);  overture  in 
march-form  (for  opening  of  London 
Exhibition,  1862);  coronation  march 
for  King  Wilhelm  I.  (1863);  church- 
masic;  pf.-pcs.,  etc.  Biog.  by  A. 
de  Lasalle  (1864);  H.  Blaze  de  Bury 
(1865);  Ella  (1868);  H.  Mendel 
(1868),  and  J.  Schucht,  1869.  Other 
memoirs  by  Pougin,  Kohut,  J. 
Weber,  Curzon,  Eymieu,  Dauriac, 
Hervey,  Kapp,  etc.  (See  article,  page 

S05-) 

Meyer-Helmund  (ml'-Sr-hgl-mpont), 
Erik,  St.  Petersburg,  April  13 
(25  new  style),  1861 — Berlin,  April 
4,  1932;  pupil  of  his  father  and  of 
Kiel  and  Stockhausen;  prod,  comic 
operas,  incl.  the  succ.  "Der  Liebes- 
kampf"  (Dresden,  1892);  succ.  ballet 
"Rubezahl"  (or  "Der  Berggeist") 
(Leipzig,  1893);  i-act  burlesque 
"Trischka"  (Riga,  1894);  and  pop. 
songs. 

Meyer-Olbersleben 


la-b£n),  Max,  Olbersleben,  near 
Weimar,  April  5,  1850 — Wiirzburg, 
Dec.  31,  1927;  pupil  of  his  father, 
of  Muller-Hartung  and  Liszt,  ^  on 
whose  recommendation  he  was  given 
a  stipend  by  the  Duke,  and  studied 
with  Rheinberger  and  Wullner;  1877, 
teacher  of  cpt.,  and  comp.  R.  Cons, 
of  Mus.,  Wiirzburg;  1907-20,  dir. 
of  same;  1879,  cond.  the  "Lieder- 
tafel";  1885,  Royal  Prof,;  1896, 
dir.  "Deutscher  Sftngerbund,"  and 
co-dir.  the  Fifth  National  Sangerfest, 
Stuttgart;  c.  succ.  romantic  opera 
"ClUre  Dettin"  (Wiirzburg,  1896), 
and  a  comic  opera  "Der  Hauben 
Krieg"  (Munich  Opera);  overtures, 
"Feierklttnge"  and  "Festouvertttre"; 
fine  choruses;  chamber-mus.,  etc. 

Mezeray  (maz-re1'),  L.  Chas.  Lazare 
Costard  de,  Brunswick,  1810 — As- 
niSres,  near  Paris,  April,  1887;  bary- 
tone and  dram,  composer. 

Miaskowsky  (m5-as-k6f  '-ske),  Nicolas, 
b.  near  Warsaw,  Apr.  20,  1881 — d. 
Moscow,  Aug.  9, 1950;  Russian  comp.; 
his  father  a  general  in  the  Russian 
army,  and  early  trained  to  follow  in 
the  profession  of  military  engineer; 
1906,  entered  St.  Petersburg  Cons., 
where  he  studied  with  Gliere,  LiadofE , 
Witol  and  Rimsky-Korsakoff;  early 
composed  pf.  sonata;  after  serving 
in  Russian  armies  during  war,  came 
into  prominence  as  a  symph.  comp. 
in  pos  -revolutionary  period;  com- 
posed many  works  in  this  form, 
several  of  which  have  been  played 
in  the  U.  S.;  his  music  is  neo- 
romantic  though  with  some  modern 
harmonic  influence  by  Scriabin, 
Prokofieff,  Debussy,  etc.;  but  in 
general  he  carries  on  the  tradition 
of  Tschaikowsky  in  Russian  music; 
after  1921,  prof,  of  theory  at  Moscow 
Cons.;  c.  (orch.)  27  symphonies; 
Sinfonietta;  "The  Silence" \  "A 
Tale3';  "Alastor"-,  (chamber  works) 
3  string  quartets;  also  piano  music 
and  songs. 

Miceli  (mS-ch§/-l6),  Giorgio,  Reggio 
di  Calabria,  1836 — Naples,  1895;  c. 
6  operas,  2  biblical  operas,  etc. 

Michael  (me'-kha-el),  (i)  Rogier,  d. 
Dresden,  1618;  tenor  and  cond. 
to  the  Elector;  c.  motets.  His  son 
(2)  Tobias,  b.  Dresden,  1592;  church 
cond.  Leipzig;  c.  church  music,  etc. 

Michaelis  (m6-khS/-a-ies),  Chr.  FT., 
Leipzig,  1770 — 1834;  writer. 

Micheli   (me-ka'-le),  Romano,  Rome, 


294 


DICTIONARY  OF  MUSICIANS 


ca.  15*,  $ — ca.  1655;  conductor,  writer 
and  composer  of  notable  canons,  etc. 

Middelschulte  (mid'-dSl-shool-tS), 
Wllhelm,  Werne,  April  $,  1863 — 
May  4,  1943;  organist;  pupil  of 
the  Berlin  Inst.  for  church  music; 
from  1888  organist  there;  in  1891 
settled  in  Chicago;  1894—1918, 
org.  of  the  Thomas  orch.;  c.  canons 
and  fugue  on  "Our  Father  in 
Heaven"}  organ  concerto  on  a  theme 
of  Bach's;  canonic  fantasie  on  Bach, 
etc. 

Mielck  (mSlk),  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  Tietse,  Radecke  and  Bruch;  c. 
Finnish  symph.;  overture  "Mac- 
bet  A";  Finnish  fantasie  for  chorus 
and  orch.;  Finnish  orch.  suite,  etc. 

MIersch  (mersh),  (i)  Carl  Alex. 
Johannes,  Dresden,  1865 — ^Cincin- 
nati, O.,  Sept.  8,  1916;  violinist; 
pupil  of  the  Cons,  and  of  Massart; 
1888-90  teacher  in  Aberdeen,  then 
for  a  year  with  the  Boston  Symph. 
Orch.;  1894-98  artistic  dir.  of  the 
Athens  Cons,  and  court  violinist; 
1902,  returned  to  the  U.  S.;  from 
1910  at  Cincinnati  Coll.  of  Music. 
His  brother  (2)  Paul  Fr.,  b.  Dresden, 
Jan.  1 8,  1868;  'cellist,  pupil  of  Royal 
Akad.,  Munich;  from  1892  in  New 
York,  for  five  years  soloist  N.  Y. 
Symph.  Orch.,  1898,  soloist  Met. 
Opera;  c.  Indian  rhapsody,  for  orch., 
'cello  and  violin  concertos,  etc. 

iVIignard  (men-y2.r),  Alexander 
Konstantinovich  (rightly  Schelto- 
brjuchov),  b.  Warsaw  Aug.  13,  1852; 
pupil  of  the  Cons,  and  of  Saint-Saens 
at  the  Paris  Cons.;  lawyer  and  states- 
man at  Warsaw;  c.  operas,  over- 
tuxes,  2  symph.,  etc.  D.  Moscow,  ?. 

Migot  (mS'-go),  Georges,  b.  Paris, 
Feb.  27,  1891;  composer;  studied 
with  Bouval,  Ganaye  and  Widor; 
won  Boulanger,  Lepaulle,  Halphen 
and  BlumenthaJ  prizes;'  c.  chamber 
and  orch.  music;  author  books  on 
aesthetics  (he  is  also  a  painter). 

Mihakmch  (mS-M'-lo-vfch),  Edmund 
von,  Fericsancze,  Slavonia,  Sept.  13, 
1842 — Budapest,  April  22,  1929; 
pupil  of  Hauptmann  and  von  Billow; 
1887-1919,  dir.  R,  Acad.  of  Mus., 
Budapest;  c.  romantic  opera  "  Hag- 
barth  und  Signs"  (Dresden,  1882); 
succ.  opera  "ToWi"  (Pesth,  1893): 


ballads  for  full  orch.  ("Das  Geister- 
schif"  "Hero  und  Leander,"  "Lc* 
ronde  du  sabbat,"  "Die  Nixe"),  a 
symph.,  etc. 

Mikorey,  (i)  Franz,  b.  Munich,  June  3, 
1873;  conductor;  son  of  the  opera 
tenor,  (2)  Max  M.  (1850 — 1907); 
pupil  of  Thuille  and  Herzogenberg; 
cond.  at  Dessau,  1902—18;  1919  in 
Helsingfors;  1924-28,  Braunschweig; 
c.  operas,  piano  concerto,  piano 
quintet  and  trio,  songs,  etc.;  arranged 
Mahler's  posth.  "Sinfonia  Enga* 
dine." 

Miksch  (mSksh),  Jn.  Aloys,  Georges 
thai,  Bohemia,  1765 — Dresden,  1845; 
barytone  and  celebrated  teacher. 

Mikuli  (me'-koo-lS),  Karl,  Czernowitz, 
Bukowina,  1821 — Lemberg,  1897; 
pupil  of  Chopin  and  ed.  of  standard 
edition  of  his  works,  composer. 

Milanpllp  (mi-lan-61'-l6),  (i)  Teresa, 
Savigliano,  near  Turin,  Aug,  28, 
1827 — Paris,  Oct.  25,  1904;  violinist; 
studied  with  Ferrero,  Gebbaro,  and 
Mora,  at  Turin,  and  played  in  public 
at  6;  afterwards  touring  with  great 
succ.  Her  sister  (2)  Maria,  1832 — 
1848,  violinist* 

MiTanov,  Zinka,  b.  Zagreb,  pupil  of 
Ternina;  sang  Prague,  Vien.,  Salzburg 
under  Toscanini;  Sop.  Met.  Op. 
1936. 

Milde  CmSl'-dS),  (i)  Hans  Feodor 
von,  Petronell,  near  Vienna,  April 
13,  1821 — Weimar,  Dec.  10,  1899: 
pupil  of  Hauser  and  Manuel  Garcia, 
created  "Telramund"  in  "Lohengrin" 
Weimar,  1850;  life-member  of  the 
Weimar  ct. -opera.  .  (2)  Rosa  (ne'e 
Agthe),  Weimar,  June  25,  1827 — 
Tan.  26,  1906;  wife  of  above;  created 
'"Elsa,"  sang  at  Weimar  till  1876. 
(3)  Fz.  von,  Weimar,  March  4,  1855 
— Munich,  Dec.  6,  1929;  son  and  pu- 
pil of  (i).  and  (2);  barytone,  1878  at 
Hanover  ct.-th. 

MiTdenberg,  Albert,  Brooklyn.  Jan. 
13,  1878— Raleigh,  N.  C.,  1918; 
pupil  of  Joseffy,  Bruno  Oskar  Klein, 
C.  C.  Mtiller;  c.  orch.  suites,  operas. 

Mildenburg,  Anna  von  (Bakr-),  b. 
Vienna,  Nov.  29,  1872;  notable 
dramatic  soprano;  pupil  of  Vienna 
Cons.;  1895,  d6but  ?n  Hamburg: 
1897,  Bayireuth;  1908-17  a  leading 
mem.  of  the  Vienna  Ct.-Op.;  esp. 
known  for  her  Wagnerian  interpre- 
tations; after  1919  teacher  of  singing 
at  the  Munich  Akad.;  from  192* 
also  dram.  dir.  for  Wagner  works  at 


DICTIONARY  OF  MUSICIANS 


295 


the  Munich  Op.;  m.  Hermann  Bahr, 
poet  and  playwright,  with  whom  she 
wrote  "Bayreuth  und  das  Wagner- 
Theater"  (1912). 

Milder-Hauptmann  (mSl'-d&r-howpt'- 
man),  Pauline  Anna,  Constantinople, 
1785 — Berlin,  1838;  soprano;  Bee- 
thoven  wrote  the  r61e  of  "Fidelio" 
for  her. 

Mttdner  (mglt'-ner),  Moritz,  Tiirnitz, 
Bohemia,  1812 — Prague,  1865;  vln.- 
teacher. 

Milhaud  (m§l'-5),  Darius,  b.  Aix-en- 
Provence,    France,    Sept.    4,    1892; 
studied  Paris  Cons.,  mem.  of  former 
Group  of  Six,  in  which  (with  Honeg- 
ger)  he  wa?  most  considerable  figure; 
he  was  a  pioneer  in  the  use  of  jazz 
in  art  forms,  and  leading  exponent 
of  polytonal  style;  was  at  one  time 
attached     to     diplomatic     post     at 
Brazil.,  from  which  he  derived  some 
folk  inspiration  in  his  pop.   piano 
pieces   "Saudados  do    Brazil"    (also 
orch.)>  many  of  his  post-war  ballets 
and  other  works  were  flippant  in  man- 
ner, but  he  has  also  given  modern  neo- 
classic  treatment  to   Greek  myths; 
visited  U.  S.  in  1923  and  1927,  appear- 
ing as  guest  leader  with  orchs.  in  N.  Y., 
Phila.  and  B  oston  and  in  chamber  con- 
certs of  his  music  elsewhere;  also  lec- 
tured at  several  Amer.  univ.     C.  (op- 
eras) "La  Brebis  £garee,"  "Protte," 
"Les  Malkeurs  d'Orphee,"  "Esther  de 
Carpentras^   "Le   Pauvre  Matelot"; 
(3    "operas   minuits"   forming   trip- 
tych)       "L'Enltoement    d'Europe," 
"L'Abandon    d'Ariane"     and     "La 
Deliverance     de     ThesSe";     "Maxi- 
milien,"  "Christophe  Colombe"  (Ber- 
lin   State    Op.,    1928);    (farce)    "Le 
Bosuf     sur      le       Toit"\      (ballets) 
"UKomme  et  son  Dtsir"  (given  by 
Swedish    Ballet    in    N.    Y.),     "La 
Creation  du  Monde"  (in  which  jazz 
themes    are    artistically   employed), 
'*'Salade,""Le  Train  Bleu,"  "  L' £ven- 
tail  de  Jeanne,"  "La  Bien-Aimee"; 
a  cantata  in  5  parts,  "Le  Retour  de 
F  Enfant  ^Prodigue'9    to    a    text    by 
Andre"   Gide;  music  for  the  Orestes 
and    Agamemnon;     6     symphonies, 
suites,    serenade,   hymns   for    orch., 
"Catalogues    de    Fleurs"    and   "Ma- 
chines Agricoles"  for  voice  and  en- 
semble; "Rag  Caprices,"  "  A  dualities"; 
vln.    concerto;    "Cinema    Fantasie" 
for  vln.  and  orch  •  15  str.  quartets; 
"Suite    Pr oversale"    for    orch.,   etc. 
Studies  of  his  music  have  been  writ- 


ten by  Pruni&res,  Coeuroy,  Lan- 
dormy;  prof.  Mills  Coll.,  Cal.,  1941. 
Mililotti  (m€-le-16t'-t€),  (i)  Leoppldo, 
Ravenna,  Aug.  6,  1835 — Marsiglia, 
Jan.  28,  1911;  studied  at  Rome  and 
lived  there  as  singing- teacher;  pub. 
songs  and  wrote.  His  brother  (2) 
Giuseppe,  1833 — 1883,  prod.  2  oper- 
ettas. 

Millard',  Harrison,  Boston,  Mass., 
Nov.  27,  1830 — 1895;  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. 

Miller,  Edw.,  Norwich,  1731 — Don- 
caster,  1807;  organist,  composer, 
and  writer. 

Millet  (mel'-y£t),  Luis,  b.  Barcelona, 
April  18,  1867;  pupil  of  Vidiella  and 
Pedrell;  founded  and  cond.  the  Orf  60 
Catal&  society;  c.  choruses  and  orch. 
fantasies  on  folk-themes, 
Milleville  (mXL-lfi-vn'-lS),  (i)  Fran.,  b. 
Ferrara,  ca.  1565;  conductor  and 
composer;  son  and  pupil  of  (2)  Ales- 
sandro,  organist,  and  composer  to 
the  Ducal  Court. 

Millico,  Giuseppe,  b.  Modena,  ca.  1730; 
male  soprano,  and  dram,  composer. 
Milligan,  Harold  Vincent,  b.  Astoria, 
Ore.,  Oct.  31,  1888;  organist,  com- 
poser, writer;  grad.  and  post-grad, 
courses,  Guilmant  Organ  School, 
N.  Y.;  studied  with  T.  Tertius 
Noble  and  Arthur  E.  Johnstone; 
toured  IT.  S.  as  organ  soloist;  org. 
and  choir  dir.  at  various  N.  Y. 
churches,  more  recently  at  Riverside 
Church;  genl  sec'y*  A.  G.  O.;  and 
was  pres.  of  Natl  Ass'n  of  Org.; 
exec,  dir.,  Natl  Music  League;  c. 
operettas,  songs,  organ  works,  incid. 
music  to  plays;  author,  "Stephen 
Foster;  The  First  American  Com- 
poser"', "Pioneer  Amer.  Composers," 
Vols.  I  and  II;  ed.  "Colonial  Love 
Lyrics";  d.  N.  Y.,  April  12,  1951. 
Milligen,  Simon  Van,  Rotterdam, 
Dec.  14,  1849 — Amsterdam,  March 
ii,  1929;  organist;  pupil  of  Nicolai, 
Bargiel,  etc.;  for  many  years  mu- 
nicipal dir*  of  Gouda,  later  in  Amster- 
dam as  critic  and  teacher;  c.  operas 
"Brinio"  and  "Darthula"  (The 
Hague,  1898),  etc. 

MiUocker  (mn'-lgk-Sr),  K.,  Vienna, 
May  29,  1842 — Baden  near  Vienna, 
Dec.  31,  1899;  pupil  of  the  Cons.; 
1864,  th.-cond.  at  Graz;  1866,  Har- 


296 


DICTIONARY  OF  MUSICIANS 


monie-Th.,  in  Vienna;  from  1869, 
Th.  an  der  Wien;  c.  many  graceful 
and  succ.  operettas,  and  comic 
operas,  incl.  2  prod,  at  23,  "Der 
todte  Gast"  and  "Die  beiden  Binder" 
(Pesth,  1865);  "Das  uerw&nschene 
Schloss"  (1878),  with  songs  in  Upper 
Austrian  dialect;  the  widely  pop. 
"Der  Bettelstudent"  (Dec.  6,  1881; 
in  Italian  as  "II  Guitarrera,"  in 
English  "The  Beggar  Stitdent"); 
"Die  sieben  Schwaben"  (1887,  in 
Engl.  "The  7  Swabians");  "Der 
arme  Jonathan"  (1890,  in  Engl. 
"Poor  Jonathan"};  "Das  Sonn- 
tagskind"  (1892);  "  Nordlicht" 
(1897);  c.  also  pf.-pcs. 
Mills,  Sebastian  Bach,  Cirencester, 
England,  March  13,  1838 — Wies- 
baden, Dec.  21,  1898;  organist; 
pf  .-teacher,  New  York. 
Milon  (me-16n).  Vide  TRIAL. 
MiTstein,  Nathan,  b.  Odessa,  Dec.  31, 
1904;  violinist;  pupil  of  Auer  and 
Ysaye;  began  Russian  tours  at  19, 
also  appearances  with  Horowitz, 
pianist;  visited  various  other  Eur. 
countries  and  South  America;  U.  S. 
de"but,  1929—30;  has  internat'l  repu- 
tation as  brilliant  virtuoso  and  has 
appeared  with  leading  orchs.  of 
U.  S.  and  Europe,  also  as  recitalist. 
Mil 'toil,  J.,  d.  1646(7?);  father  of  the 
English  poet;  a  scrivener  in  London, 
and  an  excellent  musician  and  com- 
poser. 

Mine 'us,  I/tidwig,  Vienna,  1827 — after 
1897;  violinist  and  cond.  in  St. 
Petersburg;  1872,  ballet  composer 
at  the  Imperial  Opera;  then  retired 
to  Vienna;  c.  16  ballets,  including 
"La  Source"  in  collaboration  with 
Delibes. 

MiTigotti  (mSn-g6t'-tf),  Regina  (n6e 
Valentini);  b.  Naples,  1721;  soprano. 
Minoja  (mS-no'-yS),  Ambrogio,  Ospe- 
daletto,  1752 — Milan,  1825;  singing- 
teacher  and  composer. 
Mirande  (m5-rS,nd),  Hippolyte,  b. 
Lyons,  May  4,  1862;  pupil  of  Dubois 
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, 
"  Une  Ftte  Directoire"  (Lyons,  1895)- 
overtures,  "Rodogune,3'  "Frithjof" 
"Macbeth,"  "Promethee,"  and  "La 
mort  de  Roland"  etc. 
Mirecki  (me-rets'-ke),  Franz,  Cracow, 
April  i,  1701 — May  29,  1862;  pupil 


of    Hummel    and    Cherubini;    aftei 
1838  director  of  school  of  opera  ting- 
ing  in  Cracow;  c.  operas,  ballets,  etc, 
Mi'rovitch,  Alfred,  b.  St.  Petersburg, 
1884;    pianist;    studied    law;    grad 
Cons,  in  native  city,  pupil  of  Essipov; 
won    gold    medal    and    Rubinstein 
prize;     dSbut,     Berlin,      1911;     has 
toured  Europe,  Far  East  and  U.  S., 
also    teaching    in    Los    Angeles;    c< 
piano  works  and  songs. 
Miry  (me '-re),  Karel,   Ghent,   1823 — 
1889;  professor  and  dram,  composer. 
Missa       (mls'-sa),       Edrnond       Jean 
Louis,     Rheims,    June    12,     1861 — 
Paris,  Jan.  29,  1910;  pupil  of  Masse- 
net, Paris  Cons.;  won  Prix  Cressent; 
lived  in  Paris,  as  teacher:  c.  an  op. 
com.,   "Juge  et   Partie"    (Cp.-Com,, 
1886;,     followed     by     others,     also 
pantomimes;    "Ninon    de    Lenclos," 
lyric  episode  (1895),  etc. 
Mitro'poulos,  Dmitri,  b.  Athens,  1896-, 
composer,  conductor;   grad.   Athens 
Cons.,     1919;    studied    piano    with 
Wassenhoven,  comp.   with   Marsick 
and    Busoni,    organ    with    Desmet, 
Brussels;   was   rlpetiteur   at   Berlin 
Op.  until  1925;  later  successful  orch 
cond.,  in  Athens;  guest  leader  Lon 
don,     Paris     and     Boston     Symph. 
Orchs.,  1935;  1937,  appointed  cond. 
of  the   Minneapolis   Symph.   Orch.; 
co-conductor  with  Stokowski,  N.  Y. 
Philh.,  1949;  mus.  dir.,  same,  1950. 
Mit'terer,  Ignaz  Martin,   St.  Justina, 
Tyrol,   Feb.    2,    1850 — Brixen,   Aug. 
1 8,    1924,    composer    and    director; 
pupil    of    his    uncle    Anton    MM    (a 
choirmaster),  and  of  Father  Huber- 
1874   became    a   priest;    studied   ai 
Regensburg    under    Jakob,     Haberl 
and  Haller;  1880  chaplain  in  Rome; 
1882-85,  cathedral  cond.  at  Regens- 
burg, later  at  Brixen  as  dir,  in  the 
cathedral;    his    compositions    show 
the  influence  of  Pales trina;  c.  masses 
with   orch.,   offertories   and  a  great 
amount  of  church  music. 
Mitterwurzer  (mlt'-t&r-voor-tse'r), 

Anton,  Sterling,  Tyrol,  1818— Dab- 
ling,  near  Vienna,  1876;  barytone. 
Mizler  (mlts'-lSr),  Lorenz  Chp.  (en- 
nobled as  M.  von  Kolof),  Heiden- 
heim,  Wiirtemberg,  1711 — Warsaw, 
1778;  writer,  editor  and  composer. 
MlynarsM  (m'lS-nar'-skX),  Emilj 
Kibarty,  Suvalki,  July  18,  1870-  - 
Warsaw,  April  5,  1935;  pupil  St, 
Petersburg  Cons.;  1893  cond.  and 
teacher  at  Warsaw;  1804  at  Odeswr 


DICTIONARY  OF  MUSICIANS 


297 


from  1899  cond.  at  Opera  House, 
Warsaw;  also  cond.  Phil,  orch.; 
1904-07  director  of  the  Cons.;  1910— 
1 8,  dir.  Choral  and  Orch.  Union, 
Glasgow;  1918-24,  dir.  Warsaw  Op. 
and  Cons.;  after  1930  for  several 
seasons  in  Phila.,  U.  S.,  as  head  of 
orch.  dept.,  Curtis  Inst.  of  Music, 
also  guest  cond.  with  Phila,  Orch.; 
he  appeared  as  cond.  in  numerous 
Eur.  capitals,  incl.  London;  c. 
symphony,  "Polonia,"  2  vln.  con- 
certos (the  ist  winning  Paderewski 
Prize,  1898);  a  comic  opera  "A  Sum- 
mer  Night'3;  piano  works,  etc. 

JMocquereau  (m6k-ro),  Dom  Andre1, 
La  Tessouale,  France,  June  6,  1849 
— Solesmes,  Jan.  18,  1930;  writer; 
'cello  pupil  of  Dancla;  from  1875 
Benedictine  monk,  teacher  of  choral 
singing  at  the  Abbey  of  Solesmes, 
later  prior;  founder  and  editor  of 
the  Paleographie  musicale;  in  1903 
on  the  exile  of  the  order,  moved  to 
the  Isle  of  Wight,  continuing  the 
publication  of  his  great  work;  au- 
thority on  Gregorian  chant,  on  which 
he  wrote  "Rhythmique  Gregorienne" 
(vol.  I,  1908),  etc. 

Modernus      (mo-der'-noos),     Jacobus 


(rightly  Jacque  Moderne;  called 
Grand  Jacques,  or  J.  M.  de  Pin- 
guento,  because  of  his  stoutness); 


cond.  at  Notre  Dame,  Lyons;  pub. 
and  composer,  1532—67. 

Mo e 'ran,  Ernest  .John,  b.  Osterley, 
Dec.  31,  1894 — d.  Kenmare,  Ire., 
1950;  of  Irish  extraction;  in  large  part 
self-taught;  but  studied  at  R.  Coll. 
of  Music,  London,  1913—14;  made 
large  collection  of  folk-songs  of 
Norfolk;  c.  orch.  rhapsody,  4  string 
quartets,  sonata  for  vln.  and  piano; 
toccata  and  "Stalham  River,"  vari- 
ations, etc.,  for  piano;  2  vln.  sonatas, 
2  piano  trios,  serenade-trio  for 
strings;  "Cushinsheean,"  symph.  im- 
pression for  orch.;  "Lonely  Waters" 
for  small  orch.,  and  many  songs  and 
piano  pieces,  also  a  symph.,  1937. 

Mohr  (mor),  Hn.,  Nienstedt,  1830 — 
Philadelphia,  1896;  composer. 

MShring  (ma'-rhig),  Fd.,  Alt-Rupj>in, 
1816 — Wiesbaden,  1887;  organist, 
teacher,  and  dram,  composer. 

Moir,  Frank  Lewis,  Market  Har- 
borough,  Engl.,  April  22,  1852 — 
Deal,  Engl,,  Aug.,  1902;  studied 
painting  at  S.  Kensington,  also  mus.; 
won  scholarship  Nat.  Training  Sch. 
(1876);  c.  a  comic  ODera,  church- 


services,  madrigal  "When  at  Chloe9* 
Eyes  I  Gaze"  (Madr.  Soc.  prize, 
1881),  many  pop.  songs,  etc. 

Moiseiwitsch.  (mo-l-sa'-l-vlch),  Benno, 
b.  Odessa,  Feb.  22,  1890;  pianist; 
studied  with  Klimofi  at  Odessa 
Acad.,  winning  Rubinstein  Stipend, 
also  with  Leschetizky,  Vienna;  made 
d6but  in  England  with  succ.,  1908, 
followed  by  orchestral  and  recital 
appearances  throughout  British  Em- 
pire and  on  continent,  also  in  U.  S.; 
has  particular  reputation  for  Chopin 
playing,  but  repertoire  incl.  classic 
and  modern  works. 

Mojsisovics  (mo-se'-so-vfch),  Roderick 
von,  b.  Graz,  May  10,  1877;  pupil 
of  Degner,  and  of  the  Cologne  Cons., 
and  Munich  Akad.;  1903  cond.  in 
various  cities;  1912—30,  dir.  Graz 
Cons.;  c.  symph.  "In  the  Alps" 
symph.  poem  "Stella,"  "Chorus 
Mystics"  from  "Faust"  for  soli, 
double  chorus,  organ  and  orch.,  etc. 

Mol,  de.     Vide  DEMOL. 

Molinari  (m81~S-na'-rS),  Bernardino, 
b.  Rome,  April  n,  1880;  conductor; 
studied  there  organ  and  comp.;  at 
St.  Cecilia  Liceo  with  Renzi  and 
Falchi;  cond.  Augusteo  Orch.  Rome, 
beginning  1909  and  after  1915  taking 
this  ensemble  on  tours  of  Italy,  later 
also  to  Switzerland,  Germany  and 
Czechoslovakia;  he  has  appeared 
as  guest  cond.  in  many  world 
capitals,  incl.  Antwerp,  London, 
Geneva,  Vienna;  with  New  York 
Philh.  and  St.  Louis  Orch.,  1928;  and 
in  subsequent  years  also  in  San 
Francisco,  Los  Angeles,  Detroit  and 
Phila.,  again  in  N.  Y.,  1930-31;  he 
has  transcribed  for  orch.  works  by 
Debussy,  Monteverdi,  Vivaldi  and 
others;  d.  Rome,  Dec.  25,  1952. 

Molique  (m61-Sk'),  Wm.  Bd.,  NtLrn- 
berg,  Oct.  7,  1802 — Cannstadt,  May 
10,  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  vln.- 
concertos,  etc. 

MoHenhauer  (mdl'-lSn-how-gr),  three 
brothers,  b.  at  Erfurt,  (i)  Fr.,  1818 
— 1885;  violinist  and  composer.  (2) 
H.,  1825;  'cellist.  (3)  Ed.s  Erfurt, 
1827 — Owatonna,  Minn.,  1914;  vio- 
linist: oupil  of  Ernst,  and  of  Spohr? 


298 


DICTIONARY  OF  MUSICIANS 


_3,  New  York,  founded  a  vln.-sch.; 
one  of  the  originators  of  the  "Con- 
servatory System"  in  America;  c. 
2  operas;  3  symphonies,  incl.  the 
"Passion,"  string-quartets,  vln.-pcs., 
etc.  (4)  Emil,  Brooklyn,  N.  Y., 
Aug.  4,  1855 — Boston,  Dec.  10,  1927; 
son  of  (i);  violinist  at  9,  then  with 
Boston  Symph.  Orch.;  1899  cond. 
Boston  Handel  and  Haydn  Society; 
1900,  Apollo  Club;  led  Boston 
Symph.  at  various  expositions. 

Moller  (or  M5Uer)  (m61'-ler,  or  mel- 
ler),  Joachim.  Vide  BURGK. 

Molloy7,  Jas.  Lyman,  b.  Cornolore, 
Ireland,  1837 — Wooleys,  Bucks, 
England,  Feb.  4,  1909;  c.  operettas; 
pub.  Irish  melodies  with  new  ac- 
companiments and  c.  pop.  songs. 

Mol'ter,  Johann  Melchior,  mus.  direc- 
tor in  Durlach,  1733;  amazingly 
prolific  writer;  c.  169  symph.,  14 
overtures,  etc. 

Momigny  (mS-men'-ye"),  Jerome  Jos. 
de,  PMlippeville,  1762 — Paris,  1838; 
theorist  and  dram,  composer. 

Mompou  (mdm'-poo),  Federico,  b. 
Barcelona,  1905;  composer;  studied 
with  Motte  Lacroix,  but  developed 
own  manner  of  composition  which 
he  styles  "primitive";  c.  piano 
works,  esp.  suites. 

Monasterio  (mo-nas-t5/-rf-o),  Gesu, 
Potes,  Spain,  April  18,  1836 — 
Santander,  Sept.  28,  1903;  violinist; 
d€but  at  9,  then  pupil  of  De  B&riot, 
Brussels  Cons.;  made  v.  succ.  tours; 
1861  founded  Quartet  Soc.,  Madrid; 
ct.-violinist,  prof.,  and  (1894)  dir. 
Madrid  Cons.;  c.  pop.  vln.-pcs. 

Mpnath  (m5n'-3.th),  Hortense,  Amer- 
ican pianist;  studied  first  with  her 
mother,  then  with  Ernest  Hutcheson 
in  N.  Y.,  and  Schnabel  in  Berlin; 
d6but,  Hamburg;  gave  recitals  in 
Italian  cities,  appeared  with  Vienna 
Philh.,  Hamburg  Philh.,  and  at 
Salzburg  Fest.;  returned  to  U.  S. 
1934,  appearing  with  Boston  Symph. 
and  in  solo  concerts. 

Mondonville  (m6n-d6n-ve'-yii),  J. 
Jos.  Cassanea  de  (de  M.  being  his 
wife's  maiden  name),  Narbonne, 
1711 — Belleville,  near  Paris,  1772; 
violinist,  conductor  and  dram,  com- 


bniuszko  (m5-n*-oosh'-ks),  Stanis- 
law,  TJbiel,  Lithuania,  May  5,  1819 
Warsaw,  June  4,  1872;  pupil  of 
and  Rungenhagen;  L  Berlin,, 


then  at  Wilna;  c.  15  notable  Polish 
operas  incl.  "  Halka,*'  a  nat'l  classic; 
also  masses,  songs,  etc.;  organist, 
director,  professor.  Biogr,  by  A, 
Walicki  (Warsaw,  1873). 

Monk,  (i)  Edwin  G.,  Frome,  Engl., 
December  13,  1819 — Radley,  Jan.  3, 
1900;  pupil  of  G.  A.  Macfarren; 
Mus.  Doc.  Oxon,  1856;  1859-83, 
organist  York  Minster;  ed.  choral 
books,  etc.;  c.  2  odes,  unison  service, 
etc.  (2)  Wm.  H.,  London,  1823 — 
Stoke  Newington,  London,  1889; 
organist,  professor  of  vocal  mus.; 
editor. 

Monn,  Georg  Matthias,  Lower  Aus- 
tria, 1717 — Vienna,  Oct.  3,  1750; 
organist  and  comp.  of  highly  impor- 
tant instrumental  works,  sym- 
phonies, etc.,  marking  a  transition 
to  the  modern  style. 

Monod  (mil-no),  Edmond,  Lyons, 
Feb.  4,  1871;  author  and  teacher; 
pupil  of  Roth,  Stepanov  and  Lesche^ 
tizky;  1899—1906  teacher  in  Berlin; 
1907  prof,  at  Geneva  Cons.;  c.  songs. 

Monppu  (m6n-poo)  (Fran.  L.)  Hip.. 
Paris,  1804 — Orleans,  1841;  c.  or 
light  operas  and  songs. 

Monsigny  (m6n-s5n-ye"),  P.  Alex., 
Fauquembergue,  near  St.-Omer,  Oct. 
17,^  1729 — Paris,  Jan.  14,  1817;  ill* 
trained  but  melodious  French  comic 
opera  writer  of  noble  birth  but  left 
poor  on  Jbis  father's  death;  became  a 
clerk,  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&Hx,  ou  i* enfant 
frouv$"  (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  ($480)  a 
year  by  the  Op.  Com.;  1800-02,  in- 
spector at  the  Conii.;  1813,  member 
of  the  Acad.;  1816,  Legion  of  Hon- 
our. Biogr.  b}r  Alexandre  (1819), 
and  H6douin,  1820. 

Montanari  (mdn-tS-na'-re),  Fran- 
cesco, Padua  (?) — Rome,  1730; 
violinist  at  St.  Peter's,  Rome;  c.  12 
violin  sonatas. 

Monte  (mdn'-tg),  Filippo  (or  Philippus 
de)  (Philippe  de  Mons)  (dti-mdns), 
probably  at  Mons  (or  Malines), 
1521 — Prague,  July  4,  1603;  conduc 
tor  and  celebrated  composer. 


DICTIONARY  OF  MUSICIANS 


299 


MontSclair  (m6n-ta-klar),  Michel 
Pignolet  de,  Chaumont,  1666 — 
Saint-Denis,  n.  Paris,  Sept.,  1737; 
double-bass  player;  dram,  composer 
and  writer  of  methods. 

Montefiore  (m6n-t8-fI-5/'-rS),  Tom- 
maso  Mosd,  composer;  Livorno, 
1855— Rome,  March  13,  1933;  pupil 
of  Mabellini;  critic  under  the  pen- 
name  of  "Puck,"  editor;  c.  operas 
*'  Un  bacio  a  portatore"  (Florence, 
1884),  and  "Cecilia"  (Ravenna, 
1905). 

Montemezzi  (mSn-ta-mgd'-se),  Italo, 
Verona,  May  31, 1875 — May  15, 1952; 
studied  at  Milan  Cons.;  c.  (operas) 
"Giovanni  Gallurese"  (Turin,  1905, 
prod,  at  Met.  Op.,  N.  Y.,  with  slight 
succ.  2  decades  later);  "  Heller  a" 
(do.,  1009);  "L'Amore  dei  Tre  Re" 
(Milan,  1913)  won  immediate  succ. 
for  its  tragic  action,  noble  restraint 
and  original  adaptation  of  modern 
dram,  and  harmonic  idiom  to  classic 
theme;  Met.  Op.,  following  year, 
with  equal  succ.  and  has  been 
periodically  restored;  "La  Nave" 
(Chicago,  1918);  "Principezza  Lon- 
tana"  (unfinished);  "La  Notte  di 
Zoraima,"  one-act  opera  with  melo- 
dramatic story,  which  proved  dis- 
appointing when  given  in  Milan  and 
at  Met.  Op.  in  1931;  also  cantata, 
"II  Cantico  dei  Cantici,"  etc. 

Monteux  (m6n-ttt')>  Pierre,  b.  Paris, 
April  4,  1875;  conductor;  studied 
Paris  Cons.;  ist  prize  there;  after 
1894  orch.  and  opera  cond.,  in  Paris, 
also  as  guest  in  London,  Berlin, 
Vienna,  Budapest;  visited  TL  S.  in 
1916  with  Dlaghileff  Ballet  Russe; 
cond.  Met.  Op.,  1917-19;  in  1918 
called  to  take  charge  of  Boston 
Symph.  for  a  time  pending  arrival 
of  Rabaud;  1919-24  regular  leader 
of  that  prch.;  thereafter  active  also 
with  Phila.  Orch.  and  at  Hollywood 
Bowl;  following  period  as  regular 
leader  of  Amsterdam  Concertgebouw 
Orch.,  he  returned  to  America  for 
summer  concerts  at  Los  Angeles 
and  was  engaged  as  permanent 
leader  of  San  Francisco  Symph., 
beginning  1935;  has  especial  rep.  as 
interpreter  of  modern  scores;  leads 
concerts  andopera  as  guest  atHolland 
Festival  and  elsewhere  in  Europe,  and 
also  has  a  course  of  instruction  for 
young  conductors  in  Maine. 
Monteverde  (mdn-ta-v&r'-dS)  (he 
signed  his  name,  Monteverdi),  Clau- 


dio  (Giov*  A.),  Creinona  (bapt.» 
May  15),  1567 — Venice,  Nov.  29, 
1643;  eminent  composer;  when 
young,  vla.-player  in  the  orch.  of 
fouke  Gonzaga,  Mantua,  and  studied 
cpt.  with  IngegnerL  At  17  and  at  20 
pub.  Canzonet te  §,  3,  and  madrigals, 
in  which  appeared  (among  many  un- 
intentional or  unbeautif ul  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,  particularly  by  Artuso, 
and  he  replied  in  kind.  The  outcome 
was  his  complete  triumph  and  the  es- 
tablishment of  the  new  school  of 
song  and  accompaniment.  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  perfection  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  Savoy 
the  opera  "Arianne,"  in  which 
Ariadne's  grief  moved  the  audience 
to  tears.  In  1608  he  prod,  his  opera 
"Orfeo"  with  the  unheard-of  orches- 
tra of  36  pieces  (Riemann  states  that 
"Arianne"  was  the  2d  work  and 
"Orfeo"  the  first).  "Orfeo"  was  pub- 
lished in  1609  and  in  1615,  and  the 
score  shows  great  modernity,  Rock- 
stro comparing  its  preludes  with  one 
bass-note  sustained  throughout  to 
the  Introduction  to  "Das  Rheingold" 
and  its  continual  recitative  also  to 
that  of  Wagner. 

In  1608  appeared  his  mythological 
spectacle  "Ballo  delle  Ingrate." 
Vespers  and  motets  (pub.  1610)  gave 
him  such  fame  that  he  was  in  1613 
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 


300 


DICTIONARY  OF  MUSICIANS 


very  romantic  Requiem  was  given 
with  effect.  In  1624,  he  intoduced 
the  then  startling  novelty  of  an 
instrumental  tremolo  (which  the 
musicians  at  first  refused  to  play) 
into  his  dramatic  interlude,  "II 
Combattimento  di  Tancredi  e  Clo- 
rinda";  1627  he  c.  5  dramatic  epi- 
sodes incL  "Bradamante"  and 
"Dido,"  for  the  court  at  Parma; 
1630,  opera  "Proserpina  Rapita"; 
in  1637  in  the  first  opera-house 
opened  at  Venice,  the  Teatro  di  S. 
Cassiano,  operas  having  hitherto 
been  performed  at  the  palaces  of  the 
nobility  (v.  PERI)  M.  prod,  the 
operas  "Adone"  (Venice,  1639); 
"Le  Nozze  di  Enea  con  Lavinia" 
(1641),  "II  Ritorno  di  Ulisse  in 
Patria"  (1641),  and  "L'lncorona- 
wone  di  Popped"  (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  1636  he  joined  the  priesthood 
and  is  heard  of  no  more.  C.  masses, 
psalms,  hymns,  magnificats,  motets, 
madrigals,  etc. 

There  has  been  a  strong  revival  of 
interest  in  his  music  within  recent 
years.  D'Indy  arranged  "Poppea" 
and  "Orfeo"  for  prod,  in  Paris;  and 
the  latter  work  was  also  rescored  by 
Respighi  and  prod,  in  Rome.  A 
biog.  by  Pruni&res  was  published, 
1926. 

Moody.  Fanny,  vide  MANNERS  (2). 
Moor  (moor),  (i)  Karel,  b.  Belohrad, 
Hungary,  Nov.  26,  1873;  composer; 
pupil  of  Prague  Cons,  and  that  in 
Vienna;  played  and  taught  violin 
in  Prague;  after  1902  active  in 
Czech  Philh.  and  theatres  in  Bo- 
hemia, Trieste  and  Jugoslavia;  c. 
operas,  orch.  and  chamber  works. 
(2)  Emantiel,  Keskemet,  Hungary, 
Feb.  19,  1863— Mt.  Pelerin,  Vevey, 
Switzerland,  Oct.  21,  1931;  pianist, 
composer;  in  1920  invented  a  novel 
piano  in  which  several  keyboards 
are  connected  with  couplers  and  may 
be  played  together;  m.  Winifred 
Christie,  Scottish  pianist,  who  has 
toured  with  much  succ.  as  recitalist 
on  this  instrument  in  Europe  and 
U.S. 

Moore,  (i)  Thos.,  Dublin,  1779 — near 
Devizes,  1852;  famous  poet;  pianist 
and  singer,  (2)  Douglas  Stuart,  b. 
Cutchogue,  Long  Island,  N.  \ .,  1893; 


composer;  studied  Yale  Univ.  under 
Parker  and  D.  S.  Smith,  later  in 
Paris  with  d'Indy  and  Nadia  Bou- 
langer;  formerly  dir.  of  music, 
Cleveland  Museum  of  Art;  1926, 
awarded  Pulitzer  Prize  and  Guggen- 
heim Fellowship;  assoc.  •  prof,  of 
music,  Columbia  Univ.;  c.  (orch.) 
"Pageant  of  P.  T.  Barnum,"  "Moby 
Dick,"  "Museum  Pieces,"  "Sym- 
phony of  Autumn"',  operas,  "White 
Wings"  "Devil  and  Daniel  Webster." 
(3)  Grace,  b.  Jellico,  Tenn.,  Dec.  5, 
1901;  soprano;  studied  Ward- 
Belmont  School,  Nashville,  and 
Wilson-Greene  School,  Washington; 
vocal  study  in  Europe;  began  singing 
career  in  musical  comedy  and  revues 
in  N.  Y.;  later  trained  for  opera  and 
made  d£but,  Met.  Op.,  1928;  also 
sang  at  Paris  Op.-Comique  in 
following  year  as  "Louise";  after 
several  seasons,  left  grand  opera  to 
star  in  operetta,  "The  Du  Barry," 
in  N.  Y.;  then  entered  musical 
films  with  striking  succ.;  guest 
appearances  as  "Mimi"  at  Covenf 
Garden,  1935,  .were  attended  with 
unusual  ovations;  d.  in  airplane  dis- 
aster, Copenhagen,  Jan.  26,  1947. 

•-— -   ' "  "          ito 


Moraes  (m5-ra,ns),  '  Joao  da  Silva, 
Lisbon,  Dec.  27,  1689 — ca.  1747; 
important  Portuguese  composer  of 
church  music;  cond.  at  the  Cathedral. 

Morales  (mo-ral'-as)  Cristobal, 
Seville,  1500 — Malaga,  1553;  entered 
Papal  chapel  ca.  1540;  eminent 
Spanish  contrapuntist  and  composer. 

Moralt  (mO'-ralt),  the  name  of  four 
brothers  famous  at  Munich  as  a 
quartet,  (i)  Jos.,  Schwetzingen, 
near  Mannheim,  1775 — Munich, 
1828,  ist  violinist.  (2)  Jn.  Bpt* 
Mannheim,  1777 — Munich,  18^5; 
2d  violinist;  composer.  (3)  Philipp, 
Munich,  1780 — 1829;  'cellist.  (4) 
G.,  Munich,  1781 — 1818;  vla.-player. 

Moran-Olden  (rightly  F.  Tappenhorn) 
(mo'-r&n-ol'-dSn),  Fanny,  Olden- 
burg, Sept.  28,  1855— near  Berlin, 
Feb.  13,  1905;  pupil  of  Haas  and 
GStze;  d6but  as  "Fanny  Olden"- 
at  the  Gewandhaus.  1877;  1878, 
leading  sopr.,  Frankfort;  1888-89, 
New  York;  m.  in  1879  the  tenor 
K.  Moran;  1897,  m.  Bertram,  ct.- 
singer  at  Munich. 

Morel  (m6-rel),  Auguste  Fran.,  Mar- 
seilles,^ 1809 — Paris,  1881;  dir.  of  the 
Marseilles  Cons,  and  dram,  com- 
poser. 


DICTIONARY  OF  MUSICIANS 


301 


MoreUi  (mS-rSl'-lS),  (i)  Giacomo, 
Venice,  1745 — 1819;  librarian,  San 
Marco.  (2)  Giov.,  Italian  bass, 
in  London,  1787- 

Morelot  (m6r-lo),  Stephen,  Dijon, 
Jan.  12,  1820 — Beaumont,  Oct.  7, 
1899;  from  1845,  co-ed,  Revue 
de  la  Musique;  1847,  sent  by  the 
Ministry  of  Pub.  Instruction  to 
study  church-mus.  in  Italy;  wrote 
a  work  on  plain-chant,  an  attempt 
to  revive  ancient  harmonisation,  etc. 

Morena  (mo-ra'-na),  Berta^  b.  Mann- 
heim, Jan.  27,  1878;  pupil  of  Frau 
RShr-Brajnin  and  Mme.  de  Sales; 
1898—1923  at  Munich  Court 
Theatre;  and  1908  with  Met.  Op., 
N.  Y.:  also  in  concert  with  Boston 
Symph.;  d.  Rottach,  Oct.  7,  1952. 

Mor'gan,  (i)  Cr.  Washboume,  Glou- 
cester, Engl.,  1822 — Tacoma,  U.  S., 
1892;  organist  and  conductor.  (2) 
J.  Paul,  Oberlin,  Ohio,  1841 — Oak- 
land, Cal.,  1879;  organist  and  com- 
poser. 

Morini  (mQ-re'-ne),  Erica,  b.  Vienna, 
May  26,  1906;  violinist;  studied  with 
her  father,  Oscar  Marinka,  and  with 
Sevcik  at  Vienna  Cons.;  debut  in 
that  city,  1916;  ist  visited  U.  S.,  5 
years  later,  when  she  made  a  pro- 
nounced impression,  although  only 
15,  as  a  spirited  and  fluent  techni- 
cian; after  several  years'  absence 
during  which  she  appeared  widely  in 
Europe  and  Australia  as  orchestral 
soloist  and  in  recital,  she  returned  to 
America  in  1930  and  1935  as  a 
matured  and  impressive  performer. 

Morlacchi  (m6r-lak'-ke),  Fran.,  Peru- 
gia, June  14,  1784 — Innsbruck,  Oct. 
28,  1841;  pupil  of  Zingarelli,  Padre 
Martini,  etc.,  from  1810  cond.  of 
Italian  opera,  Dresden;  c.  many  succ. 
operas,  also  church-music,  incl.  Tuba 
Mirum,  inspired  by  Michelangelo's 
"Last  Judgment'1:  biog.  by  Count 
Rossi-Scotti  (1870). 

Mor'ley,  (il  Thos.,  1557 — 1603;  pupil 
of  Byrd;  1588,  Mus.  Bac.,  Oxford; 
1592,  Gentleman  of  the  Chapel 
Royal;  also  Epistler  and  Gospeller; 
c.  the  only  contemporary  Shake- 
spearean song  extant,  "It  Was  a 
Lover  and  His  Lassf}  from  "As  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)  Win.,  d.  1731; 
Mus.  Bac.  Oxford,  1713;  1715,  Gent, 
of  the  Chapel  Royal;  c.  one  of  the 
earliest  known  double-chants,  songs, 
etc. 

Mor'nington,  Earl  of  (Garrett  C. 
Wellesley),  Dangan,  Ireland,  July 
19,  1735 — May  22,  1781;  founded 
Academy  of  Music,  1757;  1764  Mus. 
Doc.  (Dublin)  and  Prof.;  1760  cre- 
ated Viscount  Wellesley  and  Earl  of 
M.;  c.  glees  and  madrigals;  one  of  his 
sons  was  the  Duke  of  Wellington. 
Morris,  (i)  Robt.  O.,  London,  1886 — 
Dec.  15,  1948;  studied  Royal  Coll. 
of  Music,  where  later  taught  cpt.; 
also  at  Curtis  Inst.  of  Music,  Phila- 
delphia. (2)  Harold,  b.  San  An- 
tonio, Tex.,  1890;  composer;  c.  sym- 
phony, piano  concerto,  string  quar- 
tet, piano  quintet,  vln.  and  piano 
sonata;  "Poem  after  Tagore's  'Gitan- 
jali*  "  for  orch.;  rhapsody  for  piano, 
vln.  and  'cello;  has  appeared  as  piano 
soloist  in  his  works  with  leading 
Amer.  orchestras. 

Morse,  Chas.  H.,  Bradford,  Mass., 
Jan.  5,  1853 — Boston,  June  4,  1927; 
J873,  graduate  New  Engl.  Cons.; 
studied  with  Perabo,  and  Baermann, 
1879;  1873,  teacher  N.  E.  Cons.; 
1875-84,  Mus.  Dir.  Wellesley  Coll.; 
from  1891,  organist  Plymouth  Church, 
Brooklyn;  pub.  collections  of  organ- 
pieces  and  composed. 

Mor'telmans,  Lodevijk,  b.  Antwerp, 
Feb.  s,  1868;  pupil  of  the  Cons,  and 
Brussels  Cons.;  c.  symph.  "Ger- 
mania,"  symph.  poem  "Wilde  Jagd," 
etc.;  after  1902.  prof,  of  comp., 
Antwerp  Cons.;  d.  June  24,  1952. 

Mortier  de  Fontaine  (m6rt-ya  dtt 
f6n-t£n),  H.  Louis  Stanislas,  Wisnie- 
wiec,  Russia,  1816 — London,  1883; 
pianist. 

Mor  'timer,  Peter,  Putenham,  Surrey, 
175° — Dresden,  1828;  a  Moravian 
brother;  writer. 

Mosca  (m6s'-ka),  (i)  Giuseppe,  Na- 
ples, 1772 — Messina,  1839;  conduc- 
tor and  dram,  composer.  (2)  Luigi, 
Naples,  1775 — 1824;  bro.  of  above; 
prof,  of  singing. 

Moscheles  (md'-shS-l£s),Ignaz,Prague, 
May  30,  1794 — Leipzig,  March  10, 
1870;  son  of  a  Jewish  merchant;  at 
10  pupil  of  Dionys  Weber,  Prague 
Cons.;  at  14  played  publicly  a  con- 
certo of  his  own;  studied  with 
Albrechtsberger  and  Salieri  while 
earning  his  living  as  a.  pianist  and 


302 


DICTIONARY  OF  MUSICIANS 


teacher;  at  *o  was  chosen  to  prepare 
the  pf.-score  of  "Pidelio"  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,"  "pathetique"  and  "pastoral"; 
"Sonata"  and  "Sonate  symphonique" 
for  pf.  4  hands,  and  "Sonate  carac- 
teristique"  "Sonate  melaneolique," 
and  many  standard  studies;  biog. 
(1872)  by  his  wife  Charlotte  (ne'e 
Embden). 

Mosel  (mo'-zel),  (i)  Ignaz  Fz.,  kdler 
von,  Vienna,  1772 — 1844;  conductor, 
writer  and  dram,  composer.  (2)  Gio- 
vanni Felice,  b.  Florence,  1754; 
violinist;  pupil  of  Nardini  and  his 
successor  as  court  cond.,  1793;  c. 
violin  music,  etc. 

Mosenthal  (mS'-zSn-tal),  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'-ze'r),  (i)  K-,  Berlin,  1774 — 
1851;  violinist  and  conductor. 
(2)  Andreas,  1859 — 1925;  pupil 
Joachim;  noted  vln.  teacher  in 
Berlin.  (3)  Hans  I.,  his  son,  b. 
Berlin,  1889;  prof.,  writer. 
Mosewms  (m6Tza/-vr-oos),  Jn.  Th., 
Konigsberg,  1788  —  Schaffhausen, 
1858;  opera-singer  and  writer. 
Moson'yi  (rightly  Michael  Brandt), 
Boldog-Aszony,  Hungary,  1814 — 
Pesth,  1870;  pf. -teacher  and  com- 
poser. 

Mos'solov,  Alex.,  b.  Kiev,  Russia, 
Aug.  10,  1900;  one  of  most  individual 
and  accomplished  of  Soviet  cjm- 
oosers;  came  into  internat'l  promi- 
lence  for  his  descriptive  works  for 
orch.  and  chamber  ensembles  which 
axe  based  on  the  rhythms  and  sounds 
of  labor;  esp.  "The  Soviet  Iron 
Foundry,"^  in  radical  dissonantal 
style,  which  has  been  played  by  a 
number  of  Amer.  orchs.;  piano  pieces, 
etc. 

Moszkowsfci  (mdsh-k6f  '-shkl),  (i)  Mo- 
litz,  Breslau,  Aug.  23,  1854 — Paris, 
March  4,  1925;  son  of  a  wealthy 
Polish  gentleman;  pupil  of  Dresden 


Cons.,  Stern  and  Kullak  Cons  ; 
teacher  Stern  Cons,  for  years;  later 
d6but  with  succ.  as  pianist,  Berlin, 
1873;  until  1897  Berlin  then  Paris;  as 
a  composer,  prod.  succ.  opera, 
"Boabdil  der  Maurenkdnig"  (Berlin, 
1882);  symph.  poem  "Jeanne  d'Arc"] 
"Phantastischer  Zug"  for  orch.;  2  or- 
chestral suites  and  a  vln.-concerto; 
c.  many  pop.  pf.-pcs.,  incl.  "Aus. 
alien  H  err  en  Lander,"  and  "Span- 
ische  Tanze."  (2)  Alex.,  Pilica, 
Poland,  Jan.  15,  1851 — Berlin,  Sept. 
26,  1934;  bro.  of  above;  critic,  editor 
and  writer  at  Berlin. 

Motta,  Jose  Da,  vide  Da  Motta. 

Mottl  (mot'-'l),  (i)  Felix,  Unter-St. 
Veit,  near  Vienna,  Aug.  24,  1856 — 
Munich,  July  2,  1911;  prominent 
conductor;  as  a  boy-soprano,  entered 
Lowenberg  "Konvikt,"  then  studied 
at  the  Vienna  Cons.,  graduating  with 
high  honours;  cond.  the  Academical 
Wagnerverein  for  some  time;  1880, 
ct.-cond.  at  Carlsruhe,  also,  until 
1892,  cond.  Philh.  Concerts;  1893  the 
Grand  Duke  app.  him  Gen.  Mus. 
Dir  ;  1886,  cond.-in-chief,  Bayreuth: 
invited  to  be  ct.-cond.  but  he  de- 
clined; 1898  declined  a  similar  call  to 
Munich;  led  succ.  concerts  London 
and  Paris;  1892,  he  m.  (2)  Henri ette 
Standhartner  (b.  Vienna,  Dec.  6, 
1866,  ct.  opera  singer  at  Weimar  and 
Carlsruhe).  M.  came  to  N.  Yv 
1903-04,  to  conduct  the  first  perfs. 
of  "Parsifal"  outside  Bayreuth,  but 
owing  to  protests  of  Wagner  family 
did  not  do  so;  1904  he  became  co- 
director  of  the  Royal  Academy  ol 
Music,  Munich;  he  was  cond.  the 
United  Royal  Operas  there,  when  he 
fell  ill  of  arteriosclerosis  and  died  in 

fuly,  19 IT.  Shortly  before  his  death 
e  was  divorced  from  his -first  wife 
and  married  Sdenka  Fassbender,  of 
the  Munich  Opera.  He  is  particu- 
larly known  for  his  orch.  arrange- 
ments of  ballet  suites  by  Gluck  and 
Rameau,  but  also  c.  succ.  operas, 
"Agnes  Bernauer"  (Weimar,  1880), 
and  the  i-act  "F&rst  und  Sanger" 
(Carlsruhe,  1893);  nrod.  also  a  "Fest- 
spiel,"  "Eberstein^  songs,  etc. 

Moiint-Edg'cumbe,  Richard,  Earl  of, 
1764  —  Richmond,  Surrey,  1839^ 
wrote  "Reminiscences  of  an  Ama- 
teur"; c.  opera  "Zenobia. 

Mouret  (moo-ra),  J.  Jos.,  Avignon, 
1682 — insane  asylum,  Charentonu 
1738;  conductor  and  composer. 


DICTIONARY  OF  MUSICIANS 


303 


Motissorgsky  (moo-sdrg'-skg),  Modest 
Petrovich,  BLarevo,  Ukraine,  March 
28,  1835 — St.  Petersburg,  March  28, 
1881;  one  of  the  most  important 
Russian  composers,  perhaps  the 
most  original  of  the  Nationalistic 
school  of  that  country  and  the 
•'father"  of  the  whole  modern  move- 
ment for  anti-formalism,  and  ex- 
pression by  means  of  folk  idioms. 
He  was  the  son  of  an  impoverished 
noble  family;  early  learned  to  play 
the  piano,  ist  from  his  mother,  then 
from  a  teacher  named  Herke.  He 
was  largely  self-instructed  in  comp. 
and  began  to  compose  songs  before  he 
was  20.  He  entered  the  Russian 
army,  and  as  a  young  officer  was  in- 
troduced by  Cesar  Cui  to  BalakirefE 
(with  whom  he  had  some  fitful  in- 
struction in  comp.).  He  had  also 
come  to  know  Dargomizhsky  earlier. 
He  lived  in  St.  Petersburg  as  a  minor 
State  official,  his  life  a  constant 
struggle  with  poverty,  depression  and 
drink.  One  of  the  bright  spots  was 
a  journey  to  South  Russia  as  accom- 
panist to  the  singer  Leonowa  in  1879. 
His  death  occurred  at  the  age  of  46 
in  the  Nikolai  Military  Hospital  at 
Petersburg. 

Largely  unappreciated  by  his  con- 
temporaries, but  his  fame  has 
steadily  increased  since  his  death. 
Especially  in  his  marvellous  collec- 
tion of  some  60  songs,  most  of  them 
grim  and  somewhat  mordant,  he  has 
shown  an  outstanding  gift  for  ex- 
pression and  character  portrayal. 
He  is  most  celebrated  for  his  2 
principal  operas,  the  stupendous 
nationalistic  folk  drama,  "Boris 
Godounojf,"  conceived  most  origi- 
nally with  the  people  as  the  main 
protagonists  and  the  chorus  the 
featured  performers,  and  the  lesser 
but  also  impressive  "  Khovanstchina," 
both  based  on  Russian  folk  and 
liturgical  idioms.  The  first  was 
originally  Jprod.  in  St.  Petersburg, 
1874,  but  withdrawn  after  a  few 
perfs.  Fifteen  years  after  M.'s 
death  it  was  revised  by  Rimsky- 
Korsakoff,  who  added  to  it  his  bril- 
liant orchestration,  and  smoothed 
down  what  he  considered  its  "un- 
couth" qualities.  In  this  form  it 
made  its  way  over  the  opera  stages 
of  the  world  and  made  a  profound 
impression.  Only  in  1925  was  the 
original  version  of  the  work  pub- 


lished by  the  Soviet  musical  author- 
ities and  eagerly  performed  in  Europe 
and  the  U.  S.  (concert  hearing  under 
Stokowski,  Phila.).  Other  smaller 
operatic  works  are  "The  Marriage" 
(one-act,  based  on  Gogol's  comedy), 
1868;  and  "The  Fair  at  Sorotchinsi," 
partially  finished  and  completed  by 
Tcherepnine.  As  an  orch.  composer, 
M.  is  best  known  by  the  symph. 
poem,  "Night  on  the  Bald  Moun- 
tain," much  revised  by  Rimsky- 
KorsakofL  His  famous  suite  of  de- 
scriptive pieces  for  piano,  "Pictures 
from  an  Exhibition,"  has  been 
orchestrated  by  Ravel  and  has  en- 
joyed wide  popularity;  also  c.  song 
cycles,  "Without  Sunlight,"  "Songs 
and  Dances  of  Death,"  "The  Chil- 
dren's Room"1,  (chorus)  "The  Defeat 
of  Sennacherib,"  etc.  The  chief 
Moussorgsky  biographies  are  by  Cal- 
vocoressi  and  Riesemann;  a  collec- 
tion of  his  letters  has  been  published. 
(See  article,  page  506.) 

Mouton  (moo-t6n)  (Jean  de  Hollingue 
(61'-15.ng)  (called  "Mouton")  ),  Holl- 
ing  (?),  near  Metz — St.  Quentin, 
Oct.  30,  1522;  important  contrapun- 
tist; c.  motets,  masses,  psalms, 
chansons,  etc. 

Mouzin  (moo-zSn),  P.  Nicolas  (called 
fidouard),  Metz,  July  13,  1822 — 
Paris,  1894;  studied  at  Metz  branch 
of  the  Paris  Cons.;  1842,  teacher 
there,  1854,  dir.;  1871,  teacher  at  the 
Paris  Cons.;  writer;  c.  2  operas, 
symphs.,  etc. 

Mozart  fmo'-tsart)  (originally  Mot- 
zert),  (i)  (Jn.  G.)  Ld.,  Augsburg, 
1719 — Salzburg,  1787;  father  of  W. 
A.  M.;  dram,  composer.  (2)  (Maria) 
Anna  (called  "Nannerl"),  Salzburg, 
1751 — 1829;  daughter  and  pupil  of 
above;  pianist;  c.  org.  pcs. 
(3)  Wolfgang  Amadeus  (baptised 
Jus.  Chrysostomus  Wolfgangus  The- 
ophilus),  Salzburg,  Jan.  27,  .1756 — 
Vienna,  Dec.  <,  1791;  son  of  (i), 
and  bro.  of  (2);  one  of  the  major 
divinities  of  music.  Of  unrivalled 
precocity  in  performance,  composi- 
tion, and  acoustic  sensitiveness;  at 
3  his  talent  and  his  discovery  of 
thirds  (y.  D.  D.),  led  his  father  to 
teach  him.  He  began  at  once  to 
compose  little  minuets  which  his 
father  and  later  he  himself  noted 
down.  He  and  his  sister  made  a 
ioint  de"but  at  Munich,  when  he  was 
barely  6,  though  he  had  appeared 


304 


DICTIONARY  OF  MUSICIANS 


as  a  performer  4  months  before  in  a 
comedy  at  the  Univ.   at  Salzburg. 
He    appeared    the    same    year    in 
Vienna,  fascinating  the  court.     He 
now  learned  the  vln.  and  org.  without 
instruction.     At  7  he  was  in  Paris, 
where  his  first  works  were  pub.,  "77 
Sonaies  potur  le  clavecin"     The  next 
year  he  was  in  London,   delighting 
royalty,  winning  the  honest  praise  of 
musicians  and  coming   victoriously 
out  of  remarkable  tests  of  his  abil- 
ity as  sight-reader  and  improviser. 
During    his    father's    illness,    while 
silence  was  required,  he  c.  his  first 
symph.     Here  his  6  sonatas  for  vln. 
and  harps,  were  pub.  and  his  first 
syrnph.   performed  frequently.     He 
won  the  friendship  of  J.  Chr.  Bach, 
and    was   given    singing   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  concert  being 
given    at    Amsterdam    in    1766,    at 
which    all    the    instrumental    music 
was   M.'s.     At   Biberach    he    com- 
peted   as    organist    without    result 
against  a  boy  2  years  older,  Sixtus 
Bachmann.     Returning  to  Salzburg, 
ra  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 
was  postponed  by  the  now  jealous 
musicians    till    1769.     Meanwhile    a 
German  opera  "Bastien  und  Basti- 
enne"  had  been  performed,  and  M. 
made  his   d6but   as  cond.  in   1768 
(aged    12),    with    his   solemn    mass. 
The  Archbishop  made  him  Konzert- 
meister,  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  Ajnadeo,  but  soon 
dropped   this.     After   tests   he   was 
elected  a  member  of  the  Accademia 
Filarmonica  of  Bologna.     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  Clavichord- 
concerto,  which  will  be  handed  to 
him*  and  which  he  will  immediately 


play  at  sight;  a  Sonata  handed  hiin 
in  like  manner,  which  he  will  provide 
with  variations,  and  afterwards  re- 
peat in  another  key;  an  Aria,   the 
words  for  which  will  be  handed  to 
him,  and  which  he  will  immediately 
set  to  music  and  sing  himself,  accom- 
panying himself  on  the  clavichord; 
a  Sonata  for  clavichord  on  a  subject 
given  him  by  the  leader  of  the  violins; 
a  Strict  Fugue  on  a  theme  to  be  se- 
lected, which  he  will  improvise  on 
the  clavichord;  a  trio,  in  which  he 
will   execute   a   violin-part   air    im- 
provoiso;     and     finally,     the     latest 
Symphony   composed    by    himself." 
In  Rome,  after  twice  hearing  Allegri's 
famous  "Miserere,"  long  kept  secret, 
he   correctly   wrote   out    the    entire 
score  from  memory.     At   Milan  he 
prod.   3-act  opera  seria  "Mitridate^ 
re  di  Ponto"   (1770),  which  had  20 
*  consecutive  performances  under  his 
direction.     1771,  he  brought  out  a 
dramatic     serenade,      "  Ascanio     in 
Alba"  for  the  wedding  of  Archduke 
Ferdinand.     1772   his  friendly  pro- 
tector, the  Archbishop  of  Salzburg, 
died;    his    successor,    Hieronymous, 
Count  of  CoUoredo,  treated  M.  with 
the  greatest  inappreciation,  compell- 
ing  him    to   sit    with    the   servant* 
(though   M.    was   frequently   enter- 
tained at  the  houses  of  the  nobility 
with   great   distinction);    and   when 
M.  demanded  his  discharge  in  1781,. 
he  had  him  kicked  out  by  a  servant. 
It  was  for  his  installation  that  M* 
had  c.    the   dramatic   "II  Sogno  di 
Scipione"     (1775),     "Lucio     Silla" 
(1772),  and  "La  Finta  Giardiniera," 
prod,  at  Milan,  under  his  own  direc- 
tion, 1775;  later  "II  Re  Pastor e"  at 
Salzburg    during    Archduke    Maxi- 
milian's visit.     1778  he  went  with 
his  mother  to  Paris,  where  he  won 
little  attention  in  the   struggle  be- 
tween 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 
("Belmonte  und  Constance,  oder)  Die 
Entfilhrung  aus  dem  Serail"  prod. 
with   great   succ.,    despite    the   ma- 
chinations of  the  theatrical  clique, 
1782;  a  month  later  he  m.  Constance 
Weber  (the  sister  of  Aloysia.  whom 
he  had  loved  in  Mannheim).     She. 


DICTIONARY  OF  MUSICIANS 


305 


bore  Mm  six  children,  four  sons  and 
two  daughters.  The  small  receipts 
for  compositions  and  concerts  were 
quickly  spent  on  luxuries  beyond 
their  means,  and  as  neither  was  a 
good  manager  of  resources,  many 
Hardships  followed.  After  two  un- 
finished operas  he  prod,  a  mus. 
comedy,  "Der  Schauspieldirektor" 
(SchSnbrunn,  1786).  May  i,  in 
Vienna,  his  opera  buffa  "Le  Nozze  di 
Figaro9'  ("Marriage  of  Figaro")  was 
rescued  from  intrigues  into  a  very 
.great  succ.  The  then  famous  li- 
brettist Da  Ponte  next  wrote  the 
"book  for  "Don  Giovanni"  ("Don 
Juan")»  which  made  a  very  great 
succ.  at  Prague  (1787),  and  led  the 
Emperor  to  appoint  M.  "chamber 
composer,"  at  800  gulden  ($400)  a 
year  (Gluck,  just  deceased,  had 
2,000  gulden) .  1 7  89  he  accompanied 
Prince  Karl  Lichnowski  to  Berlin, 
playing  for  the  Dresden  court,  and 
at  the  Thomaskirche,  Leipzig.  King 
Fr.  Wm.  II.,  hearing  him  at  Pots- 
dam, offered  him  the  post  of  ist 
.Royal  cond.  with  3,000  thaler 
($2,250)  a  year,  but  M.  would  not 
abandon  his  "good  Kaiser";  still 
Fr.  Wm.  II.  ordered  three  quartets, 
ior  which  he  paid  well.  Hearing 
this,  the  Emperor  ordered  the  opera 
buffa  "Cosi  fan  Tutte"  (Vienna, 
1790).  Soon  after  its  production 
the  Emperor  died;  his  successor  Ld. 
XL  cared  little  for  M.,  leaving  him 
in  greatest  hardship.  His  devoted 
friend  Jos.  Haydn  now  went  to 
London.  M.  made  a  tour,  pawning 
Ms  plate  to  pay  the  expenses.  For 
the  coronation  of  Leopold  II.,  as 
King  of  Bohemia,  at  Prague,  he  was 
invited  to  write  the^  festival  opera 
"La  Clemenza  di  Tito,"  performed 
1791.  He  returned  to  Vienna  and 
c.  "Die  Zauberfldte"  ("Magic  Flute," 
Vienna,  Sept.  30,  1791),  a  work  in 
which  are  exploited  the  allegories  of 
the  Masonry  of  which  M.  was  a 
member.  It  made  a  decided  succ. 
He  was,  however,  growing  weaker 
and  suffering  from  fainting  fits, 
claiming  that  he  had  been  poisoned. 
A  mysterious  stranger  had  com- 
missioned him  to  write  a  requiem, 
and  M.  began  it  with  a  superstitious 
dread  that  the  messenger  had  come 
from  the  other  world  to  announce 
Ids  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  completed  by  Mozart,  who 
—-had  his  pupil  Siissmayer  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  body  to  be  interred  in 
some  spot,  never  after  discovered, 
in  the  ground  allotted  to  paupers  in 
the  St.  Mary  cemetery.  The  profits 
of  a  Mus.  Festival  given  by  the 
Frankfort  "Liederkranz,"  June  25, 
1838,  were  devoted  to  founding  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  give  12  concerts  yearly,  and  to 
sustain  a  mus.-sch.  in  which  the 
musicians  of  the  orch.  give  instruc- 
tion. 

A  complete  ed.  of  M.'s  works  pub. 
by  Breitkopf  &  Hartel  (1876-86), 
contains  much  church-mus.  inc.  15 
masses,  cantatas  "Davidde  penitente" 
(masonic),  "Maurerfreude"  and 
"  Kleine  Freimaur&rcantate,"  etc.; 
stage-works,  besides  those  men- 
tioned, "Die  Schuldigkeit  des  ersten 
Gebots"  (only  partially  his  own), 
"Apollo  et  Hyacinthus"  (Latin  com- 
edy with  mus.) ;  "Zatde"  (unfinished); 
"Thamos,  Konig  in  Aegypten" 
(choruses  and  entr'actes;  Berlin, 
1786);  "Idomeneo,  re  di  Creta,  ossia 
Ilia  ed  Idamante"  ORCH.  WORKS: 
41  symph.;  2  symph.  movements;  31 
divertimenti,  serenades,  and  cassa- 
tions; 9  marches;  25  dances,  "Ma- 
sonic Funeral-Music"',  "A  Musical 
Jest"  for  string-orch.  and  2  horns;  a 
sonata  for  bassoon  and  'cello;  phan- 
tasie  for  Glockenspiel;  andante  for 
barrel-organ,  etc.;  6  vln.-concertos, 
bassoon-concerto,  a  concerto  for  flute 
and  harp,  2  flute-concertos,  horn- 
concertos,  a  clarinet-concerto,  25  pf.- 
concertos,  a  double  concerto  for  a 
pfs.,  a  triple  concerto  for  3  pfs. 
CHAMBER-MUSIC:  7  string-quintets; 
26  string-quartets;  "  Nachtmusik"  for 
string-quintet;  42  vln.-sonatas,  etc. 
PF.-Music:  for  4  hands:  5  sonatas* 


306 


DICTIONARY  OF  MUSICIANS 


and  an  andante  with  variations;  for 
a  pfs.,  a  fugue,  and  a  sonata;  17  solo 
sonatas;  a  fantasie  and  fugue; 
3  fantasias;  36  cadenzas  to  pf.- 
concertos;  rondos,  etc.;  17  organ 
sonatas,  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. 
His  unstageworthy  opera  "Idome- 
neo"  was  provided  with  a  new  book, 
and  extensively  rescored  by  Richard 
Strauss  for  the  Munich  Fest.,  1930. 
The  best  of  many  biographies  is 
by  Otto  Jahn  (1856-59,  4  volumes 
in  English,  London,  1882),  etc. 
Bis  letters,  ed.  by  Hans  Mersmann, 
have  also  been  published  and  trans* 
lated  in  two  volumes.  One  of  his 
two  overtures  was  found  at  the  Paris 
Cons.  1901.  Six  unpublished  sona- 
tas were  found  in  Buckingham 
Palace,  1902.  A  violin  concerto  (the 
** Adelaide")?  c.  at  10  yrs.,  was  re- 
covered in  1934. 

Other  memoirs  have  been  issued  by 
Berlioz,  Dent,  Holmes,  Kerst,  Break- 
speare  and  Mersmann.  (See  article, 

(4)  Wolfgang  Amadeus,  Vienna, 
July  26,  1791 — Carlsbad,  July  29, 
1844;  son  of  above;  pianist,  teacher 
and  composer  of  pf.-concertos,  so- 
natas, etc. 

Muck  (mook),  Carl,  b.  Darmstadt, 
Oct.  22,  1859 — Stuttgart,  March  4, 
1940;  pupil  of  Leipzig  Cons.,  cond. 
at  various  cities;  1892,  ct.-cond. 
Royal  Op.,  Berlin;  1899,  cond.  Ger- 
man Opera  in  London;  1903—05  alter- 
nated with  Mottl  as  cond.  of  the 
Vienna  Phil.;  1906-08  on  leave  of  ab- 
sence he  cond.  Boston  Symph.  during 
the  winters;  appearing  also  at  Paris, 
Madrid,  etc.;  1901,  2,  4,  6,  and  8 
cond.  "JParsvfal"  at  Bayreuth.  By 
arrangement  with  the  Boston  Symph. 
he  continued  his  contract,  sending 
Max  Fiedler  to  conduct  in  his  place 
1909—12;  and  returning  19x2.  He 
made  a  most  brilliant  impression  as 
a  musician  of  the  highest  order,  and 
raised  the  orch.  to  hitherto  unparal- 
leled efficiency.  In  1918  he  was 
accused  of  anti-Amer.  activity  and 
was  interned  as  an  enemy  alien  dur- 
ing the  remainder  of  the  war  and 
deported,  1919.  He  was  again  ac- 
tive in  Germany,  after  2922^  as 


leader  of  the  Hamburg  Philh.  Orch.f 
and  conducted  elsewhere,  incl.  Bay- 
reuth. 

Mu'die,  Thos.  Molleson,  Chelsea,  1809 
— London,  1876;  teacher,  organist 
and  composer. 

Muffat  (moof'-fat),  (i)  G.,  Schlett- 
stadt,  ca.  1645 — Passau,  Feb.  23, 
1704;  organist,  conductor  and  com- 
poser. (2)  Aug.  Gottlieb,  Passau, 
April,  1690 — Vienna,  Dec.  10,  1770; 
son  of  above;  organist  and  composer. 

Mugellini  (moo-gel-le'-nS),  Bruno,  Po- 
tenza,  Dec.  24,  1871 — Bologna, 
Jan.  15,  1912;  pianist;  pupil  of 
Tofano,  Busi  and  Martucci;  1898 
teacher  Bologna  Lyceum;  1911,  dir.; 
c.  prize  symph.  poem  "Allefonte  del 
Clitumno";  'cello  sonata,  etc.;  edited 
Bach,  Czerny  and  Clementi. 

Mugnone  (moon-yS'-nS),  Leopoldo,  b. 
Naples,  Sept.  29,  1858;  noted  con- 
ductor; pupil  of  Cons,  in  native  city- 
beginning  1885  cond.  at  Costanzf 
Theatre,  Rome;  led  premiere  of 
Verdi's  "Falstaff,"  Milan,  1893;  esp, 
known  for  his  Wagnerian  perfs.;  c. 
operas,  etc.;  d.  (?). 

MifiildSrfer  (miil'-dSif-er),  (i)  Wm., 
1803 — Mannheim,  189  7  ;ct. -inspector 
of  theatres,  Mannheim.  (2)  Win.  K.t 
Graz,  Styria,  March  6,  1836 — 
Cologne,  1919;  son  of  above;  studied 
at  Linz-OD -Danube  and  l^Cannheim* 
actor;  1855,  th.-cond.,  Ulm;  1867—81, 
2d  cond.  at  Cologne;  c.  4  operas,  incl. 
successful  "lolantbe"  (Cologne,  1890), 
overtures,  etc. 

Miihlield  (mtil'-fSlt),  Richard,  Salzun- 

EFeb.  28,  1856 — Meiningen, 
a  i,  1907;  clarinettist  for  whom 
hms  c.  a  trio  and  sonata;  studied 
with  Biichner  at  Meiningen,  where  he 
lived  after  1873;  I875— 96,  ist  clarinet 
at  Bayreuth. 

Mfihlfng  (mu'-13hg),  Aug.,  Raguhn, 
1786 — Magdeburg,  1847;  organist 
and  composer. 

Mukle  (moo'-kle),  May  Henrietta,  b. 
London,  May  J4,  1880;  'cellist;  ap- 
peared as  child  prodigy;  later  pupil 
of  R.  A.  M.,  and  of  Hambleton;  from 
19,00  made  world  tours;  played  in  trio 
with  Maud  Powell,  violinist,  and  her 
sister  Anna,  pianist;  visited  Australia, 
IT.  S.,  South  Africa,  Honolulu,  etc. 

Mule  (moo-laO,  Giuseppe,  b.  Sicily, 
June  28,  1885;  composer;  studied  at 
Palermo  Cons.;  early  active  as 
'cellist;  cond.  opera  and  concerts; 
after  1922,  dir.  of  Palermo  Cons., 


DICTIONARY  OF  MUSICIANS 


307 


and  1925  succeeded  Respighi  as  dir. 
of  Liceo  of  Santa  Cecilia,  Rome;  c. 
(operas)  "La  Monacella,  dell  Fon- 
tana,"  "Dafni,"  etc.,  which  have  had 
succ.  productions;  also  oratorio, 
orch.  music;  d.  Rome,  Sept/io,  1951. 
Mtiller  (mtil'-ler),  (i)  Chr.,  org. -builder 
at  Amsterdam*  ca.  1720-70.  (2) 
Win.  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.,  Orlamtinde, 
1786 — Rudolstadt,  1871;  clarinettist, 
conductor  and  composer.  (6)  Ivan. 
(Iwan) ,  Reval,  1 786 — Buckeburg, 
1854;  inv.  of  the  clarinet  with  13 
Jfceys,  and  altdarinet;  finally  ct.-mus. 
("7)  Peter,  Kesselstadt,  Hanau,  1791 
— Langen,  1877;  c.  operas,  and  fa- 
mous "Jugendlieder,"  etc.  (8)  Two 
famous  German  quartet  parties,  (a) 
The  bros.  K.  Fr.  (1797 — 1873), 
Tli.  H.  GUS.  (1799 — 1855),  Aug. 
Th.  (1802 — 1875),  and  Fz.  Fd.  G. 
(1808 — 1855),  sons  of  (9)  Aegidius 
Chp.  M.  (d.  1841,  Hofmus.  to  Duke 
of  Brunswick),  all  b.  Brunswick,  and 
in  the  orch.  there — K.  as  Konzert- 
meister,  Th.  ist  'cello,  Gv.  symph.- 
director,  and  G.  conductor,  (b)  The 
four  sons  of  the  Karl  Fr.  above,  who 
organised  1855  a  ct.-quartet.  Hugo, 
2d  vln.  (1832 — 1886);  Bd.,  1825 — 
1895;  viola;  Wm.,  1834 — N.  Y.,  1897; 
'cello;  Karl,  Jr.,  1829 — 1907;  ist  vln. 
hi  Stuttgart  and  Hamburg;  m. 
Elvina  Berghaus  and  took  name 
Miiller-Berghaus,  under  which  he 
c.  a  symph.,  etc.  (10)  (Rightly 
Schmid)  Ad.  Sr.,  Tolna,  Hungary, 
1801 — Vienna,  1886;  singer,  con- 
ductor and  dram,  composer,  (n) 
Ad.,  Jr.,  Vienna  1839 — *9°i>  son  of 
above;  1875,  cond.  German  opera  at 
Rotterdam;  prod.  4  operas  and  5 
operettas,  incl.  the  succ.  "Der 
Blondin  von  Namur "  (Vienna,  1898). 
(12)  Jns.,  Coblenz,  1801 — Berlin, 
1858;  writer.  (13)  Fz.  K.  Fr., 
Weimar,  1806 — 1876;  one  of  the  first 
to  recognise  Wagner;  pub.  treatises 
on  his  work.  (14)  Aug.,  1810 — 1867; 
eminent  double-bass.  (15)  K.,  Weis- 
sensee,  near  Erfurt,  1818 — Frank- 
fort,  1894;  conductor  and  composer. 


(16)  Maria,  b.  Prague,  Jan.  29,  1898; 
noted  operatic  lyric  soprano;  dSbut 
as  Elsa,  Linz,  1920;  sang  with  Linz 
Op.,  1920-21;  Prague,  1921-1923; 
Munich  State  Op.,  1923-24;  after 
latter  year  until  1935  she  was  a 
member  of  Met.  Op.  Co.,  N.  Y.,  also 
singing  at  Berlin  State  Op.  after 
1926,  and  at  Bayreuth  from  1930; 
her  repertoire  includes  both  Italian 
and  German  roles. 

Miiller-Hartung,  K.  (Win.),  Suiza, 
May  19, 1834 — Charlottenburg,  Ber- 
lin, June  n,  1908;  pupil  of  Kiihm- 
stedt,  Eisenach;  mus  .-dir.  and  teacher 
at  the  Seminary;  1864,  prof.;  1869, 
opera-cond.  Weimar;  1872,  founder 
and  dir.  Gr.  Ducal  "Orchester-und- 
Musikschule";  wrote  a  system  of 
music  theory  (vol.  i.  "Harmonie- 
lehre"  appeared  in  1879);  composer. 

Muller-Reuter  (roi-tSr),  Theodor, 
Dresden,  Sept.  i,  1858 — Leipzig, 
Aug.  16,  1919;  pupil  of  Fr.  and  Alwin 
Wieck  (pf.);  J.  Otto  and  Meinardus 
(comp.);  and  the  Hoch  Cons.,  Frank- 
fort; 1879-87,  teacher  Strasbourg 
Cons.;  1887,  cond.  at  Dresden;  1892, 
teacher  in  the  Cons,;  mus  .-dir.  at 
Crefeld,  1893-1918;  c.  2  operas, 
Paternoster,  with  orch.;  "Hackd- 
ber  end's  Funeral"  for  chorus  and 
orchestra  (1002),  etc. 

Munch  (munsh;  ,Charles,b.  Strasbourg, 
Sept.  26,  1891;  son  of  Ernst  Miinch, 
dir.  pf  Choeur  St.-Guillaume;  stud- 
ied violin  with  his  father,  with  Capet, 
Paris,  and  Flesch,  Berlin;  1919, 
prof,  at  Strasbourg  Cons,  and  cond. 
there;  1926,  concertmaster  of 
Gewandhaus  Orch.,  Leipzig;  1932, 
led  concerts  of  Paris  Symph.,  La- 
moureux  Orch.;  founded  Paris  Philh. 
Orch.;  1938,  cond.  Orch.  des  Con- 
certs du  Conservatoire;  Amer.  d6but 
as  guest  cond.,  Boston  Symph., 
1946;  mus  .-dir.  of  same,  1949. 

Munck,  de.  Vide  DEMTJNCK. 

Mun'dy,  (i)  William,  d.  i$9i(?); 
Gentleman  of  the  Chapel  Royal, 
1563;  c.  anthems,  etc.  His  son 
(2)  John,  d.  Windsor,  1630;  where 
he  had  been  organist  from  1585;  c. 
madrigals  and  a  fantasia  describing 
the  weather, 

Mtinsel',  Patrice,  Amer.  coloratura 
soprano;  pupil  of  William  Pierce 
Herman,  N.  Y.;  won  Met.  Op.  radio 
auditions  at  17;  dgbut,  Met.  Op., 
1943,  as  Philine;  also  sang  Gilda, 
Lucia,  Lakm6,  etc.;  and  in  concerts. 


308 


DICTIONARY  OF  MUSICIANS 


Muratore  (mii'-r£-t6r),  Lucien,  b.  Mar- 
seilles, 1878;  tenor;  grad.  of  Cons, 
there,  also  studied  Paris  Cons.;  began 
career  as  actor;  de*but  at  Paris  Op.- 
Comique,  1902,  in  Hahn's  "La 
Carmelite"*,  at  the  Opera  as  "Rinaldo" 
in  "Armide"  1905;  after  1913  he  was 
a  pop*  mem.  of  the  Chicago  Op., 
singing  romantic  rdles  opposite  Mary 
Garden;  he  also  appeared  in  Buenos 
Aires;  esp,  noted  for  his  "Romeo," 
"Don  Jose"";  d.  Paris,  July  16,  1954- 

Mur'doch,  William,  b.  Bendigo,  Vic- 
toria, Feb.  10,  1888;  pianist;  d6bat 
in  London,  1910;  thereafter  toured 
Europe,  Australia,  and  after  1914 
U.S.;d.  Dorking,  Eng.,  Sept.  9, 1942. 

Muris  (dtf  mii'-res),  Jns.  de  (or  de 
Meurs)  (dti  mtirs),  eminent  theorist; 
wrote  treatise  "Speculum  Musicae" 
(probably  ca.  1325)  (Coussemaker), 

Mur'phy,  Lambert,  b.  Springfield, 
Mass.,  April  15,  1885;  tenor;  grad. 
Harvard  Univ.;  studied  with  Thomas 
Cushman,  Isadore  Luckstone  and 
Herbert  Witherspoon;  soloist  in  N. 
Y.  and  Boston  churches;  mem.  Met. 
Op.  Co.,  1911-15;  also  active  as 
orch.  and  fest.  soloist  and  in  radio 
d.  Hancock,  N.  H.,  July  24,  1954. 

Murscnhauser  (moorsh'-how-zer),  Fz. 
X.  Anton,  Zabern,  near  Strassburg, 
1663 — Munich,  1738;  conductor  and 
theorist. 

Murska  (moor'-shka),  Hma,  di,  Croatia, 
1836 — Munich,  Jan.  16,  1889;  fa- 
mous dramatic  soprano,  with  re- 
markable compass  of  nearly  3 
octaves. 

Musard  (mii-z2,r),  (i)  Philippe,  Paris, 
*793 — 1859;  c.  pop.  dances.  (2)  Al- 
fred, 1828 — 1881;  orch.-cond.,  and 
composer;  son  of  above. 

MiTshr  (moo-zen),  Bonaventura.     Vide 

PURLANETTO. 

Musin  (mu-zM),  Ovide,  Nandrin,  n. 
Li€ge,  Sept.  22,  1854 — Brooklyn, 
N.  Y.,  Oct.  30,  1929;  violinist;  pupil 
of  Lie"ge  Cons.;  at  n  took  ist  vlru- 
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  Li6ge  as 
vln.-teacher  at  the  Cons.;  1898,  vln.- 
professor;  1908-10,  dir.  of  his  own 
music  school  in  N.  Y. 

Musiol  (moo'-zl-6l),  Robt.  Paul  Jh., 
Breslau,  Jan.  ^4,  1846 — Fraustadt, 


Oct.  19,  1903;  from  1873-91  teachei 
and  cantor  at  Rohrsdorf ,  Posen;  pub. 
mus.  lexicons;  c.  part-songs,  etc. 

Musorgsky,  see  MOUSSORGSKY. 

Mustel  (mus-t&,',  Victor,  b.  Havre, 
1815^;  mfr.  and  improver  of  the  har- 
monium. 

Miithel  (m6'-tel),  Johann  Gottfried, 
MQlln,  1720 — Riga,  after  1790;  or- 
ganist; c.  sonatas  and  songs. 

Mirao  (moo'-tsi-o),  (i)  Emanuele, 
Zibello,  near  Parma,  Aug.  25,  1825 — 
Paris,  Nov.  27,  1890;  pupil  of  Proves! 
and  Verdi,  and  (for  pf.)  of  Verdi's 
first  wife,  Margherita  Barezzi;  1852, 
cond.  It.  Opera,  Brussels;  later, 
London,  New  York  (Acad.  of  Mus.)f 
1875  noted  singing  teacher,  Paris;  c. 
4  operas,  etc.  (2)  Claudia,  Pavia. 
1892 — Rome,  May  24,  1936;  notable 
soprano;  daughter  of  Carlo  Muzio, 
stage  director  at  Covent  Garden  and 
at  Met.  Op.,  N.  Y.;  studied  harp  and 
piano;  singing  with  Mme.  Casaloni; 
d6but  as  "Manon"  at  Arezzo;  sang  in 
a  number  of  Italian  opera  houses, 
including  La  Scala,  also  at  Covent 
Garden;  d£but  Met.  Op.  as  "Tosca," 
1918;  sang  there  for  several  seasons 
with  notable  success;  after  1922  with 
Chicago  Op.  for  a  decade  with  emi- 
nent popularity;  also  in  Rome,  Paris, 
Buenos  Aires,  Monte  Carlo,  Naples, 
Genoa,  Havana,  and  with  San 
Francisco  Op.;  returned  to  Met.  Op. 
for  a  perf .  as  " Violetta"  in  1933  and  as 
"Santuzza,^  1934;  created  title  r61e  in 
Refice's  opera,  "Cecilia,"  in  Rome 
and  Buenos  Aires. 

Mysliweczek  (me-slS'-va-chSk),  Jos. 
(called  "H  Boemo,"  or  "Venatorini"), 
near  Prague,  March  9,  1737 — Rome, 
Feb.  4,  1781;  prod,  about  30  pop. 
operas  in  Italy;  c.  symphs.,  pL- 
sonatas  praised  by  Mozart,  etc. 
Mysz-Gmeiner,  vide  GMEINER. 

N 

Naaff  (naf),  Anton  E.  Aug.,  Weitentre- 
betitsch,  Bohemia,  Nov.  28,  1850 — 
Vienna,  Dec,  27,  1918;  mus.  editor 
and  poet  at  Vienna. 

Na'bokoff,  Nicholas,  b.  Poland,  April  7, 
1903;  composer;  studied  at  St. 
Petersburg  Imp.  Lyceum;  at  Berlin 
Hochsch.  with  Busoni,  and  in  Stutt- 
gart; res.  in  Paris;  visited  U.  S.,  1933: 
c.  (ballets)  "  Union  Pacific,"  "Aphro- 
dite," "A  Ballet  Ode,"  "Commedie"; 
(choral  work)  "Jot>";  (orch.)  Sym- 


DICTIONARY  OF  MUSICIANS 


309 


Nachbaur  .  .  ,  .  <u  ,r  -  ™  ^ 

Giessen,  near  Friedrichshaf  en,  March 
25  1835 — Munich,  March  21,  1902; 
pupil  of  Pischek;  sang  at  theatres  in 
Prague  and  other  cities;  1866-90, 
"Kammersanger,"  Munich. 

Ulcliez  (na'-ches)  (Tivadar  (Theodor) 
Naschitz  (nS/-sh*ts)  ),  Budapest, 
May  i,  1859 — Lausanne,  May  29, 
1930;  vln.- virtuoso;  pupil  of  Sabattt, 
Joachim  and  Leonard;  toured  the 
continent;  lived  in  Paris  and  (1889) 
London;  c.  2  concertos  for  vln., 
2  HungariarjL  Rhapsodies,  requiem 
mass,  with  orch.,  etc. 

ETadaud  (na-d5),  Gv.,  Rpubaix,  France, 
Feb.  20,  i8ao — Paris,  1893;  cele- 
brated poet,  composer  of  chansons; 
also  c.  operettas. 

Nadermann  Ou.a/-d£r-man),  Francois 
Jos.,  Paris,  1773—1835;  harpist, 
teacher  and  composer. 

Kagel  (na'-gel),  Willibald,  b.  Mtihl- 
heim,  Jan.  12,  1863;  writer;  pub. 
"Gesckickte  der  Musih  in  England" 


publisher,  writer  and  composer. 

Nagiller  (na'-gfl-ler),  MatthSus,  Mtin- 
ster,  Tyrol,  1815 — Innsbrttck,  1874; 
conductor  and  dram,  composer. 

•Nanini  (na-ne'-nS)  (incorrectly  Nani- 
no),  (r)  Giov.  M.,  TivoH,  Italy, 
1545 — Rome,  March  11,  1607;  noted 
Italian  composer;  pupil  of  Goudimel; 
cond.  at  Vallerano,  1571-75,  at 
Santa  Maria  Maggiore,  Rome  (vice 
Palestrina);  1575  founded  a  pub. 
xnus.-sch.  in  which  Palestrina  was 
one  of  the  teachers;  1577,  papal 
singer;  1604  cond.  Sistine  Chapel; 
his  6-part  motet  "  Hodie  nobis  ccdo- 
rum  rex"  is  still  sung  there  every 
Christmas  morning.  (2)  Giov,  Ber- 
nardino, Vallerano,  ca.  1560 — Rome, 
1623;  younger  bro.  (Riemann  says 
nephew)  and  pupil  of  above;  con- 
ductor and  notable  composer. 

Wantier-Didiee  (nant-ya  d€d-ya),  Con- 
stance Betsy  R.,  lie  de  la  R6union, 
1831 — Madrid,  1867;  v.  succ.  mezzo- 
soprano. 

Napo'leao,  Arthur,  Oporto,  March  6, 
1843 — Rio  de  Janeiro,  May  12,  1925; 
pianist  and  cond. ;  at  9  made  a  sensa- 
tion at  the  courts  of  Lisbon,  London 
(1852),  and  Berlin  (1854),  then  stud- 
ied with  Hall  6,  at  Manchester  j 


toured  Europe,  and  N.  and  S. 
America.  1868  (1871  ?)  settled  iii 
Rio  de  Janeiro  as  mus.-seller,  etc. 

N&pravnik  (NSprawnik)  (nS-praf  7-nek), 
Bduard,  Bejst,  near  KSniggratz, 
Aug.  24,  1839 — St.  Petersburg,  Nov. 
10,  1915;  pupil  Prague  Org.-Sch.; 
from  1856  teacher  Maydl  Inst.  for 
Mus.,  Prague;  1861,  cond.  to  Prince 
Yussupoff  at  St.  Petersburg;  then 
organist  and  2nd  cond.  Russian 
Opera;  from  1869  ist  cond.;  1870^82, 
cond.  the  Mus.  Soc.;  c.  4  operas,  incl. 
the  succ.  "Dubrojfsky"  (St.  P.,  1895); 
symph.  poem  "The  Demon,"  over- 
tures, incl.  "Vlasta"  (1861),  etc. 

Nardini  (nar-ds'-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.,  Stanwell,  Middle- 
sex, 1715 — London,  Feb.  10,  1783; 
organist  and  composer. 

Naret-Koning  (na/-ret-ko-nfcig),  Jn. 
Jos.  IX,  Amsterdam,  Feb.  25,  1838 — 
Frankfort,  March  28,  1905:  violinist; 
pupil  of  David,  Leipzig;  from  1878 
leader  City  Th.,  Frankfort;  pub. 
songs,  etc. 

Nasolini  (na-so-le'-ng),  Sebastiano, 
Piacenza,  ca,  1768 — (?);  prod.  30 
operas  in  Italy. 

Natale  (na-tar-15),  Pompeo,  choir- 
singer  and  composer  at  S.  Maria 
Maggiore,  Rome,  1662. 

Na'than,  Isaac,  Canterbury,  1792 — 
Sydney,  Australia,  1864;  writer. 

Natorp  (na'-tdrp),  Bd.  Chr.  L.,  Werden- 
on-Ruhr,  Nov.  12,  1774 — Miinster, 
Feb.  8,  1846;  reformer  of  church  and 
sch.-mus. ;  writer. 

Nau  (na'-oo),  Maria  Dolores  Benedicts 
Josefina,  of  Spanish  parents,  New 
York,  March  18,  1818 — Paris,  Feb. 
189  r;  soprano;  pupil  of  Mme. 
Damoreau-Cinti,  Paris  Cons.,  taking 
ist  prize  in  1834;  d6but  at  the 
Op£ra,  r8s6;  sang  minor  roles  there 
6  years,  etc.;  1844-48  and  1851-53, 
leading  rdles,  singing  in  other  cities; 
retired,  1856. 

Naudin  (na/-oo-d6n),  Emilio,  Parma, 
Oct.  23,  1823 — Bologna,  May  5, 
1890;  tenor;  pupil  of  Panizza,  Milan; 
d£but,  Cremona.  Meyerbeer  in  his 
will  requested  him  to  create  the  r61e 
of  "Vasco"  in  "L'Africaine"  (1865), 
which  he  did. 

Naue  (now'-£),  Jn.  Fr.,  Halle,  1787 — 
1858;  organist  and  composer. 


310 


DICTIONARY  OF  MUSICIANS 


NTauenbtirg  (now'-Sn-boorkh),  Gv., 
Halle,  May  20,  1803 — after  1862; 
barytone  and  singing-teacher;  writer 
and  composer. 

Natrniarm    (now'-mSn),    (r)    Jn.    Ol. 
(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  operas  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 
famous  oratorio  "Christus  der  Frie- 
densbote":  pub.  many  valuable  trea- 
tises.    (3)  K.  Ernst,  Freiberg,  Sax- 
ony, Aug.  15,  1832 — Jena,  Dec.  15, 
1910;  grandson  of  (i),  studied  with 
Hauptmann,    Richter,    Wenzel    and 
Langer,  Leipzig   (1850),   Dr.   Philh. 
at    the    Univ.,    1858;    studied    with 
Joh.    Schneider    (org.)    in    Dresden; 
mus.-dir.  and  organist,  Jena;  prof., 
1^77;  pub.  many  valuable  revisions 
of   classical    works,    for    the    Bach- 
Gesellschaft;  c.  the  first  sonata  for 
via.,  much  chamber-mus.,  etc. 
TTava  (na'-va),  (i)  Ant.  Maria,  Italy, 
Z77S — 1826;  teacher  and  composer 
for    guitar.     (2)     Gaetano,     Milan, 
1802 — 1875;  son  and  pupil  of  above; 
prof,  at  the  Cons,  and  composer. 
Nav£l  (na-valO,  Fz.,  b.  Laibach,  Aus- 
tria, Oct.  20, 1865 — Vienna,  (?);  tenor; 
pupil  of  Gansbacher;  1903-4,  N,  Y. 
Navrfitil    (na-vra'-telX    Carl,    Prague, 
April     24,     1867 — Dec.     23,     1936; 
violinist;  composer;  pupil  of  Adler 
and    Ondri£ek;    c.    symph.;    symph. 
poems,    "Jan    Hus,"   "Zalco,"  etc.; 
opera     "Salammbd,"     lyric     drama, 
"Hermann";    violin    concerto,    etc.; 
wrote  biog.  of  Smetana, 
Nawratil  (na-vra/-tel),  K.,  Vienna,  Oct. 
7,    1836 — April    6,    1914;    pupil    of 
Nottebohm  (cpt.) ;  excellent  teacher; 
pub.    Psalm   XXX    with    orch.,   an 
overture,  chamber  mus.,  etc. 
Naylor,    (i)    J.,    b.    Stanningly,   near 
Leeds,  1838 — at  sea,  1897;  organist 
and  composer.     (2)  Sidney,  London, 
1841 — 1893;  organist.     (3)   Edward 
Woodall,  Scarborough,  Feb.  9,  1867 
— May  7,  1934;  composer;  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   Univer- 
sity, where  he  had  taken  the  degrees 


of  B.  A.,  M.  A.,  and  Mus.  B.; 
organist  from  1897  at  Cambridge 
(Emanuel  College);  lecturer  there 
from  1902;  c.  Ricordi  prize  opera 
"The  Angelus"  (Covent  Garden, 
1909);  cantata  "Arthur  the  King" 
(Harrogate,  1902),  church  music,  etc. 
Ned'bal,  Oscar,  Tabor,  Bohemia, 
March  25,  1874 — (suicide)  Zagreb, 
Dec.  24,  1930;  vla.-player  in  the 
"Bohemian"  string-quartet;  studied 
Prague  Cons.  (comp.  with  DvoMk); 
he  was  dir.  Bohemian  Phil.,  Prague 
1896-1906;  thereafter  cond.  Vienna 
Volksoper,  also  the  Tonkiinstler 
orch.;  c.  baUet  "Der  faule  Hans" 
(Vienna,  1903),  scherzo  caprice  for 
orch.,  violin  sonata,  etc. 
Neefe  (na'-fS),  Chr.  GL,  Chemnitz, 
1748 — Dessau,  1798;  mus.-director 
and  conductor. 

Nef  (naf),  (Dr.)  K.,  b.  St,  Gall,  Aug.  22 
1873— Basle,   Feb.   9,    1935;   Ph.D.; 
studied   Leipzig    Cons,    and    Univ.; 
after    1923,   prof,    of   mus.   science, 
Basle  Univ. 

Neitzel  (nlt'-tsel),  Otto,  Falkenburg, 
Pomerania,  July  6,  1852 — Cologne, 
March  10,  1920;  pupil  of  Kullak's 
Acad.,  Berlin;  Dr.  Philh.,  1875,  at 
the  Univ.;  toured  as  pianist;  1879-81, 
teacher  Moscow  Cons.;  then  Cologne 
Cons.;  1887,  also  critic;  prod, 
operas:  "Angela"  (HaUe,  1887),  text 
and  music  of,  "Dido"  (Weimar,  1888) 
and  "Der  AUe  Dessauer"  (Wies- 
baden, 1889),  etc. 
Nen'na,  Pomponio,  b.  Ban,  Naples; 

pub.  madrigals,  1585 — 1631. 
Neri  (na'-re),  Filippo,  Florence,  July  21, 
1515 — Rome,  May  26, 1595;  preacher 
in  the  oratory  (It.  oratorio)  of  San 
Girolamo.  From  the  music  c.  for 
illustrations  by  Animuccia  and  Pa* 
lestrina  arose  the  term  "oratorio." 
Neruda  (na-roo'-da),  (i)  Jakob,  d. 
1732;  violinist.  (2)  Jn.  Chrysostom, 
Rossiez,  1705 — 1763;  violinist;  son 
of  above.  (3)  Jn.  Baptis*  G.,  1707 — 
Dresden,  1780;  composer,  son  of 
Jakob.  (4)  (Normann-Neruda)  (or 
Lady  Halle)  Wilma  Maria  Fran., 
Briinn,  March  21,  1839 — Berlin, 
April  15,  1911;  noted  violinist 
(daughter  of  (5)  Josef,  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.;  1864,  in  Paris,  she  m.  L.  Nor- 
mann;  played  annually  in  London? 


DICTIONARY  OF  MUSICIANS 


311 


she  m.  Hall  6  (q.v.),  1888,  and  toured 
Australia  with  him,  1890-91;  1899, 
America.  (7)  Franz,  Briinn,  Dec.  3, 
1843 — Copenhagen,  March  19,  1915; 
'cellist,  son  of  Josef  N.,  and  brother 
of  Nonnann-N.,  (q.v.)  pupil  of 
Royal  Chapel  at  Copenhagen;  from 
1892  successor  of  Gade  as  dir.  of  the 
Copenhagen  Music  Society;  also  dir. 
of  Stockholm  Music  Society;  1894, 
prof.,  c.  "Slovak"  march,  orch.  suite 
"From  the  Bohemian  Forest,33  'cello 
pieces,  etc. 

jNess'ler,  Victor  E.,  Baldenheim,  Alsa- 
tia,  Jan.  28,  1841 — Strassburg,  May 
^8,  1890;  studied  with  Th.  Stern  at 
Strassburg;  1864,  prod.  succ.  opera, 
"Fleurette"-,  studied  in  Leipzig,  be- 
came cond.  of  the  "Sangerkreis"  and 
chorusm.  City  Th.,  where  he  prod, 
with  general  succ.  4  operettas  and 
4  operas,  incl.  two  still  pop.  "Der 
Rattenf linger  von  Hameln"  (1879), 
"Der  Trompeter  von  S&kkingen" 
(1884);  c.  also  "Der  Blumen  Roche," 
ballade,  with  orch.;  pop.  and  comic 
songs,  etc. 

TR'esvad'ba,  Jos.,  Vysker,  Bohemia, 
1824 — Darmstadt,  1876;  conductor 
and  dram,  composer. 

Nfe§vera  (nSsh-va'-ra),  Jos.,  Proskoles, 
Bohemia,  Oct.  24,  1842 — Olmutz, 
April  4,  1914;  cond.  Olmiitz  Cath.; 
c.  succ.  opera  "Perdita"  (Prague, 
1897);  masses,  De  Profundis,  with 
orch.,  etc. 

Netzer  (nSt'-tser),  Jos.,  Imst.  Tyrol, 
1808 — Graz,  1804;  teacher,  conduc- 
tor and  dram,  composer. 

Neubauer  (na'-op-bow-Sr),  Fz.  Chr., 
Horzin,  Bohemia,  1760 — Btickeburg, 
17955  violinist,  conductor  and  com- 
poser. 

Neuendorff  (noi'-Sn-d6rf),  Ad.,  Ham- 
burg, June  13,  1843 — New  York, 
Nov.  5, 1897;  at  12  taken  to  America; 
pianist,  concert-violinist,  prominent 
conductor  and  composer  of  comic 
operas. 

Neukomm  (noi'-k6m),  Sigismund,  Rit- 
tervon,  Salzburg,  1778 — Paris,  1858; 
organist,  conductor  and  composer. 

Neumann  (noi'-man),  Angelo,  Vienna, 
Aug.  1 8,  1838 — Prague,  Dec.  20, 
1910;  studied  singing  with  Stilke- 
Sessi,  de*but  as  lyric  tenor,  1859; 
1862-76,  Vienna  ct.-opera;  1876-82, 
Leipzig  opera;  as  manager  of  a 
travelling  company  prod.  Wagner 
operas;  1882-85,  manager  Bremen 
Qpera;  then  German  opera,  Prague. 


Netunark  (noi'-mark),  G.,  Langensalza. 
1621 — Weimar,  1681;  composer. 

Neupert  (noi'-pSrt),  Edmund,  Chris- 
tiania,  April  i,  1842 — New  York> 
June  22,  1888;  pianist;  pupil  of 
ELullak's  Academy  and  teacher  at 
Stern  Cons.;  1861  at  Copenhagen 
cons.;  1888  at  Moscow  Cons.;  from 
1883  at  New  York;  c.  piano  studies, 
etc. 

Neusiedler  (noi'-zet-lSr)  (or  Newsid- 
ler),  (i)  Hans,  b.  Pressburg — Niirn- 
berg,  1563;  lute-maker.  (2)  (or 
Neysidler)  Melchior,  d.  Niirnberg, 
1590;  lutenist  and  composer  at 
Augsburg;  2  books  of  lute  mus. 
(Venice,  1566),  etc. 

Neuville  (nd.-v6'-yg),  Valentin,  b,  Rex- 
poede,  French  Flanders,  1863;  or- 
ganist; pupil  of  Brussels  Cons.;  org. 
at  Lyons  and  after  1894  in  London; 
c:  2  symph.,  an  oratorio  "  Ndtre 
Dame  de  Fourvieres"  6  operas,  in- 
cluding "UAveugle"  (1901),  and 
"Les  Willis99  (1902). 

Nevada  (nS-va'-da)  (rightly  Wixon), 
(i)  Emma,  b.  Alpha,  CaL,  1862; 
d.  Liverpool,  June  20, 1940;  soprano; 
pupil  of  Marchesi  in  Vienna;  d6but 
London,  1880;  sang  in  various  Ital- 
ian 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;  1900  America.  (2) 
Mignon,  b.  ca.  1887;  her  daughter; 
soprano,  heard  in  Europe  in  opera. 

Nevin  (nev'-fci),  (i)  Ethelbert  (Wood- 
bridge),  Edgeworth,  Penn.,  Nov.  25, 
1862 — New  Haven,  Conn.,  Feb.  17, 
1901;  prominent  American  composer; 
pupil  of  von  der  Heide  and  E.  Gtin- 
ther  (pf .)  at  Pittsburgh;  of  von  Bohme 
(voice),  at  Dresden,  1877—78;  of 
Pearce  (N.  Y.),  B.  J.  Lang  and 
Stephen  A.  Emery  (Boston);  von 
Bulow,  Klindworth,  and  K.  Bial, 
Berlin;  lived  in  Florence,  Venice, 
Paris,  and  New  York  as  teacher  and 
composer;  after  1900  at  Sewickley, 
near  Pittsburgh,  Pa.;  c.  a  pf. -suite; 
song-cycles  "In  Arcady"  and  a  post- 
humous "The  Quest  of  Heart's 
Desire" '•  highly  artistic  piano  pieces 
and  many  song  albums  of  well- 
deserved  popularity.  His  songs  are 
genuinely  lyrical,  with  an  exuberance 
of  musical  passion,  and  accompani- 
ments full  of  colour,  individuality 
and  novelty.  (2)  Arthur,  b.  Vine 
Acre,  Edgeworth,  Pa.,  April  17, 1871; 


DICTIONARY  OF  MUSICIANS 


bro,    of  above;  from   1891   studied 
*dth    Goetschius,    Boston,    then    at 
Berlin  with  Huraperdinck,  Boise  and 
Klindworth;  spent  the  summers  of 
1:903  and  1904  among  the  Blackfeet 
Didlans  in  Montana,  collecting  ma- 
terial for  his  Indian  opera  "Poia," 
libretto  by  Randolph  Hartley  (prod. 
in  concert  form  by  the  Pittsburgh 
Orch.  and  as  an  opera  at  the  Royal 
Opera,  Berlin);  c.  also  i-act  opera 
(*Twiligkf",     orch.     suites     "Lorna 
t)oone"    (prod,    by    Karl    Muck   in 
Berlin),  and  "Love  Dreams"  (Pitts- 
bmrgh  Orch.);  also  songs;   1915-20, 
taught  Univ.  of  Kansas;  d.  Sewick- 
ley,  Penn.,  July  10,  1943- 
^'comb,  Ethel,  b.  Whitney  Point, 
NT.  Y.,  1879;  pianist;  pupil  and  later 
asst.  to  Leschetizky  in  Vienna,  where 
:slie   made   d€but   1903;   after    1908 
toured  U.  S.,  England,  Germany, 
ev^'man,  Ernest,  b.  Liverpool,  Nov. 
^xi,  1868;  prominent  critic  and  writer 
y:n  music;  studied  at  the  univ.  there; 
^intended  for  civil  service  in  India, 
!>ut  withdrew  because  of  iU  health 
saoid  entered  business  in  native  city; 
i*eginning  1903  he  took  music  as  his 
lie  work,  teaching  at  Midland  Inst., 
Birmingham.     In  1905  he  lived  in 
Manchester  as  music  critic  of  the 
Guardian;  1906,  Birmingham  Daily 
•Post;     1919-20,     of     the     London 
Observer;  after  1920  of  the  London 
Sunday  Times  of  which  his*  weekly 
column  is  a  much-read  feature;  1923 
also  on  the  ed.  staff  of  the  weekly 
CjMasgew  Herald;  in  1924-25,  he  was 
guest  critic  of  the  New  York  Evening 
J?ost.     He   has   been   an   aggressive 
upholder  of  high  ideals  in  interpreta- 
tion and  as  a  biographer  has  been  no 
less  unsparing  in  his  moral  and  ar- 
tistic judgments,  esp.  in  his  works  on 
Wagner  and  Liszt.     Author  of  "Gluck 
<*todtfo  Opera,"  "A  Study  of  Wagner,"' 
Wagner,"  "Musical  Studies,"'  "Elgar,"' 
"Richard  Strauss,"-  "Wagner  As  Man 
toad  Artist,39  "A   Musical   Motley," 
"The  Piano-Player  and  Its  Music," 
*/4  Music  Critic's  Holiday,"  "Hugo 
FToJf,"  "Stories  of  the  Great  Operas," 
xjTke  Unconscious  Beethoven,"  "Pacts 
wsd  Fiction  about  Wagner,"' "  The  Man 
Mszt,"  etc.     He  translated  Weingart- 
mesr's  work  on  conducting,  Schweitz- 
esr3s  biography  of  Bach,  and  Wagner's 
ftflosic  dramas  for  the  Breitkopf  and 
BSLrtel  edition;  dir.  the  collection  of 
ike  series  "The  New  Library  of  Music* 


and  1912-14  ed.  The  Piano-Playef 
Review. 

New'marchr  Rosa,  b.  Leamington  Spa, 
Eng.,  1857 — Worthing,  April  9, 1940; 
writer  of  music  of  mod.  Russia; 
translated  Deiters'  "Brahms,"  Habet's 
"Borodin  and  Liszt,"  Modeste  Tschai- 
kowsky's  biography  of  his  brother  and 
d'Indy's  "Ctsar  Pranck"  into  Eng.; 
author,  " Henry  J.  Wood,"  "The  Rus- 
sian Opera,"  "Songs  to  a  Singer," 
"Jean  Sibelius,"  "The  Russian  Arts," 
"Life  of  Tschaikowsky,"  etc. 

Newsidler,  Neysidler.     Vide  NETJSIED- 

LER. 

Ney  (ni),  Elly,  b.  Diisseldorf,  Sept.  27, 
1882;  pianist;  pupil  of  Cologne  Cons., 
of  Leschetizky  and  Sauer;  won 
Mendelssohn-Ibach  Prize;  taught  at 
Cologne  Cons.;  toured  Europe  and 
U.  S.  as  recitalist  and  orch.  soloist; 
a  performer  of  strong  temperament, 
esp.  known  as  interpreter  of  Brahms; 
m.  Willem  van  Hoogstraten,  con- 
ductor; divorced. 

Niccold  de  Malta.     Vide  ISOTJAJOX 

Nichelmann  (nlkh'  Sl-mS,n),  Chp., 
Treuenbrietzen,  Brandenburg,  1717 
— Berlin,  1762;  cembalist  and  writer. 

NichoU  (n*k'-61),  Horace  Wadham, 
Tip  ton,  near  Birmingham,  EngL, 
March  17,  1848 — New  York,  March 
zo,  1922;  son  and  pupil  of  a  musician, 
John  N.;  studied  with  Samuel 
Prince;  1867-70  organist  at  Dudley; 
1871  organist  at  Pittsburgh,  Pa., 
1878,  editor,  New  York.  1888-95 
prof,  at  Farmington,  Conn.;  contrib- 
uted to  various  periodicals;  pub.  a 
book  on  harmony;  c.  12  symphonic 
preludes  and  fugues  for  organ,  suite 
for  full  orch.  (op.  3);  a  cycle  of 
4  oratorios  with  orch.;  symph.  poem 
"Tartarus";  2  symphonies;  a  psychir 
sketch  "Hamlet,"  etc. 

Nich'olls,  Agnes,  b.  Cheltenham,  July 
14,  1877;  soprano;  pupil  of  Visetti  at 
the  R.  C.  M.,  London,  with  a  scholar- 
ship; dSbut  1895  in  a  revival  of 
PurcelTs  "Dido  and  Aeneas"',  studied 
also  with  John  Acton;  1901,  and 
1904-06  sang  at  Co  vent  Garden;  has 
sung  much  in  concert  and  oratorios, 
and  at  the  Cincinnati  Festival,  1904; 
in  which  year  she  married  Hamilton 
Harty  (q.v.). 

Wicklass-Kempt'ner,  Selma,  Preslau, 
April  2,  1849 — Berlin,  Dec.  22,  1928; 
noted  colorature  soprano  and  teacher; 
studied  at  Stern  Cons.;  d£but,  1867; 


DICTIONARY  OF  MUSICIANS 


313 


sang  in  Rotterdam  10  years;  then 
teacher  Vienna  Cons.;  1893,  Berlin. 

NicodS  (ne'-k5-da),  Jean  Louis,  Jer- 
czik,  near  Posen,  Aug.  12,  1853 — 
near  Dresden,  Oct.  5,  1919;  pupil  of 
his  father  and  the  organist  Hartkas, 
and  at  KuUak's  Acad.;  lived  in  Berlin 
as  a  pianist  and  teacher;  1878-85 
pf. -teacher  Dresden  Cons.;  1897, 
cond.  Leipzig  "Riedel  Verein";  c. 
symph.  poem  "Maria  Stuart"  \  "Fa- 
schingsbilder"  "Sinfonische  Varia- 
tionen"  op.  27;  "Das  Meer,"  symph, 
ode,  for  full  orch.;  "Erbarmen," 
hymn  for  alto  with  orch.,  etc. 

Nicolai  (nS'-ko-U),  (i)  Otto,  Konigs- 
bergy  June  9,  1810 — of  apoplexy, 
Berlin,  May  u,  1849;  s°n  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- 
cond.  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,  incl.  "II 
Templario"  (Turin,  1840;  known  in 
Germany  as  "Der  Templer"  based 
on  Scott's  "Ivanhoe")',  and  the  unc- 
tuous and  still  popular  opera  "Die 
lustigen  Weiber  von  Windsor"  based 
on  and  known  in  English  as  "The 
Merry  Wives  of  Windsor"  (Berlin, 
1849);  ne  c-  also  a  symph.,  etc.;  biog. 
by  Mendel  (Berlin,  1868);  his  diary 
("Tagebiicher")  was  pub.  Leipizg, 
1893.  (2)  Wm.  Fr.  Gerard,  Leaden, 
Nov.  20,  1829 — The  Hague,  April  25, 
1896;  professor;  notable  conductor 
and  composer. 

Nicolau  (ne'-k6-la-oo),  Antonio,  Bar- 
celona, June  8,  1858 — Feb.  26,  1933; 
pupil  of  Pujol  and  Balart;  cond.  of 
Catalonian  Concert  Society  in  Paris, 
then  dir.  municipal  music  school  at 
Barcelona;  c.  opera,  choral  works, 
etc. 

Wicolini  (nE-ko-le"-nS),  (i)  Nicolino 
Grimaldi  detto,  Naples,  ca.  1673 — 
Venice,  (?)  after  1726;  tenor,  whom 
Addison  called  "perhaps  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  1708-1716  in  Eng- 
land rousing  a  furore;  created 
"Rinaldo"  in  Handel's  opera,  1711; 
returned  to  sing  in  Italy.  (2)  Giu- 
seppe, Pincenza,  Jan.  29,  1762 — 


Dec.  1 8,  1842;  conductor  and  oper- 
atic composer.  (3)  Ernest  [Nicholas], 
Tours,  France,  Feb.  23,  1834 — Pau, 
Jan.  19,  1898;  tenor;  1886,  m.  Ade- 
Hna  Patti. 

Nic'olson,  Richard,  d.  1639;  Engl.  or- 
ganist. 

Niecks  (neks),  Frederick  (Friedrich), 
Dusseldorf,  Feb.  3,  1845 — Edin- 
burgh, June  29,  1924;  lecturer,  critic, 
etc.;  pupil  of  Langhans,  Griinewald, 
and  Auer  (vln.);  d6but  at  12;  1868, 
organist,  Dumfries,  Scotland,  and 
viola-player  in  a  quartet  with  A.  C. 
Mackenzie;  studied  in  Leipzig  Univ. 
(1877),  and  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. 

Kiedermeyer  (nS'-d&r-ml-e'r),  Lotiis, 
Nyon,  Switzerland,  1802  —  Paris, 
1861;  dramatic  composer  and  theo- 
rist. 

Niedt  (ne"t),  Fr.  Erhardt,  d.  Copen- 
hagen, 1717;  writer. 

Nielsen  (n§l'-sSn),  (i)  Carl,  Norre- 
Lyndelse,  Fiinen  Island,  June  9,  1864 
— Copenhagen,  Oct.  2,  1931;  impor- 
tant Danish  composer;  pupil  of  Gade, 
member  of  the  Copenhagen  court 
orch.,  and  from  1904  assistant  cond. 
succeeding  Svendsen;  after  1915 
assoc.  dir.,  Copenhagen  R.  Cons.; 
c.  6  symph.,  No.  2  "The  Four 
Temperaments";  Violin  Concerto; 
operas,  "Saul  and  David"  (1902), 
"Masquerade"  (1906);  chorus  with 
orch.,  "Hymnus  amoris"-,  chamber 
music,  etc.  (2)  Ludolf ,  b.  Norre-Tolde, 
Zealand,  Jan.  29,  1876;  pupil  Copen- 
hagen and  Leipzig  Cons.;  viola  player 
in  Andersen's  Orch.;  c.  operas,  choral, 
symph . ,  chamber  music,  songs ,  etc .  (3) 
Alice,  b.  Nashville,  Term.,  1876; 
soprano;  sang  with  Bostonians  Light 
Op.  Co.;  later  in  London;  op.  de*but  at 
Naples,  1903  as  "Marguerite";  also 
sang  at  Co  vent  Garden;  with  Met.  Op . 
Co.,  1910;  d.  N.  Y.,  March  8,  1943. 

Niemann  (ne'-man),  (i)  Albert,  Erxle- 
ben,  near  Magdeburg,  Jan.  15,  1831 
— Berlin,  Jan.  13,  1917;  1849,  with- 
out study  sang  in  minor  r61es  at 
Dessau;  then  studied  with  F.  Schnei- 
der, and  the  bar.  Nusch;  sang  at 
Hanover,  then  studied  with  Duprez, 
Paris;  1860-66,  dram,  tenor,  Han- 
over, later  at  the  ct. -opera,  Berlin; 
Wagner  chose  him  to  create  "Tann- 


314 


DICTIONARY  OF  MUSICIANS 


hauser"    (Paris,    1861),    and   "Sieg- 
mund"  (Bayreuth,  1876);  he  sang  at 
Met.^Op.,  1 886-88,  making  deep  im- 
pression as  dram,  artist;  retired  1889. 
(2)  Rudolf  (Fr.),  Wesselburen,  Hoi- 
stein,  1838 — Wiesbaden,  1898;  pian- 
ist  and  composer.     (3)   Walter,   b. 
Hamburg,    Oct.    10,    1876;    son    of 
(2),  composer;  d.  Nov.  i,  1953. 
Nietzsche  (net'-shS),  Fr.,  Rocken,  near 
Liitzen,     Oct.     15,     1844 — (insane) 
Aug.,    1900;   prof,   at  Basel  Univ.; 
notable,  if  eccentric,  philosopher;  as 
a  partisan  of  Wagner  he  pub.  "Die 
Gebnrt  der   Tragodie  aus  dem  Geiste 
der    Musik,"    "Richard    Wagner   in 
Bayreuth";  while  "Der  Fatt  Wagner," 
and  "Nietzsche  contra  Wagner"  at- 
tack Wagner  as  violently  as  he  once 
praised  him;  his  philosophical  work 
"Also  sprach  Zarathustra"  provides 
the  title  of  R.  Strauss's  symph.  poem. 
Kieviadoniski        (n'yav-ya-ddm'shki), 
Stanislav,  b.  Soposzyn,  Galicia,  Nov. 
4,  1859;  pupil  of  Mikuli,  Krenn,  and 
Jadassohn;  teacher  at Lemberg  Cons,, 
where  he  d.  1936;  comp. 
Riggli     (n*g'-gle),     Arnold,     Aarburg, 
Switzerland,  Dec.  20,  1843 — Zurich, 
May  30,  1927;  writer. 
BBrisch   (nlk'-feh),  (i)  Arthur,  Szent 
Miklos,   Hungary,   Oct.    12,    1855 — 
Leipzig,  Jan.  23,  1922;  eminent  con- 
ductor; son  of  the  head-bookkeeper 
to    Prince    Lichtenstein;    pupil    of 
Dessoff  (comp.)  and  HeUmesberger 
(vku),  Vienna  Cons.,  graduating  at 
19  with  prizes  for  vln.,  and  for  a 
string-sextet;    violinist    in    the    ct.- 
orch.;  then  2nd  cond.  Leipzig  Th.; 
1882-89,  *st.  cond.;  1889-93,  cond. 
Boston  Symph.  Orch.,  1893-95,  dir. 
Royal  Opera,  Budapest,  and  cond. 
Philh.    Concerts;    1895,    cond.    Ge- 
wandhaus    Concerts,    Leipzig    (vice 
Reinecke),  also  Phil,  concerts,  Berlin; 
1902-07,  dir.  Leipzig  Cons.;  1905-06 
dir.  the  Stadttheater;  toured  widely 
with  the  Berlin  Phil.,  and  acted  as 
guest  cond.  in  many  capitals;  April, 
1912,  toured  the  II.  S.  as  cond.  of  the 
tondon  Phil,  with  immense  success. 
He  c.  a  symph.,  a  cantata  "Christ- 
nacht"  orch.  fantasie   "Der    Trom- 
peter";   etc.     His    wife    (2)    Amelie 
(nee  Heuser),  b,  in  Brussels;  sang  in 
Cassel  and  Leipzig  operas,  and  com- 
posed music.     (3)  Mitja,  b.  Leipzig, 
May  21,   1899;  son  of  (i);  pianist; 
toured  U.  S.;  d.  Venice,  Aug.  5,  1936, 
Jffisson    (nels'-son)*    Christine,    near 


Weado,  Sweden,  Aug.  20,  1843— 
Stockholm,  Nov.  22,  1921;  eminent 
soprano,  compass  2^  octaves  (g-d"); 
pupil  of  Baroness  Leuliausen  and 
F.  Berwald  Stockholm;  later,  in 
Paris,  of  Wartel;  d6but,  1864,  Th,- 
Lyrique,  Paris,  engaged  for  3  years 
there;  1868-70,  Op6ra;  toured  Amer- 
ica (1870-74  and  1884)  and  Europe; 
1872.  she  m.  August e  Rouzaud  (d. 
1882);  1887,  m.  Count  Casa  d? 
Miranda. 

Hin,  Joaquin,  b.  Havana,  Sept.  29, 
1859 — Oct.  24, 1949;  composer;  studied 
piano  with  Moszkowski  and  comp. 
at  Schola  Cantorum,  Paris,  where  he 
taught,  1906-08;  toured  as  pianist; 
he  is  known  esp.  as  composer  and 
arranger  of  Spanish  pop.  folk  music; 
mem.  of  the  French  Legion  of  Honour 
and  the  Spanish  Academy. 
Nini  (ne'-nS),  Ales.,  Fano,  Romagna, 
1805 — Bergamo,  1880;  cond.  and 
dram,  composer. 

Nisard  (n€-zar),  Theodore  (pen-name 
of  Abbe"  Th^odule  Eleazar  X.  Kor- 
man),  Quaregnon,  near  Mons,  Jan. 
27,  1812 — Paris,  1887;  chorister  at 
Cambrai;  studied  in  Douay;  1839, 
dir.  Engnien  Gymnasium,  and  1842, 
2d  chef  de  chant  and  organist  St.- 
Germain,  Paris;  then  confined  him- 
self to  writing  valuable  treatises  on 
plain-chant,  etc. 

Nissen  (nfe'-sSn),  (i)  G.  Kicolaus  von, 
Hadersleben,  Denmark,  1765 — Salz- 
burg, March  24,  1826;  councillor  of 
State;  m.  the  widow  of  Mozart, 
1809,  and  aided  her  in  preparing  his 
biog.  (1828).  (2)  (Nissen-Saloman) 
Henriette,  Gothenburg,  Sweden, 
March  12,  1819 — Harzburg,  Aug.  27, 
1879;  great  singer  and  teacher;  pupil 
of  Chopin  and  Manuel  Garcia;  cfebut 
Paris,  1843;  1850,  m.  Siegfried  Salo- 
man,  from  1859  teacher  St.  Peters- 
burg Cons.  (3}  Erica.  Vide  UE. 
Nivers  (n§-vars),  Guillanme  Gabriel, 
Melun,  1617 — after  1701;  organist, 
singer  and  composer. 
Nix'on,  (i)  H.  G.,  Winchester,  1796 — 
1849;  organist  and  composer.  (2) 
Jas.  Cassana,  1823 — 1842;  violinist; 
son  of  above.  (3)  H.  Cotter,  Lon- 
don, 1842 — Bromley,  1907;  organist 
and  composer. 

No'ack,  Sylvain,  b.  Rotterdam,  Aug. 
21, 1881;  at  first  a  pianist,  then  violin 
pupil  of  Andr6  Spoor,  Amsterdam; 
at  17  entered  the  Cons.,  as  a  pupil  of 
EIc*erling,  winning  first  prize,  1903, 


DICTIONARY  OF  MUSICIANS 


315 


and  becoming  a  teacher  there;  1905 
settled  in  Rotterdam,  and  toured 
widely;  1906  concertm.  at  Aix-la- 
ChapeLLe;  from  1908  second  concert- 
master  Boston  Symph.;  after  1919, 
concertmaster,  Los_ Angeles;  d.  1953. 

No'ble,  Thomas  Tertius,  b.  Bath, 
May  5,  1867;  composer;  pupil  of  the 
R.  C.  M.,  London,  winning  a  scholar- 
ship, and  later  teaching  there;  org. 
at  Cambridge,  Ely  Cathedral,  and 
rrorn  1898  at  York  Minster,  founding 
the  York  Symphony  Orch.;  c.  church 
music  with  orch.,  cantata  "Gloria 
Domini,"  music  to  Aristophanes* 
"Wasps,"  etc.;  since  1913  in  N.  Y. 
as  org.  and  dir.  of  music,  St.  Thomas' 
d.  Rockport,  Mass.,  May  5,  1953. 

Nbhl  (nol),  (K.  Fr.)  L.,  Iserlohn,  1831 — 
Heidelberg,  1885;  1880,  professor  and 
writer;  wrote  biogs.  of  Beethoven, 
Mozart,  etc.,  and  published  many 
colls,  of  the  letters  of  composers. 

Nbhr  (n5r),  Chr.  Fr.,  Langensalza, 
Thuringia,  1800 — Meiningen,  1875; 
violinist  and  dram,  composer. 

Norblin  (ndr-blan),  (i)  Louis  Pierre 
Martin,  Warsaw,  1781 — Chateau  Co- 
nantre,  Marne,  1854;  'cellist  and 
professor.  (2)  Emile,  1821 — 1880; 
son  of  above;  'cellist. 

Nor'dica,  Lillian  (stage-name  of  Lillian 
Norton),  Farmington,  Me.,  1859 — 
Batavia,  Java,  May  10,  1914,  while 
on  world  tour;  pupil  of  John  O'Neill 
and  of  N.  E.  Cons.,  Boston;  concert- 
d6but,  Boston,  1876;  1878,  toured 
Europe  with  Gflmore's  Band;  studied 
opera  with  San  Giovanni,  Milan; 
debut  at  Brescia,  1880;  1881,  Gr. 
Op6ra,  Paris;  1882,  m.  Frederick  A. 
Gower;  1885,  ne  made  a  balloon 
ascension  and  never  returned;  she 
retired  till  1887;  sang  Covent  Gar- 
den, London  same  year;  1888,  began 
appearances  at  Met.  Op.,  N.  Y.  as 
striking  and  brilliant  artist  of  notable 
powers;  afterward  appeared  regu- 
larly in  U.  S.,  England,  etc.;  1894 
chosen  to  sing  "Elsa"  at  Bayreuth; 
In  1910-11  she  was  with  the  Boston 
Op.  Co.  Throughout  her  career  she 
was  a  prominent  concert  and  festival 
singer.  In  early  years  she  sang 
many  Italian  rdles  but  later  almost 
whoUy  Wagner  operas;  1896,  m. 
Zoltan  F.  Doeme,  Hungarian  singer 
(divorced  1904)  and  in  1909,  Geo,  W. 
Young,  N.  Y.  financier. 

Nordqvist  (ndrt'-kwXst),  Johan  Conrad, 
Venersborg,  April  n,  1840 — Stock- 


holm, April  1 6,  1920;  Swedish  com- 
poser; pupil  Stockholm  Musikaka- 
demie;  1864  military  bandmaster, 
then  with  state  funds  studied  in 
Dresden  and  Paris;  from  1875  organ- 
ist and  teacher  at  Stockholm;  1881 
teacher  of  harmony  at  the  Musika- 
kad.;  1885  court  cond.;  c.  orch. 
works,  etc. 

Nor'draak  (n6r'-drak),  Rikard,  Chris- 
tiania,  June  12,  1842 — Berlin,  March 
20,  1866;  composer  whose  early  death 
ended  a  promising  career;  pupil  of 
Kiel  and  Kullak;  c.  incid.  music  to 
Bjornson's  "Maria  Stuart"  and  "S£- 
gurd  Slembe,"  piano  pieces,  etc. 

No'ren,  Heinrich  Gottlieb,  Graz,  Jan. 
6,  1861 — Rottach,  June  6,  1928; 
violinist;  pupil  of  Massart;  concert- 
master  in  various  countries;  from 
1896-1902  in  Crefeld,  where  he 
founded  a  Cons.;  teacher  at  Stern 
Cons.,  in  Berlin;  later  in  Dresden; 
c.  orch.  variations  "  Kcileidoskop" 
(Dresden,  1907},  serenade  for  orch., 
etc. 

Nore'na,  Eide,  (n6e  Kaja  Hansen)  b. 
Oslo,  Norway;  soprano;  studied  and 
made  d6but  in  Scandinavia;  sang  at 
La  Scala  with  succ.;  at  Covent  Gar- 
den, 1924-25,  and  at  Paris  Op.; 
Amer.  debut  in  N.  Y.  concert,  1926; 
heard  in  opera  at  Baden-Baden  Fest. 
same  year;  a  mem.  of  Chicago  Op., 
1926-27,  and  after  1933  of  Met.  Op.f 

Norman.    Vide  NISAKD. 

Nor 'man (n),  L.,  Stockholm,  1831 — 
1885;  conductor,  professor  and  com- 
poser. Vide  NERTJDA. 

Nor'ris,  (i)  Wm.,  d,  ca.  1710;  English 
composer.  (2)  Thos.,  1741-1790; 
English  male  soprano,  organist  and 
composer.  (3)  Homer  A.,  Wayne, 
Maine,  Oct.  4,  1860 — New  York, 
1920;  notable  theorist;  studied  with 
Marston,  Hale,  Chadwick  and  Em- 
ery, Boston;  lived  there  as  teacher; 
also  studied  4  years  in  Paris  with 
Dubois,  Godard,  Gfgout  and  Guil- 
mant;  c.  overture  "Zoroaster,"  can- 
tata "  Nain"  and  songs;  pub. 
"Harmony"  and  "Counterpoint"  on 
French  basis. 

NoszkowsM  (n6sh-k6f'-shkl),  Sigis- 
mund  (Zygismunt  von),  Warsaw, 
May  2,  1846 — July  24,  1909;  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, 


316 


DICTIONARY  OF  MUSICIANS 


dir.  of  the  Mus.  Soc.,  Warsaw>  and 
(1888)  prof,  at  the  Cons.;  prod.  succ. 
opera  "Lima"  (Lemberg,  1898);  c. 
symph.,  overture  "Das  Meerauge," 
etc. 

Hoszter  (nteh'-lSr),  K.  Eduard,  b. 
Reichenbach,  Saxony,  March  26, 
1^63;  pupil  of  Leipzig  Cons.;  1888 — 
93,  organist  Frauermrche,  Bremen; 
1887,  cond.  Male  Choral  Union; 
1893,  organist  Bremen  Cath.,  and 
1896,  cond.  Neue  Singakademie;  c. 
symph,.  "Lustspiel-Ouvertiire,"  etc. 

Hotker  (n6t'-ker)  (caUed  Balbulus, 
"the  stammerer") ,  830-912,  monk 
at  St.  Gallen;  important  writer  and 
composer  of  sequences.  (V.  i>.  p.) 

Uottebohm  (n6t'-tS-bom),  Martin  Gv., 
Ladenscheid,  Westphalia,  1817 — 
Graz,  1882;  teacher  and  writer  chiefly 
of  valuable  Beethoven  works  and 
discoveries;  also  composer. 

Notfgues  (noo-gSs),  Jean,  Bordeaux, 
1876 — Auteuil,  Aug.  29,  1932;  com- 
poser of  operas  "  Yannha"  (Barce- 
lona, 1897);  "Thamyris"  (Bordeaux, 
1904);  *Quo  Vadis"  (Paris  Gait6, 
1910,  Berlin  Royal  Op.,  1912); 
"CMquito,"  "L'£claircie,"  "La  Dan- 
sense  de  Pompeii"  (Rouen). 

Kourrit  (noor-re),  (i)  Louis,  Mont- 
peUier,  1780 — Brunoy,  1831;  leading 
tenor  Gr.  Op&ra,  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. 

Nov&Sek  (nd'-va-chSk),  Ottokar,  Fe- 
hertemplom,  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;  1891  mem- 
ber Boston  Symph.  Orch.;  1892-03 
Damrosch  Orch.,  N.  ^Y.;  heart- 
trouble  forced  his  retirement;  c. 
chamber  music,  Bulgarian  dances 
and  other  violin  pieces. 

Novaes  (n5-va'-as),  Guiomar,  b.  Sao 
Paulo,  Brazil,  Feb.  28,  1895;  pianist; 
began  to  study  piano  at  5  with 
duafarelli;  grad.  Paris  Cons.,  pupil 
of  Philipp,  won  ist  prize;  made  d6but 
in  Paris,  1907,  followed  by  appear- 
ances in  Germany,  Italy,  Switzerland 
and  Brazil;  her  d6but  in  the  U.  S. 
took  place  at  N.  Y.,  1915;  her  playing 
won  warm  applause  for  its  refine- 
ment, brilliance  and  expressiveness; 
after  a  few  years'  retirement,  re- 
turned to  North  America  in  1934, 


deepening  the  impression  by  matured 
interpretative  powers;  nu  Octavio 
Pinto,  composer. 

No'vak,  Vit&zslav,  b,  Kamenitz,  Bohe- 
mia, Dec.  5,  1870;  important  Bohem- 
ian composer;  pupil  of  Prague  Cons. 
under  Dvorak,  later  teacher  at 
Prague;  from  1909  teacher  of  com- 
position at  the  Cons.;  1919-22,  its 


dir.;  c.  overture  "Maryscha,"  symph 
"          the      High      Tatra," 
"      "Slovak9 


poems        On 
and    "Eternal 


Longing 

Suite;  d.  n.  Prague,  July  18,  1949. 
Novello  (no-vfcl'-lo),  (i)  Vincent,  Lon- 
don, Sept.  6,  1781  —  Nice,  Aug.  9, 
1861;  son  of  Italian  father  and  Eng- 
lish mother;  founded,  1811,  the 
pub.  firm  Novello  &  Co.;  notable  or- 
ganist, pianist  and  composer.  (2) 
Clara  Anastasia,  London,  Jan.  10, 
1818  —  Rome,  March  12,  1908;  4th 
daughter  of  (i);  pupil  Paris  Cons., 
succ,  operatic  d6but  Padua,  1841, 
but  made  her  best  succ.  in  oratorio; 
1843,  m-  Count  Gigliucci;  ret.  1860. 
Noverre  (n5-var)  ,  J.  G.,  Paris,  April  29, 
1727  —  St.  Germain,  Nov.  19,  1810; 
solo-dancer  at  Berlin;  ballet-master 
at  the  Op  .-Com.,  Paris;  inv.  the 
dramatic  ballet. 

Novofna,  Jarmila,  Czech  soprano; 
sang  Prague  Op.,  Vienna  State  Op.; 
d6but  Met.  Op.,  1940,  as  Mimi;  also 
at  Glyndebourne  Fest. 
NowakowsM  (no-va-kof  '-shH)  ,  Jozef, 
Mniszck,  1800  —  Warsaw,  1865;  pf.- 
teacher,  professor  and  composer. 
Nowowiejski  (no-v5-v6'-shki)  ,  Felix, 
b.  Wartenburg,  1877  —  d.  Poznan, 
i946;composer,  pupil  Stern  Cons  .  ,  and 
Regensburg  Church  Mus.  Sch.; 
i  go  2,  won  Berlin  Meyerbeer  prize 
with  oratorio  "Die  Ruckkehr  des 
v&rlorenen  Sobnes";  c.  2  symph.; 
opera  "Quo  Vadis"  (1907);  oratorio 


"Die  Aujfindun 
berg,  iQo6). 
as  an  oratorio 


des  Kreuses"  (Lem- 
uo  Vadis"  was  given 
ew  York,  1912. 


Oakeley  (ok'-ll),  Sir  Herbert  Stanley, 
Ealing,  Middlesex,  July  22,  1830 — 
Eastbourne,  Oct.  26,  1903;  while  at 


Ealing,  Middlesex,  July  22,   1830 
\  1903;  while 
Oxford,  studied  with  Elvey  (harm.), 


later  at  Leipzig  Conr..,  with  Schnei- 
der, Dresden,  and  Breidenstein, 
Bonn.;  1865-91,  Ried  Prof,  of  Mus., 
Edinburgh  Univ.,  developing  the 
annual  Ried  Concerts  into  a  3-days' 
Festival;  his  org.-recitals  had  a  large 


DICTIONARY  OF  MUSICIANS 


317 


influence;  knighted  1876;  Mus.  Doc., 
Cantab.,  1871;  Oxon.,  Dublin,  1887; 
1892,  Emeritus  Professor;  composer 
to  the  Queen  in  Scotland,  and  1887, 
Pres.,  Cheltenham  Mus.  Festival; 

Sub.  a  cantata  "Jubilee  Lyric" 
Suite  in  the  Olden  Style,"  "Pasto- 
rale" Festival  March,  and  a  Funeral 
March  (op,  23)  for  orch.;  pf. -sonata, 
etc. 

O'ber,  Margarete,  b.  Berlin,  1885; 
contralto;  studied  with  Stolzenberg, 
then  with  Arthur  Arndt  (whom  she 
married);  sang  at  Stettin,  and  at 
Berlin  Op.;  1913-17,  Met.  Op., 
N.  Y.;  later  again  active  in  Berlin. 

O'berhoffer,  (i)  Heinrich,  Pfalzel, 
Dec.  9,  1824— Luxembourg,  May  30* 
1885;  organist  at  Luxembourg,  c. 
church  music.  (2)  Ernil,  Munich, 


Minn.;  cond,  Phil.  Club,  and  1905- 
22,  M™I-  Symph.  Orch.,  with  which 
he  toured  the  U.  S.,  1912;  c.  church 
'  music,  songs,  etc. 

QbertMr  (O'-bSr-tiir),  K.,  Munich, 
1819 — London,  1895;  harpist,  teacher 
and  dramatic  composer. 

Obrecht,  vide  HOBRECHT. 

O'brist,  Aloys.,  San  Remo,  March  30, 
1867 — (suicide)  Stuttgart,  June  29, 
1910;  pupil  of  Miiller  Hartung  at 
Weimar;  cond.  in  various  cities;  from 
1900  at  Weimar;  mus.  director  and 
coll.  of  mus.  instruments. 

O'Car'olan,  Turlougn,  Newton,  Meath, 
1670 — Roscommon,  1738;  Irish  harp- 
ist. 

Ochs  (6khs),  (i)  Traugott,  Altenfeld, 
Oct.  19,  1854 — Berlin,  Aug.  27,  1919, 
where  he  was  dir.  of  his  own  school 
after  1911;  pupil  of  Stade,  Erdmanns- 
dSrfer,  Kiel,  and  the  R.  Inst.  for 
Church-mus.;  1899,  artistic  dir. 
Mus.-Union  and  the  Mus.-Sch., 
Briinn;  then  civic,  dir.,  Bielefeld,  and 
ct.-dir.,  Sender shausen;  c.  "Deutsches 
Aufgebot"  for  male  chorus  and  orch.; 
requiem,  etc.  (2)  Siegfried,  Frank- 
fort-on-Main,  April  19,  1858 — Berlin, 
Feb.  6,  1929;  studied  R.  Hochschule 
fur  Musik,  Berlin,  later  with  Kiel 
and  Urban,  and  von  Bulow,  who 
brought  into  publicity  a  small  choral 
union,  the  "Philh  armonischer  Chor.," 
of  which  he  was  cond.j  and  which  is 
i*ow  the  largest  singing-society  in 
] Berlin;  also  a  singing-teacher  and 
writer,  1901,  Munich;  c,  succ.  comic 


opera  (text  and  music)  "Im  Namen 
des  Gesetzes"  (Hamburg,  1888);  2 
operettas;  many  choruses,  duets, 
songs,  etc.;  ed.  some  of  Bach's  can- 
tatas. 

Ochsenkuhn  (6kh'-zan-koon),  Sebas- 
tian, d.  Heidelberg,  Aug.  20,  1574; 
lutenist  and  composer. 

O'dington,  Walter  de  ("Monk  of  Eve- 
sham"),  b.  Odington,  Gloucester- 
shire; d.  ca.  1330;  important  theorist. 
(Coussemaker.; 

O'do  de  Clugny  (dii  kliin'-yg)  (Saint), 
became  in  927  abbot  of  Clugny, 
where  he  d.  942;  writer.  (Gerbert.) 

Oeglin  (akh'-l6n),  Erhard,  i6th  cent. 
German  printer  of  Augsburg,  the  first 
to  print  figured  mus.  with  types. 

Oelschlegel  (al'-shla-gel),  Alfred,  An- 
scha,  ^  Bohemia,  Feb.  25,  1847 — 
Leipzig,  June  19,  1916;  Prague  Org.- 
Sch.;  th.-cond.  at  Hamburg,  etc.,  and 
Karltheater,  Vienna;  later  bandm. 
Klagenfurt;  c.  operettas  "Prims  und 
Maurer"  (Klagenfurt,  1884);  succ. 
"Die  Raubritter"  (Vienna,  1888); 
succ.  "Der  Landstreicker"  (Magde- 
burg, 1893). 

Oelsner  (Sls^n^r),  (Fr.)  Bruno,  b.  Neu- 
dorf,  near  Annaberg,  Saxony,  July 
29,  1861;  pupil  of  Leipzig  Cons.; 
solo- via.,  ct.-orch.  Darmstadt;  stud- 
ied with  de  Haan  (comp.);  1882, 
vln.-teacher  Darmstadt  Cons.,  with 
title  Grand  Ducal  Chamber-mus. ; 
prod,  at  Darmstadt  i-act  operas, 
incl.  succ.  "Der  Brautgang"  (1894); 
also  a  cantata  with  orch.,  etc. 

Oesten  (S'-sht&i),  Theodor,  Berlin, 
1813 — 1870;  pianist  and  composer. 

Oesterlein  (a'-sht£r-lln),  Nikolaus,i842 
— ^Vienna,  1898;  maker  of  the  coll* 
known  as  the  "Wagner  Museum" 

Oettingen,  Arthur  Joachim,  1836 — 
1920;  imp.  writer  and  physicist. 

Offenbach  (6f '-ffcn-bakh),  Jacques,  Co- 
logne, June  21,  1819 — Paris,  Oct.  5, 
1880;  eminent  writer  of  light  opera; 
studied  'cello  at  the  Cons.,  then 
joined  Op.-Com.  orch.,  Paris;  c. 
chansonnettes  (parodying  La  Fon- 
taine), played  the  'cello  in  concerts, 
and  c.  ^ceUo-pcs.;  1849,  cond,  Th.- 
Francais,  prod,  unsucc.  i-act  oper- 
etta "Pepito"  (Op.-Com.,  1853); 
others  followed  till  1855-66  he  had  a 
theatre  for  his  own  work;  1872—76, 
manager  Th.  de  la  Gait6;  1877, 
toured  America;  his  102  stage- works 
include  the  ballet-pantomime  "Le 
Papitton"  and  the  v.  succ*  operas* 


318 


DICTIONARY  OF  MUSICIANS 


vOrphee  aux  Enfers,"  1858;  "La 
Belle  H&ene,"  1864;  "Barbe-Bleu" 
and  "La  Vie  Parisienne,"  1866; 
"La  Grande  Duchesse  de  Gfrolstein," 
1867;  "Madame  Favart,"  1879.  The 
grand  opera,  "The  Tales  of  Hoff- 
mann," his  masterpiece  was  prod, 
posthumously  1881. 
Oginsfci  (6-g5n'-shkX),  (i)  Prince  Mi- 
chael Cleophas,  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 

O'keghem  (or  Okekem,  Okenghem, 
Ockegheim,  Ock'enheim),  Jean  de 
(or  Joannes),  probably  Termonde, 
East  Flanders,  ca.  1430 — Tours, 
1495;  an  eminent  contrapuntist; 
the  founder  of  the  Second  (or  New) 
Netherland  Sch.  Chorister,  Ant- 
werp cathedral;  studied  with  Dufay; 
1454,  ct.-cond.  and  composer  to 
Charles  VII.  at  Paris;  1467,  royal 
cond.  to  Louis  XL;  toured  Spain  and 
flanders  on  stipend;  c.  masses, 
motets,  canons,  etc. 

Oldberg,  Arne,  b.  Youngstown,  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; 
1893-95  of  Leschetizky,  Vienna;  from 
1895  in  Chicago  with  Middelschulte 
(counterpoint);  Ad.  ELoelling  (in- 
strumentation) and  F.  G,  Gleason; 
1898  with  J.  Rheinberger,  Munich; 
from  1899  teacher  at  Northwestern 
Univ.,  HI.;  c.  2  symphs.  (F  -minor, 
winning  National  Federation  prize 
1911);  overture  "Paola  and  Fran- 
cesca"  (played  3  times  by  Thomas 
Orch.);  Festival  Overture,  12  orch. 
variations,  horn  concerto,  chamber 
music,  piano  sonata,  etc. 

Olib'rio,    Havio    Anicio.     Vide    j.    *. 

AGKICOUV.. 

Oriphant,  Thos,,  Condie,  Perthshire, 
1799 — London,  1873;  theorist  and 
collector. 

OHone  (d61-ltln),  Max  d%  b.  Besan^on, 
June  13,  1875;  pupil  Paris  Cons., 
taking  the  Prix  de  Rome,  1897;  for 
a  time  after  1923,  dir.,  Amer.  Cons., 
Fontainebleau;  c.  cantata  "Fredt- 
gonde"  lyric  scene  "Jeanne  d'Arc  d 
Domremy,"  etc. 

Olsen  (6l'-zSn),  Ole,  b.  Hammerfest, 
Norway,  July  4,  1851 — Christiania, 
Nov.  9,  1927:  composer. 


Olszewska  (Sl-shSv'-ska),  Maria,  b. 
Augsburg,  Aug.  8,  1892;  contralto; 
d£but,  Crefeld,  Germany;  later  sang 
at  Hamburg  State  Theatre,  Vienna 
State  Op.,  Berlin  Stadtische  Op.,  at 
Munich  Fest.,  Co  vent  Garden;  Amer. 
d£but  with  Chicago  Op.,  1930-31; 
after  1932  sang  for  several  seasons 
with  Met.  Op.  Co.,  also  in  various 
Eur.  theatres  and  in  South  America; 
m.  Dr.  Emil  Schipper,  basso. 
Ondricek  (6n'-drf-ch£k),  Fz.,  Prague, 
April  29,  1859 — Milan,  April  13, 
1922;  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;  after 
1907  in  Vienna,  where  prof,  at  Cons. 

Onegin  (6n-ya/-gin),  Sigrid.  (n6e  Hoff- 
mann), b.  Stockholm,  June  i,  1891; 
German  contralto;  pupil  of  Ress  in 
Frankfort,  also  of  Eugen  Rob,  and 
di  Ranieri  in  Milan;  after  1912  active 
as  concert  singer;  studied  for  opera 
on  advice  of  Schillings;  d6but  at 
Stuttgart;  after  1919  at  Munich  Op.: 
Amer.  d£but  as  soloist  with  Phila, 
Orch.,  192 2;  sang  at  Met.  Op.  House 
same  season,  "Amneris,"  "Brangane" 
and  other  Wagnerian  r61es;  one  of 
leading  contemporary  singers,  with 
great  flexibility  and  range,  incl.  both 
soprano  and  coloratura  contralto;  has 
appeared  widely  in  opera  and  concerts 
in  Europe  and  Amer.,  at  Salzburg;  d. 
Magliaso,  Switz.,  June  17  (?),  1943. 

O'Neill,  (i)  Norman,  Kensington^ 
March  14,  1875 — London,  March  3, 
1934;  cond.,  pupil  of  Somervell  and 
Hoch  Cons,  at  Frankfort;  c.  incid. 
music  to  "Hamlet"  (1904),  "King 
Lear39  (1908),  "The  Blue  Bird33 
(1909);  overture  "In  Autumn"  "In 
Springtime";  fantasy  for  voices  and 
orch.  "Woldemar"$  Scotch  rhapsody; 
ballade  with  orch.  "La  belle  dame 
sans  merci"  .(London,  1910),  etc.; 
1899,  he  married  (2)  Adine  Rtickert, 
pianist;  pupil  of  Clara  Schumann  and 
Mme.  Clause-Szavardy.  He  taught 
R.  A.  M.  after  1924. 

Onslow,  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  quartets; 
and  other  chamber-music. 

OpienskL  ,(6p-yen'-shki),  Heimich,  b. 
Cracow,  June  13.  1870:  pupil  Of 


DICTIONARY  OF  MUSICIANS 


319 


ZelSnski  there,  of  d'Indy  and  Urban; 
critic  in  Warsaw,  then  pupil  of 
JRiemann  in  history,  and  of  Nikisch 
in  conducting;  from  1907  teacher  of 
history  at  the  Warsaw  Music  School, 
and  from  1908  cond.  of  the  Opera; 
1919,  dir.  of  a  music  school  in  Posen; 
from  1926,  lived  in  Geneva;  c.  prize 
cantata  inhonourof  Mickiewicz;  opera 
"Maria,"  symph.  poem  "Lilla  Wen- 
#fo";d.Morges,Switz,,  Jan.  2  2, 1942. 

Ordenstein  (6r'-d£n-shtln),  H.,  Worms, 
Jan.  7,  1856 — Carlsruhe,  March  22, 
1921;  pianist;  pupil  of  Leipzig  Cons., 
also  in  Paris;  1879-81,  teacher  at 
Carlsruhe;  1881-82,  at  Kullak's 
Acad.,  Berlin;  1884,  founded  Carls- 
ruhe Cons.;  made  prof,  by  Grand 
Duke  of  Baden. 

Orefice,  dell'.     Vide  DELL'  ORZFICE. 

Orgeni  (6r-ga'-ne)  (Orgenyi)  (6r-g£n'- 
yg),  Anna  Maria  Aglaia,  Tismenice, 
GaHcia,  Dec.  17,  1843 — Vienna, 
March  15,  1926;  colorature  sbprano; 
pupil  of  Mme.  Viardot- Garcia;  d6- 
but,  1865,  Berlin  Opera;  1886, 
teacher  Dresden  Cons. 

Orlan'di,  Fernando,  Parma,  1777 — 
Jan.  5,  1848;  1809-28  singing  teacher 
at  Milan  Cons.;  then  at  Munich 
Music  School;  c.  26  operas. 

Qrlandini  (dr-lan-dS'-ne),  Giuseppe 
Maria,  Bologna,  1688 — Florence,  ca. 
1750;  opera  composer,  c.  44  operas, 
3  oratorios,  etc. 

Orlando,  or  Orlandus.     Vide  LASSO. 

Orloff,  Nikolai,  b.  Jeletz,  Russia, 
Feb.  26,  1892;  pianist;  pupil  of 
Moscow  Cons.,  gold  medal;  also 
studied  cornp.  with  Taneiev;  1913— 
15,  prof,  at  Moscow  Philharmonic, 
1917  at  Cons.;  after  1921  made  con- 
cert tours  of  Europe  and  U.  S.,  win- 
ning prominent  position  as  virtuoso. 

Or'mandy,  Eugene,  b.  Budapest,  Nov. 
1 8,  1899;  studied  R.  Acad.  of  Music 
there,  winning  diploma  in  vln.,  1914, 
and  professor's  dip.,  3  years  later; 
pupil  of  Hubay;  toured  as  violinist; 
prof.  Hungarian  State  Cons.,  1919; 
came  to  America  and  played  as  con- 
certm.  in  Capitol  Theater,  N.  Y., 
1921;  guest  cond.  with  N.  Y.  Philh. 
and  Phila.  Orch,  in  summer  seasons, 
1930;  succeeded  Verbrugghen  as 
cond.  Minneapolis  Symph.,  also  ap- 
peared as  guest  with  other  Amer. 
orchs.,  Budapest  Philh.,  etc.,  and  iu 
1936  was  appointed  as  regular  cond, 
Phila.  Orch.,  sharing  blton  with 
StokowsM;  1938,  sole  conductor. 


Orn 'stein,  Leo,  b.  Krementclmg,  Russiaf 
Dec.  n,  1895;  composer,  pianist; 
studied  St.  Petersburg  Cons.,  with 
Glazounotl  and  Inst,  of  Musical  Art, 
N.  Y.,  d6but,  in  latter  city,  1911; 
played  as  soloist  with  orchs.  in  N.  Y., 
Los  Angeles,  Phila.,  Boston,  St. 
Louis,  Chicago;  early  attracted  prom- 
inence for  radical  style  of  comp.,  but 
later  works  more  conservative;  c. 
piano  concerto,  vln.  sonata,  'cello 
sonata,  piano  quintet,  string  quartet, 
choral  music,  songs,  and  piano  music. 

Orologio  (6r-6-l6'-jI-Q),  (i)  and  (2), 
Alessandro,  two  contemporary  ma- 
drigal composers  of  the  same  name, 
one  of  them  in  1603  became  vice- 
chapelmaster  to  Emperor  Rudolph 
at  Prague;  the  other  vice-chapel- 
master  to  the  Electoral  Court  at 
Dresden  the  same  year. 

Ortigue  (6r-tSg),  Jos.  Louis  de,  Caval- 
lon,  Vaucluse,  1802 — Paris,  1866; 
writer. 

Ortiz  (dr-tfcth),  Diego,  b.  Toledo  ca. 
1530;  from  1558  chapelmaster  to 
Duke  of  Alva:  c.  important  book  of 
sacred  music  (pub.  Venice,  1565). 

Ort'mann,  Otto,  b.  Baltimore,  Mdv 
Jan.  25,  1889;  pianist,  educator: 
grad.  Baltimore  City  Coll.;  also  Pea- 
body  Cons.;  studied  piano  with 
Coulson,  Boyle,  Breitner,  Landow; 
comp.  with  Blackhead,  Boise,  Sie- 
mann,  Strube;  after  1913  taught  at 
Peabody  Inst.,  and  succeeded  the 
late  Harold  Randolph  as  dir.;  noted 
for  research  in  the  psychology  ~of 
music;  author,  "The  Physical  Basis  of 
Piano  Touch  and  Tone/9 "  The  Physio- 
logical Basis  of  Touch  and  Tone,"  etc. 

Orto  (6r'-to),  Giov.  de  (Italian  form  of 
Jean  Dujardin)  (du-zh&r'-dan) ;  Lat- 
inised as  de  Hor'to  (called  "Mar- 
briano");  contrapuntist  and  com- 
poser 1 5th  and  i6th  centuries. 

Os'borne,  G.  Alex.,  Limerick,  Ireland, 
1806 — London,  1893;  composer. 

Osiander  (6'-zS-ant-Sr),  Lucas,  Ntirn- 
berg,  1534 — Stuttgart,  1604;  writer 
and  composer. 

OstrSil  (6str'-cha),  Otakar,  Smichov. 
Feb.  25,  1879 — Prague,  1935;  com- 
poser and  conductor;  pupil  in  comp. 
of  Fibich;  also  of  Prague  Univ.;  1901, 
prof,  at  Prague  Acad.;  1909-22,  cond. 
notable  orch.  of  amateur  players  in 
that  city;  1914,  chief  cond.  at  Wein- 
berge  Stadttheater^  Prague;  after 
1920  chief  cond.  at  Prague  Nat'l 
Theater;  a  notable  propagandist  for 


320 


DICTIONARY  OF  MUSICIANS 


the  younger  generation  of  Czech 
composers;  c.  operas, "  Vlastas  Ende," 
"Kunalas  Augen,"  "Poupe,"  "Le- 
gende  von  Erin"  also  orch.,  chamber 
music  and  choral  works,  songs,  etc. 

O'Sullivan,  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;  dSbut  1895  in  concert; 
also  in  opera  with  Carl  Rosa  Co.; 
1896  created  the  title  r61e  in  Stan- 
ford's "Skamus  O'Brien9'  and  sang  it 
in  England  and  America. 

Othegraven  (S'-tS-gra-vSn),  August 
von,  b.  Cologne,  June  2,  1864;  pupil 
of  the  Cons,  and  from  1889  teacher 
there;  c.  fairy  play  "The  Sleeping 
Beauty"  (Cologne,  1907),  songs,  etc. 

Otnmayr  (Qt'-mi-Sr),  Kaspar,  Amberg, 
1515 — Nurnberg,  15535  composer. 

Otho.     Vide  ODO. 

Ott(o)  (or  Otti),  Hans,  ca.  1533 — 155°; 
pub.  in  Nftrnberg. 

Ottani  (6t-t£'-ne),  Abbate  Bernardino, 
Bologna,  1736 — Turin,  1827;  dram, 
composer. 

Otterstroem  (ot'-t5r-strum),  Thorvald, 

b.  Copenhagen,  July  17,  1868;  com- 
poser; piano  pupil  of  Sophie  Menter, 
St.  Petersburg;  from  1892  in  Chicago; 

c.  24  preludes  and  fugues  for  piano, 
chamber  music,  etc. 

Otto  (6t'-t6),  (i)  Vide  OTT.  (2) 
(Ernst)  Julius,  Konigstein,  Saxony, 
Sept.  i,  1804 — Dresden,  March  5, 
1877;  notable  composer  of  cycles  for 
male  chorus,  songs,  operas,  etc. 
(3)  Valerius,  organist  at  Prague, 
1607;  c.  church  music.  (4)  Stephan, 
b.  Freiburg,  Saxony,  ca.  1594;  cantor 
there  and  at  Srhandau;  c.  church 
music. 

Otto-Afrsleben  (6t'-to-alf'-slS-bSn), 
Melitta  (ne'e  Alvsleben),  Dresden, 
1842 — 1893;  soprano;  married,  1866. 

Oudin  (oo-d5n),  Eugene  (Esperance), 
New  York,  1858 — .London,  1894; 
baiytone,  pianist  and  composer. 

Oudrid  y  Segura  (oo-drSdh/  6  sa-goo'- 
ra),  Cristobal,  Badajoz,  1829 — Ma- 
drid, March  15,  1877;  conductor  and 
dram,  composer. 

Otilibichef,    Vide  TTLIBISHEV. 

Ouseley,  Sir  Fr«  Arthur  Gore,  London, 
Aug.  12,  1825 — Hereford,  April  6, 
1889;  notable  theorist  and  composer; 
pianist  and  organist  remarkable  for 
fugal improvisation;  wrote  important 


treatises,  etc.;  c.  an  opera  at  8; 
M.  A.  Oxford,  1840,  Mus.  Doc. 
there,  1854;  also  from  Durham  and 
Cambridge,  1862;  from  1855  Prof,  of 
Music  at  Oxford,  vice  Sir  H.  R. 
Bishop;  c.  2  oratorios  incl.  "Hagar." 


Pabst  (papst),  (i)  Aug.,  Elberfeld, 
May  30,  1811— Riga,  July  21,  1885; 
director  and  composer  of  operas. 
(2)  Louis,  Konigsberg,  July  18,  1846 
— ?;  son  of  above;  pianist  and  com- 
poser. From  1899,  head  pf. -teacher 
Moscow  Philh.  Sch.  (3)  Paul,  Ko- 
nigsberg, 1854 — Moscow,  1897:  son 
of  (r);  pf.-prof.;  director. 

Pacchiarotti  (pak-kl-a-r6t'-t5),  Gas- 
paro,  Fabriano,  Ancona,  1744 — 
Padua,  Oct.  28,  1821;  one  of  the 
greatest  and  most  succ.  of  i8th  cent, 
singers:  soprano-musico. 

Pacchioni  (pak-kl-o'-ne),  Antonio  Ma' 
ria,  Modena,  1654-1738,  priest,  cour* 
chaplain;  c.  oratorios,  etc. 

Pacelli  (pa-ch&'-le),  Asprilio,  Varciano, 
ca.  1570 — Warsaw,  May  3,  1623; 
Italian  choirmaster;  1604,  called  to 
Warsaw  as  chapelmaster  to  the  King; 
c.  motets,  etc. 

Pache  (pakh'-e*),  (i)  Johannes,  b. 
Bischofswerda,  Dec.  9,  1857 — Lim- 
bach,  Dec.  21,  1897;  organist  and 
composer  of  male  choruses,  etc 
(2)  Joseph,  Friedland,  Silesia,  June  i, 
iS6i — Baltimore,  Dec.  7,  1926;  pupil 
Royal  Akad.,  Munich,  and  of  Schar- 
wenka  Cons.,  and  Max  Bruch;  set- 
tled in  New  York  and  founded  1903 
an  oratorio  society;  from  1904  dir. 
oratorio  society  in  Baltimore. 

Pachelbel  (pakh'-Sl-bgl),  (i)  J.,  Nurn- 
berg,  Sept.  i,  1653 — March  3,  1706; 
org.-virtuoso  and  composer,  (a)  Wm. 
Hieronymus,  b.  Erfurt,  1685;  son  of 
above;  organist  and  composer. 

Pachler-Koschak  (pakhMSr-ko'-shak), 
Marie  Leopoldine,  Graz,  Oct.  2,  1792 
— April  10,  1855;  pianist  and  com- 
poser; friend  of  Beethoven, 

Pachmann  (pakh-man),  Vladimir  de, 
Odessa,  July  27,  1848 — Rome,  Jan.  8^ 
ZQSSj  notable  pianist  especially  de- 
voted to  Chopin's  mus.;  son  and 
pupil  of  a  prof,  at  Vienna  Univ.; 
studied  also  with  Dachs,  Vienna 
CODS.;  1869  toured  Russia  with  great 
succ.  that  followed  him  throughout 
Europe  and  America;  in  Denmark  he 
received  the  Order  of  the  Danebrog 


DICTIONARY  OF  MUSICIANS 


321 


from  the  King;  1916,  Beethoven 
medal  of  London  Philh.;  returned 
to  U.  S.  1923  after  a  decade's  ab- 
sence; in  final  years  his  playing  was 
marked  by  many  eccentricities.  He 
was  more  noted  for  refinement  of 
effects  in  Ms  playing  ^than  for  sus- 
tained strength  of  interpretation. 
Ed.  works  of  Chopin. 

Pachulski  (pa-khool'-shkl),  Henry,  b. 
Poland,  Oct.  4,  1859;  pupil  Warsaw 
Cons.,  1886-1917,  prof.  Moscow 
Cons.;  c.  pf.  pcs.;  d  (?). 

pac(c)ini  (pa-che'-ne),  (i)  Andrea,  b. 
Italy,  ca.  1700;  male  contralto. 
(2)  A.  Fran.  Gaetano  Saverio, 
Naples,  1778 — Paris,  1866;  singing- 
teacher,  conductor  and  composer  of 
comic  operas.  (3)  Giov.,  Catania, 
Feb.  17,  1796 — Pescia,  Dec.  6,  1867; 
son  of  a  tenor;  pupil  of  Marchesi, 
Padre  Mattei  and  Furlanetto;  1813- 
35,  prod.  40  operas,  the  last  failing, 
he  established  a  sch.  at  Viareggio, 
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  symph. 
"Dante,"  etc.  (4)  Emilia,  1810— 
Neuilly,  near  Paris,  Dec.  2,  1898; 
bro.  of  above;  librettist  of  "IZ  Tro- 
vatore"  etc. 

Pacius  (pa'-tsl-oos),  Fr.,  Hamburg, 
March  19,  1809 — Helsingfors,  Jan.  9, 
1891;  violinist;  c.  the  Finnish  Na- 
tional Hymn,  operas,  etc. 

Paderewski  (pad-S-ref'-shkl),  Ignace 
Jan,  b.  Kurttovka,  Poland,  Nov.  18, 
1860 — N.  Y.,  June  29,  1941;  famous 
pianist;  pupil  of  Raguski  (harm,  and 
cpt.)  Warsaw  Cons.,  of  Urban  and 
Wuerst,  Berlin;  of  Leschetizky, 
Vienna.  1878-83,  pf. -teacher,  War- 
saw Cons.;  has  toured  Europe  and 
America  with  unprecedented  suc- 
cess. His  first  wife,  who  died 
young,  bore  him  a  son.  1899,  m. 
Mme.  Gorski.  He  settled  at  Morges, 
Switzerland,  continuing  to  tour 
the  world;  1912,  in  South  Africa; 
1909  director  Warsaw  Cons.  Dur- 
ing the  World  War,  P.  gave  jmany 
concerts  to  raise  funds  for  his  na- 
tive country.  He  abandoned  mu- 
sic to  work  for  the  cause  of  Polish 
nat'l  independence  and  was  elected 
Premier  of  the  new  Republic  in 
1919,  having  taken  part  in  the 
Peace  Conference  at  Versailles.  The 
following  year  he  retired  from  polit. 
life,  renewing  his  interest  in  the 


piano,  but  did  not  resume  public 
perf.  until  1922.  His  return  to  the 
U.  S.  in  a  tour  of  remarkable  interest 
and  succ.  in  that  year  was  followed 
by  others  of  like  import.  In  1 93  5-36 
he  was  again  announced  to  tour 
America  after  several  years*  absence, 
but  this  visit  was  cancelled  owing  to 
the  pianist's  illness.  1896  he  set 
aside  $10,000  as  the  Paderewski  fund, 
the  interest  to  be  devoted  to  triennial 
prizes  "to  composers  of  American 
birth  without  distinction  as  to  age  or 
religion;"  i.  $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, 
C.  succ.  opera  "Manru"  (Ct.-Th., 
Dresden,  1901  also  at  Met.  Op.); 
opera  "Sakuntala"  (text  by  C.  Men- 
des),  a  symphony  in  memory  of  the 
revolution  of  1864,  (1908;  Boston 
Symph.,  1909;  Richter,  London^ 
1909);  a  second  symph..  an  hour  and 
twenty  minutes  long  (1912);  piano 
sonata,  variations,  and  fugue  for 
piano  (1907),  etc.  Polish  fantasia 
for  pf.  with  orch.  op.  19,  uLegende 
No.  2,"  for  pf.  op.  20,  and  many 
original  and  brilliant  pf.-pcs.  incl. 
"Chants  du  voyageur"  a  yln.  sonata; 
vars.  and  fugue  on  original  theme; 
op.  14,  ''  Humor esques  de  concert  for 
pf"  (Book  i;  Menuet9  Sarabande, 
Caprice;  Book  2,  Burlesque,  Inter- 
mezzo  polaccOy  Cracovienne  fantas- 
tique);  "Dans  le  desert,  toccata";  v. 
pop.  Minuet  (op.  r);  songs,  etc. 

Padillay  Ramos  (pa-del '-ya  5  ra'-m5s), 
Murcia,  Spain,  1842  —  Auteuil, 
France,  Nov.  21,  1906;  pupil  of 
Mabellini,  Florence;  barytone  at 
Messina,  Turin,  etc.,  St.  Petersburg, 
Vienna  and  Berlin;  1869,  m.  D6siree 
Artot.  (q.v.) 

Paer  (p8/-&r),  Ferdinando,  Parma, 
June  i,  1771 — Paris,  May  3,  1839. 
1807,  ct.-cond.  to  Napoleon  and 
cond.  Op. -Com.;  1812,  cond.  Th.- 
Italien  (vice  Spontini);  violinist  and 
c.  43  operas,  of  which  "//  Maestro 
di  Capella"  is  still  sung. 

Paesiello.     Vide  PAISIELLO. 

Paganini  (pag-a-ne'-ne),  Niccold, 
Genoa,  Oct.  27,  1782 — Nice,  May  27, 
1840;  pre-eminent  violin- virtuoso. 
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* 


322 


DICTIONARY  OF  MUSICIANS 


denied  this),  at  Parma.     i798>  ^e  ran 
away  from  Ms  severe  father  after  a 
concert  at  Lucca,  and  played  at  Pisa 
and  other  places.     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 
Guarnerius,     which    P.     willed     to 
Genoa.     In  1804  he  went  home,  and 
practised    till    1805,    when    he    had 
extraordinary  succ.  making  a  sensa- 
tion by  brilliant  performances  on  the 
G  string   alone;   soon   ct.-soloist   at 
Lucca;  then  to  1827  he  toured  Italy, 
crushing  all  rivalry  with  an  extraor- 
dinary   technic;     1827,     Pope    Leo 
XII.  conferred  on  him  the  Order  of 
the    Golden     Spur;    he    played    at 
Vienna,  receiving  from  the  munici- 
pality 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    Parma.     He    lost    50,000 
francs  on  a  scheme  to  establish  a 
gambling  house  with  concert-annex 
at  Paris,  the  gambling-license  being 
refused.     Though  his  earnings  were 
enormous,     he    was    not     generous 
except      spasmodically;      he      gave 
Berlioz  $4,000  as  a  compliment  for 
his  "Symphonie  Fantastique"  (B.  had 
written  "Harold  in  Italy"  for  P.'s 
Stradivari  viola).     He  m,  the  singer 
Antpnia  Bianchi,  and  he  left  his  son 
Achille  $400,000  (£80,000).     He  died 
of    phthisis     of     the     larynx.     His 
technic  was  never  equalled,  and  it 
provoked  superstitious  dread  among 
his   auditors,    his    ghoulish   appear- 
ance aiding  the  impression.     He  was 
sometimes  the  charlatan  and  some 
of  his  effects  were  due  to   special 
tunings  (scordatnres),  but  his  virtu- 
osity has   never  ^been   rivalled.     C. 
24  caprices  for  violin-solo;  of  which 
pf.-transcriptions     were     made     by 
Schumann    and    Liszt;    12    sona-tas 
for  violin  and  guitar  (op.  2) ;  do.  (op. 
3);  3  gran  puartetti;  concerto  in  E> 
(solo  part  in  D,  for  a  vln.  tuned  a 
semitone  high);  concerto  in  B  min.; 
"La  Campanella,"  with  Rondo  a  la 
dochette  top.  7) ;  variations  on  many 
themes.  "Le  Streghe,"  "God  save  the 
"The   Carnival   of   Venice," 


etc.;  concert  Allegro  "Moto  per- 
petuo"  (op.  12);  a  sonata  with 
accomp.  of  vln.,  'cello  or  pf.,  and 
studies,  etc.  Biog.  by  F6tis  (Paris, 
1851;  London,  1852);  A.  Niggli 
(1882);  O.  Bruni  (Florence,  1873). 
Other  studies  by  Stratton  (1907), 
Prod'homme  (1907).  Bonaventura 
(1911),  Kapp  (1913),  Day  (1929), 
and  Codignola  (1936). 

Page,  (i)  J.,  England,  ca.  1750 — Lon- 
don, 1812;  tenor.  (2)  Nathaniel 
Clifford,  b.  San  Francisco,  Oct.  26, 
1866;  pupil  of  E.  S.  Kelley;  after 
1895  res.  in  N.  Y.  as  mus.  editor; 
c.  an  opera  "The  First  Lieutenant" 
(1889);  incid.  mus.  for  "Moonlight 
Blossom"  (London,  1898),  using 
Japanese  themes;  orch.  suites,  piano 
pieces,  songs,  etc. 

Paine  (pan),  J.  Knowles,  Portland, 
Me.,  Jan.  9,  1839 — Cambridge, 
Mass.,  April  25,  1906;  American 
composer  of  importance;  pupil  of 
Kotzschmar,  at  Portland,  Haupt 
(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  of 
mus.  Harvard  Univ.,  and  organist  at 
Appleton  Chapel,  Cambridge;  from 
1876,  prof,  of  mus.  and  organist  at 
Harvard;  c.  an  opera  (text  and  mus.) 
"Azara";  oratorio  "St.  Peter," 
"Centennial  Hymn"  with  orch.  (to 
open  the  Philadelphia  Exposition, 
1876);  "Columbus  March  and 
Hymn"  (to  open  the  Columbian  Ex- 
position, Chicago,  1893);  mus.  to 
Sophokles'  "CEdipus  Tyrannus"  for 
male  voices  and  orch.  (prod,  at  Har- 
vard, 1881);  3  cantatas  with  orch. 
"The  Realm  of  Fancy,"  "The  Na- 
tivity" "Song  of  Promise,"  2  symphs. 
op.  23,  in.  C  min.,  and  op.  34  in  A 
("Spring  symph.");  2  symph.  poems, 
"The  Tempest"  and  "An  Island 
Fantasy",  overture  to  "As  You 
Like  It";  Dorm r>e  Salvum  with  orch.; 
mass,  with  orch.;  chamber-mus., 
vln.-sonata,  etc. 

Paisiello  (pa-e-sI-Sl'-lo)  (or  PaesieUo) 
(pS.-&-sX-Sl'-l6).  Taranto,  Italy,  May 
9,  1740 — Naples,  June  5,  1816.  At 
5  studied  at  Jesuit  sch.  in  Taranto 
with  a  priest  Resta;  later  studied 
with  Durante,  Cotumacci  and  Abos, 
Cons,  di  S.  Onofrio,  at  Naples; 
teacher  there,  1759-61.  He  c. 
masses,  etc.,  till  a  comic  intermezzo 


DICTIONARY  OF  MUSICIANS 


323 


(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  Rovescia"  was  prod. 
1764.  (Grove  calls  this  work  2 
operas.)  In  12  years  he  prod.  50 
operas  mainly  succ.,  though  in 
rivalry  with  Piccinni  and  Cimarosa; 
these  include  "II  Marchese  di  Tvli- 
pano"  (Rome,  1766);  "L'Idolo 
Cinese"  (Naples,  1767)  and  "La 
Serva  Padrona"  (Naples,  1769). 
He  was  notable  also  for  his  jealousy 
and  devotion  to  intrigue.  1776-84, 
St.  Petersburg,  with  a  splendid 
salary  and  on  invitation  from  Em- 
press Catherine.  Here  he  prod. 
1776  "II  Barbiere  di  Siviglia," 
gaining  such  succ.  that  the  later 
and  better  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  Amore"  (1789),  "La 
Molinara"  and  "I  Zingati  in  Fiera." 
During  the  revolution  1799—1801,  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  M6hul. 
1803-15,  he  was  in  Naples  again  as 
ct.-cond.  In  1815,  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  j>rolificity,  melodic  grace  and 
simplicity,  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  fi8i6X 
Quatremere  de  Quincy  (1817), 
Schizzi  (Milan,  1833),  Villarosa 
(Naples,  1840);  other  memoirs  by 
Palma  (1891),  Pupino  (1908),  Pa- 
nareo  (1910),  and  Abert  (1919). 
Paix  (pa'-gx),  Jacob,  Augsburg,  1550 
— after  1590;  organist  and  composer. 


Paladilhe  (pal-a-del),  fimile,  Mont- 
pellier,  June  3,  1844 — Paris,  Jan.  8, 
1926;  studied  with  Marmontel  (pf.), 
Benoit  (org.)  and  Hal6vy  (cpt.), 
Paris  Cons.;  won  ist  prize  for  pf. 
and  org.,  1857;  1860,  Grand  prix 


de    Rome, 


the    cantata    "Le 


Czar  Ivan  IV."  (Op6ra,  1860);  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  bv 
5  operas  incl,  the  still  pop.  "Patrie" 
(Op6ra,  1886;  1889,  Hamburg,  as 
"Vaterland";  1895,  Milan,  as 
"Patria")]  and  c.  also  2  masses,  a 
symph.,  chamber  music,  piano  piece*,, 
songs,  etc. 

Palestrina  (pS-lSs-trS'-na)  (rightly 
Giovanni  Pierluigi  Saute,  called 
da  Palestrina,  from  his  birthplace), 
Palestrina,  near  Rome,  probably 
Dec.  27,  1525  (though  date  has  long 
been  controversial) — Rome,  Feb.  2, 
1594.  One  of  the  most  revered 
names  in  liturgical  music  and  the 
foremost  composer  of  the  Roman 
Catholic  Church;  he  was  b.  of  poor 
parents,  little  is  known  of  his  early 
life;  he  is  said  to  have  earned  his 
living  first  as  a  church-singer;  prob- 
ably studied  in  Goudimers  sch., 
1540,  and  was,  1544-51,  organist  at 
Palestrina,  then  magister  jmerorum 
(master  of  the  b.oysfc'  in  tEe  tappella 
Giula,  with  "title-  "maestro  della 
capella  della  Basilica  Vaticana."  He 
dedicated  a  book  of  masses  to  Pope 
Julius  III.,  who,  Jan.,  1554,  admitted 
him  to  the  Pontifical  Chapel  as  a 
singer,  against  the  rules,  P.  having  a 
wife  and  no  voice.  July  30,  1555, 
Paul  IV.  dismissed  him  with  a  pen- 
sion of  6  scudi  per  month.  This 
blow  affected  him  so  deeply  (he  had 
4  children  to  support)  that  he  suf- 
fered nervous  prostration.  On  Oct. 
i,  however,  the  Pope  appointed  him 
cond.  at  the  Lateran.  1560,  be 
prod,  his  famous  "Improperia"  (v. 
D.  D.)  for  Holy  Week,  with  such 
succ.,  that  the  Pope  secured  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  qualities: 
first,  the  use  of  street-ballads,  even 
when  indecent,  as  canti  fermi,  many 


DICTIONARY  OF  MUSICIANS 


of    the    choir    actually    singing    the 
words;     and     second,     the     riotous 
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 
Palestrina,  by  this  time  famous,  to 
write  a  mass  which  should  reform, 
without      uprooting,      ecclesiastical 
|x>lyphony.     He     wrote     three,     all 
noble,  the  third,  the  "Miss a  pap& 
Marcetti,"    winning    the    most   pro- 
found praise.     He  was  called  "the 
saviour   of   music,"   and   appointed 
composer  to  the  Pontifical  Chapel. 
1571,  he  became  and  remained  till 
death  maestro   of  St.    Peter's.     He 
also    composed    for    the    "Congre- 
gazione    del    Oratorio"    (v.    NERI); 
taught   in    Nanini's    sch.,    and   was 
from  1581   maestro  concertatore  to 
Prince    BuoncompagnL     Pope    Six- 
tus  V.  wished  to  appoint  him  maestro 
of  the  Sistine  Chapel,  but  the  singers 
refused  to  serve  under  a  layman.    He 
was,  however,  commissioned  to  re- 
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  Prcefationes^  (1588),  but  on  the 
death  of  his  pupil  and  assist.  Giudetti, 
he  was  compelled  to  leave  the  work 
unfinished.     A  complete  ed.   of  his 
works  is  pub.  by  Breitkopf  and  HSr- 
tel:  Vols.  i.—vii.  contain  262  motets; 
Vol.    viii.,    45   hymns;    Vol.   ix.,    68 
offertories;  Vols.  x.-xxiv.,  92  Masses; 
Vol.  xxv.,  9  Lamentations  each  in 
various  arrangements  in  3,  4,  5,  6, 
or  8  parts;  Vol.  xxvL,  17  Litanies, 
Motets  and  Psalms  in  3—12  parts; 
VoL    xxvii.,    35    Magnificats;    Vol. 
xxviii^    about   90    Italian    (secular) 
Madrigals;    VoL   xxix.,    56   Church- 
Madrigals  (Latin);  Vol.  xxx.   (from 
colls,  of   1 6th- 1 7th  cent.),   12   Can- 
tiones  sacrae,  12  Cant,  profanae,  and 
14    Cant,    sacrae;    VoL    xxxL    (from 
archives   of   the    Pontifical    Chapel, 
etc.),     56     miscellaneous    numbers, 
many  doubtful,   incl.    n,   "Esercizi 
sopra    la    scala";    VoL    xxxii.,     60 
miscellaneous  comp.  incl.  8  Ricercari, 
Responses,    Antiphones,    etc.;    VoL 
amrni.,  Documents,  Index,  Bibliogra- 
phy, etc.     Among  his  best  masses 
are  "JBterna  Christi  wumera,"  "Dies 


sanctificatits"  "O sacrum  cowoimum" 
in  8  parts;  "Assumpta  est  Maria  in 
coelum,"  "Dilexi  quoniam,"  "Ecce 
ego  Joannes,39  "Papas,  Marcelli"  in  6 
parts;  "Tu  es  Petrus"  in  6  parts; 
these,  the  Motet  "Exaudi  Domine" 
3  Lamentations,  also  selected  Ma- 
drigals, Canzonets,  etc*,  are  pub. 
separately.  Biog.  by  Baini  (Rome, 
1828);  A.  Bartolini  (Rome,  1870); 
Baumker  (1877);  Cametti  (Milan, 
1895).  Also  further  studies  by 
Brenet  (1905);  Raf.  Casimiri  (1918); 
Zoe  Kendrick  Pyne  (1922);  P. 
Wagner,  etc.  (See  article,  page  509.) 
Pallavicini  (pal-la- vg-che'-ne),  (i)  (0* 
Pallavicino)  Benedetto,  Cremona 
— Mantua  (?),  after  1616;  conductor 
and  composer.  (2)  Carlo,  Brescia, 
1630 — Dresden,  1688:  conductor  and 
dram,  composer. 

Palme  (pal'-me1),  Rudolph,  Barby-on- 
Elbe,  Oct.  23,  1834 — Magdeburg, 
Jan.  8,  1909;  pupil  of  A.  G.  Ritter; 
organist;  R.  Mus.  Dir.  and  organist  at 
Magdeburg;  c.  concert-fantasias  with 
male  chorus,  sonatas,  etc.,  for  org. 
Palm'er,  Horatio  Richmond,  Sher- 
burne,  N.  Y.,  April  26,  1834 — 
Yonkers,  N.  ^".,  1907;  pupil  of  his 
father  and  sister,  and  studied  in 
New  York,  Berlin  and  Florence;  at 
1 8,  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  gingers;  1877,  Dean 
of  the  Chautauqua  Sch.  of  Mus.; 
Mus.  Doc.  (Chicago  Univ.  and  Alfred 
Univ.);  pub.  colls,  and  treatises. 
Palm'gren,  Selim,  b.  Bjorneborg,  Fin- 
land, Feb.  16^  1878 — d.  1952; 
studied  at  Helsingfors  Cons.;  and 
with  Berger,  Klathe  and  Busoni; 
toured  Scandinavia  as  pianist,  1900; 
cond.  Helsingfors  choral  society  and 
later  the  orch.  in  Abo;  c.  operas, 
piano  concertos,  symphonic  poemSj 
piano  pieces,  choruses  and  songs, 
some  of  these  having  internat'l 
hearings;  1923,  teacher  of  comp.  at 
Eastman  School  of  Music,  Rochester, 
N.  Y.;  m.  Maikki  J&rnefelt,  singer. 
Paloschi  (pS-lds'-ke),  Giov.,  1824— 
1892,  member  of  the  Milan  firm  of 
Ricordi. 

Palot'ta,  Matteo,  Palermo,  1680 — 
Vienna,  1758;  ct.-composer  and 
•writer. 


DICTIONARY  OF  MUSICIANS 


325 


Paminger  (pa'-mXng-e'r)  (or  Pammi- 
gerus,  Panni'gerus),  Leonhardt, 
Aschau,  Upper  Alsatia,  1495 — Pas- 
sau,  1567;  composer. 

Pancera  (pan-cha'-ra),  Ella,  Vienna, 
Aug.  15,  1875  (of  Italian  parents) 
— Bad  Ischl,  May  10,  1932;  pianist; 
pupil  of  Epstein  and  Vockner;  d6but 
at  13;  toured  widely. 

Panizza  (pa-nXd'-za),  Ettore,  b.  Buenos 
Aires,  Aug.  is>,  1875;  conductor; 
pupil  of  Milan  Cons.;  after  1899 
active  as  cond.  in  various  Italian 
theatres;  1907-13,  Covent  Garden; 
1916,  La  Scala;  also  in  Paris,  Buenos 
Aires;  Chicago  Op.,  and  after  1934 
as  chief  cond.  of  Italian  works  at 
Met.  Op.,  succeeding  Serafin;  c. 
opera  " II  fidanzeto  del  mare"  (Buenos 
Aires,  1897);  "Medioevo  latino" 
(Geneva,  1900);  "Aurora"  (Buenos 
Aires,  1908);  translated  Berlioz's 
treatise  on  instrumentation  (1913). 

Pan'ny,  Jos.,  Kolmitzberg.  Lower 
Austria,  1794 — Mayence,  1838;  vio- 
linist, teacher  and  composer. 

Panof 'ka,  H.,  Breslau,  1807 — Florence, 
1887;  violinist,  writer  and  composer. 

Panseron  (p8,n-sti-r6n),  Aug.  Ma- 
thieu,  Paris,  1796 — 1859;  writer  of 
vocal  methods,  Etudes,  etc.;  com- 
poser. 

Panzner  (pS-nts'-nSr),  K.,  Teplitz, 
Bohemia,  March  2,  1866 — Dussel- 
dorf,  Dec.  7,  1923;  pupil  of  Nicode" 
and  DrSeseke;  cond.  at  Sonders- 
hausen  th.;  2  years  later  at  Elberfeld; 
1893,  ist  cond.  Leipzig  city  th.; 
1899,  cond.  Philh.  concerts,  Bremen; 
after  1909,  munic.  dir.  of  music, 
DUsseldorf. 

Paolucci  (pa-o-loo'-chS),  Giuseppe, 
Siena,  May  25,  1726 — Assisi,  April 
26,  1776;  Franciscan  monk;  c.  church 

j.     music. 

Pape  (pa'-pS),  Jn.  H.,  Sarstedt,  near 
Hanover,  July  i,  1789 — Paris,  Feb. 
2,  1875;  distinguished  maker  and 
improver  of  the  piano;  he  inv.  a 
transposing  piano,  inttod.  padded 
hammers,  etc. 

Papier  (pa-per'),  (i)  Louis,  Leipzig, 
1829 — 1878;  organist,  singing- 
teacher  and  composer.  (2)  Rosa, 
Baden,  near  Vienna,  1858 — Vienna, 
Feb.  9,  1932;  mezzo-soprano;  Imp. 
Op.,  Vienna;  1881,  m.  Dr.  Hans 
Paumgartner. 

Papini  (pa-p5'-n6),  Guido,  Camagiore, 
near  Florence,  Aug.  i,  1847 — Lon- 
don,  Oct.  20,  1912;  violinist;  pupil  of 


Giorgetti;  d€but  at  13;  toured  Eu- 
rope; composer. 

Papperitz  (pap'-pg-rSts),  Benj.  Robt., 
Pirna,  Saxony,  Dec.  4,  1826 — Leip- 
zig, Sept.  29,  1903;  pupil  of  Haupt- 
mann,  Richter  and  Moscheles, 
Leipzig  Cons.,  1851;  teacher  ,of 
harm,  and  cpt.  there;  from  1 868-6*9, 
also  organist  of  Nikolaikirche  there; 
1882,  R.  Prof.;  composer. 

Paque  (p£k),  Gttil.,  Brussels,  1825 — 
London,  1876;  'cello-virtuoso  and 
teacher. 

Paradies  (or  Paradisi)  (pa-ra-de'-es, 
or  dg'-sg),  P.  Dom.,  Naples,  1710 — 
Venice,  1792;  pupil  of  Porpora; 
harps.-player  and  teacher,  also  dram, 
composer. 

Paradis  (pa-ra-d6s'),  Maria  There- 
sia  von,  Vienna,  May  15,  1759 — 
Feb.  i,  1824;  a  skilful  blind  organist 
and  pianist  for  whom  Mozart  wrote 
a  concerto;  daughter  of  an  Imperial 
Councillor;  teacher  of  pf.  and  voice; 
c.  an  opera. 

Paray  (par-a'-S),  Paul,  b.  Tr Sport, 
France,  May  24,  1886;  conductor; 
pupil  of  Paris  Cons.,  Prix  de  Rome 
winner;  after  1921  cond.  Lamoureux 
Concerts,  Paris,  succeeding  Chevil- 
lard  in  1923  as  leader  of  this  orch.; 
cond.  Detroit  Symph.  after  1952. 

Parent  ^pa-ran),  Charlotte  Frances 
Hortense,  London,  March  22, 1837 — 
Paris,  Jan.  12,  1929;  pianist;  pupil 
of  Mme.  Farrenc,  Paris  Cons.; 
founded  "ficole  preparatoire  au 
professorat,"  Paris;  wrote  a  pf.- 
method,  etc.  (2)  Armand,  Li^ge, 
Feb.  5,  1863 — Paris,  Jan.  19,  1934; 
noted  violinist. 

Parepa-Rosa  (pa-ra'-pa-rS'-za)  (n6e 
Parepa  de  Boyescu),  Euplurosyne, 
Edinburgh,  May  7,  1836 — London, 
Jan.  21,  1874;  daughter  and  pupil 
of  Elizabeth  Seguin,  a  singer;  emi- 
nent soprano  in  opera  and  oratorio; 
her  strong  and  sympathetic  voice  had 
a  compass  of  2!  octaves  reaching  to 
d'"  (v.  PITCH,  D.D.);  d6but  at  16, 
Malta;  1865  m.  Carl  Rosa;  toured 
Europe  and  America. 

Parlsh-ATvars,  Elias,  Teignmouth, 
EngL,  Feb.  28,  1808 — Vienna,  Jan. 
25,  1849;  of  Jewish  descent;  noted 
harp-virtuoso  and  composer. 

Parisini  (pa-rl-se'-ng),  Federico,  Bo- 
logna, 1825 — Jan.  4,  1891;  theorist 
and  dram,  composer. 

Parke,  (i)  J.,  1745 — 1829;  EngL  obo- 
ist and  composer.  (2)  Win.  Thos., 


326 


DICTIONARY  OF  MUSICIANS 


London,  1762 — 1847;  bro.  of  above; 
oboist,    composer    and    writer. 
Park'er,  (i)  Jas.  Cutler  Dunn,  Boston, 
Mass.,  June  2,  1828 — 1916;  studied 
Leipzig  Cons.;  lived  in  Boston  and 
Brookline;    1862,    organist    "Parker 
Club,"  vocal  soc.;  1864-91,  organist 
Trinity  Ciu,  and  for  years  organist 
Handel  and  Haydn  Soc.;  prof,  Bos- 
ton Univ.  Coll,  of  Mus.,  and  Exam- 
iner N.  E.  Cons.;  writer  and  transl.; 
c.  "Redemption  Hymn9'  (1877);  can- 
tata    "The    Blind     King"     (1886); 
"St.    John"    with    orch.;    oratorio, 
"The  Life  of  Man";  church-services, 
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  "Mignonette"  (Lon- 
don,   1889);   "Jerusalem,"  for  bass- 
solo  and  chorus  (Albert  Hall,  1884); 
gavottes,    etc.,    for    orch.;    pf.-pcs. 
(3)  Horatio  Win,,  Auburndale,  Mass., 
Sept.  15,  1863 — Cedarhurst,  N.  Y., 
Dec.  1 8,  1919;  prominent  American 
composer;  pupil  of  bis  mother,  later 
of  Emery  (theory).  J.  Orth  (pf.)>  and 
Chadwick  (comp.),  Boston;  organist 
Dedham  and  Boston;  studied  1882- 
85  with  Rheinberger  (org.  and  comp.) 
and  L.  Abel  (cond.),  Munich;  organ- 
ist and  prof,  of  mus.  St.  Paul's  Sch., 
Garden     City,     New    York;     1886, 
organist  St.  Andrew's,  Harlem;  1888, 
Ch.  of  the  Holy  Trinity,  N.  Y.;  1894, 
prof,    of    mus.,    Yale    Univ.;    1899, 
cond,    his   notable    oratorio    "Hora 
Novissima"    at    Worcester    (Engl.) 
Festival  with  great  succ.  (first  given 
at    Worcester    [U.    S.    A.]    Festival, 
1893),     Pub.   coll,    of   org.-pcs.     In 
May,     1911,     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  was  prod,  with  succ.,   1912;  his 
opera  "Fairyland"  (text  by  Hooker) 
won  prize  offered  by  Nat'l.  Fed.  of 
Women's  Clubs  and  was  perf .  at  the 
fest.  of  this  body  at  Los  Angeles, 
1915;  Mus.   D.,    Cambridge   Univ., 
1902;  c.  oratorios,  "  Hora  Novissima" 
(1893),  and  "St.  Christopher"  (1896); 
cantatas  "King   Trojan"   (Munich, 
1885),    "The     Holy    Child,"     "The 
Kobold"    and    "Harold     Harfager" 
prize-cantata,  "Dream  King"  (1803); 


symph.  in  C.;  concert-overture; 
heroic-overture  "Regulus";  overture 
to  "Count  Robert  of  Paris,"  "CohaJ 
Mahr."  for  bar.-solo  and  orch. 
(1893);  "Commencement  Ode"  Yale 
Univ.  (1895);  McCagg  prize  chorus 
a  cappella  (1898);  "A  Northern 
.  (18 


Ballad"  for  orch.  (1899);  also  r 
other  choruses;  string  quintet;  string 
quartet;  suite  for  piano  trio;  violin 
suite,  songs,  etc.  (4)  Henry  Taylor, 
Boston,  1867  —  March^  30,  1934; 
music  and  dramatic  critic;  after  1905 
until  his  death,  the  distinguished 
critic  of  the  Boston  Transcript, 
noted  for  a  highly  analytic  if  some- 
what involved  literary  style. 

(Parkina)  Park  "ins  on,  Elizabeth, 
Kansas  City,  Mo.,  1882  —  Colorado 
Springs,  Col.,  1922;  soprano;  pupil 
of  Mrs.  Lawton,  Kansas  City, 
Miolan  Carvalho,  de  la  Nux  and 
Mme.  Marchesi;  d6but,  Paris,  1902; 
Co  vent  Garden,  1904-07;  also  sang 
at  English  fests.  and  concerts; 
toured  Australia. 

Parlow,  Kathleen,  b.  Calgary,  Canada., 
1890;  violinist;  taken  to  California 
at  5,  and  studied  there  with  Conrad 
ana  Holmes;  d6but  there  at  6;  at  15 
gave  a  recital  in  London  and  ap- 
peared with  the  London  Symph. 
Orch.;  then  studied  with  Auer;  1907 
began  to  tour. 

Par'ratt,  Sir  Walter,  Huddersfield, 
Feb.  10,  1841  —  Windsor,  March 
27,  1924;  at  7  sang  in  church;  at 
10  knew  Bach's  "Well-tempered 
Clavichord"  by  heart;  at  n,  organist 
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  and  1901 
to  the  King;  prof,  of  music,  Oxford 
Univ.,  1908-18;  wrote  articles;  c, 
mus.  to  "Agamemnon"  and  "Orestes,'* 
"Elegy  to  Patroclus,"  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,  1851;  clarinettist;  cond.  of 
the  Eisteddfod  for  years;  critic, 
teacher  and  composer  in  London; 
pub.  colls.,  etc.  (3)  J.  Orlando, 
London,  1810  —  E.  Molesey,  1879; 
son  of  above;  pianist,  harpist,  singei 


DICTIONARY  OF  MUSICIANS 


327 


and   composer, 
Tydvil,     Wales, 


(4)    Jos.,    Merthyr 

_^ f  r     May     21,     1841 — 

Penarth,  Feb.  17,  1903;  the  son  of  a 
labourer;  at  10  worked  in  a  puddling- 
furnace;  1854  emigrated  to  America 
with  his  family,  but  returned  to 
Britain,  won  Eisteddfod  prizes  for 
songs;  1868  studied  R.  A.  M.  on  a 
funa  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  tfCambria"',  "Druids'  Chorus"; 
an  orchestral  ballade,  overtures,  etc. 
(5)  Sir  Chas,  Hubert  Hastings, 
Bournemouth,  England,  Feb.  27, 
1848 — near  Littlehampton,  Oct.  7, 
1918;  eminent  English  composer; 
from  1 86 1,  while  at  Eton,  pupil  of 
G.  Elvy  (comp.)j  was  pianist,  organ- 
ist, singer,  and  composer  at  the 
concerts  of  the  Musical  Soc.  At  18, 
while  still  at  Eton,  he  took  "Mus. 
Bac."  at  Oxford,  wrote  a  cantata, 
"O  Lord,  Thou  hast  cast  us  out"\ 
1867,  Exeter  Coll.,  Oxford;  founded 
"Univ.  Mus.  Club";  1874,  M.  A.; 
studied  with  Bennett  and  Macfarren, 
and  Dannreuther  (pf.)>  and  Pierson, 
Stuttgart.  At  26  prod.  "Intermezzo 
religioso."  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"  (1896).  C.  also  4  symphs.; 
symph  vars.;  overtures,  "To  an 
Unwritten  Tragedy"  and  "Guillem 
de  Cabestanh";  oratorios  "Judith," 
"Job,"  "King  Saul"-,  mus.  to 
Aristophanes*  "Birds"  (1883),  and 
"Frogs"  (1892);  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 
State";  "Suite  moderne,"  "Ode  on 
St.  Cecilia's  Day,"  "U  Allegro  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. 
In  1908  his  health  forced  his  resigna- 
tion of  the  Oxford  Professorship;  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  "Pied 
Piper"  with  orch.  (Norwich  Fest., 


i90 

Lif 


);  symph.  poem  "The  Vision  of 
Life"  (Cardiff  Fest.,  1007);  cantata 
(Worcester  Fest.,  1908);  revision  of 
4th  symph.  (Philharmonic,  1910); 
wrote  important  work  on  Bach;  "  The 
Music  of  the  i  jth  Century,"  for  the  Ox- 
ford History  of  Music  (1902),  etc. 

Par'sons,    (i)    Robt«,    Exeter, 

drowned  Newark,  Engl.,  1569;  com- 
poser. (2)  J.,  d.  1623;  probably  son 
of  above;  organist  and  composer. 
(3)  Sir  "Wm.,  1746  —  1817;  master  of 
King's  Band  and  teacher.  (4)  Albert 
Ross,  Sandusky,  O.,  Sept.  16,  1847  — 
Mt.  Kisco,  N.  Y.,  June  14,  1933; 
noteworthy  American  teacher;  pupil 
of  F.  El.  Ritter,  N.  Y.,  and  at  Leip- 
zig Cons.;  later  of  Tausig,  Kullak, 
Weitzmann  and  Wttrst,  Berlin;  1871, 
New  York;  organist  1885,  Fifth 
Av.  Presb.  Ch.;  same  year  taught  at 
Met.  Coll.  of  Music;  1890,  pres. 
Music  Teachers'  Natl.  Assoc.;  1893, 
head  of  Amer.  Coll.  of  Musicians; 
translator,  editor,  and  writer  of 
various  works;  c.  vocal  quartets, 
songs,  etc. 

Pasdeloup  (pa-dtL-loo),  Jules  Etienne, 
Paris,  Sept.  15,  1819  —  Fontaine- 
bleau,  Aug.  13,  1887;  eminent  cond.- 
pianist;  pupil  Paris  Cons.,  1847-50, 
pf.  -teacher,  and  1855-68,  teacher  of 
ensemble  there;  1851,  cond.  famor 
concerts  (known  from  1861  t 
"concerts  populaires")  ;  v.  succ.  tilf 
1884,  when  they  fell  before  the 
popularity  of  Colonne  and  Lamou- 
reux;  a  benefit  festival  brought  him 
100,000  francs  ($20,000). 

Pasquali  (p&s-kwa'-lg),  Nicol6,  Italy- 
Edinburgh,  1757;  writer  and  com- 
poser. 

Pasqu6  (p£s-kaO,  Ernst,  Cologne, 
1821  —  Alsbach,  1892;  barytone;  di- 
rector and  writer. 

Pasquini  (pas-kwe'-nS),  Bdo.,  Massa 
di  Valdinevole,  Tuscany,  Dec.  8, 
1637  —  Rome,  Nov.  22,  1710;  noted 
organist  at  San  Maria  Maggiore; 
pupil  of  Vittori  and  Cesti;  teacher 
and  composer  of  10  operas,  8  ora- 
torios, cantatas,  sonatas,  suites,  etc. 

Pasta  (pas'-ta)  (n£e  Kegri),  (i)  Giu- 
ditta,  Milan,  April  9,  1798  —  villa  on 


328 


DICTIONARY  OF  MUSICIANS 


Lake  Como,  April  i,  1865;  a  noted 
Jewish  singer;  pupil  of  Asioli;  d£but, 
1815,  but  had  no  succ.;  studied  with 
Scappa,  and  reappeared  with  great- 
est succ.     Her  powerful  voice  (range 
a-d"7,  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,  before  1816;  she 
created      "La      Sonnambula"      and 
"Norma"  and  earned  a  fortune. 
£as'ternack,  Jos.  A.,  Czentochowa,  Po- 
land, 1881 — Chicago,  April  29,  1940; 
studied    Warsaw    Cons.;    vioHst    in 
Met.    Op.    orch.    and    asst.    cond., 
1909-10;    cond.    Century    Op.    Co., 
afterward  of  Phila.   Philh.;   Boston 
"Pops,"     1916;    mus.    dir.,    Victor 
Phon.  Co.  and  Stanley  Co.  of  Amer- 
ica; after  1927  cond.  in  radio  pro- 
grammes for  Nat'l.  Broadcasting  Co. 
Pa'tey,  Janet  Monach  (ne'e  Wfcytock), 
London,  1842 — Sheffield,  1894;  alto, 
Pa'ton,     Mary    Ann     (Mrs.     Wood), 
Edinburgh,  1802 — Bucliffe  Hall,  near 
Wakefield,  1864;  prominent  soprano; 
m.  tenor  Jos.  Wood,  1831. 
Patti  (pSt'te),  (r)   Carlotta,  Florence, 
1840 — Paris,  June  27,  1889;  eminent 
concert  coJorature-soprano;  pupil  of 
her  father,  (2)  Salvatore  P.,  a  tenor, 
and  her  mother,   (3)   Caterina  (ne'e 
Chiesa),    a    soprano.     (4)    Adelina 
,     (Adela     Juana     Maria),      Madrid, 
Feb.  10,  1843 — Craig-y-Nos,  Brecon- 
shire,  Wales,  Sept.  27,  1919;  one  of 
the  most  eminent  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    Strakosch    (husband    of    her 
sister  Amelia);  d6but,  at   16,   New 
York,   Nov.    24,    1859,   as   "Lucia" 
{under   the    stage-name    "the   little 
Florinda'O;    1861,   London,    Covent 
Garden;     1862,    Paris    Th.    Italien; 
1868,  m.  the  Marquis  de  Caux.     Her 
career,  covering  more  than  40  years, 
brought  her  phenomenal  adulation 
in  the  principal   music  centres,   al- 
though she  sang  only  about  30  rdles 
and  these  usually  in  the  older  Italian 
operas.     Not   a    great    actress,    she 
relied  for  her  effects  upon  consum- 
mate vocal  technique  rather  than  emo- 
tional powers.     She  withdrew  from 
the  stage  1906  and,  except  for  a  brief 
tour  in  the  U.  S.,  lived  at  her  castle 
Craig-y-Nos,  in  Wales.    1886,  m.  and 
toured  with  the  tenor  Nicolini  (d. 


1898);  1899  m-  a  Swedish  nobleman, 
Baron  Cederstrom.  (5)  Carlo,  Madrid, 
1842 — St.  Louis,  Mo.,  March,  1873; 
bro.  of  above:  violinist. 
Pat'tison,  (i)  J.  Welson,  Niagara 
Falls,  N.  Y.,  Oct.  22,  1845 — New 
York,  1905;  pianist;  pupil  of  Liszt, 
Thalberg,  Henselt  and  von  Billow 
(pf.),  and  Haupt  (harm.);  toured 
TJ.  S.  as  pianist  with  Parepa  Rosa, 
etc.;  c.  symph.  for  orch.  and  military 
band  "Niagara";  concert  overture, 
etc.  (2)  Lee,  b.  Grand  Rapids, 
Wis.,  July  22,  1890;  pianist  and 
composer;  grad.  New  England  Cons, 
with  honours;  studied  piano  with 
Baermann  and  Schnabel;  comp.  with 
Chadwick  and  Juon;  d6but,  Boston, 
1913;  has  made  many  tours  in  duo- 
piano  recitals  with  Guy  Maier,  and 
in  double  concertos  with  leading 
Amer.  orchs.;  c.  songs  and  piano 
works,  made  many  transcriptions 
for  two  pianos;  dir.  of  Met.  Op. 
spring  season,  1937. 

Pauer  (pow'-er),  (i)  Ernst,  Vienna, 
Dec.  21,  1826 — near  Darmstadt, 
May  9,  1905;  noted  pianist;  son  of 
a  prominent  Lutheran  clergyman; 
pupil  of  Th.  Dirza,  W.  A.  Mozart, 
Jr.  (pf.),  and  Sechter  (comp.),  later 
of  Fr.  Lachn^r,  Munich;  1847-51, 
dir.  mus.  societies  at  Mayence;  i85r, 
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.;  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.  London, 
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;  1897,  prof. 
Stuttgart  Cons.;  1898,  made  prof, 
by  the  King  of  Wurtemberg;  he 
became  dir.  of  Stuttgart  Cons.  1908, 
succeeding  De  Lange;  1924,  dir. 
Leipzig  Cons.  ^  pub.  pf. -pieces. 

Pauly,  Rose,  Hungarian  sopr.;  sang 
"Elektra"  with  stnking  success,  Met. 
Op.,  1937-8. 

Paumann  (pow'-man),  Konrad,  b. 
(blind)  Niirnberg,  ca.  1410 — Munich, 
Jan.  25,  1473;  c.  the  oldest  rctant 
book  of  org.-pcs. 


DICTIONARY  OF  MUSICIANS 


329 


Paumgartner  (powm'-gartnSr),  (i)  Dr. 
Hans,  1844 — Vienna,  May  23,  1893; 
pianist;  critic  and  composer.  (2) 
Bernhard,  b.  Vienna,  Nov.  14,  1887; 
after  1919  dir.  Salzburg  Mozarteum. 

Paur  (powr),  (i)  Emil,  Czernowitz, 
Bukovina,  Aug.  29,  1855— Mistek, 
Moravia,  June  7,  1932;  noted  con- 
ductor; pupil  of  his  father;  at  8  he 
played  vln.  and  pf .  in  public;  studied 
with  DessofE  (comp.)  and  Hellmes- 
berger  (vln.)  Vienna  Cons,  (fellow 
pupil  with  Nikisch  and  Mottl); 
graduated  with  first  prizes;  1870, 
first  vln.  and  assist.-soloist  in  ct.- 
opera  orch.;  1876,  cond.  at  Cassel; 
later  Konigsberg;  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  Seidl);  1899 — 1902,  dir.  of  the 
Nat.  Cons.,  N.  Y.  (vice  Dvoi&k); 
1900,  cond.  German  opera  of  the 
Met.  Op.;  he  returned^to  Europe, 
1903;  cond.  concerts  in  Madrid; 
1904—10,  returned  to  the  U.  S.  as 
cond.  Pittsburgh  Symph.  Orch.; 
1912-13,  at  Berlin  Op.;  c.  symphony; 
piano  concerto;  vln.  concerto,  string 
quartet,  vln.  sonata,  pf.-pcs.,  songs. 
(2)  Maria  (n6e  Burger),  Gengenbach, 
Black  Forest,  1862 — New  York, 
1899;  wife  of  above;  pianist;  pupil 
Stuttgart  Cons.,  Leschetizky  and 
Essipoff,  Vienna.  (3)  Kurt,  son  of 
(i)  and  (2),  an  accomplished  pianist; 
res.  in  the  U.  S. 

Pauwels  (pow'-vels),  Jean  Engelbert, 
Brussels,  1768 — 1804;  violinist,  con- 
ductor and  dram,  composer. 

Pavesi  (pa-va'-se),  Stefano,  Cremona, 
1779 — Crema,  1850;  dram,  composer, 

Pax'ton,  Stephen,  d.  1787;  Engl. 
composer. 

Payer  (pl-er),  Hieronymus,  Meidling, 
near  Vienna,  1787 — Wiedburg,  near 
Vienna,  1845;  conductor  and  dram, 
composer. 

Peace,  Albert  Lister,  Huddersfield, 
Engl.,  Jan.  26,  1844 — Liverpool, 
March  14,  I9T2;  prominent  organist; 
pupil  of  Horn  and  Parratt;  1875, 
Mus.  Doc.  Oxon;  1873*  organist 
Glasgow  cath.;  1897,  of  St.  George's 
Hall,  Liverpool  (vice  Best);  Cc 
Psalm  138  with  orch.,  org.-music. 

Pearce,  (i)  Stephen  Austen,  London, 
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,  Columbia  Coll., 
N.  Y.,  and  lecturer  Peabody  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-cantata  in 
strict  fugal  style  (prod,  at  Oxford), 
overture,  etc.  (2)  Chas.  Win.,  Salis- 
bury, England,  Dec.  5,  1856 — Lon- 
don, Dec.  2,  1928;  pupil  of  Ayluard, 
Hoyte,  Read  and  Prout;  1881,  Mus. 
Bac.,  1884  Mus.  Doc.,  Cambridge. 
From  1871  organist  various  London 
churches.  1882  Prof,  of  Trinity 
College;  co-editor,  organist  and 
choir-master;  wrote  various  text- 
books, and  c.  an  oratorio. 

Pear 'sail,  Robt.  Lucas  Be,  Clifton, 
Engl.,  1795 — Schloss  Wartensee, 
Lake  of  Constance,  1856;  writer  and 
composer. 

Pearson.     Vide  PIERSON. 

Pedrell  (pa'-dhreT),  Felipe,  Tortosa,, 
Spain,  Feb.  19,  1841 — Barcelona, 
Aug.  19,  1922;  composer;  1894,  prof, 
of  Mus,  History  and  ^Esthetics, 
Royal  Cons.,  Madrid;  editor,  critic, 
lexicographer  and  writer;  c.  operas, 
including  "Quasimodo"  (Barcelona, 
1875),  a  trilogy  "Los  Pinneos" 
(Barcelona,  1902),  "La  Celestina" 
(1904),  "La  Matinada"  (1905),  a 
Gloria  mass  with  orch.;  also  wrote 
and  edited  important  historical  works. 

Pedrotti  (pa-dr6t'-te-),  Carlo,  Verona, 
Nov.  12,  1817 — suicide,  Oct.  16, 
1892;  conductor  and  composer  of  16 
operas,  etc. 

'Peerce,  Jan,  Amer.  tenor;  d£but  Met. 
Op.,  1940. 

Pelletier  (p&'-te-a),  Wilfred,  b. 
Canada;  conductor;  won  Quebec 
gov't.  scholarship,  studied  in  Eu- 
rope; early  tours  as  accompanist; 
cond.  Met.  Op.,  N.  Y.,  also  with 
Ravinia,  Los  Angeles  and  San 
Francisco  Op.,  and  as  guest  with 
Canadian  orchs.;  m.  Queena  Mario, 
soprano;  divorced.  (2)  Rose  B  amp- 
ton. 

Pembaur  (pam'-bowr),  (i)  Jos.,  Inns- 
bruck, May  23,  1848 — Feb.  19,  1923; 
studied  Vienna  Cons.,  later  at 
Munich  R.  Sch.  of  Mus.;  1875* 
dir.  and  headmaster,  Innsbruck  Mus. 
Sch.;  prod.  v.  succ.  opera  "Zigeuner- 
leben"  (1898),  choral  works  with 
orch.;  symph.  "Im  Tyrol,"  etc. 
(2)  Jos.,  b.  Innsbruck,  April  20, 


330 


DICTIONARY  OF  MUSICIANS 


pianist;  son  of  (i);  ta tight 
Munich  Acad.,  1897-1903;  Leipzig 
Cons.,  1903-21;  c.  piano  works, 
songs,  etc.  D.  Munich,  Jan.  30, 1937. 

Pefia  y  Goni  (pan'-ya  e  go'-n6),  An- 
tonio,  San  Sebastian,  Spain,  1846 — 
Madrid,  1896;  critic  and  composer. 

PefLalosa  (pfcn-yli-lo'-sa),  Erancisco, 
Spanish  composer,  1470 — 1535;  cond. 
to  Ferdinand  the  Catholic,  then 
singer  in  Papal  Chapel. 

P£navaire  (pa-na-var),  Jean  GrSgoire, 
JLresparre,  Sept,  15,  1840 — Paris, 
Sept.,  1906;  composer;  theatre-cond. 
at  Nantes;  c.  overtures  "Tasso," 
"Cervantes";  symph.  poem  with 
chorus,  "La  vision  des  Crots&es," 
comic  opera  and  ballets. 

Pen'na,  Lorenzo,  Bologna,  1613 — 
Imola,  1693;  conductor  and  com- 
poser. 

Pentenrieder  (pSn'-tSn-rS-der),  Fz.  X., 
Kaufbeuren,  Bavaria,  1813 — Munich, 
1867;  organist  and  dram,  composer. 

Pepusch  (p5/-poosh),  John  Chr.  (Jn. 
Chp.),  Berlin,  1667 — London,  July 
20,  1752;  violinist,  composer  and 
writer;  pupil  of  Klingenberg  and 
Grosse;  held  a  position  at  the  Prus- 
sian Court,  but  1697  seeing  the  king 
kill  an  officer  without  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  Pfipire,  the  singer. 

Perabo  (pa'-ra-bS),  (Jn.)  Ernst,  Wies- 
baden, Germany,  Nov.  14,  1845 — 
Boston,  Oct.  29,  1920;  at  7  brought 
to  New  York;  pupil  of  his  father; 
then  of  Moscheles  and  Wenzel  (pf.)> 
Papperitz,  Richter,  and  Hauptmann 
(harm.),  and  Reinecke  (comp.), 
Leipzig  Cons.,  returned  to  America, 
1865;  succ.  concert-pianist;  lived 
in  Boston  as  teacher  and  pianist;  c. 
arrangements,  etc. 

Pereira  (pa-ra'-e-ra),  (r)  Marcos 
Scares,  Caminha,  Portugal — Lisbon, 
Jan.  7,  1655;  c.  a  mass,  etc,  (2)  Do- 
mingos  Nufies,  Lisbon — Camarate, 
near  Lisbon,  1729;  cond.  and  com- 
poser. 

Pe-repelitzm  (pSL-rS-pg-lgt'-shgn),  Po- 
lycarp  D.,  Odessa,  Dec.  26,  1818 — 
St.  Petersburg,  June  14,  1887; 
Russian  colonel;  pupil  of  Lipinski 
<vln.);  writer  and  composer. 


Perez  (pa'-rSth),  Davide,  (i)  of  Spanish 
parents,  Naples,  1711 — Lisbon,  1778; 
cond.  at  Palermo  Cath.;  1752,  ct.~ 
cond.,  Lisbon;  rival  of  Jomelli  as  c. 
of  operas,  incl.  "  Demofoonte" ;  c. 
also  notable  church-mus.  (2)  Juan 
Ginez,  Orihuela,  Murcia,  Oct.  7, 
1548 — Orihuela,  1612;  royal  chaplain 
and  comp.  of  church  music. 

Perfall  (p&r'-fal),  K.,  Freiherr  von, 
Munich,  Jan.  29,  1824 — Jan.  14, 
1907;  studied  mus.  with  Hauptmann, 
Leipzig;  1854-64  founded  and  cond. 
the  still  succ.  "Oratorio  Soc.";  in 
1864,  Intendant  ct.-mus.;  1867- 
1893,  Intendant  Ct.-Th.;  writer  and 
composer  of  operas,  cantatas,  etc. 

Perger  (pSr'-ge'r),  Richard  von,  Vienna, 
Jan.  10,  1854 — Jan.  n,  1911;  pupil 
of  Brahms;  1890-95,  dir.  and  cond. 
Rotterdam  Cons.;  1895-99,  cond. 
"Ge$ellscJiafts-concerte,"Vieirna, ;  1 899— 
1907,  dir.  of  Cons,  there;  prod, 
(text  and  mus.)  succ.  comic  opera 
"Der  Richter  von  Granada"  (Cologne, 
1889),  a  vaudeville,  vln.-concerto, 
etc. 

Pergolesi  (pgr-go-la'-sS),  Giov.  Bat., 
Jesi,  Papal  States,  Jan.  4,  1710 — (of 
consumption)  Pozzuoli,  near  Naples; 
March  16,  1736;  eminent  composer. 
At  1 6  entered  the  Cons,  dei  Poveri 
di  Gesu  Cristo,  Naples,  and  studied 
with  de  Matteis  (vln.)3  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),  shows 
the  beginnings  of  vivid  and  original 
fancy.  He  prod,  at  Naples  in  1731 
the  excellent  and  novel  opera  "Sal- 
lustia,"  and  the  intermezzo  "Amor 
Fa  I'  Uomo  Cieco"  which  had  no 
succ.,  while  the  opera  seria  "Rici- 
mero"  was  a  distinct  failure.  But  he 
found  a  patron  in  the  Prince  of 
Stigliano,  for  whom  he  wrote  30 
terzets  for  vln.  with  bass;  he  was 
commissioned  to  compose  a  solemn 
mass  for  Naples,  which  was  per- 
formed 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,  in  1732  the  intermezzo 
"La  Serva  Padrona"  (Naples,  1733); 
won  him  note  as  a  dramatic  composer 


DICTIONARY  OF  MUSICIANS 


331 


and  has  served  as  a  model  of  comic 
operas  since;  it  has  only  2  characters 
and  the  accompaniment  is  a  string- 
quartet  with  occasional  support  of 
horns.    His  subsequent  6  operas  were 
received  without  interest  (except  for 
the   intermezzo    to    "Adriano"    first 
given  as   "Livietta,  e    Tracollo"   and 
later    as    "La    Contadina    Astuta"), 
though  after  his  death  they  were  re- 
vived with  immense  enthusiasm,  and 
their  harmonic   novelty,   sweetness, 
delicacy   and    melodic    charm    were 
recognised,     "La     Serva     Padrona" 
and    "II    Maestro    di    Musica"    be- 
coming standards  in  France.     Of  the 
failure   of    "UQlimpiade,"    v.   DTJNI. 
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 
"Stabat  Mater"  for  soprano  and  alto 
with  string   orch.  and  org.     He  c, 
also  3  masses  with  orch.;  Dixit  for 
double  chorus   and  orch.;   a   Kyrie 
cum  gloria;  a  Miserere,  and  a  Lau- 
date  with  orch.,   etc.;   an  oratorio, 
"La    Natirita,"    a   cantata   "Orfeo" 
for  solo  voice  and  orch.;  a  cantata, 
"Giasone"}   6   cantatas  with  string- 
accomp.;    30    trios,    etc.     Biog.    by 
Blasis      (1817);      Villarosa      (1831). 
Other  memoirs  by  Boyer,  Fracassetti, 
Schletterer,  Faustina-Fasini,  Radic- 
iotti,  Barchiesi,  etc. 
ten  (pa'-rg),   (i)   Jacopo   (called  "II 
Zazzerino,"    i.e.,    the    long-haired), 
Rome,     Aug.     20,     1561 — Florence, 
Aug.    12,    1633;   pupil  of   Malvezzi; 
court-cond.  at  3  successive  courts; 
an  enthusiast  in  everything  classic, 
he    haunted    the    salons    of    Count 
Bardi  ,and   Corsi,   where   he   joined 
the    attempt    at    revival    of    Greek 
musical  recitative,  with  Caccini  and 
Corsi;   he   set   to    mus.    Rinuccini's 
text  of  "Dafne";  this  was  doubtless 
the  first  opera  ever  written;  its  effort 
at  reproducing  the  supposed  manner 
of  -£5schylos,     Sophokles,   etc.,  was 
called   "stile   rappresentativo";    the 
opera    was    given    only    once,    and 
privately  at  Bardi's  house,  but  it  won 
Peri  a  commission  to  set  Rinuccini's 
text  "Euridice"  for  the  wedding  of 
Maria  dej  Medici  and  Henry  IV.  of 
France  (1600);  an  ed.  of  his  works 
was  pub.  1603,  incl.  madrigals,  etc. 
(2)  Achille,  Reggio  d'Emilia*  Italy, 


1812 — 1880;    conductor    and    dram, 
composer. 

Perisine.     Vide  LA  IUTE. 

Perne  (pS-rn),  Fran.  L.,  Paris,  1772— 
May  26,  1832;  pupil  of  Abbe"  d'Hau* 
dimont  (harm,  and  cpt.);  1792, 
chorus-singer  at  the  Op£ra;  1799, 
double-bass  player  in  the  orch,;  1801, 
prod,  a  grand  festival  mass;  the  next 
year  he  c.  a  triple  fugue  to  be  sung 
backwards  on  reversing  the  page; 
1811,  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  indefatigable  in  re- 
search, and  an  authority  on  Greek 
notation,  the  troubadours,  etc.; 
writer  and  composer. 

Perosi  (pa-rQ'-se"),  Don  Lorenzo,  b. 
Tortona,  Italy,  Dec.  20,  1872;  a 
priest  and  organist  who  has  com- 
posed a  large  variety  of  sacred  mus.; 
it  aims  to  use  modern  resources  and 
ancient  principles;  pupil  of  Saladino, 
Milan  Cons.;  1894,  of  Haberl'sr 
Domchorschule,  Ratisbon;  1895, 
cond.  at  Impla;  from  1897,  at  San 
Marco,  Venice;  his  sacred  trilogy' 
"La  Passione  di  Cristo"  (a,  "La 
Cena  del  Signer  e";  b,  "L'Orazione 
al  Monte7';  c,  "La  Morte  del  Reden- 
tore"),  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  25  masses;  c. 
also  oratorios,  "La  Trans figurazione 
del  Nostro  Signore  Gesti  Cristo19 
£1898),  "La  Risurrezione  di  Lazaro" 
(Venice,  July  27,  1898,  in  La  Fenice 
Th.,  by  special  permission),  "II 
Natale  del  Redentore"  (Como,  1899); 
"Mose"  (Rome,  1902);  "Leo  the 
Great"  (1902),  "II  Giudizio  Uni- 
versale"  (The  Last  Judgment),  Rome, 
1904;  and  "In  Patris  Memoriam" 
(1910);  orch.  variations  (1904),  can- 
tatas "Anima"  (1908),  and  "Dies 
Iste";  requiem  for  Leo  XIII.  (1909), 
etc.  He  announced  an  ambitious 
undertaking  to  compose  ten  sym- 
phonies, each  named  after  an  Italian 
city,  and  had  completed  those  de- 
voted to  Rome,  Florence,  Venice 
and  Bologna  when  he  suffered  a 
nervous  breakdown  in  1917  and  was 
obliged  to  forego  composition.  In 
1922  he  was  reported  to  be  confined 
in  a  sanitarium,  but  the  following 


332 


DICTIONARY  OF  MUSICIANS 


year  was  able  to  prepare  a  revision 
of  his  oratorio,  "The  Resurrection,'9 
which  was  presented  at  Rome, 

Peroti'nus,  Magnus,  Magister;  i2th 
cent,  composer;  conductor  at  N6tre- 
Dame,  Paris.  (Coussemaker.) 

Perotti  (pa-rdt'-te;),  Giov,  Ag.,  Ver- 
celli,  1769 — Venice,  1855;  writer  and 
composer. 

Perrin  (p€r-r&n),  Pierre  (called  I*  abbe, 
though  never  ordained),  Lyons,  ca. 
1620 — Paris,  1675;  librettist  of  the 
first  French  operas. 

Perron  (pSr'-ron),  JS^jrl,  Frankenthal, 
Jan.  3,  1858— Dresden,  July  15, 
1928;  barytone;  studied  with  Hey 
and  Hasselbeck  and  Stockhausen; 
cpncert-d6but,  1880;  1884-91,  Leip- 
zig City  th.;  then  at  Dresden  ct.- 
opera. 

Per'ry,  (i)  G.,  Norwich,  1793 — Lon- 
don, 1862;  director  and  composer. 
(2)  Edw.  Baxter,  Haverhill,  Mass., 
Feb.  17,  1855 — Camden,  Me.,  June 
13,  1924;  pianist;  blind  from  an  early 
age;  pupil  of  J.  W.  Hill,  Boston; 
later  of  Kullak,  Clara  Schumann, 
Pruckner  and  Liszt;  played  before 
the  German  Emperor;  in  10  years 
he  gave  1,200  concerts  in  America; 
originated  the  "lecture-recital";  c. 
fantasia  "Loreley,"  "The  Lost 
Island,"  etc.,  for  piano. 

Persian!  (p€r-sl-a'-n€),  (i)  (n6e  Tac- 
chinardi)  (tak-ki-nar'-d5),  Fanny, 
Rome,  Oct.  4,  1812 — Passy,  near 
Paris,  May  3,  1867;  daughter  and 
pupil  of  the  tenor-singer  Nicola  T.; 
one  of  the  most  noted  and  succ. 
colorature-sopranos  of  the  century; 
lacking  in  appearance  and  possessed 
of  a  faulty  voice,  she  compelled 
homage  by  her  perfect  technic;  in 
1830  she  m.  (2)  Giuseppe  Persian! 
(1799 — *869),  a  composer  of  operas. 

Per'singer,  Louis,  b.  Rochester,  111., 
Feb.  ii,  1888;  violinist;  pupil  of 
Becker,  Ysaye  and  others;  toured 
in  European  cities,  later  active  as 
concertm.  of  Berlin  Philh.,  and 
San  Francisco  Symph.,  led  Chamber 
Music  Soc.  of  latter  city,  1916-28 
(afterward  known  as  Persinger 
Quartet);  taught  Cleveland  Inst. 
of  Music,  1929-30;  after  latter  year 
faculty  member  of  Juilliard  School. 
N.  Y. 

j?ersms  (p&r-swes),  Louis  Luc  Loiseau 
de,  Metz,  1769 — Paris,  1839;  violin- 
ist, conductor,  prof,  and  comp. 

Perti    (pSr'-te),    Jacopo   A.,    Bologna, 


June  6,  1661 — April  10,  1756;  one  of 
the  chief  i7th  cent,  composers  of 
operas;  pupil  of  Padre  Franceschini; 
at  19  prod,  a  mass;  church-conductor 
and  composer  of  oratorios,  etc.,  also 
21  operas. 

Pescetti  (pa-shet'-tg),  Giov.  Bat, 
Venice,  1704 — (probably)  1766; 
organist  and  dram,  composer. 
Peschka-Leutner  (p&sh'-ka-loit'-ner), 
Minna,  Vienna,  1839 — Wiesbaden, 
1890;  soprano. 

Pessard  (p£s-sar),  Etnile  Louis  For- 
tune, Montmartre,  Seine,  May  28, 
1843 — Paris,  Feb.  10,  1917;  pupil 
of  Paris  Cons.;  won  ist  harm,  prize; 
1866,  Grand  Prix  de  Rome,  with 
cantata  "Dalila,"  (Op6ra,  1867); 
1878-80,  inspector  of  singing,  Paris 
schools;  1 88 1,  prof,  of  harm,  at  the 
Cons.;  dir.  of  mus.  instruction  in  the 
Legion  of  Honour;  after  1895,  critic; 
prod,  many  comic  operas  and  oper- 
ettas, incL  "Le  Capitaine  Fracasse" 
(Th.  Lyr.,  1878);  c.  also  masses, 
etc. 

Peters  (pa'-ters),  Carl  Fr.,  Leipzig 
pub.  firm,  founded  1814  by  C.  F. 
Peters;  1893,  a  large  library  was 
opened  to  the  public  as  the  "Biblio- 
thek  Peters." 

Peterson    (pa'-tSr-zgn),    Peter    Niko- 

laus,    Bederkesa,     1761 — Hamburg, 

I83o;  player  on,  improver  of,  and 

composer  for,  the  flute. 

Petersilea    (pa'-t&r-se'-la-a),    Carlyle, 

Boston,  Mass.,  Jan.  18,  1844 — near 

Los  Angeles,    CaL,   June    11,    1903; 

pianist    and    teacher;    pupil    of    his 

father,  and  at  Leipzig  Cons.,  winning 

the    Helbig    prize    for    pf.-playingj 

toured  Germany  with  succ.;  lived  in 

Boston;   est.    1871    "The   Petersilea 

Acad.  of  Mus.";  1886,  teacher  New 

Engl.  Cons.;  1884  studied  with  Liszt 

at  Weimar,  and  gave  a  concert  at  the 

Singakademie,     Berlin;    after    1894 

res.  in  Cal.;  pub.  pf. -studies. 

Peterson-Berger       (p5/-t£r-son-b£rkh- 

er),  Wilhelm,  b.  UUanger,  Sweden, 

Feb.  27,  1867;  composer;  studied  in 

Dresden  and  in  Stockholm  where  he 

was  critic  and  r6gisseur  at  the  opera; 

c.  dramatic  work  "Ran"  (Stockholm, 

1903),  and  other  operas,  orch.  pieces, 

sonatas,  etc.;  d.  FresSn,  Dec.  3, 1942. 

Petit,  Adrien.     Vide  CQCLICTJS. 

Petrejus  (pa-tra'-yoos),  Jns.,  Langen- 

dorf,     Franconia — Niirnberg,     1550; 

mus.-printer. 

Petrella  (pa-trgl'-la),  Errico,  Palermo, 


DICTIONARY  OF  MUSICIANS 


333 


Dec.  i,  1813 — in  poverty,  Genoa, 
April  7,  1877;  v.  succ.  Italian  com- 
poser of  operas,  rivalling  Verdi's 
popularity,  "Marco  Visconti"  and 
"£#  Contessa  dJAmalfi"  most  succ.; 
pupil  of  Saverio  del  Giudice  (vln.) 
and  Naples  Conservatorium. 
Petri  (pS'-tre),  (i)  H,,  Zeyst,  near 
Utrecht,  April  5,  1856 — Dresden, 
April  7,  1914;  violinist;  pupil  of 
David;  1882-89  leader  Gewandhaus 
Orch.  with  Brodsky,  then  leader 
Dresden  Ct.-orch.;  composer.  (2) 
Egon,  b.  Hanover,  Germany,  March 
23,  1881;  pianist;  son  of  (r);  studied 
with  Carreno,  Buchmayer,  Busoni; 
also  (comp.)  with  Draeseke;  after 
192 1  taught  at  Berlin  Hochsch.;  one 
of  the  most  intellectual  of  present- 
day  pianists  and  an  outstanding 
virtuoso;  concert  tours  of  IT.  S.  and 
Europe. 

Petrini  (pa-trS'-nS),  Fz.,  Berlin,  1744 
— Paris,  1819;  harpist  and  theorist. 

Petrov  (pa'-tr6f),  Ossip  Afanassjevich, 
Elisavetgrad,  Nov.  15,  1807 — St. 
Petersburg,  Mar.  14,  1878;  famous 
Russian  barytone-bass,  with  re- 
markable compass  of  nearly  four 
octaves  (B-g")j  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  four  days  before  his  death  in  his 
seventy-first  year. 

Petrucci  (pa-troot'-ch5),  Ottaviano 
del,  Fossombrone,  June  18,  1466 
— May  7,  1539,  inv.  of  mus.-printing 
with  movable  types;  in  1498  received 
from  the  Council  of  the  Republic 
of  Venice  a  20  years'  monopoly  of 
mus.-printing  by  his  method;  1511- 
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  the 
notes,  was  beautifully  managed  and 
specimens  are  valuable;  he  publ. 
many  of  the  most  important  comps. 
of  his  time  and  of  previous  com- 
posers. 

Pe'trus  Platen/sis.     Vide  IA  RUE. 

Petsch'nikoff,  Alex.,  b.  Jeletz,  Russia, 
Feb.  8,  1873;  violinist;  pupil  Moscow 
Cons.;  at  10  entered  Moscow  Cons, 
and  took  prize;  toured  Europe  with 
great  succ.,  1895-96;  America,  1899; 
1913—21,  taught  Munich  Cons.;  later 
in  Buenos  Aires,,  where  d.  1949. 


Petyrek  (pa'-te-r£k),  Felix,  b.  BrOnn, 
Austria,  May  14,  1892;  composer, 
pianist;  studied  at  Vienna  Univ.  ana 
Acad.,  pupil  of  Godowsky,  Sauer 
and  Schreker;  1919-21,  taught  at 
Salzburg  Mozarteum;  1921-23,  at 
Berlin  Hochsch.;  c.  chamber  music, 
piano  and  vocal  works  in  modern 
style;  d.  Vienna,  Dec.  i,  1951. 

Petz'et,  Walter,  b.  Breslau,  Oct.  iof 
1866;  pupil  of  Kleffel,  Rheinberger 
and  von  Btilow;  1887-96  piano 
teacher  in  America,  then  at  Helsing- 
fors  Cons.,  and  1898  at  Karlsruhe 
Cons.;  d.  Dresden,  Aug.  13,  1941. 

Petzold"(p£t'-ts61t),  Chr.f  K5nigstein, 
1677 — Dresden,  1733*  ct.-organist 
and  composer. 

Peurl  (B&werl,  Baurl,  or  Betirlin), 
Paul,  organist  at  Steyer;  important 
composer  of  suites,  etc.  (1611—20). 

Pevemage  (pti-vSr-n£zh),  Andre  (or 
Andreas),  Courtray,  Belgium,  1543 
— Antwerp,  1591;  choirm.  N6tre* 
Dame  and  composer. 

Pezze  (pgd'-zS),  Ales.,  b.  Milan, 
1835;  'cellist;  in  London  from  1857; 
pupil  Merighi;  d  London,  June, 
1914. 

Pfannstiehl    (pfan'-shtel),    Bernhard, 

b.  Schmalkalden,    Thuringia,    Dec. 
18,  1861;  blind  organist;  pupu  Leip- 
zig Cons.,  winning  the  Mendelssohn 
prize  three  times;  from  1903  org.  at 
Chemnitz;     1912,    Dresden     Kreuz- 
kirche;  d.  Freiburg,  Oct.  21,  1940. 

PfeifEer  (pfif'-fSr),  K.,  1833  (?)— Vi- 
enna, 1897;  dram,  composer.  (2) 
(pf£f-fa),  Georges  Jean,  Versailles, 
Dec.  12,  1835 — Paris,  Feb.  14,  1908? 
pianist;  pupil  of  Maleden  and 
Damcke;  1862  d6but;  won  Prbr 
Chartier  for  chamber-mus.;  critic; 
member  of  the  firm  of  Pleyel,  Wolff 
et  Cie.,  Paris;  c.  a  symph.,  a  symph* 
poem,  "Jeanne  d'Ars";  pf.  concertos, 
3  operettas,  oratorio  "  HagarJ*  etc* 

Pfeil  (pfxl),  H.,  Leipzig,  Dec.  18, 1835— 
April  17,  1899;  1862,  ed.  "Stinger* 
halle"  (the  organ  of  the  Sangerbund)? 

c.  male  choruses. 

Pfitz'ner,  Hans,  Moscow,  May  5,  1869 
— Salzburg,  May  22, 1949;  pupil  Hoch 
Cons.,  Frankfort;  1892,  teacher  pf. 
and  theory,  Coblenz  Cons.;  1894—95, 
asst.-cond.  City  Th.,  Mayence; 
1897-1903,  teacher  in  Stern  Cons., 
Berlin;  1903-07,  cond.  Theater  des 
Westens,  Berlin;  1908-18,  munic. 
music  dir.  and  head  of  Cons,  at 
Munich;  1910-16,  also  opera  dir.  in 


334 


DICTIONARY  OF  MUSICIANS 


Strassburg;  1920—26,  master  class, 
Berlin  Acad.  of  Arts;  1929-34,  P*of. 
Munich  Akad.  der  Tonkunst;  ^a 
prolific  composer  in  Neo-Romantic 
style,  he  produced  the  operas  "Der 
Arme  Eeinrich"  (1893),  "Die  Rose 
vom  Liebesgarten"  (1909),  "Pdf*- 
trina"  (1917),  music  drama  ^ having 
a  largely  male  cast;  impressive  but 
over-weighty  score  much  sung  in 
Germany;  "Christelflein"  (fairy-tale 
opera)  and  "Das  Herz,"  based  on 
medieval  legend  (1931);  also  incid. 
music  to  plays;  cantatax  "Von 
Deutscher  Seele"  (sung  in  N.  Y.  by 
Friends  of  Music  Soc.);  other  choral 
works,  piano,  vln.  and  'cello  con- 
certos; much  chamber  and  orch. 
music,  songs,  etc.;  he  ed.  and 
arranged  E.  T.  A.  Hoffmann's 
"  Undine"  and  works  of  Marschner 
for  modern  presentation;  also  c. 
scherzo  for  orch.;  ballad  "Herr 
Oluff"  for  bar.  and  orch.,  pf.-trio. 

Pfiughaupt  (pflookh'-howpt),  (i) 
Robt.,  Berlin,  1833— Aix-la-ChapeUe, 
1871;  pianist  and  composer.  (2) 
Sophie  (ne'e  Stschepin),  Diinaburg, 
Russia,  1837 — Alx-Ia-Chapelle,  1867; 
pianist. 

Pfohl  (pfol),  Fd.,  b.  Elbogen,  Bohemia, 
Oct.  12,  1863;  critic;  studied  mus.  at 
Leipzig;  c.  orch.  music;  author  of 
books  on  Wagner,  Nikisch.  B., 
Hamburg-Bergedorf,  Dec.  16, 1949- 

Pfundt  (pfoont),  Ernst  Gotthold  Benj., 
Dommitzsch,  near  Torgau,  1806 — 
Leipzig,  1871;  tympanist;  inv.  the 
"machine-head";  wrote  method  for 
kettle-drum. 

PhalSse  (fa-lSzO,  P.  (Petrus  Phale'- 
sius),  b.  Louvain,  ca.  1510;  *545>  est. 
a  mus.-publishing  business;  1579  re- 
moved to  Antwerp,  as  "Pierre  Phal- 
fese  et  Jean  Bellfcre." 

Pfcelps,  Ellsworth  C.,  Middletown, 
Conn.,  Aug.  n,  1827 — Brooklyn, 
N.  Y.,  1913;  self-taught;  at  19 
organist;  from  1857,  Brooklyn; 
teacher  in  pub.  schools  for  30  years; 
c.  2  comic  operas;  symphs.  Hia- 
watha," and  "Emancipation";  ^  4 
symphonic  poems;  Psalm  145,  with 
orch.,  etc. 

Pliilidor  (rightly  Danican)  (fe-U-d6r 
or  d£-n*-kan).  A  famous  French 
family  called  usually  Danican- 
Philidor,  the  name  Philidor  being 
taken  from  a  remark  of  the  Kong 
comparing  Jean  D.  with  his  favourite 
oboist  Philidor,  There  seem  to  have 


been  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  King's  military 
band.  (4)  Andr6  D.-P.  (Paln6),  b. 
Aug.  n,  1730;  cromorne-player  and 
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  musi- 
cians, the  best  known  being  (6) 
Pierre,  1681 — 1731;  flutist;  c.  suites, 
etc.,  for  flutes.  (7)  Anne,  Paris, 
1681 — 1728;  eldest  son  of  (4);  flute- 
player,  and  conductor;  before  he 
was  20,  prod,  operas  at  court. 
(8)  Michel,  b.  Versailles,  1683,  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 
great  succ.,  his  best  works  being  the 
following  (among  25  notable  for 
orch.  and  harm,  brilliance):  "Le 
Dialle  a  quatre"  (Op.-Com.,  1756); 
"Le  Marechal"  (1761),  performed 
over  200  times;  "Le  Sorrier"  and 
"Tom  Jones"  (only  8  weeks  apart, 
in  1704;  the  latter  containing  the 
then  novelty  of  an  unaccompanied 
quartet);  the  grand  opera,  his  best 


1863; 

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)  Franpois, 
1695 — 1726,  oboist.  (14)  Nicolas, 
1699 — 1769;  played  the  serpent,  etc. 
Phil'ipp,  Isidor  (Edmond),  b.  Buda- 
pest, Sept.  2, 1863;  pianist;  a  natural- 
ised French  citizen;  came  to  Paris  as 
a  child;  at  16  pupil  of  Georges 
Mathias,  at  the  Cons.;  won  ist.  pf.- 
prize,  in  1883;  studied  with  Saint- 
SaSns,  Stephen  Heller,  and  Ritter; 
played  with  succ.  in  European 
cities;  est.  concerts  (with  Loeb  and 
Berthelier),  producing  modern 


DICTIONARY  OF  MUSICIANS 


335 


French  chamber-comps.;  reorganised 
the  "Soc£6te*  des  instr.  a  vent"; 
cofounder  and  pres.  of  the  "Soc. 
d'Art";  after  1903  prof,  at  Paris 
Cons.;  also  taught  at  Fontainebleau 
Amer.  Cons.;  master  classes  in 
Boston  and  N.  Y.,  i934~35;  P^b. 
a  "Suite  fantastique,"  a  "Reverie 
MtSlancolique"  a  "S6r&nade  humoris- 
ue"  for  orch*  In  U.  S.  since  1941. 
ppe,  (i)  de  Caserte.  Vide  CA- 
SERTA.  (2)  de  Mons.  Vide  MONTE. 
de  Vitry.  Vide  VTTRY. 
pps,  (i)  Peters  (or  Petals  Philip'- 
pus,  PLetro  Filip'po),  England,  ca. 
1560 — after  1633,  organist  and 
composer.  (2)  Arthur,  b.  1605, 
organist  at  Oxford,  prof.,  and  com- 
poser. (3)  Henry,  Bristol,  1801 — 
Dalston,  1876;  bass-barytone.  (4) 
Win.  Lovell,  Bristol,  1816 — 1860; 
'cellist  and  composer.  (5)  Adelaide, 
Stratford-on-Avon,  1833 — Carlsbad, 
1882;  contralto;  pupil  of  Garcia. 

Piastre  (pS-Ss'-tro),  Mishel,  b.  Kertch, 
Russia,  IQOO;  violinist;  conductor* 

Piatigorsky  (p6-S.t-€-g6r'-skS),  Gregor, 
b.  Ekaterinoslaw,  Russia,  April  20, 
1903;  'cellist;  studied  violin,  later 
'cello  with  Glehn  in"  Moscow;  ist 
'cellist  of  Berlin  Philh.,  1923;  -began 
solo  appearances  with  leading  conti- 
nental orchs.,  also  in  chamber  music 
concerts;  Amer.  tours  after  1929; 
has  appeared  widely  in  recital  and 
as  a  first-rank  solo  performer. 

Piatti  (p5-at'-te),  (i)  Alfredo  Carlo, 
Bergamo,  Jan.  8,  1822 — Bergamo, 
July  19,  1901;  'cello-virtuoso  (son 
of  a  violinist.  (2)  Antonio  P.,  d. 
Feb.  27,  1878;;  pupil  of  his  grand- 
uncle,  Zanetti,  and  of  Merighi,  Milan 
Cons.;  d6but,  Milan,  1838;  at  7  had 
played  an  an  orch.,  1849,  jst  'cello 
It.  opera,  London;  from  1859  at 
Monday  and  Saturday  Pop.  Con- 
certs of  chamber-mus.;  pub.  a 
method  for  'cello,  2  'cello-condertos, 
vocal  mus.  with  'cello  obbligato, 
etc. 

Piccaver  (pfc'-ka-ver),  Alfred,  b.  Lone 
Sutton,  England,  Feb.  5, 1887;  tenor; 
in  early  youth  came  to  America  and 
had  vocal  instruction  in  N.  Y.  and 
Milan;  1907-12,  mem.  Prague 
Landes  theatre;  after  1912,  sang 
regularly  with  Vienna  State  Op., 
where  he  enjoyed  marked  popu- 
larity, esp.  in  Italian  roles;  1923, 
guest  appearances  with  Chicago 
Qpera- 


Piccinni  (or  Picdni  or  Pidnni)  (pit- 
chln'-n5),  (i)  Nicol^L,  Bari,  Tan.  i6r 
1728— Passy,  near  Paris,  May  7, 
1800;  operatic  composer,  famous 
as  a  rival  of  Gluck.  Son  of  a  mu- 
sician who  opposed  his  tastes.  The 
Bishop  of  Ban.  recognising  his  talent 
and  irrepressible  passion  for  music 
overcame  opposition,  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  the 
popular  Logroscino,  and  prod,  the 
v.  succ.  opera-buffa  "Le  Donne  Dis- 
pettose"  (i754)»  followed  by  (1755) 
"Gelosta  $er  Gelosia"  and  "II  Curiosa 
del  suo  proprio  Danno,"  which  had 
the  unprecedented  run  of  four  years; 
"Alessandro  nelle  Indie"  (Rome, 
1758),  and  "CeccMna  Zitelto,  a  La 
Buona  Figliuola"  (Rome2  1760),  the 
most  success,  work  of  its  kind  in 
Europe,  though  written  in  3  weeks, 
were  hailed  as  masterworks.  His 
new  dramatic  fervour  and  his  ex- 
tended duets  and  varied  finales  gave 
Mm  such  prestige  that  he  is  said  to 
have  c.  133  dramatic  works,  incl.  "// 
Re  Pastore"  (1760);  "L'Olimpiade" 
(1761)  previously  though  less  succ. 
set  by  Pergolesi,  Galuppi  and 
omelli;  revised  1771;  "Bemice" 
(1764};  "La  CeccMna  Maretata" 
5);  "Didone  abbandonata" 
767);  "Antigone"  (i77j)-.  *773» 
e  Roman  public  favoured  his  pupu 
Anf  ossi,  and  hissed  one  of  P.'s  operas, 
which  prostrated  him  with  grief;  jon 
recovering  he  regained  favour  with 
"I  Viaggtotori."  In  response  to 
flattering  invitations  in  1776  he 
removed  with  his  family  to  Paris, 
spent  a  whole  year  learning  the 
tongue  and  writing  his  first  French 
opera,  "Roland"  (Opera,  1778), 
which  had  a  succ.  said  to  be  due 
largely  to  the  necessity  the  anti- 
Gluck  faction  was  under  to  find  a 
rival.  The  war  between  the  "Gluck- 
ists"  and  "Piccinists"  was  violent 
and  incessant,  though  P.  regretted 
his  position  and  made  a  vain  effort 
after  Gluck's  death  to  raise  a  fund 
for  annual  concerts  in  his  memory. 
He  had  succ.  wi.th  the  following 
French  operas,.,  "Le  fat  m6pri$&* 
(1779),  "Atys"  (1780),  "Didon," 
"Le  dormeur  eveillt,"  and  "Le  faux 
Lord"  (all  3  in  1783).  In  1778,  as 
dir.  It.  Op6ra,  whose  performances 


336 


DICTIONARY  OF  MUSICIANS 


alternated  with  the  French  company 
at  the  Opera,  he  produced  his  best 
Italian  works  with  succ.  The  man- 
agement simultaneously  commis- 
sioned both  Gluck  and  P.  to  set  the 
opera  "Iphigenie  en  Tauride";  P.  had 
his  libretto  rewritten  by  Ginguen£, 
and  Ms  version  was  delayed  till 
after  Gluck  had  made  a  triumph 
land  left  Paris.  P.'s  opera,  though 
usually  called  a  failure,  ran  17  nights 
In  spite  of  having  an  intoxicated 
£>rima  donna  on  the  first  night  to 
start  the  joke  "Iphigenie  en  Cham- 
pagne" Half  a  dozen  others  failed 
or  were  never  performed.  A  new 
rival,  Sacchini,  now  appeared.  When 
this  second  succ.  rival  died,  the 
large-hearted  Piccinni  delivered  a 
glowing  funeral-eulogy  over  him. 
1784,  he  was  Maltre  de  chant  at  the 
new  "Ecple  royale  de  musique  et 
declamation."  His  last  operatic 
attempts  in  French  were  unsucc. 
At  the  outbreak  of  the  Revolution 
he  lost  his  positions,  and  retired  to 
Naples,  on  a  pension.  But  his 
daughter  m.  a  young  French  radical, 
and  P.,  suspected  of  republicanism, 
was  kept  a  prisoner  in  his  own  house 
for  four  years,  in  extreme  poverty. 
1798,  he  returned  to  France,  was 
ffcted  at  the  Cons.,  presented  with 
5,000  francs  and  small  irregular 
pension.  He  was  prostrated  for 
some  months  by  paralysis;  a  sixth 
inspectorship  was  created  at  the 
Cons,  for  him,  but  he  soon  fell  ill 
and  died.  (2)  Lttigi,  Naples,  1766 — 
Passy,  July  31,  1827;  son  and  pupil 
of  above;  ct.-cond.  at  Stockholm 
and  dr.  composer.  (3)  Louis  Alex., 
Paris,  1770 — 1850;  grandson  and 
pupil  of  (i);  conductor  and  dram.- 
composer. 

Piccolomini  (plk-kQ-lo'-m6-nS),  Maria, 
Siena,  March  15,  1834 — near  Flor- 
ence, Dec.  23,  1899;  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- 
mpndi,  Florence;  d6but  there  1852, 
•with  great  succ.,  sang  in  Italy,  Lon- 
don, Paris  and  New  York  (1858); 
1863,  m.  the  Marquis  Gaetani,  and 
retired  from  the  stage. 

tefckei   (or  Pichl)    (pesh'-'l),   Wenzel, 
•     Bechin,     Bohemia,      1741 — Vienna, 
;  violinist;  c.  700  works. 
Vide  PICCINNI. 


alii 


(pSk-man-jS-gal'-S), 
Riccardo,  Strakonitz,  July  10,  1882 
— Milan,  July  8,  1949;  studied  at 
Milan  Cons.;  c.  (ballets)  "II  Salice 
d'Oro"  (La  Scala,  1914);  "II  Carillon 
Magico"  (given  by  Met.  Op.  Co., 
N.  Y.);  "Mahit"  (La  Scala,  1923); 
"Casanova  a  Venezia"  (do.,  1929); 
(opera)  "Basi  e  Bote"  (Rome,  1927;; 
also  orch.  works,  chamber  music, 
vln.  and  piano  pieces,  songs. 

Piel  (pel),  Peter,  Kessenich,  near 
Bonn,  Aug.  12,  1835 — Boppard, 
Aug.  21,  1904;  from  1868,  teacher 
Boppard-on-Rhine;  1887,  R.  Mus.- 
Dir.;  wrote  a  harm.;  c.  8  Magnificats 
(in  the  church-modes),  etc. 

Pieragon,  or  Pierchou.     Vide  LA  RUE. 

Pierne  (p'ySr-na)  (H.  Constant)  Ga- 
briel, Metz,  Aug.  1 6,  1863 — Brit- 
tany, July  17,  1937;  pupil  Mar- 
montel,  Franck  Massenet;  xst  prize 
(^1879),  do.  for  cpt.  and  fugue  (1881), 
do.  for  organ  (1882)  and  Grand  Prix 
de  Rome  (1882);  1890,  organist  Ste. 
Clothilde  (vice  CSsar  Franck);  i893> 
prod,  spectacle  "Bouton  d'or";  opera, 
"Ittil"  (1804);  succ.  "Vendee" 
(Lyons,  1897);  a  hymn  to  the  Rus- 
sian visitors,  "La  Fraternelle"  1893; 
from  1910  he  cond.  the  Colonne  con- 
certs Paris;  he  c.  very  successful 
choral  work,  "Croisade  de$  Enfants" 
(1905),  "La  coupe  enchantee"  (Paris, 
1895;  Stuttgart,  1907);  opera  "La 
file  de^  Tdbarin"  (Op.  Com.,  1901), 
oratorio  "Les  enfants  de  Bethlehem" 
(1907);  "Les  Fioretti  de  St.  Francis 
d'Assise"  (Paris,  1912),  etc.  P.  had 
shown  a  wide  versatility  in  writing 
incid.  music  for  dramas.  His  ballet, 
"Cydalise  et  le  Chevre-Pied,"  in  which 
his  musical  style  kept  abreast  of  the 
more  recent  harmonic  innovations, 
had  a  pronounced  succ.  when  pre- 
sented in  Paris,  1919.  Excerpts 
from  this  score  have  proved  pop. 
on  orch.  programmes  in  the  U.  S.  His 
works  also  include  the  opera,  "On  ne 
badine  fa*  avec  I9 Amour";  concerto 
for  piano  and  orch.;  concerto  foi 
bassoon  and  orch,;  sonata  for  vln. 
and  piano;  sonata  da  camera;  cham- 
ber trio;  pieces  for  piano,  harp  and 
other  instruments;  songs,  etc. 

Pierre  (pl-£r'),  Constant,  Passy,  Aug. 
24,  1855 — Paris,  Jan.,  1918;  pupil  of 
Paris  Cons.;  bassoon-player;  assist, 
sec.  at  the  Cons.;  ed.  Le  Mondt 
musical;  wrote  a  history  of  the 
Op6ra  orchestra  (for  which  the 


DICTIONARY  OF  MUSICIANS 


337 


"Soc.  des  compositeurs"  awarded  a 
prize,  1889),  etc. 

Pier'son,  (i)  or  Pier'zon.  Vide  IA 
RUE.  (2)  (rightly  Pearson),  Henry 
Hugo  (early  pen-name  "Edgar 
Mansfeldt"),  Oxford,  181 6— Leip- 
zig, 1873;  prof,  of  mus.;  prod,  in 
Germany  4  operas. 

Pieton  (pl-a-t6n),  Loyset,  French 
contrapuntisty  1531- 

Pifeer  (pi'-pSr),  Wffiem,  b.  Zeist,  Hol- 
land, 1894 — d.  n.  The  Hague,  March 
19,  1947;  composer;  pupil  of  Johan 
Wagenaar,  and  Mme.  von  Luntern 
(piano);  active  as  music  critic;  dir. 
Amsterdam  Cons.,  1929;  c.  orch. 
chamber  and  choral  music. 

PUati  (pe-la'-te),  Auguste  (rightly 
Pilate),  Bouchain,  Sept.  29,  1810 
—Paris,  Aug.  i,  1877;  c.  operettas 
under  name  of  A.  P.  Juliano. 

PUk'ington,  Francis,  Engl.  lutenist 
and  composer,  1595-1614. 

Pillois  (pSl'-wa),  Jacques,  Paris,  1877 
— New  York,  Jan.  3,  1935;  com- 
poser j  pupil  of  Vierne  and  Widor  at 
Paris  Cons.;  taught  music  history 
at  Fontainebleau  School  after  1921; 
also  at  N.  Y.  Univ.,  1927-30,  and 
Smith  Coll.,  1 9 29-30;  won  Trement, 
Nicolo  and  Rousseau  Prizes;  laureate 
of  French  Inst.;  res.  in  America 
after  1929;  c.  orch.,  chamber  music 
and  vocal  works. 

Pilotti  (p5-16t'-te),  Giuseppe,  Bologna, 
1784 — 1838;  son  and  succ.  of  an 
org.-buttder;  professor,  writer  and 
dram,  composer. 

Pinerii,  Ettore,  Rome,  Oct.  18,  r843 — 
Sept.  17,  1915;  violinist;  pupil  of 
Ramaciotti  and  Joachim;  1866, 
founded  (with  Sgambati)  soc.  for 
classical  chamber- mus.;  1874,  the 
"Societa  Orchestrale  Romana," 
which  he  cond.;  1877,  in  the  Liceo 
Musicale  of  Santa  Cecilia;  also  cond. 
ct.-concerts  alternately  with  Sgam- 
bati; c.  overture  "Rapsodiaitaliana," 
etc. 

Pinello  de  Gherardi  (ga-rar'-d€),  Giov. 
Bat.,  Genoa,  ca.  1540 — Prague,  1587; 
court  cond.  and  composer. 

Pinsuti  (pm-soo'-te),  Giro,  Sinalunga, 
Siena,  1829 — Florence,  1888;  famous 
\ocal  teacher  at  the  R.  A.  M.,  Lon- 
don, from  1856;  composer  of  operas 
and  very  popular  songs. 

Pinza  (pent'-sa),  Ezio,  b.  Rome;  basso; 
early  trained  as  civil  ^ engineer,  but 
gave  up  this  profession  for  vocal 
career:  d6but  at  Rnme  R.  OD.;  later 


heard  in  Turin,  Naples,  for  3  years 
at  La  Scala;  after  1926  sang  with 
Met.  Op.  Co.,  also  at  Coyent  Garden 
and  widely  in  concerts,  incL  tour  of 
Australia. 

Pipegrop  (pS'-p£-gr6p)  (called  Bary- 
phonus),  H.,  Wernigerode*  1581 — 
Quedlinburg,  1655;  town-cantor  and 
theorist. 

Pipelare  (pg-pS-la'-rS),  Matfehams, 
1 6th  cent.  Belgian  composer. 

Pirani  (pe*-rS/-ne),  Eugenia,  b.  Bologna, 
1852 — Berlin,  1939;  pianist,  gujiil  of 
Golonelli,  Bologna  Liceo  Musicale, 
and  of  Th.  Kullak  (pf.)  and  Kiel 
(comp.);  1870-80  in  Kullak' s  Acad.; 
lived  in  Heidelberg  till  1895^  then 
Berlin;  after  1901  toured.  U.  S.; 
1904  estab.  music  school  in  Brook- 
lyn, N.  Y.;  wrote  essays;  c*  symnii. 
poem  "Heidelberg,"  etc.^  later  in 
Berlin. 

Pir'ro,  Andr6,  b.  St.  Dizier,,  Feb.  12, 
1869;  organist  and  historian;  from 
1896,  teacher  at  the  Schola  can- 
torura,  Paris;  1904  tanght  at  "Boole 
des  hautes  6tudes  socialea";  1912, 
director;  d.  Paris.,  1943. 

Pisa  (pg'-zS),  Agostino,  wrote;  earliest 
known  treatise  on  conducting^  etc. 
(2d  ed.,  Rome,  1611.) 

Pisari  (pS-sa'-rS),  Pasqtiale^  Rome, 
1725 — 1778;  bass-singer  and  com- 
poser, whom  Padre  Martini  called 
the  "Palestrina  of  the  iStb;  cen&," 

Pisaroni  (pS-sa-rQ'-ng),  Benedetta 
Rosamonda,  Piacenza,  1793 — 1872; 
high  soprano;  after  an  illness  became 
a  contralto. 

Pisendel  (pg'-zSnt-Sl),  Jn.  G>,  Earls- 
burg,  1687 — Dresden,  1755;  violinist 
and  composer. 

Pisk,  Paul  A.,  b.  Vienna,  May  16, 1*893; 
composer;  professor,  University  of 
Redlands,  Gal.,  1937. 

Pistocchi  (p€s-t6k'-ks),  Fran.  Ant., 
Palermo,  1659 — Bologna,  May  13, 
1726;  founder  of  famoua  Sciu  of 
Singing  at  Bologna;  c.  operas* 

Pis 'ton,  Walter,  b.  Rockland^  Me., 
Jan.  20,  1894;  composer;,  early 
studied  at  art  school,  then  vim-  and 
piano  privately;  theory  at  Harvard 
Univ.,  later  in  Paris  with  Nao!ia 
Boulanger;  showed  radical  tendencies 
in  harmony  but  strongly  logical 
sense  of  structure  in  his  works;  c. 
(orch.)  Symphonic  Piece  (Boston 
Symph.,  1928);  Orch.  Suite  (Phila. 
Orch.,  1932);  Symphonic  poem; 
(chamber  music)  string  quartet^  3 


338 


DICTIONARY  OF  MUSICIANS 


pieces  for  flute,  clar.  and  bassoon, 
etc.;  mem.  of  mus.  faculty,  Harvard 
University.  (See  Composers'  List) 

Pltoni  (pe-tS'-ne"),  Gius.  Ottavio,  Rieti, 
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,  Percy,  London,  Jan.   4,    1870 


Hampstead,  Nov.  23,  1932;  organist 
and  prominent  English  composer; 
pupil  of  Reinecke,  Jadassohn  and 


Rheinberger;  1896  organist  Queen's 
Hall;  1902  adviser  and  cond.  Covent 
Garden;  dir.,  1907;  1915—18, 
Beecham  Op.  Co.;  1920-24,  ass't.  dir. 
British  Nat'L  Op.  Co.;  1927,  mus. 
dir.  British  Broadcasting  Corp.; 
c.  Sinfonietta  (Birmingham  Fest., 
1906);  symphonic  prelude  "Le  sang 
des  cr&puscules"  ballade  for  violin 
and  orch.;  orch.  suites,  etc. 

Piutti  (pa-pot'-te),  (i)  K.,  Elgersburg, 
Thuringia,  April  30,  1846 — Leipzig, 
June  17,  1902;  notable  organist; 
pupil,  and  from  1875,  teacher  Leipzig 
Cons.;  1880,  also  organist  Thomas- 
kirche;  wrote  a  harm.;  c.  6  fugal 
fantasias,  8  preludes,  "Wedding 
Sonata"  etc.,  for  organ.  (2)  Max., 
Luisenhall,  near  Erfurt,  1852 — Jack- 
son, Mich.,  1885;  brother  of  above; 
writer,  teacher  and  composer. 

Puds  (pex'-gs),  (r)  Fr.  Win.,  Mann- 
heim, 1786 — Prague,  1842;  violinist 
and  conductor.  (2)  Jtu  Peter, 
Mannheim,  1 788 — Baden-Baden, 
1874;  bro.  of  above;  pianist,  teacher 
and  dram,  composer. 

Pizzetti  (ped-s£t'-e),  Hdebrando,  b. 
Parma,  Sept.  20,  1880;  composer; 
studied  with  his  father  and  at  Parma 
Cons.,  made  study  of  Greek  and 
Gregorian  modes,  which  have  in- 
fluenced his  style  of  comp.;  in  his 
operas  he  has  shown  original  method 
in  which  voices  are  treated  in 
flexible,  semi-declamatory  manner; 
a  highly  sensitive  writer  for  the 
chorus,  which  is  allotted  some  of  the 
most  important  passages  in  his  stage 
works;  he  taught  comp.  at  the 
Istituto  Musicale  in  Florence  after 

•  2909,  becoming  its  director  in  1918; 
* '  visited    U.     S«     1930;     c.     (operas) 

-  "Fedra"    (1915);    "Vebora    e   Jaele" 

*  (^922);      "Lo      Straniero"     (Rome, 
:<  2930);    "Fra    Gherqrdo"    (premiere, 
t  La  Scala,  Milan,  May  16,  1928,  also 


at  Met.  Op.,  1929);  "Orseolo*'  (Flor- 
ence Fest.,  1935,  repeated  in  other 
cities);  incid.  music  to  "Edipo  Re'9 
and     "La    Nave"-,     "Lamento"    for 
tenor  and  orch. ;  Requiem  in  memory 
of  King  Humbert:  (orch.)  "Overture 
per  una  Farsa   Tragica"  "Sinfonia 
del   Fuoco,"    "Concerto    dell' Estate," 
"Rondo    Veneziano"    (N.    Y.    Philh. 
under  Toscanini,  1930);  'cello  sonata, 
vln.  sonata,  piano  pieces  and  songs; 
has  written  essay  on  Greek  music, 
works   on   contemporary   composers 
and  on  Bellini;  "Intermezzi  Critici" 
also     many    articles,     some     under 
pseudonym  "Ildebrando  di  Parma"*, 
after  1936  appointed  prof,  of  comp. 
at  Liceo  of  Santa  Cecilia,  Rome,  to 
succeed  the  late  Ottorino  Respighi. 
Pizzi  (pXd'-ze),  Emilio,  Verona,  Feb.  2, 
1862 — Bergamo,  1931;  pupil  of  Pon- 
chielli    and    Bazzini,    Milan    Cons., 
graduating     1884;     took     ist    prize 
Milan,  1885,  for  i-act  opera  "Lina"\ 
ist   and   2d  prize,    Florence,   for   2 
string  quartets;  prize  of  5,000  francs, 
Bologna,  1889,  for  succ.  grand  opera 
"Guglielmo        Ratcliff"        (Bologna, 
1889);    1897,    dir.    of    mus.-sch.    at 
Bergamo  and  at  church  of  S.  Maria 
Maggiore;    c.    also    2    i-act    operas 
"Gabriella"  and  "Rosalba"   (written 
for  Adelina  Patti,  1893-96),  etc. 
Plaidy  (pli'-de),  Louis,  Hubertusburg, 
Saxony,    Nov.    28,    1810 — Grimma, 
March  3,  1874;  eminent  pf.-teacher; 
pupil  ^  of  Agthe  and  Haase;  at  first 
a  violinist;  1843,  invited  by  Mendels- 
sohn to  teach  at  the  then  new  Leipzig 
Cons.,  and  did  so  till  1865;  wrote 
text-books. 

Plancon  (plan-s6n),  Pol  Henri,  Fumay, 
Ardennes,  June  12,  1854— Paris, 
1914;  famous  barytone;  pupil  of 
Duprez  and  Sbriglia;  d6but,  1877, 
at  Lyons;  1883-93,  at  the  Paris 
Op&ra;  1891-1904,  Covent  Garden 
annually,  and  1893-1906,  at  Met. 
Op.  House,  N.  Y. 

Planquette  (plan-kSt),  (Jean)  Robert, 
Paris,  March  31,  1848 — Jan.  28, 
1903;  studied  comp.  with  Duprato, 
Paris  Cons.,  c.  chansons  and 
"Saynetes"  for  "caf6s-concerts"; 
prod.  succ.  i-act  operetta  "Paille 
d'Avoine"  (1874)  followed  by  others 
incl.  the  still  pop.  comic  opera,  "Les 
Cloches  de  Corneville"  (Folies^ 
Dramatiques,  1877),  given  over  400 
times,  consecutively,  and  widely- 
popular  elsewhere  (known  in  EngL 


DICTIONARY  OF  MUSICIANS 


339 


as  "Chimes  of  Normandy");  later 
works  incl.  "Mam'zdle  Quat'sous" 
/Gait6,  1897)  and  for  London  "The 
Old  Guard"  (1887),  and  "Paul 
Jones1'  (1889). 

Plantade  (plan-tad),  (i)  Chas.  H., 
Pontoise,  1764 — Paris,  1839;  prof,  of 
singing  at  Paris  Cons.;  ct.-conductor 
and  dram,  composer.  (2)  Chas. 
Fran.,  Paris,  1787 — 1870;  son  of 
above;  composer. 

Plants  (plan-ta),  Francis,  Orthez, 
Basses  Pyr6nees,  March  2,  1839 — 
Dax,  Dec.  19,  1934;  noted  pianist; 
pupil  of  Marmontel  at  Paris  Cons.; 
won  i st  prize  after  7  months'  tuition; 
pupil  of  Bazin  (harm.)  then  self- 
taught  for  ip  years,  during  which 
time  he  studied  in  seclusion  in  the 
Pyrenees;  reappeared  with  succ.; 
toured  widely  in  Europe,  from  1872 
until  1900,  when  he  retired  except  for 
occasional  concerts;  c.  transcriptions. 

Platania  (pia-ta'-nl-a),  Pietro,  Catania, 
April  5,  1828 — Naples,  April  26, 
1907;  pupil  of  P.  Raimpndi,  at  the 
Cons,  there;  1863,  dir.  Palermo 
Cons.;  later  cond.  Milan,  1885-1902, 
dir.  R.  Coll.  of  Mus.  at  Naples;  wrote 
a  treatise  on  canon  and  fugue;  c.  5 
operas;  a  symph.  "V Italia";  funeral 
symphony  in  memory  of  Pacini,  fes- 
tival symph.  with  choruses  to  wel- 
come King  Humbert  in  1878,  etc. 

Platel  (pia-tel),  Nicolas  Jos.,  Versailles, 
1777 — Brussels,  1835;  'cellist;  prof, 
and  composer. 

Pla'to,  eminent  Greek  philosopher,  42p 
— 347  B.  c.;  formulated  in  his/*  2V 
maeus"  a  system  of  harm.,  inter- 
preted in  Th.  H.  Martin's  "fitudes 
sur  les  Tim&e  de  Platan,"  etc. 

Play'ford,  (i)  John,  1623 — 1686;  Lon- 
don mus.-publisher.  (2)  Henry,  his 
son  and  successor,  1657 — 1720. 

Pleyel  (pll'el,  or  pl£'-yel),  (i)  Ignaz 
Jfos.,  Ruppertsthal,  near  Vienna, 
June  i,  1757 — at  his  estate  near 
Paris,  Nov.  14,  1831;  pianist,  ct.- 
cond.;  founded,  1797,  at  Paris  a 
piano  factory  later  known  as  Pleyel, 
Wolff  &  Co.;  c.  29  symphs.,  sonatas, 
etc.  (2)  Camille,  Strassburg,  1788 — 
Paris,  1855;  son,  pupil  and  successor 
of  above;  a  pianist  and  composer;  his 
successor  in  business  was  August 
Wolff.  (3)  Marie  F&icite  Denise, 
Paris,  1811  —  St.-Tosse-ten-Noode, 
1875;  wife  of  (2);  pianist  and 
teacher. 

Pliiddemann    (plut'-dS-man),    Martha. 


Kolberg,  1854— Berlin,  1897;  con- 
ductor and  singing  teacher,  writer 
and  composer. 

Plutarch  (Plutar'chos)  (ploo'-tark), 
Chaeronea.  Boeotia,  ca.  50  A.  D. — 
120  (131  ?);  the  Greek  biographer; 
wrote  treatises  "De  musica"  con- 
taining important  data. 

Pochhammer  (pdldb-'-ham-rner),  Adolf, 

b.  Rheine,  Aug.  14,  1864;  pupil  of 
Hamburg   Cons.;   teacher   at   Wies- 
baden Cons.;  1902-28,  dir.  Cons,  in 
Aachen;  c.  songs. 

Pochon  (p6sh'-6£),  Alfred,  b.  Yverdon, 
Switzerland,  1878;  violinist,  com- 
poser; ist  appeared  in  public  at  n; 
pupil  of  C6sar  Thomson,  whose  ass't. 
teacher  he  was  at  Brussels  Cons, 
after  1898;  played  in  Thomson  Quar- 
tet, also  in  orch.  under  Ysaye  there; 
1902  organised  Flonzaley  Quartet  for 
the  Amer.  music  patron,  de  Coppet; 
played  ist  as  leader,  then  as  2nd  vln. 
in  this  group;  c.  vln.  and  chamber 
works  and  made  transcriptions. 

Poenitz  (pa'-nXtsh),  Fz.,  Bischofs- 
werda,  Aug.  17,  1850 — Berlin,  March 
19,  1913;  harpist;  studied  with 
Weitzmann,  Berlin;  after  1861,  at 
the  ct.  opera;  composer. 

Poglietti  (p5l-y£t'-te),  Alessandro,  from 
1 66 1  court  organist;  murdered  by  the 
Turks  in  the  siege  of  Vienna,  1683; 

c.  clavier  pieces. 

Pohl  (p5l),  (i)  K.  FcL,  Darmstadt,  1819 
— Vienna,  1887;  writer.  (2)  Rich- 
ard, Leipzig,  1826 — Baden-Baden, 
1896;  ed.  and  writer  (pen-name 
"Hant")-  (3)  Bd.  Vide  POIXINI. 

Pohlenz  (po'-lSnts),  Chr.  Aug.,  Saal- 
gast,  Niederlausitz,  1790 — Leipzig, 
1843;  organist,  conductor  and  com- 
poser. 

Pohlig  (p6'-Hkh),  Karl,  Teplitz,  Feb. 
10,  1864 — Brunswick,  June  17,  1928; 
pupil  of  Liszt;  cond.  Graz,  Hamburg, 
Covent  Garden,  etc.;  1907 — 191?, 
Phila.  Orch.;  1914-24,  gen'l.  music 
dir.,  Brunswick,  Germany;  c.  orch. 
pieces  and  songs. 

Poiree  (pwa'-ra),  Elie  Exnile  Gabriel, 
Villeneuve,  St.  Georges,  Oct.  9,  1850 
— Paris,  May  26,  1925;  librarian, 
author;  c.  string  quartet,  etc. 

Poise  (pwaz),  Jn.  Alex.  Fd.,  Nlmes, 
1828 — Paris,  1892;  dram,  composer. 

Poisot  (pwa-z5),  Chas.  JSmile,  Dijon, 


340 


DICTIONARY  OF  MUSICIANS 


founder-and  dir.  Dijon  Cons.,  also  from 
t®72oond.Soc.forSacredand  Classical 
Mus.:  dram,  composer  and  writer, 

Poiszl  (poish'-'l),  Jn.  Nepomuk,  Frei- 
herr  von,  Haukenzell,  Bavaria,  1783 
—  Munich,  1865;  dram,  composer. 

Polac'co,  Giorgio,  b.  Venice,  April  12, 
1875;  pupil  Milan  Cons.;  cond.  in 
London,  Italy,  Spain,  South  Amer- 
ica; *0o7,  Royal  Op.,  Wiesbaden; 
1908,  Berlin  Royal  Op.;  1911—12, 
cond,  H.  W.  Savage's  prod,  of  "Girl 
of  the  Golden  West";  1912,  engaged  for 
Met.  Op.,  N.  Y.;  1913  also  at  Covent 
Garden;  1918-31,  cond.  of  Chicago 
Op.;  guest  appearances  in  Europe; 
c.  operas,  "Rahab"  (Budapest),  and 
ForUm&fas,"  etc.;  m.  Edith  Mason; 


(p&'-khow),     G.,     Cremon, 
,    1773  —  Berlin,    1836;   libra- 
zian  and  collector. 
Poldisi  (p61-dS'-ne),  Edtiard,  b.  Pest, 
J»ae   13,    1869;   composer  of  opera 
"Vagabond     and     Princess"      (Pest, 
children's  operas  and  many 
.  piano  pieces, 

owski  (pSl-ddf'-ske-),  pen-name  of 
dy  Dean  Paul,  d.  London,  June 
28,  1932;  composer;  daughter  of  H. 
Wieniewski;  c.  many  modern  works, 
chamber,  pf.  and  vocal  music. 
Pole,  Wim.,  Birmingham,  EngL,  April 
22,  1814  —  London,  Dec.  30,  1900; 
Mus.  Doc.  Oxon.,  1864;  1876-90, 
examiner  in  Mus.  London  Univ.; 
wnter;  c.  Psalm  100  in  cantata-form, 
efcc. 

Petidoro  (po-ir-d5'-ro),  (i)  Giuseppe, 
d.  Naples,  1873;  singing-teacher, 
Naples  Cons.  (2)  Federigo,  Naples, 
-Oct.  £2,  1845  —  near  Naples,  Aug.  14, 
1903;  son  and  pupil  of  above;  studied 
with  Lillo,  Conti  and  d'Arienzo, 
essayist  and  historian  under  pen- 
name  "Acuti." 

Pcflko    (pol'-ko)    (n€e    Vogel),    filise, 
'^Leipzig,    Jan.     13,     1822  —  Munich, 
May  15,    1899;   mezzo-soprano   and 
writer  of  romantic  musical  essays. 
Pollak,  Egon,  Prague,  May  3,  1879  — 
June  14,  1933;  conductor;  was  from 
1917  to  1931  the  gen'l.  music  dir.  of 
t£e    Hamburg    Op.,    and    1929-30, 
cond.  with  the  Chicago  Opera. 
!>dtorok><p61-la-r5'-ls),  (i)  Carlo  Fran- 
CC9CO,    Brescia,    ca.     1653  —  Venice, 
^7225  composer;  organist  and  assist- 
«33ttHOond.  at  St.  Mark's;  c.  3  orato- 
ries, -68  operas,   etc.     His   son  and 
(2)   Antonio,   Venice,,    1680  — 


Venice,    1746;    1723,    cond*    at    St» 
Mark's;  c.  operas. 

Polledro  (p61-la'-dro),  Giov.  Bat, 
Piova,  n,  Turin,  1781 — 1853;  violin- 
ist, cond.  and  composer. 

Polleri  (p61-la'-rg),  Giov.  Bat.,  Genoa, 
June  28,  1855 — Oct.,  1923;  organist; 
from  1887  teacher  in  the  U.  S.;  1894, 
in  Genoa;  from  1898  dir.  of  the 
Cons.:  c.  organ  pieces,  etc. 

Pollini  (p<51-lef-n5),  (i)  Fran.,  Laibach, 
Carniola,  1763 — Milan,  Sept.  17, 
1846;  pianist  and  pf.-prof.,  1809, 
Milan  Cons.;  perhaps  the  first  to 
write  pf  .-music  on  3  staves.  (2)  Bd. 
(rightly  Pohl),  Cologne,  Dec,  16, 
1838 — Hamburg,  Nov.  27,  1897; 
tenor,  later  barytone;  but  more  fa- 
mous as  manager;  his  second  wife 
was  Bianca  Bianchi.  (3)  Cesare, 
Cavaliere  de,  Padua,  July  13,  1858 — 
Jan.  26,  1912;  studied  with  Bazzini, 

.  Milan;  1883-85  dir.  of  a  Cons,  at 
Padua;  resigned  to  write  and  com- 
pose. 

Pollitzer  (p61'4Its-er),  Ad.,  Pesth, 
July  23,  1832 — London,  Nov.  14, 
1900;  violinist;  pupil  of  Bohm  (vin.) 
and  Preyer  (comp.)?  Vienna;  toured 
Europe,  then  studied  with  Alard  at 
Paris;  1851  leader  H.  M.'s  Th., 
London;  later  New  Philh.  Soc.;  prof4 
of  vln.,  London  Acad.  of  Mus.;  1890, 
director. 

Ponchard  (p6n-shar),  (i)  L.  Ant. 
ElSonore,  Paris,  1787 — 1866;  tenoi 
and  prof,  at  the  Cons.  (2)  Chas., 
Paris,  1824 — 1801;  son  of  above; 
teacher  at  the  Cons. 

Ponchielli  (p6n-ki-Sl'-l5),  Amilcare, 
Paderno  Fasolaro,  Cremona,  Aug.  31, 
1834 — Milan,  Jan.  16,  1886;  opera 
composer;  pupil  Milan  Cons.;  organ- 
ist, then  bandmaster,  1881;  cond. 
Piacenza  Cath.  from  1856;  c.  10 
operas,  incl.  "La  Gioconda,"  widely 
popular;  1902  his  son  discovered  a 
MS.  opera  "I  Mori  di  Valenza" 
(composed,  1878—79). 

Poniatowski  (pe-ni-a-tdf'-shki),  Jozef 
(Michal  Xawery  Franciszek  Jan), 
Prince  of  Monte  Rotondo,  Romr , 
1816  —  Chiselhurst,  EngL,  1873; 
tenor  and  dram,  composer. 

Pons  (p6ns),  (x)  Charles,  French  com- 
poser; from  about  1901  active  as 
composer  of  many  operas  of  lighter 
nature,  including  "L'Epreuve," 
"Mourette,"  "La  Voile  d*  Bonheur^ 
"Francaise";  oratorio,  "La  Samara- 
taine";  music  for  various  plays,  n 


DICTIONARY  OF  MUSICIANS 


341 


Mass,  and  piano  works,     (2)   Lily, 
b.  Cannes,  France,  April  16,   1904; 
coloratura  soprano,  of  French-Italian 
parentage;   studied   piano   at   Paris 
Cons,  and  singing  with  Alberti  De 
Gorostiaga;   in   her   native   country 
she  had  fulfilled  only  minor  engage- 
ments   in    various    seaside    resorts, 
making  operatic  debut  at  Mulhouse 
in  "Louise,"  1928;  became  pro  teg  6e 
of  Maria  Gay,  who  discovered  her 
unusual   gifts;    wholly   unknown   in 
America,  she  made  d6but  with  Met. 
Op.  Co.,  New  York,  as  "Lucia,"  Jan.  3, 
1931,    with    sensational    succ.,    and 
immediately  became  leading   mem. 
of  that  co.;  has  sung  in  opera  and 
concert  in  Paris,  Rome,  London  and 
elsewhere  as  one  of  leading  vocalists 
of  the  day;  also  with  wide  following 
in  radio  programmes  and  films. 
PonseUe     (p6n-sS10,     (i)     Rosa,     b. 
Meriden,  Conn.;  dramatic  soprano; 
of    Italian    parents;    family    name, 
Ponzillo;  early  heard  as  church  solo- 
ist in  native  town,  later  as  vaudeville 
singer    with   her    sister;    had    vocal 
instruction  for  opera  from  William 
Thorner  and  Romano  Romani;  was 
brought    to    attention    of    Caruso, 
under  whose  sponsorship  she  made 
Met.  Op.  d£but  as  "Leonora"  in  "Forza 
del  Destine"  in  1918  with  impressive 
success;    until    1936    was    a   leading 
mem.    of   that    co.,    her    r61es    incL 
"Norma,"  "Donna  Anna,"  the  heroine 
in  Spontini's  "La  Vestale"  and  many 
other  Italian  dramatic   works,   also 
"  Car  men"  \  in  these  she  has  shown 
outstanding  beauty  and  opulence  of 
voice;  has  appeared  at  Co  vent  Gar- 
den,   making   a  particular   succ.   as 
"Violetta";  also  in  Italy;  widely  as  a 
recital  and  orchestral  soloist,  and  on 
the  radio.    (2)   Carmela,  her  sister, 
mezzo-soprano;  has  sung  with  Met. 
Op.  and  with  other  Amer.  lyric  organi- 
sations; also  in  concert  and  radio. 
Ponte,  Lorenzo  da.     Vide  DA  PONTE. 
Pop'ov,  Ivan  Gegorovich,  b.  Ekateri- 
nodar,    1859;    pupil    Moscow    Phil. 
School,  from  1900,  director  of  society 
in  Stavropol,   Caucasus;  c.  symph., 
Armenian   rhapsody;    symph.   poem 
"Freedom,"  overture,  "Ivan  the  Ter- 
rible";d.  (?). 

Popper  (p6p'-pe"r),  David,  Prague, 
Dec.  9,  1843 — Baden  near  Vienna, 
Aug.  7,  1913;  prominent  'cellist; 
pupil  of  Goiter  mann,  Prague  Cons.; 
a  member  of  Prince  von  Hechingen's 


orch.,  at  Ldwenburg;  toured  Europe 
with  greatest  succ.;  1868-73,  ist 
'cello,  Vienna  ct.-orch.;  1872  m. 
Sophie  Menter  (divorced,  1886);  c, 
excellent  and  pop.  'cello-pcs.,  a  con- 
certo, etc. 

Porges  (p6r'-ges),  H.,  Prague,  Nov.  25, 
2837 — Munich,  Nov.  17,  1900^  pupil 
of  Miiller  (pf.),  Rummel  (harm.)  and 
Zwonar  (cpt.);  1863  co.-ed.  "  Neue 
Zeitschrift  fur  Musik"'9  friend  and 
champion  of  Wagner;  lived  in 
Vienna;  1867  was  called  to  Munich 
by  King  Ludwig  II.;  pf. -teacher  R. 
Sen.  of  Mus.  and  1871  R.  Mtisik- 
director;  writer  and  composer* 

Por'pora,  Niccold  A.  (wrote  his?  name 
"Niccola,"  printed  it  as  here), 
Naples,  Aug.  19,  1686 — Feb.,  1766; 
eminent  vocal  teacher  at  London, 
1729-36;  ct.-conductor;  as  dram, 
composer,  rival  of  Handel,,  c.  about 
50  operas, 

Porpprino  (-re '-no).     Vide  TTBEKra* 

Porsile  (p6r-se'-l£),  Giuseppe^  b.  Na- 
ples, 1672 — Vienna,  1750;  court 
cond.;  c.  6  operas,  etc. 

Porta  (p6r'-ta),  (i)  Padre  Costaazo, 
Cremona,  ca.  1530 — Padua,  r6oi; 
writer  and  composer.  (2)  Fran. 
della,  Milan,  ca.  1590 — i66;6j  com- 
pose^. (3)  Giov.,  Venice,  ca.  1690 — 
Munich,  1755;  ct.-cond.  and  dram, 
composer. 

Por'ter,  (i)  Walter,  d.  London,.  £659; 
tenor  and  composer.  (2)  Qtuboeyv  D- 
New  Haven,  Conn.,  1897;  composer; 
grad.  Yale  Univ.  Sch,- of  Mug.*,  £921; 
studied  with  Horatio  Parker  and 
David  Stanley  Smith,  wiroiing  two 
prizes;  also  with  d'Indy,in  Paris*  and 
Ernest  Bloch;  taught  mus.  theory, 
Cleveland  Ins t.  of  Mus.,  19 2 2-8;  then 
studied  three  years  in  Paris  on  Gug- 
genheim, Fellowship;  prof,  of  mns.,  * 
Vassar  College,  1932—8;  dean  of  fac- 
ulty, New  England  Cons.,  from  r938; 
c.  symphony  (N.  Y.  Phim.,  1938},  4 
string  quartets,  and  other  orchu, 
chamber  mus.;  Yale  Univ.,  1947.  (3) 
Cole,  Amer.  composer;  studied  Yale; 
c.  stage  shows,  incL  "Kiss  Me,  Kate." 

Portugal  (Portogallo)  (p6r-tii-gal'  or 
p6r-tQ-gal'-lo),  i.e.,  "The  Portu- 
guese", Marcos  A.  (ace.  to  Vascon- 
cellos,  rightly  "Portugal  da  Fon- 
seca,"  not  M.  A.  Simao  as  in  Fetis), 
Lisbon,  March  24,  1762 — of  apo- 
plexy, Rio  de  Janeiro,  Feb.  7,  1830; 
the  most  eminent  of  Portuguese 
composers;  studied  Italy  and  prodr 


342 


DICTIONARY  OF  MUSICIANS 


3  operas  there;  1790  ct.-cond.  Lisbon, 
also  theatre  cond.  and  produced  20 
operas;  1810  followed  the  court  to 
Rio  and  prod,  operas;  1813  dir.  of  a 
Cons,  at  Vera  Cruz. 
Pothier  (p5t-ya),  Bom  Jos.,  Bouze- 
mount,  near  Saint-Di6,  Dec.  7,  1835 
— Dec.  8,  1923;  1866,  prof,  of  theol- 
ogy* Solesmes  monastery;  writer  and 
theorist. 

Pott,  August,  Northeim,  Hanover, 
Nov.  7,  1806 — Graz,  Aug.  27,  1883; 
violinist  and  composer,  pupil  of 
Spohr. 

Porter,  Philip  Cipriani  Hambly,  Lon- 
don, Oct.  2,  1792— -Sept.  26,  1871; 
pianist,  writer  and  composer. 
Pottgiesser  (p6t'-ges-ser),  Karl,  b. 
Dortmund,  Aug.  8,  1861;  pupil  of  H. 
Riemann:  after  1890  lived  in 
Munich;  c,  opera  "  Heitnkehr" 
(Cologne,  1903),  a  Festspiel,  choruses, 
etc^;  chapter  i  of  St.  Paul's  First 
Epistle,  for  voices,  organ  and  orch.; 
oratorio  "Gott  ist  der  L&be";  choruses, 
etc.  v. 

Poueigli,      (poo-a)      (Marie      Octave 
Gexaud)  Jean,  b.  Toulouse,  Feb.  24, 
1876;  studied  with  the  Jesuit  fathers 
at  Toulouse;  at  19  took  up  harmony 
with  Hugounant  of  the  Cons.,  which 
he   entered  in    1897,   receiving   the 
second  harmony  prize  1898;  he  then 
studied    in    Paris    with    Caussade, 
Lenepveu     and     Faure",     receiving 
criticisms  from  d'Indy.     His  comps. 
include  sonata  for  piano  and  violin 
(performed  by  Enesco  and  Aubert, 
1906);  orch.  suite  "Funn"  (1006  and 
1908  at  Lamoureux  concerts),  poem 
with    orch.     "Sentelliere    de   Rtve," 
dramatic  poem  for  solos,  choir  and 
orch.    "Les   Lointains" ;    5-act   lyric 
drama,  "Le  Meneur  de  Louves"\  "Le 
Soir  rdde"  (song  with  orch.),  etc. 
Pcmgin,  Iran.  Aug.  Arthur  (Paroisse), 
Chateauroux,  Indre,  France,  Aug.  6, 
1834 — Paris,    Aug.    8,    1921;    pupil 
Paris     Cons.;     1856-59,    asst.-cond. 
Folies-Nbuvelles;  till  1863,  violinist 
at  Op.-Com.,  then  important  critic, 
essayist    and    biographer;    ed.    the 
supplement  to  "F&if*  (1878). 
Pouishnoff     (poo-esh'-n6f),     I/ev,     b. 
Russia,     Oct.     n,     1891;     pianist; 
studied  at  St.  Petersburg  Cons.,  with 
Essipov,  Rimsky-Korsakoff,  Liadoff, 
dazounoff,       Tcherepnine;        1913 
taught  at  Tiflis  Cons.;  also  led  orch. 
concerts  there;  toured  Russia,  Persia 
and  England,   living  in  the  latter 


country;     one     of     leading     piano 
virtuosi  of  day. 

Poulenc  (poo'-ltink),  Francis,  b.  Paris, 
Jan.    7,    1889;    composer;    mem.    of 
former  Group  of  Six;  pupil  of  Vines 
and   Eloechlin;   one   of   most   gifted 
composers    in    the    little    circle    of 
insouciant   Parisian   modernists   de- 
voted to  lighter  phases  of  music;  his 
works    parody   folk-songs,    military 
marches,  tangos,  etc.,  and  he  often 
changes  his  style  within   a  compo- 
sition;  c.    (ballet  with  voice)    "Les 
Biches,"  prod,  with  succ.  by  Diaghi- 
leff,    Monte    Carlo,    1925    (ballet); 
"Les  Maries  de  la  Tour  Efffel"  (given 
in  N.   Y.   by  Swedish  Ballet);   "Le 
Bestiaire"    for    voice    and    piano; 
"Rhapsodic  Negre"  and  other  cham- 
ber music  pieces;  two-piano  concerto; 
sonata  for  4   hands;    sonata  for   2 
clarinets;   various   song  cycles  with 
small   orch.,   and   some  pop.   piano 
pieces  incl.  "Mouvements  perpetuels," 
op.-com.,  "Mamettes  de  Thiresias." 
Pow'ell,    (i)   Walter,   Oxford,   1697^ 
1744,    counter-tenor.          (2)    Maud, 
Peru,    111.,   Aug.    22,    1868 — Union- 
town,    Pa.,    Jan.    8,    1920;    notable 
American  violinist;  pupil  of  Lewis, 
later   in   Paris    and    of    Schradieck, 
Leipzig,    and    of    Joachim;    toured 
widely    with    success    Europe    and 
America;  d6but  Berlin   Phil.,   1885; 
the  same  year  in  America  with  Theo. 
Thomas  orch.;  married  H.  Godfrey 
Turner.     (3)    John,    b.    Richmond, 
Va.,    1882;    pianist    and    composer; 
pupil    of     Hahr,     Leschetizky    and 
Navratil;  d£but,  Vienna,   1907,  fol- 
lowed by  tours  in  Germany,  France, 
England;  after  1912,  heard  as  soloist 
with  leading  Amer.    orchs.   and  as 
recitalist;   c.   (orch.)    "Negro   Rhap- 
sody," " Natchez-on-the  Hill"',  piano 
and  vln.  concertos,  string  quartets, 
2  yln.   sonatas   (the  "  Virginiesque" 
being  well  known);  3  piano  sonatas 
(subtitled  " Psychologique,"  "Noble9' 
and     "Teutonica");     piano     suites, 
"At  the  Fair33  and  "In  the  South,9' 
etc.;   active   in   folk-music   festival 
movement  in  the  South. 
Pradher  (rightly  Pradere)  (prad-a,  or 
pra-d&r),  Louis  Bartheleray,   Paris, 
1781— Gray,      Haute-Sa6ne,      1843; 
noted  teacher  at  the  Cons,  and  the 
court;  pianist,  and  dram,  composer. 
Prager    (pra'-ger),    Fd>     Chr.    Wm., 
Leipzig,     Jan.     22,     i8i$—London, 
Sept.  i,  i8qi;  son  of  Aloys  P.,  cond.; 


DICTIONARY  OF  MUSICIANS 


343 


''cellist,  later  pianist  ^  and  writer; 
c.  symph.  poem  "Life  and  Love, 
Baffle  and  Victory,"  overture 
"Abellino,"  etc. 

Pratoritis  (pra-ts'-rf-oos)  (Latinised 
form  of  Schulz(e)),  (i)  Gottsclxalk, 
Sabswedel,  1528 — Wittenberg,  1573; 
writer.  (2)  Clip.,  b.  Bunzlau;  pub. 
a  funeral  song  on  Melanchthon 
(1560).  (3)  Hieronymtts,  Hamburg, 
1560 — 1629;  son  of  an  organist; 
organist;  c.  church-mus.,  etc.,  with 
his  son  (4)  Jakob,  d,  1651,  organist; 
(<)  Bartholomaus,  composer,  Berlin, 
1616.  (6)  (or  Praetorius),  Michael, 
Kreuzberg,  Thuringia,  Feb.  15, 
1571 — Wolfenbiittel,  Feb.  15,  1621; 
conductor  and  ct.-organist.  Eminent 
as  a  composer  of  church-  and  dance- 
mus.;  wrote  valuable  historical  "Syn- 
tagma musicum." 

Pratt,  (i)  J.,  Cambridge,  EngL,  1772 — 
1855;  organist  and  composer,  (2) 
Chas.  E.,  Hartford^  Conn.,  1841 — 
New  York,  19012;  pianist,  cond.  and 
composer.  (3)  Silas  Gamaliel, 
Addison,  Vt.,  Aug.  4,  1846— Pitts- 
burgh, Pa.,  Oct.  31,  1916;  prominent 
American  composer  for  orch.;  at  12 
thrown  on  his  own  resources,  became 
a  clerk  in  mus.-houses;  studied  with 
Bendel,  and  Kullak  (pf.),  Wuerst 
and  Kiel  (comp.);  1871  organised 
Apollo  Club,  Chicago;  1875,  returned 
to  Berlin,  and  studied  with  H.  Dorn; 
prod.  "Anniversary  Overture"  there 
1876;  1877,  Chicago;  gave  symph. 
concerts,  1878,  and  prod,  his  opera 
"Zenobia,"  1882,  1885,  gave  concerts 
of  his  own  comp.  Crystal  Palace, 
London;  1890,  pf.-prof.  N.  Y.  Metro- 
politan Cons.;  c.  lyric  opera  "Lucille'9 
(Chicago,  1887);  "The  Last  Inca," 
cantata  with  orch.  which  ran  for 
three  weeks;  2  symphs.  (No.  2, 
"Prodigal  Son"),  "Magdalena's 
Lament"  (based  on  Murillo's  picture) 
for  orch.;  an  excellent  symph.  suite, 
"The  Tempest" ';  a  grotesque  suite 
"The  Brownies"  \  cantata  "Co- 
lumbus." etc.  (4)  Waldo  Selden, 
b.  Philadelphia,  Nov.  10,  1857; 
d.  Hartford,  July  29,  1939;  Mus.  D. 
Syracuse  Univ.;  prof,  music  and 
Hymnology,  Hartford  Theol.  Sem., 
1882-1917;  later  emeritus  prof.; 
taught  Inst.  of  Mus.  Art,  New  York, 
1905-20;  lecturer,  music  history  and 
science,  Smith  Coll.,  1895-1908;  ed.  of 
*New  Encyclopedia  of  Music  and  Mur 
jicians";  author,  "History  of  Music.'1 


"Musical  Ministries  in  the  Church," 
"The  Music  of  the  Pilgrims,"  etc. 
Predieri  (pra-dX-a/-rS),  (i)  Giacomo 
Cesare,  d.  after  1743;  from  1696 
cond.  at  Bologna  Cath.;  c.  oratorios, 
motets,  etc.  (2)  Luca  Ant.,  Bologna, 
1688 — 1767;  ct.-cond.  and  dram, 
comr 


it'l),  Jos.,  Marbach, 
Lower  Austria,  1756 — Vienna,  1823; 
conductor,  writer  and  collector. 

Pteitz  (prlts),  Fz.,  Zerbst,  Aug.  12, 1856 
— July  17,  xpi6;  concert-organist; 
pupil  of  Leipzig  Cons.,  singing- 
teacher,  Zerbst  Gymnasium,  and  can- 
tor at  the  ct.-church;  pub.  a  requiem, 
etc. 

Pren'tice,  Thos.  Ridley,  Paslow  Hall, 
Ongar,  Essex,  1842 — Hampstead, 
1895;  teacher,  pianist  and  writer. 

Pres'sel,  Gv  Ad.,  Tubingen,  1827 — 
Berlin.  1890;  dram,  composer. 

Pressen'da,  Johannes  Franciscus, 
Lequio-Berria,  Jan.  6,  1777 — Turin, 
Sept.  u,  1854;  violin  maker. 

Pres7ser,  Theodore,  Pittsburgh,  Pa., 
July  3,  1848— Philadelphia,  Oct.  27, 
*925j  publisher;  1883,  founded  and 
ed.  The  Etude;  1906,  endowed 
Presser  Home  for  Musicians,  Phila.; 
now  administered  by  Presser  Foun- 
dation; transl.  text-books;  c.  pf  ,-pcs., 
etc. 

Pr6vost  (prS-vo"),  Eugene  Prosper, 
Paris,  Aug.  23,  1809 — New  Orleans, 
Aug.  30, 1872,  conductor  and  singing- 
teacher;  prod,  operas  in  Paris  and 
New  Orleans. 

Preyer  (pri'-Sr),  (i)  Gf.,  Hausbrunn, 
Lower  Austria,  March  15,  1807 — 
Vienna,  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,  symphony,  masses,  etc. 
(2)  Win.  Thierry,  Manchester,  Engl., 
July  4,  1841 — Wiesbaden,  July  15, 
1807;  studied  Bonn  Univ.;  1869-94 
prof,  of  physiology,  Jena;  acoustician. 

Pribik  (pre"-bik),  Joseph,  b.  Bo- 
hemia, 1853;  pupil  Prague  Cons,; 
director  of  opera  in  various  cities; 
from  1894  of  Odessa  Symph.  Orch.; 
c.  suites,  operas,  etc.;  d.  (?). 

Prihoda  (pr6-ho'-da) ,  Vasa,  Vodnany, 
Bohemia,  Aug.  24,  1900;  violin 
virtuoso;  a  pupil  of  Marak  at 
Prague  Cons.;  early  showed  unusual 
musical  talent;  his  i  stmajor  succ ,  came 


344 


DICTIONARY  OF  MUSICIANS 


when  lie  played  in  an  audition  for 
Xoscanini  in  Milan  and  made  his 
d€but  there  in  concert,  1920;  since 
that  time  he  has  played  with  marked 
succ.  in  many  Eur.  cities,  also  visit- 
ing U.  S. 

Prill  (prfl),  K.»  Berlin,  Oct.  22,  1864 — 
Vienna,  Aug.  18,  1931;  son  and  pupil 
of  a  mus.-dir.,  and  pupil  of  Helmich, 
Wirttu  and  Joachim  (at  the  Hoch- 
schule);  violinist;  1883—85  leader 
Bilse's  orch.,  1885  at  Magdeburg; 
from  1891,  of  the  Gewandhaus  Orch., 
Leipzig;  later  at  Nurnberg;  1901,  at 
Schwerin,  after  1897,  Vienna. 
Primavera  (pre'-ma-va'-ra),  Gio- 
vanni Leonardo,  b.  Barletta;  from 
J573>  concertmaster  at  Milan. 
Primrose,  Wm.,  b.  Glasgow;  violist. 
Pri'oris,  Johannes,  organist  at  St. 
Peter's,  Rome,  1490;  1507,  cond.  to 
Louis  XII  of  France;  c.  motets,  etc. 
Prodi  (prokh),  H.,  BShmisch-Leipa, 
July  22,  1809 — Vienna,  Dec.  18, 
1878;  noted  vocal  teacher  and  con- 
ductor; c.  comic  opera  and  famous 
vocal  variations. 

Proch£zka  (pro-khaz'-ka),  Rudolf, 
Freiherr  von,  Prague,  Feb.  23,  1864 
— Mar.  23,  1936;  pupil  of  Fibich  and 
Griinberger;  magistrate  in  Prague; 
author  of  biographies;  c.  dramatic 
tone  story.  "Das  Gl&ck"  (Vienna, 
1898);  sacred  melody  "Christus,"  etc. 
Prod'homme,  Jacques  Gabriel,  b. 
Paris,  Nov.  28,  1871;  writer  on 
music;  pupil  of  the  ficple  des  Hautes 
fitudes  Sociales;  critic  on  various 
Paris  papers;  1897—9100  in  Munich;  au- 
thor, *'Le  Cycle  Berlioz,"  "H.Berlioz," 
"sa  Vie  et  Ses  Oeuvres,"  "Les  Sympho- 
nies de  Beethoven"  "La  Jeunesse  de 
Beethoven,"  "Paganini,"  "Wagner  et 
la  France,"  "L'Opera — 1669-1 gz 5,"  etc. 
Pro'fe,  (or  Profius)  Ambrosius,  Bres- 
lau,  Feb.  12,  1589 — Breslau,  Dec.  27, 
1661;  organist;  c.  church  music. 
Prokofieff  (pro-ko'-fe-Sf),  Serge,  b. 
Russia,  Apr.  23 , 1891— <l.  March,  1953; 
composer,  pianist;  began  study  with 
Taneieff  in  Moscow  at  10,  later  with 
Gliere;  won  Rubinstein  prize  at 
Petersburg  Cons,  where  he  studied 
with  Liadoff,  Rimsky-KorsakofE  and 
the  elder  Tcherepnine;  while  a 
student  c.  2  operas,  6  sonatas,  many 
piano  pieces,  all  unpublished;  made 
d6but  as  comp.  at  18,  when  Peters- 
burg Soc.  for  Contemp.  Music  gave 
a  concert  of  his  works;  early  pub.  a 


Sinfonietta,    several   symph,   poems 
and  his  ist  and  2nd  piano  concertos; 
after   graduation   went   to   London, 
where    DiaghilefF    commissioned    a 
ballet,  which  became  his  "Scythian" 
suite  for  orch.;  all  his  works  show 
bold  harmonic  clashes,  many  are  in 
a  somewhat   satiric   vein;   the   ma- 
jority exploit  an  original  rhythmic 
style  and  spirit  of  experimentation; 
c.    (operas)    "The    Gambler"    (later 
revised);    "The    Love    of  the    Three 
Oranges"  (Chicago  Op.,  1922);  "The 
Flaming  Angel";   (ballets)   "Chout," 
"Le    Pas   d'Acier,"    "The    Prodigal 
Son,"  "Sur  le  Borysthene";   (orch.) 
6  symphonies,  Divertimento,  also  a 
much  played  "Classical"  symphony 
in  Mozartian  vein;    (piano)    5   con- 
certos,   5    sonatas,    various    smaller 
pieces;    two    vln.    concertos,    sonata 
for  2  violins  unaccompanied,  'cello 
concerto,  string  quartet,  ballade  for 
'cello;    mus.    fable    for    reciter    and 
orch.,    "Peter   and  the   Wolf"    (also 
arr,  as  ballet);  ballet,  "Cinderella"-, 
music  for  film,   "Alex.    Nevsky." 
Proksch  (pr6ksh),  (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,  1836 — 1900. 
Proske  (pr6sh'-kS),  K.,  Grobnig,  Up- 
per  Silesia,    1794 — Ratisbon,    1861: 
canon,  conductor,  publishei,  editor 
and  composer. 

Proth'eroe,  Daniel,  Wales,  Nov.  24^ 
1866 — Chicago,  Feb.  24,  1934;  choral 
conductor;  after  1894  in  Milwaukee, 
where  he  led  Arion  Chorus  beginning 
1899;  from  1904  in  Chicago;  taught 
Sherwood  Music  School;  Mus.  D. 
Prout  (prowt),  (i)  Ebenezer,  Oundle,.. 
Northamptonshire,  March  i,  1835 — 
Hackney  near  London,  Dec.  5,  1909; 
prominent  theorist  and  composer. 
Save  for  a  few  piano  lessons  as  a  boy, 
and  with  Chas.  Salaman,  wholly 
self-taught.  B.A.  London  Univ., 
1854;  1859  took  up  music;  1861-73, 
organist  Union  Chapel,  Islington; 
1861-85,  pf.-prof.  at  the  Crystal 
Palace  Sch.  of  Art;  from  1876  prof, 
of  harm,  and  comp.  at  the  Nat. 
Training  Sch.;  1879,  at  the  R.  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." 


DICTIONARY  OF  MUSICIANS 


345 


1894,  prof,  of  mus.,   Dublin  Univ.; 

1895,  Mus.   Doc.  h.  c.   Dublin  and 
Edinburg  Univ.     Pub.   many  valu- 
able   and    original     treatises,     incl. 
"Harmony"     (1889,     10     editions); 
"Counterpoint,      Strict      and      Free" 

rTC/%^S-      "  D/vwJ 


col  Form"  (1893);  "Applied  Forms" 
(1895);  "The  Orchestra"  (1898- 
IQOO);  c.  4  symphs.,  2  overtures, 
"Twelfth  Night"  and  "Rokeby"; 
suite  de  ballet  for  orch.;  suite  in  D; 
cantatas;  a  Magnificat,  Evening 
Service,  Psalm  126  (St.  Paul's,  1891); 
Psalm  100  "The  Song  of  Judith" 
(Norwich,  1867),  "Fre^om"  (1885), 
all  with  orch.,  2  organ-concertos,  2 
prize  pf. -quartets,  etc.  (2)  Louis 
Beethoven,  b.  London,  Sept.  14, 
1864;  son  of  above;  from  1888, 
prof,  of  harm.  Crystal  Palace  Sen.  of 
Art;  pub  treatises;  c.  Psalm  93. 

Pruckaer  (prook'-n&r),  (i)  Dionys, 
Munich,  May  12,  1834 — Heidelberg, 
Dec.  i,  1896;  pianist  and  teacher. 
(2)  Caroline,  Vienna,  Nov.  4,  1832 — 
June  1 6,  1908;  succ.  operatic  so- 
prano; 1855,  suddenly  lost  her  voice; 
1870  opened  a  Sch.  of  Opera;  pub. 
a  vocal  treatise  (1872)  for  which  she 
was  made  Prof. 

Prudent  (pru-dan)  (B  etude-Prudent), 
fimile,  Angoulfeme,  1817 — Paris, 
1863;  pianist  and  composer. 

Prume  (priim),  (i)  Fran.  Hubert, 
Stavelot,  near  Li6ge,  1816 — 1849; 
ct.-prof.  and  composer.  (2)  Fz.  H., 
nephew  of  the  above.  Vide  JEHIN- 
PRTJME. 

Prumier  (priim-ya),  (i)  Ant.,  Paris, 
1794 — 1868;  harpist;  prof,  at  the 
Cons.,  and  composer.  (2)  Ange 
Conrad,  1820 — Paris,  1884;  son, 
pupil  and  successor  of  above. 

PruniSres  (prun-yer),  Henry,  b.  Paris, 
May  24,  1886;  critic  and  writer  on 
music;  pupil  of  Rolland;  Litt;  D.; 
after  1919  ed.  La  Revue  Musicale; 
founded  modern  concerts;  noted  mu- 
sicologist; d.  Nanterre,  Apr.  n,  1942. 

Puccini  (poot-chS'-nS),  (i)  Giacomo, 
b.  Italy,  1712;  pupil  of  Padre  Mar- 
tini; organist;  c.  church-music.  (2) 
Antonio,  b.  1747;  son  of  above;  a 
church-music  and  (ace.  to  F6tis)  op- 
eras; m.  di  capp.  to  Republic  of  San 
Lucca;  his  son  and  successor  (3)  Do- 
menico,  1771 — 1815;  c.  church-music 
manv  comic  operas  his  son  (4) 


Michele,  1812 — 1864;  pupil  of  Mer- 
cadante;  lived  at  San  Lucca  as 
church  and  opera-composer;  his  son 
(5)  Giacomo,  Lucca,  Italy,  Dec.  23, 
1858 — Brussels,  Nov.  29,  1924;  noted 
opera  composer;  pupil  of  Angeloni  at 
Lucca;  then  of  A.  Ponchielli,  Milan 
Cons.,  graduating  with  a  "Capriccio 
sinfonico"\  1893,  prof,  of  comp. 
there;  prod,  i-act  opera  "Le  Villi'* 
(Milan,  1884);  extended  later  to 
2  acts  and  prod,  at  La  Scala;  succ. 
"Edgar"  (La  Scala,  Milan,  1889^; 
succ.  lyric  drama  "Manon  Lescaut" 
(Turin,  1893);  widely  popular  opera 
seria  "La  Boh$me"  (Turin,  i8<>6)i 
succ.  "La  Tosca"  (London,  Co  vent 
Garden,  IQOO);  "Madame  Butterfly" 
(La  Scala,  Milan,  1904)  a  dire  failure 
and  withdrawn  after  one  perform- 
ance; revised  and  brought  out  at 
Brescia  the  same  year  with  a  success 
that  has  spread  all  over  the  world, 
being  sung  throughout  America  in 
English  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 
Girl  of  the  Golden  West"  ("La 
Fanciulla  del  West"},  and  first  prod. 
New*  York  Met.  Op.,  1910,  with 
much  success  and  later  in  Italy, 
England,  etc.  He  prod,  also  "La 
Rondine,"  a  lighter  work  on  Viennese 
models  (Monte  Carlo,  1917);  his 
Trittico  or  triptych  of  i-act  operas, 
"II  Tabarro,"  "Suor  Angelica"  and 
"Gianni  Schicchi"  (Met.  Op.,  1918), 
the  last  of  which,  a  sparkling  comedy, 
has  won  a  place  in  the  repertoire  and 
has  been  called  his  most  musicianly 
work;  and  his  last  opus,  "Turandot," 
not  quite  complete  at  his  death, 
but  with  a  final  scene  by  Alfano, 
after  his  sketches,  prod,  at  La  Scala, 
April  25,  1926.  A  master  of  fluent 
melody,  he  gave  perhaps  the  most 
pop.  works  to  the  modern  opera 
stage,  despite  his  lack  in  thorough 
contrapuntal  knowledge;  this  was 
compensated  for  by  skilled  sense  of 
the  theatre  and  an  instinct  for 
creating  mood,  pathos  and  atmos- 
phere. He  also  c.  some  vocal  and 
instrumental  works  not  for  the  stage. 
Memoirs  by  Dry,  Specht,  etc. 
Puclialski  (poo-chal'-shki),  Vladimir 
V.,  1848 — Feb.  23,  1933;  pupil 
at  St.  Petersburg  Cons.;  pianist: 
1876-1913,  director  Imperial  Music 


346 


DICTIONARY  OF  MUSICIANS 


School  in  Kiev;  c.  Little-Russian 
fantasie  for  orch.,  opera,  etc. 
Puchat  (poo'-khat),  Max,  Breslau, 
1859 — in  the  Karwendel  Mountains, 
Aug.  12,  1919;  pianist,  pupil  of  Kiel, 
at  Berlin;  1884,  Mendelssohn  prize; 
c.  symph.  poems  "Euphorion"  and 
"Tragodie  eines  Kunstters"*,  over- 
ture; a  pf. -concerto,  etc. 
Pucitta  (poo-chft'-ta),  V.,  Civitavec- 
chia, 1778 — Milan,  1861;  cembalist 
and  dram,  composer. 
Pudor  (poo'-d6r),  (i)  Jn.  Fr.,  De- 
litzsch,  Saxony,  1835 — Dresden, 
1887;  from  1859  proprietor  Dresden 
Cons.  (2)  Dr.  H.,  b.  Dresden,  1865; 
son  and  successor  of  above  in  the 
Cons.,  which  he  sold  1890  to  E. 
Krantz;  wrote  many  essays. 
Puente  (poo-Sn'-te*),  Giuseppe  del, 
Naples,  April,  1845 — Philadelphia, 
May  25,  1900;  operatic  barytone 
and  teacher. 

Puget  (pu-zha),  Paul  Chas.  M.,  b. 
Nantes,  June  25,  1848;  pupil  of  Paris 
Cons.,  took  Grand  Prix  de  Rome; 
prod,  comic  opera  "Le  Signal"  (Op. 
Com.,  1886);  mod.  succ.  opera 
"Beaucoup  de  Bruit  Pour  Rien" 
("Much  Ado  about  Nothing')  (ibid., 
1899);  incid.  mus.  to  "Lorenzaccio," 
etc.;  d.  (?). 

Pugnani  (poon-ya'-ne),  Gaetano, 
Turin,  Nov.  27,  1731 — July  15, 
1798;  famous  violinist,  dram,  com- 
poser and  conductor. 
Pugni  (poon'-yg),  Cesare,  Genoa,  1805 
— St.  Petersburg,  1870;  dram,  com- 
poser. 

Pugno  (pun-yo),  Raoul,  Montrouge, 
Seine,  France,  June  23.  1852 — 
Moscow,  Jan.  3,  1914  (while  on 
concert  tour);  prominent  pianist; 
pupil  of  Paris  Cons.;  1866  took  ist 
pf.-prize,  1867,  ist.  harm.-prize; 
1869,  ist  org.-prize;  organist  and 
cond.,  Paris;  from  1896,  prof,  of 
piano  at  the  Cons*;  after  1897  toured 
U.  S.  with  succ.;  Officier  of  the  Aca- 
d6mie;  prod,  an  oratorio,  "La 
Resurrection  de  Lazare",  comic  opera 
*'  Ninetta";  2  op6ras  bouffes;  3  i-act 
vaudev.-operettas  "La  Petite  Pou- 
cette"  (Berlin,  as  "Der  Talisman"); 
etc. 

JPttjol  (poo'-h61),  Joan  Bautista,  Barce- 
lona,    ^836 — Dec.,     1898;     pianist, 
author  of  a  method;  c.  piano  pieces. 
Pttfiti     (poo-lS'-tS),     Leto,     Florence, 

1818 — 1875;  composer. 
Poato,  G,    Vide  STICH. 


Puppo  (poop'-po),  Gius.,  Lucca,  June 
12,  1749 — in  poverty,  Florence,  April 
19,  1827;  an  eccentric  violinist,  con- 
ductor and  composer. 

Purcell  (ptir'-sel),  (i)  H.,  d.  London, 
1664;  gentleman  of  the  Chapel 
Royal,  and  Master  of  the  Choristers 
at  Westminster  Abbey.  (2)  Henry 
(called  "the  younger")?  London, 
1658 — pf  consumption,  Dean's  Yard, 
Westminster,  Nov.  21,  1695;  nephew 
of  (i);  one  of  the  most  eminent 
of  English  composers.  Chorister 
Chapel  Royal,  and  studied  with 
Cooke,  Humfrey,  and  Dr.  Blow;  at 
1 8  c.  mus.  for  Dryden's  tragedy, 
"Aurungzebe,"  and  ShadwelTs 
comedy  "Epsom  Wells";  pub.  a  song; 
at  19  an  overture,  etc.,  to  Aphra 
Behn's  tragedy,  "Abdelasor,"  and 
an  elegy  on  Matthew  Locke;  at  20  c. 
music  to  Shadwell's  version  of 
"Timon  of  Athens";  1680,  incid. 
mus.,  and  a  short  opera  "Dido  and 
JEneas"  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  "A 
Song  to  Welcome  Home  His  Majesty 
from  Windsor."  From  1680  organist 
Westminster  Abbey,  where  he  fs 
buried.  1682,  organist  Chapel 

Royal;  1683,  composer-in-ordinary 
to  the  King,  Has  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  Pur- 
cell  Society  (organised,  1876)  has 
issued  many  of  his  works  in  a  pro- 
posed complete  edition  (18  vols.  had 
appeared  before  1922)  and  has  given 
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  B*ittanicus"  in  2 
parts  (Part  i,  1698,  Part  ii,  1702). 
W.  Barclay  Squire  issued  his  original 
works  for  harpsichord  (4  vols.)- 
Playford's  "Theatre  of  Mustek" 
(1687),  and  other  colls,  contain  many 
of  his  works;  "PurcelVs  Sacred 
Music"  pub.  in  6  vols.  (Novello). 
Biographical  works  on  P,  have  been 


DICTIONARY  OF  MUSICIANS 


347 


pub.  by  Arundell,  Cummin gs,  H. 
Dupr6,  Holland,  Runciman,  Scholes, 
Westrup.  (See  article,  page  510.) 
(3)  Edw.,  1689 — 1740;  son  of  above; 
organist  and  composer.  (4)  Daniel, 
London,  1660 — Dec.  12,  1717;  bro. 
of  above;  1688,  organist;  1695,  succ. 
his  bro.  as  dram,  composer;  c.  incid. 
mus.  to  ten  dramas;  odes,  incl. 
funeral  ode  for  his  brother,  etc. 

Putea'nus,  Ericius  (Latinised  form  of 
H.  Van  de  Putte)  (poot'-tS)  (Galli- 
cised  tc  Dupuy),  Venloo,  Holland, 
1574 — Louvain,  1646;  professor  and 
writer. 

Pyne  (pin),  (i)  Geo.,  1790 — 1877,  Engl. 
male  alto.  (2)  Jas.  Kendrick,  1852 — - 
1938;  Engl.  organist.  (3)  Louisa 
Fanny,  England,  1832 — London, 
March  20,  1904;  soprano,  daughter 
of  (2);  pupil  of  Sir  G.  Smart;  dlbut, 
Boulogne,  1849;  1868,  m.  Frank 
Bodda,  a  barytone. 

pythag'oras,  Samos,  Greece,  ca.  582, 
B.  c. — Metapontum,  ca.  500  B.  c.; 
famous  philosopher  and  mathemati- 
cian; developed  an  elaborate  system 
of  musical  ratios. 


Quadflieg  (kvSt'-flekh),  Gerhard 
Jakob,  Breberen,  Aug.  27,  1854 — 
Elberfeld,  Feb.  23,  1915;  pupil 
Church  Music  School,  Regensburg; 
from  1 88 1,  teacher;  from  1898,  rector 
at  Elberfeld;  also  cond.  and  organist; 
c.  7  masses,  many  motets,  etc. 

Quadrio  (kwa'-drt-o),  Fran.  Saverio, 
Ponte,  Valtellina,  1695 — Milan, 
1756;  theorist. 

Quagliati  (kwal-ya'-te),  Paolo,  d. 
Rome,  ca.  1627;  cembalist;  c.  one 
of  the  earliest  mus.  dramas  (1611). 

Quantz  (kvSnts),  Jn.  Joachim,  Ober- 
scheden,  Hanover,  1697 — Potsdam, 
I773J  noted  flutist;  inv.  the  second 
key  and  sliding  top  for  tuning  the 
flute;  taught  Frederick  the  Great;  c* 
500  flute  pcs. 

Quaranta  (kwa-rSn'-ta),  Fran.,  Naples, 
1848 — Milan,  1897;  singing- teacher 
and  dram,  composer. 

Quarenghi  (kwS.-ran'-g§),  Guglielmo, 
Casalmaggiore,  1826 — Milan,  1882; 
'cellist,  professor,  conductor  and 
dram,  composer. 

Quarles,  Jas.  Thos.,  b.  St.  Louis, 
Nov.  7,  1877;  organist;  pupil  of 
Galloway,  Vieh,  Ehling  and  Kroeger; 
also  with  Widor  in  Paris;  active  for 


many  years  in  native  city,  indL 
Scottish  Rite  Cath.;  founded  Choral 
Art  Soc.  there;  after  1913  at  Cornell 
Univ.,  where  asst.  prof.,  1916;  prof, 
of  music,  Univ.  of  Missouri,  1923. 

Quatrem&re  de  Quincey  (kat-ru-m&r'- 
dtt-k&n-se'),  Ant.  Chrysostome,  Paris, 
1755 — 1849;  writer. 

Queisser  (kvis'-ser),  Carl  T.,  D6ben, 
1800 — Leipzig,  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. 

Qufl'ter,  Roger,  b.  Brighton,  Nov. 
i,  1877;  composer;  pupil  of  .Knorr, 
Frankfort;  c.  serenade  for  orch. 
part  songs,  and  many  attractive 
songs:  d.  London,  Sept.  21,  1953- 

Quinauit  (kg-no),  (i)  Philippe,  Paris, 
1635 — 1688;  Lully's  librettist.  (2) 
J.  Bap.  Maurice,  d.  Gien,  1744; 
singer,  actor  and  composer  of 
ballets,  etc. 

Quiroga  (ke-rS'-gaO,  Manuel,  b.  Ponta- 
vedra,  Spain,  1890;  violinist;  pupil 
of  R.  Cons,  in  Madrid  and  Paris 
Cons.;  one  of  leading  virtuosi  of  vln.; 
has  toured  Spain,  France,  England 
and  (1936)  U.  S.  A. 


Raabe  (ra'-bS),  Peter,  b.  Frankfort- 
am-Oder,  Nov.  27,  1872;  pupil  of 
Bargiel;  cond.  at  various  theatres; 
1899  a^  tke  Opera,  Amsterdam; 
1903,  dir.  Kaim  orch.,  Munich; 
1907—20,  court  cond.  Weimar;  c. 
song  and  piano  pieces;  after  1910, 
curator  of  Weimar  Liszt  museum; 
also  writer  on  this  composer  and 
head  of  a  committee  to  publish  his 
complete  works;  1920—34,  gen.  mus. 
dir . ,  Aachen;  1935,  pres .  of  Reich  Mus . 
Chamber;  d.  Frankfort-on-Oder,  1945, 

Rabaud  (ra/-bQ),  (i)  Henri,  b.  Paris, 
'Nov.  10,  1873 — Sept.  i2,  1949; 
pupil  of  Massenet  and  G6dalge  at 
Paris  Cons.;  awarded  Prix  de  Rome, 
1894;  son  of  the  'cellist  (2)  Hippo- 
lyte  R.  (who  also  taught  at  the 
Cons.);  he  served  as  cond.  at  the 
Op.-Comique  and  after  1908  also 
at  the  Op6ra;  1914-18,  chief  cond. 
at  latter  house;  1918-19,  he  suc- 
ceeded Muck  as  cond.  of  Boston 
Symph.  Orch.;  after  1920  he  was 
dir.  of  the  Paris  Cons,  (vice  Faure")', 
c.  many  works  in  a  witty,  modern 


348 


DICTIONARY  OF  MUSICIANS 


style    of    considerable   colourfulness 
and  charm,  including  the  operas  "La 
Fitte     de     Roland33     (Op.-Comique, 
1904);  "Le  Premier  Glawe"  (B6ziers 
Axena,  1908);  "Marouf"  (Paris,  1914* 
also    at   Met.   Op.   and   with    succ. 
at  Ravinia  Op.,  his  most  effective 
stage     composition);      "Antoine     et 
Cleopafre";    "UAppel    de    la    Mer" 
(i-act,    Op.-Comique,     1924);     also 
the  oratorio  "Job73  (1900);  4  Psalms 
for    soloists,    chorus    and    orch.;    2 
symphonies;     symph.     poem,     "La 
Procession   Nocturne"  after  Lenau's 
"Faust"     a     much     played     work; 
"Poeme   Virgttien"  and  "Dvoertisse- 
meni  sur  des  Airs  Russes,"  both  for 
orch.;.  string  quartet,  songs,,  etc. 
Rachmaninoff  (rakh-ma'-ne-n6f),  Ser- 
gei, Novgorod,  April  i,  1873 — Los 
Angeles,    March    28,    1943;   pianist, 
composer;  pupil  of  SHoti  (pf.)  and 
Arensky    (theory),    Moscow    Cons,; 
1891,  took  gold  medal;  c.  succ.  i-act 
opera     "Aleko"     (Moscow,     1893); 
in    1899    appeared    in    London    as 
conductor   and   pianist;   from    1903 
piano  prof.  Maryinski  Inst.  for  Girls, 
Moscow;  1912,  appointed  chief  cond. 
of   the    Opera    St.    Petersburg.     He 
began    a    series    of    notable    tours 
of  Europe  and  (after  1905)  in  the 
U*  S.,  where  from  1917  he  made  his 
home,  as  his  estates  in  Russia  had 
been    confiscated    by    the    Soviets, 
He  also  passed  summers  at  his  villa 
outside  Paris.    His  fame  as  a  pianist 
had  become  world-wide  and  he  had 
toured  each  season  as  one  of  the  most 
feted  of  performers,  invariably  play- 
ing to  large  audiences.     His  comps. 
include  3  symphonies;  the  tone  poem, 
"Isle  of  the  Dead'3;  4  piano  concertos; 
And  a  virtuosic  work  for  piano  and 
orch.,    "Rhapsody    on    a    Theme    of 
Paganini,"  in  which  he  has  toured 
extensively     as     soloist;     (chamber 
music)   "Elegiac"   Trio;   sonata  for 
'cello    and    piano;     (choral    works) 
"The  Bells'9  (after  the  poem  by  Poe); 
six    choruses    for    women's    voices; 
"Fate3'*r  (operas)  "Aleko33  and  "Fran- 
cesca  da  Rimini"  ^  a  mass  and  other 
church  music;  also  a  large  number 
of  piano  works,  incl.  several  famous 
Preludes,    and    songs    which    have 
gained     a    wide    popularity.     (See 
article,,  page  510.) 

ftadecke  (ra'-dSk-S),  (i)  Rudolf,  Ditt- 
mannsdorf,  Silesia,  1829 — Berlin, 
2893;  conductor,  teacher  and  com- 


poser.    (2)  (Albert  Martin],  Robert, 

Dittmannsdorf,  Oct.  31,  1830 — 
Wernigerode,  June  21.  1911;  bro. 
of  above;  pupil  of  Leipzig  Cons.; 
ist  vln.  in  Gewandhaus;  then  pianist 
and  organist,  Berlin;  later  mus.-dir. 
ct.-th.;  1871-84,  ct.-cond.;  1883-88, 
artistic  dir.  Stern  Cons,;  1892,  dir. 
•  R.  Inst,  for  Church-mus.,  Berlin;  c. 
i-act  "Liederspiel,"  "Die  Monk- 
guter"  (Berlin,  1874);  a  symph.,  2, 
overtures,  etc.  (3)  Ernst,  Berlin, 
Dec.  8,  1866 — Winterthur,  Oct.  8, 
1920;  son  of  above;  Dr.  Phil,  at 
Berlin  U.,  1891;  1893,  town  mus.- 
director  and  teacher,  Winterthur, 
Switzerland. 

Radeglia  (ra-dal'-ya),  Vittorio,  b, 
Constantinople,  1863;  composer;  c. 
operas  "Colomba"  (Milan,  1887), 
"Amore  occulto"  (Constantinople, 
1904),  etc.  C.  Turkish  National 
Anthem. 

Radicati  (ra-dl-ka'-ts),  Felice  da 
Mauzizio  di,  Turin,  1778 — Vienna, 
April  14,  1823;  violinist,  court  com- 
poser and  1815  cond.  at  Bologna;  c. 
operas  and  important  chamber  music. 
Radoux  (ra-doo),  (i)  Jean  Theodore, 
Li6ge,  Nov.  $,  1835 — March  21, 
1911;  pupil  at  the  Cons.;  1856, 
teacher  of  bassoon  there;  1859,  wort 
Prix  de  Rome  with  cantata  "Le  Juif 
Errant33-,  studied  with  Hal6vy,  Paris; 
1872,  dir.  Liege  Cons.;  pub.  biog. 
of  Vieuxtemps  (1891);  prod.  2  comic 
operas,  oratorio  "Cain"  cantata 
"La  Fille  de  Jephte33  with  orch.,  2 
symph.  tone-pictures,  symph.  over- 
ture, Te  Deum,  etc.  His  son  (2) 
Charles,  b.  Li6ge,  1877;  composer: 
pupil  of  Cons,  in  native  city;  won 
Prix  de  Rome,  1907;  after  1900  prof, 
at  Liege  Conservatory. 
Radziwill  (rat'-tsS-vil),  Prince  Anton 
H.,  Wilna,  1775 — Berlin,  1833;  singer 
and  composer;  patron  of  Beethoven 
and  Chopin. 

Raff  (raf),  (i)  Vide  RAAJF.  (2)  Jos. 
Joachim,  Lachen,  Lake  of  Zurich, 
May  27,  1822 — Fran kf ort-on-Main, 
June  25,  1882;  eminent  composer, 
particularly  in  the  field  of  program- 
matic romanticism.  Son  of  an  organ- 
ist; too  poor  to  attend  a  Univ.  he 
became  a  sch. -teacher;  was  self- 
taught  in  comp.  and  vln.;  1843  he 
sent  some  comps.  to  Mendelssohn, 
who  recommended  them  to  a  pub- 
lisher. R.  accompanied  Liszt  on  a 
concert-tour  as  far  as  Cologne  (1846), 


DICTIONARY  OF  MUSICIANS 


349 


where  he  lived  for  a  time,  writing  re- 
views; later  von  Btilow  played  his 
"Concertstiick";  his  opera  "  Ktinig 
Alfred"  was  accepted  at  the  ct.-th., 
but  forestalled  by  the  Revolution  of 
1848;  it  was  prod,  in  revised  form  at 
Weimar  by  Liszt.  He  pub.  (1854) 
a  pamphlet  Die  Wagnetrfrage.  1854, 
m.  the  actress  Doris  Genast, 
and  obtained  vogue  at  Wiesbaden  as 
a  pf  .-teacher.  1863,  his  first  symph., 
"An  das  Vaterland"  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  prolific 
and  uneven  composer.  The  Raff 
Memorial  Soc.  pub.  at  Frankfort 
(1886)  a  complete  list  of  his  works 
which  incl.  n  symphs.:  No.  i,  "An 
das  Vaterland"',  famous  No.  3,  in 
F,  "Im  Walde"  (1869);  No.  5,  op. 
177  in  E,  the  noted  "Lenore";  No.  6, 
op.  189  in  D  min.,  "Gelebt,  gestrebt- 

felitten,  gestritten-gestorben,  umwor- 
en";  No.  7»  op.  201  in  Bb,  "In  den 
Alpen";  No.  8,  op.  205,  A,  "Friih- 
lingskl&nge";  No.  9,  op.  208,  E 
min.,  "Im  Sommer";  No.  n.  op. 
214,  A  min.,  "Der  Winter"  (post- 
humous);  a  Sinfonietta;  4  suites 
No.  2,  "In  ungarischer  Weise"; 
No.  3,  "ItdLienisch"-,  No.  4,  "Thu- 
ringer";  9  overtures,  the  "Jubel- 
Fest-  '  and  '  * Concert-ouverture* ' ; 
"Festouverture"  for  wind;  "Min 
feste  Burg,"  "Romeo  and  Juliet,"- 
"Othello,"  "Macbeth,"  and  "The 
Tempest";  festival  cantata  "Deutsch- 
lands  Auferstehung" ',  "De  profundis"* 
in  8  parts,  op.  141;  "Im  Kahn" 
and  "Der  Tanss"',  for  mixed  chorus 
"Morgenlied"  and  "Einer  Ent- 
schlafenen";  "Die  Tageszeiten"; 
"Die  Jttgerbraut  und  die  Hirtin,"  2 
scenes  for  solo  voice;  all  with  orch; 
the  oratorio  "Weltende,  Gericht, 
Neue  Welt"  (Revelations)  (Leeds, 
1882);  "Die  Sterne"  and  "Dorn- 
rSschen"  (MS.);  4  unperformed  op- 
eras, "Die  Eifers&chtigen"  (text  and 
music);  "Die  Parole,"  "Benedetto 
Marcello"  and  "Samson"',  mus.  to 
Genast's  "Bernard  von  Weimar" 
(1858);  "Ode  au  printemps"  for  pf. 
and  orch.;  "La  fete  d*  Amour"  suite 
for  vln.  with  orch.;  2  'cello-concertos; 
much  chamber-mus.,  incl.  op.  192  (3 
nos.,  "Suite  alterer  Form,"  "Die 
schone  Mttllerin."  "Suite  in  canon- 


form");  5  vln.  sonatas;  'cello-sonata; 
2  pf. -sonatas,  suites,  sonatinas; 
"  Homage  au  n6o-romantisme,"  "Mes- 
sagers  du  printemps,"  "Chant  d'On- 
dine"  (arpeggio  tremolo  6tude), 
Ungarische  Rhapsodie,  Spanische 
Rhapsodie,  2  Etudes  m61odique,  op. 
130  ("Cavatina,"  and  the  famous 
"La  Fileuse"),  many  paraphrases; 
many  songs,  incl.  2  cycles,  " Maria 
Stuart"  and  "Bonded  de  Nesle";  30 
male  quartets,  etc. 

Rahlwes  (ral7-vas),  Alf.,  b.  Wesel,  Oct. 
23,  1878;  pupil  Cologne  Cons.;  con- 
ductor; d.  Halle,  Apr.  20,  1946. 

Raida  (ri'-da"),  Karl  Alex.,  Paris, 
Oct.  4,  1852 — Berlin,  Nov.  26,  1923; 
pupil  Stuttgart  and  Dresden  Cons.; 
theatre-cond.  in  various  cities;  1878- 
92,  in  Berlin;  from  1895,  Munich;  c. 
operettas,  ballets,  etc. 

Raif  (rif),  Oscar,  The  Hague,  1847 — 
Berlin,  1899;  pianist,  teacher  and 
composer. 

Raimondi  (ra-S-m6n'-dS),  (i)  Ignazio, 
Naples,  1733 — 1813;  violinist  and 
composer.  (2)  !*•>  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.  62 
operatic  works  and  21  ballets,  4 
masses  w.  orch.  and  5  oratorios,  be- 
sides the  monumental  trilogy  "Giu- 
seppe" (Joseph)  consisting  of  3 
oratorios  ("Potifar,"  "Giuseppe" 
"Giacobbe"),  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  a  16,  etc., 
incl.  a  fugue  for  64  parts  in  16  choirs; 
he  wrote  essays  explaining  his 
methods. 

Rains,  Leon,  b.  New  York,  1870;  basso; 
pupil  of  Saenger  and  Bouhy;  1897— 
99,  sang  with  Damrosch  Op.  Co.; 
at  Dresden  Op.  in  latter  year;  Met. 
Op.,  1908;  afterward  teacher  and 
lecturer  in  N.  Y.  and  on  Pacific 
Coast. 

Raisa  (ra-5'-za),  Rosa,  b.  Bielostok, 
Poland;  soprano;  studied  at  Naples* 
Cons,  with  Marchisio;  d6but,  Parma, 
1913;  was  member  Chicago  Op.  for 
many  seasons,  singing  Italian  dram, 
rdles  principally,  also  "Elisabeth";  a 
voice  of  notable  size  and  strong 


350 


DICTIONARY  OF  MUSICIANS 


dram,    talents;    has    also    appeared 
at  Covent  Garden,  La  Scala  (where 
created     title     role     in     Puccini's 
"Turandot"),  Rome,  Buenos  Aires, 
Paris    Op.,    Mexico    City,    Rio    de 
Janeiro,  Los  Angeles,  Ravinia  and 
Detroit  Operas,  in  Amer.  premiere 
of  Rocca/s  "The  Dybbuk"  (in  Eng- 
lish)   with    last    organisation;    m. 
Giacomo  Rimini,  barytone. 
Ramann      (ra'-man),      "IA-nat      Main- 
stockheim,  near  Kitzingen,  June  24, 
i  £33 — Munich,     March    30,     1912; 
pupil  of  Franz  and  Frau  Brendel, 
Leipzig;     1858,    founded    a    mus.- 
seminary  for  female  teachers,  1865— 
oo,  a  mus.-sch.  at  Niirnberg;  pub. 
treatises  "and  composed.     Author  of 
life  of  Liszt  (3   vols.),   1880-94,  a 
translation    of    his    literary    works, 
and  a^ "  Lisst-Padagogium"  (5  vols.), 
his  piano  works  with  annotations. 
Rameau    (r&-m6),     (i)     J.    Philippe, 
Dijon,  Sept.  25,  1683 — of  typhoid, 
Paris,   Sept.   12,   1764;  eminent  as 
theorist,  composer  and  organist.   At 
7  he  could  pla3r  at   sight  on   the 
clavecin  any  music  given  him;  from 
10  to  14  he  attended  the  Jesuit  ColL 
at  Dijon;  but  taking  no  interest  in 
anything  but  music  was  dismissed 
and  left  to  study  music  by  himself. 
He  was  sent  to  Italy,  1701,  to  break 
of!  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 
Clermpnt  (where  lived  his  brother 
(2)  Claude,  a  clever  organist,  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  be- 
came    organist.  Sainte-Croix-de-la- 
Bretonnerie;     and     c.     songs     and 
dances  for  pieces  by  .Piron,  at  the 
Op.-Com.;  1726,  he  pub.  his  epoch- 
making   "Nouveau  systeme  de   mu~ 
sigue  theorique"  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  classification  of  choicb 
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-progressions  of  a 
composition.  His  theories  provoked 
much  criticism,  but  soon  won  Mni 
pupils  from  far  and  wide  and  the 
pre-eminence  as  theorist  that  he  en* 
joyed  as  organist.  He  followed  his 
first  theoretic  treatises  with  5  other 
treatises.  He  now  obtained  the 
libretto  "Samson"  from  Voltaire 
(whom  he  strikingly  resembled  in 
appearance)  but  the  work  was  re- 
jected on  account  of  its  biblical 
subject.  "Hippolyte  et  Aricie," 
libretto  by  Abb6  Pelegrin,  was  prod, 
at  the  Op€ra,  1733,  with  so  little 
succ.  that  he  was  about  to  renounce 
the  stage,  but  his  friends  prevailed 
and  he  prod.,  1735,  the  succ.  ballet- 
opera  "Les  Indes  Galantes9"  and  at 
the  age  of  54  his  masterpiece  "Castor 
et  Pollux,"  a  great  succ.  as  were 


Navarre,"  "Les  Fetes  de  Polhymnie," 
and  "Le  Temple  de  la  Gloire"  (1745), 
"Les  Ettes  de  V  Hymen  et  de  I* Amour, 
ou  les  Dieux  d'Egypte"  (1747), 
"Zais"  (1748),  "Pygmalion"  (1748), 
"Platte  ou  Junon  jalouse,"  "Nets" 
and  "Zoroastre"  (the  "Samson" 
music  with  another  libretto)  (1740). 
"Acantke  et  Cephise,"  "La  Guir- 
lande,"  and  "La  Naissance  d'Osiris" 
(1751),  "Daphnis  et  $LgU,"  "Lycis 
et  Delie"  and  "Le  Retour  d'Astree" 
(i753>>  "Anacrton,"  "Les  Surprises 
de  V Amour,"  and  "Les  Sybarites" 
(i757)>  "Le$  Paladins"  (1760).  He 
c.  also  others  not  prod.  His  mus.  is 
full  of  richness,  novelty  and  truth, 
though  he  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  King  made  him  chamber- 
composer.  His  patent  of  nobility 
was  registered,  just  before  his  death. 
He  c.  also  many  books  of  mus.  for 
clavecin,  etc.;  of  these  a  complete 


DICTIONARY  OF  MUSICIANS 


351 


ed.  Is  pub.  by  Steingraber,  edited  by 
Riemann.  In  1895  a  complete  ed. 
of  Ms  works  was  begun  by  Durand, 
Saint-Saens  and  Malherbe,  including 
his  cantatas  and  motets.  Biog.  by 
du  Charger  (1761),  Nisard  (1867), 
Griqne  (1876).  Other  memoirs  by 
Chabanon,  Maret,  Poisot,  Pougin, 
Garraud,  Brenet,  Laurencie,  and 
Laloy. 

Ra'min,  Gflnther,  b.  Carlsruhe,  Ger- 
many, Oct.  15,  1898;  organist;  pupil 
of  St.  Thomas  School,  Leipzig,  and 
Cons,  in  that  city;  after  1918  org, 
at  St.  Thomas'  Church  there;  later 
at  Dresden  Kreuzkirche;  also  active 
as  choral  cond.;  has  toured  widely  as 
organ  virtuoso,  incl.  U.  S. 

Randegger  (rSLnx-dSd-jSr),  Alberto, 
Trieste,  April  13,  1832 — London, 
Dec.  18,  191  r;  pupil  of  Lafont 
(pf.),  and  Ricci  (comp.);  at  20 
prod.  2  ballets  and  an  opera,  "// 
Lazzarone,"  in  collab.  with  3  others, 
at  Trieste;  then  th.-cond.  at  Fiume, 
Zara,  Sinigagli,  Brescia  and  Venice, 
where  he  prod,  grand  opera  "Bianca 
Capello"  (1854);  ca.  1854,  London, 
as  a  singing-teacher;  1868  prof,  of 
singing,  R.  A.  M.;  later  dir.  and  a 
member  of  the  Committee  of  Manage- 
ment; also  prof,  of  singing  R.  C.  M.; 
1857  cond.  It.  Opera,  St.  James's 
Th.;  1879-85,  Carl  Rosa  company; 
and  from  1881,  the  Norwich  Triennial 
Festival.  Wrote  "Primer  on  Sing- 
ing" C.  comic  opera  "The  Rival 
Beauties"  (London,  1864);  the  isoth 
Psalm  with  orch.  and  org.  (Boston 
Jubilee,  1872);  dram,  cantata  "Fri- 
dolin"  (1873,  Birmingham);  2  dram, 
scenes  "Medea"  (Leipzig,  1869)  and 
"Sajfo"  (London,  1875);  cantata, 
"Wertker's  Shadow"  (Norwich,  1902), 
etc. 

Randhartinger  (rant-hart'-ing-e'r), 

Benedikt,  Ruprechtshofen,  Lower 
Austria,  1802 — Vienna,  1893;  at  10 
soprano;  conductor  and  composer 
of  over  600  works. 

Randolph,  Harold,  Richmond,  Va., 
Oct.  31,  1861 — Northeast  Harbor, 
Me.,  July  6,  1927;  pupil  of  Mrs. 
Auerbach  and  Carl  Faelten,  at  Pea- 
body  Cons.,  Baltimore;  from  1898  its 
director;  pianist,  played  with  Boston 
Symph.,  etc. 

RangstrSm  (rSng'-strSm),  Ture,  b. 
Stockholm,  TSTov.  30,  1884 — May 
ii,  1947;  composer;  studied  with 
Julius  Hey  in  Berlin,  1905-07;  also 


for  a  short  time  comp.  with  Johan 
Lindegren  in  his  native  city  and  with 
Pfitzner  in  Berlin;  active  as  music 
critic  of  the  Stockholms  Dagblad  and 
as  singing  teacher  for  a  time;  1922- 
25,  cond.  Gothenburg  Musikverein 
symph.  concerts;  1919,  mem.  of  R. 
Acad.  of  Music,  Stockholm;  c, 
(operas)  "Die  Kronbraut"  (Stutt* 
gart,  1919),  "Middelalderig"  (Stock- 
holm, 1918);  also  3  symphonies, 
chamber  music,  choral  works,  more 
than  100  songs,  etc. 

Raoul  de  Coucy.     Vide  COUCY. 

Rapee  (ra'-pa),  Erno,  b.  Budapest, 
June  4,  1891;  conductor;  grad.  with 
honours  from  Cons,  in  native  city; 
early  appeared  as  pianist;  came  to 
U.  S.  as  dir.  of  Hungarian  Op.  Co., 
1913;  cond.  of  leading  N.  Y.  film 
theatres,  incl.  the  Rialto;  later 
musical  dir.  of  Capitol  and  Roxy 
Theatres;  for  a  time  of  the  Capitol 
in  Berlin,  where  he  made  guest 
appearance  with  Philh.,  also  of  orchs, 
in  Vienna  and  Budapest;  later  assoc. 
with  Warner  Bros,  and  First  Nat'l. 
Studios,  Hollywood,  and  more  re- 
cently mus.  dir.  of  Nat'l.  Broadcast- 
ing Co.  and  cond.  of  notable  serief 
of  concerts  by  Gen'l.  Motors  Symph. 
Orch.,  Radio  City  Mus.  Dir.  1933- 
45.  ,d.  New  York,  June,  1945. 

Rap'pold,  Marie  (ne'e  winteroth), 
b.  Brooklyn,  N.  Y.,  i88o(?);  soprano, 
sang  in  London  at  10;  studied  with 
Oscar  Saenger  and  sang  in  concert; 
from  1905  Met.  O. 

Rappoldi  (rap-p61'-d§),  (i)  Eduard^ 
Vienna,  Feb.  21,  1831 — Dresden, 
May  1 6,  1903;  pupil  at  the  Cons.; 
1854-61,  violinist  ct.-opera;  leader 
at  Rotterdam,  then  teacher  Hoch- 
schule,  Berlin;  then  leader  opera- 
orch.,  Dresden,  and  1893  head 
vln.-teacher  at  the  Cons.;  c.  chamber- 
mus.,  etc.  (2)  Laura  Rappoldi- 
Kahrer  (ka'-rSr),  Mistelbach,  near 
Vienna,  Jan.  14,  1853 — Dresden, 
Aug.  i,  1925;  wife  of  above;  pianist; 
pupil  of  Vienna  Cons,  and  of  Liszt. 

Raselius,  Andreas,  Hahnbach,  upper 
Palatinate,  ca.  1563 — Heidelberg, 
Jan.  6,  1602;  court  cond.  and  comp. 

Rastrelli  (ras-tr SI '-!§),  (i)  Jos.,  Dres- 
den, 1799 — 1842;  ct.-conductor  and 
dram,  composer;  son  and  pupil  of 
(2)  Vincenzo,  1760 — 1839. 

Ras(o)umovski  (ra-zoo-m6f 7-  shkft 
Count  (from  1815  Prince)  Andreas 
Kyrillovitch,  Nov.  2,  1752 — Sept. 


352 


DICTIONARY  OF  MUSICIANS 


23,  1836;  Russian  ambassador  at 
Vienna,  1793-1809;  to  whom  Bee- 
thoven dedicated  the  3  quartets,  op. 
59* 

Ratez  (r£-t£s),  JSmile  P.,  Besan^on, 
Nov.  5,  1851— Lille,  Aug.  25,  1905; 
pupil  of  Bazin  and  Massenet  at  Paris 
Cons.j  vla.-player,  Op.-Com.; 
chorusm.  under  Colonne;  1891,  dir. 
the  Lille  branch  of  the  Paris  Cons.; 
prod.  2  operas  "Ruse  d' Amour" 
(Besancon,  1885),  and  succ.  "Lyde- 
ric"  (Lille,  1895);  c.  a  symph.  poem 
with  soli  and  chorus,  "Scenes  heroi- 
quesy"  etc. 

Rathaus  (rat'-has),  Karel,  b.  Tarnopol, 
Poland  (then  Austria),  Sept.  16, 
1895;  composer  in  radical  modern 
style;  pupil  of  Schreker  in  Vienna 
and  Berlin;  his  early  orch.  works, 
an  overture  and  "  Tanzst&ck"  were 
heard  in  Berlin  soon  after  the  war; 
his  first  opera,  "Der  letzte  Pierrot," 
prod,  at  the  Berlin  State  Op.,  1927, 
showed  highlv  original  methods; 
succ.  was  gained  by  his  opera, 
"Fremde  Erde,"  at  the  same  theatre 
in  1931,  a  morbid  study  of  the  fate 
befalling  refugees  in  America;  also 
c.  (operas)  "Sergeant  Grischa," 
"Schweik,"  and  <f  Uriel  Acosta," 
tech.)  2  symphonies,  suite,  etc.; 
(chamber  music)  2  string  quartets, 
Serenade  for  4  wind  instruments  and 
piano;  (choral)  "Pastorale  und  Tanz- 
weiset  "Lied  ohne  Worte,'*  prof. 
Queens  Coll.,  N.  Y.,  1941. 

Rauchenecker  (row'-kh£-nSk-er),  G. 
Wm.,  Munich,  March  8,  1844 — 
Elberfeld,  July  17,  1906;  pupil  of 
Th.  Lachner,  Baumgartner  and 
Jos,  Walter  (vln,);  dir.  Avignon 
Cons.;  1873,  mus.-dir.  at  Winterthur; 
1874,  prod,  prize  cantata,  "  Niklaus 
von  der  Fliie"  (Zurich  Music  Festi- 
val); for  one  year  cond.  Berlin  Philh. 
Concerts;  1889,  mus.  dir.  at  Elber- 
feld, where  he  prod.  3  succ.  operas, 
"Die  letzten  Tage  von  Thule"  (1889), 
"Ingo"  (1893),  and  "Sanna"  (i-act, 
1893);  c.  also  "Le  Florentin"  (1910 
prod.);  a  symph.,  etc. 

Rauzzini  (ra-ood-ze'-nS),  (i)  Venanzio, 
Rome,  1747 — Bath,  Engl..  1810; 
tenor  and  dram,  composer.  (2)  Mat- 
tea,  d.  1791;  bro.  of  above;  dram, 
composer. 

Ravel  (ra-v£T)y  Maurice,  Ciboure, 
France,  March  7,  1875 — Paris,  Dec. 
28,  1937;  one  of  the  most  brilliant 
and  resourceful  of  modern  composers. 


not  slavishly  a  follower  in  the  tradi- 
tion of  Debussy,  but  amplifying  the 
imDressionistic  formulae  with  an  in- 
dividual quality  and  virtuosity.  His 
birthplace  is  in  the  Pyrenees,  anc? 
childhood  impressions  of  Spanish 
music  are  evident  in  some  of  his 
works.  At  12  he  took  up  res.  in 
Paris,  where  he  entered  the  Cons,  in 
1899,  a  pupil  of  G6dalge.  In  190? 
he  won  2nd  Prix  de  Rome,  but  ii» 
1905,  although  he  had  already  com 
posed  some  of  his  early  piano  works, 
his  brilliant  string  quartet  and  his 
song  cycle  "Sheherazade,"  he  was  ex- 
cluded from  the  competition.  This 
summary  action  resulted  in  a  con- 
troversy on  the  part  of  his  admirers, 
and  as  a  result  the  head  of  the  Cons., 
Theo.  Dubois,  resigned.  Further 
controversy  over  the  merits  of  R. 
was  stirred  in  1007,  when  his  "His- 
toires  Naturelles"  for  voice  and  piano 
were  premier ed,  this  opus  dividing 
listeners  into  two  camps  on  the  ques- 
tion whether  or  not  he  was  an  imita- 
tor of  Debussy.  His  music  steadily 
gained  public  following,  with  the 
publication  of  his  brilliant  "Rhap- 
sodie  Espagnole"  for  orch.,  the  piano 
suite,  "Gaspard  de  la  Nuit,"  and  the 
spirited  one-act  opera,  "L'Heurt 
Espagnole"  with  its  element  of  satire 
(Op.-Comique,  1911).  The  ballet, 
"Daphnis  et  Chloe"  (one  of  R.*s  most 
inspired  works)  was  prod,  by  Diaghi- 
leff  in  1912  to  much  applause.  In 
recent  years  almost  everything  from 
his  pen  has  been  greeted  with  en- 
thusiasm, perhaps  the  two  outstand- 
ing successes  in  his  orch.  production 
being  the  virtuosic  "La  Valse"  an 
"apotheosis"  of  the  dance,  which  uses 
all  the  modern  wizardry  of  instru- 
mentation to  create  a  brilliant  and 
kaleidoscopic  picture;  and  the  some- 
what overrated  "Bolero,"  which  de- 
velops a  monotonous  dance  theme  by 
a  process  of  repetition  until  the  effect 
on  the  hearer  is  almost  hypnotic 
(created  to  be  danced  by  Ida  Rubin- 
stein). His  piano  concerto  and  con- 
certo for  the  left  hand  alone  (com- 
posed for  Paul  Wittgenstein)  show 
cerebral  manipulation  of  material 
that  in  some  instances  is  trite  despite 
its  engaging  flippancy.  His  princi- 
pal works,  in  addition  to  those  al- 
ready named,  include  the  charming 
series  of  richly  coloured  nursery  pic- 
tures for  orch.,  "Ma  Mere  L'Oye" 


DICTIONARY  OF  MUSICIANS 


353 


(French  equivalent  of  Mother  Goose) ; 
his  scintillant  orchestration  of  Mous- 
sorgsky's  "Pictures  from  an  Exhibi- 
tion"; a  nursery  opera,  "L3  Enfant  et 
les  Sortileges ,"  in  which  a  naughty 
child  is  punished  when  his  toys  come 
to  life;  his  popular  Introduction  and 
Allegro  for  flute  and  string^  quartet; 
chamber  works,  incl.  a  trio  and  a 
septet,  and  a  large  number  of  much- 
played  piano  pieces,  some  artistic 
songs  and  vln.  works.  A  biog.  of 
R.  has  been  written  by  Roland- 
Manuel.  (See  article,  pp.  512—16.) 

Ra'venscroft,  (i)  Thos.,  1593 — Lon- 
don, 1635  (?);  prominent  early  Eng- 
lish composer  and  writer.  (2)  John, 
d.  1740;  violinist,  London. 

Ravera  (rS.-ya'-ra),  Niccolfc  Teresio,  b. 
Alessandria,  Italy,  Feb.  24,  1851 — 
(?);  pupil  Milan  Cons.;  won  first 
prizes  for  pf .,  organ  and  coxnp. ;  cond. 
Th.-Lyrique  de  la  Gal6rie-Vivienne, 
Paris;  c.  7  operas. 

Ravina  (ra-ve'-na),  J.  H.,  Bordeaux, 
May  20,  1818 — Paris,  Sept.  30,  1006; 
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  Leborne;  made  tours;  1861, 
Chev.  of  the  Legion  of  Honour;  c.  a 
concerto,  etc. 

Raway  (rS/vl),  Erasme,  Ligge,  June  2, 
1850 — Brussels,  Oct.,  1918;  priest, 
teacher  and  cathedral  cond.  at  Li6ge; 
c.  church  works,  Hindu  scenes,  a 
dramatic  dialog.  "Freya,"  etc. 

Raymond  (rS'-m6n),  G.  M.,  Chamb&ry, 
1760 — 1839;  acoustician. 

Rea  (rS),  Wm.,  London,  March  25, 
1827 — Newcastle,  March  8,  1903; 
articled  pupil  of  Jpsiah  Pittmann;  at 
1 6,  organist;  studied  with  Sterndale 
Bennett  (pf.,  comp.  and  instr.)  then 
at  Leipzig  and  Prague;  returned  to 
London,  and  gave  chamber-concerts; 
1856,  founded  the  Polyhymnian 
Choir;  organist  at  various  churches; 
c.  anthems,  etc. 

Reading  (rSd'-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. 
(3)  John,  1674 — 1720;  organist. 

Reay  (r§,)3  Samuel,  Hexham,  EngL, 
March  17,  1822 — Newark-on-Trent, 


July  21,  1905;  a  pupil  of  Henshaw 
and  Stimpson;  1841,  organist  St. 
Andrew's,  Newcastle;  song-school- 
master, Newark  Parish  Ch.  and 
cond.  Philh.  Soc.;  c.  Psalm  102,  with 
string-orch.;  Communion  Service, 
etc. 

Rebel  (ru-bel),  (i)  J.  Ferry,  Paris, 
1 66 1 — 1747;  conductor  and  com- 
poser. (2)  Fran.,  Paris,  1701 — I77SJ 
violinist  and  dram,  composer. 

Rebello  (ra-bel'-lo),  Joao  Lourenco 
(Joao  Scares),  Caminha,  1609 — San 
Amaro,  Nov.  16,  1661,  eminent  Por- 
tuguese composer. 

Reber  (rii-ba),  Napoleon  H.,  Miihl- 
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  operas,  etc. 

Rebicek  (ra'-bl-tsfik),  Josef,  Prague, 
Feb.  7,  1844 — Berlin,  March  24, 
1904;  violinist;  pupil  Prague  Cons.; 
1861,  Weimar  ct.-orch.;  1863,  leader 
royal  th.,  Wiesbaden;  1875,  %•  Mus.- 
Dir.;  1882,  leader  and  op.-dir.  Imp. 
Th.  Warsaw;  1891,  cond.  Nat.  Th., 
Pesth;  1893,  at  Wiesbaden;  1897, 
cond.  Berlin  Philh.  Orch. 

Rebikov  (r£b'-*'-k6f),  Vladimir  Ivano- 
vich,  Krasnojarsk,  Siberia,  June  i 
(N.  S.),  1866 — Yalta,  Crimea,  Dec.  i, 
1920;  pupil  Moscow  Cons.,  and  in 
Berlin;  1897—1902  cond.  in  Kishinev; 
later  in  Berlin  and  Vienna;  theorist 
and  composer  of  originality,  as  in 
his  piece  "S  atari*  s^  Diversions,"  his 
"Melomimik,"  lyric  scenes  in  pan- 
tomime, i-act  fairy  opera,  "Der 
Christbaum"  etc. 

Rebling  (rap '-ling),  (i)  Gv.,  Barby,  Mag- 
deburg, July  10,  1821 — Magdeburg, 
Jan.  9,  1902;  pupil  of  Fr.  Schneider 
at  Dessau;  1856,  R.  Mus.-Dir.; 
1858,  organist  Johanniskirche;  1846, 
founded  and  cond.  a  church  choral 
soc.;  1897,  c.  Psalms,  "a  cappella" 
'cello-sonata,  etc.  (2)  Fr.,  Barby, 
Aug.  14,  1835 — Leipzig,  Oct.  15, 
1900;  pupil  of  Leipcig  Cons,  and  of 
Gotz  (singing);  1865-78,  tenor  at 
various  theatres;  from  1877,  singing- 
teacher  Leipzig  Cons. 

Red  lie  ad,  Richard,  Harrow,  EngL, 
1820 — May,  1901;  studied  at  Mag- 
dalen Coll.,  Oxford;  organist  of  St. 
Mary  Magdalene's  Ch.,  London; 
ed.  colls.;  c.  masses,  etc. 

Ree  (ra),  (i)  Anton,  Aarhus,  Jutland, 
1820 — Copenhagen,  1886;  pianist. 


354 


DICTIONARY  OF  MUSICIANS 


teacher  and   writer.     (2)   Louis,   b. 
Edinburgh,  1861;  pianist. 

Reed,  (i)  Thos.  German,  Bristol,  1817 
— Upper  East  Sheen,  Surrey,  1888; 
pianist  and  singer*  In  1844  he  m. 
(2)  Priscilla  Horton  (1818 — 1895),  a. 
fine  actress  and  contralto.  Their 
entertainments  were  continued  by 
their  son  (3)  Alfred  German  (d. 
London,  March  10,  1895).  (4)  Robt. 
Hopke,  and  (5)  "Wm.,  bros.  of  (i); 
'cellists. 

Reeve,  Wm.,  London,  1757 — 1815;  c. 
operettas. 

Reeves,  (i)  (John)  Sims,  Woolwich, 
Sept.  26,  1818  (ace.  to  Grove, 
Shooters  Hill,  Oct.  21,  1822) — 
London,  Oct.  25,  1900;  noted  tenor; 
at  14  organist  of  North  Cray  Ch.; 
learned  the  vln.,  'cello,  oboe  and 
bassoon;  and  studied  with  J.  B. 
Cramer  (pf.)  and  W.  H.  Cailcott 
(harm.);  d6but  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.;  d€but  in  Italian 
opera,  1848,  at  H.  M.'s  Th.,  also  in 
oratorio  at  the  Worcester  and  Nor- 
wich Festivals,  the  same  year;  retired 
in  1891,  but  on  account  of  reverses, 
reappeared  in  1893;  and  1898  made 
succ.  tour  of  South  Africa;  pub.  "Life 
and  Recollections"  (London,  1888); 
he  m.,  1850,  (2)  Emma  Lucombe, 
opera  and  concert  soprano.  (3) 
Herbert,  his  son  and  pupil,  studied 
at  Milan;  concert-d6but,  1880. 

Refice  (ra-fe'-cha),  Licinio,  b.  Rome, 
Feb.  12,  1885;  composer;  a  Roman 
Catholic  priest;  pupil  of  Boezi,  Falchi 
and  Renzi,  at  St.  Cecilia  Li  ceo;  after 
1910  taught  liturgical  music  at  Pon- 
tifical School  of  Sacred  Music;  1911, 
cond.  Capella  Liberiana  at  Church 
of  S.  Ma.  Maggiore;  c.  many  motets, 
masses,  cantatas,  and  a  sacred  opera, 
"Cecilia,"  which  had  marked  succ, 
in  Rome  and  Buenos  Aires* 

Regan,  Anna.     Vide  SCHIMON-REGAN. 

Reger  (ra'-ger),  Max,  Brand,  Bavaria, 
March  19,  1873 — Leipzig,  May  11, 
1916;  pupil  of  Lindner  and  H.  Rie- 
mann;  important  composer,  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;  1905  he  taught 
counterpoint  at  the  Royal  Academy j 
1907-08  taught  composition  at  Mu- 
nich Cons.,  and  was  University 
music  dir.;  1908  was  named  Royal 
Prof,  and  Dr.  Phil,  by  Jena;  1910 
Mus.  D.  Berlin  U.;  in  1911,  he  be- 
came General  Music  Dir.  at  Meinin- 
gen,  cond.  Meiningen  orch.,  con- 
tinuing to  teach  one  day  a  week  at 
Leipzig  Cons.  He  toured  with  the 
orch.,  1912.  His  compositions  are 
exceedingly  numerous,  and  include  a 
Sinfonietta,  op.  90,  symph.  prologue 
to  a  tragedy,  op.  108,  "Lustpiel" 
overture  (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  Verkl&rten" 
for  choir  and  orch.,  "An  die  Hojf- 
nung"  for  contralto  and  orch.  (1912); 
three  orch.  pieces  "Nocturne,"  "El* 
fenspuk,"  and  "Helios"  (1912); 
organ  fantasie  and  fugue,B-A-C-H; 
violin  suite  op.  103,  sonata  op.  42, 
for  violin  alone;  tone-poems  for 
pianos,  "Aus  meinem  Tagebuch"; 
cantatas,  male  and  mixed  choruses, 
and  many  beautiful  sacred  and  secu- 
lar songs..  His  music  as  a  whole  is 
marked  6y  elaborate  formal  and 
contrapuntal  structure,  sometimes 
developed  to  the  point  of  pedantry. 
R.,  though  a  strong  influence  upon 
German  musicians  of  his  time,  repre- 
sents a  type  of  comp.  in  whom  pon- 
derous scientific  knowledge  and  great 
practical  ability  are  unleavened  by  a 
sense  of  proportion.  In  the  field  of 
organ  comp.  he  holds  an  honourable 
place.  Biog.  also  thematic  catalogue 
of  his  works,  by  Fritz  Stein. 

Regis  (r&'-zhgs),  Jns.,  Belgian  cptist.; 
contemporary  of  Okeghem. 

Regnal,  Fr.     Vide  PR.  D'EKXANGER. 

Regnart  (or  Regnard)  (rSkh'-nSrt),  (i) 
Jacob,  Netherlands,  1540 — Prague, 
ca.  1600;  Innsbruck,  cond.;  populai 
composer.  His  brothers  (2)  Fz.,  (3) 
1C,  and  (4)  Pascasius,  also  c.  songs. 

Rehbaum  (ra'-bowm),  Theobald,  Ber- 
lin, Aug.  7,  1835 — Feb.  2,  1918;  pupil 
of  H.  Ries  (vln.)  and  Kiel  (comp.); 
c.  7  operas  incl.  "Turandot"  (Berlin, 
1888),  etc. 

Rehberg  (r§/-bSrkh),  (i)  Willy*  Morges, 
Switz.,  1863 — Mannheim,  1937;  son 
and  pupil  of  (2)  Fr.  R.  (a  mus.- 


DICTIONARY  OF  MUSICIANS 


355 


teacher);  later  studied  at  Zurich 
Mus.-Sch.  and  Leipzig  Cons.;  pf.- 
teacher  there  till  1890;  1888-90, 
cond.  at  Altenburg;  1890,  head  pf.- 
teacher  Geneva  Cons.;  1892,  also 
cond.  Geneva  Municipal  Orch.;  1907, 
taught  Hoch  Cons.,  Frankfort;  1917, 
dir.  Mannheim  Hochsch.;  1921—26, 
dir.  Basel  Cons.;  c.  vln.-sonata,  pf.- 
sonata,  etc.  (3)  Walter,  b.  Geneva, 
1900;  son  of  (2);  pianist. 

Rehfeld  (ra'-f£lt),  Fabian,  Tuchel, 
W.  Prussia,  Jan.  23,  1842 — Berlin, 
Nov.  ii,  1920;  violinist;  pupil  ^of 
Zimmermann  and  Griinwald,  Berlin, 
1868,  royal  chamber-mus.;  1873, 
leader  ct.-orch. 

Reicha  (ri'-kha),  (i)  (rightly  Rejcha, 
ra'-kha),  Jos.,  Prague,  1746 — Bonn, 
1795;  'cellist,  violinist,  and  cond.  at 
Bonn.  (2)  Anton  (Jos.),  Prague, 
Feb.  25,  1770 — Paris,  May  28,  1836; 
nephew  and  pupil  of  above;  flutist, 
vla.-player,  and  teacher. 

Rehkemper  (ra'-kSmp-er),  Heinr.,  b. 
Schwerte,  1894;  barytone;  Munich 
Op.,  after  1926. 

Reichardt  (rl'-khSrt),  (i)  Jn.  Fr., 
Konigsberg,  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  operas  and  in- 
fluential Singspiele;  also  c.  7  symphs., 
a  passion,  etc.,  and  notable  songs. 
(2)  Luise,  Berlin,  1779 — 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'-khel),  (i)  Ad.  H.  Jn.,  Turs- 
znitz,  W.  Prussia,  1817 — Berne, 
March  4,  1896;  pupil  of  Dehn  and 
L.  Berger;  Berlin;  pf.-teacher,  Paris; 
1857-67,  taught  comp.  at  Dresden 
Cons.;  1867,  municipal  mus.-dir. 
Berne,  Switz.;  c.  pf. -concertos,  etc. 
(2)  Fr.,  Oberoderwitz,  Lusatia,  1833 
— Dresden,  1889;  cantor  and  org.- 
composer. 

Reicher-Kindermann  (rf'-khSr-kfci'- 
dSr-man),  (i)  Hedwig,  Munich,  1853 
— Trieste,  1883;  soprano;  daughter 
of  the  barytone,  A.  Kindermann;  m. 
(2)  Reich er,  an  opera  singer. 

Reichmann  (rikh'-man),  Th.,  Rostock, 


March  15,  1849 — Marbach,  May  22, 
1903;  barytone,  pupil  of  Mantius, 
Elsler,  Ress  and  Lamperti;  1882-89, 
ct.-opera  Vienna;  1882,  created 
"Amfortas"  in  "Parsifal,"  Bayreuth; 
1889-90,  New  York;  then  Vienna. 

Reichwein  (rikh'-vin),  Leopold,  direc- 
tor and  composer;  b.  Breslau,  May 
1 6,  1878;  cond.  1909  of  the  Court 
Opera  at  Carlsruhe;  after  1913  in 
Vienna;  1921,  succeeded  Schalk  as 
cond.  of  Musikfreunde  concerts  and 
Singverein  there;  c.  operas  "Vasan- 
tasena"  (Breslau,  1903),  "Die  Lie- 
benden  von  Kandahar"  (1907),  and 
music  for  "Faust"  (Mannheim,  1909). 

Reid  (red),  General  John,  Straloch, 
Perthshire,  i72i(?) — London,  1806; 
a  musical  amateur,  founded  a  chair 
of  mus.  Edinburgh  Univ. 

Reijnvaan  (or  Reynwaen)  (r£n'-vSn), 
Jean  Verschuere,  LL.D.;  Middle- 
burg,  Holland,  1743 — Flushing,  May 
12,  1809;  organist  and  composer. 

Reimann  (ri'-mS,n),  (i)  Mathieu  (Mat- 
thias Reymanrms),  Lowenberg,  1544 
— 1597;  composer.  (2)  Ignaz,  Al- 
bendorf,  Silesia,  1820 — Rengersdorf, 
1885;  composer.  (3)  H.,  Rengers- 
dorf, March  14,  1850 — Berlin,  May 
24,  1906;  son  and  pupil  of  (2);  1887 
asst.Jibr.,  R.  Library,  Berlin;  organ- 
ist to  the  Philh.  Soc.;  teacher  of 
or^an  and  theory,.  Scharwenka- 
Kfindworth  Cons.,  and  (1895)  organ- 
ist at  the  Gnadenkirche;  prominent 
critic  and  writer;  c.  sonatas  and 
studies  for  organ. 

Reinagle   (rl'-na-ge'l),   (r)   Jos.,  Ports- 


mouth,  1762 — Oxford,  1836;  son  of 
a  German  mus.,  horn-player  and 
composer,  1785.  (2)  Hugh,  d.  young 
at  Lisbon;  bro.  of  above;  'cellist, 
(3)  Alex.,  Portsmouth,  1756 — Balti- 
more, Md.>  1809;  versatile  composer, 
pianist,  cond.  and  theatre  manager; 
his  works  are  among  the  earliest 
prod,  in  America  that  have  definite 
value  and  historical  interest. 
Reinecke  (ri'-nSk-S),  (i)  Ld.,  K.  Des- 
sau, 1774 — Glisten,  1820;  leader  and 
dram,  composer.  (2)  K.  (H.  Cars- 
ten),  Altona,  June  23,  1824 — Leipzig, 
March  10,  1910;  noteworthy  pianist 
and  teacher;  son  and  pupil  of  a 
music-teacher;  at  n,  played  in  pub- 
lic; at  19  toured  Denmark  and 
Sweden;  at  Leipzig  advised  by 
Mendelssohn  and  Schumann;  ct.- 
pianist  at  Copenhagen;  1851  teacher 
Cologne  Cons.;  1854-59  mus.-dir. 


356 


DICTIONARY  OF  MUSICIANS 


Barmen;  1859-60  mus.-dir.  and 
cocnd.  Singakademie,  Breslau;  1860- 
95  cond.  Gewandhaus  Concerts, 
Leipzig;  also  prof,  of  pf. -playing  and 
free  comp.,  Leipzig  Cons.;  1897 
"Studiendirektor"  there;  Dr.  Phil. 
b.  c.,  Leipzig  Univ.;  Royal  Professor; 
toured  almost  annually  with  great 
succ*.  c.  2  masses,  3  symphs.,  5  over- 
tures: "Dame  Kobold,"  "Aladin," 
"&riedensfeier,"  "Festouvertiire,"  "In 
Memoriam"  (of  David),  "Zenobia" 
mtrod.  and  fugue  with  chorus  and 
orch.;  funeral  march  for  Emperor 
William  I.;  concertos  for  vln.^  'cello 
and  harp.;  prod,  grand  opera  "  Konig 
Manfred"  (Wiesbaden,  1867);  3 
comic  operas;  fairy  opera  "Die 
Teufelchen  avf  der  Himmelswiese" 
(Glarus,  1899);  mus.  to  Schiller's 
"Tell39;  oratorio  "Belsazar";  2  can- 
tatas "Hakon  Jarl,"  and  "Die  Flucht 
nock  Mgypten"  with  orch.;  5  fairy 
cantatas,  4  concertos,  many  sonatas; 
"Atts  der  Jugendzeit,"  op.  xo6; 
"Neues  Noteribuchfur  Kleine  Leute," 
op.  107;  concert-arias,  20  canons  for 
3  female  voices,  and  excellent  songs 
for  children. 

Reiner  (ri'-ner),  (i)  Jacob,  Altdorf, 
Wiirttemberg,  ca.  1560 — 1606;  com- 
poser. (2)  Fritz,  b.  Budapest,  Dec. 
19,  1888;  conductor;  studied  Buda- 
pest Acad.  of  Music,  comp.  with 
Hans  Koessler,  piano  with  Stephen 
Thoman;  cond.  Budapest  Op.- 
Comique,.  1909;  Laibach  Op.,  1910; 
Budapest  Volksop.,  1911-14;  Dres- 
den State  Op.,  and  symph.  concerts, 
1914-21;  Cincinnati  Symph.,  1922- 
31;  thereafter  headed  orch.  dept., 
Curtis  Inst.  of  Music,  Phila.;  appear- 
ances with  Phila.  Orch.;  at  Holly- 
wood Bowl  and  in  various  other 
Amer.  and  Eur.  cities;  cond.  German 
opera  perfs.  of  Phila.  Orch.,  1934-35; 
at  Co  vent  Garden,  1936,  and  San 
Francisco  Op.;  1938  cond.  Pittsburgh 
Symph.;  1948-49,  d^but  as  cond.  Met. 
Op  •  cond.  Chicago  Symph,,  1953. 
Remliardt,  Heinrich,  Pressburg,  April 
13,  1865 — Vienna,  Jan.  31,  1922;  c. 
operettas  for  Vienna:  "Das  silsse 
Madel"  (1901);  "Ein  Madchen  fttr 
AUes"  (Munich,  1908).  "Die  Spru- 
ddfee"  (which  had  marked  succ.  in 
America  as  "The  Spring  Maid"), 
etc.;  music  ed.,  Vienna  TageUatt. 
ReinhoJd  (rln'-holt),  Th.  ChristUeb,  d. 
Dresden,  March  24,  1755;  cantor, 
teacher  and  composer. 


Reinke(n)  (rin'-kgn)  (or  Reinicke),  Jn. 
Adam,  Deventer,  Holland,  April  27, 
1623 — Hamburg,  Nov.  24,  1722, 
noted  organist  and  composer. 

Reinsdorf  (rins'-d6rf),  Otto,  KSselitz, 
1848 — Berlin,  1890;  editor. 

Reinthaler  (rin'-tal-er),  K.  (Martin), 
Erfurt,  1822 — Bremen,  1896;  singing- 
teacher,  organist,  conductor  and 
dram,  composer. 

Reisenauer  (ri'-zS-now-e'r),  Alfred,  K6'- 
nigsberg.  Nov.  i,  1863 — Liebau, 
Russia,  Oct.  3,  1907;  pianist;  pupil 
of  L.  Kohler  and  Liszt;  d6but,  1881, 
Rome,  with  Liszt;  toured;  composer; 
taught  Leipzig  Cons.,  1900—06. 

Reiser  (rT-zer),  Aug.  Fr.,  Gammertin- 
gen,  Wiirttemberg,  Jan.  19,  1840 — 
Haigerloch,  Oct.  22,  1904;  1880—86, 
ed.  Cologne  Neue  Musikztitung; 
c.  2  symphs.,  choruses,  incl.  "Barba- 
rossa,"  for  double  ch.,  etc. 

Reiset.     Vide  DE  GRANDVAL. 

Reiss  (ris),  (r)  K.  H.  Ad.,  Frankfort- 
on-Main,  April  24,  1829 — April  5, 
1908;  pupil  of  Hauptmann,  Leipzig; 
chorus-master  and  cond.  various 
theatres;  1854,  ist  cond.  Mayence; 
1856,  2d.,  later  ist  cond.  at  Cassel 
(vice  Spohr).  1881-86,  ct.-th.,  Wies- 
baden; prod,  opera,  "Otto  der  SckUtz" 
(Mayence,  1856).  (2)  Albert,  b. 
Berlin,  1870 — Nice,  1940;  tenor  ;stud- 
ied  law,  then  became  an  actor,  dis- 
covered by  Pollini;  pupil  of  Liebau 
and  Stolzenberg;  de"but  in  opera  at 
Kxjnigsberg,  later  at  Posen  and 
Wiesbaden,  famous  as  "Mime"  and 
"David,"  1901-17,  at  Met.  Op., 

Reissiger  (rls'-slkh-er),  (i)  Chr.  GL, 
ca.  1790;  comp.  (2)  K.  GL,  Belzig, 
near  Wittenberg,  Jan.  31,  1798— 
Dresden,  Nov.  7,  1859;  son  of  above; 
pupil  of  Schicht  and  Winter;  singer, 
pianist  and  teacher;  1826,  on  invita 
tion,  organised  at  The  Hague  the 
still  succ.  Cons.;  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  (ris'-man),  Aug.,  Franken- 
stein, Silesia,  Nov.  14,  1825 — Berlin, 
Dec.  i,  1903;  studied  there  and  at 
Breslau;  1863-80,  lectured  at  Stern 
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. 


DICTIONARY  OF  MUSICIANS 


357 


lleiter  (rf'-ter),  CO  Ernst,  Wertheim,  Ba- 
den, 1814 — Basel,  1875;  vln.-prof. 
and  dram,  composer.  (2)  Josef,  b. 
Braunau,  Jan.  19,  1862;  composer; 
Viennese  composer  of  operas,  includ- 
ing "Der  Totentanz"  (Dessau,  1908), 
symph.,  cantatas,  male  choruses, 
etc.;  1908-11,  dir.,  Mozarteum  at 
Salzburg. 

ReUstab  (r&'-shtap),  (i)  Jn.  K.  Fr., 
Berlin,  1759 — I8i3;  son  and  successor 
of  owner  01  a  printing-establishment; 
critic,  teacher,  and  composer. 
(2)  (M.  Fr.)  L.,  Berlin,  1799 — 1860; 
the  noted  novelist,  son  of  above; 
wrote  biog.,  libretti  and  criticisms 
which  got  him  twice  imprisoned;  c. 
part-songs. 

Remenyi  (rSm'-Sn-ye),  Eduard,  Heves, 
Hungary,  1830 — on  the  stage,  of 
apoplexy,  San  Francisco,  Cal.,  May 
r$,  1898;  noted  violinist;  pupil  of 
B6hm,  Vienna  Cons.;  banished  for 
his  part  in  Hungarian  Revolution; 
toured  America;  1854,  solo  violinist 
to  Queen  Victoria;  1860,  pardoned 
by  Austrian  Emperor  and  made  ct.- 
violinist;  toured  widely,  1866  round 
the  world;  c.  a  vln.-concerto,  tran- 
scriptions, etc. 

Rem'mert,  Martha,  b.  Gross-Schwein, 
near  Glogau,  Aug.  4,  1854;  pianist; 
pupil  of  Kullak,  Tausig  and  Liszt; 
1900,  founder  Liszt  Acad.  for  piano 
in  Berlin;  d.  (?). 

RSmusat  (Remuzat)  (ra-mii-za),  Jean, 
Bordeaux,  1815 — Shanghai,  1880; 
flute- virtuoso;  writer  and  composer. 

Remy,  W.  A.     Vide  MAYER,  WM. 

RSnard  (r£-n&r),  Marie,  b.  Graz, 
Jan.  1 8,  1863;  soprano;  d6but,  Graz, 
1882;  1885-88,  Berlin  ct.-opera; 
1888-1901,  Vienna  ct.-opera;  m. 
Count  Kinsky  and  retired  from  stage. 

Benaud  (rtt-nS),  (i)  Albert,  b.  Paris, 
*855;  pupil  of  Franck  and  DSlibes; 
organist  St.  Frangois-Xavier;  critic, 
La  Patrie;  c.  4-act  "f6erie," 
"Aladin"  (1891);  ope"ra  comique 
"A  la  Houzarde"  C9i);  operetta 
"Le  Soldi  de  Minuit"  (1898);  bal- 
lets, etc.,  "  a.  ""(?).  (2) ""  Maurice 
1*862 — Paris,  Oct.  16,  1933;  notable 
bass;  pupil  of  Paris  Cons.;  1883-90, 
at  R.  Opera,  Brussels;  1890-91,  Op.- 
Com.,  Paris;  from  1891-1902,  Gr. 
Op6ra;  equally  fine  in  comic  and 
serious  works;  had  a  repertory  of 
50  operas;  sang  with  Chicago  Op.  Co. 
and  at  Manhattan  Op.,  N.  Y. 

&endano  (rgn-da'-n5),  Alfonso,  Carolei, 


Calabria,  April  5,  1853 — Rome, 
Sept.  10,  1931;  pianist;  pupil  of 
Naples  Cons.,  Thalberg  and  Leipzig 
Cons.;  toured;  c.  piano-pcs. 

Reni§  (rttn-ya'),  Henriette,  b.  Paris, 
Sept.  18,  1875;  harpist,  composer; 
pupil  of  Paris  Cons.;  has  appeared 
with  leading  French  orchs.;  c.  many 
works  for  harp;  a  noted  teacher. 

Ren'ner,  Josef,  Schmatzhausen,  Ba- 
varia, 1832 — Ratisbon,  1895;  editor. 

Res'nik,  Regina,  b.  Brooklyn,  N.  Y.; 
soprano;  studied  with  Rosalie  Miller; 
d6but,  Met.  Op.,  1944,  as  Leonora 
("Trovatore");  sang  "Fidelio,"  etc. 

Respighi  (rS-spg'-gg) ,  Ottorino,  Bo- 
logna, July  9, 1879 — Rome,  April  18, 
1936;  composer,  conductor,  pianist; 
studied  Bologna  Liceo,  vln.  with 
Sarti,  comp.  with  Martucci;  also  in 
St.  Petersburg,  1902,  with  Rimsky- 
Korsakoff;  later  in  Berlin  with 
Bruch;  prof,  of  comp.,  Bologna 
Liceo,  1913;  after  1924,  at  Liceo 
of  Santa  Cecilia,  Rome;  appeared  as 
guest  cond.  and  pianist  in  his  works 
in  Europe  and  America;  c.  (operas) 
"Re  Enzo,"  "Semirama,"  "Maria 
Vittoria,"  "Belfagor"  (1923),  "La 
Campana  Sommersa"  (after  Haupt- 
mann's  drama),  heard  in  several 
Italian  theatres,  also  at  Met.  Op., 
1928;  "La  Fiamma"  (Rome,  Buenos 
Aires  and  Chicago  Op.,  1935,  with 
considerable  succ.);  (opera-oratorio) 
"Maria  Egiziaca,"  world  premiere, 
N.  Y.  Philh.  in  staged  version,  1932 , 
composer  conducting,  also  later  in 
Paris;  another  opera,  "Lucresia" 
completed  just  before  his  death; 
(puppet  play)  "The  Sleeping  Prin- 
cess"; a  series  of  highly  succ.  symph. 
poems  of  colorful  descriptive  nature, 
indL  "Fountains  of  Rome/9  "Pines  of 
Rome,9'  "Roman  Festivals/9  "Church 
Windows,"  "Primavera,"  "Battade  of 
the  Gnomides";  suite  to  the  "Birds" 
of  Aristophanes;  piano  concerto, 
string  quartets,  and  many  other 
works  for  vln.,  organ,  piano,  as  well 
as  orch.  transcriptions  of  Bach,  etc. 

Reszk6.     Vide  DE  RESZKE. 

Rethberg  (rSt'-bSrkh),  Elisabeth  (n€e 
Sattier),  b.  Schwarzenberg,  Ger- 
many, Sept.  22,  1894;  soprano;  stud- 
ied piano,  later  voice,  at  Dresden 
Cons.;  d6but,  Dresden  Op.,  1915, 
sang  with  this  company  until  1922; 
dSbut  with  Met.  Op.,  N.  Y.,  in  latter 
year  as  "ASda"  and  took  leading  place 
as  a  singer  of  German  and  Italian 


358 


DICTIONARY  OF  MUSICIANS 


r6les;  guest  appearances,  Covent 
Garden,  La  Scala,  Rome  R.  Op., 
Paris  Op.,  Budapest,  Vienna,  at 
Ravinia  (Chicago),  Los  Angeles  and 
San  Francisco.  Has  toured  widely 
as  recitalist  and  soloist  with  leading 
orchs.  in  Europe  and  U.  S,;  created 
r6le  of  "Helen"  in  Strauss's  "Aegyp- 
tische  Helena"  at  Dresden,  1928. 
Re"ti  (ra'-te),  Rudolf,  b.  Uzize,  Serbia, 
Nov.  27,  1885;  composer  of  modern- 
style  chamber  music,  songs,  etc. 
Reubke  (roip'-kS),  (i)  Ad.,  Halber- 
stadt,  1805 — 1875;  org.-builder  at 
Hausendorf,  near  QuedHnburg.  (2) 
Emil,  Hausneindorf,  1836 — 1885;  son 
and  successor  of  above.  (3)  Julius 
R.,  Hausneindorf,  1834 — Pttlnitz, 
1858;  bro.  of  above;  pianist  and 
composer.  (4)  Otto  R.,  Hausnein- 
dorf, Nov.  2,  1842 — Halle,  May  18, 
1913;  bro.  of  above;  pupil  of  Von 
Biilow  and  Marx;  mus.-teacher  and 
conductor,  Halle;  1892,  mus.-dir.  at 
the  University. 

Reuling  (roi'-llng),  (L.)  Win.,  Darm- 
stadt, 1802 — Munich,  1879;  con- 
ductor  and  dram,  composer. 
Reuss  (rois),  (i)  Eduard,  New  York, 
Sept.  16,  1851 — Dresden,  Feb.  18, 
1911;  pupil  of  Ed.  Kriiger  and  of 
Liszt;  1880,  teacher  at  Carlsruhe; 
after  1896  in  Wiesbaden;  dir.  Cons, 
there,  1902;  later  in  Dresden  and 
Berlin  as  teacher.  His  wife,  (2) 
Reuss-Belce  (-b&'-tse')  Louise,  b. 
Vienna,  1863;  soprano;  pupil  of 
Gansbacher;  d6but  as  "Elsa,"  Carls- 
ruhe, 1884;  later  at  Wiesbaden,  and 
Bayreuth  as  one  of  the  "Norns"  and 
"Walkttre"  for  years;  1900  sang 
Wagner  in  Spain,  1901,  Met.  Op., 
N.  Y.  (3)  H.  XXIV.,  Prince  of 
Reuss-Kostritz;  Trebschen,  Bran- 
denburg, Dec.  8,  1855 — Ernstbrunn 
near  Vienna,  Oct.  2,  1910;  pupil  of 
Herzogenberg  and  Rust,  Leipzig;  c. 
2  symphs.,  a  mass,  etc. 
Reuter  (roi'-tSr),  Florizel  von,  b. 
Davenport,  Iowa,  Jan.  21,  1893; 
violinist;  pupil  of  Bendix,  Chicago, 
and  of  Marteau,  in  Europe;  has 
toured  America  with  popular  success; 
c.  operas,  orch.  and  vln.  works. 
Reutter  (roit'-t£r),  (i)  G.  (Senior), 
Vienna,  1656 — Aug.,  1738;  theorbist, 
ct.-organist  and  conductor.  (2)  ( Jn. 
Adam),  G*  (Junior),  Vienna,  1708 — 
1772;  son  and  (1738)  successor  of 
above  as  ct.-conductor;  c.  opera,  etc. 
(3)  Hn.,  b.  Stuttgart,  1900;  com- 


oser;  after  1936,  dir.  Hoch  Cons., 


Rey  (r£),  (i)  J.  Bap.,  Lauzerte,  1734— 
Paris,  1810;  conductor,  professor  of 
harm,  and  dram,  composer.  (2)  L. 
Chas.  Jos.,  bro.  of  above;  for  40 
years  'cellist,  Gr.  Op6ra.  (3)  J. 
Bap.  (II.),  b.  Tarascon,  ca.  1760; 
from  1795  till  1822,  'cellist,  Gr. 
Op&ra,  and  theorist.  (4)  V.  F.  S.,  b. 
Lyons,  ca.  1762;  theorist.  (5)  Vide 

BJEYER. 

Reyer  (rS-yS)  (rightly  Rey),  L.  Etienne 
Ernest,  Marseilles,  Dec.  i,  1823 — 
near  Hyfcres,  Jan.  15,  1909;  promi- 
nent French  composer;  studied  as  a 
child  in  the  free  municipal  sch.  of 
mus.;  while  in  the  Govt.  financial 
bureau  at  Algiers,  c.  a  solemn  mass 
and  pub.  songs;  the  Revolution  of 
1848  deprived  him  of  his  position  and 
he  retired  to  Paris  where  he  studied 
with  his  aunt,  Mme.  Farrenc;  libra* 
rian  at  Op&ra  (vice  Berlioz);  1876, 
Academic;  critic  Journal  des  D$ 
bats;  1862,  Chev.  of  the  Legion  of 
Honour;  1886,  Officier.  Prod,  a 
symph.  ode  with  choruses  "Le  Stlam" 
(Th.  Italien  1850);  i-act  comedy- 
opera  "Maitre  Wolfram"  (Th.- 
Lyrique,  1854),  a  ballet-panto  mime 
"Sacountala"  (Op6ra,  1858)  Comedy- 
opera  "La  Statue"  (Th.-Lyr.,  1861, 
revived  at  the  Op6ra  1878  without 
succ.);  unsucc.  opera  "Erostrate" 
(Baden-Baden,  1862);  the  still  pop. 
opera  "Sigurd"  (Brussels,  1884),  and 
"Salammbd"  (Brussels,  1890).  C.  a 
cantata  "Victoire"  (r859):  a  hymn, 
"L'  Union  des  Arts"  (1862);  a  dram, 
scene.  "La  Madeleine  au  Desert3* . 
(1874);  male  chorus^;  also  some 
church-mus.  Pub.  a  volume  of 
essays,  1875. 

Reznicek  (rSz'-nl-chSk),  Emil  Nicolaus, 
Freiherr  von,  b.  Vienna,  May  4,  1861; 
studied  Leipzig  Cons.;  th.-conductor 
various  cities;  1896,  ist  cond.  ct.-th., 
Mannheim;  sifter  1901  lived  in  Ber- 
lin; 1902,  founded  orch.  concerts 
there;  1906,  taught  Scharwenka 
Cons.;  1907-08,  dir.,  Warsaw  Op. 
and  Philh.;  1909-11,  cond.  Komische 
Op.,  Berlin;  after  1920  taught  at 
Hochsch.  there;  prod,  at  Prague 
operas  "Die  Jungfrau  von  Orleans" 
(1887),  "Satanella"  (1888),  "Emerich 
Fortunat"  (1889),  comic  ofera  (text 
and  music),  "Donna  Diana''  (1894), 
all  very  suc'c.;  Volks-opei.  "Till 
Etdens&iegel"  (Berlin,  1903),  "Eros 


DICTIONARY  OF  MUSICIANS 


359 


und   Psyche"    (1917),   " Rittw 

bart"  (1918),  etc.  C.  also  a  requiem, 

asymph.  suite,  etc.;  d.  Berlin,  1945. 

Rhaw  (Khau)  (row),  G.,  Eisfeld,  Fran- 
conia,  1488 — Wittenberg,  1548;  mus.- 
printer  and  composer. 

Rheinberger  (rln'bSrkh-er),  Jos.  (Ga- 
briel), Vaduz,  Lichtenstein,  March 
17, 1839 — (of  nerve  and  lung  troubles) 
Munich,  Nov.  25,  1901;  eminent 
teacher  and  composer.  At  5  played 
the  piano;  at  7  a  good  organist; 
studied  R.  Sch.  of  Mus.,  Munich; 
1859,  teacher  of  theory  there;  also 
organist  at  the  ct.-church  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  von 
Hoffnas,  a  poetess  (1822 — 1892), 
prod,  romantic  opera  "Die  7  Raben" 
(Munich,  1869);  comic  opera  "Des 
Thiirmers  T'ochterleiri"  (Munich, 
1873);  "Christophorus,"  a  mass  for 
double  choir  (dedicated  to  Leo 
XIII.)  9  mass,  with  orch.;  requiem  for 
soldiers  of  the  Franco-Prussian  War; 
2  Stabat  Maters;  4  cantatas  with 
orch.;  2  choral  ballades,  "Florentine" 
symph.;  symph.  tone-picture  "Wai- 
lenstein"-,  a  symphonic  fantasia;  3 
overtures  "Demetrius,"  "The  Taming 
of  the  Shrew,"  "Triumph";  2  organ- 
concertos;  pf. -concertos,  chamber- 
music;  vln.-sonatas;  pf. -sonatas 
("symphonique";  op.  47;  "romantic," 
op.  184),  etc.,  notably  18  important 
org.-sonatas;  left  unfinished  mass  in 
A  minor  (finished  by  his  pupil  L.  A. 
Coerne). 

Rhene-Baton  (rS-na  ba'-t6n),  (rightly 
Rene  Baton),  b.  Courseulles-sur-Mer 
Sept.  5,  1879 — Paris,  Oct.,  1940; 
conductor;  also  active  as  composer; 
studied  piano  at  Paris  Cons.;  comp. 
with  Andre"  Bloch  and  G6dalge; 
choral  dir.,  Op.-Comique  in  early 
career;  later  cond.  of  Soc.  des  Con- 
certs Populaires  in  Angers,  and  St. 
Cecilia  Soc.  in  Bordeaux;  asst.  cond., 
Lamoureux  Concerts;  after  1916, 
cond.,  Pasdeloup  Concerts;  c.  orch. 
works,  songs,  etc. 

Riccati  (rik-kS/-t§),  Count  Giordano,  b. 
Castelfranco,  1709 — Treviso,  1790; 
theorist. 

Ricci  (rlt'-che),  (i)  Luigi,  Naples,  1805 
^—insane,  in  asylum,  Prague,  1859; 
conductoi  and  dram,  composer;  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)  Federico,  Naples, 
1809 — Conegliano,  1877;  bro.  of  (i) 
and  collaborator  in  4  of  his  operas; 
among  which  "Crispino  e  la  Comare" 
still  holds  the  stage;  also  himself  c. 
others.  (5)  Ruggierp,  b.  California, 
July  24,  1920;  violinist;  early  at- 
tracted attention  as  child  prodigy; 
studied  with  his  father,  a  band- 
master; ist  San  Francisco  recital  at 
8,  following  training  by  Louis  Per- 
singer;  during  1931  gave  concerts  in 
Chicago  and  N.  Y.,  playing  Beetho- 
ven Concerto  with  orch.  under  baton 
of  his  teacher  in  latter  city  to  sensa- 
tional ovation;  also  toured  Europe. 

Riccitelli  (re-chS-taT-le1),  Primo,  b. 
Cognoli,  1880 — Giulianova,  1941; 
pupil  of  Mascagni  at  Pesaro;  c. 
several  stage  works  incl.  i-act  opera, 
"/  Compagnacci,"  prod,  at  Rome 
and  Met.  Op.  House. 

Riccius  (r€k'-tsl-oos),  (i)  Aug.  Fd., 
Bernstadt,  Saxony,  1819 — Carlsbad, 
1886;  conductor,  critic,  singing- 
teacher  and  composer.  (2)  K.  Aug., 
Bernstadt,  July  26,  1830 — Dresden, 
July  8,  1893;  nephew  of  above;  con^ 
ductor,  violinist  and  composer  of 
comic  operas,  etc. 

Rice,  Fenelon  B.,  Green,  Ohio,  Jan.  2, 
1841 — Oberlin,  Ohio,  Oct.  26,  1901; 
studied  Boston,  Mass.,  later  Leipzig; 
for  3  years  organist,  Boston;  from 
1871,  dir.  Oberlin  (Ohio)  Cons,  of 
Mus.;  Mus.  Doc.  Hillsdale  (Mich.) 
Coll. 

Richafort  (rSsh-S,-f6r),  Jean,  important 
Flemish  composer  of  masses,  motets 
and  songs;  pupil  of  Deprds;  1543, 
choirmaster  in  Bruges. 

Rich'ards,  (H.)  Brinley,  Carmarthen, 
Wales,  Nov.  13,  1817 — London,  May 
i.  1885;  pop.  composer  and  pianist. 

Ricnault  (re-sho),  (i)  Chas.  Simon, 
Chartres,  1780 — Paris,  1866;  mus.- 
publisher,  succeeded  by  his  sons 

(2)  Guillaume  Simon  (1806 — 1877) 
and  (3)  Lion  (1839 — 1895). 

Riche,  A.  Le.     Vide  DIVTTIS. 

Richter  (rikh'-t&r),  (i)  Fz.  X.,  Hole- 
schau,  Moravia,  1709 — 1789;  cond., 
writer  and  composer.  (2)  Jn.  Chr. 
Clip.,  Neustadt-am-Kulm,  1727 — 
Schwarzenbach  -  on  -  Saale,  1779; 
Father  of  Jean  Paul  R.;  organist. 

(3)  Ernst     H.     Ld.,     Thiergarteu, 
Prussian  Silesia.     1805 — Steinau-on- 
Oder,   1876;  notable  teacher;  c. 


360 


DICTIONARY  OF  MUSICIANS 


opera,  etc.  (4)  Ernst  Fr.  (Eduard), 
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,  con- 
ductor Singakademie;  organist  va- 
rious churches,  1863  mus.-dir.  Niko- 
laikirche,  1868  mus.-dir.  and  cantor 
Thomaskirche;  Prof.;  wrote  a  stand- 
ard "Lehrbuch  der  Harmonie" 
(1853),  and  " Lehrbuck  der  Fuge";  c. 
an  oratorio,  masses,  etc.  (5)  Alfred, 
Leipzig,  April  i,  1846  —  Berlin, 
March  i,  1919;  son  of  above;  teacher 
at  the  Cons.,  1872-83;  then  lived  in 
London;  1897,  Leipzig;  pub.  supple- 
ment to  his  father's  "Harmonie," 
and  "  Kontrapunkt";  also  "Das  Kla- 
vierspielfiir  Musikstudierende"  (Leip- 
zig, 1898).  (6)  Hans,  b.  Raab, 
Hungary,  April  4,  1843 — Bayreuth, 
Dec.  5,  1916;  eminent  conductor;  son 
of  the  cond.  of  the  local  cath.;  his 
mother  was  a  prominent  sopr.  and 
later  a  distinguished  teacher;  choir- 
boy in  the  ct.-chapel,  Vienna;  studied 
with  Sechter  (piano-playing),  and 
KLeinecke  (the  French  horn),  at  the 
Cons.;  horn-player  in  Kartnertor  Th. 
orch.;  then  with  Wagner,  1866—67  in 
Lucerne,  making  a  fair  copy  of 
the  "Meister singer"  score.  On  W/9 
recommendation,  1867,  chorusm., 
Munich  Opera.  1868—69  ct.-cond. 
under  von  Bulow.  Cond.  first  per- 
formance of  "Lohengrin"  (Brussels, 
1870) ;  again  at  Lucerne  with  Wagner, 
making  fair  copy  of  the  score  of  the 
** Nibelung&n  Ring";  1871-75,  cond., 
Festh  National  Th.;  then  cond.  of 
the  Imp.  Opera,  Vienna,  1893,  ist 
cond.,  after  1875  &L$°  cond.  "Gesell- 
schaft  der  Musikfreunde"  excepting 
1882-83.  Selected  by  Wagner  to 
cond.  the  "Ring  des  Niebelungen" 
(Bayreuth,  1876),  and  alternate 
cond.  with  Wagner  at  the  Wagner 
Concerts,  Albert  Hall,  London,  1877; 
chief -cond.  Bayreuth  Festivals,  and 
1879-97,  annually  cond.  Philh.  con- 
certs at  London.  Cond.  several 
Lower  Rhenish  Festivals  and  1885— 
1912  the  Birmingham  Festivals.  In 
1885,  Mus.  Doc.  h.  c.,  Oxford  Univ. 
In  1898  the  freedom  of  the  city  of 
Vienna  was  given  him. 

Ricieri  (rS-cha'-r5),  Giov.  A.,  Venice, 
1679 — Bologna,  1746;  male  soprano 
and  composer. 

Ricordi  <r5-k6r'-d6),  (i)  Giov.,  Milan, 


1785 — 1853;  founder  of  the  mus.~ 
publishing  firm  in  Milan;  violinist 
and  conductor;  succeeded  by  his  son 
'  *  Tito  (1811— 1888);  the*  by 


Giulio  (Milan,  Dec.   19,  1840 — 
"une  6,  1912;  also  ed.  of  the  Gazetta 


'usicale.  (4)  Tito  (1865 — 1933), 
a  grandson,  was  a  librettist.  After 
1912  the  firm  was  dir.  by  Dr.  Carlo 
Clausetti  (with  Renzo  Balcarenghi, 
beginning  1919). 

Rider-Kelsey,  Corinne,  b  Le  Roy, 
N.  Y.,  Feb.  24,  1880;  soprano;  stud- 
ied with  L.  A.  -  Torrens,  Chicago, 
Mr.  and  Mrs.  Toedt,  N.  Y.;  sang 
widely  in  concert  and  oratorio;  1908, 
d6but  in  opera  at  Co  vent  Garden; 
d.  Toledo,  O.,  July  10,  194?- 

Riechers  (re'-khSrs),  Aug.,  Hanover, 
1836 — Berlin,  1893;  maker  and  re- 
pairer of  vlns.;  writer. 

Riedel  (re'-d'l)  (i)  Karl,  Kronenberg, 
Oct.  6,  1827 — Leipzig,  June  3,  1888^ 
pupil  Leipzig  Cons.;  1854,  founded 
the  noted  choral  society  Riedelverein; 
ores.  Wagnerverein,  etc.;  pub.  colls. 
(2)  Htu,  Burg,  near  Magdeburg, 
Jan.  2,  1847 — Brunswick,  Oct.  6, 
1913;  pupil  Vienna  Cons.;  ct.-cond. 
Brunswick,  composer.  (3)  Furchte- 
gott  Ernst  Aug.,  Chemnitz,  May  22, 
1855 — Plauen,  Feb.  6,  1929;  pupil 
Leipzig  Cons.;  from  1890,  town 
cantor,  Plauen,  Saxony,  also  cond.; 
c.  cantatas,  etc. 

Riedt  (ret),  Fr.  Wm.,  Berlin,  17x2— 
1784;  flute-virtuoso;  writer  and  com- 
poser. 

Riegger  (rS'-gSr),  Wallingford,  b.  Al- 
bany, Ga.,  April  29,  1885;  composer; 
grad.,  Inst.  of  Mus.  Art,  N.  Y.,  also 
studied  at  Berlin  Hochsch.;  cond.  at 
Wiirzburg  Op.;  at  Konigsberg  and 
with  Bluthner  Orch.,  Berlin;  taught 
at  Drake  ^Coll.  and  Ithaca  Cons.; 
Paderewski  Prize,  1922,  for  piano  trio 
in  B  minor;  Coolidge  Prize,  1924, 
for  chamber  work,  "La,  Belle  Dame 
sans  Merci";  c.  Rhapsody  for  Orch. 
(N.  Y.  Philh.);  "Study  in  Sonority" 
fPhila.  Orch.);  "Frenetic  Rhythms"', 
(chamber  music)  Chromatic  Quar- 
tet; "Dichotomy";  canons  for  wood- 
winds; Divertissement;  suite  for  flute 
solo,  etc. 

Riehl  (r6l),  Wm.  H.  von,  Biebiich,  1823 
— Munich,  1897;  director,  writer  and 
composer. 

Riem  (r6m),  Fr.  Wm.,  Kolleda,  Thurin- 
gia,  1779 — Bremen,  1857;  organist, 
conductor  and  composer. 


DICTIONARY  OF  MUSICIANS 


361 


Riemanrt     (rS'-man),     Hugo,     Gross- 
mehlra,  near  Sondershausen,  July  18, 
18491— Leipzig,  July  to>  ro^ro,;  notable 
theorist*.    Son    of     a    farmer    who 
taught  him  the  rudiments  of  inus., 
and  who  had  prod,  an  opera  and 
choral  pcs.   at   Sondershausen,   but 
opposed  his   son's   mus.   ambitions; 
the  youth,  however,  studied  theory 
•yrith  Frankenberger,  and  piano  with 
Barthd  and  Ratzenberger,  at  Son- 
ctesskausen.     Studied  law,  then  phi- 
losophy and  history,  at  Berlin  and 
Tubingen;  after  serving  in  the  cam- 
paign of    1870-71,    entered   Leipzig 
Coats.;    1873,    Dr.   PhiL    Gotrtiagen; 
wrote  dissertation  "M&sikalisGk&  Lo- 
gifc";  until  1878,  a  cond*  and  teacher 
at   Bielefeld,    then  lecturer   Leipzig 
TTmv.;  i88cr-8r,  teacher  of  mus.  at 
Brombesg;  t&en  till  1890^  Hamburg 
Gaas>,   then  the  Wiesbaden   Cons.; 
i$95,  lecturer  at  Leipzig  Univ.;  m. 
i»   3876,     Notable   at  times  under 
pseud,  "Hugibert  Ries."  as  an  essay- 
ist, writer  of  theoretical  treatises  of 
much  originality,  also  an  important 
Mstortan  and  lexicographer;  mus.-ed. 
of      Meyer's      Konversationsleocikon 
and  ed.  a  valuable  "Mttsik-Lexikon" 
(1882;  Engl.  ed.  1893);  c*  chamber- 
mus.,  vln.-sonata,  etc. 

Riememsefcueider  (re'-mSn-shnl-der), 
(i)  G,,  Stralsund,  April  i,  1848 — 
Bresiau,  Sept.  14,  1913;  pupil  of 
Haupt  and  Kiel;  th.-cond.  Liibeck 
(r87s)  and  Danzig;  later  ccwid. 
Breslau  concert-orch, ;  c*  operas 
'WondwmAer*'  (Danzig,  i8&7),  and 
*'Die  Eisfungfrau*9  (sy^npthonic  pic- 
ture), "JidfaeehtJ*  etc,  (2)  Albert, 
b.  Berea,  O.,  Aug.  31,  r878;<»fganist, 
conductor,  teacher;  pupil  of  Rein- 
hold,  Fuchs7  Wider  and  GuSLmaBit; 
dir.  Baldwin- Wallace  Cons.,  Berea, 
and  cond.  of  annual  Bach  fests. 
there:  d.  Akron,  O.,  July  20,  1950. 

Riepel  (re'-pel),  Jos.,  JfforschJag,  Upper 
Austria,  1708  —  Rati&bon,  1782; 
chambei-musician^  theorist  and  com- 
poser. 

Ries  (res),  (i)  Fs.  (der  alter),  Bonn, 
*>55 — Bremen,  1846;  leader,  later 
ct.-mus,  dir.,  Bonn.  (2)  Fd^  Bonn, 
No»v;  ag,  17^4 — FrajaHoyt-on-Maia^ 
Jan.  13,  1838;  noted  pianist;  pupU  of 
Beetiioveai;  (of  whom  he  wrote-  a 
valuable  sketch)  and  Albrecktsber- 
ger;  toured,  1813—24,  London,  m,  an 
RttgKsh  woman;  from  1830,  L 
Frazikfort  as  c-ond.;  c.  8  operas,  6 


symphs.,  etc.  (3)  Peter  Jos., 
— Lo-ndon,  1882;  bra.  of  above; 
Royal  Prussian  Prof.  (4)  Hubert, 
Bonn,  April  r,  1802 — Berlin,  Sept. 
14,  1886;  bra.  of  above;  violinist, 
teacher  and  composer  of  valuable 
method,  studies^  etc.,  for  vln. 
(5)  Fz.,  Berlin,  April  7,  1846 — 
Naumbxtrg,  June  20,  1932;  son  and 
pupil  of  (4);  studied  with  Massart 
at  Pads  Cons,  and  with  Kiel  (comp.); 
concert- violinist  till  1875  when  he 
retired,  and  entered  mus.-publishing 
(Bies  &  Erler,  Berlin),  c,  orch.  and 
chamber-mus.,  etc. 

Riesenfeld  (reV-Sn-fSld),  Hugo,  b, 
Vienna,  1883;  Los  Angeles,  1939; 
played  in  orchu  of  Vienna  Op.  as 
•violinist;  came  to  TL  S.  and  served  as 
cjoncejrtmu  of  orch.  at  Manhattan  Op. 
House,  N.  Y.;  later  as  cortd*  in  film 
theatres;  former  dir.  of  Rialta,  Rivoli 
and  Criterion  Theatres,  N.  Y.;  active 
in  Hollywood  as  mus.  dir.  of  film  pro- 
ductions; c.  operettas,  orch,  works, 
songs,  etc. 

Rieter-Biedennann  (rS'-t&r-be'-der- 
man),  J,  Melchior,  1811 — Winter- 
thur,  Switz.,  1876;  founded  pub.- 
house,  1849;  1862,  branch  at  Leipzig. 
Rieti  (re-a'-te),  Vittorio,  b.  Alexandria, 
Jan,  28,  1898;  composer;  grad. 
Bocconi  tlniv.,  Milan;  pupil  in  music 
of  Frugatta  and  Respighi;  c.  (ballets) 
"Arehe  de  Not,"  "Barabau"  and 
"Le  Bar'  (the  two  latter  works  prod, 
by  Diaghilefi);  (opera)  "Orphee"; 
also  coEtcerto  for  wind  and  orch., 
piano  concerto,  string  quartet  and 
other  chamber  music. 
Rietscfc  (retsh),  Heinrich,  Falkenau, 
Sept,  sa,  1860 — Prague,  Dec.  13, 
1927^  processor  and  composer;  pupil 
of  Krenn,  Mandyczewski,  and  Fucks; 
from  1892  teacher  in  Vienna;  from 
3900  prof,  at  the  German  Univ., 
Prague;  author,  and  historian;  c. 
opera,  chamber  music,  etc. 
Rietz  (rets),  (i)  Jn.  Fr,  R.,  d.  Berlin, 
1828;  via,-player,  royal  chamber- 
mus.  (2)  Eduard,  Berlin,  1802 — 
1832;  son  of  above,  violinist  and 
tenor;  founded  the  Berlin  PhUh. 
Soc,,  1826;  was  its  eond.  ti&  death. 
(3)  Julius,  Berlin,  Dec.  28,  18*2 — 
t>resden,  Sept,  12,  1877;  son  of  (i); 
'cellist  and  cond-:  pupil  of  Schmidt, 
Romberg  and  Ganz;  1834,  asst.-cond. 
to  Mendelssohn,  Dusseldorf  opera; 
1835,  his  successor;  1847,  cond. 
Singakademie,  Leipzig,  later 


362 


DICTIONARY  OF  MUSICIANS 


cond.  Gewandhaus  and  prof,  of 
comp.  at  the  Cons.;  1860,  ct.-cond. 
at  Dresden;  later  dor.  of  the  Cons.; 
editor  of  scores;  c.  4  operas,  3 
symphs.,  various  overtures,  masses, 
etc. 

Riga  (re'-ga),  Frantz  (Francois),  Liege, 
1831 — Schaerbeek,  near  Brussels, 
1892;  conductor  and  composer  of 
male  choruses,  etc. 

Righini  (r€-g€'-nS),  V.,  Bologna,  Jan. 
22,  1756 — Aug.  19,  1812;  tenor, 
singing-teacher  and  court-cond.  at 
Mayence,  later  Berlin;  c,  20  operas, 
etc.,  incl.  vocalises. 

Rimbault  (rlm'-b6lt),  (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  his- 
torical works  based  on  research. 

Ri'mini,  Giacomo,  b.  Verona,  Italy; 
Chicago,  1952;  barytone;  pupil  Conti- 
Forono;  dibut  at  Desenzano,  rpio; 
mem.  of  Chicago  Op.  for  a  number 
of  years  after  1914,  and  sang  at 
Ravinia  Op.;  has  been  heard  in  Eur. 
theatres,  esp.  in  Italy,  also  South 
America;  m.  Rosa  Raisa,  soprano. 

Rimsky-Korsakov  (rfm'-shki-kdr'-sa- 
k6f),  Nikolas  Andre jevitch,  Tikhvin, 
Novgorod,  March  1 8  (new  style) ,  1 844 
— near  St.  Petersburg,  June  21,  1908; 
notable  Russian  composer;  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  con- 
certs at  the  Trocadero,  Paris.  He 
orchestrated  Dargomyzsky's  "Com- 
modore," Moussorgsky's  "Boris 
Godounoff"  and  "  Khovanstchyna" 
and  Borodin's  "Prince  Igor'9;  pub. 
coll.  of  Russian  songs  and  a  harmony. 
C.  operas  "Pskovitjanka"  ("The  Girl 
from  Pskov")  (St.  Petersburg,  Imp. 
Th.  1873);  "A  May  Night*9  (do. 
1880);  "Snegorotchka"  ("The  Snow 
Princess"}  (do.  1882);  "Mozart  und 
Satier?*  (Moscow);  opera  ballet 


"Mlada"  (Petersburg,  1:892);  opera 
"Christmas  Eve"  (1895);  opera  "Zar$~ 
kaja  Newjesta"  ("The  Tsar's  Bride") 
(1901),  as  well  as  3  symphs.  incl. 
"Antar"  (1881),  Sinfonietta;  "Rus- 
sian" overture;  Servian  fantasia, 
mus.  tableau  "Sadko"  (1876);  pf.- 
concerto,  etc.;  symphonic  suite, 
"Scheherazade"  (Boston  Symph., 
1897),  used  for  the  Russian  ballets 
in  Paris,  1911,  with  immense  success; 
in  1901  he  ceased  to  cond.  Russian 
symph.;  1905  he  wrote  a  letter  pro- 
testing against  the  use  of  armed  force 
in  the  Cons,  to  repress  students* 
political  expression,  andjhe  was  dis- 
missed; Glazounoff,  Liadov,  and 
others  at  once  resigned,  public 
feeling  was  aroused,  and  his  opera 
"  Kotschei"  was  prod,  at  the  Theatre 
du  Passage,  1905,  with  great  acclaim; 
later  he  was  reinstated  and  Glazou- 
noff chosen  director.  His  opera 
"  Kitesch"  was  prod,  the  same  year, 
"Le  Coq  d'Or,"  a  satiric  comedy  of  a 
mythical  kingdom  (a  thinly  veiled 
criticism  of  Imp.  Russia  in  his  day), 
which  was  for  a  time  forbidden  prod, 
by  the  censor,  reached  the  stage 
1910.  A  master  of  orchestration,  he 
carried  on  the  Liszt  tradition  of  the 
tone-poem  but  added  his  own  bril- 
liant finesse  of  instrumental  colouring, 
His  operas  include  attractive  folk- 
song elements.  Previously  pub.  in 
Russian,  his  autobiography,  "My 
Musical  Life,9'  was  issued  in  English 
tr.,  1923.  He  wrote  a  treatise  on 
instrumentation,  ed.  by  Steinberg  (2 
vols.,  1913).  Memoirs  by  Yasrobt- 
siev,  Findeisen,  Lapshin,  Montagu- 
Nathan,  Newmarch.  (See  article, 

-ge  516.) 

Idi  (re-n&T-de),  Giov.,  Reggiolo, 
Italy.  1840 — Genoa,  1895;  pianist. 
Rinck  (rink),  Jn.  Chr.  H.,  Elgersburg, 
Thuringia,  Feb.  18,  1770 — Darm- 
stadt, Aug.  7,  1846,  famous  organist, 
writer  and  composer;  pupil  of  JLittel, 
etc.;  town  organist  Giesen,  then, 
1805,  at  Darmstadt,  where  he  also 
taught  in  the  seminary;  1813  ct.-* 
organist  there;  autobiog.  (Breslau, 


RmafJ 


.1833). . 
ingel, 


Ringel,   Federico.     Vide   p. 

GEE.. 

Rinuccini  (re-noot-che'-n5),  Ottavio, 
Florence,  1562 — 1621;  the  librettist 
of  the  first  opera  ever  performed, 
Peri  (q.  v.)  and  Caccini's  "Dafne" 
(r594),  also  of  Peri's  "Euridice" 


DICTIONARY  OF  MUSICIANS 


363 


(1600),  and  Monteverde's  "Arianna 
a  Nasso"  (1608). 

Riotte  (rl-6t),  Phillip  J.,  St.  Mendel, 
Troves,  Aug.,  1776 — 1856;  conductor 
and  dram,  composer. 

Ripa  (r5'-pa),  Alberto  da  (called  Al- 
berto Mantovano),  b.  Mantua — d. 
1551;  lutenist  and  composer. 

Rischbieter  (rfeh'-be-ter),  Wm.  Albert, 
Brunswick,  1834 — Dresden,  Feb.  10, 
1910;  pupU  of  Hauptmann,  theory; 
violinist  in  Leipzig  and  other  cities; 
from  1862  teacher  harm,  and  cpt., 
Dresden  Cons.,  pub.  treatises,  etc.; 
c.  symph.,  overtures,  etc. 

Riseley  (rlz'-lt),  George,  Bristol,  Aug. 
28,  1845 — April  12,  1932;  organist; 
pupil  of  Corfe,  his  successor  at  Bris- 
tol Cathedral;  cond.  orch.  societies; 
pensioned,  1898,  then  cond.  London; 
c.  Jubilee  Ode,  1887,  etc. 

Risler  (rSs'-ler),  Edouard,  Baden- 
Baden,  Feb.  23,  1873 — July  22,  1929; 
notable  pianist;  pupil  of  Diemer  and 
d' Albert,  Stavenhagen,  etc.;  taught 
at  Paris  Cons,  after  1907;  Chev.  of 
the  Legion  of  Honour. 

Ristori  (rSs-tS'-rS),  Giov.  Alberto, 
Bologna,  1692 — Dresden,  Feb.  7, 
1753;  organist  and  conductor;  c.  2 
of  the  earliest  comic  operas,  also 
church-music. 

Jdt'ter,  (i)  G.  Wenzel,  Mannheim. 
April  7,  1748 — Berlin,  June  16,  1808; 
bassoonist,  Berlin  ct.-orch.;  com- 
poser. (2)  Aug.  Gf.,  Erfurt,  Aug.  25, 
1811 — 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)  FrSd&ric  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.;  x86r  New  York, 
cond.  the  Arion;  1867  prof.  Vassar 
Col,;  wrote  "Music  in  England" 
and  "Music  in  America97  (both  N.  Y., 
1883);  and  other  historical  works; 
c.  3  symphs.,  etc.  (5)  (Raymond- 
Ritter),  Fanny,  b.  Philadelphia,  1840; 
wife  of  above;  writer  and  translator. 
(6)  (rightly  Bennet)  Theodore,  near 
Paris,  1841— Paris,  1886;  pianist  and 
composer.  (7)  Hermann,  Wismar, 
Sept.  16,  1849— Wtiraburg,  Jan.  22, 
1926;  violinist;  studied  Berlin  with 
Joachim,  etc.;  invented  and  played  a 
viola  alta;  for  20  yrs.  teacher 


at  Wurzburg.  (8)  Josef,  Salzburg, 
Oct.  3,  1859 — June  21,  1911;  bary- 
tone at  Vienna. 

Ritter-GStze  (gSt-'tsS),  Marie,  Berlin, 
Nov.  2,  1865 — London,  1922;  mezzo- 
sopr.;  pupil  of  Jenny  Meyer  and 
Levysohn;  d6but  R.  Opera,  Berlin; 
later  Hamburg  for  4  years;  sang  at 
Met.  Op.  and  in  concert  U.  S.  A., 
1890-1002;  then  Berlin  R.  Opera. 

Rivarde  (re-var'-dS),  Serge  Achille,  b 
N.  Y.,  Oct.  31,  1865 — London, 
March  31,  1940;  violinist;  at  n  taken 
to  Europe,  pupil  of  Dancla,  Paris 
Cons.;  dividing  first  prize,  1879,  with 
Ondrifcek;  1885-90,  solo  violinist 
Lamoureux  orch.,  from  1899,  prof. 
R.  C.  M.,  London. 

Riv6-KIng  (re'»va-king),  Julie,  b.  Cin- 
cinnati, 1857 — Indianapolis,  1937; 
noteworthy  pianist;  toured  the 
world  with  great  succ.;  c.  p>op.  pf.- 
pcs.;  taught  Bush  Cons.,  Chicago. 

Rivier  (rS'-vS-a),  Jean,  b.  yillemeuble, 
France,  1896;  won  ist  prize  counter- 
point and  fugue,  Paris  Cons. ;  c.  orch. 
works,  among  which  an  "Overture  f of 
a  Don  Quichotte"  has  been  played  by 
several  Amer.  orchestras. 

Rob'erton,  Sir  Hugh,  b.  Glasgow; 
conductor  and  composer;  has  won 
an  important  place  as  a  choral  leader 
with  his  Toynbee  House  Choir  and 
particularly  the  Glasgow  Orpheus 
Choir,  which  made  a  tour  of  America; 
a  pioneer  in  the  competitive  fest. 
movement  in  Scotland;  knighted  by 
British  gov't.  for  musical  work;  c. 
songs;  d.  Glasgow,  Oct.  17,  1952. 

Roberts,  John  Varley,  near  Leeds,  1841 
— Oxford,  1920;  eminent  English  or- 
ganist; 1882-1918  succeeded  Parratt 
as  org.  at  Magdalen  Coll.,  Oxford; 
cond.  Univ.  Glee  and  Madrigal  Soc.; 
c.  cantatas,  organ  works,  etc. 

Robeson,  (i)  Lila,  b.  Cleveland,  O., 
1880;  contralto;  pupil  of  Burnham, 
Mrs.  Ford,  Luckstone  and  Saenger; 
sang  in  concerts  after  1905  and  in 
1912  at  Met.  Op.,  New  York;  later 
active  as  a  teacher  in  Cleveland. 
(2)  Paul,  b.  Princeton,  N.  J.,  April  9, 
1898;  Negro  bass  and  actor;  grad.  of 
Rutgers  Univ.  and  Columbia;  ^ has 
appeared  on  dram,  stage,  incl. 
"Othello"  in  London,  also  as  song 
recitalist  and  in  films. 

Rob'inson,    (r)    Jos.,    Dublin,    1815— 
1898;  famous  cond.  and  composer; 
his  wife,  (2)  Fanny  Arthur,  1831 — 
a.  pianist  and  com.DOser» 


364 


DICTIONARY  OF  MUSICIANS 


(3)  Franklin,  b.  New  York,  Jan.  27, 
1 875;  organist,  theorist;  studied  music 
at  Columbia  Univ.  with  MacDowell 
and  Rybner;  grad.  Coll.  of  the  City 
of  N.  Y.;  after  1908  taught  at  Inst.  of 
Mus.  Art;  devised  novel  system  _  of 
teaching  harmony  through  ear-train- 
ing; author  of  "Aural  Harmony"-, 
d.  Northeast  Harbor,  Me.,  1946. 
Robyn  (rS'-bin),  (i)  Alfred  G.,  St. 
Louis,  Mo.,  April  29,  1860 — New 
York,  Oct.  18,  1935;  son  of  (2)  Win. 
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"-,  c.  pf.- 
concerto,  etc.,  also  pop.  songs  (incl. 
"Answer"*),  etc.  * 

Roc'ca,  Lodovico,  b.  Turin,  Nov.  29, 
1895;  composer;  studied  Milan  Cons.; 
doctorate,  Turin  Univ.,  1920;  won 
hon.  diploma  from  Parma  Cons. 
operatic  competition;  also  prizes 
offered  by  Musica  e  Musici,  Milan, 
and  Italian  Music  League,  N.  Y.; 
c.  (opera)  "II  Dibnk"  (&*ter  Anski 
drama),  which  had  a  striking  succ. 
at  Milan  and  Rome,  and  was  given 
in  N,  Y.,  Chicago  and  Detroit  (in 
English  tr.)  by  Civic  Op.  Co.  of  last- 
named  city,  1:936;  also  considerable 
music  for  orch.,  among  which  the 
suite  "Chiaroscuri"  and  the  poem 
"La  Cella  Azzurra"  have  had  fre- 
quent hearings;  and  many  chamber 
music  works. 

Rochfitz  (rtkh'-lfts),  Jn.  Fr.,  Leipzig, 
Feb.  12,  1769 — Dec.  16,  1842;  com- 
poser, editor  and  prominent  writer  of 
essays,  biog.  and  librettos. 
RBckel  (rSk'el),  (i)  Jos.  Aug., 
Neumburg-vorm-Wald,  tipper  Pala- 
tine, 1783 — Anhalt-Cothen,  1870; 
singer,  prof,  and  operatic  dir.  at  Aix; 
1829—32,  of  a  German  co.  at  Paris; 
1832,  London.  (2)  Aug.,  Graz,  1814 
— Budapest,  1876;  joint-conductor  at 
Dresden  opera  (with  Wagner);  18^.8, 
abandoned  mus.  for  politics.  (3) 
Edw.,  Tr&ves,  Nov.  20,  i8r6 — Bath, 
Nov.  2,  1889;  pupil  of  his  uncle, 
T.  N.  Hummel;  toured  as  pianist; 
from  1848  lived  Bath,  Eng.;  c.  pf.- 
pcs.  (4)  Jos.  (Ld.),  London,  April 
ii,  1838- — 1923;  bro.  of  above;  pupil 
of  Eisenhower,  G6tze,  and  of  his 
father  and  bro.  Eduard  (pf.);  lived  in 
Bristol,  as  teacher  and  pianist;  c- 
cantatas,  pf  .-pcs,,  pop. 


Rock'stro    (rightly  Rackstraw),  Wm. 

Smyth,  North  Cheam,  Surrey>  Jan.  5, 
1823 — London,  July  a,  I&QS;  notable 
historian;  pupil  Leipzig  Cxms.;  pian- 
ist and  teacher,  London;  1891,  lec- 
turer R.  A.  M.  and  R.  C.  M,;  wrote 
treatises,  biog.  and  <cGenerdl  History 
of  Music"  (1886);  c.  overture,  can- 
tata "The  Good  Shepherd,"  etc. 

Roda  (ro'-da),  Fd.  von,  Rudolstadt, 
1815 — near  Kriwifce,  1876;  mus.-dir. 
and  composer. 

Rode  (r6d)>  (Jacques)  P.  (Jos.)>  Bor- 
deaux, Feb.  1 6,  1774 — Chateau- 
Bourbon,  near  Damazon,  Nov.  25, 
1830;  notable  violinist;  pupil  of 
Fauvel  and  Viotti;  de"but,  Paris, 
1790;  toured;  prof,  at  the  Cons.; 
1800,  soloist  to  Napoleon,  later  to  the 
Czar;  c.  13  concertos,  famous  Etudes, 
etc.;  wrote  a  method  (with  Baillot  & 
Kreutzer). 

Rode  (ro'-dfc),  (i)  Jn.  Gf.,  Kirch- 
scheidungen,  Feb.  25,  1797 — Pots- 
dam, Jan.  8,  1857;  horn- virtuoso;  c. 
tone-pictures,  etc,  {2)  Th.f  Pots- 
dam, 1821 — Berlin,  1883;  son  of 
above;  singing- teacher  and  writer* 

(3)  WUhelm,  b.  Hanover,  Germany. 
Feb.  17,  1887,*  noted  barytone  and 
theatre  manager;  pupil  of  R.  Moest 
in  native  city;  df but  in  Bremen;  sang 
later  in  Breslau>  Stuttgart,  Munich, 
Vienna  and  Berlin,  also  as  guest  in 
London;    after    7934    he    was    the 
manager    of    the    Berlin    Deutsches 
Opernhaus  (formerly  the  StSdtische 
Oper),  but  also  continued  his  sing- 
ing career. 

RSder  (ra'-dSr),  (i)  Jn.  Michael,  d. 
ca.  1740;  Berlin  org.-builder.  (2) 
Frttcttto'sus,  Simmershausen,  March 
5,  1747 — Naples,  1789;  notable  or- 
ganist. (3)  G*  V.,  Rammungen, 
Franconia,  ca.  1778-— Al totting,  Ba- 
varia, 1848;  ct.-cond.  and  composer. 

(4)  Carl  GL,  Stotteritz,  near  Leipzig, 
1812— Gohlis,    1883;   1846,   founded 
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 — Bos- 
ton, Mass.,  June  10,  1895;  pupil  R. 
Hochschule;  conductor  and  teacher 
of  singing  in  various  cities,  incl.  Dub- 
lin  and    Boston;    critic   and   writer 
under    pseud.     "Raro    Miedtner"; 
wrote   essays,    librettos,    etc.;    c.    3 
operas,  a  syinph.,  2  symph.  poems, 
etc. 


DICTIONARY  OF  MUSICIANS 


365 


Rodg'ers,  Richard,  b.  N.  Y.;  studied  at 
Columbia  Univ.;  c.  many  successful 
shows,  incl.  "Oklahoma!"  "Carousel." 

Rodolphe  (rS'-ddlf )  (or  Rudolph),  Jean 
Jos,,  Strassburg,  Oct.  14,  1.730 — 
Paris,  Aug.  18,  1812;  horn-virtuoso 
and  violinist;  pub.  treatises;  prod, 
operas. 

Rodzinski  (rftd^zhSn'-skg),  Artec,  b. 
Spolato,  Dalmatia,  1896;  conductor; 
IX.  D.,  Vienna  Univ.;  studied  Acad. 
of  Music  there,  under  Marx,  Schreker, 
Sauer>  Lalewicz  and  Schalk;  cond. 
Lemberg  Op.,  later  Warsaw  Op.  and 
Philh.;  asst.  cond.  Phila.  Orch., 
cond.  Grand  Op.  Co.  of  that  city  and 
Curtis  Inst.  Orch.;  1930,  Los  Angeles 
Philh-;  1933,  Cleveland  Orch.;  1936- 
37,  N.  Y.  Philh.  for  part  of  season; 
as  guest  in  Hollywood  Bowl*  San 
Francisco,  Detroit  and  Rochester, 
also  at  Salzburg  Fest. 

Rogel  (rS'-hel),  Jose\  Orihuela>  Ali- 
cante, Dec.  24,  1829 — Cartagena, 
Feb.  25,  1901;  conductor  and  com- 
poser of  6 1  zarzuelas,  etc. 

Roger  (ro-zha),  (i)  Gve.  Hip*,  La  Cha- 
pelle  St.-Denis,  near  Paris,  Dec.  17, 181 5 
— Paris,  Sept.  12,  1879;  noted  tenor; 
created  "Le  Proph&te";  1868,  prof, 
of  singing  at  the  Cons.  (2)  Victor, 
Montpellier,  France,  July  22,  i§53 — 
Paris,  Dec,  2,  1903;  pupil  Ecole 
Niedermeyer;  critic  of  La>  France; 
prod,  about  20  operettas,  etc.,  incl. 
"La  Petite  T&che"  (1898);  succ. 
"Poule  Blanche'*  (1899);  and  succ. 
"Mile,  Georges"  (1900). 

Roger-Ducasse.  Vide  DUCASSE. 

Rogers  (rS'-jSrs),  (i)  Benj.,  Windsor, 
1614— 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.  r663;  lutenist  to  Chas.  II. 
(3)  Sir  John  Leman,  1780—1847; 
composer;  pres.  Madrigal  Soc.  (4) 
Clara  Kathleen  (nee  Barnett),  Chel- 
tenham, Engl.,  Jan*  14,  1844 — 
Boston,  March  8,  1931;  daughter  and 
pupil  of  John  Barnett;  pupil  of 
Leipzig  Cons.;  studied  also  singing 
with  Gotze  and  Sangiovanni,  at  Mi- 
lan; d£but  Turin,  1863  (under  name 
"Clara  Doria");  sang  in  Italy,  then 
in  London  concerts;  i87r,  America 
with  Parepa-Rosa  Co.;  1872-73,  also 
with  Maretzek  Co.;  lived  in  Boston 
as  singer  and  teacher;  1878,  m.  a 
Boston  lawyer,  Henry  M,  R.;  pub. 


"The  Philosophy  of  Singing"  (New 
York,  1893),  c.  songs,  sonata  for  pf. 
and  vln.,  etc.  (5)  Roland,  West 
Bromwich,  Staffordshire,  Nov.  17, 
1847 — Bangor,  July  30,  1927;  at  u, 
organist  at  St.  Peter's  there;  1871-91, 
organist  at  Bangor  Cath.  and  cond. 
of  the  Penrhyn  and  Arvonic  Choirs, 
teacher  in  Wales;  1875,  Mus.  Doc. 
Oxford;  c.  cantatas  "Prayer  and 
Praise"  (with  orch.),  "The  Garden" 
(prize,  Llandudno,  1896) ;  and  "Flora- 
bel";  Psalm  130,  for  soli,  chorus  and 
strings;  a  symph.,  etc.  (6)  James 
H.,  Fair  Haven,  Conn.,  1857;  at  18 
studied  in  Berlin  with  LQschhorn, 
Haupt,  fihrlich  and  Rohde,  and  at 
Paris  with  Firsot,  Guilmant  and 
Widor;  after  1883  lived  in  Cleveland, 
Ohio,  as  organist,  pianist,  critic 
and  composer  of  notable  songs;  org. 
Euclid  Ave.  Temple;  d.  Dec.,  1940. 
(7)  Francis,  b.  Roxbury,  Mass., 
April  14,  1870;  barytone;  grad. 
Harvard  Univ.;  appeared  widely  as 
recitalist;  taught  singing  at  Yale 
Univ.  for  a  time,  later  privately,  and 
at  Juilliard  Grad.  School  of  Mus.; 
chairman,  Amer.  committee,  Fon- 
tainebleau  Cons.;  Chev.,  Legion  of 
Honour;  d.N.Y.,  1951; (8)  Bernard,  b. 
New  York,  Feb.  4,  1893;  composer; 
studied  Inst.  of  Mus.  Art  and  with 
Ernest  Bloch;  Guggenheim  Fellow- 
ship and  Pulitzer  Music  Award;  after 
1930  taught  comp.  at  Eastman 
School  of  Mus.,  Rochester,  N.  Y.;  c. 
(orch.)  symphony;  "Adonais">  pre- 
lude to  "Hamlet";  "Fairy  Tales" 
(N.  Y,  Philh.,  1936);  (chamber  orch.) 
"Soliloquy"  for  strings;  ''Pastorale"; 
"Nocturne";  (choral  work)  "The 
Raising  of  Lajsarw";  string  quartet, 
opera,  TheWarrior"(M.Qt.O'p . ,1947) . 

Rognone  (r$n-yo'-nS),  (i)  Riccardo,  a 
Milanese  violinist.  His  son  (2) 
Fran.*  pub.  a  vln.  method,  1614,  etc. 

Roguski  (r5-goo'-skl),  Gustav,  War- 
saw, 1839 — April  5,  1921;  pupil  there 
and  of  Marx,  Kiel,  and  Berlioz;  from 
1865  prof,  of  composition  at  the 
Warsaw  Cons.;  c.  symph.,  2  masses, 
chamber  music,  etc. 

Rohde  (rS'-dfi),  Eduard,  Halle-on- 
Saale,  1828 — Berlin,  March  25,  1883; 
writer  of  pf  .-method;  singing  teacher 
and  composer. 

R5hr  (rar),  Hugo,  b.  Dresden,  Feb.  13, 
1866 — Munich,  1937;  conductor;  pu- 
pil of  the  Cons.;  1896-1934,  cond.  at 
Munich  State  Opera;  also  prof,  at 


?66 


DICTIONARY  OF  MUSICIANS 


AkacL;  c.  oratorio  "Ekkehard,"  opera 
"Voter  unser"  (Munich,  1904),  etc. 
Rokitansky  (ro-kl-tan'-shkl),  Victor, 
Freiherr  von,  Vienna,  1836 — 1896; 
pub.  treatises  on  singing. 
Rol'la,  Ales.,  Pavia,  April  22,  1757 — 
Milan,  Sept.  15,  1841;  violinist  and 
teachei;  prof .  ^  of  vln.  and  via.; 
Paganini  was  his  pupil. 
Holland  (rttl-lan),  Romain,  b.  Clamecv, 
Jan.  2  9, 1 86  6 — Vezeday,D  60.29,1944; 
taught  at  Ecole  normale  sup6rieure, 
Paris;  1900  organised  an  inter- 
national congress  of  music;  historian 
at  Paris;  author  of  many  historical 
and  critical  works,  diamatic  poems, 
and  the  musical  romance  "Jean 
Christophe"  (1905-1908);  notable 
works  on  Beethoven,  Handel,  early 
French  music,  etc. 

Rolle  (rdl'-lS),  Jn.,  H.,  Quedlinburg, 
Dec.  23,  1718 — 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. 
RSllig  (rgT-lSkh),  K.  Ld.,  Vienna,  1761 
— March  4,  1804;  harmonica-player, 
inv.  of  the  "Orphika"  and  "Xanor- 
phika"  (v.  D.  D.);  wrote  treatises  on 
them;  c.  comic  opera. 
R6man,  Johann  Helmich,  Stockholm, 
1694 — near  Calmar,  1758,  called  the 
father  of  Swedish  music;  pupil  of 
Handel  in  London  with  a  municipal 
stipend;  1727,  court  cond.  at  Stock- 
holm; c.  symphonies,  etc.  (2)  Stella, 
Rumanian  soprano;  studied  in  Milan; 
Met,  Op.,  from  1940,  Aida,  Leonora, 
Violetta  and  other  dram,  roles. 
Romaniello  (r6-man-l!-£r-l6),  (i)  Luigi, 
Naples,  Oct.  27,  1858 — Buenos  Aires, 
Dec.,  1916;  pianist;  pupil  of  his 
father,  his  brother  (2)  Vincenzo 
(b.  Naples,  1858)  and  at  Naples 
Cons.;  graduating  with  highest  hon- 
ours; dir,  of  the  pf  .-dept.  there,  later 
member  of  the  Soc.  del  Quartetto, 
also  pianist  Ferni  Quartet;  instructor 
in  the  R.  "Educandato  di  San 
Marsellino"  and  critic;  Chev.  of  the 
Italian  Crown;  1896,  Buenos  Aires; 
pub.  a  pf  .-method  (prize  at  Naples, 
1886);  c.  3  operas,  symphonic  poems 
"Corsair"  and  "Manfred"  2  symphs., 
etc. 

Romania!  (rS-mS-nS'-nS),  Romano, 
Parma,  1864 — 1934;  pupil  of  Man- 
dovani  (vln.)  and  Dacci  (comp.)  at 
the  Cons.;  ist  vln.  Teatro  Regio; 
then  cond.  concert  and  theatre-orch. 


at  Savigliano;    1890,   prof,   of  vln.: 
1897,    director    "Istituto    Venturi/5 
Brescia;  c.  succ.  opera  "Al  Campo" 
(Brescia,  1895),  symph.,  etc. 
Romano,     (i)     Alessandro     (q.     v.). 

(2)  Giulio.  Vide  CACCINI. 
Roxnberg  (rdm'-bSrkh),  (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)  Ger- 
hard H.,  b.  1748;  clarinettist  and 
mus.-dir.  at  Mtinster.  (5)  Bd., 
Dincklage,  near  Minister,  Nov.  n, 
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),  Vech- 
ta,  near  Miinster,  1767 — Gotha, 
1821;  vln.-virtuoso;  son  of  (7)  Ger- 
hard H.,  b.  1748;  dir.  and  clarinettist. 
(8)  Sigxnund,  b.  iHungary,  1887; 
composer  of  popular  light  operas;  a 
cousin  of  Alfred  Griinfeld,  pianist 
(a.  v.);  grad.  Bucharest  Univ.;  pupil 
ol  Heuberger  in  Vienna;  has  long 
been  res.  in  N.  Y.;  his  extensive  list 
of  stage  works  includes  "The  Blue 
Paradise,"  "Maytime,"  "The  Student 
Prince,"  "The  Desert  Song,"  and 
others;  d.  N.  Y.,  Nov.  8,  1951. 

Ron'alcl,  Sir  Landon,  b.  London* 
June  7,  1873 — Aug.  14,  1938;  com- 
poser; son  of  Henry  Russell,  conv 
poser,  and  bro.  of  the  impresario  of 
that  name;  studied  R.  Coll.  of  Music, 
London,  with  Parry,  Stanford  and 
Parratt;  d6but  as  pianist;  former 
cond.  at  Covent  Garden  and  with 
Augustus  Harris  Op.  Co.  on  tour; 
with  London  Symph.,  Royal  Albert 
Hall  Orch.,  and  at  various  times  with 
Scottish  Orch.,  Manchester  Symph., 
London  and  Liverpool  Philh.  Orchs., 
also  widely  as  guest  in  continental 
cities;  prm.  Guildhall  School  of 
Music,  1910-38;  fellow  R.  Coll.  of 
Music,  1924;  c.  ballets,  orch.  and  piano 
music,  and  songs;  served  as  music 
critic  of  various  publications;  author, 
"Variations  on  a  Personal  Theme" 
"Schumann,"  "Tschaikowsky." 

Ronchetti-Monteviti  (r6n-k£t'-t6  n»6n- 
ta-vS'-te"),  Stefano,  Asti,  1814 — 
Casale  Monferrato,  1882;  pupil  of 
B.  Neri,  Milan;  1850,  prof,  of  comp. 
at  the  Cons.;  1877,  dir-;  c.  an  opera, 
a  motet,  etc. 

Ronconi  (rdn-kp'-ne"),  (r)  Dom.,  Len^ 
dinara,  Rovigo*  July  ns  1772 — 


DICTIONARY  OF  MUSICIANS 


367 


Milan,  April  13,  1839;  singer  and 
famous  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,  teacher  at 
Cordova,  Spain;  from  1867,  New 
York;  composer.  (3)  Felice,  Venice, 
1811 — St.  Petersburg,  1875;  singing- 
teacher  and  writer.  (4)  Sebastiano, 
b.  Venice,  1814;  barytone,  violinist 
and  teacher,  Milan. 

RBntgen  (rSnt'-gSn),  (i)  Engelbert, 
D eventer,  Holland,  1 8  29 — Leipzig, 
1897;  violinist.  (2)  Julius,  Leipzig, 
May  9,  1855 — Utrecht,  Sept.  13, 
1932;  pianist;  son  of  above;  pupil  of 
Hauptmann  and  E.  F.  Richter, 
Plaidy,  Reinecke  and  Fr.  Lachner; 
at  10  began  to  c.;  at  17  pub.  a  vln.- 
sonata;  d6but  as  pianist,  1878; 
teacher  mus.-sch.,  Amsterdam;  1886- 
98,  cond.  to  the  Soc.  for  the  Promo- 
tion of  Mus.,  also  Felix  Meritis  Soc.; 
co-founder  (1885)  of  the  Cons.;  dir. 
after  1913;  c.  "Toskanische  Rispetti," 
an  operetta  for  voices  and  pf.;  a  pf.- 
concerto,  symphony,  'cello  concerto, 
3  vln.  sonatas,  3  'cello  sonatas, 
2  piano  sonatas,  piano  trio,  opera 
"Agnete"  (1914),  etc. 

Root,  (i)  G.  Ed.  Ft.,  Sheffield,  Mass., 
Aug.  30,  1820 — Barley's  Island, 
Aug.  6,  1895;  teacher  of  singing  and 
conductor;  pupil  of  Webb,  Boston; 
studied  Paris,  1850;  c.  "Battle- 
cry  of  Freedom,39  "Tramp,  Tramp, 
Tramp,"  "Just  before  the  Battle, 
Mother,"  etc.  (2)  Fr.  Woodman, 
Boston,  Mass.,  June  13,  1846 — 
Chicago,  1916;  son  and  pupil  of 
above;  pupil  of  Blodgett  and  Mason, 
New  York;  organist;  1869-70,  stud- 
ied in  Europe;  later  lecturer,  writer 
and  teacher  of  large  vocal  classes. 

feoo'tham,  (i)  Daniel  Wilberforce, 
Cambridge,  Aug.  15,  1837 — April, 
1922;  pupil  of  Walmesley  and  Schira; 
1865-77,  cathedral  org.,  Bristol; 
cond.  Bristol  madrigal  society.  His 
son  (2)  Cyril  Bradley,  Bristol,  Oct.  5, 
1875 — Cambridge,  Engl.,  March  18, 
1938;  Mus.  B.  at  Cambridge,  1900; 
from  1901,  organist  there,  St.  John's 
College;  pupil  also  at  R.  C.  M., 
London;  c.  overture  "The  Spirit  of 
Comedy,"  and  vocal  works  with 
orch.  "Albert  Graeme's  Song"*,  "An- 
gromeda"  (Bristol  Festival,  1908), 


"Coronach,"  etc.;  after  1912,  dir.  of 
Cambridge  Univ.  Music  Soc. 

Rooy,  van.     Vide  VAN  ROOY. 

Ropartz  (ro-p&rs),  J.  Guy,  b.  Quin- 
gamp,  France,  June  15,  1864;  pupil 
Dubois,  Massenet,  and  C6sar  Franck; 
from  1894,  dir.  Nancy  Cons.,  and 
cond.  symph.  concerts;  from  1919, 
dir.  Strasbourg  Cons.;  c.  symph.  on  a 
Breton  chorale;  incid.  music  to  Loti's 
"Ptcheur  d'Islande"',  suite  "  Diman- 
che  breton".  Psalm  1^36  for  organ  and 
orch.,  chamber  music,  pf  .-pcs.,  songs, 
etc. 

Rore  (rQ'-rS),  Cipriano  do,  Mechlin, 
1516 — £arma,  1565;  eminent  com- 
poser of  Venetian  sen.;  papil  of  Wil- 
laert,  1550,  and  his  successor,  1563; 
ct. -conductor. 

Rorich  (ro'-rlkh),  Carl,  b.  Niirnberg, 
Feb.  27,  1869;  pupu  of  R.  Sch.  of 
Mus.,  Wiirzburg;  from  1892,  teacher 
Gr.  Ducal  Sch.  of  Mus.,  Weimar; 
after  1914  dir.  of  school  of  music, 
Niirnberg;  c.  an  overture  "M&r- 
chen";  suites,  etc.;  d.  Nurnberg,  1941 . 

Ro'sa,  (i)  Salvato're,  Ranella,  Naples, 
1615 — Rome,  1673;  famous  paintei 
and  poet;  wrote  a  satire  on  mus.,  etc.; 
composer.  (2)  Carl  (rightly  Carl 
R.ose),  Hamburg,  1842 — Paris,  1889; 
violinist;  1867,  m.  Parepa-Rosa,  and 
with  her  organised  an  English  opera- 
company;  toured  with  great  fre- 
quency, especially  at  head  of  an 
Engl.  opera  syndicate. 

Rosch  (rfcsh),  Friedrich,  Memmingen, 
Dec.  12,  1862 — Berlin,  Oct.  29,  1925; 
author  and  conductor  of  male  cho- 
ruses, etc.;  pupil  of  Wohlmuth  and 
Rheinberger;  lived  in  various  cities; 
from  1898  in  Berlin. 

Rose  (rS'-z&),  Arnold  Josef,  b.  Jassy, 
1863 — d.  1946;  pupil  of  Heissler, 
Vienna  Cons.;  ist  vln.  Ros£  Quartet; 
since  1881,  soloist,  "Vienna  ct.-orch., 
and  1888,  leader  Bayreuth  Festivals; 
long  prof,  at  Vienna  State  Acad.  of 
Mus.,  and  concertm.  at  the  State 
Opera;  1902,  m.  a  sister  of  Mahler. 

Roseingrave  (r6z'-In-grSv),  Thos., 
Dublin — London,  1753  00;  *2  years 
organist  at  St.  George's,  Hanover 
Square;  composer  and  writer. 

R6sel  (ra'-zel),  Rudolf  Arthur,  Mttn- 
chenbernsdorf,  Gera,  Aug.  23,  1859 
— Weimar,  April  3,  1934;  pupil  of 
Weimar  Mus.-Sch.,  later  of  Thom- 
son; 1877-79,  ist  vln.  various  cities; 
from  1888  in  the  Weimar  ct.-orch.; 
also  teacher  at  Mus.-Sch.;  c.  fairly 


368 


DICTIONARY  OF  MUSICIANS 


succ-  "lyric  stage-play"  "  Halimak" 
(Weimar,  1895),  symplu  poem 
"Fruklingfsf&rme,"  a  nottUtftto  fo* 
horn  with,  orch.,  a  nottumo  for  oboe 
with  orch.,  etc. 

Reseller*  (ro-zSl-lan),  H.,  Paris,  iSii 
— 1876;  pf. -teacher,  writer  and  com- 
poser. 

Ho 'sen,  Max,  b.  Rumania,  1900;  violin- 
ist; lived  in  New  York  as  child; 
studied  there  and  in  Europe;  d€but, 
Dresden,  1915;  after  1918  appeared 
in  U.  S.  with  success. 
Ro'senfeld,  (i)  Leopold,  Copenhagen, 
July  21, 1850— July  19,  2909;  studied 
in  Germany;  critic  and  teacher  in 
Copenhagen;  c.  vocal  works  with 
orch.,  "Henrik  og  Else,"  "Liden 
Helga,"  "Naar  Solen  daler,"  songs, 
etc.  (2)  Maurice,  b.  Vienna,  Dec* 
31,  1867 — Chicago,  Feb.  25,  1939; 
studied  Columbia  Univ.;  piano  with 
Hyflested  and  Spanuth;  grad.  Chi- 
cago Musv  Coll.;  where  later  taught 
and  became  dir.;  in  1916  estab.  his 
own  school  in  Cnicatgo;  critic  for  the 
Examiner  and  after  1917  for  the 
News.  (3)  Patilf  American  writer; 
author  of  books  and  articles  on 
modern  music,  incl.  Musical  Chron- 
icle, Musical  Portraits,  An  Hour 
with  American  Music-,  d.  N.  Y.,  1946. 
Rosenhain  (rS'-zSn-hin) ,  Jacob 
(Jacques),  Mannheim,  1813— Baden- 
Baden,  2894;  pianist  and  dram,  com- 
poser. 

Rosenmtiller  (rS'-zSn-mii-le'r),  Jn.,  1619 
— Wolfenbtittel,  1684;  mus.-director 
and  composer. 

Rosenthal  (rs'-zSn-tal) ,  (i)  Moriz,  b. 
Lemberg,  Dec.  18,  1862— d.  N,  Y., 
1946;  pianist;  at  8  Ms  ability  won  the 
aid  of  Miktai;  at  10,  pupil  of  R. 
Joseffy;  at  14,  gave  a  concert  Vienna; 
Royal  Pianist;  1876-86,  pupil  of 
Llsz*;  from  1887,  toured  America 
and  Europe;  pub.  (with  L.  Schytte) 
"Technical  Studies  for  the  Highest 
Degree  of  Development,"  (2)  Hedwig 
Kaxraer,  his  wife,  pf .  teacher  in  U.  S. 
(3)  Manuel,  French  conductor,  com- 
poser; c<md.  Seattle  Symph*,  ±040. 
Rosetti  (r6-sSt'-te),  Fran.  AnL  {$c. 
Anton  RBssler,  rSs-lSr),  £eitmeritz, 
Bohemia^  1750— Ludwigduist,  1792^ 
ct.-conductor  and  composer. 
Ross,  Hugh,  b.  Langport,  England, 
Aug.  2T,  1898;  conductor;  studied 
Oxford  Univ.,  R,  Coll.  of  Musk; 
eond.  Winnipeg  (Can.)  Male  Choir 
*£tes:  1921;  Winnipeg  Symph,,  1923?- 


27;    beginning    latter    year,    Schola 
Cantorum,  N-  Y, 

Rossi  (rds'-ss),  (i)  Giov,  Bat,,  Genoese 
monk;  theorist,  ca.  i6i8«  (2)  Abbate 
Fran.,  b.  Bari,  Italy,  ca.  16^5,  canon 
and  dram,  composer.  (3)  Gaetano, 
Verona,  1780—1855;  librettist.  (4) 
Ltiigi  Felice,  Brandizzo,  Piedmont, 
1804 — Turin,  1863;  essayist  and 
translator,  (5)  Lauro,  Macerata, 
xS^<3— Cremona,  1885;  wrote  a  har- 
fiaoay  And  c.  operas*  (6)  Giov. 
Gaetano,  Borgo,  S.  Donino,  Parma, 
1828 — Genoa,  *886;  C.  4  operas. 

(7)  C^rto,  Lemberg,  April  4,  1839— 
Veidce,  Oct.,  1906;  pupil  of  Menzel; 
foont  1851  ia  Venice;  c.  symph*,  etc. 

(8)  Cesare,  near  Mantua,  Jan.  20, 
1858— Casalihaggiore,  July  27,  ±930; 
C.  Operas  "Ifugitivi"  (Trient,  1896) 
and  "Natleya"  (Prague,  1903}* 

Rossini    (r£s-S5'-:ag),     Gioacchino    A., 
Pesaro,  Feb.  29,  1792 — Ruelle,  near 
Paris,  Nov.  13,  *868;  eminent  Italian 
opera-conipo3er\     His  father  was  in- 
spector of  slaughter-houses  and  also 
horn-player  in  strolling  troupes  in 
which  the  mother  (a  baker's  daugh- 
ter) was  prima  donna  bujfa*     Left  in 
charge  of  a  pork-butcher,  R»  picked 
up  some  knowledge  of   the  harpsi- 
chord from  a  teacher,  Prinetti;  1802 
studied  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    t4   he    studied   comp. 
with  Padire  Mattei,  and  'cello  with 
Cavedagni    at    the    Bologna    Liceo. 
At  15  he  prod,  a  cantata  "II  Pianto 
d'Arinonia    per    la    Morte    d*Qrfeo," 
Which    won    a   prize.     Mattei    soon 
told  him  that,  though  he  had  not 
enough  cpt*  to  write  church-mus.,  he 
kaew  enough  to  write  operas,  and  he 
ceased  to  study.     At  17  he  prod,  a 
stlcc.  i-act  opera  buff  a  "La  Cambiale 
di  Mairimonio"  (Venice>  1810);  next 
year,    a    suce.     2-act    opera    buffa 
"L'Equiv&ce  Stravagante,"   Bologna. 
He  ^received    various    commissions, 
writing  5  operas  duriag  1812.     1813, 
Ms  "Tancredi"  (Fenice  Th.,  Venice) 
was  an  immense  succ.  and  "Ultaliana 
in  Algeri^  an  opera  buffa  (San  Bene- 
detto   Tk),   was   also    succ-    Two 
failures  followed  with  dishear toning 
effect,  but  "Elisabetta"  (its  libretto 
Stniously  anticipating  Scott's  "  Kenil- 
worth")  was  a  suec.  (Naples,  1813), 


DICTIONARY  OF  MUSICIANS 


ir*  it  he  dropped  rtcitotiw  s#cco. 
A  failure  followed  and  on  the  first 
wght  of  the  next  work  the  public  re- 
sentment at  his  daring  to  sat  to  mus. 
the  text  of  one  of  Paisiello's  operas 
led  to  its  being  hissed.  This  work 
"Almwiw"  (Rome,  i8ip>  was  better 
received  the  second  night  and  grad- 
ually est.  itself  in  its  subsequent  fame 
under  the  title  "II  Barhietre  di 
Svuiglia";  1815-23  he  was  under  con- 
tract to  write  two  operas  yearly  for 
Barbaja,  manager  of  La  Scala  at 
MUan,  the  Italian  opera,  Vienna,  and 
Neapolitan  theatres.  EEis  salary  was 
32^000  lire  (about  $2,400).  DuEtng 
these  $  years  he  c,  20  operas,  travel- 
ling from  town  to  town  and  working 
under  highest  pressure,  183*  he  m. 
Isabella  Colbran  (d,  1845),  who  had 
sung  in  Ms  operas.  The  fil-suce.  of 
his  most  carefully  written  "Sewiram- 
ide"  (yenice,  1823)  and  an.  #ffer  from 
Benelli,  a  mgr.,  led  him  to  London 
where  he  was  lionised  and  in  5 
months  earned  £7,009-*  For  18 
laonthshe  was  mgr.  of  the  Th,  Italien 
at  Paris*  and  prod,  several  operas 
with  artistic  but  not  financial  succ. 
He  was,  however,  "Premier  co-mposi- 
teur  du  roi"  and  "Inspector^g^n^ral 
du  chant  en  France,"  sinecures  with 
a  salary  of  20,000  francs  ($4*000). 
He  lost  these  in  the  Revolution  of 
5830,  but  afterwards  on  going  to  law 
received  a  pension  of  6,000  francs. 
At  the  Or.  Op&ra  he  prod,  with  succ. 
revisions  in  French  of  earlier  Italian 
sucscs.  1 8 29  he  gave  there  his  greatly 
succ,  masterpiece  "Guglielmo  Tell.39 
At  the  age  of  37,  having  prod,  under 
his  direction  Meyerbeer's  first  opera 
and  having  heard  "Las  Sugvwrts," 
Ru  foreswore  opera  and  never  wrote 
again  anything  more  dramatic  than 
his  famous  "Stabat  Mater"  (1^32), 
not  performed  entire  till  1842; 
"Petite  messe  solenndle™  with  orch.; 
a  cantata  for  the  Exposition  of  1867; 
and  pf.-pcs.  with  burlesque  names. 
He  retired  to  Bologna  and  Florence, 
returning  to  Paris  in  1855.  $847  he 
rru  Olympe  Pelissier.  He  c.  35 
Operas,  16  cantatas,  canzonets  and 
arias,  "Gorgheggi  e  solfeggi  per  septano 
per  rendere  la  wee  agile"  "Chant  des 
Titans"  for  4  basses  with  orch.; 
"Tantwn  ergo"  for  3  male  voices 
with  orch.;  "Quoniam"  for  solo  bass 
with  orch.;  "O  salutaris"  for  solo 
auartet,  etc.  Biog,  by  Stendhal 


369 


3,  Azevedo  (1865),  H.  S.  Ed- 
wards (London,  1869),  Zanolini 
(1875),  Struth  (Leipzig),  J>r.  A.  Elo- 
nut  (Leipzig,  1892).  Other  memoirs 
by  Carpani,  d'Ortigue,  Bettoni, 
Blaze  de  Bury,  Escudier,  Mirecourt, 
Montaaio,  Potigin,  Silvestri,  Sittard, 
Thrane,  CheccSi,  Gandolfi,  Daitriae, 
Corradi,  Jstel,  Curzon,  and  Francis 
Toye  (1034)-  (See  article^  page  517,) 
Rost  (rdst),  (i)  Nicolas,  comp.,  1583 


(2)    Fr.    Wm.    Ehrenfiied, 
Bautzen^  1768—  Leipzig,  1835;  writer. 

Roswaen'ge,  Helge,  b.  Copenhagen, 
^897;  tenor, 

Roth  (rSt),  (i)  Ph.,  Tarnowit^  Silesia, 
1853  —  Berlin,  1898;  'cellist,  (2)  Ber- 
trend,  b.  Degersheim,  St.  Gallen, 
Feb.  12,  1855;  pianist;  pupil  of  Leip- 
zig Cons,  and  Lisstj  teacher  Hoch 
Cons.,  Frankfort,  co-founder,  Raff 
Cons.,  1882;  r885-9o,  Dresden  Cons.; 
then  opened  a  private  mtus*"sch. 
there-  (3)  Feri,  b,  Zol3fon,  Hungary, 
July  18,  1899;  violinist^  grao.  R. 
Hungarian  School  of  Music,  Buda- 
pest; played  in  orch.  at  Budapest  Op. 
and  Berlin  Volksop.;  in  19  ?a  forjned 
well-known  RotJa  Quartet,  and  has 
toured  with  it  in  leading  Eur,  and 
Aimer,  cities. 

Rothier  (ro'-te-a.),  Leon,  b.  Rheims, 
Dec.  a6,  ^874;  bass;  studied  Paris 
Cons.,  won  ist  prizes  in  3  years;  sang 
with  Paris  Qp*,  and  after  19*0  with 
Met,  Cte.:  d,  N.  Y.  Dec.  6,  1955. 

Rothmuhl  (rot^mul),  l^ikolaus,  War- 
saw, March  54,  1857-—  Berlin,  May 
24,  1926;  tenor;  pupil  of  Gansbacher; 
d^b^t,  Dresden  ct.-theatre,  then 
Berlin,  etc.;  toured  widely,  incl. 
America;  then  at  Stuttgart  ct,-opera; 
for  some  years  dir.  of  opera  school  at 
Stern  Cons.,  Berlin. 

Roth'well,  Walter  Henry,  London, 
Sept.  22,  1872  —  Los  Angeles,  March 
n,  1927;  conducted  the  first  English 
performance  of  "Parsifal"  in  Amer- 
ica; pmpil  Vienna  Royal  Acad^;  cond. 
in  various  cities,  and  at  Amsterdam 
Royal  Opera;  1903,  America  to  con- 
duct English  productions  of  "P&rsi- 
jfoJ,"  and  "Mvdam*  Butterfly"-,  1908- 
SS,  cgnd.  St.  Paul,  Minn,,  Orch.; 
1916,  at  N.  Y.  Stadium  concerts; 
1917-18,  guest  contd,,  Cincinnati  and 
Detroit;  after  1919  until  his  death, 
of  the  Los  Angeles  Philh,  Orch. 

Rotoli  (rQ-to'-le),  Augusto,  Rome, 
Jan,  17,  1847  —  Boston,  Nov.  26, 
JQO^;  pupil  of  Lucchesi;  founded  and 


370 


DICTIONARY  OF  MUSICIANS 


cond.  "Societst  corale  de'  concert! 
sagri,"  1876,  singing-master  to  Prin- 
cess Margherita;  1878,  maestro, 
Capella  reale  del  Sudario;  1885,  in- 
vited 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;  "Salmo 
elegiaco,"  with  orch.  (1878),  etc. 

Rot'tenberg  (-bSrkh),  Dr.  Ludwig, 
Czernowicz,  Oct.  n,  1864— Frank- 
fort-on-Main,  May  6,  1932;  studied 
vln.  and  piano  with  Fuchs,  and 
theory  with  Mandyczewski;  d6but  as 
pianist;  1888,  director;  1891,  cond. 
at  Briinn,  then  ist  opera  cond.  at 
Frankfort;  in  1912-13,  cond.  of 
Wagner  at  Co  vent  Garden;  c.  opera, 
vln.  sonata,  songs. 

Rotter  (r6t'~ter),  I/.,  Vienna,  1810— 
1895;  pianist,  conductor,  theorist  and 
composer. 

Rottmanner  (r6t'-man-nSr),  Ed.,  Mu- 
nich, 1809 — Speyer,  1843;  organist. 

Rouget  de  Plsle  (roo-zha  dti-lel), 
Claude  Jos.,  Lons-le-Saulnier,  Jura, 
May  10,  1760 — Choisy-le-Roy,  June 
27,  1836;  composer  of  the  "Mar- 
seillaise," military  engineer,  poet, 
librettist,  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  refusing 
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,  1712 — Ermenon- 
ville,  near  Paris,  July  3,  1778.  The 
great  writer;  mainly  self-taught  in 
mus.,  but  aiming  to  reform  notation 
by  the  substitution  of  numerals  for 
letters  and  note-heads,  read  before 
the  AcadSmie,  1742,  a  "Dissertation 
sur  la  musique  moderne"  (1743);  his 
opera,  "Les  Muses  Galantes,"  had 
one  private  representation  (1745) ;  his 
revision  of  the  intermezzo  "La  Reine 
de  Navarre"  (by  Voltaire  and  Ra- 
meau)  was  a  failure;  but  his  opera 
*<Le  Devin  du  Village"  (Gr.  Op6ra, 
1752)  was  succ.  for  60  years.  He 
-wrote  mus.  articles  for  the  "Encyclo- 
$6die"  which  were  roughly  handled 
by  Rameau  and  others,  but  revised 
and  re-pub,  as  " Dictionnaire  de  mu- 
Mque"  |i768).  In  1752  he  partici- 
pated In  the  "  Guerre  des  BoufionSj" 


between  the  partisans  of  French  and 
Italian  opera,  R.  siding  with  the 
Italianists  and  declaring  that  a 
French  national  music  was  im- 
possible and  undesirable;  for  which 
the  members  of  the  opera  burned 
Mm  in  effigy.  "Pygmalion"  (1773) 
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  Village,"  and  a  coll.  of  100 
romances  and  duets  "Les  consolations 
des  miseres  de  ma  vie"  (1781),  and 
fragments  of  an  opera,  "Daphnis  et 
CUoe,"  were  pub.  (1780).  (2)  Samuel 
Alex.,  Neuvemaison,  Aisne,  June  n, 
1853 — Paris,  Oct.  i,  1904;  pupil  of 
Paris  Cons.,  1878,  won  the  Prix 
Cressent,  and  2d  Grand  Prix  de 
Rome;  prod,  i-act  comedy-opera 
"Dianorah"  (Op.-Com.,  1879);  1891, 
won  the  Prize  of  the  City  of  Paris, 
with  opera  "Merowig";  1892,  ist 
cond.  Th.  Lyrique;  1898,  prod,  fairly 
succ.  lyric  drama  "La  Cloche  du 
Rhin";  c.  also  a  .solemn  mass,  etc. 
Roussel  (rops'-sel),  Albert,  b.  Tour- 
coing,  April  5,  1869 — Royan,  France, 
Aug.  23,  1937;  composer;  a  naval 
student,  he  made  a  voyage  to  China 
as  an  ensign;  but  resigned  in  1894 
and  took  up  music,  studying  har- 
mony with  Gigout;  1898  entered 
the  Schola  Cantorum  and  studied 
under  d'Indy  till  1907;  1902-14,  prof, 
of  counterpoint  at  the  Schola  Can- 
torum. His  comps.  include  symph. 
prelude,  "Resurrection"  (after  Tol- 
stoi's novel);  symph.,  sketch,  "Ven- 
danges";  "Le  poeme  de  la  For&" 
(1904-06);  symph.  sketches  "Evoca- 
tions" (1910-11),  poem  for  orch. 
"La  Menace"  (1907),  etc.  Inspired 
by  his  visit  to  the  East  in  1909-10, 
R.  prod,  a  Hindu  ballet,  "Padma- 
vati,"  which  had  a  markedly  success- 
ful premiere  at  the  Paris  Op.,  1923. 
Other  productions  include  the  orch. 
works,  "Le  Festin  de  V  Araignie"  and 
"Pour  une  Ftte  de  Printemps";  4 
symphonies;  concerto  for  orch.;  con- 
certo for  piano  and  orch.;  "Petite 
Suite";  "Psaume,"  for  orch.  with 
employment  of  choral  voices;  the 
ballet,  "Bacchus  and  Ariadne";  the 
opera,  "La  Naissance  de  la  Lyre" 
which  treats  an  allegorical  theme;  2 
sonatas  for  piano  and  vln.;  trio  for 
flute,  viola  and  'cello;  quintet;  sextet; 
and  various  piano  pieces  and  smaller  ( 


DICTIONARY  OF  MUSICIANS 


371 


vocal  compositions.  He  visited  the 
U.  S.  and  took  part  in  perfs.  of  his 
works  at  the  Chicago  Chamber 
Music  Fest.  under  the  patronage  of 
Mrs.  F.  S.  Coolidge  in  1930. 

Roussier  (roos-sl-a),  Abb  6  P.  Jos.i 
Marseilles,  1716 — Ecouis,  Normandy, 
ca.  1790:  canon  and  theorist. 

Rovelli,  (i)  Giu.,  Bergamo,  1753 — 
Parma,  1806;  'cellist.  (2)  P.,  Ber- 
gamo, 1793 — 1838;  nephew  of  above; 
violinist  and  composer. 

Rovet'ta,  Giov.,  d.  Venice,  1668;  pupil 
of  Monteverde,  and  his  successor 
(1644)  at  San  Marco;  c.  operas,  etc. 

Row'botham,  John  F.,  b.  Edinburgh, 
April  18,  1854;  studied  Oxford,  Ber- 
lin, Paris,  Vienna,  Dresden;  wrote 
numerous  histories  of  nius.,  biogs., 
etc.;  d.  London,  1925. 

Roze  (r6z),  (i)  Marie,  Paris,  1846 — 
June  21,  1926;  eminent  operatic  so- 
prano; pupil  of  Paris  Cons.;_  long 
active  as  singer  and  teacher  in  Paris; 
1882,  London,  later  U.  S.  Her  son 
(2)  Raymond,  London,  1875-1920; 
pupil  of  Brussels  Cons.;  1911,  cond. 
London  Op.  House;  cond.  His 
Majesty's  Theatre,  and  c.  incid. 
music  for  Beerbohm  Tree's  prods,  of 
Shakespeare's  "Macbeth,"  etc.,  c,  text 
and  music  of  operas  "Joan  of  Arc" 
(in  concert  from  Queen's  Hall,  1911); 
"Antony  and  Cleopatra" $  a  symph. 
poem  on  the  same  subject  (Queen's 
Hall,  1911);  songs,  etc. 

Rozkolny  (r5z'-k5sh-n5),  Josef  Rich- 
ard, Prague,  Sept.  21,  1833 — 1913; 
pianist;  pupil  of  Jiranek,  Tomaschek 
and  ELittl;  toured,  then  lived  in 
Prague;  prod,  there  9  Bohemian  op- 
eras; c.  also  overtures,  2  masses,  etc. 

R6zycki  (roo-zhet'-sk*),  Ludomir  von, 

b.  Warsaw,  1883;  pupil  of  the  Cons, 
and    of    Humperdinck;    from    1908 
teacher  at  the  Cons,  in  Lemberg  and 
cond.  at  the  Opera;  then  in  Warsaw; 

c.  operas    "Boleslas    der     Kilhne" 
(Lemberg,  1909);  "Eros  and  Psyche" 
(1917),  "Beatrice    Cenci"    (1922),  6 
symphonic    poems,    piano    quintet, 
piano  trio,  sonatas  for  vln.,  for  'cello 
and  piano:  songs;  d.  Jan.  i,  1953. 

Rub'bra,   Edmund,  b.   Northampton, 

Eng,,    1901;   composer;   pupil  Wm. 

Morris,  R.  C.  M.;  c.  symphs.,  etc. 
Ru'benson,  A.,  Stockholm,  1826 — 1901; 

vlnist. ,  comp .;  dir  .S .  Cons .  af  ter  1 8  72 . 
Rubert    (roo'-bSrt),    Johann    Martin, 

Nuremberg,  1614 — Stralsund,  1680; 

organist  and  comp. 


Rubinelli,  Giovanni  Battista,  Brescia, 
ca-  I753 — 1829;  Italian  opera  singer; 
d£but  at  18,  Stuttgart. 

Rubini  (roo-be'-ne),  Giov.  Bat.,  Ro- 
mano, Bergamo,  April  7,  1795 — at 
his  castle,  near  Romano,  March  2, 
1854;  famous  tenor,  said  to  have  been 
the  first  to  use  the  vibrato  and  the 
sob,  both  since  abused;  Ms  range  was 
from  E — b'  (with  a  falsetto  register 
to  f.  (v.  PITCH,  D.  D.);  Bellini  wrote 
many  operas  lor  him;  toured  with 
Liszt,  earning  by  one  concert  over 
$10,000;  had  one  of  the  largest  for- 
tunes ever  amassed  by  a  singer. 

Rubinstein  (roo'-bln-shtin),  (i)  Anton 
Gregorovitch,  of  Jewish  parents, 
Wechwotynecz,  Bessarabia,  Nov. 
(16)  28,  1829 — 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.  Villoing,  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  advised  him  to  study  in 
Germany.  He  toured  further  and 
returned  to  Moscow  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  flutist  Heindl,  he  lived  in  Peters- 
burg 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  Petersburg,  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 
(£8,000);  but  he  could  never  be  in- 
duced to  cross  the  ocean  again, 
though  offered  $125,000  (£25,000) 
for  fifty  concerts,  1887-91,  again 
dir.  Petersburg  Cons.,  then  lived  in 
Berlin;  1891,  in  Dresden.  The  Czaji 
bestowed  on  him  the  Order  of  Vladi^ 
•mir  carrying  with  it  nobility,  and  the 


372 


DICTIONARY  OF  MUSICIANS 


title  of  Imp.  Russian  State  Coun- 
cillor; Ire  was  an  officer  of  the  Legion 
of  Honour,  a  Hi&ght  of  the  Prussian 
Ordre  pour  le  m&rite,  etc.  Efe  in- 
stituted the  Rubinstein,  prims  of 
5,000  francs  each  for  pf .-piayi&g  and 
compiosition  open  every  5  years  to 
men  between  20  and  26  <£  any 
nationality. 

He  wrote  his  "Memoirs,"  also  "Die 
Mvsik  and  ikre  Meister"  (189*), 
**Ged&tokenk<>rl"  (1892), 
As  a  pianist  R.  is  second  only  to 
Liszt,  wlrom  he  perhaps  estoelted  in 
fire  and  leonine  breadth.  He  was, 
however,  frequently  inaccurate  in  his 
performance.  He  chiefly  wisked  to 
be  remembered  as  a  composer  bat  his 
music  has  lost  its  erstwhile  popularity 
in  recent  years,  save  for  occasional 
hearings  of  his  piano  works.  He 
placed  great  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 
Lost,"  "Moses,"  "Christetx."  Be- 
sides the  noteworthy  operas  "Nero" 
(Hamburg,  1879),  "The  Demon" 
(Russian,  P.,  1875),  and  "Die  Mak- 
kabaer"  (German,  Berlin,  1875)2  hc  c- 
it  other  Operas,  a  ballet  "La  Vigne" 
<JHe  Rebe),  and  2  cantatas  with  orch. 
C.  also  6  symphs.  (ind.  the  famous 
"Ocean,*3  op.  42,  in  C,  in  7  move- 
ments); op.  95,  in  D  man.  ("Dra- 
matic"); op.  107,  in  G  min.  (in 
memory  of  Gr.  Duch.  Helen). 
"Characte]>pictures"  "Faust,"  "Ivan 
IV.,99  and  "Don  Quixote";  3  concert- 
overtures,  incl.  op.  43  {"Triom- 
pkaie"),  and  op.  116  ("Anthdny  and 
Cleopatra3');  a  Suite  in  6  movements, 
op.  119  (his  last  work);  symph.  poem 
"La  Russie"-l  5  pf. -concertos;  fan- 
tasia eroica  with  orch.;  vln.-concerto; 
fromance  and  caprice  for  vln.  with 
orch.;  2  'cello-concertos;  vln.-sonatas; 
vln.-sonata  (arr.  for  vln.  by  David), 
etc.  FOR  PIANO  SOLO:  suite;  4  sona- 
tas, 6  preludes,  6  6tudes,  5  barca- 
rolles; "  Kamenoi-Ostrow"  ("Isle  of 
Kamenoj?9  in  the  Neva,  a  series  of 
24  "pictures");  "Soirees  de  St.  P.," 
*' Miscellanies,"  "Le  Bal,"  ro  pcs.  op. 
14;  "Album  de  Peterhof,"  etc.  FOR 
OT.  4  SAttDS,  sonata,  "Bal  Costume" 
6  Cnarakterbilder,  fantasia  for  2  pfs.; 
over  too  songs,  18  duets,  choruses, 
etc. 
Autobiog.  "Memoirs"  (St,  P.,  1889; 


g,  1893).  Biogr,  by  McAxthta 
(Londoa,  1889).  Other  studies  by 
Bfcskin,  Vogel,  Lissowski,  Sveriev, 
Zabel,  Soubies,  Cavos-Degtarev^ 
Martinov,  Rodenberg,  Droi-.ckfer', 


Findei&en,  La  Mara,  Bernstein  and 
Artihttr  Merv«y. 

(2)  Nikolai,  Moscow,  June  2,  183^— 
(of  consua^tioBi),  Paris,  March  £3, 
r88i;  bro.  of  above,  who  declared 
N.  to  be  the  better  pianist  of  the  two; 
founder  Moscow  Mus*  Soc«;  dir. 
Moscow  Consv  from  its  foundation* 
±864;  G*  pf,-pc3*  etc.  (3)  Jos*,  Staro- 
Constantinow,  Russia,  Feb,  8,  1847 
—(suicide)  Lucerne,  Sept*  *£>  1884; 
pianist  for  rehearsals  at  Bayraith; 
eoMpo&er.  (4)  Jacques,  Russia.  1874 
— •  PAris,  1 90  2 ;  son  of  ( i )  b  (5)  Arthur, 
b.  Lodz,  Poland,  1886;  pianist;  pupil 
of  Breithaupt  in  Berlin;  since  his  12th 
yeaff  touring  in  recitals  as  a  prodigy; 
has  been  heard  as  mature  artist  with 
much  sticc.  in  Europe,  Far  East  and 
U.  8,  (6)  Beryl*  b*  Athens,  Ga., 
Oct.  $6,  1898;  pianist,  composer; 
studied  with  Alexander  Lambert, 
Vianna  da  M^tta  and  Busoni;  d&raf 
with  Met.  Op.  orch.  at  13;  playec 
with  leading  Amer.  orchs-  and  in 
London  (1925);  dean  (later,  dir.)  and 
h£ad_of  piano  dept.,  Cleveland  Inst. 
of  M'usic;  c.  opera ,  orch.  wks.T  pf. 
pcs,;  conductor;  d.  Cleveland,  Dec. 
29>  1953-  (7)  Ida,  b.  Kharkov. 
Russia,  1893;  noted  actress  ana 
da&cfcf ;  pupil  of  the  tragedian  Len- 
sky;  gave  series  of  dance  productions 
ia  Paris,  which  incl.  creation  of 
D'Annunzio's  and  Debussy's  "Mar- 
tyre  de  St,  Sebastien"  (written  for  her) 
at  Th&Ltre  du  Chatelet,  1911;  also 
many  other  modern  ballet  scores 
created  for  and  premiered  by  her, 
incl.  title  r61e  in  Stravinsky's  "Persf- 
phone*'  which  utilises  mime-reciter, 
tenor  soloist,  chorus  and  orch. 

Riickauf  (rlk'-owf),  Anton,  Schloss  Alt- 
Erloa>  Prague,  March  13,  1855 — 
Sept.  19,  r903;  composer;  pujjiL  of 
Proksch,  and  teacher  at  his  institute, 
then  pupil  of  Nottebohm  and  Nav- 
ratil,  at  Vienna;  c.  opera  "Die  Ros- 
enthalerin"  (Dresden,  1897),  songs, 
etc. 

Ruckers  (rook'-Srs),  family  of  clavecin- 
makers  at  Antwerp,  superior  to  all 
others,  (t)  Hans  (Senior),  d.  ca. 
1640;  father  of  (2)  Pz*,  b.  1776- 
(3)  Hans  (Junior),  b.  1578.  (4)  An- 
dries  (Senior),  b-  1579.  (5)  Attton, 


DICTIONARY  OF  MUSICIANS 


373 


b,  1581;  f&e  last  nxfr.  was  (6)  An- 
driss  (Junior),  1607-67. 

Rucsicska.     Vide  RUZICKA. 

Rudersdorff  (roo'-d£rs-d6rf),  BJermine, 
Ivanowsky,  Ukraine,  Dec.  12,  1822 
— Boston,  Mass.,  Feb.  2.6,  i$S2; 
noted  soprano  and  teacher. 

Rudhyar  (rfcd'-ye'r),  Dane,  b.  Paris, 
3:895;  composer;  has  lived  in  U,  S. 
since  1916;  won  Los  Angeles  Orch. 
prize,  1920,  for  symph.  poem,  "Surge 
of  Fire"*,  author  of  book  on  Debussy; 
Ms  orch.  works  incl.  also  Three 
Dance  Poems,  Sinfonietta,  "Desert 
Chants,"  "Quranas";  "Five  Stanstas"; 
"To  the  Real";  symphony;  "Hero 
Chants"  etc, 

RuOnick  (root'-n*k),  Wilhelm,  Dam- 
merkow,  Pomerania,  Dec.  30,  ^850 — 
Llegnetz,  Aug.  7,  1927;  pupil  of 
Kufiak's  Acad-,  and  of  Dienel;  org. 
at  Liegaitz;  c.  opera  "Otto  der  Sch&tz" 
(jS37);  oratorio  "Judas  Istariot," 
"Pier  Verlorene  Sohn,"  etc. 

£tt'dolpb,  CO  Jn.  J.  R,,  Arch-duke  of 
Austria,  Florence,  1788  -—  Baden, 
Vienna,  1831;  pianist  and  composer; 
pupil  and  intimate  friend  of  Beetho- 
ven, (a)  Jn.  J.,  1730— 1812,  via. 
jy&d  horn  player, 

RudorfE  (roo'-d6rf),  Ernst  Er.  K*,  Ber- 
lin, Jan,  18,  1840— Dec.  3**  1916; 
pupil  of  Bargiel  (pf,)  and  Leipzig 
Cons,;  private  pupil  of  Hauptmann 
and  Reinecke;  1865,  pf.-teacher, 
Cologne  Cons.;  1867  founded  the 
Bach-verein;  1860  head  pf, -teacher 
Berlin  Hochschule;  1880-90  cond. 
Stern  Gesangverein;  c,  symphs., 
overtures,  etc. 

Ruegger  (rug'-gSr),  Elsa,  b.  Lucerne, 
Dec,  6,  1 88 *;  'cellist;  studied  with 
Jacobs  and  Anna  Campowski  at  the 
Cons,  there,  taking  ist  prize  at  13 J 
toured  widely  America  and  Europe; 
1908-14,  taught  Scharwenka  Cons., 
Berlin;  later  res.  in  San  Frajxcisco, 
m,  J£dmund  Lichtenstein,  violinist. 

Riifer  (ni'-far),  (i)  Ph.  (Barth6l6*xy), 
tifee^  June  7,  1844 — Berlin,  S^>t.  15, 
1919;  son  of  a  German  organist. 
(2)  PhtUpp  R.,  pupii  of  Li6ge  Cons.; 
1869-71,  mus.-dir,  at  Essen;  pf.- 
teacher  Stern's  Cons,,  Kullak's  Cons., 
and  from  1881  Scharwenka's,  Berlin, 

c,  operas   "Merlin"    (Berlin,    1887); 
succ,  "Inge"  (Berlin,  1896);  symph. 
in  F.:  3  overtures,  etc. 

Staflte    (roof'-fo),    (i)    V,f    b,    Verona; 
maestro    of    the    Cath,;    composer 
b.  Pisa,  June 


9,  ^877;  eminent  barytone;  pupil  of 
St.  Cecilia  Cons.,  Rome;  after  two 
years  dismissed  and  advised  to  §ive 
up  singing;  then  Cassini  of  Milan 
taught  him  gratis,;  he  won  his  first 
success  at  Rio  Janeiro  and  through- 
put South  America,  then  triumphed 
in  Italy,  later  in  Vienna;  1912  a 
sensation  in  Paris  and  engaged  for 
ChL'Phil.  Opera  Co,,  appearing 
Philadelphia,  Nov.  4>  *9*2j  1932-^9, 
with  Met,  Op.,  and  widely  also  in 
Europe;  d.  Florence,  July  6,  1953. 
Rugger!  (Ruggjeri)  (rood-j£'~re),  a 

vln.-inakers, 
1668 


720. 


Cremouian  family  of 
^ij  Fran.9  flourished, 
(2;  Giov^  Bat.  (1700  —  172$),  and 
(3)  3P«  (1700—1720),  probably  his 
sons.  (4)  Guide  and  (5)  V,,  both  of 
Cremona  in  i8th  cent.  R*  violins 
resemble  Amatis.  (6)  Giov.  M-, 
Venetian  composer;  prod*  operas 
there  1696—  -1712, 

Itoggi  (rood^je),  Fraru,  Naples,  1767  — 
1845;  conductor,  professor  and  dram. 
composer. 

Rug'gtes,  Carl,  b-  Marion,  Mass»?  1876; 
composer;  studied  Harvard  Univ., 
founded  and  cond.  Winona  (Minn.) 
Symph.  for  several  years;  c,  prch*  and 
chamber  works  of  highly  original 
harmonic  and  rhythmic  style,  mcl. 
"Portals"  for  string  orch.,  "Men  and 
Angfo?  "Snn-Treadex?  and  "Men 
and  Motwt&ins,"  also  songs  with 
orch.;  sevexa.1  of  his  works  perf^  at 
f  ests-  of  IntematT.  SOQ.  for  Contemp. 
Music  in  Europe. 

Ruhlmaon  (riil'-man),  (Ad.)  JuEus, 
Dresden,  1816  —  1877;  court-trom- 
bonist; professor,  writer  a#d  com- 
poser. 

Rum'ford,  R,  Kennerly*  b*  London, 
Sept.  2,  i&7*;  conceit  barytone; 
studied  in  Frankfort,  Berlin  and 
Paris;  m.  Clara  Butt,  1900. 

Rirmmsl  (room'-m$l)»  (i)  C 

Fr*  Alex.),  Brichsenstadt-  Bavaria, 
i787*-~Wiesbadea,  1849;  clarinettist, 
and  composer.  (2)  Josephine,  Man- 
yares,  Spain*  1812  —  Wie&baden, 
i$77j  daughter  of  above;  ct.-pianist. 
(3)  Jos.,  Wiesbaden,  181  8—  London, 
1880;  son  and  pupil  of  (i);  ct,- 
piajiist  and  composer.  (4)  Fran- 
ziska,  Wiesbaden,  1^2  1  —  Brussels, 
1873;  ct,-singer;  sister  of  above;  m. 
Peter  Schott,  the  pub.  (5)  Aug., 
Wiesbaden,  1824-—  London,  1886; 
pianist.  (6)  Fz-,  London,  Jan.  n, 
3  —  Berlin,  1901;  pianisti  SOA  of 


374 


DICTIONARY  OF  MUSICIANS 


(3);  pupil  of  Brassin,  Brussels  Cons., 
winning  ist  prize,  1872,  1877-78, 
toured  Holland  with  Ole  Bull;  toured 
America  3  times;  teacher  Stern's 
Cons.,  then  Kullak's,  Berlin;  1897 
"Professor"  from  the  Duke  of  An- 
halt.  (7)  Walter  Morse,  b.  Berlin, 
July  19,  1882;  noted  pianist;  son  of 
^6);  pupil  of  Fabian,  Godowsky, 
Kaun  and  Debussy;  after  1913 
toured  in  Europe;  m.  Therese 
Chaigneau,  pianist;  d.  Bordeaux,  1953- 

ttan'cimaxi,  John  F.,  England,  1866 — 
London,  April,  1916;  prominent 
critic.  Educated  at  the  science 
school  (now  Rutherford  College), 
Newcastle-on-Tyne;  organist  from 
childhood;  1887,  took  position  in 
London;  from  1894  musical  critic 
Saturday  Review;  later,  until  1898, 
also  acting  editor  and  managing 
director;  also  editor  of  the  quarterly 
The  Chord,  and  of  the  Musician's 
Library;  for  some  years  correspond- 
ent Boston  Musical  Record;  1901, 
of  New  York  Musical  Courier; 
some  of  his  essays  were  published  as 
"Old  Scores  and  New  Readings" 
(1899);  wrote  biographical  studies  of 
Wagner  and  of  Purcell. 

Rung  (roongk),  Henrik,  Copenhagen, 
1807—1871;  conductor  and  dram, 
composer. 

Range  (roong'-S),  Paul,  Heinrichsfeld, 
Posen,  Jan.  2,  1848 — Colmar,  July  4, 
1911;  pupil  of  Church  Music  Insti- 
tute, Berlin,  and  J.  Schneider;  from 
1873  at  Colmar  as  historian  and 
comp. 

Rungenhagen  (roong'-gn-hS-gSn),  1C 
Fr.,  Berlin,  1778 — 1851;  Professor, 
conductor  and  dramatic  composer. 

Rtinger  (rSng'-er),  Oertrud;  b.  Posen, 
Poland;  dramatic  soprano  (originally 
contralto);  studied  in  Berlin;  sang  at 
Erfurt,  Magdeburg,  Cologne,  then 
at  Vienna  State  Op.  for  a  number  of 
seasons;  in  1935  became  member  of 
the  Berlin  State  Op.  assuming  so- 
prano r6les;  guest  appearances  at 
Salzburg  Fest.,  Amsterdam,  Paris 
and  London;  in  1936-37  engaged  for 
Met.  Op.,  New  York. 

Rupff.    Vide  LUTHER,  M. 

Rus'sell,  (i)  Win.,  London,  1777 — 
1813;  pianist.  (2;  Henry,  Sheerness, 
1812 — London,  Dec.  6,  1000;  v.  pop. 
Bngl.  song-composer.  (3;  Sir  Henry, 
London,  1871 — London,  Oct.  n, 
1937;  son  of  (2);  noted  English  Im- 
presario and  voice  teacher:  pupil  of 


R.  C.  M.,  London;  1905^  dir.  c* 
Co  vent  Garden  Op.;  1005  brought 
his  co.  to  Boston;  1909-14,  dir. 
Boston  Op.  Co.,  with  which  he 
visited  Paris,  1914;  bro.  of  Sir  Lan- 
don  Ronald.  (4)  Louis  Arthur,  D. 
Newark,  N.  J.,  Feb.  24,  1854 — Sept. 
5,  1925;  pupil  of  Warren,  Bristow, 
and  C.  C.  Miiller,  New  York;  stud- 
ied, London,  1878-95;  organist  and 
choirm.,  Newark;  after  1879,  cond. 
Schubert  Vocal  Soc.:  after  1885, 
Easton  (Pa.)  Choral  Soc.;  1885, 
founded  the  Newark  Coll.  of  Mus., 
of  which  he  was  dir.  and  teacher; 
1893,  organised  Newark  Symph. 
Orch.;  wrote  various  books;  c.  can- 
tata with  orch.,  "A  Pastoral  Rhap- 
sody," etc.  (5)  Ella  (Countess  de 
Rhigini),  Cleveland,  O.,  March  30, 
1864 — Florence,  Jan.  16,  1935;  so- 
prano; pupil  of  Cleveland  Cons., 
Mme.  de  la  Grange  and  Ed.  Pluque 
(acting);  dSbut,  "II  Trovatore," 
Prato,  Italy,  1882;  sang  with  succ. 
on  Continent;  Covent  Garden,  1885; 
later  with  Carl  Rosa  Opera  Com- 
pany. 

Rust  (roost),  (r)  Fr.  Win.,  WSrlitz, 
near  Dessau,  July  6,  1739 — Dessau, 
Mar.  28,  i79<5;  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  Tiirk;  organist  and  com- 
poser. (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'-ta),  Michele,  Caserta,  1827 
— Naples,  Jan.  24,  1896;  theorist  and 
dram,  composer. 

Rfiter  (renter),  Hugo,  b.  Hamburg, 
Sept.  7,  1859;  pupil  of  the  Cons.; 
from  1882  singing  teacher  and  cond. 
at  Wandsbeck;  1897,  Hamburg;  c. 
symph.;  2  operas,  etc. 

Ruthardt  (rpot'-hart),  (i)  Er.,  1800— 
1862;  oboist  and  composer.  (2)  Ju- 
lius, Stuttgart,  Dec.  13,  1841 — Con- 
stance^ Oct.  13,  1909;  son  of  above; 
violinist,  th.-conductor  1885  at  Bre- 
men; c.  incid.  rnus.  songs.  (3)  Ad., 
Stuttgart,  Feb.  9,  1849 — Leipzig, 
Sept.  12,  1934;  bro.  of  above;  pupil 
of  the  Cons.;  1868-85,  teacher  in 
Geneva,  then  Leipzig  Cons.;  writer 
and  composer. 

Ruzicka     (Rucsicska,     Rutschitschk£, 


DICTIONARY  OF  MUSICIANS 


375 


etc.)  (root-shgtsh'-ka),  Wenzel, 
Jaumentz,  Moravia,  1758 — Vienna, 
1823;  bandm.  and  dram,  composer 
and  ct.-organist;  Schubert  was  his 
pupil. 

Ry'an,  Thos.,  Ireland,  1827 — New  Bed- 
ford, Mass.,  March  25,  1903;  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  Musi- 
cian" (New  York,  1890). 

Ryba  (r5'-ba),  Jakob  Jan.,  Przestitz, 
Bohemia,  1765 — Roczmittal,  1815;  c. 
6  comic  operas,  etc. 

Rybakov  (r5'-ba-k6f),  Sergei  Gavrilo- 
vich,  b.  1867;  pupil  of  St.  Petersburg 
Cons.;  author  studies  of  music  in 
Russia  and  Turkestan. 

Rybner  (rib-ner),  (i)  Cornelius,  Copen- 
hagen, Oct.  26,  1855 — N.  Y.,  Jan.  21, 
1929;  pupil  Gade,  Reinecke;  1892, 
cond.  Carlsruhe  Philh.  Soc.;  1904-19, 
he  succeeded  MacDowell  as  prof,  of 
music  Columbia  University,  N.  Y., 
c.  3 -act  dance  legend  "Prinz  A  dor" 
(Carlsruhe,  1903),  etc.;  had  given 
piano  recitals,  often  with  his  daugh- 
ter (2)  Dagmar,  b.  1890;  also  a 
talented  pianist,  d6but  Carlsruhe, 
playing  the  Schumann  concerto 
under  Mottl;  toured  the  U.  S.;  c. 
songs. 

Ryelandt  (r5'-lant),  Joseph,  b.  Bruges, 
April  7,  1870;  composer;  pupil  of 
Tinel;  c.  choral  works  with  orch., 
"St.  Cteile,"  and  "  Purgatorium," 
chamber  music,  etc. 

S 

Saar  (zar),  Louis  Victor  Fz.,  Rotter- 
dam, Dec.  10,  1868 — St.  Louis,  Nov. 
23,  19375  composer;  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;  princi- 
pal of  the  dept.  of  theory  at  Cincin- 
nati College  of  Music  from  1906; 
after  1917  at  Chicago  Mus.  CoU.; 
prizes  for  composition;  c.  string 
quartet,  piano  quartet,  sonatas  for 
vln.,  for  'cello  and  for  horn;  organ, 
shoral  pieces;  many  songs,  etc. 


Sabane'iev,  Leonid,  b.  Moscow,  Nov. 
19,  1 88 1 ;  pianist  and  writer  on  music, 
also  composer;  after  1920,  dir.  of 
State  Inst.  for  Musical  Science;  c. 
piano  trios  and  other  pieces;  author, 
"History  of  Russian  Music.'3 

Sabata.  Vide  DE  SABATA. 

Sabbatini  (sab-ba-te'-ne),  (i)  Galeazzo, 

b.  Pesaro;  ct.-maestro  and  composer 
(1627-39).     (2)    I*tiigi    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.  Gasparo, 
Pozzuoli,  near  Naples,  June  23,  1734 
— Paris,  Oct.  8,  1786;  eminent  Nea- 
politan 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  Piccinni;  1772-82,  London,  succ. 
as  composer  but  not  as  financier. 
Fled  from  creditors  to  Paris  where  he 
had  succ.  and  prod,  many  works, 
incl.  "CEdipe  d  Colone,"  his  best  work. 
He  c.  over  60  operas,  6  oratorios,  etc. 

Sachs  (zSkhs),  (i)  Hans,  Nurnberg, 
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,  Memingen,  1830 — Frank- 
fort-on-Main,  1888;  pianist.  (3)  Mel- 
chior  Ernst,  Mittelsinn,  Lower 
Franconia,  Feb.  28,  1843 — Munich, 
May  1 8,  1917;  pupil  Munich  Cons, 
and  of  Rheinberger;  1868-72,  cond. 
"Liederkranz";  1871,  teacher  of 
harm.  Sch.  of  Mus.;  founded  and  long 
cond.  "Tonkiinstlerverein"  concerts; 

c.  opera,    ballade    with    orch.,    etc. 

(4)  Curt,  b.  Berlin,  i88ij  noted  critic 
and    musicologist,    Ph.    D.,    Berlin 
Univ.;  an  authority  on  instruments, 
author  of  many  wks.;  taught  N.Y.U. 

(5)  L6o,  b.  Alsace,  1868;  c.  operas, 
chamber  music,  songs. 

Sachse-Hofmeister  (zakhs'-£-h6f'-mi- 
sht&r),  Anna,  Gumpoldskirchen,  near 
Vienna,  July  26,  1850 — Berlin,  Nov. 
15,  1904;  soprano. 

Sacrati  (sa-kra-te1),  Francesco,  d.  Mo- 
dena,  May  20,  1650;  court  cond.  and 
important  early  composer  of  opera. 

Saen'ger,  (i)  Gtistav,  New  York, 
May  31,  1865 — Dec.  10,  1035;  violin- 


376 


DICTIONARY  OF  MUSICIANS 


ist,  conductor,  editor;  played  In  orch. 
at  Met.  Op.,  with  N.  Y.  Philh.  and 
Sympfr.;  cond.  Empire  Theatre  after 
1893;  ed.  The  Metronome  and  The 
Musical  Observer;  c.  instrumental 
pieces,  songs.  (2)  Oscar,  Brooklyn, 
N.  Y.,  Jan.  5,  1868 — Washington. 
D.  C.,  April  20, 1926;  barytone,  vocal 
teacher;  pupil  of  Bouhy;  taught 
Nat'L  Cons.,  N.  Y.;  sang  with  Hin- 
richs  Amer.  Op.  Co.;  teacner  of  many 
prominent  artists. 

Saf'onoff,  (i)  W.f  Istchory,  Caucasus, 
Feb.  6  (new  style),  1852 — Kis- 
lovodsk, March  13,  1918;  pupil  of 
Leschetizky  and  Zaremba;  then  of 
Brassin,  Petersburg  Cons.,  taking 
gold  medal,  1881-85,  teacher  there; 
1885,  Moscow;  1889,  dir.  of  the  Cons. 
there,  and  1890  conductor;  in  1906 
he  visited  London  and  cond.  the 
Phil.  Orch.;  1906-09  he  cond.  the 
Pfcilh,  Orch.,  New  York  City,  with 
great  success,  then  returned  to 
Russia.  A  famous  teacher,  among 
his  pupils  being  many  eminent  Rus- 
sian musicians,  (2)  Maria,  Ms  daugh- 
ter, is  a  pianist, 

S£gh  (sakh),  Jos.,  b.  Pesth,  March  13, 
1852;  Hungarian  lexicographer;  j88$, 
founder  and   eciitor   of   mus.   paper 
Zf&elap;  d.  Vac,  Jan.  25,  1922, 
Sagitta'rius.     Vide  scHtJr?. 
Sahja  (zT-12),  Richard,  Graz,  Sept,  17, 
i8$£— Stadthagen,  April  33,   1931; 
violinist;   pupil   of   Pavid,   J 
Cons.;   d£but>    Gswaodhaus. 
1888,  ct.-comi.  Biickeburg;  fp 
an  oratorio-soc-  there;  c,  a  Rouman- 
ian Rhapsody,  etc. 

Saint-Axaptans  (san-ta-man),  L,  Jos., 
Marseilles,  1749 — Paris,  1820;  con- 
ductor at  Brussels  and  drarn,  com- 
poser. 

Samt-Qeorges  (s&n-zhArzh)f  (i)  •« — , 
Chev.  £e,  Guadeloupe,  1^45 — Paris, 
1799  (pr  1801);  mulatto  viofinist  and 
composer.  (2)  Jules  ^  V^nw>y, 
Marquis  de,  Paris,  1801 — 18755  li- 
brettist of  many  works,  especially  in 
collaboration  with  Hal^vy* 
Saint-Huberty  (&34-tu-b£r-t£),  Antoi- 
nette Cgeile  Clavel  (galled  St* 
Rtiber^r,  rightly  CJay^l),  Toul,  ca. 
iTS^^'I-ondon,  1812,  noted  soprano, 
Gr.  Op6ra,  Paris,  1777-89;  1790,  m. 
the  Count  d'Entraigues;  they  we^^ 
assassinated  at  their  country  $eat, 
^M?ar  Condon,  1812  (pxpbably  from 
political  motives), 

Michel 


de,     Parisian     harpsichord-teacher; 
wrote  methods  (1680—1/00). 

Saint-Lubin  (s2,n-lu-b&n),  Leon  de, 
Turin,  1805 — Berlin,  1850;  violinist 
and  dram,  composer. 

Sai&ton  (s&n-t6n),  (i)  Prosper  (Pfc. 
Catherine),  Toulouse,  1813 — ton- 
don,  1890;  violinist  and  composer. 
(2)  Saintcn-Dolby,  Charlotte  Helen 
(n£e  Dolby),  London,  1821 — 1885; 
contralto-singer. 

Saint-$ae*ns  (s^n'-san),  Chas.  Camille, 
Paris,  Oct.  9,  1835 — Algiers,  Dec.  16, 
1921;  eminent  French  composer. 
Began  to  study  the  piano  before  3; 
at  5  played  a  GrStry  opera  from  the 
score;  at  7  entered  the  Cons.,  pupil 
of  Stamaty  (pf.)  Maleden  and 
Hal£vy  (comp.),  and  Benoist  (org.); 
ist  org.-prize,  1851;  at  16,  prod,  a 
symph.;  1853,  organist  Saint-M^ry; 
1858,  the  Madeleine;  also  till  1870 
pf. -teacher  Niedermeyer  Sch.;  made 
frequent  tours  as  pianist  and  con- 
ductor of  his  works,  incl.  U.  S.,  1906 
and  1915.  He  was  a  writer  of  un- 
usual gifts,  1894,  Commander  of 
tfce  Legion  of  Honour.  C-  operas: 
j-act  "La  Princesse  Jaune"  (Op.- 
Com-,  ^872);  "Le  Timbre  &  Argent," 
4~acts  (Tii.-LyT.T  1877);  the  very 
SU£C«  "Samson  et  Dalila"  (Weimar, 
5877,  often  sung  as  an  oratorio); 


rr    •"  fri~f  \  -s^-^-v-    •«^'V^^^-L.,      ^  •'-'^Cn   f  ..... 

satif"  (B^ziers,  1902);  "Lola"  (1901), 
"Les  Barbaras"  (1901),  "An&ro- 
mwwe"  (1903),  "H&buP  (Monte 
Carlo,  1904),  "Z'Anc&re"  (do., 
1906),  "Dejanire"  (1911);  wrote  the 
last  2  acts  of  Guiraud's  unfinished 
"Frtdegonde"  (Op€ra,  1895).  C.  bal- 
lets, music  to  "Antigone"  (Com£die- 
Franpaise);  and  Genet's  "Q&fanire" 
(Briers,  7898^  with  orch.  of  250, 
s  of  200,  ar^4  ballet  of  <$Q  in 
air),  Ct  also  a  Christmas 


oratorio;  the  "Biblical  opera"  e(Le 
I?$uge"i  <2  masses;  ode  "La  Lyre  et 
la  ffarpe"  (Birmingham  Fest.,  1879); 
cantata  "La  Jeu  ctitste"  (1900); 
fantaisie  for  violin  and  harp  (1907); 
"La  Muse  et  le  foete"  for  violin  and 
orch.,  1909;  "Overture  de  F$te,"  op. 
*33,  1909;  songs,  piano  pieces,  string 
quartet,  septet,  2  piano  trios,  2  vln, 
sonatas,  organ  works,  "La  jcte 
araganestf'  for  orch.;  5  nf.  -concertos; 
2  vln.-concertos,  Introduction  and 
Rondo  Capriccioso. 


DICTIONARY  OF  MUSICIANS 


377 


both  for  viti.  and  orch.;  "Catnevcfr  ties 
Animaux,**  descriptive  suite  (hnnior- 
ous)  for  2  pianos  and  orch.;  2  'cello- 
concertos;  cantata  "Les  Noces  de 
Prometh&t"  (1867);  Psalm  19,  with 
orch.  (London,  i&8$);  5  symphs., 
symphonic  poems,  "Le  rvu&  d*Om- 
phtitt,**  "Pha&ton,"  **  D&nse  itoafiabre," 
"Lit  jtuntssv  d' Berculie"-;  2  otch. 
suites,  the  first  " Algerienne,9*  etc. 
A  highly  versatile  composer,  his 
works  showed  refinement,  spirit, 
genial  melody  and  a  fine  sense  of 
form.  He  was  one  of  the  leading 
figures  in  the  restoration  of  French 
symphonic  music.  His  nature  lacked, 
however,  qualities  of  depth  and  uni- 
versality. 

A  thematic  catalogue  of  his  works 
was  pub.  by  Durand,  1897,  and  re- 
vised, £$07.  Memoirs  by  Loanda, 
Bkmdel,  Bellaigue,  Neitsel,  Bau- 
raann,  Bonnerot,  Montargis,  Hervey, 
Holland,  Tullien,  S6r6,  etc. 

Sala  (sa'-la),  Nicola,  near  Benevento, 
Italy,  Ca.  jr7t5-~-Naples,  i&oo;  maes- 
tro, theorist  and  dram,  composer. 

SaTaman,  Chas.  Kensington,  London, 
March  3,  iSn— -June  23,  ±901;  pian- 
ist; pupil  of  Rimbault  and  Chas. 
Neate;  d6but  1828,  then  studied  with 
H.  Heirz,  Paris;  1831,  teacher  in  Lon- 
don; 1840,  founded  a  choral  soc.; 
1858,  founded  the  Mus.  Soc.  of 
London;  also  the  Mus.  Assoc.,  ±874; 
critic  and  essayist;  c.  orch.  PCS.,  etc. 

Saldoni  (sal-dor-n£),  Don  Baltasar, 
Barcelona,  1807  —  1890;  organist, 
singing-teacher,  writer  and  dram, 
composer. 

Sale  (sal),  Fran.,  Belgian  ct.-tenor  and 
Composer,  ±589. 

SalSza  (s5.1-a-za),  Albert,  Bruges, 
BSarn,  1867 — Paris,  1916;  notable 
tenor;  pupil  Paris  Cons.;  ist  prize  in 
singing,  2d.  in  opera;  d6but  Op.- 
Com.,  1888;  1889-91,  at  Nice;  from 
1892,  engaged  at  the  Op6ra,  Paris; 
±898^1901,  Met.  Op.,  New  York; 
after  1911  he  taught  at  the  Paris 
Cons. 

Salieri  (sal-I-a'-re1),  (i)  Ant.,  Legnano, 
Verona,  Aug.  19,  1750 — Vienna, 
May  7  (12  ?),  1825;  noted  operatic 
composer  and  organist*  pupil  of  his 
brother  (2)  Francesco  (violinist)  and 
of  Simoni,  Pascetti  and  Pacini;  taken 
to  Vienna  by  Gassman;  his  successor 
as  ct.-composer  and  cond.  of  Italian 
opera;  he  prod,  many  operas  there, 
then  one  fit  Paris  under  Gluck's 


name,  O.  kindly  confessing  the  ruse 
when  the  opera,  was  a  succ. ;  1 788,  ct.- 
cond.  Vienna;  was  a  rival  of 4  Mozart 
and  unjustly  accused  of  J>blsoning 
him;  c.  40  operas,  12  oratorios,  etc. 

Salimbeni  (s3.1-lm-ba'-ne),  Fidite, 
Milan,  ca.  1712— Laibach,  1751; 
sopranb-musico . 

Salinas  (s3,-le'-n3,s),  Fran.,  Burgos, 
Spain,  ca.  1512 — 1590;  professor. 

SaTmond,  £elix,  b.  London,  Nov.  19, 
1888;  'cellist;  studied  with  White- 
house,  R.  Coll.  of  Music,  and 
Edouard  Jacobs,  Brussels;  d6but, 
London,  1909;  appeared  widely  in 
Europe;  after  1922  in  N.  V\,  where 
gained  rep.  as  fine  technician;  has 
played  with  leading  orchs.  and  in 
chamber  music  and  recital  pro- 
grammes; head  of  'cello  dept.,  JuHliard 
School;  d.  1ST.  V.,  Feb,  19,  1952. 

Said,  Gasparo  da.     Vide  GASPARO* 

Saloinan  (zaMo-man),  Siegfried,  Ton- 
dern,  Schleswig,  181 6— Stockholm, 
1899;  violinist,  lecturer  and  drain, 
composer. 

Salom6  (s31-6-ma),  Th*  Cesarr  Paris, 
1834- — St.  Germain,  189^;  composer 
and  organist. 

Salomon  (za'-lo-mSn),  (i)  Ja.  Peter, 
Bonn,  Jan.,  1745 — London,  Nov.  25* 
±8t$;  vln.-virtuoso;  from  17^1,  Lon- 
don; 1786,  organised  famous  Salomon 
concerts  for  which  Haydn,  whom,  he 
brought  over,  c.  special  works. 
(2)  Hector,  Strassburg,  May  29,  1838 
—Paris,  1906;  pupil  of  Jonas  and 
Marmontel  (pf.),  Bazin  (harm.)  and 
Hal6vy  (comp.) ;  in  1870,  2d  chorusm., 
later  chef  de  chant,  Gr*  Op6ra;  c. 
operas,  etc. 

Salt'er,  Stunner,  Burlington,  la., 
1856 — N.  Y.,  March  5,  ±944;  studied 
at  Amherst  Coll.  and  music  in  Bos- 
ton; 1900-02,  taught  at  Cornell  Univ, 
and  Ithaca  Cons.;  1905,  mus.  dir. 
at  Williams  College;  active  as  recital- 
ist,  organist  and  rnus.  dir.;  ed. 
-  The  Pianist  and  Organist,  N.  Y.; 
c.  chutch-mus.  (2)  Mary  Turner, 
Peoria,  111.,  iS^e-^OrangebutgjN.Y., 
1938;  studied  singing  with  Alfred 
Arthur,  Burlington,  la.;  then  pupil 
of  Max  Schilling,  John  O'Neill,  and 
Mme.  Rudersdorf,  Boston;  1877 
succeeded  Emma  Thursby  as  soprano 
of  Broadway  Tabernacle,  N.  Y.;  1879, 
soprano  Trinity  Church,  New  Haven, 
teaching  also  at  Wellesley  College; 
ij  married  Suniner  Salter,  who 


378 


DICTIONARY  OF  MUSICIANS 


was  her  teacher  in  composition;  1893 
retired  from  church  and  concert  work, 
devoting  her  time  to  teaching  and 
composition  of  songs. 

Salvayre  (s£l-v3x)  (Gervais  Bd.),  Gas- 
ton,  Toulouse,  June  24,  1847 — 
May  1 6,  1916;  studied  at  the  cath.- 
maltrise,  then  at  Toulouse  Cons.; 
later  Paris  Cons.,  taking  the  Grand 
Prix  de  Rome,  1872,  with  cantata 
"Calypso";  1877,  chorusm.  at  the 
Op6ra-Populaire;  1894  in  Servia; 
later  critic  of  "Gil  Bias";  Chev.  of 
the  Legion  of  Honour;  c.  operas 
"Le  Bravo"  (1877),  "Richard  III." 
(Petersburg,  1883),  "Egmont"  (Op.- 
Com.,  1886),  "La  Dame  de  Montso- 
reau"  (Op6ra,  1888),  etc.;  c.  also 
Biblical  symph.,  "La  Resurrection" 
ii3th  Psalm  with  orch.,  etc. 

Salzedo  (sal-za'-ds),  Carlos,  b.  Area- 
chon,  France,  April  6,  1885;  harpist, 
composer;  studied  Bordeaux  ^and 
Paris  Cons.,  ist  .prize  solfege,  piano 
and  harp;  toured  in  Europe  as  harp- 
ist, later  with  Amer.  orchs.  and  in 
recital;  die.  harp  dept.,  Curtis  Inst, 
of  Music,  Phila.;  founded  Salzedo 
Harp  Ensemble;  c.  works  for  harp 
and  orch.,  in  which  he  has  appeared 
as  performer  or  cond. 

Samara  (sS-ma'-ra),  Spiro,  Corfu,  1861 
— Athens,  1917;  pupil  of  Enrico 
Stancampiano  in  Athens;  later  of 
DSIibes,  Paris  Cons.;  prod.  succ. 
opera,  "Flora  Mirabilis"  (Milan, 
1886);  "Medge"  (Rome,  1888); 
"Lionella"  (Milan,  1891);  "La  Mar- 
tire"  (Naples,  1894;  Paris,  1898); 
"La  Furia  Domata"  (Milan,  1895); 
"Histoired*  amour"  (Paris,  1902),  etc. 

Samar'off  (ne'e  Hickenlooper),  Olga, 
b.  San  Antonio,  Texas,  Aug.  8,  1882 
— d.  N.  Y.,  May  17,  1948;  pian- 
ist; at  9  pupil  of  Von  Sternberg,  later 
of  Marmontel,  Widor,  and  the  Paris 
Cons.;  studied  again  with  Ernest 
Hutchesonand  with  Jedliczka;  d£but, 
N.  Y.,  1905;  1906,  London;  toured 
widely;  1911  married  Leopold  Sto- 
kowski;  divorced;  she  retired  from 
concert  work  following  an  injury  to 
her  wrist  sustained  in  a  fall;  for  2 
seasons  she  was  guest  music  critic 
of  the  New  York  Post;  founder 
and  dir.  of  the  "Laymen's  Music 
Courses,"  and  had  made  many  lec- 
ture appearances  throughout  th.e 
country  to  promote  music  apprecia- 
tion; faculty  mem.  of  the  JuiUiard 
,  School  of  Music,  N.  Y.  C.,  and  of 


the  Phila.  Cons,  of  Mttsic;  secretary 
of  the  Schubert  Memorial,  Inc. 

Samazeuilh  (sS-m-a-zii'-e),  Gustave,  H 
Bordeaux,  June  2,  1877;  Parisian 
critic  and  composer;  pupil  of  Chaus- 
son  and  d'Indy;  c.  notable  orch., 
chamber  and  vocal  music;  secretary  of 
the  Socie*t6  Nationale  de  Musique  and 
contributor  to  numerous  publications. 
Wrote  life  of  Paul  Dukas  (1913). 

Samin'sky,  Lazare,  b.  in  the  Crimea, 
1883;  composer;  studied  at  St. 
Petersburg  Cons.,  also  with  Rimsky- 
ELorsakofE,  Tcherepnine  and  Liadoff; 
1918,  dir.  of  Tiflis  People's  Cons.; 
cond.  at  Duke  of  York  Theatre, 
London,  1920;  after  1921  lived  in 
N.  Y.;  mem.  of  board  of  directors, 
League  of  Composers;  dir.  of  music 
at  Temple  Emanu-El;  has  been  ac- 
tive as  cond.  of  modern  music  pro- 
grammes ;c.  (ballets)  "Vision ,  of  Ariel" 
"Lament  of  Rachel"  "Gagliarda  of  a 
Merry  Plague,"  "fephtha's  Daugh- 
ter"; 5  symphonies  with  descriptive 
titles;  "Litanies  of  Women"  for  mez.- 
sopr.  and  chamber  orch.;  piano 
works,  song  cycles,  etc. 

Sammar'co,  Mario,  Palermo,  Sicily, 
1873 — Milan,  Jan.  24,  1930;  noted 
barytone;  pupil  of  Cantelli;  after 
1894  sang  in  Milan,  later  in  other 
Eur.  cities;  1905-14  at  Co  vent  Gar- 
den, 1907-10  with  much  succ.  at 
Manhattan  Op.  House,  N.  Y.;  and 
after  1910  for  some  seasons  with  the 
Chicago  Opera  Company. 

Sammartini  (sam-mar-tS'-n5),  (i)  Pie- 
tro,  ct.-mus.  at  Florence,  etc.  (1635- 
44).  (2)  Giov.  Bat.  Milan,  1701 — 
1775;  organist,  conductor  and  com- 
poser. (3)  Giu.,  d.  London,  1740; 
oboist;  bro.  of  above. 

Sam'mons,  Albert,  b.  London,  Feb.  23, 
1886;  violinist;  studied  with  his 
father,  with  Saunders  and  Weist- 
HLU;  d£but,  Harrowgate,  1906;  has 
appeared  widely  as  soloist,  also  as 
concertm.  of  Beecham  Symph.  Orch. 
and  for  a  time  as  a  mem.  of  the 
London  String  Quartet. 

Samuel  (sam-wel),  (i)  Ad.,  Li6ge,  1824 
— Ghent,  1898;  theorist  and  dram, 
composer.  (2)  Harold,  London, 
May  23,  1879 — Jan.  15,  1937;  pian- 
ist; studied  R.  C.  M.  with  Stanford 
and  Dannreuther;  d6but  London, 
1894;  had  attained  internat'l.  rank  as 
a  Bach  performer  particularly,  but 
also  in  other  music  of  classical  period; 
had  given  Bach  cycles  of  clavier 


DICTIONARY  OF  MUSICIANS 


379 


music  (played  on  modern  piano  but 
brilliantly  suggesting  harpsichord), 
covering  a  week  in  both  London  and 
N.  Y.;  toured  U.  S.  after  1925; 
appearances  with  leading  orchs.;  had 
also  lectured  and  served  as  examiner 
for  the  R.  C.  M.  and  R.  A.  M. 

SanlJorn,  Pitts,  b.  Port  Huron,  Mich., 
d.  N.  Y.,  March  7, 1941;  critic;  M.  A., 
Harvard,  1902;  music  ed.  N.Y.  Globe, 
1905-25;  later  with  N.  Y.  Daily  Mail 
and  continuing  on  the  N.Y.  Telegram 
when  merged  with  this  paper; 
also  with  World-Telegram  following 
merger  with  N.  Y.  World;  has 
written  novel  in  2  vols.,  "Prima 
Donna,"  also  many^  programme  annota- 
tions and  magazine  articles;  dir.  of 
Inst.  of  the  Audible  Arts. 

Sauces  (san '-Che's),  Giovanni  Felice, 
Rome,  1600 — Vienna,  Nov.  24,  1679; 
tenor  and  court  cond.  at  Vienna;  one 
of  the  first  to  write  "cantatas";  c. 
operas,  oratorios,  etc. 

Sanctis,  de.     Vide  DE  SANCTIS. 

Sandberger  (zant'-b&rkh-er),  Ad.,  b. 
Wurzburg,  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.;  1909-29, 
prof.  mus.  history,  Munich  Univ.; 
ed.  Orlando  di  Lasso's  complete 
works;  wrote  biog.,  hist.,  essays,  etc.; 
c.  opera  "Ludwig  der  Springer"  (Co- 
burg,  1895),  etc.;  d.  Munich,  1943- 

Sanders,  C.     vide  LEXJCKART. 

San'derson,  (i)  Jas.,  Workingtpn, 
Durham,  1769 — ca.  1841:  violinist, 
teacher  and  composer.  (2)  Lillian, 
b.  Sheboygan,  Wis.,  Oct.  13,  1867; 
concert  mezzo-soprano;  pupil  ^of 
Stockhausen,  Frankfort  -  on  -  Main; 
d6but  Berlin,  1890;  toured  Europe. 
(3)  Sibyl,  Sacramento,  Cal.,  1865 — 
Paris,  ISlay  16,  1903;  soprano,  opera- 
singer;  pupil  of  de  la  Grange  and 
Massenet,  who  wrote  his  "TkaZs" 
and  " Esclarmonde"  for  her;  succ. 
d6but,  Op.-Com.,  1889;  sang  there 
for  several  years;  1898  in  New  York 
Met.  Op.,  and  variously  in  Europe. 

Sandoni.     Vide  CUZZONI. 

Sandt  (zant),  Max  van  de,  Rotterdam, 
Oct.  18,  1863 — Cologne,  July  14* 
1934;  pianist;  pupil  of  his  father  and 
Liszt;  toured  Europe;  1889,  pf.- 
teacher  Stern  Cons.,  Berlin;  1896, 
Cologne  Cons.;  1910,  Bonn  Con- 
servatory* 


Sangiovanni  (san-j6-vSn'-n5),  A.,  Ber- 
gamo, 1831 — Milan,  1892;  prof,  of 
singing. 

Santini  (sS.n-te'-n§),  Abbate  Fortunato, 
Rome,  1778 — 1862;  coll.  a  notable 
mus.-nbrary. 

Santley,  (i)  Sir  Chas.,  Liverpool, 
Feb.  28,  1834 — Hove  near  London, 
Sept.  22,  1922;  noted  operatic  and 
concert  barytone;  pupil  Nava,  Milan, 
Garcia,  London;  d6but,  1857;  won 
pre-eminence  in  England  at  festivals, 
etc.;  operatic  d6but,  Covent  Garden, 
1859;  1875  with  Carl  Rosa  Co.;  1871 
and  1891,  America;  retired  1900; 
knighted  1907;  also  a  painter;  c.  a 
mass  with  orch.;  a  berceuse  for'orch.; 
songs  (pub.  under  the  pseud.  "Ralph 
Betterton"),  etc.  His  wife,  (2)  Ger- 
trude Kemble  (Charles  Kemble's 
granddaughter)  (d.  1882),  was  a  so- 
prano; their  daughter  (3)  Edith  was 
a  successful  soprano,  till  her  mar- 
riage in  1884  with  the  Hon.  R.  H. 
Lyttleton. 

Santoliquido  (san-t5-le-kwe'-do),  Fran- 
cesco, b*  Naples,  Aug.  6,  1883;  com- 
poser; §rad.  St.  Cecilia  Liceo,  Rome; 
for  a  time  res.  in  Tunis;  a  delicate 
and  colourful  style  is  revealed  in  his 
chamber  music  and  songs;  c.  (operas) 
"La  Favola  di  Helga,"  "L'Ignota" 
and  "Ferhuda";  (Mimo-drama)  "La 
Bajadera  dalla  Maschera  Gialla"; 
(cantata)  "L*  Ultima  Visione  di 
Cassandra"',  (overture)  "La  Morte 
di  Tintagiles";  (symph.  poem)  "  Nelle 
Oasi  Sahariani"',  2  «•  symphonies; 
(suites)  "Paesaggi"  and  "Acquerelli," 
piano  music  and  songs;  wrote  essay 
on  music  after  Wagner,  Debussy  and 
Strauss. 

Santucci  (sSn-toot'-cheO,  Marco,  Cama- 
jore,  1762 — Lucca,  1843;  conductor 
and  composer. 

Sapell'nikoff,  Wassily,  b.  Odessa,  Nov. 
2,  1868;  pianist;  pupil  of  Fz. 
ELessler,  and  then  (with  a  stipend 
from  the  city  of  Odessa)  of  L.  Brassin 
and  Sophie  Menter,  Petersburg 
Cons.,  1888,  d6but  Hamburg;  toured; 
taught  Moscow  Cons.,  1897-99;  c. 
opera  and  pf  .-pieces. 

Saplo,  Homualdo,  Palermo,  1858 — 
N.  Y.,  Sept.  22,  1943;  pupil  of 
Naples  Cons.ttoured  IT;  S.  after  1888 
as  cond.  for  Patti,  Albani,  Nordica; 
beginning  1892  taught  at  Nat'l. 
Cons.,  N.  Y.;  later  privately;  m* 
Clementine  de  Vere,  soprano. 

Saran    (za'-r2,n),    Aug.    CFr.).    Alten- 


DICTIONARY  OF  MUSICIANS 


380 


platJbow,  Province  of  Saxony^ 
28,  5836— Bromberg,  Feh,  23,  1922; 
pupil  of  Fr.  Ehrlich  and  of  R.  Franz; 
teacher,  army-chaplain  (*$?s);  *$85 
cond.  of  a  church-choral  &QC,  at 
Bromberg;  writer  and  composer. 
arasate  (sa-ra-s&'-te"),  Pablo  (Martin 
MeUftm  Sarasate  y  Kavasouez)  de, 
Pamplona,  Spain,  March  10,  $844 — 
Biarrit?,  Sept*  20,  IQO&;  enninent 
violinist;  at  10  played  before  the 
Queen,  who  presented  Mm  with  a 
Stradivari,  after  succ.  concerts  in 
Spain  he  studied  with  AJajrd  (vln.) 
and  Keber  (camp,),  Paris  Cons., 
taking  *st  vlju^prisse  J&57*  and  a 
p*emi&  aGse&sfa,  1859*  in  twLrm>;  he 
made  v$ry  wide  and  very  succ.  tours; 
g,  America.  For  him  X*alo  <u  his 
vJn.-concerto  and  the  "Symph. 
aole"^  Bruch,  his,  2nd  CQixcgrto 
the  Scotch  Fantasia;  A-  C. 
Mackenzie.,  the  "Pibroch*  Suite. 
S.  pub.  "ZigeKnGfw&stv"  fo*  vln. 
and  orch.;  Spanish  Dances,  Qtc. 

Sftr'geB.t,  Sir  MaJteoto*  b.  Stamfcurd, 
Engl.,  Apr.  29,  1 895;  conductor  d£but 
1921  at  Queen's  Hall  "Proms,";  later 
cond.  XaverpoolPhilh,;  knighted  1947 . 

Sarnoiento  (sar-m^gn'-to},  Salvatgre, 
Palermo,  1817— Naples,  1869;  con- 
ductor and  dram,  composer. 
are  (sa'-rO),  J,  H-,  lessen^  Saxony, 
1827*— Berlin,  $891;  bandmaster  and 
write*. 

Sarrette  (sar-r^t),  B4.?  Bordeau^,  1765 
-—Paris,  185$;  founder  an4  direjctor 
tiB  i$T4  of  the  Paris  Cons,  which  he 
gradually  developed  fr€xt&  $  sch. 
started  Iby  the  6*nd  of  the  Paris 
National  Guard, 

Sam  (sar'-r5),  Dom.,  Trani,  Naples, 
i^^S-^after  1741;  conductor  *nd 
dram,  composer. 

Sarti  (sar'-ts),  Giuseppe  (cafled  H 
Ekunenichiao)  (el  do-m^u-I-k&-n.o>, 
Faenza,  I>ec.  i,  1729— (of  gout)  Ber- 
lin, July  28,  1802;  pupU  of  either 
VaEotti  or  Padre  Martin^  3:74^-50 
organist  Faenaia  Cath.;  175^  ha  prod. 
at  Faenza  succ.  opera  "£ompk&  in 
Armenia,"  fcJlowed  by  "/£  Re 
Pastore"  (Vemce*  ?7S3>  a^d  others 
sucq,  that  at  24  he  wa^  called  to 
e»  as  djr,  Italian  opera  $nd 
d.j  he  was  symiwamg  dis- 
lor  political  reatsonas; 
.  CQHS--  dell'  O&pedalett» 
in  cc^apetition  (witt  Pa 
others)  h#  won  the  position  p£  cond. 
Catit;  he  popod-  faom 


84,  15  operas;  he  also  prod,  grand 
cantatas  and  several  masses*  etc. 
Catherine.  H.  invited  him  to  Peters- 
burg. As  he  passed  Vienna,  he  was 
received  by  the  Emperor,  and  met 
Mozart,  complaining,  however,  of 
the  "barbarisms"  in  M.'s  quartets 
and  finding  19  mortal  errors  in  36 
bars.  Lived  at  Petersburg  18  years, 
excepthig  a  brief  period  of  disgrace, 
due  to  Todi,  during  which  esjle  he 
founded  a  fine  sch.  at  Ukraine,  1793 
he  was  restored  to  the  Empress' 
favour,  and  |>laced  at  the  head  of  a 
Cons.  He  raised  the  Italian  opera 
to  high  efficiency,  inv.  a  very  accu- 
rate machine  for  counting  vibrations 
and  was  ennobled  in  1795-  I&  a  Te 
Deum  (on  the  taking  of  Qtchaiow 
by  Poteiakin)  the  music  wajs  re- 
inforced  by  fireworks  and  caoxnon. 
He  set  the  libretto  "  He$Q"  by  the 
Eiapress.  He  c.  40  operas>  masses, 
some  still  perf  cwrmed,  etc, 

Sartorio  (sar-to'-rl-o),  A-,  Venice^  ca. 
16^0 — ca.  1 6i$i^  conductor  and  dram, 
composer, 

Saslay'sig^  Alex.,  b.  Kharkov^  Russia, 
Feb.  9,  1876;  violinist;  pupil  of 
Gorsky  and  Gruen;  after  1903 
concertm.  of  N,  Y.  Symph.;  1904-08 
of  Russian  Symph.,  N.  Y,;  after 
1919  of  Los  Angeles  Philh.;  d,  San 
Francisco,  Aug.  2,  1924. 

Sass  (sas)  (at  first  sang  under  the  name 
Sax),  Marie  Constenee,  Ghent, 
Jan.  2.6,.  1838 — Auteuil  near  Paris, 
Nov.  8,  1907;  a  chansonette-singer 
in  a  Paris  caf  ^»  found  and  taught  oy 
Mme,  Ugalde;  d^but  Th.-Lyrique, 
1859,  as  soprano,  18^0-71,  at  the 
Opera,  then  in  Italy;  1864,  *n-  the 
barytone  Castelmary^  divorced  1867. 

Satte  (sS-'-te),  Erik,  Honfleur,  France, 
May  17, 1866 — Arcueil,  Aug.  5, 1925; 
composer;  early  musical  training 
rather  irregular,  with  periods  of 
study  a^t  Paris  Cons*  and  Schola 
Cantorum;  research  in  Gregorian 
jnusic  influenced  him;  pioneer  in 
fornaing  original  style  of  extreme 
simplicity,  which  was  innovatipnal 
in  a  day  of  exaggerated  romanticism; 
had  marked  influence  on  Bebussy, 
whom  te  jaet  iB^9a  ar«d  late?  on  a 
whole  generation  cj  modern  com- 
poaerSft  inci'.  Group  of  Sax  (Honegger, 
Milh^tid,  PoAolenc,  Aturic»  Durey  and 
Oermawws  Tailleferre),  and  «vgn  a 
younger  coterie  known  as  thft  Eeole 
d' Arcueil  (named  after  village,  where 


DICTIONARY  OF  MUSICIANS 


381 


S.  was  assistant  postmaster);  he 
was  influenced  by  classic  Greek  art, 
but  above  all  was  a  satirist  of  pre- 
tences, naming  many  of  his  works 
by  absurd  titles;  c.  (opera)  "Paul  et 
Virginie"  (symph.  drama)  "So- 
crate"',  (ballets)  "  Uspud"  and 
"Parade?*;  many  piano  pieces,  of 
which  "Ogives,"  "GymnopSdies" 
(several  of  latter  orchestrated  by 
Debussy  and  widely  perf .)  antedated 
and  were  strikingly  like  later  har- 
monic style  of  that  composer. 

Satter  (zat'-ter),  Gustav,  Vienna,  Feb. 
12, 1832 — Savannah,  Ga.,  1870;  stud- 
ied Vienna,  Paris;  ±854-60  toured 
the  TJ.  S.  and  Brazil;  returned  to 
Paris,  where  Berlioz  warmly  praised 
his  compositions;  lived  in  various 
cities;  c.  opera  "Olanthe,"  overtures 
"Lorelei,"  "Julius  Cesar,"  "An  die 
Freude"  2  symphs.,  a  symph*  tone- 
picture  "Washington,"  etc. 

Sane*  <2ow'-Sr),  (i)  Wm.,  Fried- 
land,  Mecklenburg;  1:831— Frank- 
fort, 1916;  org. -builder  from  1857 
at  Frankfort-on-Oder.  (2)  Vide 
LEiDEsaoM1.  (3)  Emit,  von,  b.  Ham- 
burg, 1862 — Vienna,  1042;  pianist; 
pupil  of  his  mother;  oi  N.  RuBmsteirl 
at  Moscow,  1881,  and  of  Liszt  at 
Weimar;  from  1882  toured  Europe 
and  1898-99  U.  S.  with  great  succ.; 
1901-07,  and  again  after  1915,  head 
of  pf  .-dept.  Vienna  Cons.;  comp. 

Satiguet  (so'-ga),  Henri,  b.  1901;  c.  op. 
"Chartreuse  deParme*'  (Paris, '40) etc. 

Sauret  (s5-ra),  Emite,  Dun-le^Etoi, 
Cher,  France,  May  2  2,  1852-— Lon- 
dori,  Feb.  12,  1920;  notable  violinist; 
pupS  of  Paris  Cons,  and  of  de  B6riot, 
Brussels  Cons.;  at  8  began  succ. 
European  tours;  America  1872,  arid 
frequently  thereafter;  1880-81,  t. 
Kullak's  Acad.,  Berlin;  lived  in 
Berlin  till  1890,  then  prof.  R.  A.  M., 
London  j  wrote  "Gr adits  ad  Parnas- 
surtt  du  motoniste"  (Leipzig,  1894); 
c.  2  vln.-concertos,  etc. 

Sdweur  (sd-vtir'),  Jos.,  La  FISche, 
1653 — Paris,  1716;  a  deaf-mute,  who 
leatned  to  speak  at  7,  and  became  a 
notable  investigator  in  acoustics 
(which  word  in  fact  he  invented);  he 
was  the  first  to  calculate  absolute 
vibration-numbers  and  to  explain 
overtones;  pub.  many  treatises 
(1760-13). 

Sattzay  (s5-zS'),  (Chas.)  EugSne,  Paris, 
July  14,  1809 — Jan.  24,  1901;  violin- 
ist, pupil  o*  Vidalj  later  of  Baillot  at 


the  Cons.;  Won  ist  and  2iid  vln.- 
prize,  and  prize  for  fugue;  and  vln. 
and  afterwards  via.  in  Baillot's 
quartet,  and  m.  B/s  daughter  (a 
pianist);  1840  solo  violinist  to  Louis 
Philippe;  later  leader  of  2nd  vlns. 
Napoleon  III.'s  orch.;  1860  vln.-prof. 
at  the  Cons.;  pub.  a  treatise;  c.  a 
strittg-trio,  "Etudes  harmoniques" 
etc. 

Savage,  Henty  W.,  New  Hampshire, 
1860 — 'Boston,  Nov.  29,  10/27;  im- 
presario; graduate  of  Harvard;  as  st 
builder  and  real  estate  owner  in  1895 
took  over  the  Castle  Square  Theatre, 
Boston,  and  organised  a  stock  co. 
which  gave  light  and  serious  operas 
for  many  years  in  Boston,  New 
York,  etc.;  produced  many  new 
American  operettas  as  well  as  plays; 
made  the  immensely  successful  pro- 
ductions of  "Parsifal"  and  "Madame 
Butterfly"  in  English  by  the  touring 
Savage  Opera  Company. 

Savard  (s&-var),  (r)  M.  Gabriel  Aug.* 
Paris,  1814 — 1881;  prof,  of  harm, 
and  thorough-bass  at  the  Cons.;  pub. 
treatises.  (2)  M.  E.  A.,  b.  Paris, 
May  15,  1861;  pupil  of  the  Cons.} 
taking  the  Prix  de  Rome,  1886;  from 
1902  dir.  Lyons  Cons. 

Savart  (sa-var),  F.,  M6zi£res,  1791 — 
Paris,  1841;  acoustician. 

Saw'yer,  F.  J.,  Brighton,  Jurle  19, 
1 8$7-^- April  29,  iod&.  Bachelor  of 
intisic,  O±forof,  1877;  Mus.  Docv 
1884,  Fellow  R.  C.  of  organists; 
organist  for  over  30  years;  prof,  of 
singing;  c.  oratorios,  cantatas,  etd. 

Sax  (s&x>,  (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  instfs.;  he  made  many 
improvements;  1853  he  joined  his 
son  Ad.  in  Paris.  (2)  (Ant.  Jos.) 
Adolphe,  Dinant,  Nov.  6,  1814 — 
Paris,  Feb.  4,  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  in- 
venting the  saxhorns,  saxotromba, 
etc.;  1857  teacher  of  the  saxophone, 
Paris  Cons,  and  pub.  a  saxophone 
method;  he  had  much  litigation  over 
the  priority  of  his  inventions,  but 
always  won.  (3)  Alphonse,  bro.  and 
co-worker  of  above.  (4)  Marie, 
Vide  SAS&. 


382 


DICTIONARY  OF  MUSICIANS 


4ayao  (sa-yaVno),  Bidu,  Brazilian  so- 
prano; sang  Met.  Op.,  from  1936-7- 

Sbriglia  (sbrel'-ya),  Giovanni,  b. 
Naples,  18401  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 
ReszkSs,  Plancon,  Nordica,  Sander- 
son, etc.,  among  his  pupils.  Mem. 
French  Acad6mie;  d.  Paris,  (?). 

Scacchi  (skak'-ke),  Marco,  b.  Rome; 
ct.-conductor  1618-48;  writer  and 
composer. 

Scalchi  (skal'-k§),  Sofia,  b.  Turin, 
Nov.  29,  1850;  alto  or  mezzo-soprano 
of  unusual  range*  f-b"  (v.  PITCH 
D.  D.);  pupil  of  Boccabadati;  d6but 
Mantua  (1866);  she  sang  throughout 
Europe,  often  in  North  and  South 
America  with  much  succ.;  1875  m. 
Count  Luigi  Lolli;  after  1896  retired 
from  stage  and  lived  at  her  villa  near 
Turin;  d.  circa  1910. 

Scalero  '(ska-la'-ro),  Rosarip,  b.  near 
Turin,  Dec.  24,  1870;  violinist,  com- 
poser, teacher;  pupil  of  Turin  Liceo 
and  in  London  and  Leipzig;  taught 
St.  Cecilia  Liceo,  Rome  (comp.), 
there  in  1913  founded  Societa  del 
Quartetto;  after  1919  res.  in  N.  Y,, 
as  comp.  teacher;  c.  orch.,  chamber 
and  choral  works. 

Scaletta  (ska-lSt'-ta),  Orazio,  Cremona 
-Padua,  1630;  conductor  and  com- 
poser. 

Scandelli,  Ant.,  Brescia,  1517 — Dres- 
den, 1580;  conductor  and  composer. 

Scaria  (ska'-rl-a),  Emil,  Graz,  1838 — 
Blasewitz,  1886;  bass;  created 
"Wotan"  at  Bayreuth,  '1876,  and 
"Gurnemanz"  ("Parsifal"),  1882. 

Scarlatti  (skax-lat?-t5),  (i)  Alessandro, 
Trapani,  Sicily,  1659 — Naples,  1725; 
\  founder  of  the  "Neapolitan  Sch."; 
noted  teacher  and  an  important 
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  recitativo 
obbligato  (v.  D.  D.);  1684  court-cond.; 
1703,  2nd  cond.  S.  Maria  Maggiore, 
Rome;  1707-09,  ist.  cond.;  teacher 
at  3  conservatories,  San  Onofrio; 
4eJ  Poveri  di  Gesu  Christi,  and  the 
Loreto.  (2)  Domenico  (Girolamo), 
^aples,  Oct.  26,  1685 — 1757;  son  and 
pupil  of  above;  studied  also  with 
Gasparini;  eminent  virtuoso  and 


composer  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  Handel  he  proved 
himself  equal  as  a  harpsichordist,  but 
confessed  himself  hopelessly  defeated 
as  an  organist;  he  was  thereafter  a 
good  friend,  almor  tan  idolater,  cross- 
ing himself  when  he  mentioned 
Handel;  1715-19  he  was  maest/o  at 
St.  Peter's,  1720  at  London;  1720 
court-cembalist  Lisbon;  his  gambling 
left  his  family  destitute;  from  1710 
he  prod,  operas,  incl.  the  first  setting 
of  "Amleto"  (1715)-  (3)  Giuseppe, 
Naples,  1712 — Vienna,  1777;  grand- 
son of  (i);  dram,  composer.  (4) 
Fran.,  c.  a  melodrama  in  MS.  at 
Rome.  (5)  Pietro,  c.  opera  "Cli- 
tarro,"  with  intermezzi  by  Hasse. 

Schachner  (sMkh'-nSr),  Rudolf  Jos., 
Munich,  1816 — Reichenhall,  1896; 
pianist,  teacher  and  composer. 

Schack  (Cziak)  /shak  or  chak),  Ben- 
edikt,  Mirowitz,  Bohemia,  1758 — 
Munich,  1826;  tenor  and  dram,  com- 
poser. 

Scfcad  (shat),  Jos.,  h.  Steinach,  Ba- 
varia, 1812 — Bordeaux,  1879;  pianist 
and  composer. 

Schade  (sha'-dS),  (i)  (Schadaus) 
Abraham,  pub.  a  valuable  coll.  of 
384  motets  (1611-16).  (2)  Carl, 
singing-teacher  and  writer  (1828—31). 

SchSffer  (shfcf '-fer),  (i)  Aug,,  Rhein- 
berg,  1814  —  Baden-Baden,  1879; 
dram,  composer.  (2)  Julius,  Cre- 
vese,  Altmark,  Sept.  28,  1823 — 
Breslau,  Feb.  10,  1902;  studied  with 
Behn,  Berlin;  1855  mus.  dir.  to  the 
Grand  Duke  at  Schwerin;  founded 
and  conducted  the  "Schlosskirchen- 
chor",  1860  mus.-dir.  at  the  Univ. 
and  cond.  Singakademie,  Bredau; 
1871,  "R.  Mus.-Dir.";  1878  prof.; 
Dr.  Phil.  h.  c.  (Breslau),  1872;  wrote 
defence  of  his  friend  Franz'  accom- 
paniments to  Bach  and  Handel; 
composer. 

SchafhSutl  (shaf'-hl-tl),  K.  Fz.  EmH 
von,  Ingolstadt,  1803 — Munich, 
1890;  professor  and  theorist. 

Schalk  (shal'k),  (i)  Franz,  Vienna, 
May  27,  186" j — Sept.  2,  1931;  pupil 
of  Bruckner;  notable  cond.,  first 
at  Graz,  then  ist  cond.  at  the  Prague 
Opera  and  Philh.  concerts;  1899 
ist  cond.  ct.-opera,  Berlin;  1898  at 
Covent  Garden,  1899  gave  the 


DICTIONARY  OF  MUSICIANS 


383 


complete  .Wagner  Ring  cycle  in  New 
York;  after  1900,  first  cond.  of  the 
Vienna  Op.,  of  which  after  1918  he 
was  dir.  (with  Richard  Strauss  from 
1919,  and  1924-28  sole  dir.);  also 
led  Gesellschafts  concerts  there  until 
1921,  and  dir.  a  class  for  conductors 
at  the  State  Akad.  until  1909.  His 
bro.  (2)  Josef,  Vienna,  1857—19"; 
prof,  of  pf.,  Vienna  Cons.;  writer. 

Scnarfe  (shar'-fS),  Gustav,  Grimma, 
Saxony,  1835 — Dresden,  1892;  bary- 
tone, teacher  and  composer. 

Scharfenberg  (shar'-fen-bSrkh),  Wm., 
Cassel,  Germany,  1819 — Quogue, 
N.  Y.,  1895;  pianist,  teacher  and 
editor. 

Scharwenka  (shar-vSn'-ka),  (i)  (L., 
Philipp,  Samter,  Posen,  Feb.  16, 
1847 — Bad  Nauheim,  July  16,  1917; 
pupil  of  Wurst  and  Kullak's  Acad., 
Berlin,  also  of  H.  Dorn;  1870. 
teacher  of  theory  and  comp.  at  the 
Acad.;  1880  founded  (with  his  bro. 
Xaver)  the  "Scharwenka  Cons."; 
1891,  accompanied  his  bro.  to  New 
York;  returned,  1892,  as  co-dir.  of 
the  Cons.,  later,  1893,  merged  in  the 
ELlindworth  Cons.;  also  a  carica- 
turist and  illustrated  a  satire  by  Alex. 
Moszkowski  (Berlin,  1881);  1902, 
R.  Professor;  c.  "  Herbstfeier"  and 
"Sakuntala,"  for  soli,  chorus  and 
orch.,  2  symphs,,  "Arkadische  Suite" 
and  "Serenade"  for  orch.,  festival 
overture,  Trio  in  G,  op.  112,  etc.  (2) 
(Fz.)  Xaver,  Samter,  Jan.  6,  1850 — 
'Berlin,  Dec.  8,  1924;  bro.  of  above; 
distinguished  pianist  and  composer; 
pupil  of  Kullak  and  Wurst,  Kullak's 
Acad.;  1868,  teacher  there;  at  19 
gave  public  concert  at  the  Singa- 
kademie,  with  succ.;  for  10  years  he 
gave  annually  3  chamber-concerts 
there  (with  Sauret  and  H.  Grunfeld); 
cond.  of  subscription  concerts;  1874, 
toured  Europe  and  America;  1880, 
co-founder  the  "Berlin  Scharw. 
Cons.,"  dir.  till  1891  then  founded 
a  Cons,  in  New  York;  1898,  Berlin, 

-  as  dir.  Klindworth-Scharwenka 
Cons.;  ct.-pianist  to  the  Emperor  of 
Austria,  "Prof."  from  the  King  of 
Prussia;  c.  succ.  opera  "Mata- 
swintha"  (Weimar,  1896);  symph., 
3  pf. -concertos,  etc. 

Schebek  (sha'-bSk),  Edmund,  Peters- 
dorf,  Moravia,  1819 — Prague,  1895; 
amateur  authority  on  vln.-construc- 
tion,  etc. 

Schebest   (shS'-bSst),  Agnes,  Vienna, 


1813 — Stuttgart,      i86g;     mezzo-so- 
prano. 

Scnechner-Waagen  QshSk  '-ngr-va'- 
gSn),  Nanette,  Munich,  1806 — 1860; 
noted  soprano;  1832,  m.  Waagen,  a 
painter. 

Scheel  (shel),  Fritz,  Liibeck,  Ger- 
many, Nov*  7,  1852 — Philadelphia, 
March  13,  1907;  conductor;  son ^  of 
a  long  line  of  musicians;  studied  with 
his  father  and  with  David  at  Leip- 
zig; cond.  in  Bremerhaven,  1869; 
Schwerin,  1873;  Chemnitz,  1884; 
Hamburg,  1890;  Chicago  Exp.,  1894; 
founded  and  cond.  San  Francisco 
Symph.,  1895-99;  1899,  summer 
concerts  in  Woodside  Park  in  Phjla* 
met  with  succ.  and  led  to  founding 
of  Phila.  Orch.,  which  he  led  from 
1900  to  his  death;  also  Orpheus  and 
Eurydice  Clubs  after  1905. 

Scheibe  (shi'-be),  (r)  Jn.,  d.  Leipzig, 
1748;  celebrated  org.-builder.  (2) 
Jn.  Ad.,  Leipzig,  1708 — Copen- 
hagen, 1776;  son  of  above;  organist, 
editor  and  composer. 

Scheibler  (shi'-bler),  Jn.  H.,  Montjoie, 
near  Aix-la-Chapelle,  1777 — Crefeld, 
1837;  acoustician  and  inventor. 

Scheidemann  (shl'-d£-man),  (i)  Hein- 
rich,  Hamburg,  ca.  1596 — 1663; 
organist;  pupil  and  successor  of  his 
father  (2)  Hans  S.,  organist  Elathe- 
rinenkirche. 

Scheidemantel  (shi-d£-man-tel),  K., 
Weimar,  Jan.  21,  1859 — June  26, 
1923;  pupil  of  Bodo  Borchers;  sang 
at  the  ct.-th.,  1878-86;  pupil  of 
Stockhausen;  1885,  "Kammer- 
sanger";  1886,  Dresden  ct.-opera; 
1886,  sang  "Amfortas"  in  "Parsifal" 
at  Bayreuth. 

Scheldt  (shit),  Samuel,  Halle-on-Saale, 
1587 — 1654;  famous  organist  and 
composer;  pupil  of  Sweelinck;  organ- 
ist of  Moritzkirche  and  ct.-conductor; 
c.  notable  chorals,  etc. 

Schein  (shin),  Jn.  Hermann,  Grttn- 
hain,  Saxony,  1586 — Leipzig,  1630; 
soprano;  ct.-conductor  and  com- 
poser. 

Scheirtpfltig  (shfn'-pnookh),  Paul, 
Loschwitz,  Dresden,  Sept.  10,  1875 
— Memel,  Lithuania,  March  12, 
1937;  pupil  of  the  Cons.;  from  1909 
cond.  at  Konigsberg;  19*4*  led 
Bliithner  Orch.,  Berlin;  1920,  city 
mus.  dir.  at  Duisburg;  c.  opera  "Das 
Hofkonzert"  (Berlin,  1922),  "Frilh- 
lings  Symph,"  chamber  music,  etc.; 
overture  to  a  comedy  of  Shakespeare 


384 


DICTIONARY  OF  MUSICIANS 


(based  on  English  melody  of  itfth 
century),  Boston  Symph.  Qrch., 
1909;  tone-poems  for  orch.,  songs, 
etc. 

Schelble  (shSl'-blS),  Jn.  Nepomuk, 
Hiifingen,  Black  Forest,  1789 — 
FranHort-on-Main,  1837;  notable 
cozuL  and  singing-teacher;  tenor;  c. 
operas,  etc. 

Schelle    (sha'-le-),    (i)    Jn,,    Oeising, 
Saxony,  1648 — Leipzig,  1701;  cantor 
Thomaskirche.     (2)  K.  Ed.,  Biesen- 
thal,     near     Berlin,     1816 — -Vienna, 
1882;  critic,  lecturer  and  writer. 
ScheMing,  Ernest  Henry,  b.  Belvidere, 
3ST.  J.,  July  26,  1876— N.  Y,,  Dec,  8, 
1939;  pianist,  composer;  ist  appeared 
as  child  pianist  in  PhiTa.;  pupil  of 
Mathias    at    Paris    Cons.,    and    of 
Moszkowski,  Prucknery  Leschetizky, 
Huber,  Barth  and  Paderewski;  Jias 
appeared   widely   as   recitalist   and 
soloist  ^with  orchs,  in  Europe  and 
U.  S.;  in  recent  years  has  been  esp. 
{xrom.ine.nt   as   composer    and    con- 
ductor; in  latter  capacity  has  led 
ycxang  people's  conceits   of   N.   Y. 
Phuh.  Qrch.  annually,  also  appear- 
ing with  Los  Angeles  and  other  orchs. 
as    lecturer-conductor;    guest    with 
Phifcu  Orch,  and  Boston  Symph.;  in 
*935~36  appointed  c*>ad.   of  Balti- 
more Sympi.  Orch,;  c.    "Fantastic 
Suzte"  for  piano  and  orch,,  in  which 
he  appeared  as  soloist  with  Amster- 
dam Concertgebouw,  1907,  and  with 
Boston,  N.  YM  and  Chicago  Symphs.; 
also  Symphony  in  C  Minor;  Orches- 
tolSnite;  "Symphonic  Legend"}  vio- 
lin concerto  (played  by  Kreisler,  with 
Boston  Synaph.,   19x6);   sonata  for 
vln.  and  piano;  "A    Victory  Ball/9 
vivid  occh.  depiction  of  dance  on 
Anmstace  Day,  after  poem  by  Noyes, 
groen  its  prreoiere  in  1923  by  N,  Y. 
Philh,     and     subsequently     widely 
pla,yed;"lmpr<&sion$froi# an  Artist's 
Ufe"    (Boston    Symph.^    i^^X   ^ 
form   0f    variations   foe   piano   and 
orch.;     "Divertimento"     for     string 
quartet      and      piano       (Flonzaley 
Quartet,       1925);       tone       poem, 
"MoroccvS*  for  orch.,  premised  by 
N.  Y.  Philh.,   1937;   various  other 
chamber  music  and  piano  works, 
&heJpe*    (sh£l'-p£r),    Otto,    Rostock, 
April    10,    1840— Leipzig,    Jan,    10, 
1906;   an  actor,   later   barytone  in 
opera,  at  Bremen;  1873-76,  Cologne, 
them  samg  leading  roles,  teipzig  City 


Sckenck  (shSnk),  (i)  Jean  (Johanri) 

gamba-player  and  dram,  composer* 
1688-93,  Amsterdam,  (2)  Jn' 
Wiener-Neustadt,  Lower  Austria* 
1761— Vienna,  1836;  c.  operettas' 
Peter  Petrovich,  b.  St.  Petersburg" 
Fe*>-  23,  1870;  pupH  of  the  Cons.,' 
and  of  Saloviev;  librarian  and  critic- 
c.  operas,  3  symph.,  etc-  ' 

Schenkex  (sh€nk/-Sr),  H.,  1868— Vien- 

na,  1935;  pianist,  theorist. 
Scherchen  (sh^r'-khSn),  Hermann,  b 
Berlin,  Tune  31,  1891;  conductor- 
viola  player;  largely  self-taught; 
played  zn  Berlin  Philh.  Orch.;  cond! 
of  symph.  concerts  at  Riga,  1914* 
interned  during  war  in  Russia- 
founded  and  led  Neue  Musikgesell^ 
schaft,  Berlin,  1918;  Grotrian- 
Stemweg  Orch.,  Leipzig,  1921-22; 
after  latter  year,  the  Museum  Con- 
certs in  Frankfort,  and  cond.  as 
guest  in  England  and  other  countries; 
noted  as  an  exponent  of  contempo- 
rary music,  appearing  at  inter* 
national  festivals;  ed.  Melos,  Berlin 
music  paper,  1920-21;  c,.  string 
quartet,  piano  sonata,  songs, 
Scherer  (sha'-rer),  Sebastian  Anton, 
organist  at  Ulna  Minster  and  com- 
poser, 1664. 

Schering  (shs'-rlnk),  Arnold,  b. 
Brcalau,  April  2,  1:877;  violinist  and 
historian,  pupil  of  Joachim  and 
Succo;  prof,  of  music  history  at 
Leipzig  TJniv.  after  1915;  author 
and  prof.  Berlin  U,;  d,  Berlin,  1041 
Scbejman,  Thos.,  b,  N.  Y.;  founder 

and  cond.,  Little  Orchestra  Soc. 
Scherzer  O&Sr'-tser),   Otto,  Ansbach, 
i8ai---Stuttgarta  1886;  violinist  and 

Schelly  (sh$t'-k5),  Clip.,  Darmstadt, 
1740 — Edinburgh,  1773;  'cellist  and 
composer. 

Schicht  (shflcht),  Jn,  Gf.,  Reichenau, 
Saxony^  1753— Leipzig,  1823;  pupU 
oi  an  uncle  (org.  and  pf.);  pianist, 
conductor  and  writer;  a  4  oratorios, 
chorala,  etc. 

Schick  (shlk)  (ne'e  Hamel),  Margarete 


« r    -r—~-J    •—•-w^vj       « 

Royal  Opera,  Berlin, 
edermayer  (she'»dSr-mi-6r),  Jo- 
hann  Baptist,  June  23, 1779— Linz-on 
.Danube,  Jan,  6, 1840;  cath.-organist; 
wrote  a  textbook  on  chorals  and  a 
vln.-method,  c.symphs.,  sacred  mus.f 
etc. 


DICTIONARY  OF  MUSICIANS 


Scbjedmayer  (shet'-ml-er)  & 
Stuttgart  firm  of  piano-makers, 
founded  in  1806  by  Johann  Lorenz 
S.  (1786  —  1860). 

Sc&ikaneder  (she'-ka-na-de'r),  Efflian- 
tiel  Jn.,  Ratisbon,  1748  —  Vienna, 
1812,  the  librettist  of  Mozart's  "Zau- 
bwjl8te"  in  which  he  created  "Papa- 
eno";  a  manager,  actor  and  singer. 


,  . 

{shflt),  Melchior,  Hanover  (?), 
1592  —  1^67;  organist. 

Schilling  (shil-ling),  Gv.,  Schwiegers- 
hauseai,  a-ear  Hanover,  1803  —  Ne- 
braska, U»  S.  A.,  1881;  wrote  text- 
books and  treatises,  etc. 

Schillings,  Max  (von),  Difcren,  April 
*9,  1868  —  Berlin,  July  245  1933; 
notable  composer;  studied  with 
Brambach  and  von  Konigslow;  1892, 
stage-manager  at  Bayreuth;  1890 
whue  studying  luw,  at  Munich, 
c*  the  opera  "Ingwelde"  (prod,  by 
-  Mottl,  Carlsruhe,  1894);  played  in 
many  other  cities;  c,  also  opera 
"Der  Pfeifertag"  (Schwerin,  1901); 
2  symph,  fantasias  "Meergruss," 
1895,  and  *'Seemorgen";  incid.  music 
to  plays;  "  Hexenlied"  for  reciter, 
with  piano  or  orch.  ;  successful  opera, 
"M&av  Lisa"  (Stuttgart,  1915;  Met. 
Op.,  19  23*  an^d  Chicago  Op.);  and 
many  other  works;  Royal  Prof., 
1903;  1908-18,  gen.  tnus.  dir., 
Stuttgart;  1919-25,  intendant,  Ber- 
lin State  Op.;  and  active  as  guest 
cond.  elsewhere;  1932,  pres.*  Prus- 
sian Acad.  of  Arts;  1933,  intendant 
of  Berlin  Stadtische  Op.;  he  was 
granted  a  patent  of  nobility  by  the 
King  of  Wttrtemburg;  toured  the 
U.  S.,  1930,  as  cond.  of  Wagnerian 
Op.  Co.;  m.  Barbara  Kemp,  soprano. 

Schimon  (she'-mQn),  (i)  Ad.,  Vienna, 
1820  —  Leipzig,  1887;  singing-teacher, 
Accompanist  and  dram,  composer, 
etc.;  1872,  m.  the  soprano  (2)  Anna 
Regan,  Bohemia,  1842  —  Munich, 
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. 
where  his  wife  taught  and  was  also 
after  death  of  her  husband,  singing- 
teacher  at  Munich. 

Schindelmeisser  (shln'-dSl-mis-sSr), 
L.,  KSnigsberg,  1811  —  Darmstadt, 
1864;  ct.-conductor  and  dram,  com- 
poser. 

SchindJ-er  (shfcit'-ler),  (i)  Anton,  Meedl, 


Moravia,  1795— Bockenheim, 
Frankfort,  i$6a;  violinist  and  con- 
ductor; friend  and  biographer  of 
Beethoven,  (2)  Kurt,  Berlin,  Feb. 
17,  1882 — New  York,  Nov.  16,  1935; 
conductor,  musicologist;  studied  Ber- 
lin and  Munich  Univ.,  music  with 
Ansorge,  B ussier,  Gernsheha  and 
Thuille;  cond.  Stuttgart  Op.,  1902; 
Wtlrzburg,  1903;  ass't  cond*  to 
M&ttl  and  Zumpe,  Munich,  and  to 
Strauss  at  Berlin >  1903-05;  same 
capacity  at  Met.  Op.,  N.  Y.,  1905- 
08;  founded  MacDowell  Chorus, 
N.  Y.,  1909,  which  he  developed 
into  one  of  the  city's  most  important 
choruses,  the  Schola  Cantorum  in 
1912;  made  collections  of  Russian, 
Finnish,  Spanish  folk  music. 

Schipa  (ske'-pa)  Tito,  b*  Lecce,  1889; 
tenor;  Chicago  Op.,  from  1919; 
Met.  Op.,  ^934. 

Sthirmet  (shSr'-mSr),  (i)  GuStfcv, 
Kdnigsee,  Saxony,  1829— Eisenach, 
Thuringia,  1893;  son  and  grandson 
of  court  piano-makers  at  Sonders- 
hausen;  1837  came  to  New  York; 
founded  pub.  firm,  Beer  &  Schirtner, 
1866  S.  obtained  the  entire  business 
since  known  as  G.  Schirmer;  1893 
incorporated  under  management  of 
(2)  Rudolf  E.  (New  York,  185^— 
Santa  Barbara,  CaL,  1919)  and  (3) 
Gustav  (New  York,  1864—1907), 
sons  of  above.  After  1915  the  firm 
pub.  the  notable  Musical  Quarterly. 

Schjelderup  (shSlt'-er-oop),  Ger- 
hard, Christiansand,  Norway,  Nov. 
17,  1859 — Benedikt  Beuern,  July 
29,  1933;  composer  and  'cellist; 
pupil  of  Franchomme,  Savard  and 
Massenet;  c.  operas  "  Nortoegische 
Hvchseit"  (Prague,  1900),  and 
"Fr&hlings  Nacht,"  a  syrnph.  and 
orch.  works,  "Eine  Sommernatht 
auf  dem  Fjord,19  etc. 

Schladebach  (shla'-dS-bakh),  Jtdius, 
Dresden,  1810 — Kiel,  1872;  wrote 
treatise  on  the  voice. 

ScMSger  (shla'-ger),  Hans,  Fils- 
kirchen,  Upper  Austria,  i82o-^Salz- 
burg,  1885;  conductor  and  dram, 
composer. 

Schleiaitz  (shlf'-n5tts),  H.  Cortrad, 
2schaitz,  Saxony,  1802 — Leipzig, 
1881;  dir.  Leipzig  Cons,  (vice  Men- 
delssohn). 

Schlesinger  (shla'-ztng-Sr),  two  mus.- 
pub.  firms,  (a)  at  Berlin,  founded 
1810  by  (i)  Ad.  Martin,  from  1851 
managed  by  his  son  (2)  Heinrich 


386 


DICTIONARY  OF  MUSICIANS 


(d.  1870);  1864  under  R.  Lienau. 
(b)  at  Paris,  founded  1834  by  (3) 
Moritz  Ad.,  son  of  (i);  under  Louis 
Brandus  in  1846.  (4)  Sebastian 
Benson,  Hamburg,  Sept.  24,  1837 — 
Paris,  1917;  at  13  went  to  U.  S.; 
studied  at  Boston  with  Otto  Dresel; 
for  17  years  Imp.  German  Consul  at 
Boston;  then  lived  in  Paris;  ^pub. 
many  pop.  songs  and  piano-pieces. 

Schletterer  (shlSt'-tSr-er),  Hans 
Michel,  Ansbach,  1824 — Augsburg, 
1893;  mus.-dir.,  writer  and  composer. 

Schlick  (shllk),  (i)  Arnold,  ct.-organist 
to  the  Elector  Palatine,  and  com- 
poser, 1511.  (2)  Jn.  Konrad,  Mini- 
ster (?),  Westphalia,  1759 — Gotha, 
1825;  'cellist  and  composer. 

Schlimbach  (shllm'-bakh),  G.  Chr. 
Fr.,  b.  Ohrdrof,  Thuringia,  1760, 
organist,  writer  on  org.-building,  etc. 

Scnlo'gel  (shls'-gel),  Xavier,  b.  Brillon- 
ville,  Belgium,  1854 — Ciney,  1889; 
pupil  Liege  Cons. ;  c.  mass  with  orch., 
chamber  music,  etc. 

Schlo'sser  (shlSs'-ser),  (i)  Louis,  Darm- 
stadt 1800 — 1886;  ct.-conductor  and 
dram,  composer.  (2)  (K.  Wm.) 
Ad.,  Darmstadt,  Feb.  i,  1830 — near 
Dorking,  Engl.,  Nov.  10,  1913;  son 
and  pupil  of  above;  pianist,  d6but 
Frankfort,  1847;  toured;  from  1854, 
teacher  in  London;  c.  pf  .-quartet  and 
trio,  etc. 

Schlottmann  (shl6t'-man),  Louis,  Ber- 
lin, Nov.  12,  1826 — June  13,  1905; 
concert-pianist,  pupfl  of  Taubert 
and  Dehn;  lived  in  Berlin  as  teacher; 
1875,  R-  Mus.-Dir.;  c.  overture  to 
"Romeo  and  Juliet,"  "  Trauermarsck" 
for  orch.,  etc. 

Schlusnus  (shloos'-noos),  Heinrich,  b. 
Braubach,  Germany,  Aug.  6,  1888; 
'barytone;  pupil  of  Louis  Bachner; 
d6but,  Hamburg  Op.,  1915;  Nurem- 
berg Op.,  1915-17;  after  that  year 
with  Berlin  State  Op.,  for  a  season 
with  Chicago  Op.,  and  has  appeared 
with  prominent  orchs.  in  Europe 
and  U.  S.;  also  a  distinguished  Lieder 
singer;  d.  Frankfort,  I952- 

Schmedes  (shma'-dSs),  Erik,  near 
Copenhagen,  Aug.  27,  1868 — Vienna, 
March  23,  1931;  originally  a  pianist; 
then  studied  singing  with  Rothmiihl; 
sang  as  barytone  in  various  theatres; 
studied  with  Iffert  and,  1898-1924, 
sang  tenor  r^les  at  Vienna;  1899 
"Siegfried"  and  "Parsifal"  at  Bay- 
reuth;  also  in  N.  Y.,  1908^09;  long 
one  of  most  eminent  heroic  tenors. 


Schmelzer  (shm&'-tse'r),  Jn.  H^ 
b.  ca.  1630 — d.  June  30,  1680, 
Vienna;  ct.-cond.  and  composer. 

Schmid(t)  (shmlt),  (i)  Bd.,  organi&t  at 
Strassburg,  1560.  He  was  succeeded 
by  (2)  Bd.  Schmid,  the  younger. 
(3)  Anton,  Pphl,  Bohemia,  1787 — 
1857;  mus.  libr.  Vienna  Library; 
writer. 

Schmidt  (shmft),  (i)  Jn.  Phil.  Samuel, 
KSnigsberg,  1779 — Berlin,  1853; 
Govt.  official,  critic,  writer  and  dram, 
composer.  (2)  Jos.,  Biickeburg,  1795 
— 1865;  violinist,  ct.-conductor  and 
composer.  (3)  Hermann,  Berlin, 
1810 — 1845;  ballet-conductor  and 
ct. -composer;  c.  operetta.  (4)  Gus- 
tav,  Weimar,  1816 — Darmstadt, 
1882;  ct.-conductor  and  dram,  com- 
poser. (5)  Arthur  P.,  Altona,  Ger., 
April  i,  1846 — 1921;  est.  mus.-pub. 
business,  Boston  and  Leipzig,  1876. 
(6)  Leopold,  Berlin,  Aug.  2,  1860 — 
April  30,  1927;  writer  on  music;  Ph. 
D.;  early  in  life  an  operetta  cond.r, 
from  1897  critic  of  the  Berlin  Tage* 
Halt;  author  of  studies  of  Mozart 
and  Haydn,  etc.;  adapted  Offenbach 
works  for  modern  perfs.  (7)  Franz, 
b.  Pressburg,  Hungary,  Dec.  22, 
1874 — Vienna,  1939;  comp.;  pupil 
Hellmesberger;  1892-1910,  played 
as  solo  'cellist  in  Vienna  Ct.-Op.; 
from  1910  teacher  of  advanced  piano 
perf.  at  the  Akad.  der  Tonkunst 
there,  of  which  he  was  dir.  after  1925; 
1927-30,  rector  of  the  Hochsch.  fur 
Musik;  c.  operas,  "Notre  Dame," 
"Fredegundis";  4  symphonies;  2 
string  quartets;  piano  concerto; 
piano  quintet  for  left  hand  (writter; 
for  Paul  Wittgenstein);  organ  works, 
songs;  chor.  wk.,  "Book  of  7  Seals" 

Schmitt  (shmft),  (i)  Jos.,  1764 — 
Frankfort-on-Main,  1818:  writer, 
violinist  and  composer.  (2)  JTiko- 
laus,  b.  Germany;  bassoonist  and 
composer;  from  1779,  chef  de  mu~ 
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  Vollweiler 
Heidelberg;  toured: 


(theory), 
th.-cond. 


at    Aix-la-Chapelle, 


then 
etc.« 


DICTIONARY  OF  MUSICIANS 


387 


1857—92  ct.-cond.  at  Schwerin; 
from  1893,  dir.  "Dreyssig'sche  Singa- 
kademie,"  Dresden.  He  c.  3  operas, 
incl.  "Trilby"  (Frankfort,  1845); 
incid.  music;  overtures,  etc.  He 
arranged  the  fragments  of  Mozart's 
C  minor  n?ass  into  a  complete  work; 
died  of  aa  apoplectic  stroke  while 
conducting  his  own  "In  Memoriam" 
(6)  Hans,  Koben,  Bohemia,  Jan.  14, 
1835 — Vienna,  Jan.  14,  1907;  piano- 
teacher  and  oboist;  pf. -pupil  of 
Dachs,  Vienna  Cons.,  taking  the 
silver  medal;  later,  teacher  there; 
wrote  a  vocal  method;  c.  important 
instructive  pcs.,  etc.  (7)  Florent, 
b.  BlUmont,  France,  Sept.  28,  1870; 
studied  at  Nancy;  1889,  entered 
Paris  Cons,  winning  second  Prix  de 
Rome  1897;  first  1900,  with  cantata 
"S&miramis."  He  sent  from  Rome 
a  symph.  poem  "Combat  des  Raksasas 
et  Delivrance  de  Sita,"  a  symph. 
£tude  based  on  Poe's  "Le  Palais 
hante"  and  the  "tftk  Psalm,"  which 
was  later  played  with  success,  1906, 
increasing  to  furore  (1910  and 
Colonne  Concerts,  1912);  his  piano 
quintet  (1909)  has  won  fame;  his 
"TragSdie  de  Salome"  was  danced 
by  Loie  Fuller  1907;  his  symph. 
poem  "Selamlik"  (1904),  chamber 
music,  giano  pieces,  and  songs  have 
given  him  a  high  place  in  France. 
He  was  dir.  of  the  Lyons  Cons,  after 
1921,  and  is  a  mem.  of  the  exec, 
committee  of  the  Soci6t6  Musicale 
Independante  and  the  Socie*te"  Natio- 
nale  de  Musique.  He  has  partici- 
pated as  pianist  in  many  concerts 
of  his  works,  visiting  the  U.^  S.  in 
this  capacity  under  the  auspices  of 
Pro  Musica.  His  comps.  also  in- 
clude: the  ballet  "Le  Petit  Elfe 
Ferme-V ceil"  (Op.-Comique,  1924); 
music  for  Shakespeare's  "Antony 
and  Cleopatra"  (Paris,  1921);  the 
choral  works,  "Chansons  a  Quatre 
Voix,"  "Pendant  la  Temp&e," 
"Danse  des  Devadasis"  and  "Chant 
de  Guerre"  the  last  for  soprano 
soloist,  male  chorus  and  orch.  (Paris, 
1928);  the  orch.  works,  "En  £te," 
"Reflets  d'  Allemagne,"  and  "Pu- 
4>azzi,"  suites,  prig,  for  piano; 
Musiques  de  plein-air,"  "Rapsodie 
Viennoise"  "Danse  d'Abisag," 
(Paris,  1926);  *  cFonctionnaire 
MCMIXII,  Inaction  en  Musique" 
an  amusing  satire  (Paris,  1927): 
"Salambo"  'do.}:"  R2ves":"  Ltgende"\ 


"Dionysiaques";  "  Keroshal"  for 
tenor  and  orch.;  "Chant  du  Soir", 
"Sonata  Libre"  and  "Quatre  Pieces" 
for  vln.  and  piano:  "Deux  Pieces" 
and  "Chant  Bttgiague"  for  'cello 
and  piano;  Andante  et  Scherzo,  for 
harp  and  string  quartet;  Lied  et 
Scherzo  for  double  wind  quartet; 
piano  works;  songs  with  piano;  four- 
part  songs  with  orch.;  a  cappella 
choral  songs;  choruses  with  orch.; 
also  orch.  versions  of  piano  pieces 
by  Chopin  and  Schubert.  S.  is  the 
subject  of  studies  published  by  S6re, 
Calyocoressi,  Ferroud  and  Coeuroy. 

Schmitz,  E.  Robert,  b.  Paris,  1889; 
d.  San  Francisco,  1949;  studied  Pans 
Cons.,  with  Dimmer  and  Chevillard; 
ist  prize  in  piano;  founded  and  dir, 
A.  M.  M.  A.  Choir,  Paris,  1911,  and 
also  estab.  his  own  orch.;  first  Amer. 
concert  tour,  1919;  formed  Franco- 
Amer.  Musical  Soc.,  1920,  devoted 
to  perf.  of  French  music  in  N.  Y, 
and  elsewhere;  this  after  1923  be- 
came Pro  Musica,  Inc.,  with  branches 
in  many  cities,  presenting  eminent 
composers  in  concerts  of  their  works. 

SchmuL'ler,  Alexander,  Mozyr,  Russia, 
Dec.  5,  1880 — Amsterdam,  March 
29?  J933J  noted  violinist;  pupil  of 
Sevcik,  Hrimaly  and  Auer;  took 
up  res.  in  Berlin,  1908,  where  he 
taught  at  the  Stern  Cons,  until  1914, 
when  he  was  called  to  the  Amster- 
dam Cons.;  he  made  many  concert 
tours,  incl.  some  with  Max  Reger. 

Schnabel  (shna'-bel),  (i)  Jos.  Ignaz, 
Naumburg,  Silesia.  1767 — Breslau, 
1831;  conductor  and  composer,  (2) 
Michael,  Naumburg,  1775 — Breslau, 
1842;  bro.  of  above;  founded  at 
Breslau  (1814)  a  piano  factory,  car- 
ried on  by  his  son  (3)  K.  (1809 — 
1881)  pianist  and  composer.  (4) 
Artur,  b.  Lipnik,  Carinthia,  April  17, 
1882 — Axenstein,  Switz.,  Aug.  15, 
1951;  pupil  of  Leschetizky;  played 
leading  Austrian  and  German  cities; 
lived  in  Berlin,  1901-33,  where  he 
was  heard  in  many  sonata  recitals 
with  Flesch;  1925-33,  prof,  at  the 
Hochschule  there;  attracted  a  wide 
following  for  his  Beethoven  sonata 
programs,  giving  complete  cycles  p£ 
these  piano  works  in  London,  Berlin, 
and  N.  Y. ;  has  played  as  soloist  with 
leading  orchs.  in  Europe  and  U.  S., 
also  prominent  as  a  teacher;  c.  songs 
and  piano  music,  also  chamber 
works  in  ultramodern  idiom;  m. 


388 


DICTIONARY  OF  MUSICIANS 


contralto;   ed.   Bee- 
sonatas.     (5)    Karl 


Theresa 

thovejo,    piano 

"PMclx,  son  of  (4),  bu.  190$,  pianist; 

pupil    of    Berlin   Hochsch,a    studied 

with  Leonid    Kreutzer;  after   £925 

appeared  widely  in  Eur.  cities;  first 

Auaesr.  tour,  19^36-7. 

Schneegass  (shna'-gas)  (Saegas'- 
causX  Cyriak,  Busleben,  near  Gctha, 
*54J&—  1597;  theorist  and  composer- 

Schneevoigt  (shna'^foik&t),,  Georg, 
b.  Wiborg,  Nov,  a,  1873;  Finnish 
conductor  and  'cellist;  studied  with 
Schroder,  KJsengel  and  Jacobs;  Jived 
in  Helsingfoyp  as  teacher  in  the  Cops., 
1894-99;  copd.  Kaim  Orch.,  Munich; 
*9Q-3~o7;  Kiev  Orctu,  1909-10;  Riga 
Qrqh.,.  IQ  io~i2;  Heisingfors  Symph., 
1912-14;  Stockholm  Hojaaertfcireni- 
gung  Orch.,  1944-24,  besides  also 
leading  suBwaaer  concerts  at  Scheve- 
ningen,  Holland;  founded  Oslo  Philh. 
Caret,,  1919;  1927-29^  cond-  Los 
Afiigelcs  Philh.  Orch.;  latter  year, 
gen.  dir.  Riga  Op.;  after  1952,  cond. 
in  Malmo;  mem.  French  legion  of 
Honour;  d.  Malma,  Nov.  %&^  X9»47- 

Schixeider  (shnir-dex),  (i)  Jtou,  Lauter 
neaj  Coburg,  i  Tpa—  Leipzig,  1787; 
famous  iinproviser  and  organ- 
ist. (2.)  G.  Abraham,  Darmstadt, 
!  j  j0  —  Berlin,  1  83  9  ;  horn-virtuoso  ; 
cc3Jxductor*  composer  of  masses,  etc. 
(3)  Louis,  Berlin,  1805  —  Potsdam, 
I&7&;  son  of  (2);  writer,  (4)  (J«-  G-.) 
Wm.,  Rathesaow,  Prussia,  1781  — 
Berlin,  1811;  piani^L  teacher,  com- 
poser and  writer.  (5)  Wm^,  Neu- 
ctorf,  Saxony,  1783  —  Merseburg, 
1843;  organist  and  writer-  (6)  Jn. 
Gottiob^  1753—  -Gernsdorf,  1840; 
organist.  (7)  (Jn*  ChrO  Fr«,  Alt- 
Waltersderf,  Saxony,  Jan.  3,  1786  — 
Dessau,  Nov.  23,,  1853;  s°n  3Jid  pupil 
of  (6):  at  10  c.  a  syrmphonyj  1821 
ctL-C3neJu£tor  at  Dessau;  wrate  text- 
books and  cu  15  oratorio^  incl.  fa- 
mous "Bos  Weltgericht"\  biog.  by 
F,  Kenape.  (8)  JBU  (Gattlo^),  Alt- 
Gersdorf,  Oct-  28,  1789—  Dresden, 
April  13,,  1864:  bro.  of  above;  emi- 
nent oarganist  and  teachei^  As  a  boy 
a  soprano  of  remarkable  range  (to  f 
ace-  to  Riemann,  v.  pixoat,  D«  P.)» 
later,  tenor;  1:825  ct*-Qrganist,  I>res- 
den,  also  conductor;  made  tours;  c. 
fuguesj  etc.,  for  organ.  (9)  Jn,  Gott- 
liei),  Alt-Gersdorf,  1797—  BSrsch- 
berg,  1856:  bro.  of  above  \  organist. 
(10)  Theodor,  Dessau,  May  14,  z827 
^-Zittau,  June  xs,  1909:  son  and 


papU  of  (7);  pupil  of  Drechsler 
{'cello);  1845,  ^cellist,  Dessau  ct.- 
orch.;  1854  cantor  and  cholr-dir. 
court  and  city  churches;  1860^96 
cantox  and  mus,-dir,  Jakobikirche, 
Chemnitz;  alsx>  cond.  (n)  (Jn.) 
Julius,  Berlin,  1805—1885;  pianist, 
organist  and  mus.-directar;  and  c. 
operas;  son  of  (13)  Jn.  S.,  pf.-mfr. 
at  Berlin,  (13)  El,,  Strehlen,  1822— 
Cologne,  1882 ;  tenor,  (14)  K*  Ernst, 
Aschersleben,  1819 — Dresden,  1893; 
writer- 

Sdxnitxer,  Germaine,  b.  Paris,  May  28, 
188^5  pianist;  pupil  of  Paris  Cons., 
grad,  at  age  of  1.4;  also  of  Pugno 
and  Sauer;  after  190*4  toured  widely, 
1906  in  U.  S^  where  following  her 
uaarriage  in  1913  to  Dr.  Leo  Birrger 
of  N  ¥.,  she  has  made  her  home. 

Schnorr  \?on  Karolsfeld  (shnox  fan 
ka'-rels-fSlt),  (i)  LM  Munich*  1836 — 
Dresden,  1^65;  noted  tenor;  created 
Wagner's  ^Tristan";  cu  opera  at 
Munich  (1865),  his  wife,  (a)  Malwina 
(n6e  Garrigues)  (d.  Carlsriihe,  1904), 
created  "Isolde." 

Schnyder  YOU  Wartensee  (shn5'-dSr 
fQn  var'-teja»za),  X«>  Lucerne,  17^6 — 
Frankfort-on-Main,  i86E;  teacher, 
writer  and  composer. 

Schoberlechner  (sho'-b^r^l^kh-nSr), 
Fz.,  Vienna,  1797 — Berlin,  1843; 
pianist,  conductor  and  dram*  com- 
ser* 


berg,      Bavaria,      1813 — -Gottingen, 
i88z;  writer, 

Schoeck  (sh^k),  Othmar,  b,  Brunnen, 
Sept.  i>  qt884>  Swiss  composer; 
pupil  of  Reger-;  cond*  in  Zurich  and 
St.  Gallen;  c.  opera,  orch.,  chamber 
music. 

Schpenefeld  (sha-'i^-fSlt),  H*t  MH- 
waukeex  Wis^  Oct.  4,  1857— -Los 
Angeles,  Aug,  4,  1936;  san  aoid  pupil 
of  a  musician-,  later  studied  Leipzig 
Cons.;  winning  a  prize  for  a  chorus 
with  orch.  performed  at  the  Gewand" 
haus*  then  studied  with  R.  Lassen 
(comp^  Weimar;  totxred  Germany 
as  a  pianist;  from  18-70,  Chicago, 
as  pianist  and  teacher,  also  cond. 
the  "Germania  M&nnerchor."  After 
1904  lived  in  Los  Angeles,  where  in 
1915  he  con4-  the  first  Padbdc  Sanger- 
fest;  C  "The  Three  Indians,"  ode 
•with  orch.;;  a  symphs*  V&w&l," 
&inui");  2  overtures,  "In  the 
Sotdk"  (based  on  Ethiopian 


DICTIONARY  OF  MUSICIANS 


389 


themes)  and  "The  American  Flag"; 
vln.-sonata  (Henri  Marteau  prize, 
i$gg),  pf.-pcs-,  etc. 

SchSfer  (shef '-fer),  Peter  (the 
younger),  mus. -printer  at  Mayence 
and  Strassburg,  1530-39. 

Schoelcher  (shel-shar)  Victor,  Paris, 
1804 — 1893;  writer,  statesman  and 
biographer  of  Handel. 

Scholes  (sk6ls),  Percy  A.,  b.  Leeds, 
England,  1877;  writer;  grad-  Oxford 
Univ.;  associate  R.  CoQ.  of  Music; 
formerly  master  of  music  at  Kent 
Coll.,  Canterbury;  1901-03,  Kings- 
wood  Coll.,  S<  Africa;  1904,  taught 
Leeds  Munic.  School  of  Music;  and 
inspector  for  London  Board  of 
Education;  extension  lecturer  for 
Oxford,  London  and  Manchester 
TJnivs.;  founded  Home  Music  Study 
Union;  after  1915  he  visited  America 
several  times  as  lecturer;  later  lived 
in  Switzerland;  author,  "Purcetl," 
"Arthur  Bliss,"  "Crotchets,"  "Every- 
man and  His  Music,9'  "The  Columbia 
History  of  Music9'  (compilation  of 
phonograph  records),  "Listener's 
Guide  to  Music,"  "Listener's  History 
of  Music,'*  "The  Puritans  and  Music,'9 
''An  Introduction  to  British  Music"; 
and  with  W.  Earhart,  "Complete  Book 
of  the  Great  Musicians" 

Scholtz  (shdlts),  Hn.,  Breslau,  June  9, 
1845 — Dresden,  July  13,  1918; 
pianist;  pupil  of  Brosig,  Liszt,  von 
Biilow  and  Rheinberger;  teacher  in 
Dresden,  1880  chamber  virtuoso; 
c.  concerto;  edited  Chopin's  text. 

Scholz  (sh61ts),  (i)  F.,  Gernstadt, 
1787 — Moscow,  1830;  in  latter  city 
after  1815  as  opera  cond.;  c.  ballets, 
etc.  (2)  Bd.  E.,  Mayence,  March 
30*  1835 — Munich,  Dec.  26,  1916; 
pupil  of  Ernst  Pauer,  Mayence, 
and  of  Dehn,  Berlin;  1856  teacher 
R.  Sch.  of  Mus.,  Munich;  1859-65, 
ct.-conductor  Hanover  Th.;  1871-78, 
cond.  Breslau  Orch.  Soc.;  1883- 
1908,  dir.  of  the  Hoch  Cons.,  Frank- 
fort (vice  Raff);  Dr.  Phil.  h.  c.  (Bres- 
lau Univ.),  "Royal  Prussian 
Professor,"  etc.;  pub.  essays  "Wohin 
treiben  wirf"  (Frankfort,  1897};  prod. 
o  operas  incl.  succ.  "Ingo"  (Frank- 
fort, 1898).  C.  "Das  Siegesfest"  and 
"Das  Lied  von  der  Glocke"  for  soli, 
chorus  and  orch.;  symph.  poem 
"Malinconia";  symph.  overtures 
"Iphigenia"  and  "Im  Freien,"  etc. 

Schenberg  (shan'-berkh)_,  Arnold,  b. 
Vienna,  Sept.  13,  1874 — Brentwood, 


CaL.  Jul.  13, 1951;  noted  comp.;  exer- 
cised profound  effect  on  other  com- 
posers of  his  period  by  his  path- 
breaking  system  of  free  harmonic 
writing;  the  "father"  of  atonality, 
amd  in  his  later  works  the  exponent 
of  the  theory  that  any  of  the  tones 
of  the  chromatic  scale  may  be  com- 
bined with  equal  effectiveness;  the 
form  of  his  works  is,  however,  in  the 
classical  tradition.  He  began  quite 
early  to  compose  chamber  music, 
and  studied  vln.  and  'cello;  in  theory 
he  evolved  his  own  method,  except 
for  a  brief  period  of  study  in  1894 
with  his  future  brother-in-law, 
Alexander  Zemlinsky,  He  made  a 
piano  version  of  latter^s  opera, 
"Sarema";  an  early  string  quartet 
from  this  period  has  been  lost;  some 
songs  were  heard  in  Vienna  about 
1900.  From  the  previous  year  dates 
his  popular  string  sextet,  "Verkl&rte 
Nacht,'*  in  a  romantic,  somewhat 
Tristanesque  idiom,  which  has  had 
wide  currency  in  its  arrangement  for 
string  orch.  In  1901,  following  his 
marriage  to  Mathilde  Zemlinsky,  S. 
took  up  res.  in  Berlin;  there  he  pro- 
duced his  symph.  poem,  "Petteas 
und  Melisande."  In  1903  he  re- 
turned to  Vienna  and  began  his 
important  labors  as  a  theory  teacher; 
in  the  next  4  years  he  continued  his 
early  post-Wagnerian  period  with 
his  6  orch,  songs,  his  string  quartet, 
8  songs  (op.  6),  2  ballades  (op.  is), 
his  much-played  "  Kammersinfonie," 
and  the  second  string  quartet  with 
voice;  also  from  1910-11  dates  his 
"Gurrelieder"  for  soloists,  chorus, 
orch.  Later  his  music  began  to 
reveal  an  abstract,  anti-romantic 
quality;  his  3rd  and  most  important 
manner  (which  has  been  called 
"expressionistic"  and  said  to  have 
parallels  with  the  painting  of  such 
a  figure  as  Kokoschka)  is  heralded 
by  his  songs  to  lyrics  of  Stefan 
George,  op.  15.  The  compositions 
of  this  period  include  3  piano  pieces 
(op.  11),  the  radical  "Five  Orchestral 
Pieces"  (op.  16),  which  created  a 
sensational  effect  when  ist  played 
in  Europe  and  U.  S.;  the  monodrama, 
"Erwartung,"  for  one  woman  singer 
and  orch.,  which  portrays  the 
anguish  in  the  mind  of  one  waiting 
for  her  lover  (one  of  S's.  most 
original  works,  ist  staged  at  Prague 
m  1924);  "Die  Gliickliche  Hand" 


390 


DICTIONARY  OF  MUSICIANS 


(The  Hand  of  Fate),  a  form  of  opera 
to  the  composer's  own  text.  It 
symbolically  narrates  the  struggle 
of  a  man  to  preserve  the  joy  and 
dignity  of  life  against  the  malign 
effects  of  an  evil  incubus,  the  mys- 
terious menace  of  the  world  about 
him,  and  the  snares  of  a  rich  dandy 
who  wins  away  his  wife  (prod- 
Vienna  Volksop.,  1924;  also  in  N.  Y. 
by  Phila.  Orch.  under  Stokowski  in 
stage  versio^  1930).  1911  marked 
S's.  2nd  removal  to  Berlin,  and  the 
production  of  his  highly  original 
"Pierrot  Lunaire"  (op.  21),  settings 
of  a  cycle  of  21  poems  by  Albert 
Giraud,  which  describe  the  some- 
what decadent  and  haunted  longings 
of  a  moonstricken  Pierrot  for  his 
native  Bergamo;  this  work  is  called 
a  "melodrama"  and  introduced  to 
the  world  of  music,  in  its  score  for  a 
woman  reciter-singer  and  chamber  • 
ensemble,  S's.  famous  device  of  the 
"Sprechstimme  "  or  voice  that  half 
speaks,  half  sings.  1915-17,  he 
worked  on  an  oratorio,  "Jacob's 
Ladder,"  writing  both  text  and 
music  (not  completed);  and  the 
following  year  founded  in  Vienna  a 
Society  for  Private  Perfs,  of  Music, 
which  introd.  the  scores  of  his  im- 
mediate circle  to  a  small  group  of 
those  interested;  1920—21,  he  lec- 
tured on  comp.  in  Amsterdam;  1923, 
after  return  to  Vienna,  he  issued 
some  piano  pieces,  a  quintet,  and 
Serenade  for  barytone  and  chamber 
orch.  Beginning  1923  he  was  Bu- 
soni's  successor  as  teacher  of  master 
class  in  comp.  at  Berlin  Hochschule, 
for  about  a  decade;  then  came  to 
America  1933  and  taught  comp.  in 
Boston  and  N.  Y.;  1935  faculty 
mem.  of  Univ.  of  Cal.  at  Los  Angeles, 
occupying  chair  of  comp.  Apart 
from  his  compositions,  his  influence 
has  been  preeminent  in  the  field  of 
theory,  which  he  may  be  said  to 
have  revolutionised  with  his  publi- 
cation of  a "  "  Harmonielehre";  also 
c.  (operas)  "  Von  Heute  auf  M  or  gen" 
(i-act  attempt  at  work  in  more  pop. 
style,  not  highly  successful);  "'Moses 
and  Aaron";  (orch.)  theme  and 
variations:  suite  for  strings  (in  old- 
time  style);  'cello  concerto  after  an 
early  work  by  Monn;  and  a  rework- 
ing for  string  quartet  and  orch.  of 
a  Handel  concerto  grosso;  in  1936 
his  Fourth  Str.  Quartet  was  prem. 


in  Los  Angeles;  c.  "Survivor  from 
Warsaw"  for  narrator,  male  cho., 
and  orch.;  "Ode  to  Napoleon,"  etc. 
Studies  of  his  music  have  been  pub- 
lished by  Wellesz,  Erwin  Stein  and 
others,  besides  an  essay  by  Huneker, 
etc.  (See  article,  page  518.) 

SchSnberger  (shan'-bSrkh-e'i),  Benno> 
b.  yienna,  Sept.  12,  1863;  pianist; 
pupil  of  Vienna  Cons.,  studied  also 
with  Liszt;  toured;  1885  teacher, 
Vienna;  later  in  Sweden  (1886),  then 
London;  1894  toured  America;  d. 
England,  March  9,  1930. 

Schorr  (sh6r),  Friedrich,  b.  Nagyvarad, 
Hungary,  Sept.  2,  1888;  barytone; 
studied  with  Robinson  in  Vienna; 
sang  at  Graz,  1911-16;  Prague, 
1916-18;  Cologne,  1918-23;  then 
Berlin;  came  to  U.S.  with  Wagnerian 
Op.  Co.,  1923;  mem.  Met.  Op.  Co. 
after  1924;  has  sung  widely  in 
Europe  and  S.  America,  and  at 
Co  vent  Garden,  esp.  in  Wagneriao 
rolesjd.Faxmin^o^7Coim.,Au£.,  1953. 

Schott  (sh6t),  (i)  fid.,  d.  1817;  founded 
(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  Js 
Sohne";  later  managers  at  Mayence 
and  the  London  branch  were  Fz.  von 
Landwehr     and     Dr.     L.     Strecker. 

(4)  Anton,      Schloss      Staufeneck, 
Swabian  Alp,  June  25,  1846 — Stutt- 
gart,  Jan.    8,    1913;   tenor;    1865-71 
an  artillery  officer  in  the  French  cam- 
paign;    then     studied     with     Frau 
Schebest-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  (shra'-dek),  Henry,  Ham- 
burg, April  29,  1846 — Brooklyn, 
N.  Y.,  March  28,  1918;  noted  violin- 
ist; 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,  Gewandhaus 
Orch.  and  theatre-orch.,  Leipzig, 
also  teacher  for  a  time  at  the  Cons. 
1883-89,  prof,  of  vln.,  Cincinnati 
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;  after  1912  also 
at  Amer.  Inst.  of  Applied  Mus., 


DICTIONARY  OF  MUSICIANS 


39J 


N,     Y.;     pub.     excellent     technical 
studies  for  vln. 

Schramm  (shram),  (i)  Melchior,  Ger- 
man orginist  and  contrapuntist, 
1595-  (2)  ^Pa-ulj  D-  Vienna,  Sept. 
22,  1892;  pianist  and  composer; 
pupil  of  R.  Kaiser  and  Leschetizky. 

Schreck  (shrSk),  Gustav,  Zeulenroda, 
Sept.  8,  1849— Leipzig,  Jan.  22, 
1918;  pupil  of  Leipzig  Cons.;  1885 
teacher  of  theory  and  comp.,  Leip- 
zig Cons.;  1892,  mus.-dir.  and  cantor, 
and  cond.  of  the  "Thomarierchor"; 
prod.  concert-cantatas,  oratorio, 
"Christus  der  Auferstandene"  (Ge- 
wandhaus,  1892;,  church-music, 
etc. 

Schreker  (shrSk'-e*r),  Franz,  Monaco, 
March  23,  1878 — Berlin,  March  21, 
1934;  composer;  pupil  of  Fuchs, 
Vienna;  founded  and  cond.  Philh. 
Chorus,-  Vienna,  1911;  prof,  of 
comp.,  Vienna  Acad.,  1912;  dir. 
Berlin  Hochsch.,  1920-32;  master 
class,  Akad.  der  Kunste  there, 
1931-32;  noted  for  his  original  music 
dramas,  usually  on  somewhat  Freu- 
dian erotic  subjects,  with  musical 
system  based  on  new  and  unusual 
"clang-tints,"  and  using  his  own 
texts;  c.  (operas)  "Der  Ferne  Klang" 
(Frankfort,  1912);  "Das  Spielwerk 
und  die  Prinzessin"  (Vienna,  1913); 
"Die  Gezeichneten"  (1918);  "Der 
Schatzgr&ber"  (1920);  "Irrelohe," 
"Memnon"  "Der  Schmied  von 
Ghent"',  (pantomime)  "D*r  Geburt- 
stag  der  Infantin"  Cafter  Wilde); 
Sinfonietta,  "  Nachtstitek"  and  pre- 
lude to  a  drama  for  orch.,  choral 
works  and  songs;  his  influence  as  a 
teacher  was  considerable;  his  style 
excelled  in  richness  of  orchestral 
color  and  subtlety  of  detail,  but  his 
works  for  the  stage  were  of  such  a 
complicated  nature  that  they  have 
never  been  produced  outside  of 
Germany  and  Austria. .  .Studies  of 
his  music  have  been  written  by  Kapp 
and  Bekker. 

Schrems     (shr&ns),     Jos.,     Warmen- 
steinach,  Upper  Palatinate,   1815 — 
Ratisbon,    1872;    conductor,    editor 
x  and  teacher. 

<8chr6der  (shra'-der),  (i)  Hermann, 
Quedlinburg,  July  28,  1843 — Berlin, 
Jan.  31,  1909;  violinist,  ^writer  and 
composer;  pupil  of  A.  Ritter,  Mag- 
deburg; from  1885,  teacher  R.  Inst. 
for  church-mus.,  Berlin,  and  at  a 
xaus.-sch.  of  his  own.  (2)  Karl, 


Quedlinburg,  Dec.  18,  1848 — 
Bremen,  Sept.  22,  1935;  bro.  of 
above;  'cellist  and  composer;  pupil 
of  Drechsler,  Dessau  and  Kiel, 
Berlin;  at  14,  ist  'cello  ct.-orch.  at 
Sondershausen,  and  teacher  in  the 
Cons.;  1873,  'cello  Brunswick  ct.- 
orch.;  1874,  solo  'cellist  Gewandhaus 
Orch.,  and  th.-orch.,  Leipzig,  also 
teacher  at  the  Cons.,  and  made 
tours;  1 88 1,  ct.-cond.,  Sonders- 
hausen;  cond.  German  Opera  at 
Amsterdam;  until  1888,  Berlin  ct.- 
opera;  till  1890,  the  Hamburg  Opera; 
returned  to  Sondershausen  as  ct.- 
cond.  and  dir.  Cons.;  1911-24,  at 
Stern  Cons.;  wrote  'cello-method, 
catechism  on  conducting  and  the 
'cello.  C.  succ.  opera  "Aspcisia" 
(Sondershausen,  1892);  a  succ.  i-act 
opera  "Der  Asket"  (Leipzig,  1893); 
succ.  operetta  "Malajo"  (Bunzlau, 
1887);  1871,  founded  the  "SchrSder 
Quartett,"  with  his  brothers  (i) 
Hermann  (3)  Fz.  and  (4)  Alwin, 
b.  Neuhaldensleben  June  15,  1855 — 
Detroit,  Nov.  10,  1920;  pupil  of  his 
father  and  brother  Hermann,  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  (r),  whom  he 
succeeded,  1881,  in  the  Gewandhaus, 
theatre  and  Cons.;  1886,  Boston,  as 
first  'cellist  Symph.  Orch.;  member 
of  the  Kneisel  Quartet;  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?  for 
concert  tours;  later  a  mem.  of  the 
Margulies  Trio  and  Boston  String 
Quartet  until  1919. 

SchrSder-Devrient  (shra'-der-da'-frf- 
Snt)  Wilhelmine,  Hamburg,  1804 — 
Coburg,  1860;  eminent  soprano; 
daughter  of  Fr.  Schroder,  barytone, 
and  the  actress,  Antoinette  Sophie 
Bttrger:  pupil  of  Mazatti;  d6but, 
vienna,  1821;  m.  the  actor  Karl  D. 
(divorced  1828,  after  bearing  him 
4  children;  married  twice  afterward); 
she  created  the  r61e  of  "Adriano 


392 


DICTIONARY  OF  MUSICIANS 


Colonna"  in  the  "Rienzi"  of  Wagner, 
whose  style  she  deeply  affected. 
Scnroder-HanfstangL       Vide       HANE- 

STANGL. 

SchrSter  (shrS-tSr),  (i)  Leonhardt, 
Torgau,  ca.  1540 — d,  in  Magdeburg, 
1595;  eminent  contrapuntist.  (2) 
Chp.  Gl.,  Hohenstein,  Saxony,  1699 
— Nordhausen,  1782;  noted  organist; 
claimed  in  a  pamphlet  (1763)  to  have 
invented,  1717,  the  pianoforte,  but 
was  forestalled  by  Cristofori;  com- 
poser. (3)  Corona  (Elisabeth.  Wil- 
helmine),  Guben,  1751 — Ilmenau, 
1802;  celebrated  soprano;  pupil  of 
her  father,  (4)  Joh.  Fr.  S.,  chamber- 
singer,  (5)  Job.  Samuel,  Warsaw, 
1750 — London,  1788,  son  of  (4); 
pianist.  (6)  Joh.  H.  (b.  Warsaw, 
1762),  son  of  (4);  violinist. 

Sdmbart  (shoo'-bart),  (Chr.  Fr.) 
Daniel,  Sontheim,  Swabia,  1739 — 
Stuttgart,  1791;  poet;  organist  and 
composer. 

Schubert  (shoo'-bSrt),  (i)  Jos.,  Warns- 
dorf,  Bohemia,  1757 — Dresden,  1812; 
violinist,  and  dram,  composer.  (2) 
Jn.  Fr.,  Rudolstadt,  1770 — Cologne, 
1811;  violinist,  writer  and  composer, 
(3)  Fd.,  Lichtenthal,  near  Vienna, 
1794 — Vienna,  1859;  elder  bro.  of 
the  great  composer  (4)  and  passion- 
ately devoted  to  him;  dir.  Normal 
Sch.,  Vienna;  c.  church-mus.,  a/ 
requiem  for  his  brother,  etc. 
(4.)  Franz  (Peter),  Lichtenthal,  near 
Vienna,  Jan.  31,  1797 — of  typhus, 
Vienna,  Nov.  19,  1828;  one  of  the 
most  eminent  of  the  world's  com- 
posers. One  of  the  14  children  of  a 
schoolmaster  at  Lichtenthal,  who 
taught  him  the  vln.;  also  studied  with 
Holzer  there;  at  10,  first  soprano  in 
the  church-choir,  and  c.  songs  and 
little  instrumental  pcs.  1808^  a 
singer  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 
Ruczicka  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  feHow-pujm, 
Spaun,  generously  furnished  him 
with  mus.-paper,  a  luxury  beyond 
the  means  of  Schubert.  At  15  he 
ftad  written  much,  incl.  an  overture; 
at  1 6  he  c.  his  first  symph.;  1813,  his 
voice  broke  and  he  left  the  "Con- 


vict," where  the  unrestrained  license 
allowed  him  in  his  compositions 
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 
1 8 1 6,  spending  his  leisure  in  studying 
with  Salieri,  and  in  comp.  particularly 
of  songs,  of  which  he  wrote  as  many 
as  8  in  one  day — 144  in  his  iSth  year 
(1815),  including  "Der  Erlkdnig"; 
1814-16,  he  also  c.  2  operettas,  3 
Singspiele  and  3  incomplete  stage- 
pieces,  4  masses.  1816,  he  applied 
without  succ.,  for  the  directorship  of 
the  new  State  mus.-sch.  at  Laybach 
(salary  $100  (£20)  a  year).  From 
1817  he  lived  in  Vienna,  except  two 
summers  (1818  and  1824),  spent  at 
Zel6sz,  Hungary,  as  teacher  in  Count 
Esterhizy's  family.  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 
Michael  Vogl  popularised  his  songs. 
By  his  2ist  year  (1818)  S.  had  c.  six 
of  his  symphs.  and  a  great  mass  of 
work.  His  mus.  farce  "Die  Zwil- 
lingsbriider"  was  prod.  (Karnthner- 
thor  Th.,  1820,  but  ran  only  six 
nights).  1821,  after  he  had  written 
over  600  compositions,  his  "Erlko- 
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, 
sometimes  receiving  only  a  gulden 
(20  cents,  less  than  a  shilling)  for 
them.  In  1822  he  declined  the  post 
of  organist  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  i?54  under  Liszt  and 
in  1 88 1  when  Jn.  Fuchs  rewrote  the 
libretto  and  prod,  it  at  Carlsruhc 


DICTIONARY  OF  MUSICIANS 


395 


with  great  succ.  In  1825  a  work, 
"Rosamunde,"  was  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,  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  &  HSrtel. 
These  incl.,  besides  those  mentioned, 
an  opera  "Adrast"  (unfinished),  3- 
act  operettas  "Der  Teufels  Lust- 
schloss"  and  "Der  Spiegelritter^; 
SINGSPIELE:  "Der  Vierjahrige 
Posten"  "Fernando";  "Claudine 
von  Villabella"  (unfinished);  "Die 
Freunde  von  Salamanca'9  and  "Der 
M innes  anger" -9  all  written  1814- 
1816;  none  performed;  3-act  melo- 
drama, "Die  Zauberharfe"  (Aug. 
19,  1820);  3-act  opera,  "Sakuntala" 
(not  finished  or  performed);  i-act  op- 
eretta, "Die  Verschworenen,  oder 
der  h&usliche  Krieg"  (Vienna,  i86>i); 
3-act  opera^  "Fierabras"  (Vienna, 
186-1);  "Die  Burgschaft,"  3-act  op- 
era (c.  1816;  prod,  by  Fz,  Lachner, 
Pesth,  1827);  unprod.  operas  "Der 
Graf  von  Gleichen"  (1827)  and  "Die 
Soilsbergwerke''!  6  masses;  "Deutsche 
Messe"y  unfinished  oratorio  "Laza- 
rus" "Xanfown  ergo"  (with  orch.);  2 
"Stabat  Mater"  etc.  CHORAL  WORKS 
WITH  OB.CH.*  OR  INSTRS.:  "Miriams 
SJ&gesges&ng" ;  prayer,  "Vor  der 
ScftlaGht"^  hymn,  "  Herr  uns&r  Gott," 
"  Hyanne  an  den  HeiUgen  Geist," 
"Morgengesang im Walde,"  "N-acJttge- 
sang  Im.  Walde"  and  "  NacMhette," 
"Schlachtlied,"  "Glaube*  Hojfnung  und 
Liebe,"  several  cantatas  an>d  part- 
songs.  ORCH.  AND  CHAMBER-M^S-  10 
symphs.,  No.  8  the  "unfi^ish^d"  i»  B 
min.,  7  overtures  (Nos.  aanol  5,  "in  the 
Italian  style");  vln.-coneerto;  r<mdo 
for  vln.  with  oarch.^  octet;  pf. -quintet 
("Forettenqwintet"  with  <J0ublebass); 
string-quintet  with  2  'celfe  *4  s^rftig- 
quartets;  2  pf.-triosj  2  string-trios; 
rondo  brilliant,.  phaBtasie  in  C, 
sonata,  3  sonatinas,  nocturne  for 
'cello  and  p&j  introd,  aoid  vars.  for 
flute  and  pf.:  T?  D£. -sonatas  (incl.  op. 


78,  fantasia),  3  grand  sonatas,  posthu- 
mous; 8  impromptus,  6  moments 
musicaux;  many  variations,  many 
waltzes,  incl.  "  Valses  sentimentales" 
"Homage  aux  belles  Viennoises," 
"Valses  nobles,"  12  "Gratzer  Walzer," 
"Wanderer-Fantasie";  FOR  PF.,  4 
HANDS:  2  sonatas,  "Divertissement  a 
I'hongroise,"  "Grand  rondo,"  "Notre 
amilie"  rondo  in  D,  " Lebensst&rme," 
fugue,  polonaises,  variations,  waltzes, 
4  Landler;  marches,  incl,  "Trauer- 
marsch"  and  "heroique." 
SONGS  WITH  PIANO:  "Erlkonig,"  op. 
i;  "Gr etc hen  am  JSpinnrade,"  op.  2; 
"Heidenroslein,"  op.  3;  "Der  Wan- 
derer" and  "Der  du  von  dem  Himmel 
bist,"  op.  4;  Suleika  songs,  Mignon's 
songs,  2  song  cycles  by  Wilhelm 
Miiller,  "Die  Schone  Mtillerin"  and 
"Die  Winterreise"  containing  20  and 
24  numbers;  7  songs  from  "Fr&idein 
vom  See"  (Scott's  "Lady  of  the 
Lake"),  9  songs  from  "Ossian";  6 
songs  by  Heine  in  the  "Schwanen- 
gesang,"  etc.  (more  than  600  in  all). 
As  part  of  the  celebration  of  his  death 
centenary  in  1928,  the  Columbia 
Phonograph  Co.  offered  a  prize  fot 
internatl  composers  to  complete  the 
Unfinished  Symph.  This  aroused 
so  much  protest  from  musicians, 
however,  that  the  contest  was 
changed  to  one  for  a  work  "in  the 
style  of"  Schubert,  and  was  won  by 
Kurt  Atterberg  of  Sweden. 
Biog.  by  Kreissle  von  Hellborn 
(Vienna,  1861,  1865);  Reissman, 
Berlin^  1873);  A.  JSTiggli  (1880);  Bar- 
bedette  (Paris,  1866);  Max  Fried- 
lander;  other  studies  by  La  Mara, 
Risse*  Austin,  Frost,  H.  Ritter, 
Skalla,  Curzon,  Zenger,  Heuberger, 
Duncan,  Klatte,  Bourgault-Ducou- 
dray,  Antcltffe,  Dahms,  Deutsch  and 
Schiebler,  Bie,  Clutsarn,  Flower, 
Kobald  and  Ewen.  His  songs  are 
tfcie  subject  of  studies  by  Capell  and 
Le  Massena.  His  letters  and  other 
writings  were  pub-,  in  English,-  trans- 
lation. (I£nopf,  1928).  (See  article, 
pa,ge  52*,) 

(5>Ez.  Anton^  1768 — 1824;,  violinist; 
R.  KQazertimeister.  (6)  Fz^  Dres- 
den?, 1808 — 1878;  son  q,nd  pupil  of 
ds)-^  vipldnist,  Konzertmeister  R. 
orch-  and  composer.  (7)  M$schinka, 
wtfe  of  (6)  and  daughter  of  G.  A. 
Schneider,  r&i5 — Dresden,  1882;  so- 
prano. (8)  Georgia,*,  Dresden,  1840 
— Potsdam,  1878;  daughter  and  pupiJ 


394 


DICTIONARY  OF  MUSICIANS 


°f  (7)>  pupil  also  of  Jenny  Lind  and 
Garcia;  sang  in  many  European 
cities.  (9)  Louis,  Dessau,  1828 — 
Dresden,  1884;  violinist;  singing- 
teacher  and  composer. 
Scimberth  (shoo'-bert),  (i)  Gotttob, 
ELarsdorf ,  177  8 — Ham  b  urg,  1 846 ; 
oboist  and  clarinettist.  (2)  Julius 
(Fd.  G.),  Magdeburg,  1804 — Leipzig, 
1875;  son  of  above;  founded  firm  of 
*CJ.  Schuberth  &  Co.,"  Hamburg, 
1826;  Leipzig  branch,  1832:  New 
York,  1850.  His  brother  (3)  Fr. 
Win.  (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 
later  owned  by  J.  H.  F.  Meyer. 

(4)  L.,  Magdeburg,  1806 — St.  Peters- 
burg, 1850;  son  and  pupil  of  (i)  and 
von  Weber;  at  16  dir.  Stadt  Th.  at 
Magdeburg;    conductor    Oldenburg, 
1845;     cond.     German     opera,     St. 
Petersburg;  c.  operas,  symphs.,  etc. 

(5)  K.,    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  TJ.;  c.  2  'cello-concertos. 

Schubiger  (shoo'-bikh-Sr),  Anselm,  TJz- 
nach,  Canton  of  St.  Gallen,  1815 — 
1888;  important  writer. 

Schuch  (shookh),  (i)  Ernst  von,  Graz, 
Styria,  Nov.  23,  1847 — Dresden, 
May  10,  1914;  pupil  of  E.  Stoltz  and 
(X  Dessoff;  1872,  cond.  Pollings  It. 
Op.;  from  1873  ct~-cond.  Dresden, 
then  R.  Ct.-Councillor  and  Gen.- 
Mus.-Dir.  (2)  Clementine  Proska, 
Vienna,  Feb.  12,  1853 — June  n, 
1932;  wife  of  above;  1873-1904, 
colorature-sopr.,  Dresden  ct.-theatre. 

Schucht  (shookht),  Jean  F.,  Holz- 
thalleben,  Thuringia,  1822 — Leipzig, 
1894;  critic  and  composer. 

Schffcker  (shlk'-er),  Edmund,  Vienna, 
1860 — Bad  Kreuznach,  1911;  harp- 
ist; pupil  of  Zamara,  Vienna  Cons.;  . 
1884,  teacher  Leipzig  Cons.,  and 
harpist  Gewandhaus  Orch.;  1890, 
ct.-harpist  to  Duke  of  Saxe-Alten- 
burg;  1891,  Chicago  Orchestra. 

Schulfcoff  (shool'-hdf),  (i)  Julius, 
Prague,  1825 — Berlin,  1898;  notable 
pianist;  pupil  of  Kisch,  Tedesco  and 
Tomaschek;  d£but,  Dresden,  1842; 
lived  in  Paris  as  teacher,  then  Dres- 
den and  Berlin;  c.  pf.-pcs.,  etc. 
(2)  Erwin,  b.  Prague,  June  8,  1894; 


gr& 
Schu] 


composer;  studied  at  Cons,  there, 
also  at  Leipzig  (comp.  with  Reger), 
and  at  Cologne  (cond.  with  Stein- 
bach);  won  Mendelssohn  Prize  in 
piano  at  Berlin  Hochsch.;  also  in 
comp.;  c.  2  symphonies,  with  vocal 
solos;  overtures,  orch.  variations, 
piano  concerto,  suite  for  chamber 
orch.,  string  quartet,  vln.  suite,  piano 
variations,  and  smaller  pieces  for 
piano,  all  in  advanced  modern  style, 
incl.  atonality. 

Schultheiss  (shoolt'-hls),  Benedict,  d. 
1693;  organist  and  composer,  Nurn- 
berg. 

Schulthesius  (shool-ta'-zX-oos),  Jn. 
Paul,  Fechheim,  Saxe-Coburg,  1748 — 
Leghorn,  1816;  theorist  and  com- 
poser. 

SchuLtz-Adaievski  (shoolts-a-da-ySf7- 
ski),  Ella  von,  St.  Petersburg, 
Feb.  10,  1846 — Bonn,  July  29,  1926; 
pupil  of  Henselt  and  tie  St.  Peters- 
burg Cons.;  pianist;  toured  and  from 
1882  lived  at  Venice;  c.  opera  "Die 
Morgenr'dte  der  Freikeit";  "Sonatc 
"jrecque"  for  clarinet  and  piano,  etc. 
tmltze  (shoolt'-tse"),  (i)  Jn.,  organist 
and  composer,  Dannenberg,  Bruns- 
wick, 1612.  (2)  Chp.,  cantor,  etc., 
Delitzsch,  Saxony  (1647  —  1668). 
(3)  Dr.  Win.  H.,  Celle,  Hanover, 
1827 — Syracuse,  N.  Y.,  1888;  violin- 
ist and  professor.  (4)  Ad.,  b.  Schwe- 
rin,  Nov.  3,  1853;  pianist;  pupil  of 
Elullak's  Acad.,  Berlin;  teacher  there; 
1886-90  ct.-cond.,  Sondershausen 
and  dir.  of  the  Cons.;  later  in  Berlin; 
c.  a  pf  .-concerto,  etc. 

Schulz  (shoolts),  (i).  VidepiL&TOBrcrs. 
(2)  Jn.  Abraham  Peter,  Liineburg, 
March  30  (31  ?),  1747 — Schwedt, 
June  10,  1800;  important  predecessor 
of  Schubert  as  a  song- writer;  pupil 
of  Kirnberger,  Berlin;  teacher  there, 
1780,  ct.-cond.  at  Rheinsberg;  1787- 
94,  ct.-cond.  Copenhagen;  and  theo- 
rist; c.  operas,  oratorios,  etc.  (3)  Jn. 
Ph.  Chr.,  Langensalza,  Thuringia, 
1773 — Leipzig.  1827;  cond.  and 
composer.  (4)  Fd.,  Kossar,  1821 — 
Berlin,  1897;  1856  conductor,  mus.- 
dir.,  singing-teacher  and  composer. 
(5)  August,  Brunswick,  June  15,  1837 
— Feb.  12,  1909;  violinist;  pupil  of 
Zinkeisen,  Leibrock,  and  Joachim; 
leader  of  the  Ducal  Orch.  there;  c. 
pop.  male  quartets.  (6)  Leo,  Poseu, 
1865 — Crescenta,  CaL,  1944,  cel- 
list; pupil  Berlin  Hochsch.;  soloist 
Philh.  there;  1890-1931  with  N.  Y. 


DICTIONARY  OF  MUSICIANS 


395 


Philh.;  taught  at  Nat'l  Cons.;  mem. 
Margulies  Trio.  1904-15. 

ftchulz-Beuthen  (shoolts-boi'-tSn),  EL, 
Beuthen,  Upper  Silesia,  June  19, 
1838 — Dresden,  March  12,  1915; 
pupil  of  Leipzig  Cons.,  and  of  Riedel; 
1 88 1,  pf. -teacher,  Dresden  Cons.; 
1893,  in  Vienna;  after  1895  again 
at  Dresden  Cons.;  prof.,  1911;  a 
Wagner  and  Liszt  disciple;  c.  4 
operas,  8  symphonies,  "Haydn," 
"Frilhlingsfeier,"  JSb,  "Schon  Eliza- 
beth" "Reformation-S."  (with organ); 
"K'onig  Lear,"  and  a  "  Jfinder- 
Sinfonie"-,  symph.  poem,  "Die  Tod- 
teninsel";  3  overtures,  incl.  "Indian- 
ischer  Kriegstanz" ',  cantatas  with 
orch.,  "Befreiungsgesang  der  Ver- 
bannten  Israels,"  and  "Harold,"  re- 
quiem and  Psalms  42,  43,  and  125 
with  orch.  Psalm  13,  a  cappella  male 
choruses,  etc. 

Sch-alz-Schwerin  (shoolts-shva'-r6n), 
"K.,  Schwerin,  Jan.  3,  1845 — Mann- 
heim, May  24,  1913;  pianist;  pupil  of 
Stern  Cons.,  Berlin;  ct.-pianist  to 
Grand  Duke  of  Mecklenburg;  1885- 
1901,  teacher  at  Stern  Cons.,  Berlin; 
then  in  Mannheim;  c.  a  symph., 
overtures  "Torquato  Tasso,"  "Die 
Braut  von  Messina,"  and  "Triom- 
phale";  Sanctus,  Benedictus,  etc., 
with  orch.,  etc. 

Schulze  (shoolts'-S),  (i)  Jn.  Fr.,  Mil- 
bitz,  Thuringia,  1793 — Paulinzelle, 
1858;  org.-builder  with  his  sons  at 
Miihlhausen.  (2)  Ad»,  Mannhagen, 
near  Molln,  April  13,  1835 — Jena, 
April,  1920;  concert-bass;  pupil  of 
Carl  Voigt,  Hamburg,  and  Garcia, 
London;  head-prof,  of  singing  R. 
Hochschule,  Berlin. 

Schuman  (shoo'man),  Wm.,  b.  N.  Y., 
1910;  comp.;  grad.  Colum.  U.,  pupil 
Haubiel,  Roy  Harris;  cVfcymphs.,  etc.; 
pres.,  Juilliard  Sch.  of  Music,  N.  Y. 

Schumann  (shoo'-man),  (i)  Robert 
(Alex.),  Zwickau,  Saxony,  June  8, 
1 8 10 — insane,  Endeifrch,  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, 
ELuntzsch  (pf.),  who  prophesied  im- 
mortality for  him;  at  6  he  began  to 
compose,  at  n,  untaught,  he  c*  for 
chorus  and  orch.  At  1 7  he  set  poems 
of  his  own  to  mus.  1820—28,  at- 
tended Zwickau  Gymnasium;  then 


matriculated  at  Leipzig  Univ.  to 
study  law  and  philosophy.  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 
Hved  with  Friedrich  Wieck,  with 
whom  he  studied  the  piano;  he  also 
studied  comp.  with  H.  Dorn.  In 
trying  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  con- 
certs; he  devoted  to  her  and  dedicat- 
ing much  of  his  best  work  to  her. 
1834  he  founded  the  Neue  Zeit- 
schrift  fiir  Musik,  and  was  its  editor 
till  1844.  His  essays  and  criticisms 
(signed  FLORESTAN,  ETTSEBIUS, 
MEISTER  RAK.O,  2,  12,  22,  ETC., 
JEANQUTRIT,  etc.)  are  among  the 
noblest  works  in  the  history  of 
criticism,  particularly  in  the  matter 
of  recognising  new  genius  and  herald- 
ing it  fearlessly  and  fervently. 
(Chopin,  Berlioz,  and  Brahms,  prof- 
ited 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  "Davidsbiind- 
ler."  His  pen-name  "ETTSEBITJS," 
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;  1841 
to  symph.  work;  1842  to  chamber- 
mus.,  incl.  his  pf.-quintet  (op.  44) 
which  gave  him  European  fame. 


396 


DICTIONARY  OF  MUSICIANS 


1843  wa-s  choral,  "Das  Parodies  und 
Peri"  (from  Moore's  "Lalla  Rookh"), 
having  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  concert- 
tour  to  Russia,  he  removed  to 
Dresden  and  resigned  the  editorship 
of  the  Neue  Zeitschrift;  lived  at 
Dresden  until  1850  teaching  and 
composing  such  works  as  the  great 
C-major  symph.,  1846,  and  the  opera 
"Genoveva"  (1848;  prod.  1850  with- 
out succ.;  its  exclusion  of  recitative 
displeasing  the  public).  1847  cond. 
of  the  "Liedertafel";  1848  organ- 
ised the  "Chorgesangverein."  1850, 
Diisseldorf  as  town  mus.-dir.  (vice 
Fd.  Hiller).  1853,  signs  of  insanity, 
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  re- 
mained in  acute  melancholia,  varied 
by  intervals  of  complete  lucidity, 
when  he  composed  as  before.^  A 
complete  ed.  of  his  comps.  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  Pilger- 
fahrt,"  with  orch.;  " Adventlied,"  for 
sopr.,  chorus  and  orch.;  "Abschieds- 
lied,"  chorus  with  wood-wind  or  pf.; 
requiem  for  "Mignon";  "  Nachtlied," 
for  chorus  and  orch.;  ballades  "Der 
Konigssohn,"  "Des  Stingers  Fluch" 
(op.  139),  "Vom  Pagen  und  der 
Konigstochter,"  "DasGluck  von  Eden- 
hall,"  and  "Neujf&rslied";  Missa 
sacra,  and  requiem  mass,  with  orch.; 
4  symphs.  (No.  3,  op.  97,  in  Eb  the 
"  Rheinische,"  or  "Cologne,"  symph.); 
"Ouverture,  Scherzo  und  Finale,"  op. 
52;  4  concert  overtures  "Die  Braut 
von  Messina,"  "Festouvertftre,"  "Ju- 
lius C&sar"  and  "Hermann  und 
Dorothea"  \  pf. -concerto;  Concert- 
stuck,  and  concert-allegro,  'cello- 
concerto;  fantasia  for  vln.  with  orch,, 
etc. 

Much  remarkable  CHAMBER  MUSIC: 
incL  pf. -quintet  in  Eb  pp.  44;  3  pf.- 
trios,  etc.;  6  org.-studies  in  canon- 


form,  "Skizzen  ,fUr  den  Pedal-JLugel"; 
6  org.-fugues  on  B-A-C-H,  op.  60. 
FOR  PP.:  Op.  i,  Variations  on 
A-B-E-G-G  (the  name  of  a  young 
woman);  op.  2  "Papillons";  op.  3, 
"Studies  after  Paganini's  Caprices"; 
op.  5,  "Impromptus  on  theme  by  Cl. 
Wieck";  op.  6,  " Davidsbundlerffinze" ; 
op.  _9,  "Carnaval";  op.  ™  ".^AM/W** 


"Studies 


on  Paganini's  Caprices";  op.  15,  thir- 
teen "  Kinderscenen" ;  op.  16,  "  Kreis- 
leriana";  op.  21,  "  No-oelletten"  (4 
books),  3  sonatas  (No.  3  "Concert 
sans  orchestre"),  and  3  sonatas  for 
the  young;  op.  23  "  Nachtstucke"; 
op.  26  "Faschingsschwank  aus  Wien"; 
op.  68,  "Album  fur  die  Jugend,"  a 
canon  on  "An  Alexis,"  FOR  pp.  4 
HANDS:  Op.  66,  "Bilder  aus  Osten," 
after  Riickert,  12  "Clavierstucke  fur 


Kinder* 


op. 


kleine  und  grosse 
109,  "Ballscenen."  Many  choruses 
a  cappella;  many  songs  and  duets, 
incl.  ten  Spanische  LiebesliejUer,  with 
4-hand  accomp.,  op.  138;  Liederkreis 
(Heine),  song-cycle,  op.  24,  and 
Liederkreis  (12  poems  by  Eichen- 
dorff),  op.  39;  "Myrthen,"  op.  25; 
Lieder  und  GesSnge,  5  sets;  12  poems 
(KQrner),  op.  35;  6  poems  CRuckert), 
in  collaboration  with  his  wife,  op. 
37;  "Frauenliebe  und  Leben"  op.  42; 
"Dichterliebe,"  op.  48;  "  Lieder  album 
fur  die  Jugend"  op.  79;  6  songs  from 
Byron's  " Hebrew  Melodies"  op.  95 
(with  pf.  or  harp);  nine  Lieder  und 
Gesange  from  "Wilhelm  Meister," 
op.  98a,  etc.  In  1937  a  posth.  vln.- 
concerto  in  D  minor,  never  perf .  but 
willed  by  Joachim  to  the  Prussian 
State  Library,  was  premiered  by 
Yehudi  Menuhin. 

His  writings  are  pub.  in  4  vols.,  1854; 
4  vols.  in  English,  London,  1875;  and 
his  letters  ed.  by  his  wife  (1885)  and 
(1886)  by  Jansen. 

Biogr,  by  von  Wasielewski  (1858), 
Reissmann  (1865),  Ambros  (1860), 
L.  Mesnard  (Paris,  1876).  H.  Rei- 
mann  (1887),  H.  Erler  (1887),  S. 
Bagge  (1879),  Waldersee  (1880),  and 
by  Ph.  Spitta  (1882).  Other  bio- 
graphical studies  by  La  Mara,  Fuller- 
Maitland,  Batka,  Abert,  Patterson, 
Schneider  and  Mar6chal,  Oldmeadow, 
Mauclaire,  Wolff,  Hartog,  Steiner, 
Calvocoressi,  Dahms,  Von  der  Pfor- 
ten,  Basche,  Bedford,  Niecks,  Ron- 
ald, and  Eugenie  Schumann,  his 
daughter  (in  English,  1931).  (See 
article,  page  523.) 


DICTIONARY  OF  MUSICIANS 


397 


(3)  Clara  (Josephine),  n6e  Wieck, 
Leipzig,  Sept.  13,  1819  —  Frankfort- 
on-Main,  May  20,  1896;  eminent 
pianist;  wife  of  above  (q.  v.)»  She 
played  in  public  at  9;  at  n  at  the 
Gewandhaus;  toured  from  1832; 
Vienna  (1836)  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  Wies- 
baden, resuming  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  fugues,  pr.-trio,  Vars. 
on  a  theme  by  Schumann,  many 
<songs,  incl.  3  in  Schumann's  op.  37 
(Nos.  2,  4,  and  n).  Biog.  by  Litz- 


.    ,    ,  . 

mann,  1902.     (3)  Georg  (Alfred),  b. 


a  cantor,  and  of  K.  A.  Fischer, 
B.  Rollfuss,  and  Fr.  Baumfelder, 
Dresden,  then  of  Leipzig  Cons., 
where  he  c.  2  symphs.,  a  serenade  for 
orch.,  a  pf.-quintet,  a  vln. -sonata, 
etc.,  taking  the  Beethoven  prize, 
1887;  lived  2  years  in  Berlin;  1892— 
96,  cond.  at  Danzig;  1896-1900, 
Bremen  Philh.  Orch.  and  chorus; 
after  1900  of  Berlin  Singakademie, 
a  notable  chorus;  1916,  hon,  Mus. 
D.;  Berlin  Univ.;  mem.  of  the  Acad. 
of  Arts;  after  1913  leader  of  master 
class  in  comp.  at  the  Univ.;  c. 
oratorios,  2  symphonies,  and  many 
other  works  for  orch.,  chamber 
music,  choruses,  piano  pieces,  songs, 
etc.  (4)  Elisabeth,  b.  Merseburg, 
Germany,  June  13,  1891;  soprano; 
1909-15,  sang  at  Hamburg  Op.;  after 
1919  at  Vienna  State  Op.,  also  for  a 
time  at  Met.  Op.,  and  toured  U.  S. 
1921  in  programs  with  Richard 
Strauss;  d.  TT.  Y.,  Apr.  23,  1952. 
li^-maTiTi-'H'fttTitr  (sho  o  '-msLn-hink) , 
Ernestine  (ne'e  RSssler),  n.  Prague, 
June  15,  1861 — Hollywood,  Nov.  17, 
1936;  famous  contralto;  pupil  of 
Marietta  von  Leclair,  Graz;  d6but 
Dresden,  1878,  in  "II  Trovatore"; 
sang  there  4  years;  1883  Hamburg 
City  Th.;  1896,  sang  "Erda,"  "Wal- 
traute,"  and  the  First  Norn  at 
Bayreuth;  m.  Herr  Heink,  1883;  m. 
Paul  Schumann,  1893;  from  1898,  in 
1899-1904  she  sang  at 


Berlin  Royal  Opera  as  well  as  at 
Met.  Op.,  N.  Y.;  1904  she  starred  in 
a  comic  opera,  "Love's  Lottery"; 
1909  she  created  "Clytemnestra"  in 
Strauss's  "Elektra"  at  Dresden;  Paul 
Schumann,  d.  1904;  she  m.  William 
Rapp,  Jr.,  1905;  divorced  him,  1912: 
she  had  sung  in  concert  with  enor- 
mous success  in  America  and  in  opera 
abroad;  became  naturalised  Amer- 
ican, 1908.  In  recent  years  she  had 
been  engaged  as  a  radio  singer  and 
had  played  parts  in  the  films,  also 
to  some  extent  active  as  a  teacher. 

Schtinemann  (shu'-nS-man),  G.,  b. 
Berlin,  March  13,  1884;  musicologist; 
Ph.D.,  Leipzig  Univ.;  taught  Berlin 
Univ.;  dir.  Prussian  State  Library, 
div.  of  music. 

Schuppan  (snoop '-pan),  Adolf,  b.  Ber- 
lin, June  5,  1863;  pupil  of  B.  HSrtel; 
c.  chamber  music. 

Schuppanzigh  (shoop'-pa.n-tsikh),  Ig-« 
naz,  Vienna,  1776 — 1830;  violinist, 
conductor  and  teacher. 

Schtirer  (shu'-rer),  Jn.  G.,  Raudnitz, 
Bohemia,  1720 — Dresden,  1786; 
dram,  composer. 

Schuricht  (sh66'-r5kht),  Carl,  b.  Dan- 
zig, July  3,  1880;  conductor;  studied 
at  Berlin  Hochsch.;  with  Humper- 
dinck  and  Rudorff;  cond.  opera 
and  concerts,  Zwickau,  Dortmund, 
Frankfort,  and  after  1912  at  Wies- 
baden; has  made  guest  appearances 
in  other  countries,  incl.  London  and 
U.  S.  (guest  cond.  St.  Louis  Symph.j, 
1929). 

Schung  (shoo'-rfkh),  (Volkmar)  Julius 
(Win.),  Aue,  Saxony,  1802 — Dres- 
den, 1899;  composer  and  teacher. 

Schuster  (shoo '-sitter),  Jos.,  Dresden,; 
1748 — 1812;  ct.-conductor;  c.  pop. 
operas,  symphs.,  etc. 

Schiitt  (shut),  Eduard,  Petersburg, 
Oct.  22,  1856 — near  Merano,  July  28, 
1933;  pianist;  pupil  of  Petersen  and 
Stein,  Petersb.  Cons.;  studied  at 
Leipzig  Cons.;  in  1881  succeeded 
Mottl  as  cond.  Akademischer  Wag- 
nerverein,  Vienna;  c.  succ.  comic 
opera  "Signor  Formica"  (Vienna, 
1892);  pf.-concerto,  etc.,  but  is  best 
known  as  the  composer  of  many 
popular  small  pf  .-pieces. 

Schutz  (shuts),  (Sagitta'rius)  H.,  "The 
father  of  German  music,"  Kostritz, 
Saxony,  Oct.  8,  1585 — Dresden, 
Nov.  6,  1672;  in  1607  entered  Mar- 
burg Univ.  to  study  law,  but,  1609, 
was  sent  to  Venice  by  Landgrave 


398 


DICTIONARY  OF  MUSICIANS 


Moritz  of  Hesse-Cassel  to  study  with 
Giov.  Gabriel! ;  1612  returned  to 
Cassel  as  ct.-organist;  1615  cond.  to 
the  Elector  of  Saxony  at  Dresden; 
he  frequently  revisited  Italy,  whence 
he  brought  much  to  modify  and  en- 
large German  mus.;  also  made  long 
visits  to  Copenhagen  as  ct.-cond. 
1627,  on  royal  invitation  for  the 
wedding  of  Princess  Sophie  of  Sax- 
ony, he  c.  the  first  German  opera, 
the  libretto  being  a  transl,  from  the 
"Dafne"  of  Peri  (q.  v.);  this  work  is 
lost,  as  is  also  the  ballet,  "Orpheus 
und  ILurydice"  1638,  for  the  wedding 
of  Jn.  Georg  II.  of  Saxony.  Carl 
Riedel  revived  interest  in  S.  by  pub. 
and  producing  "Die  7  Worte  Christi 
am  Kreuz"  and  a  "Passion"  A 
complete  ed.  of  S.'s  works  is  pub.  by 
Breitkopf  and  Hartel  in  16  vols.; 
they  include  sacred  and  secular  mus. . 
of  great  historical  importance  as  the 
predecessor  whom  Handel  and  Bach 
rather  developed  than  discarded;  he 
was  born  just  a  hundred  years  before 
them  and  shows  great  dramatic  force 
and  truth  in  his  choral  work,  com- 
bining with  the  old  polyphonic 
structure  a  modern  fire  that  makes 
many  of  his  works  still  beautiful. 
Biog.  by  Ph.  Spitta,  and  Fr.  Spitta 


1912;  pupil  of  Pflughaupt  and  Leip- 
zig Cons.;  cond.  at  Konigsberg;  c. 
opera,  male  choruses  with  orch, 
oratorio,  etc.  (2)  Oscar,  Erfurt, 
Sept.  n,  1856 — Berlin,  Feb.  n, 
1936;  pupil  of  Leipzig  Cons.;  1886- 
88,  proprietor  of  ELahnt's  pub.-house 
in  Leipzig;  also  critic  for  the  Tage- 
blatt,  etc.;  c.  an  overture;  pf.-pcs., 
etc. 

Schwanenberg  (shvan'-Sn-b&rkh),  Jn. 
Gf.,  Wolfenbiittel,  1740 — Brunswick, 
1804;  ct.-conductor  and  dram,  com- 
poser. 

Scnwantzer  (shvSn'-tse'r),  Hugo,  Ober- 
glogau,  1829 — Berlin,  1886;  organist, 
teacher  and  composer. 

Schwarz  (shvarts),  (i)  Win.,  Stutt- 
gart, 1825 — Berlin,  1878;  singer  and 
teacher.  (2)  Max,  Hanover,  Dec.  i, 
1856 — Frankfort-on-Main,  July  3, 
1923;  son  of  above;  pupjil  of  Bendel, 
Billow,  and  Liszt;  pianist;  1880-83, 
teacher  Hoch  Cons.,  Frankfort;  then 
cp-fpunder,  after  Raff's  death,  of  the 
~  Cons.;  from  1885  its  dir. 


Schwedler  (shvat'-lSr),  (Otto)  Maxi- 
milfoil,  b.  Hirschberg,  Silesia,  March 
31,  1853;  flutist;  pupil  of  Fr.  Meinel, 
Dresden;  in  Leipzig  municipal  and 
Gewandhaus  Orch.;  1895-1918,  ist 
flute;  after  1908  taught  at  Leipzig 
Cons.;  inv.  the  "Schwedler  flute"; 
wrote  a  pamphlet  on  it  and  c.  tran- 
scriptions; d.  Leipzig,  1940. 

Schweitzer  (shvit'-tser),  (i)  Anton, 
Coburg,  1735 — Gotha,  1787;  con- 
ductor and  composer.  (2)  Albert,  b. 
Colmar,  Alsace,  1875;  _ eminent  or- 
ganist and  writer  of  life  of  Bach; 
ed.  B.'s  organ  works. 

Schwencke  (shvSnk'-fi),  (i)  Jn.  GI., 
1744 — 1823;  bassoonist.  (2)  Chr. 
Pr.  GL,  Wachenhausen,  Harz,  1767 
— Hamburg,  1822;  son  of  above; 
cantor  and  mus.-dir.  (3)  Jn.  Fr., 
Hamburg,  1792 — 1852;  son  and  pupil 
of  (2) ;  composer.  (4)  K.»  Hamburg, 
1797 — ?;  pianist;  son  of  (2).  (5)  Fr, 
G-l.,  Hamburg,  1823 — 1896;  virtuoso 
on  the  pf .  and  organ;  composer. 

Sckwindel  (shvlnt7-!),  Fr.,  d.  Carls- 
ruhe,  1786;  violinist;  c.  operettass 
symphonies,  etc. 

Schytte  (shet'-tS),  L.  (Th.),  Aarhus, 
Jutland,  April  28,  1848 — Berlin, 
Nov.  10,  1909;  druggist,  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;  pantomimes  for  4  hands, 
sonata,  etc. 

Scontrino  (sk6n-tr5'-nO),  A.,  Trapani, 
1850 — Florence,  Jan.  7,  1922;  pupil 
of  Platania,  Palermo;  lived  in  Milan 
as  teacher;  after  1897  prof,  of  cpt. 
at  Florence  Cons.;  c.  5  operas,  incl. 
succ.  i-act  "Gringoire"  (1890),  and 
"La  Cortigiana"  (Milan,  1896); 
c.  "Sinfonia  marinaresca"  (Naples, 
1897). 

Scott,  (i)  Lady  John  Douglas  (ne'e 
Alicia  Arm  Spottiswoode) ;  Spottis^ 
woode,  1810 — March  12,  1900;  com- 
poser of  "Annie  Laurie"  and  other 
songs.  (2)  Cyril,  b.  Oxton,  England, 
Sept.  27,  1879;  composer;  studied 
Hoch  Cons.,  Frankfort,  with  Ivan 
Knorr  and  Uzielli;  has  c.  many  at- 
tractive modern-style  works  (esp.  in 
smaller  forms),  some  of  them  exotic  in 
coloring,  incl.  2  symphonies,  4  over- 
tures, 2  passacaglias  on  Irish  themes; 
piano  concerto,  various  chamber 
music  works;  also  (opera)  "The 


DICTIONARY  OF  MUSICIANS 


399 


Alchemist"  piano  music  and  songs; 
author  "  The  Philosophy  of  Modern- 
ism"', visited  U.  S.  as  perf.  in  Ms 
music,  1920. 

Scot'ti,  Antonio,  Naples,  Jan.  25,  1866 
— Feb.  26,  1936;  notable  barytone; 
d6but  Malta,  1889;  sang  in  various 
cities;  from  1899  at  Co  vent  Garden 
and  Met.  Op.  House,  N.  Y.,  regu- 
larly; famous  as  "Don  Giovanni," 
and  in  later  years  as  "Falstaff," 
"Scarpia,"  in  *Tosca,"  and  the  evil 
Chinese  villain  in  Franco  Leoni's 
i-act  "thriller,"  "L'Oracolo."  One 
of  the  most  distinguished  dram, 
artists  of  his  period,  he  was  a  regular 
mem.  of  the  Met.  Op.  Co.  until  1933, 
his  25th  anniversary  with  this  co. 
being  marked  by  special  ceremonies 
in  1024.  His  last  few  years  were 
clouded  by  ill  health  and  poverty,  as 
his  fortune  had  been  lost  and  his 
farewell  perf.  was  given  as  a  benefit 
for  him;  his  death  occurred  obscurely 
in  Naples. 

Scotto  (sk6t'-t5),  (i)  Ottaviano,  and 
his  son  (2)  Girolamo,  mus. -printers 
at  Venice,  1536-39*  and  1539-73* 
respectively;  the  latter  was  also  a 
composer. 

Scriabine  (skr5-a'-b5n),  Alexander 
Nicolaievitch,  Moscow,  Jan.  10,  1872 
— April  14,  1915;  eminent  composer 
and  pianist;  pupa  of  Moscow  Cons., 
studying  with  Safonoff  (piano)  and 
Taneiev  (comp.)  also  with  Arensky; 
after  1892  he  lived  in  Paris,  Brussels 
and  Amsterdam,  and  also  toured  in 
various  cities  of  Europe  as  a  pianist; 
but  returned  to  Moscow  and  taught 
in  the  Cons.,  1898-1903;  in  1907  he 
visited  the  U.  S.  and  in  1914  Eng- 
land, as  performer  in  his  works.  He 
devoted  the  latter  part  of  his  life 
exclusively  to  composition,  living  in 
other  countries  until  1910,  when  he 
again  took  up  res.  in  Moscow.  In 
his  earliest  piano  works,  he  was  in- 
fluenced by  Chopin,  Liszt  and 
Wagner,  but  he  soon  developed  a 
markedly  personal  style,  which  also 
shows  traces  of  folk-song  inspiration 
and  the  nationalist  idiom  of  the 
Russian  Five.  The  earliest  period 
includes  op.  i  to  25,  and  numbers  the 
ist  2  symphonies  in  E  (with  chorus) 
and  C  minor,  the  piano  sonatas, 
op.  6,  19  and  23;  the  6tudes  of  op.  8, 
and  the  preludes,  op.  xit  15  and  17. 
In  his  2nd  period  his  creative  work 
took  on  a  new,  somewhat  mysterious 


and  ecstatic  note,  and  he  developed 
a  highly  original  harmonic  system, 
while  his  orch.  writings  were  also 
individual,  as  exemplified  in  his 
"Divine  Poem"  and  "Poeme  de 
I'Extase"  the  intensely  poignant 
style  of  which  bears  a  resemblance 
to  Wagner's  "Tristan"  but  is  ex- 
tended to  new  vehemence  of  ex- 
pression. The  2nd  period  includes 
also  the  4th  piano  sonata,  op.  30; 
the  "Poeme  Satanique,"  the  8  Etudes, 
op.  42,  5th  sonata,  op.  53,  and  many 
smaller  pf.  works.  His  3rd  period 
saw  the  development  of  an  entirely 
original  harmony  based  on  a  so- 
called  "synthetic  chord"  composed 
of  7  tones — C,  F  sharp,  B,  E,  A,  D,  G 
— which  S.  sometimes  called  the 
"mystic  chord."  His  theories  at  this 
time  turned  more  and  more  toward 
the  mystical  and  semireligious,  so 
that  he  conceived  his  music  as  a 
sort  of  rite.  The  works  of  the  final 
period  include  "Prometheus"  (sub- 
titled "The  Poem  of  Fire"),  scored 
for  orch.,  piano,  organ,  chorus  and 
color-organ,  the  5  sonatas,  op.  62, 
64,  66,  68  and  70;  the  "Poeme 
Nocturne,"  "Guirlande"  and  "Vers 
la  Flamme,"  and  many  briefer  piano 
numbers.  He  sought  to  combine  the 
arts  of  tone,  light,  and  even — in  the 
"Mysterium"  on  which  he  was  work- 
ing at  his  death — various  elements  of 
smell  by  the  use  of  perfumes. 
Studies  of  S.  and  his  music  have  been 
written  by  Sabaneiev,  Karatygin, 
Gunst,  de  Schloezer,  Hull,  Swan,  etc, 
His  letters  were  ed.  by  Sabaneiev 
and  pub.  in  MQSCOW,  1923. 

Scribe  (skr€b),  Eugene,  Paris,  1791 — 
1861;  most  prolific  of  French  drama- 
tists, and  wrote  over  100  librettos, 
incl.  "Fra  Diavolo*  "Prophete," 
"L'Africaine." 

Scudo  (skoo'-do),  Paolo,  Venice,  1806 
— insane,  Blois,  1864;  writer, 

Sea'shore,  Carl  Emil,  b.  MSrlunda, 
Sweden,  Jan.  28,  1866;  psychologist; 
graxL  Gustavus  Adolphus  Coll., 
IT.  S.  A.;  Ph.  D.,  Yale  Univ.,  where 
he  taught  until  1902;  after  latter  year 
at  State  Univ.  of  Iowa  (dean,  Grad. 
Coll.,  1908),  where  he  has  carried  on 
important  experimentation  in  musi- 
cal psychology,  esp.  to  determine 
bases  of  musical  talent;  has  invented 
instruments  such  as  audiometer, 
tonoscope,  chronograph,  etc.,  to 
measure  tonal  vibrations  and  the 


400 


DICTIONARY  OF  MUSICIANS 


like;  author  "The  Psychology  of 
Musical  Talent"  1917,  and  many  im- 
portant monographs;  d.  1949. 

Sebald  (za'-balt),  Alex.,  Pesth,  April  29, 
1869— Chicago,  June  30,  1934;  vio- 
linist; pupil  of  Saphir  and  C.  Thom- 
son; member  of  Gewandhaus  orclu, 
Leipzig,  and  toured  with  Gewand- 
haus Quartet;  toured  widely  from 
1903;  was  concertm.  Berlin  Royal 
Orch.;  1906  taught  in  Chicago;  1907 
opened  a  school  in  Berlin;  wrote  a 
method  and  c.  violin  pieces,  etc. 

Sebastian!  (sS-bas-tJ-a'-ne),  Jn.,  b. 
Weimar,  1622;  conductor  and  com- 

Sebor  (sha'-bdr),  K.  (Karel),  Brandeis, 
Bohemia,  July  18  (Aug.  13  ?),  1843 
— Prague,  May  17,  1903;  pupil 
Prague  Cons,  and  of  Kitu;  1864-67, 
cond.  Nat.  Opera;  from  1871  military 
bandm.,  Vienna;  prod,  at  Prague  5 
Czech  operas;  c.  symphs.,  overtures, 
etc. 

Sechter  (zSkh'-ter),  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." 

Secfc'endorff,  Karl  Siegmund,  Freiherr 
von,  Erlangen,  Nov.  26,  1744 — Ans- 
bach,  April  26,  1785;  c.  a  monodrama 
and  songs  to  Goethe's  texts. 

Seeg(e)r  (sS'-gSr)  (or  Segert  or  Zec- 
kert),  Joseph  Norbert,  Rzepin,  Bo- 
liemia,  March  21,  1716 — Prague, 
April  22,  1782;  composer;  famous 
organist  and  teacher;  c.  toccatas, 
masses,  etc. 

Seeling  (za'-Hng),  Hans  (HanuS), 
Prague,  1828 — 1862;  piano-virtuoso 
and  composer. 

Seghers  (sii-g£rsO,  Fran.  J.  Bap., 
Brussels,  1801  — >  Margency,  near 
Paris,  1881;  violinist  and  conductor. 

Segond  (sft-gdn)*  I/.  A.,  a  physician  at 
Paris;  studied  singing  with  Manuel 
Garcia,  <  an4  wrote  "  HygUne  du 
chanteu*"  (,1846),  etc. 

Segovia  (sS-g5-ve"-a),  Andres,  b.  Ja6n, 
Spain,  1^94;  guitarist;  most  eminent 
performer  of  his  period,  incl.  Bach 
and  other  classics,  Spanish  romantic 
school  of  1 9th  cent,  and  modern 
composers  of  his  country;  has  toured 
Europe  and  U.  S. 

SeguroTa,  Andres  de,  b.  Barcelona — 
d.  tkere,  Jan.  23,  1953;  studied  law 
at  Barcelona;  then  took  up  singing 
success;  member  of  Met.  Op. 


Co.  for  a  decade,  then  manager  of 
series  of  morning  musicales  in  N.  Y 
with  distinguished  clientele;  in  later 
years  a  voice  teacher  in  Los  Angeles, 
also  making  film  appearances. 
Seguin  (sgg'-wXn),  (x)  Albert  Edw.  S., 
London,  1809 — New  York,  1852; 
bass.  (2)  Elizabeth,  his  sister,  mother 
of  Parepa  Rosa.  (3)  Ann  Childe, 
wife  of  (i);  operatic  singer;  d6but, 
1828;  retired  and  lived  New  York, 
1880.  (4)  Wm.  H.,  1814 — 1850;  bro. 
of  (i);  bass. 

Seidel  (zl'-dSl),  (i)  Fr.  L.,  Treuen- 
brietzen,  Brandenburg,  1765 — Char- 
lottenburg,  1831;  organist  and  dram, 
composer.  (2)  Jn.  Julius,  Breslau, 
1810 — 1856;  organist  and  writer. 
(3)  Toscha,  b.  Odessa,  Nov.  17,  1899; 
violinist;  studied  Petersburg  Cons, 
with  Auer;  early  attracted  attention 
by  precocious  gifts  as  youthful  vir- 
tuoso; d€but,  Oslo,  1915;  toured  in 
leading  Eur.  cities,  later  in  America 
with  succ.  as  orch.  soloist  and  re- 
citalist;  lived  in  Los  Angeles  lor 
years;  transcribed  many  pieces  for 
vln.;  founded  string  trio,  and  has 
been  heard  in  radio  programs. 
Seidl  (zit7-'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  Wagner  in  score  of 
"  Nibelungen  Ring';  1879-83  cond. 
for  Neumann's  Wagner-troupe; 
1883-85  cond.  Bremen  opera  (m. 
there  the  soprano  (2)  Frl.  Krauss); 
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)  Arthur,  b.  Munich,  June  8,  1863; 
pupil  R.  Sch.  of  Mus.  at  Ratisbon 
and  of  Paul,  Stade,  Spitta,  and 
Bellermann;  Dr.  Phil.,  Leipzig,  1887; 
critic;  lectured  at  Leipzig  Cons., 
1904-09;  writer. 

Seifert  (zl'-fSrt),  Uso,  RSmhild,  Thu- 
ringia,  Feb.  9,  1852 — Dresden,  June 
4,  1912;  pupil  of  Dresden  Cons.; 
teacher  there  and  organist;  wrote 
pf.-method,  pf.-pcs.,  etc. 
Seiffert  {zlf'-fSrt),  Max,  b.  Beeskow, 
Feb.  9,  1868;  historian  and  composer; 
pupil  of  Spitta;  from  1891  at  Berlin 
as  author  and  1907  Royal  Prof.j 
1914,  mem.  of  Prussian  Academy  of 
Arts;  d.  Scales  wig,  Apr.  13,  1948. 
Seifriz  (zl-frXts),  Max,  Rottwell,  Wilr- 


DICTIONARY  OF  MUSICIANS 


401 


temberg,  1827 — Stuttgart,  1885;  vio- 
linist, ct.-cond.  and  composer. 

Seiss  (zis),  Isidor  (Win.),  Dresden, 
Dec.  23,  1840 — Cologne,  Sept.  25, 
1905;  pianist;  pupil  of  Leipzig  Cons.; 
1871  pf. -teacher  Cologne  Cons.;  1878 
Prof.;  conductor  Musikalische  Gesell- 
schaft;  c.  studies  in  bravura,  etc. 

Sejan  (sa-zhan),  Nicolas,  Paris,  1745 — 
1819;  famous  organist;  1772,  Notre 
Dame;  1783,  St.  Sulpice;  1783,  royal 
chapel;  teacher  and  composer. 

Sekles  (zgk'-l&s),  Bernlxard,  Frankfort- 
on-Main,  June  20,  1872 — Dec.  15, 
1934;  pupil  of  Hoch  Cons.,  1896 
teacher  of  theory  there,  and  after 
1923  its  dir.;  also  serving  as  theatre 
cond.  at  Heidelberg  and  Mainz  from 
1893;  c.  opera,  "Schahrazade"  (1917); 
ballet,  "Der  Zwerg  und  die  Infantin" 
after  Wilde's  story  (1913) ;  a  burlesque 
stage  work,  "Die  Hochzeit  des  Faun39 
(1921);  symph.  poem,  "Aus  den  Garten 
der  Semirawis";  "  Kleine  Suite1'  for 
orch.;  "Die  Temper  amente,"  serenade 
for  ii  instruments;  passacaglia  and 
fugue  for  string  quartet;  'cello  sonata, 
men's  and  women's  choruses;  a  num- 
ber of  songs.  Wrote  book  on  music 
dictation,  1905. 

Sel'hy,  Bertram  Luard,  Kent,  Engl., 
Feb.  12,  1853 — Rochester,  England, 
1919;  organist,  Salisbury  Cath.; 
1900-16,  at  Rochester  Cath.;  c.  2  op- 
eras; a  i-act  operetta  ("duologue"), 
successful  "Weather  or  No"  (London, 
1896),  Berlin  as  "Das  Wetterhau- 
schen,"  1896;  org.-sonatas,  etc. 

Seligmann  (za'-l&h-man),  Hippolyte 
Prosper,  Paris,  1817 — Monte  Carlo, 
1882;  'cellist  and  composer. 

Selle  (zel'-l&),  Thos.,  Zorbig,  Saxony, 
1599 — Hamburg,  1663;  cantor  and 
composer, 

Sellner  (zgr-nSr),  Jos.,  Landau,  Ba- 
varia, 1787 — Vienna,  1843;  oboe- 
virtuoso,  teacher,  writer  and  com- 
poser. 

Sel'mer,  Joluuan,  Christiania,  Jan.  20, 
1844 — Venice,  July  21,  1910;  Nor- 
wegian composer;  cond.  and  author; 
pupil  of  A.  Thomas,  Paris,  Richter 
anci  Paul,  Leipzig;  1883-86  cond. 
Phil,  orch,,  Christiania;  c.  Norwegian 
Festival  March,  "Seine  fun&bre," 
Finnish  Festival  Be%,  "In  the 
Mountains/9  "Carnival  in  Flanders," 
etc.,  for  orch.,  choral  works  with 
orch.,  songs,  etc. 

gembach  (zSm'-bakh),  Johanu.es,  b. 
Berlin,  March  Q3  1881;  tenor;  sang 


Vienna,  1903;  Dresden,  1907;  Met. 
Op.,  1914-17,  and  after  1920. 

Sembrich  (zSm'-brlkh),  Marcella 
(rightly  Praxede  Marcelline  Ko- 
chanska,  Sembrich  being  her  moth- 
er's maiden  name),  Wisniewszyk, 
Galicia,  Feb.  15,  1858 — New  York, 
Jan.  ii,  1935;  eminent  colorature 
soprano;  pupil  (later  the  wife) 
of  Wm.  Stengel  (piano),  Lemberg 
Cons.;  studied  with  Epstein  at 
Vienna,  and  singing  with  Victor 
Rokitansky  and  with  G.  B.  Lam- 
perti,  Jr.,  at  Milan,  d6but,  May, 
1877,  at  Athens;  studied  German 
opera  at  Berlin  with  Lewy;  sang  for 
1 8  months  Dresden  ct.-th.;  from 
June,  1880,  London,  and,  1883-84, 
toured  Europe  and  America;  1884, 
studied  with  Francesco  Lamperti, 
Sr.;  1898-1909  sang  at  Met.  Op.  and 
in  concert  in  America  with  greatest 
succ.;  1900,  managed  her  own  opera 
co.  in  Germany;  in  later  years  she 
was  active  as  a  master  teacher  at 
Juilliard  School  of  Music,  N".  Y.,  and 
Curtis  Inst.  of  Music,  Philadelphia. 

Semet  (sti-ma),  Th§ophile  (Aim* 
Emile),  Lille,  1824 — Corbeil,  near 
Paris,  1888;  drummer  and  dram, 
composer. 

SenaiUe"  (stin-i-y§L),  Jean  Baptiste, 
Paris,  Nov.  23,  1687 — Oct.  8,  1730; 
famous  violinist;  at  court  of  Louis 
XV.;  c.  violin  sonatas,  etc. 

Senesino  (san-S-se '-no),  Bernard!  Fran- 
cesco (called  the  Sienese),  Siena, 
1680 — 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&of),  Bartholf,  Friedrichshall, 
near  Coburg,  1815 — Badenweiler, 
1900;  founder  Leipzig  mus.-pub. 
house  (1850),  also  editor. 

Ses(f)fl  (zgnf  1)  (or  Senfel),  L.,  Zurich 
(?),  ca.  1492— Munich,  ca.  1555; 
eminent  contrapuntist,  ct.-eond.  and 
composer. 

Senger-Bettaque  (zSngM?&?-b£t-tak- 
ve"),  Katharina,  b.  Berlin,  Aug.  2, 
1862;  soprano;  a  ballet  dancer  at  ths 
Imperial  Opera,  Berlin,  then  studied 
with  Dora,  and  1879  appeared  on  the 
same  stage  in  soubrette  idles-;  sang 
in  various  cities,,  1888  in  Bayjreuth  as 
"Eva";  1895  married  the  ae'tor  Alex. 
Senger;  in  later  years  a  teacher. 

Senkrah  (zan'-kra)  (rightly  Hark'ness), 
Anna  Leorette,  New  York,  1864 — 


402 


DICTIONARY  OF  MUSICIANS 


suicide,  Weimar,  Aug.  4,  1900;  violin- 
ist; pupil  of  Arno  Hilf,  Leipzig; 
Wieniawski,  and  Massart,  Paris 
Cons.;  toured  with  succ. 

Serafin  (sa'-ra-fen),  Tullio,  b.  Rotta- 
nova  di  Cavazzere,  Dec.  8,  1878; 
conductor;  studied  at  Milan  Cons.; 
de"but  at  Ferrara;  later  cond.  opera 
at  La  Scala,  at  Rome,  Florence, 
Bologna,  Venice,  Turin  (also  symph. 
concerts),  in  South  America;  leading 
cond.  of  Italian  works  at  Met.  Op. 
House,  for  a  decade  after  1924;  there- 
after general  dir.  of  Rome  Royal 
Op.;  m.  Elena  Rakowska,  soprano. 

Serafino  (sa-ra-f6'-no),  (i)  Santo,  vln.- 
maker  at  Venice,  1730-45;  his  label 
is  "Sanctus  Seraphin  Utinensis  fecit 
Venetiis,  Anno,  17 — ".  (2)  Grego- 
rio,  his  nephew,  also  was  a  vln.- 
maker,  label  "Georgius  Seraphin 
Sancti  nepos  fecit  Venetiis,  17 — ." 

Serassi  (sa-ras'-sg),  Italian  family 
of  org.-builders  at  Bergamo.  The 
founder  (i)  Giuseppe  (il  vecchio), 
Gordano,  1694 — Crema,  1760.  His 
son  (2)  Andrea  Ltiigi,  1725 — 1799. 

(3)  Giuseppe  (il  giovane),  Bergamo, 
1750 — 1817;  succeeded  by  his  sons 

(4)  Carlo  and  (5)  Giuseppe. 
Serato  (s£-ra/-to),  Arrigo,  b.  Bologna, 

Feb.  7,  1877;  violinist,  son  and  pupil 
of  a  violinist  and  prof,  at  the  cons.; 
later  pupil  of  Sarti;  played  with 
success  in  Germany  and  elsewhere; 
after  1914  taught  at  Liceo  of  Santa 
Cecilia,  Rome;  d.  1949. 

SerOdn,  Rudolf,  b.  Eger,  Bohemia, 
March  28,  1903;  pianist;  his  parents 
were  Russian,  but  became  Austrian 
citizens;  pupil  of  Richard  *  Robert, 
also  in  comp.  with  Marx  and  Schon- 
berg;  at  12  played  concerto  in 
Vienna,  after  1920  appeared  with 
succ.  in  Berlin;  esp.  known  for  sonata 
recitals  with  Adolf  Busch,  with  whom 
he  made  Amer.  d£but  at  Washington 
Festival. 

Sermisy  (sSr-mg-sS),  Claude  de  (called 
Claudia,  not  Claudia  Lejeune),  ca. 
1490 — 1562;  French  ct.-cond.,  com- 
poser. 

Serov  (or  Sjeroff,  Syeroff  (s'y&-r6f)  ); 

-Alex.  Nikolajevitcfi,  Petersburg,  Jan. 

'23,  1820— Feb.  i  (new  style),  1871; 

•important    Russian    composer    and 

critic;  a  lawyer,  studied  'cello  with 

,J£arl  Schuberth>  $863   prod,  grand 

opetsa  (test  and  mus.)  "Judith,"  and 

'tfee  Gsatr  gtfatated  Mm  a  pension;  he 

-Was  a  Ig&ture*1  ©n  mus-at  Moscow  and 


Petersb.  Universities  and  wrote  his 
own  librettos;  1865  prod.  "Rogneda" 
with  succ.;  laid  aside  2  unfinished 
operas  to  finish  "Wrazyiasiela"  but 
died  before  it  was  done.  Soloviev 
finished  it  and  it  was  prod,  with 
succ. 

Serpette  (sSr-pSt),  (H.  Chas.  A.)  Gas- 
ton,  Nantes,  Nov.  4,  1846 — Paris, 
Nov.  3,  1904;  pupil  of  Thomas,  Paris 
Cons.;  1871,  taking  ist  Grand 
prix  de  Rome,  wrote  cantata  "Jeanne 
d'Arc";  1874,  prod,  opera-bouffe  "La 
Branche  Cassie"  (Bouffes-Parisiens), 
followed  by  30  other  light  works. 

Serrao  (sSr-rar-no),  Paolo,  FHadelfia, 
Catanzaro,  1830 — Naples,  March  17, 
1907;  pupil  of  Naples  Cons.;  political 
troubles  prevented  the  prod,  of  his 
opera  "L'Impostore"  in  1852,  and 
another  in  1857,  but  he  prod. 
"Pergolesi"  and  "La  Duchessa  di 
Guisa"  (1865),  and  "//  Figliuol  pro- 
digo"  (1868);  c.  also  an  oratorio,  a 
requiem,  a  funeral  symph.  (for 
Mercadante),  etc. 

Serran'o  (or  Serr&o),  Emilio,  b.  Vitoria, 
1850;  court  pianist  at  Madrid;  prof, 
at  the  Cons.,  and  dir.  of  Royal 
Opera;  c.  operas. 

Servais  (sSr-ve"),  (i)  Adrien  Fran.,  Hal, 
near  Brussels,  1807 — 1866;  eminent 
'cellist  and  teacher;  pupil  of  hir 
father  and  of  Platel,  d£but  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  pupil  of 
above;  'cellist  and  prof.  Brussels 
Cons.  (3)  Franz*  or  Francois  (Mat- 
thieu),  1844 — Asnifcres,  Jan.  14, 
1901;  cond.  at  Brussels;  c.  opera 
"L'Appolonide"  or  "Ion"  (Carlsruhe 
1899).  Son  of  Adrien  Fr.  (q.  v.). 

Sessions  (s£sh'-8ns),  Roger,  b.  Brook- 
lyn, N.  Y.,  Dec.  28,  1896;  composer; 
studied  Yale  School  of  Music  with 
Parker,  also  with  Ernest  Bloch; 
taught  theory,  Cleveland  Inst.  of 
Music,  ip 2 1-25;  awarded  Damrosch 
Fellowship  at  Amer.  Acad.  in  Rome, 
1928;  founded  (with  Aaron  Copland) 
Copland  -  Sessions  Concerts;  dir. 
school  of  music,  N.  Y.;  c.  2  sym* 

§honies  (ist  played  by  Boston 
ymph.  and  at  Internat'f  Soc.  for 
Contemp.  Music  Fest.,  Geneva);  in- 
cidental music  to  Andreyeflc's  "Black 
Maskers",  suite  which  has  been  perf. 
by  many  Amer.  orchs.;  vln.  concerto, 
prof,  of  mus.,  Princeton  U.,  1953. 


DICTIONARY  OF  MUSICIANS 


403 


Setacrioli  (ss-ta-ch6-dl'-e),  Giacomo, 
Corneto  Tarquinia,  Italy,  Dec.  8, 
1868 — Siena,  Dec.  5,  1925;  com- 
poser; studied  at  Liceo  of  Santa  Ce- 
cila,  Rome,  where  his  opera,  "La 
Sordid  di  Mark"  was  given  at 
Costanzi  Theatre,  1896;  c.  (opera) 
**  A  drienne  Lecouvreur9 ' ;  theory 
teacher  after  1922  at  St.  Cecilia 
Acad.,  and  succeeded  Pizzetti  as  dir, 
of  Cherubini  Cons.,  Florence,  1925. 

§evcik  (shfcf'-chik),  Otokar,  Horazdio- 
witz,  Bohemia,  March  22,  1852 — 
Pisek,  Jan.  18,  1934;  famous  violin 
teacher;  pupil  of  Prague  Cons.;  from 
1870  concertinas  ter  various  cities; 
1875  prof,  at  Kiev;  1892-1906  at 
Prague  Cons.;  1909-19,  dir.  of 
master  school  of  vln.,  Vienna  State 
Cons.;  later  taught  in  U.  S.  and  at 
Pisek;  teacher  of  Kubelik,  Kocian, 
etc.;  author  of  methods;  c.  Bohemian 
dances,  variations,  etc. 

SSverac  (sa-va-r&k),  Deodat  de,  Saint 
Felix,  July  20,  1873 — Roussillon, 
March  23,  1921;  writer  and  com- 
poser; pupil  Toulouse  Cons.,  and  the 
Schola  cantorum,  Paris;  c.  a-act  lyric 
drama  "Le  C&ur  de  Moulin"  (Op. 
Com.  Paris,  1909);  lyric  tragedy 
u  Heliogabale"  (ArSnes  de  Beziers, 
1910);  "Muguetto"  (1911);  "Helene 
de  Sparte"  (Paris  1912);  symph* 
poems,  "  Nymphes  au  Crepuscule" 
and  "Didon  et  En$e";  a  piano  sonata, 
etc. 

Sevitzky  (s5-v5t'-ske),  Fabien,  b.  Vish- 
ni  Volotchek,  Russia,  Sept.  30,  1893; 
(f  amily  name,  Koussevitzky,  nephew 
of  Serge);  conductor;  studied  Peters- 
burg Cons,  with  Siloti  and  Liadoff, 
grad.  with  gold  medal;  played  with 
Moscow  Imp.  Theatre  orch.;  coming 
to  America,  he  founded  Chamber 
String  Sinfonietta  at  Phila.;  also  for 
a  time  cond.  of  Boston  People's 
Symph.;  1937,  appointed  cond.  of 
Indianapolis  Symph.;  m.  Maria 
Koussevitzky,  singer. 

Seyffardt  (zif'-fart),  Ernst  Hn.,  b. 
Crefeld,  1859;  pupil  of  Cologne  Cons. 
and  of  Kiel;  1892-1924,  conductor 
Neuer  Singverein,  Stuttgart;  c.  dram, 
scene  "  Thusnelda,"  " Trauerfeier  beim 
Tode  einer  Jungfrau,"  symph.,  so- 
natas, MS.  opera  "The  Bells  of 
Plurs"  etc.;  d.  Partenkirchen,  1942. 

Seyfried  (zi'-frgt),  Ignaz  X.,  Ritter 
von,  Vienna,  1776 — 1841;  conductor, 
writer  and  dram,  composer. 

Sey'mour,  John  Laurence,  b.  Los  An- 


geles, 1893;  c.  i-act  opera,  "In  the 
Pasha's  Garden,"  Met.  Op.,  193$. 

Sgambati  (sgam-ba/-te),  Giovanni, 
Rome,  May  28,  1843 — Dec.  15,  1914; 
important  pianist  and  conductor; 
pupil  of  Aldega,  Barbieri  and  Nata- 
lucci,  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.  Cecilia,  Rome; 
1896,  founded  "Nuova  Societa  Musi- 
cale  Romana";  admirer  and  friend 
of  Wagner;  c.  requiem  with  orch. 
(1896),  2  symphs.,  overtures,  pf.- 
concerto,  an  octet,  2  pf.-quintets,  a 
string-quartet  (op.  17)  and  piano 
pcs.,  etc. 

Shakespeare,  Wm.,  Croydon,  Engl., 
June  1 6,  1849 — Golders  Green,  Nov. 
i,  1931;  noted  voice  teacher;  at  13 
organist;  pupil  of  Molique  (comp.); 
1866,  won  King's  scholarship  R.  A.  M., 
and  studied  therewith  Bennett;  1871, 
took  Mendelssohn  Scholarship  for  pf  .- 
playing  and  comp. ;  studied  with  Rein- 
ecke,  Leipzig;  1872,  singing  at  Milan; 
from  1875,  concert  and  oratorio- 
singer;  1878,  prof,  of  singing,  R. A.  M.; 
in  1880,  1886,  cond.  of  the  concerts 
there;  resigned;  won  high  reputation 
as  a  singing-teacher;  c.  overtures,  a 
symph.,  pf  .-concerto,  etc. 

Sha'porin,  Yuri,  b.  Glukhov,  Cherni- 
govski  Province,  Russia,  1889;  com- 
poser; pupil  of  Leningrad  Cons., 
studying  with  Sokolov,  Tcherepnine 
and  M.  Steinberg;  c.  incidental  music 
for  plays,  piano  sonatas,  choral  and 
orch.  works;  (opera)  "The  Decem- 
brists" (text  by  A.  N.  Tolstoy),  and  a 
symph.  in  C  minor  with  chorus,  por- 
traying events  in  Russian  revolution 
of  1917  (perf.  in  London  and  U.  S.). 

Sharp,  Cecil  James,  London,  Nov.  22, 
1859 — Hampstead,  England,  June 
23,  1924;  writer  and  collector  of  folk 
music;  grad.  Cambridge  Univ.;  assoc. 
to  Chief  Justice  of  So.  Australia, 
1883-89;  principal,  Hampstead  Cons, 
of  Music,  London,  1896-1905;  after 
1911  dir.  of  Stratford-on-Avon  School 
of  Folk-song;  author  of  valuable  col- 
lections of  British  folk-songs,  dances, 
etc.;  spent  several  years  in  Kentucky 
Mountains,  collecting  material. 

Sharpe,  Herbert  Francis,  Halifax, 
Yorkshire,  March  i,  1861 — London, 
Oct.  14,  1925;  Queen's  Scholar,  Nat. 
Training  Sch.,  London;  gave  pf.- 
concerts;  1884,  prof.  R.  C.  M.;  1800, 


404 


DICTIONARY  OF  MUSICIANS 


examiner;  wrote  "Pianoforte  Sch." 
(with  Stanley  Lucas);  c.  comic 
opera,  etc. 

Shat'tuck,  Arthur,  b.  Neenah,  Wis., 
April  19,  1881;  pianist;  pupil  of 
Leschetizky;  d6but  as  soloist  with 
the  Copenhagen  Philh.;  made  many 
tours;  d.  N.  Y.,  Oct.  16,  1951. 

Sha'vitch,  Vladimir,  b.  Russia;  con- 
ductor; studied  with  Godowsky, 
Busoni,  Kaun  and  Juon;  cond. 
Syracuse  (N.  Y.)  Symph.  for  several 
years  after  1924;  appeared  at  Mos- 
cow State  Op.,  1929;  guest  cond.  of 
London  Symph.,  and  orchs.  in  Berlin, 
Paris,  Madrid,  Moscow,  Leningrad, 
also  in  Detroit,  San  Francisco  and 
Los  Angeles;  res.  in  London,  where 
he  has  promoted  a  mechanical  device 
to  reproduce  orch.  and  chorus  in 
opera,  synchronised  with  actual  solo- 
ists; d.  W.  Palm  Beach,  Fla.,  1947- 

Shaw,  (i)  Mary,  London,  1814 — Had- 
leigh,  Suffolk,  1876;  noted  contralto 
and  teacher.  (2)  Bernard,  b.  Dublin, 
1856 — 1950;  noted  critic,  play- 
wright, in  his  early  days  a  music  and 
dram,  critic;  author,  "The  Perfect 
Wagnerite,"  etc.  (3)  Geoffrey,  b. 
Clapham,  Nov.  14,  1879;  studied  at 
St.  Paul's  Cath.  Choir  School;  at 
Derby  School  and  at  Cambridge 
with  Wood  and  Stanford;  c.  church 
and  other  music.  His  bro.  (4)  Mar- 
tin, b.  London,  March  9,  1876;  com- 
poser; studied  at  R.  C.  M.  with 
Stanford;  organist  and  dir.  of  League 
of  Arts;  c,  church  music,  a  ballad 
opera,  "M.  r*  Pepys"  incidental  music 
to  plays,  chamber  and  orch.  works, 
etc.;  author,  "Principles  of  Church 
Music  Comp,";  ed.  "Songs  of  Bri- 
tain," etc. 

Shedlock,  John  South,  Reading,  Engl., 
1843 — London,  Jan.  9,  1919;  grad- 
uate, London  Univ.,  1864;  pupil  of 
E.  Labeck  (pf.)  and  Lalo  (comp.), 
Paris;  teacher  and  concert-pianist, 
London,  1879;  critic  for  the 
Athe&num;  also  lectured  at  the 

.  R.  A.  M.;  pub.  articles,  "The  Piano- 
forte Sonata,  Its  Origin  and  Develop- 
ment" (London,  1895);  editor  and 
translator;  c.  string-quartet,  etc. 

Skel'ley,  Harry  Rowe,  b.  New  Haven, 
Conn.,  June  8, 1858;  pupil  of  Stoeckel 
at  Yale,  Dudley  Buck,  Vogrich  and 
Dvoi&k  (New  York);  organist  vari- 
ous churches,  also  teacher  of  theory 
and  comp.  Metropolitan  College, 
N.  Y.;  c,  "The  Inheritance  Divine." 


sacred  cantata,  2  symphs.  (the  first 
E!?,  performed,  N.  Y.,  1897),  vln.- 
concerto  (1891),  cantata  "Vexilla 
Regis"  (N.  Y.,  1894),  and  suite 
"Baden-Baden,"  etc.,  for  orch.; 
church-mus.,  pf.  and  org.-pcs.  and 
songs;d.nearNewHaven,Conn.,i947. 

Shfep'ard,  (i)  Thos.  Griffin,  Madison, 
Conn.,  April  23,  1848 — Brooklyn, 
N.  Y.,  1905;  pupil  of  G.  W.  and 
J.  P.  Morgan;  organist  various 
churches  in  New  Haven;  instructor, 
Yale  Glee  Club  and  cond.  Oratorio 
Soc.,  also  dir.  Apollo  Club  (male 
voices);  teacher  and  critic;  c.  comic 
opera,  Christmas  cantata,  etc.  (2) 
Frank  Hartson,  Bethel,  Conn.,  Sept. 
20,  1863 — Orange,  N.  J.,  1913;  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. 

Shepherd,  Arthur,  b.  Paris,  Idaho, 
Feb.  19,  1880;  1892,  pupil  at  N.  E. 
Cons.  Boston,  of  Denn6e  and  Faelten 
(piano),  Benj.  Cutter  (harmony); 
Goetschius  and  Chadwick  (comp/*- 
graduated  1897,  and  settled  in  Salt 
Lake  City  as  teacher;  cond.  Salt 
Lake  Symph.  Orch.;  from  1909, 
teacher  of  piano,  harmony  and  cpt 
at  N.  E.  Cons.;  1902,  won  Paderew- 
ski  prize  with  "Ouverture  Joyeuse"; 
1909  won  two  Nat.  Fed.  prizes  with 
piano  sonata,  and  song,  "The  Lost 
Child";  c.  also  barytone  solo  with 
chor.  and  orch.,  songs  and  piano 

Sleces;  1920,  asst.  cond.,  Cleveland 
rch.;  prof,  of  music,  Western  Re- 
serve Univ.  and  critic. 
Sher'wood,  (i)  Wm.  Hall,  Lyons, 
N.  Y.,  Jan.  31,  1854— Chicago, 
Jan.  7,  1911;  noteworthy  pianist  and 
teacher  of  piano;  son  and  pupil 
of  Rev.  L.  H.  Sherwood,  founder  of 
Lyons  Mus.  Acad.;  pupil  also  of 
Heimberger,  Pychowski  and  Wm* 
Mason;  studied  5  years  under  Th. 
Kullak,  Weitzmann,  Wuerst  and 
Deppe  (Berlin),  Richter  (Leipzig), 
K.  Doppler  and  Scotson  Clark 
(Stuttgart)  and  Liszt  (Weimar); 
d6but  with  succ.,  Berlin;  returned 
1876  to  the  U.  S.,  and  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  "Sher- 
wood Piano  Sch.";  1887  he  m.  his 


DICTIONARY  OF  MUSICIANS 


405 


pupil,  Estella  F.  Adams,  also  pianist; 
pub.  pf.-pcs.  (2)  Percy,  b.  of  Eng- 
lish parents,  Dresden,  May  23,  1866; 
pupil  of  Hermann  Scholtz  (pf ,) ;  later 
of  Dresden  Cons.;  concert-pianist 
and  until  1914,^  teacher,  Dresden 
Cons.;  later  active  in  London;  c. 

Shield,  Wm.,  Whickham,  Durham, 
1748 — London,  1829;  violinist,  writer 
and  composer. 

Shostako'vitch,  Dimitri,  b.  St.  Peters- 
burg, Sept,  16,  1906;  composer;  pupil 
of  Glazounoff  and  Steinberg  at  Cons.; 
precocious  musician;  while  stiil  in  his 
twenties  he  attracted  attention  for 
an  opera,  "The  Nose";  this  was  fol- 
lowed by  other  stage  works  and 
orch.  music,  incl.  several  symphs., 
chamber  music,  and  piano  works;  his 
symphs.  played  in  America  by  Sto- 
kowski  with  the  Phila.  Orch.,  were 
given  speedily  by  other  ensembles,  as 
were  subsequent  works  in  this  form; 
in  substance,  his  music  is  synthetic, 
combining  older  styles,  and  marked 
by  a  virtuosic,  often  flippant  and 
ironic  touch;  a  consummate  orches- 
trator  and  a  humorist  of  pungent 
variety,  S.  made  an  international 
furore  with  his  opera,  "  Katerina 
Ismailova"  (known  also  as  "Lady 
Macbeth  of  Mzensk"),  which  treats  a 
brutal  drama  of  lust,  intrigue  and 
murder  in  a  bold,  realistic  manner; 
first  prod,  at  Leningrad,  it  was  highly 
popular  in  other  Russian  theatres 
and  was  prod,  in  America  by  the 
Cleveland  Orch.  and  Russian  singers 
under  Rodzrnski  both  in  its  own  city 
and  N.  Y.  at  the  Met.  Op.  House  in 
1935;  this  work,  heard  in  concert 
form  in  London  also,  was  later  sup- 
pressed by  the  Soviet  authorities, 
together  with  his  ballet,  "Limpid 
Stream,"  on  the  grounds  that  the 
composer  was  misusing  his  talents  by 
cultivating  a  "formalistic"  and  sen- 
sational style  of  writing;  he  was  en- 
couraged to  hew  closer  to  the  classic 
line  of  Russian  music  by  being  com- 
missioned to  prepare  a  new  ballet; 
c.  also  a  piano  concerto,  a  sonata  and 
smaller  works  for  this  instrument; 
some  of  his  symphs.  (notably  that 
known  as  "May  Day")  include  pro- 
grams of  revolutionary  content. 

Shudi.     Vide  BROADWOOD. 

Sibelius  (se-ba'-le-66-s),  Jan,  b.  Tavas- 
tehus,  Finland,  Dec.  8,  1865;  one  of 
the  most  important  and  original 


composers  of  his  period,  influential 
not  so  much  through  any  outward 
modernity  of  musical  speech,  as  by 
the  power  and  freedom  with  which 
he  has  used  traditional  material  to 
gain  new  expressive  results. 
As  a  boy  he  played  piano,  improvised 
and  wrote  simple  compositions;  at  15 
began  vln.  study  with  a  local  band- 
master; played  in  school  orch.  and  in 
chamber  music  groups,  but  was  en- 
tered as  a  student  of  law  at  Univ.  of 
Helsingfors,  1885.  Later  he  gave  up 
law  and  in  1889  went  to  Berlin  for 
further  study,  then  to  Vienna,  where 
he  was  a  pupil  of  Carl  Goldmark, 
Robert  Fuchs  and  others.  He  mar- 
ried Ain.0  Jarnef elt,  and  returned  to 
his  native  country,  1892. 
His  first  composition  to  attract  wide 
attention  was  his  orch.  work,  "En 
Saga"  He  taught  comp.  and  vln. 
at  the  Helsingfors  Music  Inst.  for  a 
brief  period,  but  after  igoo  received 
a  stipend  from  the  Finnish  Govern- 
ment to  devote  himself  exclusively  to 
comp.  He  visited  Paris  in  1900  and 
led  some  of  his  works  at  the  Exposi- 
tion there  with  the  Helsingfors  Orch. 
under  Kajanus.  In  the  following 
year  he  also  conducted  at  Heidelberg 
Fest. 

His  later  career  has  been  one  of  in- 
creasing honours,  with  esp.  esteem 
from  his  countrymen,  who  celebrated 
his  yoth  birthday  anniversary  in  1935 
with  an  official  fest.  at  Helsingfors, 
when  the  highest  tributes  were  paid 
him.  His  journeys  to  other  coun- 
tries, included  a  visit  to  America  in 
1914,  when  he  led  his  symph.  poem, 
"Daughters  of  the  Ocean"  at  the 
Norfolk  Fest.,  and  Yale  Univ.  con- 
ferred on  him  the  degree  of  Mus.  I}. 
His  music  in  the  larger  forms,  incl. 
7  monumental  symphs.,  was  fairly 
slow  in  making  its  way  into  the 
repertoires  of  other  countries,  but 
esp.  in  England  and  America  has  in 
recent  years  been  assigned  a  place 
among  the  most  important  of  the 
present  day. 

In  addition,  his  works  include: 
(orch.)  "Pohjola's  Daughter";  "The 
Swan  of  Tuonela";  "Karelia";  "Ta- 
piola" ;  "Fruhlingslied' ';  "  Lemmin- 
kainen's  Homecoming";  "The  Dry- 
ads"; "Pelleas  und  Meli»d,nde"i 
"Night  Ride  and  Sunrise";  "Pan 
and  Echo"  (dance  intermezzo);  fl 
orch.  suites,  called  "Scenes  Histo- 


406 


DICTIONARY  OF  MUSICIANS 


riques";  "Suite  caracteristique" ;  2 
Serenades  for  vln.  and  orch.;  "The 
Bard";  (symph.  poem) ;  and  the  pop. 
"  nationalistic  tone  poem,  "Finlandia"; 
(chamber  music)  "Voces  Intimae" 
for  string  quartet;  vln.  pieces; 
(opera)  "Die  Jungfrau  im  Turme"; 
incid.  music  to  Ad.  Paul's  drama, 
"King  Christian  II.";  to  Procope's 
"Belshazsar,"  and  to  the  morality 
play,  "Everyman";  (chorus)  Aca- 
demic Festival  Cantata;  "Gesang  der 
Athener"  and  "Die  Gefangene  KGni- 
gin,"  both  for  chorus  and  orch.; 
"Des  Fahrmanns  Braut"  for  barytone 
and  orch.;  "My  Land"  for  mixed 
chorus  and  orch.;  "Jordens  Sang" 
(Der  Erde  Lied)  for  mixed  chorus, 
female  solo  choir  and  orch.;  "Maan 

'  Virsi,"  cantata  for  mixed  chorus  and 
orch.;  (pantomime)  "Scaramouche" 
(Copenhagen,  1922);  also  many  male 
choruses,  songs  and  piano  works. 
In  his  larger  compositions,  S.  has 
shown  an  original  method  of  con- 
struction, developing  his  themes  out 
of  short  units  which  later  coalesce 
into  their  final  form.  His  inspira- 
tions are  drawn  very  largely  from 
Nature,  and  though  his  works  are 
''absolute"  music  in  the  highest 
sense,  many  of  them  contain  pictur- 
esque legendary  suggestions  from  the 
Finnish  epics,  such  as  the  "  Kale- 
vala,"  It  is,  however,  not  true  that 
his  personality  is  essentially  a 
gloomy  or  mystical  one,  for  there  are 
boisterous  humor  and  rude  strength 
in  many  of  his  works.  S.  is  the  sub- 
ject ^  of  important  biographies  and 
studies  by  Rosa  Newmarch,  Cecil 
Gray,  Walter  Niemann,  etc.  (See 
article,  page  526.) 

Siboni  (sg-bo'-ne),  (i)  Giu.,  Forli, 
1780  —  Copenhagen,  1830;  tenor. 

(2)  Erik  (Anton  Waldemar),  Copen- 
hagen,   1828 — 1892;   pianist,    organ- 
ist,   teacher    and    dram,    composer. 

(3)  Johanna  Frederika  (n£e  Crull), 
Rostock,  Jan.  30, 1839 — (?);  pianist; 
pupil  of  Moscheles;  1866  m.  above. 

Sichra  (slkh'-ra),  Andreas  Ossipovich, 
Wilna,  1772 — St.  Petersburg,  1861; 
guitarist  and  composer. 

Sick  (s*k),  Theodor  Bemhard,  Copen- 
hagen, Nov.  7,  1827 — 1893;  artillery 
officer  and  composer  of  chamber 
music. 

Sieber  (z6'-ber),  Fd.,  Vienna,  1822—- 
Berlin,  1895;  famous  singing-teacher. 

Siegel  (z5'-gel),  (i)  E.  F.  W.,  d.  1869; 


founded,  1846,  mus.-pub.  firm  at 
Leipzig,  later  owned  by  R.  Linne- 
mann.  (2)  F.  Vide  SCHUBERTH,  j. 

Sieveking  (zS'-vS-kXng),  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;  from  1915 
dir.  of  a  music  school  in  N.  Y.;  c.  a 
suite  (played  by  Lamoureus,  Paris)* 
etc. 

Siface  (se-fa'-che1)  (rightly  Grossi), 
Giov.  Fran.,  robbed  and  murdered  in 
Northern  Italy,  ca.  1699;  soprano- 
musico;  ca.  1675  member  Papal 
Chapel. 

Sighicelli  (se-g*-chSl'-l6),  family  of 
violinists,  (i)  Filippo,  San  Cesario, 
Modena,  1686 — Modena,  1773;  vio- 
linist. (2)  Giu.,  Modena,  1737— 
1826;  son  of  above;  violinist.  (3) 
Carlo,  Modena,  1772 — 1806;  son  of 
(2),  also  attached  to  court.  (4)  A.f 
Modena,  1802 — 1883;  son  of  (3); 
eminent  violinist  and  conductor. 
($)  V.,  Cento,  July  30,  1830 — Paris, 
Feb.  15,  1905;  son  and  pupil  of  (4); 
pupil  of  Hellmesberger,  Mayseder, 
and  1849  solo- violinist  and  2nd  ct.- 
cond.  Modena;  from  1855,  teacher 
Paris;  c.  vln.-fantasias,  etc. 

Sigismondi  (se-jfe-mdn'-de),  Giu.,  Na- 
ples, 1739 — 1826;  singing-teacher 
and  dram,  composer. 

Silas  (selas),  Eduard,  Amsterdam, 
Aug.  22,  1827 — West  Kensington, 
England,  Feb.  8,  1909;  pianist;  d6but 
Amsterdam,  1837;  pupil  of  Neher, 
Kalkbrenner,  etc.;  later  of  Benoist 
attd  Eta!l6vy,  Paris  Cons.;  winning 

-  J  ist  prize  for  org.  playing,   1849,  in 

competition  with  Saint-Saens  and 
Cohen;  since  1890  lived  in  England  as 
organist;  1866  Assemble  general 
des  Catholiques  en  Belgique  awarded 
him  ist  prize  (gold  medal  and  1,000 
francs)  for  a  mass;  later  prof,  of 
harm.  Guildhall  Sch.  and  the  London 
Acad.  of  Mus.;  c.  oratorio  "Joash" 

-  (Norwich  Fest.,  1863),  Kyrie  Eleison 
witii  orch.;  3  symphs.,  3  overtures  etc. 

Silbermann  (zel'-b€r-man),  (i)  An- 
dreas, ELlein-Bobritzsch,  Saxony, 
1678  —  Strassburg,  1734;  org. 
builder  at  Strassburg.  (2)  Gf., 
Klein-Bobritzsch,  1683  —  Dresden, 
1.753;  bro.  of  above  and  his  appren- 
tice; the  first  German  to  manufacture 
pianofortes,  but  preceded  by  Cristo- 


DICTIONARY  OF  MUSICIANS 


407 


fori;  inv.  cembal  d' amour  (v.  D.  D.). 

(3)  Jn.  Andreas,  Strassburg,  1712 — 
1783;     son     of     (i);     org.-builder. 

(4)  Jn.  Daniel,  1717 — Leipzig,  1766; 
son  of  (i),  successor  of  (2).     (5)  Jn. 
H.,  Strassburg,   1727 — 1799;  son  of 
(i);  pf.-maker.     (6)  Jn.  Fr.,  1762 — 
1817;  son  of  (5),  org.-builder,  organ- 
ist and  composer. 

fiilcher  (zIT-kher),  Fr.,  Schnait, 
Wiirttemberg,  1789 — Tubingen,  1860; 
noted  song-composer;  pupil  of  Ms 
father  and  of  Auberlen;  teacher  at 
Stuttgart,  1817;  mus.-dir.  at  Tubin- 
gen Univ.;  pub.  a  text-book  and 
collected  and  c.  chorals,  etc. 

giloti  (se'-lo-te),  Alex.,  b.  Charkov, 
1863 — N.Y.,  1945;  pianist,  pupil 
of  Zwereff  and  of  N.  Rubinstein  and 
Tchaikovsky,  Moscow  Cons.;  win- 
ning a  gold  medal;  d6but,  Moscow, 
1880;  studied  with  Liszt  3  years; 
1887-90,  prof.  Moscow  Cons.;  made 
v.  succ.  tours,  1898—90,  America; 
1901,  appeared  as  cond.  with  Philh. 
in  Moscow;  1904,  founded  his  own 
orch.  in  St.  Petersburg  for  notable 
concerts,  until  1919;  since  1922  he 
has  lived  in  N.  Y.,  as  facility  mem., 
Juilliard  School  of  Music,  andt  has 
made  appearances  as  recitalist  and 
orch.  soloist;  c.  pf. -pieces. 

Silva  (zel'-va),  (i)  Andreas  de,  i6th 
cent,  contrapuntist;  c.  motets,  etc* 
(2)  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.  by  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  "Rcfis"j  4-act 
fairy  opera  "La  Belle  au  Bois  Dor- 
mant" (Paris,  1895),  oratorio  "To- 
bie";  opera,  "La  Meg&re  Apprivoi- 
$ee"  1922,  etc. 

Simandl  (zg'-mant'l),  Fz.,  Blatna,  1840 
— Vienna,  1912;  ist  double-bass 
Vienna  court  orch.;  1869  teacher  at 
the  Cons.;  pub,  method  for  contra- 
bass. 

Simao.     Vide  PORTUGAL. 

Simon  (sS'-mdn),  (i)  Jean  Henri,  Ant- 
werp, 1783 — 1 86 1 ;  violinist.  (2)  An- 
ton Ytuievich,  France,  1851 — ?; 
composer;  pupil  of  Paris  Cons.;  1871 
theatre  cond.  in  Moscow;  1891  prof, 
at  Phil.  Society  School;  c.  6  operas, 
symph-  poems,  etc. 


Simons-Candeille.     Vide  CANDEIIXE. 

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,  1615,. 
violinist  in  Germany;  composer. 

Sim'rock,  (i)  Nicolaus,  3onn,  1752 — 
1834;  founded  there  1790  mus.-pub. 
house;  1805  Berlin  branch  founded 
by  his  son  (2)  Peter  Jos.;  1870  in 
Berlin  under  (3),  Fritz,  1841 — 
Lausanne,  Sept.,  1901. 

Sin'clair  (sinkUer),  J.,  near  Edin- 
burgh, 1791 — Margate,  1857;  tenor. 

Sinding  (zXntyCng),  Christian,  b. 
Kongsberg,  Norway,  Jan.  n,  1856; 

j.  Oslo,  Dec.  3,  1941;  composer;  pupil 
Leipzig  Cons.,  later  with  Royal 
Scholarship,  studied  at  Dresden^ 
Munich,  and  Berlin;  lived  in  Chris- 
tiania  as  organist  and  teacher;  in 
1915  he  was  granted  a  govt.  pension 
for  life  to  enable  him  to  give  all  his 
time  to  comp.;  in  1921—22  he  ac- 
cepted a  call  to  the  Eastman  School, 
Rochester,  N.  Y.,  as  guest  teacher  of 
comp,,  returning  afterward  to  Nor- 
way. In  his  own  country  _  he  is 
accounted  next  to  Grieg  in  impor- 
tance as  a  nationalistic  composer. 
His  large  output  includes  3  symphs.; 
piano  concerto;  3  vln.  concertos  and 
many  smaller  pieces  of  this  in- 
strument; suite  "Episodes  Ckevale-* 
resques";  "Rondo  Infinite";  suite  in 
A  minor;  "Legende"  and  Romanze 
in  D,  for  orch.  with  vln.;  piano 
quintet;  string  quartet;  3  piano  trios; 
2  serenades  for  two  violins  and 
piano;  vln.  suites,  variations,  etc.; 
pf.-sonata,  suite,  variations,  and 
many  smaller  pieces,  incl.  the  pop. 
"Fruhlingsrtiuschen";  also  an  opera, 
"Der  Heilige  Berg"  and  more  than 
200  songs  and  other  vocal  works. 

SingelSe  (s2,nzh-la),  J.  Bap.,  Brussels, 
1812 — Ostend,  1875;  violinist  and 
composer. 

Singer  (zmg'-er),  (i)  Peter,  Hafelgehr 
(Lechthal),  1810 — Salzburg,  1882; 
monk;  inv.  (1839)  the  "Pansym- 
phonikon"  (v.  D.  D.);  composer. 
(2)  Edmund,  Totis,  Hungary,  Oct. 
14,  1830 — Stuttgart,  Jan.  23,  1912; 
violinist;  pupil  of  ElUnger,  at  Pesth, 
then  of  Kohne;  toured,  then  studied 
with  Jos.  Bohm,  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,  189^1:  pianist 


408 


DICTIONARY  OF  MUSICIANS 


conductor,  teacher  and  composer. 
(4)  Otto,  Jr.,  Dresden,  1863 — 
Leipzig,  1931;  violinist;  studied 
under  Kiel  and  Rheinberger;  1899, 
taught  Cologne  Cons,  and  cond.; 
later  in  Leipzig.  (5)  Richard,  Buda- 
pest, 1879 — N.  Y.,  1940;  pianist; 
pupil,  Leschetizky  and  Busoni; 
toured  widely. 

Singher  (san-garO,  Martial,  French 
barytone;  studied  at  Paris  Cons.; 
sang  leading  roles  at  Paris  Op., 
incL  Wo  tan;  d6but,  Met.  Op.,  1943- 
Sin'ico,  (i)  Francesco,  Trieste,  1810 — 
1865;  conductor  and  composer.  His 
son  (2)  Giuseppe,  Trieste,  Feb.  10, 
1836 — Dec.  31,  1907,  c.  operas. 
Sinigaglia  (sS-nl-gal'-ya),  Leone,  b. 
Turin,  Aug.  14,  1868;  pupil  of  the 
Cons,  and  of  Mandyczewski;  c.  violin 
concerto,  rhapsody  "Piemontese"  for 
violin  and  orch.,  string  quartet,  con- 
cert 6tude  for  quartet,  overture  "Le 
barujfe  chiozzotte,"  etc.;  d.  1944. 
Sir'men  (Syrmen),  (i)  Luigi,  violinist 
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. 
Sisterraanns  (zfet'-Sr-mans),  Anton, 
Herzogenbusch,  Holland,  Aug.  5, 
1865 — March  18,  1926;  bass;  pupil 
of  Stockhausen;  1899,  sang  "Pogner" 
at  Bayreuth;  1904-15,  taught  Schar- 
wenka  Cons.,  Berlin,  later  lived  in 
The  Hague. 

Sitt  (zlt),  Hans,  Prague,  Sept.  21,  1850 
— Leipzig,  March  10,  1922;  violinist; 
studied  Prague  Cons.;  1867,  leader 
theatre-orch.,  Breslau;  1869,  cond. 
there,  later  in  Prague,  etc.;  1883, 
teacher  of  vln.  Leipzig  Cons,  and 
vla.-player  Brodsky  Quartet;  cond. 
of  various  societies;  c.  3  vln.- 
eoncertos,  a  vla.-concerto,  a  'cello- 
concerto,  etc. 

Sittard  (slt-t2,r),  (i)  Josef,  Aix-la- 
Chapelle,  June  4,  1846 — Hamburg, 
Nov.  23,  1903;  pupil,  Stuttgart 
Cons.,  later  teacher  of  singing  and 
pf.  there;  lecturer  on  mus.;  1885, 
critic;  1891,  prof.;  writer  and  com- 
poser. (2)  Alfred,  b.  Stuttgart, 
Nov.  4,  1878;  organist;  son  and  pupil 
of  (i),  also  of  Armbrust  and  Koehler, 
later  of  Cologne  Cons.;  won  Men- 
delssohn Prize  1902;  1903,  org.  of 
Dresden  Kreuzkirche;  after  1912  of 
the  new  Michaeliskirche  in  Hamburg 
and  also  cond.  of  choir  there. 


Sivori  (s5-vo'-re),  Ernesto  Camillo, 
Genoa,  1815 — 1894;  famous  violinist 
and  composer;  d6but  at  6;  pupil  of 
Costa  and  Paganini;  toured  widely. 

Sjogren  (shakh'-rSn),  (Jn.  Gv.)  Emil, 
Stockholm,  June  16,  1853 — March  4, 
1918;  pupil  of  the  Cons,  there;  later 
of  Kiel  (cpt.)  and  Haupt  (org.  at 
Berlin);  1890,  organist  Johankirke, 
Stockholm;  c.  sonatas,  vln.  and  piano 
works,  songs,  etc. 

Skil'ton,  Charles  Sanford,  b.  North- 
ampton, Mass.,  1868 — Lawrence, 
Kan.,  Mar.  12,  1941;  studied  Berlin 
Hochsch.  with  BargieJ  and  Boise, 
also  Dudley  Buck  in  N,  Y.;  prof, 
organ,  theory  aid  history  of  music, 
State  Univ.  of  Kansas  after  1903; 
c.  orch.  and  other  music,  some  of  it 
based  on  Indian  themes,  which  has 
had  repeated  hearings. 

Skriabine,  vide  SCRIABINE. 

Skroup  (or  Skraup)  (shkroop  or  shkra'- 
oop),  (i)  Fz.  (FrantiSek),  Vosic, 
Bohemia,  1801 — Rotterdam,  1862; 
conductor  and  dram,  composer. 
(2)  Jan  Nepomuk,  Vosic,  1811 — 
Prague,,  1892;  bro.  of  above;  con- 
ductor, singing-teacher,  writer  and 
dram,  composer. 

SkijhersjE?  (sikoo'-her-shk§),  Fz.  (Fran* 
t&ek)  Sdenko,  Opocno,  Bohemia, 
1830 — Budweis,  1892;  organist,  con- 
ductor, theorist  and  composer. 

Slaughter  (s!6t'-Sr),  A.  Walter,  London, 
1860 — March  2, 1908;  chorister  at  St. 
Andrew's,  Wells  St.,  London;  pupil  of 
A.  Cellier  and  Jacobi;  cond.  Drury 
Lane  and  St.  James's  Th.;  prod,  comic 
operas,  and  a  succ.  mus.-comedy  "  The 
French  Maid9'  (1897),  etc, 

Slavik  (sla'-vSk),  Jos.,  Jince,  Bohemia, 
1806 — Pesth,  1833;  violinist. 

Slenczynski  (sl£n-chen'-ske),  Ruth,  b. 
Sacramento,  CaL,  Jan.  15,  1925; 
pianist  of  remarkable  precocity;  the 
daughter  of  a  violinist;  had  ist  piano 
lesson  at  age  of  3  and  at  4  gave  her 
ist  concert  in  Oakland,  Cal.;  at  5, 
played  before  audienge  of  3,500  at 
San  Francisco;  she  was  taken  to 
Berlin  for  further  study,  and  a  year 
2ater,  in  1931,  gave  a  concert  at  the 
Bach  Saal  there,  astonishing  an 
audience  of  musical  authorities  by 
the  ease  with  which  she  played  an 
extended  program  of  taxing  master- 
pieces; 1932,  at  7  made  d£but  in 
Paris  with  equally  amazing  results; 
one  of  her  typical  recitals  incl.  a 
Bach  and  Mozart  sonata,  a  Chopin 


DICTIONARY  OF  MUSICIANS 


409 


group,  Beethoven's  theme  and  varia- 
tions on  "  Nel  cor  piu  mi  sento"  and 
2  Schubert  works;  following  this  she 
returned  to  the  U.  S.  and  gave  con- 
certs to  triumphal  ovations. 

Slezak  (sleV-sak),  (i)  Leo,  b.  Schon- 
berg,  1875 — Bavaria,  June,  1946; 
tenor;  studied  with  Robinson  in 
Briinn;  later  with  Jean  de  Reszke; 
debut  as  "Lohengrin,"  Briinn  Op., 
1896;  sang  in  Berlin  and  Breslau; 
after  1909,  member  of  Vienna  Op.; 
Covent  Garden,  1909  ("Otello") ;  Met. 
Op.,  N.  Y.,  1909-13;  also  in  Munich, 
Dresden,  Wiesbaden,  Budapest, 
Paris,  Prague  and  La  Scala,  singing 
heroic  r61es.  (2)  Walter,  his  son, 
has  sung  with  succ.  in  operetta  in 
New  York. 

Slivinski  (slX-ven'-shkl),  Jos.  von, 
Warsaw,  Dec.  15,  1865 — March  2, 
1930;  pianist;  pupil  of  Strobl, 
Leschetizky  and  Anton  Rubinstein; 
d6but,  1890;  America,  1893;  toured 
with  Leipzig  Philh.  orch.;  lived  Paris. 

Slonim'sky,  Nicholas,  b.  St.  Peters- 
burg, April  15,  1894;  conductor, 
pianist;  studied  at  Cons,  there;  gave 
concerts  in  Eur.  cities;  cond.  Cham- 
ber Orch.  of  Boston  and  also  as  guest 
in  programs  of  modern  music  abroad; 
has  taught  and  lectured;  c.  chamber, 
piano  and  vocal  music. 

Slo'per  (Edw.  Hugh),  Lindsay,  London, 
1826 — 1887;  pianist,  teacher,  writer 
and  composer. 

Smallens,  Alexander,  b.  St.  Peters- 
burg; conductor;  studied  at  Inst.  of 
Mus.  Art,  N.  Y.,  and  at  Paris  Cons.; 
asst.  cond.,  Boston  Op.,  1911;  later 
with  Century  Op.  Co.,  on  tours  with 
Pavlowa;  at  Chicago  Op.,  1919-22 
(premieres  of  De  Koven  and  Proko- 
fieff  works);  Phila.  Civic  Op.,  1923- 
30;  also  as  asst.  cond.  with  Phtta. 
Orch.,  and  as  leader  of  operas  with 
that  ensemble;  cond.  opera,  Lewisohn 
Stadium  summer  seasons  and  else- 
where. 

Smareglia  (sma-ral'-ya),  A.,  Pola, 
Istria,  May  5,  1854—  Grado,  April 
15,  1929;  studied  Vienna  and  at  the 
Milan  Cons.,  graduating  with  a 
symph.  work  "  Eleanora" ;  prod.  6 
operas,  incl.  "  Preziosa" ;  (Milan, 
1879),  "Bianco,  da  Cervia"  (Milan, 
La  Scala,  1882),  "II  Vassallo  di 
Szigeth"  (Vienna,  1889,  as  "Der 
Vasall  von  Szigeth,"  New  York, 
1890),  and  "La  Falena"  (Venice, 
1897;  "Oceana,"  1903;  "  Notte  di  S. 


Silvestro,"  1907;  "L'Alisso,"  1914; 
1921,  prof,  of  comp.,  Trieste  Cons. 
Smart,  (i)  Sir  G.  (Thos.),  London, 
1776 — 1867;  noted  conductor,  pupil 
of  Dupuis  and  Arnold;  knighted, 
1811;  cond.  Phil.  Soc.,  1813-44- 

(2)  Henry,     Dublin,     1778 — 1823; 
bro.  of  above;  violinist;  leader  Drury 
Lane,  1812—21;  piano-manufacturer. 

(3)  Henry,  London,  Oct.  26,  1813 — 
(blind)  July  6,  1879,  son  and  pupil 
of  (2);  studied  with  Kearns;  organist 
in  London  from  1836;  c.  an  opera 
"Bertha"  (1855),  many  cantatas,  etc. 

Smetana  (sma/-ta-na),  Fr.  (Bedrich), 
Leitomischl,  Bohemia,  1824 — insane, 
Prague,  1884,  noted  composer  and 
pianist;  pupil  of  Proksch  and  Liszt; 
1848,  organised  a  sch.  at  Prague; 
1866-74,  cond.  Nat.  Theatre  Prague. 
Partially  because  of  alleged  intrigues 
against  him  and  his  growing  deafness, 
he  resigned  this  post  in  the  latter 
year.  The  state  of  his  health  grew 
worse  and  finally  his  reason  gave 
way.  C.  a  string-quartet,  8  operas, 
incl.  the  comic  masterpiece  "Prodand 
nevesta"  ("The  Bartered  Bride33), 
1866:  o  symph.  poems,  incl.  a  cycle 
of  6  <YMd  Vlast"  ("My  Country"), 
symph.  of  "Triumph,"  etc. 

Smet'erlin,  Jan,  b.  Bielsko,  Poland, 
1892;  pianist;  studied  at  Vienna 
Piano  Master  School,  and  with 
Godowsky;  has  appeared  with  succ. 
as  piano  virtuoso  in  Paris,  London, 
Vienna,  Berlin,  Warsaw  and  other 
cities,  and  after  1930  in  Amer.  cities 
as  orch.  soloist  and  in  recitals. 

Smith,  (i)  Bd.  (Bd.  Schmidt)  (called 
"Father  Smith") ,  Germany,  ca.  1630 
— London,  1708;  ct.  org.-builder. 
(2)  Robt.,  Cambridge,  1689 — 1768; 
acoustician.  (3)  J.  Christopher  (Jo- 
hann  Chr.  Schmidt),  Ansbach,  1712 
— Bath,  1795;  dram,  composer.  (4) 
John  Stafford,  Gloucester,  EngL, 
ca.  1750 — London,  1836;  organist 
and  composer.  (5)  Edw.  Woodley, 
1775 — 1849,  lay- vicar  at  Windsor. 
(6)  Geo.  Townshend,  Windsor,  1813 
— Hereford,  1877;  son  of  above;  com- 
poser. (7)  Montern,  bro.  of  above; 
singer.  (8)  Samuel,  b.  Eton,  1821; 
bro.  of  above;  organist.  (9)  John, 
Cambridge,  1795 — 1861;  composer 
and  prof.  (10)  Robt.  Archibald, 
Reading,  1780 — 1829;  composer  and 
violinist,  (n)  Alice  Mary  (Mrs. 
Meadows  White),  London,  1839 — 
1884.;  composer.  (12^  Sydney  a  Dor* 


410 


DICTIONARY  OF  MUSICIANS 


Chester,  EngL,  1839 — London,  1889; 
pianist,    teacher,    writer,    etc.     (13) 
Wilson  G.,   Elyria,   Ohio,   Aug.   19, 
1855 — Z929j  composer;  pupil  of  Otto 
Singer,    at    Cincinnati;    at    Berlin, 
1880-82,  of  Kiel,  the  Scharwenkas, 
Neumann,    Moszkowski    and    Raif; 
after    1882,    lived   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)  David 
Stanley,    b.   Toledo,.  Ohio,  j"uly   6, 
1877 — New  Haven,  Conn.,  Dec.  17, 
1949;     pupil    of     Parker     at     Yale; 
grad.  1900,  composing  Ode  for  bary- 
tone (Herbert  Witherspoon),  chorus 
and  orch.;  studied  then  with  Thuille 
and  Widor  abroad;  1903  Mus.  Bac. 
Yale;  from  1904  teacher;  from  1912 
dir.  of  music  dept.  (vice  Parker)  at 
Yale;    1909,   won   Paderewski   Prize 
with  "The  Fallen  Star,39  for  chorus 
and    orch.     Other    comps.    include 
symphs.  in  F  minor  and  D;  symph. 
poem,  "Darkness  and  Dawn";  over- 
tures in  E  flat,  "Joyeuse,"  "Serieuse" 
and  "Prince  Hal9';  "Commemoration 
March";    Allegro    Giocoso;    Symph. 
Ballad;  "U  Allegro,"  "II  Pensieroso" 
and    "Four    Impressions";    prelude, 
choral  and  fugue  for  organ,  and  orch.; 
fantasy  for  piano  and  orch.;  string 
quartets  in  E  minor  and  A;  piano 
trio;   and    (chorus)    "Commencement 
Ode,"  "The  Djinns,"  "Rhapsody  of 
St.    Bernard";   anthems   and  songs. 
(15)  CarletonSprague,  b.  N.  Y.,  1905; 
Ph.  D.,  Vienna  Univ.;  musicologist. 
Smolen'sM,  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.  Petersburg;  author  of 
important  historical  works. 
Smyth,  Dame  Ethel,  b.  London,  April 
23,  1858 — May  8,  1944;  daughter  of, 
general;    pupil    Leipzig    Cons,    and 
of  Herzogenberg.     Her  string  quintet 
was  played  there   1884;   her   violin 
sonata     1887;     c.     orch.     serenade 
(London,    1890),    overture   "Antony 
end  Cleopatra"  (do.);  "Mass  in  D" 
(London,  1893  under  Barnby),  and 
operas,  "Fantasio"  (her  own  libretto, 
Weimar     1898,     Carlsruhe,     1901); 
i-act  "Der  Wold"  (her  own  German 
libretto,     Dresden,     1901,     Co  vent 
Garden,  1902  and  1903,  Met.  Op., 
N.  Y.,   1903);   3-act  "Les    Naufra- 
gewrs"  (book  by  Leforestier),  given 


at  Leipzig,  1906,  as  "Strandrecht" 
(Prague,  do.);  c.  also  the  operas 
"The  Boatswain's  Mate"  (1917), 
"Fete  Galante"  (1923),  "Entente 
Cordiale,"  i-act,  1925;  string  quintet, 
sonata  for  vln.  and  pf.;  pf.  sonatas; 
choral  work,  "The  Prison";  concerto 
for  vln.  and  horn  with  orch.,  etc.; 
author,  "Impressions  That  Remained" 
(1919),  "Streaks  of  Life"  (1921);  cre- 
ated Dame  Commander  of  Empire, 
1920. 

Soares,  JoSo.  Vide  REBEIXO. 
Sodermann  (sa'-d£r-man),  August 
Johan,  Stockholm,  1832  —  1876; 
theatre-conductor  there;  pupil  of 
Hauptmann  and  Richter;  c.  Swedish 
operetta,  a  notable  mass  with  orch., 
etc, 

So'dero,  Cesare,  Naples,  Aug.  2,  1886 
— N.  Y.,  Dec.  16,  1947;  conductor; 
grad.  of  Naples  Cons.;  cond.  in  U.  S. 
with  Aborn  and  Savage  Opera  Cos.; 
for  some  years  with  NBC  in  radio 
versions  of  operas;  later  at  Met.  Op. 
Soffredini  (s6f-frS-d5'-ne),  Alfredo, 
from  1896,  ed.-in-chief,  Milan  Gaz- 
zetta  Musicale;  prod,  (text  and 
mus.)  2-act  children's  opera  "II  Pic- 
colo Haydn"  (Pavia,  1893),  etc. 
Sokal'sM,  Peter  Petrovich,  Charkov, 
Sept.  26,  1832 — Odessa,  April  n, 
1887;  author  and  composer  of  operas 
and  piano  pieces. 

Sok'oloff,  Nikolai,  b.  Kiev,  Russia, 
May  28,  1886;  conductor;  came  to 
America  at  early  age;  studied  Yale 
School  of  Music,  also  vln.  with 
Loeffler;  played  in  Boston  Symph., 
cond.  newly  organised  Cleveland 
Orch.  from  1918  for  a  decade  and  a 
half;  founded  and  led  N.  Y.  Orch. 
for  several  seasons;  has  appeared  as 
guest  with  London  Symph.,  orchs. 
in  Chicago,  Cincinnati,  Phila.,  San 
Francisco  and  elsewhere;  national 
dir.  of  Fed.  Mus.  Proj.;  1938—9  cond, 
Seattle  Symph.  Orch. 
Sokolov  (so'-k5-16f),  Nicholas,  Peters- 
burg, March  26,  1859 — March  27, 
1922;  pupil  at  the  Cons.;  taught 
harm,  in  the  Imp.  Chapel;  c.  an  elegy 
(op.  4),  and  intermezzo  for  orch.,  etc. 
Soldat  (zol'-dat),  Marie,  b.  Graz, 
March  25,  1864;  violinist;  pupil  of 
Pleiner  and  Pott,  and  of  Joachim, 
formed  string  quartet,  toured. 
Soler,  Antonio,  Olot,  n.  Gerona,  1729 — 
Escorial  Monastery,  1783;  composer. 
Solie"  (sol-ya)  (rightly  Spulier),  (i)  J. 
P.,  Nunes,  1753 — Paris,  1812;  bary- 


DICTIONARY  OF  MUSICIANS 


411 


tone;   c.   comic  operas,   many  pop. 
(2)  Chas.,  son  of  above;  conductor; 
prod,  a  comic  opera  (Nice,  1877). 
Sol'omon,b.  London,  1903;  family  name 
Cutner;    pianist;    studied   with   Ma- 
thilde  Verne;  toured  widely ,  incl  .U.S. 
Soloviev    (or    Solowiew)     (so'-ls- vef ) , 
Nicolai   Theopometovitch,    Petrosa- 
vodsk,   Russia,   April   27    (May  9), 
1846 — St.  Petersburg,  Dec.  14,  1916; 
pupil  of   N.   J.   Zaremba   (theory), 
Imp.  Cons,  at  Petersburg;  1874  prof, 
there;  also  critic,  editor  and  Coun- 
cillor   of    State;     c.     comic    opera 
"Vakula,     The     Smith"     (Petersb., 
1875),  and  grand  opera  "Cordelia" 
(Petersb.,  1883,  in  German,  Prague, 
1890);   finished  Seroff's  opera  "The 
Demon's  Power";  c.  symph.  picture, 
"Russia  and  the  Mongols"  (Moscow, 
1882):  cantata,  "Death  of  Samson,"  etc. 
Soltys  Csdl'-Us),  Mieczyslaw,  Lemberg, 
Feb.  7,  1863 — Nov.  12,  1929;  pupil  of 
Krenn    and    Gigout;    director    and 
teacher  Lemberg   Cons.;   c.   operas, 
symph.,  oratorio,  etc. 
Som'ervell,    Sir  Arthur,    Winder  mere, 
1863 — London,  May  2,  1937;  pupil 
Berlin    Hodischule,     Stanford    and 
Parry,  R.  C.  M.;  c.  mass,  with  orch. 
(18911),   "A  Song  of  Praise,"   "The 
Forsaken    Merman"     (Leeds    Fest., 
1895),  "The  Power  of  Sound,"  elegy 
for  alto  with  orch.,  suite  for  small 
orch.   "In  Arcady"  song  cycle  on 
Tennyson's  "Maude,"  etc.;  writer. 
Somis  (so'-m5s),  Giov.  Bat.,  Piedmont, 
1676 — Turin,  1763;  violinist,  teacher 
and  conductor. 

Sommer  (zdm'-mer),  Dr.  Hans  (rightly 
Hans  Fr.  Aug.  Zincke)  (tsink'-e1), 
Brunswick,  July  20,  1837 — April  28, 
1922;  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  "Buhnen- 
spiel,"  "Saint  Foix"  (Munich,  1894), 
i-act  "Der  Meerman"  (Weimar, 
1896),  "Rubezahl"  (1902),  etc. 
Son 'neck,  Oscar  Geo.  Th.,  Jersey  City, 
N.  J,,  Oct.  6,  1873— New  York, 
Oct.  31,  1928;  noted  editor  and 
author;  at  20  studied  at  Heidelberg, 
Munich  and  Italy;  1899  returned  to 
America;  music  librarian  at  the  Li- 
brary of  Congress,  and  after  1902 
dir.  of  music  division;  1915,  ed.  of 
The  Musical  Quarterly;  wrote  valua- 
ble works  on  early  history  of  music 
"in  America. 


Sonnleithner  (zdn'-lit-nSr),  (i)  Chp.  S., 
Szegedin,  1734 — Vienna,  1786;  dean 
of  jurisprudence,  Vienna;  composer. 
(2)  Jos.,  Vienna,  1765 — 1835;  son  of 
above;  1827,  discovered  the  famous 
pth  cent.  Antiphonary  of  St.  Gallen 
in  neume-notation.  (3)  Ld.  von, 
Vienna,  1797 — 1873;  nephew  of 
above;  devoted  friend  of  Schubert. 

Sontag  (zdn'-takh),  Henriette  (Ger- 
trude Walpurgis),  Coblenz,  Jan,  3, 
1806 — of  cholera,  Mexico,  June  17, 
1854;  famous  colorature-soprano,  her 
voice  taking  e'"  eaaly;  daughter  of 
two  actors;  operatic  singer;  1823 
created  von  Weber's  "Euryanthe." 

Sontheim  (z6n'-tim),  H.,  Jebenhausen, 
Feb.  3,  1820 — Stuttgart,  Aug.  2, 
1912;  notable  tenor;  dSbut  Carls- 
ruhe,  1839;  1872,  pensioned. 

Sor  (rightly  Sors)  (sdr),  Fdo.,  Barce- 
lona, 1778 — Paris,  1839;  guitar- 
virtuoso  and  dram.,  composer. 

Sorge  (z6r'-g£),  G.  Adds.,  Mellenbach, 
Schwarzburg,  1703  —  Lobenstein, 
1778;  famous  organist  and  theorist; 
ct.-organist  and  composer. 

Soriano,  (i)  Fran.  Vide  SUKIANO. 
(2)  Soriano-Fuertes  (so-rt-a'-nO-foo- 
Sr'-tSs),  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  (z6r'-man),  Alfred  (Richard 
Gotthflf),  Danzig,  May  16,  1861 — 
Berlin,  Sept.  17,  1913;  pianist;  pupil 
of  R.  Hochschule,  Berlin,  and  of 
Liszt;  d6but  1886;  1889,  ct.-pianist 
to  Grand  Duke  of  Mecklenburg- 
Strelitz;  taught  Stern  Cons.,  Berlin; 
c.  concerto,  etc. 

Soubies  (soo-bl-es),  Albert,  Paric, 
May  10,  1846 — March  19,  1918; 
mus. -historiographer  and  critic;  a 
lawyer,  then  pupil  of  Savard  and 
Bazin  (harm,  and  comp.)  at  the 
Cons.;  1874  he  revived  the  famous 
"Almanach  des  spectacles,  Aim. 
Duchesne";  for  this  the  Acad6mie, 
1893,  awarded  him  the  Prix  Voirac; 
1876,  critic  for  Le  Soir,  under 
name  "B.  de  Lomagne";  officer  of 
public  instruction,  and  Legion  of 
Honour,  also  of  the  Russian  order 
Stanislas;  writer  of  valuable  histori- 
cal works,  etc. 

Soubre  (soobr),  Etienne  Jos.,  Li6ge, 
1813 — 1871;  director  and  dram* 
comp. 


412 


DICTIONARY  OF  MUSICIANS 


Souliaitty  (soo-St-te'),  J-  Jac.,  Fran- 
ciscan monk  at  Paris,  the  first  to  use 
figures  for  popular  notation,  1665—78. 

Soulier  (soo-ya).     Vide  SOIXE. 

Sousa  (soo'-sa),  John  Philip,  Washing- 
ton, D.  C.,  Nov.  6,  1856 — Reading, 
Pa.,  March  6,  1932,  while  on  tour; 
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 
America;  dir.  "Philadelphia  Church- 
choir  Pinafore  Co.";  1880-92,  bandm. 
U.  S.  Marine  Corps;  resigned  and 
organised  the  military  band  bearing 
his  own  name,  which  toured  America 
and  Europe  with  greatest  succ.; 
(1900),  Paris,  Exposition.  Com- 
piled, by  Govt.  order,  "National 
Patriotic  and  Typical  Airs  of  All 
Countries"*,  wrote  instruction-books 
for  trumpet  and  drum,  and  for  vln. 
C.  7  comic  operas  incl.  v.  succ. 
"El  Capitan,"  succ.  (text  and  music) 
"The  Bride  Elect,"  "The  Charlatan" 
and  "Chris  and  the  Wonderful  Lamp" 
a  symph.  poem  "The  Chariot  Race" 
(from  "Ben  Hur");  suites,  "The 
Last  Days  of  Pompeii**  "Three 
Quotations,"  and  "Sheridan's  Ride"; 
and  many  immensely  suce.  marches 
popular  throughout  the  world, 
"Washington  Post,"  "High  School 
Cadets,"  "Stars  and  Stripes  Forever," 
"Imperial  Edward,"  etc. 

Sow'erby,  I/eo,  b.  Grand  Rapids, 
Mich.,  May  i,  1895;  composer;  grad. 
of  Amer.  Cons.,  Chicago;  won 
fellowship  at  Amer.  Acad.  in  Rome, 
1921;  active  as  org.  and  teacher  of 
comp.  in  Chicago;  c.  symph.  works, 
piano  concerto,  Ballad  for  2  pianos 
and  orch.,  choral  and  piano  pieces, 
songs. 

Spaeth,  Sigmund,  b.  Philadelphia, 
April  jo,  1885;  critic,  author,  lec- 
turer; grad.  Haverford  Coll.,  Ph.  D,, 
Princeton,  1910;  critic  of  N.  Y. 
Evening  Mail,  1914-18;  active  as 
writer  of  musical  essays  and  books, 
also  hi  radio  programmes;  exec,  of 
Community  Concerts  Corp.,  N.  Y.; 
author,  "TheCommon  Sense  of  Music," 
"Barber  Shop  Ballads,"  "Words  and 
Music,"  "Read  'Em  and  Weep,"  "Weep 
Some  More,  My  Lady,"  "American 
Mountain  Songs,"  "  The  Facts  of  Life 
in  Popu&ar  Song." 

Spal'ding,     (i)    Albert,    b.     Chicago, 


Aug.  15,  1888;  violinist;  studied  ^n 
New  York,  Paris  and  Florence;  d6but 
in  Paris,  1905;  first  Amer.  appear- 
ance as  soloist  with  N.  Y.  Symph.* 
1908;  took  rank  as  one  of  foremost 
performers,  both  for  technical  ex- 
cellence and  refined  musicianship; 
has  played  with  leading  orchs.  in 
U.  S.  and  Europe;  c.  works  for 
violin;  d.  N.  Y.,  May  26,  1953. 
(a)  Walter  Raymond,  b.  Northamp- 
ton, Mass.,  May  22,  1865;  organist 
and  pedagogue;  pupil  of  Guilmant, 
Widor,  Rheinberger  and  Thuille;  org, 
in  various  Boston  churches;  after 
1895  associated  with  Harvard  Univ. 
as  theory  teacher,  (prof,  in  1907), 
also  at  Radcliffe  Coll;  author  of 
books  on  theory. 

Spanuth  (sp&n'-oot),  August,  Brinkum, 
Hanover,  March  15,  1857— Berlin, 
Jan.  9,  1920;  pianist  and  critic;  pupii 
of  Hoch  Cons.,  Frankfort-on-Mam; 
1886-1893  Chicago  as  pianist  and 
teacher;  then  in  New  York  as  critic; 
1906  returned  to  Berlin  as  teacher 
at  Stern  Cons.;  1907,  ed.  periodical 
Signale  filr  die  Musikalische  Welt* 

Spataro  (spa-ta'-rQ)  (or  Spat'arus,  Spa- 
da 'ro,  Spada'rius),  Giov»*  Bologna, 
ca.  1460 — 1541;  conductor  and  the- 
orist. 

Speaigbt  (spat),  Joseph,  b.  I-ondon, 
Oct.  24*  1868;  violinist,  composer; 
pupil  of  Hs-  father  and  of  the  Guild- 
hall School  of  Music,  where  he  taught 
after  1894;  c.  2  symphonies,  various 
other  orch,  works,  chamber  music 
incl.  string  quartet,  piano,  pieces, 
choruses,  songs,  etc. 

Speaks,  Oley,  b.  Canal  Winchester,  O., 
c.  of  many  popular  ballads,  incl. 
"Sylvia"  and  "The  Road  to  Manda- 
lay";  res.  in  N.  Y.;  mem.,  board  of 
directors,  Amer,  Soc.  of  Composers, 
Authors  and  Publishers. 

Specht  (spSkht),  Richard,  Vienna, 
Dec.  7,  1870 — March  18,  1932;  well- 
known  critic  and  writer  on  music; 
author,  "Gustav  Mahler,"  "Richard 
Strauss  und  Sein  Werk,"  "Julius 
Bittner,"  "R&snicek,"  "Brahms,"  "Puc- 
cini," etc. 

Speer,  (i)  Charlton  T*,  Cheltenham, 
Nov.  21,  1859 — London,  1921;  pupil 
R.  A.  M.  London,  winning  a  scholar- 
ship; from  1885  prof,  of  piano  there, 
also  organist  at  various  churches;  c. 
2  operas,  "The  Battle  of  Lake  Re- 
gillus,"  for  chorus  and  orch.;  symph. 
poem,  "King  Arthur,"  etc.  His 


DICTIONARY  OF  MUSICIANS 


413 


cousin  (2)  "William  Henry,  b.  London, 
1863;  organist;  pupil  of  Lloyd  and 
the  R.  C.  M.;  1906  Mus.  Doc.  Cam- 
bridge; c.  symph.,  overture,  orch., 
rhapsody,  ballad,  "The  Jackdaw  of 
Rheims,"  etc. 

Speidel  (shpl'-del),  Wm.,  Ulm,  1826— 
Stuttgart,  1899;  pianist,  conductor, 
composer. 

SpeTman,  Timothy  Mather,  b.  Brook- 
lyn, N.  Y.,  Jan.  21,  1891;  composer; 
pupil  of  Spalding  and  Hill  (Harvard), 
also  of  Courvoisier;  for  some  years 
res.  in  Florence. 

Spen'cer,  Eleanor,  b.  Chicago,  Nov.  30, 
1890;  pianist;  pupil  of  Leschetizky; 
d6but  with  London  Philh.,  1912; 
made  N.  Y.  d6but  following  year; 
has  appeared  as  soloist  with  orchs. 
in  Europe  and  U.  S.,  also  in  recitals. 

Spen/diarov,  Alexander  Afanasovitch, 
Kachov,  Province  of  Taurien,  Russia, 
Nov.  i,  1871 — May,  1928,  at  Erivan, 
Armenia,  where  since  1924  he  was 
dir.  of  the  State  Cons.;  early  in  life  a 
lawyer,  but  later  studied  with 
Rimsky-Korsakpff;  passed  most  of 
his  life  in  the  Crimea;  c.  operas,  orch. 
"Sketches  from  the  Crimea,"  "The 
Three  Palm  Trees,"  songs,  piano 
works  incl.  "Erivan  Studies,"  etc. 

Spengel  (shpeng '-£!),  Julius  H.,  Ham- 
burg, June  12,  1853 — April  17,  1936; 
pupil  of  Cologne  Cons,  and  Berlin 
Hochschule,  taught  in  Hamburg,  and 
studied  with  Gradener  and  Arm- 
brust;  1878-1927,  cond.  Cacilien- 
verein;  singing-teacher  and  organist; 
c.  symph.,  'cello-sonata,  etc. 

Speyer  (Speier)  (shpl'-er),  Willielm, 
Frankfort,  1790 — 1878;  violinist  and 
composer. 

Spicker  (shplk'-er),  Max,  K8nigsberg, 
Prussia,  Aug.  16,  1858 — New  York, 
Oct.  16,  1912;  pupil  of  Louis  Kohler, 
then  of  Leipzig  Cons.;  theatre  con- 
ductor various  cities;  1882-88,  cond. 
"Beethoven  MSnnerchor,"  New 
York;  1888-95  Dir.  Brooklyn  Cons.: 
teacher  Nat.  Cons.,  New  York; 
arranged  operatic  scores  for  pf.;  c. 
orch.  suite,  cantata  with  orch.,  etc. 
Spieling  (shpe'-rlng),  Theodor,  St. 
Louis,  Missouri,  1871  —  Munich, 
Aug.  n,  1925;  violinist;  pupil  of 
H.  Schradieck,  Cincinnati;  then  of 
Joachim,  Berlin;  founder  and  rst 
vln.  "Spiering  Quartet,"  Chicago; 
taught  ft*,  his  own  school  there; 
1905-06  at  Stern  Cons.,  Berlin; 
3909,  concertm-,  N.  Y.,  Philh.,  and 


in  1911  cond.  as  Mahler's  substitute; 
later  led  Bliithner  and  Philh.  Orchs. 
in  Berlin;  toured  as  cond.  with 
Pavlowa,  etc. 

Spindler  (shplnt'-ler),  Fritz,  Wtirzbach, 
near  Lobenstein,  Nov.  24,  1817 — 
near  Dresden,  Dec.  26,  1905;  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  (spl-nfcl'-ll),  Nicola,  Turin, 
1865 — Rome,  Oct.  17,  1909;  notable 
opera  composer;  pupil  of  Naples 
Cons.;  1890  took  2nd  Sonzogno  prize 
with  i-act  opera  "Cobilla,"  Mascagni 
winning  ist  prize;  prod.  v.  succ.  3-act 
lyric  drama  "A  Basso  Porto"  (1894, 
New  York,  1899). 

Spiridio  (spS-re'-dI-6),  Berthold,  monk, 
organist  and  composer,  Bamberg, 
1665-91. 

Spirid'ion.     Vide  XTTNDAS. 

Spitta  (shplt'-ta),  ( Julius  Aug.)  Phffipp, 

Wechold,     near     Hoya,     Hanover, 

Dec.    27,    1841 — Berlin,    April    13, 

1894;  wrote  noted  life  of  J.  S.  Bach. 

SpivakoVsky,  Tossy,  b.  Odessa,  1907; 

pupil  Serato;  violinist;  res.  in  U.  S. 

where    toured    widely    in    concerts. 

Spof'forth,      Reginald,      Nottingham, 

Southwell,  1769 — Kensington,  1827: 

c,  glees,  etc. 

Spohr  (shpSr),  Ludwig  (in  his  auto- 
biography he  calls  himself  Louis), 
Brunswick,  April  5,  1784 — Cassel, 
Oct.  22,  1859;  eminent  violinist  and 
conductor;  notable  composer  and 
teacher.  Son  of  a  physician  who  re- 
moved to  Seesen,  1786;  pupil  of  his 
mother,  and  at  5  studied  with  Rie- 
menschneider  (vln.)  and  Dufour; 
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  Gothams  orch.;  m- 
Dorette  Scheidler  (d.  1834),  the  harp- 
player  and  toured  with  her,  1807  and 
1809.  1836  he  m.  the  pianist  Mari- 
anne Pferffer  (d.  1892);  1812,  after 
brilliant  concerts  at  Vienna,  leader  at 
the  Th.  an  der  Wien;  1815,  toured 
Italy  (playing  a  concertante  of  his- 
own  with  Paganini  at  Rome);  1817- 
19  opera-cond.  at  Frankfort;  prod, 
here  succ.  opera  "Faust";  1820, 


DICTIONARY  OF  MUSICIANS 


visited  England  with  his  wife,  played 
at  Philharm.  Concerts,  and  prod, 
there  two  symphs.;  introducing  into 
England  the  habit  of  conducting  with 
a  baton.  Gave  concerts  at  Paris 
with  little  succ.  From  1822  ct.- 
cond.  at  Cassel;  1857,  retired  for 
political  reasons  on  a  reduced  pen- 
sion. During  his  period  as  a  cond. 
lie  prod.  Wagner's  "Fliegende  Hol- 
lander" (1842),  and  "Tannh&user" 
<i853),  but  could  not  overcome  the 
opposition  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 
"Jessonda"  (Cassel,  1823),  the  ora- 
torio "Die  Letzten  Dinge"  (Cassel, 
1826;  in  England  as  "The  Last 
Judgment")-,  the  grand  symph.  "Die 
Weihe  der  Tdne"  ("The  Consecration 
of  Tone"  1832)  and  the  classic 
vln.-concertos.  His  "  Violin-School" 
<i83i  in  3  parts),  is  a  standard.  He 
c.  ii  operas  in  all;  dram,  cantata, 
"Das  Befreite  Deutschland";  a  mass, 
etc.,  with  orch.;  9  symphs.;  No.  4  op. 
86  in  F  ("Weihe  der  Tdne");  No.  6 
op.  1 1 6,  G  ("Historical"-,  dedicated 
to  the  London  Philh.  Soc.);  7  op.  121, 
C  ("Irdisches  und  G'tttliches  im 
Afenschenleben")  for  2  orchs.;  8  op. 
137,  G  min.  (ded.  to  the  London 
Philharm.);  9  op.  143,  B  min.  ("Die 
Jahreszeiten"),  8  overtures,  and  15 
vln.-concertos;  No.  8  (op.  47,  in  A 
min.,  "in  modo  d'una  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 
dar.-cpncertos;  much  chamber-mus. 
Autobiogr.  (Cassel,  1860,  1861,  2 
vols.);  Biogr.  by  Malibran  (Frank- 
fort, 1860);  by  H.  M.  Schletterer 
(1881). 

SpontLni  (sp6n-te'-n€),  Gasparo  (Luigi 
Pacifico),  Majolati,  Ancone,  Nov.  14, 
1774 — Jan.  24,  1851;  noteworthy 
cond.  and  dram,  composer.  Son  of 
poor  peasants  who  intended  him  for 
the  church,  he  ran  away,  and  an 
uncle,  at  San  Vito,  provided  Mm 
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 
Home,  its  director  having  heard  some 


of  his  church-mus.  in  Naples,  he  left 
the  Cons,  without  permission  and 
prod.  succ.  opera,  "/  Puntigli  dette 
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, 
appointed  him  "chamber-composer." 
He  c.  a  cantata  "Ueccelsa  Gar  a" 
celebrating  the  victory  of  Austerlitz. 
The  Empress's  power  secured  a  hear- 
ing for  his  opera  "La  Vestale"  which 
after  three  years  of  delay  and  polish^ 
ing,  was  prod,  with  greatest  succ. 
1807;  by  a  unanimous  verdict  of  the 
judges,  Me*hul,  Gossec  and  Gre"try, 
Napoleon'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  Cor- 
tez"  1809.  iSio,  dir.  It.  opera; 
dismissed  for  financial  irregularity; 
1814  Louis  XVIII.,  appointed  him 
ct.-composer.  He  c.  2  stage-pieces 
in  glorification  of  the  Restoration. 
The  opera  "Olympie"  was  prod.  1819 
without  succ.,  though  when  revised 
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),  re- 
modelled as  "  Nurmahal"  (1822); 
"Alcidor"  (1825)  and  "Agnes  von 
Hohenstaufen"  (1829),  none  of  which 
were  widely  succ.  A  period,  of 
violent  jealousies  and  quarrels  with 
the  Intendant  Briihlr  and  virulent 
intrigues,  culminated  after  a  score  of 
stormy  years  in  his  being  royally 
reprimanded,  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  me'rite,"  member  of  the  Ber- 
lin Akademie  (1839),  and  Paris 


DICTIONARY  OF  MUSICIANS 


415 


Acad&nie,  and  Di.  PhiU  HaUe  Univ. 
Biog.  by  L.  de  LomSnie  (1841) ;  Mon- 
tanari  (1851) ;  Raoul-Rochette  (1882). 

Sporck,  Georges,  b.  Paris,  April  9, 
1870;  pupil  of  the  Cons,  and  of 
d'Indy;  c.  symph.  poems,  symphonic 
"Vivaraise"  "Esquisses  sympko- 
nigues"  etc. 

Spross,  Chas.  Gilbert,  b.  Poughkeepsie, 
N.  Y.,  Jan.  6,  1874;  composer, 
pianist;  pupil  of  X.  Scharwenka, 
Emil  Gramm  and  Carl  Lachmund; 
org.  in  various  cities;  accompanist 
for  noted  artists;  c.  choral  works, 
songs,  etc. 

Squire,  (i)  Win.  Henry,  b.  Ross,  Here- 
fordshire, Aug.  8,  1871;  'cellist;  son 
and  pupil  of  an  amateur  violinist; 
d6but  at  7;  won  scholarship  at  the 
R.  C.  M.,  and  studied  with  Powell 
and  Parry;  second  d6but,  1891;  c. 
'cello-concerto.  (2)  William  Bar- 
clay, London,  Oct.  18,  1855 — Jan.  14, 
1927;  historian  and  author,  educated 
at  Cambridge,  1879,  B.  A.;  1902, 
M.  A.;  critic,  librettist  and  anti- 
quarian; ed.  works  of  Purcell,  Byrd 
and  Palestrina,  and  with  Fuller- 
Maitland,  the  "Fitzwilliam  Virginal 
Book."* 

Stabile  (sta'-b5-le),  Annibale,  d.  Rome, 
ca.  1595;  conductor  and  composer. 

Stade  (shta'-dS),  (i)  H.  Bd.,  Ettisch- 
leben,  1816 — Arnstadt,  1882;  organ- 
ist and  composer.  (2)  Fr.  Wm., 
Halle,  Aug.  25,  1817 — Altenburg, 
March  24,  1902;  organist,  pupil  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- 
ttire,  music  to  "Orestes";  cantatas, 
with  orch.;  choral  works  i  vln.-sonata; 
"  Kindersonate"  (4  hands),  etc.  (3) 
Dr.  Fritz  (L.  Rudolf),  Sondershausen, 
Jan.  8,  1844 — Leipzig,  June  12,  1928; 
pupil  of  Riedl  and  Richter,  Leipzig, 
and  teacher  there;  pub.  an  answer 
to  Hanslick's  "Vom  Musikcdisch- 
Schdnen,"  etc. 

Staden  (shta'-d£n),  (i)  Jn.,  Niirnberg, 
1581 — 1634;  organist  and  composer. 
(2)  Sigmtind  Tbeopil,  1607-1655,  son 
and  successor  of  above;  c.  "Seelewig," 
one  of  the  earliest  extant  German 
operas  (cf .  H.  SCHUTZ'  opera  "Dafne"). 

Stadler  (shtat'-ler),  Maximilian,  Melk, 
Lower  Austria,  1748 — Vienna,  1833; 
composer  and  writer. 

Stadlmayer  (shtSt'-'l-mi-er),  Jn.c  Frei- 


sing,  Bavaria,  1560  —  Innsbruck, 
July  12,  1648;  conductor,  composer. 

Stadtfeldt  (shtat'-fSlt),  Alex.,  Wies- 
baden, 1826 — Brussels,  1853,  dram, 
composer. 

Stagemann  (shta'-gS-man),  (i)  Max, 
Freienwalde-on-Oder,  May  10,  1843 
— Leipzig,  Jan.  29,  1905;  pupil 
of  Dresden  Cons.;  barytone  and 
"chamber-singer"  at  Hanover;  1877, 
dir.  of  Konigsberg  Th.;  later,  man- 
ager Leipzig  City  Th.;  his  daughter, 
(2)  Helene,  d.  Dresden,  Aug.  24, 
1923;  noted  Liedersinger,  m.  Botha 
Sigwart  (Count  Eulenberg). 

Stahlknecht  (shtal-k'nfckht),  two  broth- 
ers, (i)  Ad.,  Warsaw,  1813 — Berlin, 
1887;  violinist  and  dram,  composer. 
(2)  Julius,  Posen,  1817 — Berlin, 
1892;  'cellist  royal  orchestra. 

Stainer  (or  Steiner)  (shti-ner),  (i)  Jakob, 
Absam,  Tyrol,  1621 — 1683;  inventor 
and  manufacturer  of  instrs.  (2) 
Markus,  his  brother,  also  vln.-  and 
vla.-maker. 

Stainer  (sta'-nSr),  Sir  John,  London, 
June  4, 1840 — Verona,  Mar.  31,  1901; 
chorister  at  St.  Paul's;  studied  with 
Bayley  (harm.)  and  Steggal  (cpt.), 
and  later  Cooper  (org.);  1854-60, 
organist  various  places,  then  TJniv. 
organist  at  Oxford;  (1859)  Bac,  Mus., 
and  (1865)  Mus.  Doc.;  1866,  Exam- 
iner for  mus.  degrees;  1872-88,  or- 
ganist of  St.  Paul's,  resigning  on 
account  of  his  eyesight;  1876,  prof, 
of  org.  and  harm.  Nat.  Training 
Sch.  for  Mus.;  1881,  principal  in 
R.  C.  M.;  1883,  again  at  Oxford; 
1882,  Govt.  Inspector  of  Mus.  in  the 
Training-Sen.;  1878,  Chev.  of  the 
Legion  of  Honour;  knighted,  1888; 
1889,  prof,  of  mus.  at  Oxford  Univ.; 
pub.  treatises  and  (with  Barret) 
a  "Diet,  of  Mus.  Terms,"  1875; 
c.  oratorio  "Gideon,"  cantatas 
"The  Daughter  of  Jairus"  (Wore. 
Fest.,  1878),  "St.  Mary  Magdalene" 
(Gloucester,  1883),  and  "The  Cruci- 
fixion" (London,  1887),  services, 
etc. 

Stamaty  (st3,-ma-t5),  Caroille  M., 
Rome,  1811 — Paris,  1870;  pianist 
and  composer. 

Stamitz  (shta'-mtts),  (i)  Jn.  Wenzel 
Anton,  Deutsch-Brod.,  Bohemia, 
1717 — Mannheim,  1757;  notable  vio- 
linist and  composer.  (2)  Anton 
Thaddaus,  D  eutsch-B  rod. ,  1721 — 
Altbunzlau,  1768;  bro.  of  above; 
canon;  'cellist,  Mannheim.  (3)  K.t 


416 


DICTIONARY  OF  MUSICIANS 


"Mannheim,  1746 — Jena,  1801;  violin- 
ist and  viole  d'amo  ur-perf  ormer, 
conductor  and  composer.  (4)  An- 
ton, Mannheim,  1754 — Paris,  ca. 
1820,  bro.  of  above;  violinist  and 
composer. 

Stan 'ford,  Sir  Chas.  Villiers,  Dublin, 
Sept.  30,  1852 — London,  March  29, 
19^4;  pianist  and  notable  composer; 
pupil  of  Sir  Robt.  Stewart  and 
Arthur  O'Leary  (comp.),  and  Ernst 
Pauer  (pf.),  London;  1870  won 
organ  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  Reinecke  at  Leip- 
zig, and  Kiel,  Berlin.  M.  A.,  Can- 
tab.,. 1878;  Mus.  Doc,,  Oxford,  1883, 
Cambridge,  1888;  1883,  prof,  of 
comp.  and  cond.,  R.  C.  M.;  1885, 
cond.  Bach  Choir;  1887,  prof,  of 
Mus.  at  Cambridge;  1897,  cond. 
Leeds  Philh.  Soc.;  he  was  knighted, 
1901,  and  made  cond.  of  the  Leeds 
Festival,  resigning  the  Bach  Choir, 
1904.  C.  operas,  "  The  Veiled  Prophet 
of  Khorassan"  (Hanover,  1881); 
"Savonarola"  (Hamburg,  1884);  "The 
Canterbury  Pilgrims'9  (London,  Co- 
vent  Garden,  1884);  v.  succ.  "Shamus 
O'Brien"  (London,  1896);  "Much 
Ado  about  Nothing"  (Co vent  Garden, 
1901,  Leipzig,  1902);  incid.  mus.  to 
various  plays;  operas,  "The  Critic^" 
"Travelling  Companion,"  oratorio, 
"The  Resurrection"  (1875);  "The 
Three  Holy  Children"  (Birmingham, 
1885);  Psalm  96  (1877);  "Elegiac 
Ode"  (Norwich,  1884);  "The  Re- 
venge" (Leeds,  1886);  "Jubilee  Ode" 
(1887),  etc.  "The  Bard"  (Cardiff, 
*^95);  "Phaudrig  Crochoore"  (Nor- 
wich, 1896);  requiem,  3  Morning 
and  Evening  Services;  a  Communion 
Service,  etc.;  6  symphs.  "Elegiac" 
in  D  min.  (No.  3);  "Irish,"  (No.  4); 
"Thro'  Youth  to  Strife,  Thro9  Death 
to  Life"',  and  No.  5  "L'allegro  ed  il 
Penseroso";  2  overtures,  a  pf.- 
concerto;  "Irish  Rhapsody"  (1902); 
motet  with  orch.,  "The  Lord  of 
Might"  (1903);  symphony  No.  6, 
"In  Memoriam  G.  F.  Watts,"  7th 
symphony  (London  Phil.,  Feb., 
1912),  "Stabat  Mater,"  with  orch. 
(Leeds  Fest.,  1907);  "Wellington," 
for  voices  and  orch.,  incid.  mus.  to 
"Attila"  (1907),  overture  "Ave  atque 
Vale"  (Haydn  Centenary,  1909),  etc. 

Stanley,    (i)    (Chas.)    John,   London, 


1713—1786;  organist  and  conductor. 
(2)  Albert  Augustus,  Manville, 
Rhode  Island,  May  25,  1851— Ann 
Arbor,  Mich.,  May  19,  1932;  studied 
in  Providence,  and  at  Leipzig;  organ- 
ist, Providence;  1888—1922,  prof,  of 
mus.,  Univ.  of  Michigan;  from  1893, 
cond.  important  series  of  Ann  Arbor 
Fests.,  by  Choral  Union  of  that  city; 
c.  "The  City  of  Freedom,"  ode,  with 
orch.  (Boston,  1883);  Psalm  21 
(Providence,  1892),  and  Commemo- 
ration Ode  "Chorus  triumphalis"  with 
orch.;  symph.  "The  Awakening  of 
the  Soul"',  symph.  poem  "Altis,"  etc. 

Starczewski  (star-chef '-ski),  Felix,  b. 
Warsaw,  1868;  critic  and  author; 
pupil  of  the  Music  Institute  and  of 
Humperdinck,  Fleischer,  and  d'Indy; 
taught  piano  at  Warsaw  Cons.;  c. 
orchestral  pieces,  etc. 

Stark  (shtark),  L.,  Munich,  1831— 
Stuttgart,  1884;  teacher,  editor  and 
composer. 

Starke  (shtark'-S)  FT.,  Elsterwerda, 
1774 — D6bHng,  near  Vienna,  1835; 
bancLJi.,  writer  and  composer. 

Stasny  (shtas'-ne),  (r)  L.,  Prague,  1823 
— Frankfort,  1883;  conductor  and 
dram,  composer.  (2)  Vide  STIASTNY. 

Stassof,  Vlad.,  1824 — 1906;  Russian 
critic  and  writer. 

Statkov'ski,  Roman  von,  near  Kalisch, 
Jan.  5,  1860 — Warsaw,  1926;  pupil 
of  Zelenski,  and  of  St.  Petersburg 
Cons.;  teacher  of  instrumentation 
and  history  at  Warsaw  Cons.  His 
opera  "Philaenis"  took  an  inter- 
national prize  in  London  and  was 
prod.,  Warsaw,  1904;  c.  also  opera 
"Maria"  (Warsaw,  1906);  fantasie 
and  polonaise  for  orch,,  piano  pieces, 
etc. 

Staudigl  (shtow'-dekh-'l),  (r)  Josef, 
Wollersdorf,  Lower  Austria,  1807 — 
(insane),  Michaelbeuerngrund,  near 
Vienna,  1861;  bass  and  ct.-conductor. 

(2)  Josef,  Vienna,  March  18,  1850 — 
Carlsruhe,      1916;     son     of     above; 
barytone;    pupil    of    Rpkitansky    at 
the    Cons.;    chamber-singer    to    the 
Grand    Duke    at    Carlsruhe    and    a 
member  of  the  ct.-opera.     His  wife 

(3)  Gisela,  singer;  pupil  of  Marchesi, 
1899  Wiesbaden  ct--opera. 

Stavenhagen  (shta'-fSn-ha-gSn),  B<J.,, 
Greiz,  Reuss,  Nov.  24,  1862 — 
Geneva,  Dec.  26,  1914;  pianist;  pupil 
of  Kiel,  at  the  Meisterschule,  and  of 
Rudorff,  at  the  Hochschule,  Berlin; 
1880.  won  the  Mendelssohn  prize  for 


DICTIONARY  OF  MUSICIANS 


417 


pf.;  pupil  of  Liszt,  1885;  toured 
Europe  with  succ.  and  the  U.  S. 
(1894-95);  1890,  ct.-pianist  and  ct.- 
conductor  at  Weimar;  Knight  of  the 
White  Falcon  order;  from  1898  ct.- 
cond.  at  Munich;  c.  pf.-pcs. 

Stcherbatcheff  (stchSr'-bat-che'i),  (i) 
Nicolas,  St.  Petersburg,  Aug.  24, 
1853 — ?;  prominent  figure  in  the  neo- 

•  Russian  sch.;  c.  "Deux  idylles  pour 
orchestre";  "Faeries  et  pantomimes" 
"Mosatque,  album  pittoresque,"  etc., 
for  pf.;  songs  "Au  soir  tombant"  etc. 
(2)  Vladimir,  b.  Warsaw,  Jan.  24, 
1889;  pupil  of  St.  Petersburg  Cons.; 
composer  of  2  symphonies,  chamber 
music,  piano  pieces,  songs. 

Stearns,  Theodore,  Berea,  O.,  1880 — 
Los  Angeles,  Nov.  i,  1935;  composer, 
grad.  Wurzburg  Univ.;  cond.  musi- 
cal comedies  in  N.  Y.;  served  as 
music  critic  on  N.  Y.  Morning 
Telegraph  and  Chicago  Herald  Ex- 
aminer; awarded  Guggenheim  Fel- 
lowship, 1927;  c.  (operas)  "Snowbird" 
(Chicago  Op.  1922,  Dresden  State 
Op.  1927),  "Atlantis,"  both  to  own 
librettos,  "Suite  Caprese,"  etc. 

Ste'ber,  Eleanor,  American  soprano; 
d6but,  Met.  Op.,  1940. 

Stefan  (sta'-fan),  Paul,  b.  Briinn,  Nov. 
25,  1879;  music  critic  and  writer; 
Ph.  D.;  after  1888  lived  in  Vienna; 
ed.  Musikblatter  des  Anbruch,  publi- 
cation of  Universal  Edition;  author 
-of  studies  of  Mahler,  Schubert, 
Schonberg;  d.  N.  Y.,  Nov.  12,  1943. 

Stefani  (sta'-fa-n6),  (i)  Jan,  Prague, 
1746 — Warsaw,  Feb.  24,  1829;  Mus. 
Director;  director  at  Warsaw  Cathe- 
dral; c.  opera  "Die  Krakowiter  und 
die  Bergvtilker,"  1794,  and  others,  also 
masses  and  polonaises.  His  son 
(2)  Josef,  Warsaw,  April  16,  1800 
—  (?);  pupil  of  Eisner;  c.  ballets, 
operettas,  also  10  masses,  etc. 

Sterfan,  Joseph  Anton,  Copidino, 
Bohemia,  March  14,  1726 — Vienna, 
1800;  court  piano  teacher  at  Vienna, 
numbering  among  his  pupils  Marie 
Antoinette  and  Queen  Caroline  of 
Naples;  c.  piano  pieces  and  songs. 

StefEani  (stef-fa'-nS),  Abbate  Agos- 
tino,  Castelfrancp,  Venetia,  1654 — 
Frankfort-on-Main,  1728;  eminent 
composer  of  daring  originality  and 
great  power  both  in  instrumentation 
and  general  construction;  ct.-  and 
chamber-musician  and  ct.-organist; 
prod.  20  operas. 

Steffens  (shtSf'-fSns),  Julius,  Stargard, 


Pomerania,  1831 — Wiesbaden,  1882; 
'cellist  and  composer. 

Steg'gall,  (i)  Chas.,  London,  June  3> 
1826 — June  7, 1905;  pupil  of  Bennett, 
R.  A.  M.,  1851;  prof,  of  org.  and 
harm,  there;  Mus.  Bac.  and  Mus. 
Doc.,  Cambridge;  from  1864,  organ- 
ist Lincoln's  Inn  Chapel;  wrote 
method  for  org.;  ed.  colls.,  and  c. 
Psalms  105.  and  33  with  orch.;  serv- 
ices, etc.  (2)  Reginald,  b.  London, 
April  17,  1867;  son  and  asst.-organist 
of  above,  later  his  successor;  pupil 
R.  A.  M.;  from  1895,  prof,  of  org. 
there;  c.  mass  with  orch.  and  organ, 
"Festival  Evening  Service"  with  orch., 
a  symph.,  3  overtures,  etc. 

Stegmann  (stakh'-man),  KZ.  David, 
Dresden,  1751 — Bonn,  1826;  tenor, 
cond.  and  dram,  composer. 

Stegmayer  (shtakh '-mi-fir),  Fd.,  Vienna, 
1803  —  1863;  conductor,  singing- 
teacher  and  composer. 

Stehle  (shta'-lS),  Gv.  Ed.,  Steinhausen, 
Wurtemberg,  Feb.  17,  1839— St. 
Gallen,  June  21,  1915;  cond.  at 
St.  Gallen  Cath.;  c.  symph.  tone- 
picture  "Saul,"  for  org. 

Steibelt  (shti'-b&t),  Daniel,  Berlin, 
1765 — St.  Petersburg,  1823;  a  most 
unvirtuous  virtuoso.  Under  patron- 
age of  the  Crown  Prince,  a  pupil  of 
Eornberger,  early  d£but;  1790,  fa- 
vourite pianist,  teacher  and  composer 
at  Paris;  prod.  v.  succ.  opera  "Romeo 
et  Juliette"  (1793).  He  seems  to 
have  suffered  from  kleptomania  and 
general  dishonesty,  which  with  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  "L'Orage, 
precede  d'un  rondeau  pastoral"), 
rivalling  the  notorious  "Battle  of 
Prague,"  by  Koczwara.  1799,  ne 
toured  Germany,  challenging  Bee- 
thoven 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 
again,  remaining  in  London,  until 
1805,  when  he  revisited  Paris  for  3 
years;  1808  toured  and  settled  in 
Petersburg;  1810,  Imp.  ct.-cond. 
and  cond.  of  French  Opera;  here 
prod.  2  new  operas,  as  well  as  earlier 
ones.  In  spite  of  his  odious  person- 
ality, his  virtuosity  was  remarkable, 
and  his  compositions  show  much 


418 


DICTIONARY  OF  MUSICIANS 


originality  in  modulation  and  scor- 
ing. He  wrote  a  pop.  pf.-method; 
c.  6  operas,  5  ballets,  and  much 
piano-mus,,  including  50  Etudes, 
many  programme-pcs.  of  extraordi- 
nary vogue. 

Stein  (shtin),  (i)  Jn.  Andreas,  Heidel- 
sheim,  Palatinate,  1728— Augsburg, 
1792;  inv.  "German  (Viennese)  pf.- 
action";  organist  and  famous  pf.- 
maker.  Succeeded  by  son  (2)  Mat- 
thias Andreas  (Augsburg,  1776 — 
Vienna,  1842),  who  1802  set  up  for 
himself  in  Vienna.  (3)  Maria  Anna 
(or  Nanette  Streicher),  Augsburg, 
1769 — Vienna,  1838;  daughter  of  (ij; 
a  devoted  friend  of  Beethoven;  also 
a  manager  of  the  pf.-factory.  Her 
son  (4)  Jn,  Bapt.  (b.  Vienna,  1795)? 
was  her  successor.  (5)  Fn,  Augs- 
burg, 1781  —  (of  consumption) 
Vienna,  1808;  bro.  of  above;  promi- 
nent pianist.  (6)  Karoline  (n£e 
Haar),  pianist  and  teacher.  (7)  K. 
Andreas,  Vienna,  1797 — 1863;  son 
and  successor  of  (2);  pupil  of  Forster, 
ct.-pf.-maker  and  composer.  (8) 
Eduard,  Kleinschirma,  Saxony,  1818 
— Sondershausen.  1864;  ct.-conductor 
and  composer.  (9)  Theodor,  Altona, 
i8r9 — St.  Petersburg,  March  9, 
1893;  pianist;  debut  at  12;  1872,  pf.- 

Erof.  Petersburg  Cons.  (10)  Fritz, 
.  Heidelberg,  Dec.  17,  1879;  theolo- 
gian at  first,  then  studied  music; 
1902,  organist  and  cond.  at  Heidel- 
berg; 1906,  musical  dir.  of  Jena 
University,  cond.  academic  concerts; 
1914,  ct.-cond.  in  Meiningen  (vice 
Reger);  1928-33,  prof,  of  musical 
science  and  munic.  mus.  dir.  in  Kiel; 
after  1933,  dir.  of  State  Hochschule, 
Berlin;  ed.  thematic  catalogue  of 
Reger's  works  and  wrote  his  biog- 
raphy. 

Steinbach  (shtln'-bakh),  (i)  Emil, 
Lengenrieden,  Baden,  Nov.  14,  1849 
— Mayence,  Dec.  6,  1919;  pupil 
Leipzig  Cons.;  1877,  cond.  Mayence 
town-orch.;  c.  orch.  and  chamber- 
mus.,  etc.  (2)  Fritz,  Griinsfeld, 
Baden,  June  17,  1855 — Munich, 
Aug.  13,  1916;  bro.  and  pupil  of 
above;  also  pupil  Leipzig  Cons.;  won 
Mozart  Scholarship;  1880-86,  2nd 
cond.  at  Mayence;  1886  ct.-cond. 
Meiningen;  pub.  a  septet,  'cello- 
sonata,  songs. 

Steinberg,  (i)  Maximilian,  Vilna,  1888 
— d.  Dec.  6,  1947;  composer  and 
teacher;  studied  at  Petersburg  Univ. 


and  Cons.;  teacher  latter  sch.;  comp. 
(2)  Wm.,  German  conductor;  1937, 
ass't.  to  Toscanini,  NBC  Symph.; 
cond.,  Buffalo  Symph. 

Steindel  (shtm'-del) ,  Bruno,  b .  Zwickau, 
Saxony,  Aug.  29, 1869;  ist  'cello,  Ber- 
lin Phtth.;  later  in  the  Chicago  Orch.; 
d.  S.  Monica,  CaL,  1949. 

Steiner.     Vide  STAINER. 

SteingrSber  (shtin '-grap-Sr),  Theodor, 
Neustadt-on-the-Orla,  Jan.  25,  1830 
— Leipzig,  April  5,  1904;  founder  of 
Hanover  mus.-pub.  firm;  from  1890 
in  Leipzig;  wrote  a  pf.-method  under 
the  pseud.  "Gustav  Damm." 

Stein'way  &  Sons,  firm  of  pf.-makers, 
New  York  and  Hamburg;  founded 
by  (i)  H.  Engelhard  .Steinweg 
(shtin'-v£kh),  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)  Win.,  Seesen,  1836 
—New  York,  1896;  (5)  Albert, 
Seesen,  1840 — New  York,  1877; 
leaving  the  business  in  charge  of 
(6)  Theodor  (Seesen,  1825 — Bruns- 
wick, 1 889) .  Father  and  sons  worked 
in  different  factories  till  1853,  when 
they  combined  as  Steinway  &  Sons. 
In  1865  Theodor,  who  had  moved  to 
Brunswick,  sold  the  business  to  the 
firm  Grotrian,  Helferich  &  Schulz, 
Theodor  Steinwegs  Nachfolger  (i.  e. 
"successors")  (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  "Steinway" 


(q.  v.  No.  6). 

Stelzner  (shtSlts'-nSr),  Alfred,  Ham- 
burg, Dec.  29,  1852 — Dresden,  July 
14,  1906  (suicide);  inv.  the  violotta 
and  cellone,  etc.  (v.  r>.  D.);  they 
were  used  in  the  orch.  of  his  fairy 
opera  "Riibezakl"  (Dresden,  ^90 2). 

Stendhal  (st&n-d&l),  pen-name  of  Marie 
Henri  Beyle  (bel),  Grenoble,  Jan.  23, 
1783 — Paris,  March  23,  1842;  French 
consul  at  Civitavecchia,  1831—42, 
and  author  of  numerous  books  on 
music. 

Sten^haniniar,  (i)  Fredrika,  Wisby, 
1836 — Stockholm  1880;  operatic  so- 


DICTIONARY  OF  MUSICIANS 


419 


pranot  born  AndrSe.  (2)  Ulrifc, 
Stockholm,  1829-1875;  composer  of 
oratorio  "Saul,"  etc.  His  son  (3) 
Wilhelm,  Stockholm,  Feb.  7,  1871 — 
Nov.  20,  1927;  pianist;  pupil  of  the 
Cons.,  and  of  H,  Earth;  from  1898 
cond.  Phil.  Society  in  Stockholm; 
from  1900  assistant  cond.  at  the 
Royal  Theatre;  1907-23,  cond.  of 
Gothenburg  Symph.  Orch. ;  c.  symph., 
"Prinsessan  och  Svennen"  for  voices 
and  orch.,  music,  dramas  "Tirfing" 
(Stockholm,  1898),  and  "Das  Fest  auf 
Solhaug"  (Stuttgart,  1899),  overture 
"Excelsior,"  and  many  songs. 

Sterkel  (shtSr'-kel),  Abb6  Jn.  Fz.  X., 
Wiirzburg,  1 750 — Wiirzburg,  1817; 
conductor,  organist  and  composer. 

Sterling,  (i)  Antoinette,  Sterhngville, 
N.  Y-,  Jan.  23,  1850 — Hampstead, 
Jan.  10,  1904;  concert  and  oratorio 
contralto,  range  e  flat—/7'  (v.  PITCH, 
D.  D.);  pupil  of  Mme.  Marches!, 
Viardot-Garcia  and  Manuel  Garcia; 
sang  for  a  time  in  Henry  Ward 
Beecher's  Ch.,  at  Brooklyn;  from 
1873,  London;  1875,  m.  John  Mac- 
KiTilay.  (2)  Winthrop  S.,  Cincin- 
nati, 1859 — 1943;  pupil  Cin.  Coll.; 
Leipzig  Cons.,  also  under  R.  Hoffman 
(compl)  and  Frau  Unger-Haupt 
(voice),  later  in  London  under  Tur- 
pin,  Behnke  and  Shakespeare;  organ- 
ist West  London  Tabernacle;  from 
1887,  prof.  Cincinnati  Coll.,  of  Mus.; 
1903,  founder  and  dean  of  Met.  Coll. 
of  Mus.;  founder,  Sigma  Alpha  Iota. 

Stern  (shtSrn),  (i)  Julius,  Breslau,  1820 
— Berlin,  1883;  cond.,  teacher  and 
composer.  (2)  Leo,  Brighton,  Engl., 
1870 — London,  Sept.  3,  1904;  'cellist; 
gupil  of  Piatti  and  of  Klengel  and 
Davidoff,  Leipzig;  toured  U.S.,  1897. 
(3)  Isaac,  b.  Kriminiesz,  Russia;  stud. 
San  Francisco  Cons.;  violinist;  toured 
U.  S .,  So.  America,  Europe,  Australia. 

Steinberg  (stSrn'-bSrkh),  Cohstantin 
(Ivanovitch),  Edler  von,  St.  Peters- 
burg, July  9,  1852 — Philadelphia, 
March  31,  1924;  pianist;  pupil  of 
Leipzig  Cons.,  Berlin  Akademie, 
and  of  Liszt;  conductor  various 
churches;  from  1877,  toured  widely; 
1880,  United  States;  from  1800. 
dir.  "Sternberg  Sen.  of  Mus.," 
Philadelphia;  c.  pf . — pieces,  etc. 

Ste'vens,  Rise"  (re'-za),  American. 
Mezzo-Sopr.;  Met.  Op.,  1938. 

Ste'venson,  (i)  Sir  J.  Andrew,  Dub- 
lin, ca.  1762 — 1833;  Mus.  Doc.;  c. 
Irish  operas;  son  of  (2)  John  (vio- 


linist in  the  State-Band  at  Dublin). 

Stew'art,  (i)  Sir  Robt.  Prescott,  Dub- 
lin, 1825 — 1894;  organist,  professor, 
conductor  and  composer.  (2)  Hum- 
phrey John,  London,  May  22,  1856 — 
San  Diego,  Cal.,  Dec,  28,  1932; 
eminent  organist;  after  1886  in  San 
Francisco;  1915,  at  San  Diego  Exp. 
where  he  remained  to  give  annual 
series  of  several  hundred  recitals  on 
organ  in  Balboa  Park.  (3)  Reginald, 
pianist;  cond.  Baltimore  Symph.; 
dir.,  Peabody  Cons.,  1942. 

Stiastny  (Stastay)  (sht'yast'-nS),  (i) 
Bd.  Wenzel,  Prague,  1760 — 1835; 
'cellist,  professor  and  composer.  (2) 
Fz.  Jn*,  Prague,  1764 — Mannheim, 
ca.  1820;  bro.  and  pupil  of  above; 
'cello-virtuoso  and  composer. 

Stich  (stlkh),  Jan  Vficlav  (or  Jn. 
Wenzel)  (Italianised  as  "Giovanni 
Punto"),  Zchuzicz,  Bohemia,  1746 — 
Prague,  1803;  eminent  horn-virtuoso, 
writer  and  composer. 

Stiedry  (shte'-dre),  Fritz,  b.  Vienna, 
Oct.  n,  1883;  conductor;  pupil  of 
Mandyczewski;  1907-08,  ass't  cond. 
at  Dresden  Op.;  then  in  various 
opera  theatres;  1916-23,  first  cond. 
at  Berlin  State  Op.;  1924-05,  dir., 
Vienna  Volksoper;  1929—33  cond.  at 
Municipal  Op.,  Berlin;  1933-08,  gen. 
mus.  dir.  of  Leningrad  Pbilh.  Orch.; 
1938,'  cond.  New  Friends  of  Music; 
also  Met.  Op.,  and  Co  vent  Garden. 

Stierlin  (sht5r'-lfci),  Joh.  Gottfr.  Adolf., 
b.  Adenau,  Oct.  14,  1859 — Miinster, 
April  26,  1930;  bass;  pupil  of  F. 
Schmidt;  1897  founded  a  Cons,  in 
Mtinster. 

Still,  William  Grant,  b.  Woodville, 
Miss.,  1895;  Negro  composer;  among 
his  works,  marked  by  exotic  note 
and  modern  use  of  instrumental 
color,  are:  (ballet)  "La  Guiablesse," 
perf.  in  Rochester  also  by  Chicago 
Op.;  works  for  orch.,  incL  "Afro- 
American9'  Symphony  (N.  Y.  Philh.); 
"Darker  America,"  "Africa,"  "From 
the  Black  Belt,"  "Puritan  Epic," 
"Levee  Land,"  "From  the  Journal 
of  a  Wanderer"  "Log  Cabin  Ballads," 
opera,"  Troubled  Island"  (N.  Y.  1949) . 

Stock,  Frederick,  b.  Diilich,  Nov.  n, 
1872 — Chicago,  Oct.  20,  1942;  son  of 
military  bandmaster;  then  studied 
with  Humperdinck,  Zollner,  Jensen 
and  Wiillner,  at  the  Cologne  Cons.; 
1891-95  violinist  in  the  City  Orch.; 
then  joined  the  Symph..  Orch.  in 
Chicago;  1899  became  assistant  cond. 


420 


DICTIONARY  OF  MUSICIANS 


to  Theodore  Thomas,  on  whose  death 
in  1905  he  was  chosen  as  conductor; 
c.  symphonic  poems,  symph.,  varia- 
tions, chamber  music,  songs,  etc. 

Stockhausen  (sht6k'-how-z£n),  (i)  Fz., 
1792 — 1868;  harpist  and  composer. 
His  wife  (2)  Margarethe  (ne'e 
Schmuck),  Gebweiler,  1803 — Col- 
mar,  1877;  pupil  of  Cartruffo,  Paris; 
concert-soprano;  toured  with  her 
husband.  (3)  Julius,  Paris,  July  22, 
1826 — Frankfort,  Sept.  22,  1906; 
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; 
then  private  teacher;  pub.  a  Method. 
(4)  Fz.,  Gebweiler,  Jan.  30,.  1839. — 
Strassburg,  Jan.  4,  1926;  pupil  of 
Alkan  and  of  Leipzig  Cons,;,  1868-79, 
cond.  at  Strassburg;  from  1871  to 
1907,.  teacher  Strassburg  Cons.; 
1892,  IL  Prof. 

Stoessel  (stes'-Sl),  Albert,  b-  St.  Louis, 
Oct.  n,  1894 — N.  Y-,  May  12^  1943; 
conductor,,  violinist;  studied  at  Berlin 
Hochsch.,  d6but  in  that  city  as 
violinist;  cond.  N.  Y.  Oratorio  Soc., 
succeeding  Damrosch,  1021;  also 
Worcester,  Mass.,  and  (formerly) 
Westchester,  N.  Y.,  Fests.;  1924,  dir. 
music  faculty,  N.  Y.  ITniv.;  1930,  dir. 
of  opera  dept.  and  cond.  of  Orch.  at 
Juilliard  School,  N.  Y.;  mus.  dir.  at 
Chautauqua,  N.  Y.;  c.  o^ch.  works, 
incl.  "Suite  Antique,"  vln.  sonata, 
works  for  piano,  songs  and  choruses; 
author,  Technique  of  the  Baton. 

StojowsM  (st5-y6f'-shkl),  Sigismond, 
Strelce,  1870 — N.  Y.,  Nov.  5,  1946; 
pianist;  pupil  of  L.  Zelensfci  at  Cra- 
cow^ and  at  Paris  Cons.,  winning  ist 
prizes  for  pf.  and  comp.;  studied 
with  Paderewski;  he  has  lived  in 
New  York  since  1905  as  piano  prof. 
Musical  Art  Inst.  1905-11,  then 
till  1917  at  Von  Ende  School^  after- 
wards teaching  privately  and  giving 
frequent  recitals,  particularly  of  his 
own  works.  C.  symph.  (Leipzig, 
189:8};  romance  for  violiax  and  c^ch-; 
chor.  with  orch.  "Spring";  Polish 
Rhapsodic  for  piano  and  orch.; 
violiit  concerto  (1908);  3  piano  con- 
certos and  many  other  works  for 
tHist instrument;  variations  and  fugue 
for  string  quartet;  2  vln.  sonatas: 


'cello  sonata;  choral  work,  "'A  Pray  en 
for  Poland";  Fantaisie  for  trombone 
orch.  suite,  songs,  etc.;  m.  Luisa 
Morales-Machado,  pianist. 

Stokowski  (sts-k6f'-skl),  Leopold,  b- 
London,  April  18,  1882;  of  Polish 
parentage;  graduated  at  Oxford; 
studied  at  Paris  Cons.,  acted  as 
cond.  there;  1905-08  mus.  dir.  St. 
Bartholomew's,  N.  Y.;  1908,  cond. 
in  London;  1909-12,  cond.  Cin- 
cinnati Symph.  Orch;  after  1912, 
cond.  Philadelphia  Orch.,  vice  Carl 
Pohlig;  1911,  married  the  pianist 
Olga  Samaroff;  divorced;  (2)  Evan- 
gehne  Brewster  Johnson.  One  of 
the  most  brilliant  and  individual 
conductors  of  his  day,  distinguished 
by  his  Spartan  discipline  over  the 
orch.,  his  tendency  to  select  uncon- 
ventional music  for  his  programmes, 
esp.  of  modern  composers.  His 
musical  style  excels  in  great  clarity 
and  transparency  of  musical  texture, 
beauty  of  tone,  and  exquisite  finish 
of  detail.  He  has  arranged  for 
opch.  many  remarkable  transcrip- 
tions of  works  by  Bach.  In»  1930-31 
tie  was  guest  cond.  of  the  N.  Y.  Philh. 
Orch.;  in  1936  he  took  his  own  ouch, 
for  a  transcontinental  tour  of  the 
U;  S.  He  has  been  identified  also 
with  productions  of  modern  operas 
and  ballets  by  the  Phila.  Grand  Op. 
Co.,  the  Phila.  Orch.  and  the  League 
of  Composers,  N.  Y.  He  left  Phila 
Orch.,  1938;  appeared  in  films;  and 
formed  Amer.  Youth.  Orch.  for  tour 
of  So.  Amer.;  later  led  N.  Y.  City 
Symph.  and  Hollywood  Bowl  Orchs. 
In  1 948-9  he  was  joint  mus .  dir .,  N .  Y . 
Philh.  with  Dimitri  Mitropoulos. 

S&rtitz,  (i)  Rosine  (rightly  Victorine 
K5b)  (shtdl-ts-or  nSJp>,  Paris,  Feb.  13, 
18x5 — July  31,  3/903;  P*ipil  of 
Choron's  Sea.;  nrezzo-soprano;  1837- 
47,  Or.  Ope**a,  Paris;  other  stajge 
names  "Mme.  Ternaio;,?'  "Male. 
Heloise/*  "Rose  Niva";  m.  succes- 
sively a  baron  and  2  princes;  c. 
songs.  (2)  Therese,  Bohemia,  1834 
— Milan,  1902;  soprano;  d€but,  La 
Scala,  1865;  created  "Aida"  in  Italy. 

Stolz,  Robt.,  b.  Graz,  1880;  comp.  of 

,     operettas  and  films;  res;,  in  U.   S. 

Stoftzer  (shtolte'-e'r),  Thos.,  Silesia, 
ca.  1490 — Of  en,  1526;  ct.-conductor 
and  composer. 

StS£z(e)l  (shtSlts'-el),  Gf.  H,,  Griin- 
st£dtl,  Saxony,  ^690— Gotha,  1749; 
ct.-conductor  and  dram.  comDoser. 


DICTIONARY  OF  MUSICIANS 


421 


Stolzenberg  (sht6l'-ts&i-b£rkh),  Benno, 
Konigsberg,  Feb.  25,  1829 — Berlin, 
1908;  tenor;  pupil  of  Mantius  and 
H.  Dorn;  d6but,  Konigsberg,  1852; 
dir.  Danzig  City  Th.;  teacher,  Ber- 
lin; 1885,  Cologne  Cons.;  from  1896, 
dir.  of  a  vocal  sch.  at  Berlin. 

Stc5pel  (shta'-pel),  Fz.  (David  Chp.), 
Oberheldrungen,  Saxony,  1794 — 
Paris,  1836;  theorist. 

St5r  (shtar),  K.,  Stolberg,  Harz,  1814 
— 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-bass-player. 
(3)  Anna  Selina  (1766 — 1817),  fa- 
mous colorature-soprano;  daughter 
and  pupil  of  (2);  sang  in  public  at  8; 
then  d6but,  Florence,  1780;  created 
"Susanna"  in  Mozart's  "Figaro.'9 

Stracciari  (stra-cha'-re"),  Riccardo;  b. 
Bologna,  June  26,  1875;  eminent 
barytone;  pupil  of  Liceo  in  native 
city;  d6but  in  "La  Bohlme"  at 
birthplace,  1900;  later  sang  with 
succ.  in  many  cities  of  Italy,  Spain, 
North  and  South  America;  after 
1926  taught  at  the  Naples  Con- 
servatory. 

Stradal  (stra'-dal),  August,  Teplitz, 
1860 — Schonlinde,  Bohemia,  March 
*3>  X93o;  pupil  of  Door,  Bruckner 
and  Liszt;  pianist  and  composer. 

Stradella  (stra-d&'-la),  Alessandro, 
probably  Naples  or  Venice,  ca.  1645 
— Genoa,  after  1681  (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  doped  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,  and  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 
"Pietti,  Signore,"  and  the  arias  "O 
del  mio  dolce  ardor73  and  "Se  i  miei 
sospiri,"  are  probably  wrongly  at- 
tributed to  him.  Monographs  by  P. 
Richard,  "A.  Stradella"  (1866),  and 
Calelane. 

Stradivari  (Stradivarius)  (strSd-X-va'- 
rS,  or  va'-rf-oos),  (i)  Antonio,  Cre- 
mona, 1644  (1650  ?) — 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  Jos. 
Guarneri);  he  probably  worked  for 
Niccold  Amati,  1667-79;  1680,  he 
purchased  the  house  in  which  his 
workshop  thereafter  was  situated; 
1700-25,  is  his  best  period,  but  he 
worked  to  1736;  his  label  reads  "An- 
tonius  Stradivarius  Cremonensis. 
Fecit  Anno  .  ,  .  (A  f  S)."  Of 
his  eleven  children,  2  sons,  (2)  Fran. 
(1671 — 1745)  and  (3)  Omobono  (1679 
— 1742),  were  his  assistants*  Mono- 
graphs, by  Lombardini  (1872),  Fe"tis 
(1856);  Wasielewski  and  Riechers. 

Straeten,    van     der.     Vide     VANDER- 

STRAETEN. 

Strakosch  (shtrS'-kdsh),  (i)  Moritz, 
Lemberg,  Galicia,  1825 — Paris,  Oct. 
9,  1887;  pianist  and  impresario;  c. 
operas;  teacher  of  Adelina,  and  hus- 
band of  Carlotta,  Patti.  (2)  Max, 
d.  New  York,  1892;  bro.  of  above 
and  equally  famous  as  impresario. 

Stran'sky,  Josef,  Humpolec,  Bohemia, 
Sept.  9,  1872 — New  York,  March  6, 
1936;  of  German  parents;  studied 
medicine  at  first;  and  then  music 
while  at  the  universities  of  Vienna, 
Leipzig  and  Prague;  de*but  as  cond. 
at  Prague  Opera,  succeeding  Muck, 
later  succeeded  Mahler  at  Hamburg; 
cond.  Bliithner  orch.,  Berlin;  1911, 
succeeded  Mahler  as  cond.  N.  Y. 
Philh.  Orch.,  of  which  he  was  the 
successful  sole  leader  until  1923; 
1923—24,  cond.  State  Symph.  Orch., 
N.  Y.,  then  resigning  to  become  a 
dealer  in  paintings. 

Straube  (strow'-bS),  C.,  b.  Berlin,. 
Jan.  6,  1873;  noted  organist;  pupil 
of  Riemann,  Riifer,  and  A.  Becker; 
1902  organist  Thomaskirche  (vice 
C.  Piattij;  from  ^903  he  also  cond. 


422 


DICTIONARY  OF  MUSICIANS 


the  Bach  Verein  there;  1907  organ 
teacher  at  Leipzig  Cons.;  after  1918, 
Cantor  of  the  Thomaskirche;  1919* 
merged  the  B.  -Verein  with  the 
Gewandhaus  Choir;  led  notable 
Bach  Fests.;d.  Leipzig,  Apr.  2  7,  1950. 
Straus  (shtrows),  Oskar,  b.  Vienna, 
April  6,  1870;  pupil  of  Gradener  and 
Max  Bruch;  cond.  theatres  in  various 
cities;  c.  overture  "Der  Traum  ein 
Leben,"  chamber  music  and  many 
operas,  some  of  them  extremely  suc- 
cessful, especially  "Ein  Walzer- 
traum"  (Vienna,  1906;  London  and 
America  as  "The  Waltz  Dream"}; 


Strauss    (sht 

1793  —  Carlsruhe,  Dec.  i  (2  ?),  1866; 
violinist,  mus.-ctirector,  ct.-conduc- 
tor;  c.  operas.  (2)  Jiu  (Sr.),  Vienna, 
March  14,  1804  —  (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,  who  opposed 
the  mus.  tastes  of  the  three  sons, 
for  whom,  the  mother  secured  secret 
instruction.  In  1844  conductor  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  or- 
chestras. 1862,  he  m.  the  singer 
Henriette  Treffz;  (d.  1878);  (2)  Angel- 
ica Dittrich;  (3)  Marie  Strauss;  c.  400 
pcs.  of  dance-music;  his  waltzes 
"The  beautiful  blue  Danube," 
"  Kilnstlerleben,"  "Wiener  Blut," 
"The  looi  Nights,"  "Wine,  Women 
and  Song,"  etc.,  are  dance-rhapsodies 
whose  verve  and  colour  have  de- 
served 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,  Aug. 
22,  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  vln.; 
on  a  tour  to  Warsaw  a  brain  ail- 
ment showed  itself  (long  attributed 
to  a  beating  by  officers);  died  in 
the  arms  of  his  wife  (whom  he  had 
m.  in  1857);  he  c.  283  dances.  (5) 
Eduard,  Vienna,  Feb.  14,  7835  — 


Dec.  28,  1916;  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, 
Pressburg,  March  28,  1836 — Cam- 
bridge, EngL,  1899;  violinist.  (7) 
Victor  von,  Royal  opera  conductor, 
Berlin,.  1902.  (8)  Richard,  b. 
Munich,  June  1 1 , 1864 — d.  Garmisch, 
Sept.  8,  1949;  early  showed  brilliant 
genius;  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 
Billow,  to  whom  S.  became  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 
Wolzogen,  was  prod.  Dresden,  Nov. 
21,  1901,  with  much  success.  He  has 
also  cond.  with  great  succ.  in  various 
cities.  A  Strauss  Festival  was  given 
in  London,  1903,  with  S.  conducting 
the  Amsterdam  Orch.;  1904  he  was 
made  general  musical  director  of  the 
Berlin  Royal  Opera.  In  the  same 
year  he  cond.  in  the  U.  S.  C.  symph. 
op.  12;  symphonic  fantasie  "A us 
Italien,"  "Wanderers  Sturmlied" 
,  (Goethe),  for  6-part  chorus,  and  full 
orch.;  tone-poems,  "Don  Juan" 
op.  20;  "Macbeth,"  op.  23;  "Tod 
und  Verkl&rung,"  op.  24,  the  symph. 
poems  "Also  sprach  Zarathustra" 
Tafter  Nietzsche),  "Ein  Heldenleben" 
(op.  40),  and  "Don  Quixote";  op.  28, 
Orchester-Rondo  "Till  Eulenspiegel's 
lustige  Streiche";  chamber-mus.: 
vln.-conceito;  5  "Stimmungsbilder" 
for  pf.;  concerto  for  Waldhorn; 
"Enoch  At*den"  melodrama  for  pf. 
and  recitation,  and  many  songs. 
1 6-part  a  cappella  chorus  "Der 
Abend"  (rqo2),  ballad  for  chorus  and 
orch.  "Taillefer"  (1902);  "Sinfonia 
Domesiica"  (1904);  operas  "Salome9* 
(i  act  after  Oscar  Wilde,  Dresden, 


DICTIONARY  OF  MUSICIANS 


423 


<905,  and  throughout  Europe;  prod, 
at  Met.  Op.,  1907;  it  was  withdrawn 
after  one  performance  but  restored 
1934  with  succ.);  "Elektra"  (Dres- 
den, 1909,  and  at  Manhattan  Op., 
N.  Y.,  1910);  "Der  Rosenkavalier" 
(Dresden,  Tune  26,  1911,  and  at  Met. 
Op.,  1913);  "Ariadne  *auf  Naxos" 
(Stuttgart,  Oct.  25,  1912,  revised 
1917);  "Die  Frau  ohne  Schatten" 
(1921);  "Intermezzo"  (1^24,  a  work 
said  to  be  based  on  a  mild  marital 
misunderstanding  in  his  own  career); 
"Die  Aegyptische  Helena"  (Dresden, 
1928,  also  at  Met.  Op.  House,  with- 
out succO;  "Arabella"  (1933,  comedy 
which  uses  waltz  themes  somewhat 
in  manner  of  "Rosenkavalier"  but 
not  as  strong  as  that  world-conquer- 
ing work);  "Die  Scfaveigsame  Frau" 
(1033);  tie  ballets  "Josephslegende" 
(1914)  and  "SMagobers"  ("Whipped 
Cream,"  allegory  of  pastry  shop, 
1923).  Also  a  pf. -concerto  for  the 
left  hand,  "Par ergon  zur  Sinfonia 
Domestica  und  Panathenaeen-zug" 
written  for  Paul  Wittgenstein.  His 
last  important  orch.  work  was  the 
rather  weak  "  Alpensinfonie"  {1915), 
"Metamorphosen"  (for  23Stringinsts.); 
Oboe  Concerto;  opera,  "Liebe  der 
DanaS"  His  later  works  have  tended 
to  revert  to  a  greater  simplicity  in 
1  scoring,  some,  like  his  incidental 


music  to  "Der  Burger  als  Edelmann," 
have  Mozartian  influence.  His 
post-war  works  have  displayed  a 
decline  in  invention,  though  his 
scoring  wizardry  is  still  in  evidence. 
S.  made  a  notable  tour  of  the  U.  S. 
hi  1921,  when  he  led  a  cycle  of  his 
works  in  N.  Y.  with  the  Phila. 
Orch.;  cond.  in  many  Eur.  cities; 
1919-24,  dir.  with  Schalk  of  the 
Vienna  Op.;  1933-35,  he  was  pres. 
of  the  Reich  Music  Chamber  in 
Germany;  in  1938  a  i-act  opera, 
"Friedenstag"  was  premiered  at  the 
Munich  State  Op.;  and  "Daphne^"  at 
Dresden,  1938;  opera,  "Capriccio." 
Biographical  works  by  Seidl,  Klatte, 
Hutschenruijter,  Brecher,  Urban, 
Bie,  Newman,  Steinitzer,  Finck, 
Waltershausen,  and  studies  of  his 
comps.  by  Gilman,  Hutcheson,  Rose 
and  Pruewer,  Schattmann,  etc.  S. 
revised  and  completed  Berlioz's 
treatise  on  instrumentation.  (See 
article,  page  529.) 

Stravinsky    (strS-vSn'-skS),    feor,    b. 
Oranienbaum,  Russia,  June  17,  1882; 


composer;  one  of  most  striking 
technical  innovators  of  his  period,  a 
remarkable  craftsman  and  highly 
influential  upon  other  composers; 
studied  comp.  with  Rimsky-Sorsa- 
koff,  in  whose  memory  he  wrote  a 
"Chant  Funebre"  and  also  his  early 
symph.  piece,  "Fireworks,"  for  the 
wedding  of  the  latter's  daughter; 
his  first  productions  were  marked 
by  original  and  highly  brilliant 
impressionistic  use  of  orch.  color, 
exploiting  strange  timbres  and  in- 
strumental effects,  and  drew  upon 
Russian  folklore,  esp.  for  his  pop. 
ballets  "L'Oiseau  de  Feu"  and 
"Petrouchka"  which  created  much 
interest  when  prod,  by  Diaghileff. 
With  "Le  Sacre  du  Printemps" 
(1913),  the  strident  and  bizarre 
effects  that  made  " Petr&uchka"  a 
masterpiece  of  bitter  irony  were 
augmented  with  an  unprecedented 
complexity  of  rhythm  and  harsh, 
grinding  dissonances  which  literally 
portrayed  the  earth-beating  dances 
of  a  prehistoric  race  in  a  spring 
fest.;  to  this  period  belongs  also  his 
Chinese  fairy  opera,  "Le  RossignolJ* 
more  delicately  dissonantal  ano 
based  on  an  Andersen  story,  srhich 
was  given  by  the  Met.  Op.  Co.,  1926. 
After  "Les  Noces"  written  as  a 
"symphony"  but  prod,  as  a  ballet 
which  portrays  Russian  wedding 
customs  of  the  past  with  salty  gusto, 
the  style  of  S.  became  progressively 
more  reticent  and  also  economical 
of  means.  His  ironic  "  Histoire  du 
Soldat"  with  a  chamber  ensemble 
and  narrator,  has  been  danced"  and 
also  presented  in  concert  form;  his 
"Renard"  a  sort  of  animal  fabk 
in  chamber  style  with  voice  and 
instruments,  is  also  marked  by 
delightful  wit;  a  short  opera, 
"Mavra."  oddly  echoes  (with  intent) 
Glinka  and  Italian  styles.  The 
tendency  to  compose  in  the  manner 
pf  earlier  creators  asserts  itself 
increasingly  in  his  later  works,  which 
has  been  construed  as  symptomatic 
of  his  attempt  to  find  new  paths, 
but  by  others  as  a  confession  pf  lack 
of  inspiration.  Beginning  with  his 
post-war  productions,  his  music  is 
increasingly  neo-classic  in  style.  It 
takes  the  form  of  compositions  for 
small  instrumental  combinations, 
for  various  solo  instruments  with 
orch.  and  in  concertante  form,  which 


424 


DICTIONARY  OF  MUSICIANS 


embody  Ms  strivings  after  an  ideal 
of  "pure  music,"  in  which  emotion 
and  overemphasis  are  sternly  re- 
stricted. ParaUel  to  this,  S.  has 
shown  a  fondness  for  antique  sub- 
jects and  Greek  myths,  treated  in 
heroic  manner  and  in  neo-classic 
garb:  such  are  his  "Oedipus  Rex," 
a  dram,  cantata  for  soloists,  male 
chorus,  narrator  and  orch.  (prod, 
in  Paris,  N.  Y.  and  elsewhere);  his 
"Symphonie  de  Psaumes"  for  chorus 
and  orch.,  settings  of  3  Hebrew 
psalms  stressing  warlike  spirit  in 
austere  fashion;  "Apollon  Musa- 
g&e"  for  orch.;  and  "Persephone," 
a  mimetic  cantata  based  on  the 
Greek  myth,  iD  which  a  woman 
mime-reciter,  tenor,  chorus  and 
orch.  take  part  (given  in  concert 
form  by  the  Boston  Symph.,  under 
the  composer);  has  also  c.  (ballets) 
"Pulcinella"  (after  Pergolesi), 
"Baiser  de  la  F&e"  and  "Les 
AbeiUes";  (orch.)  "Scherzo  Pantos- 
tique"  a  symphony;  suites  based 
upon  his  most  pop.  ballet  scores; 
"Le  Rossignol"  (symph.  poem); 
"Symphonic  Concertante"  and 
Octuorfor  wind  instruments;  Concer- 
tino; a  Concerto  and  a  Capriccio  for 
piano  and  orch.;  two-piano  concerto; 
vln.  concerto;  "Duo  Concertante" 
for  piano  and  vln.,  and  many  other 
smaller  pieces  for  piano  and  other 
insts.;  ballets,  "Card  Party,"  "Or- 
pheus"; Mass  for  male  voices;  many 
songs.  Was  guest  cond.  of  various 
orchs.,  incl.  N. Y.  Philh.,  Phila.,  Bos- 
ton, Chicago  and  elsewhere.  Soon  af- 
ter the  war  he  took  up  res .  in  U.  S .  and 
has  become  a  citizen  of  that  country. 
He  has  toured  with  Samuel  Pushkin, 
violinist,  and  with  Ms  son,  Soulima 
Stravinsky,  pianist,  in  chamber  pro- 
grammes; has  visited  leading  Eur. 
cities  and  S.  A.  as  a  guest  cond.; 
Eliot  Chair  of  Poetry,  Harvard,  1940. 
S.  has  published  a  book  of  remi- 
niscences, as  well  as  various  "mani- 
festos" and  the  like,  setting  forth 
his  artistic  ideals.  A  biography 
(hi  French)  by  Andre*  Schaeffner 
was  pub.  1931.  A  large  number  of 
essays  on  the  composer  and  his 
work  have  been  issued,  by  Van 
Vechten,  Wise,  Montagu-Nathan, 
Boris  de  Schloezer  and  others. 
Edwin  Evans  has  written  a  study 
Of  his  "Firebird"  and  "  Petrovchka." 
article,  page  5  ?o.) 


Streabbog.     Vide  GOBBAE&TS, 

Streat'feild,  Rich.  Alex.,  Carshaltonj 
1866  —  London,  1919;  writer;  1898- 
1912,  critic  of  London  Daily  Graphic; 
author,  "Masters  of  Italian  Music," 
"The  Opera,"  "Modern  Music  and 
Musicians,"'  "Handel,"  "Life  Stories 
of  Great  Composers,"  etc. 

Street  (shtrat),  G.  Ernest,  of  French 
parents,  Vienna,  1854  —  1908;  pupil 
of  Bizet  and  Damcke,  Paris;  critic 
there;  1898,  of  L'Eclair;  c.  oper- 
ettas, i-act  mimodrama  "Fides" 
(Op.-Com.,  1894),  3-act  opera 
"Mignonette,"  parody  of  Thomas's 
"Mignon"  (1896),  ballet,  "Scara- 
mouche"  with  Messager,  1801,  etc. 

Streicher  (shtri'-kher),  (i)  Jn. 
Andreas,  Stuttgart,  1761  —  Vienna, 


piano-maker  and  professor; 
1793  inv.  the  pf.  -action  which  drops 
the  hammer  from  above;  succeeded 
1832  by  his  son  (2)  Jn.  Bapt.,  1794  — 
1871,  who  was  succeeded  by  his  son 
(3)  Emil. 

Strelezlri  (strg-lSt'-shH),  Anton 
(rightly  Burnand),  Crojrdon,  Engl., 
Dec.  5,  1859  —  1907;  pupil  of  Leipzig 
Cons.,  and  of  Frau  Schumann;  c. 
popular  songs,  and  pf  ,-pcs. 

Strepponi.     Vide  VERDI. 

Striggio  (strfd'-j6),  Ales.,  b.  Mantua, 
ca.  1535;  lutenist,  composer  and 
conductor. 

Strinasacchi  (strS-na-sSk'-ke),  Regina, 
Ostiglia,  near  Mantua,  1764  —  Dres- 
den, 1839;  violinist. 

String/ham,  Edwin  John,  b.  Kenosha, 
Wis.,  July  n,  1890;  composer, 
educator;  grad.  Northwestern  Univ.; 
Ped.  Doc.,  Cincinnati  Cons.,  studied 
with  Respighi  at  St.  Cecilia  Acad., 
Rome;  hon.  Mus.  D.,  Denver  Coll, 
of  Music;  ican,  College  of  Music, 
Denver,  1910—29;  mem.  faculty  of 
music  education,  Teachers  College, 
Columbia  Univ.;  also  taught  Union 
Seminary,  N.  Y.;  c.  orcii.  works, 
incl.  symphony,  suites,  overtures* 
etc.,  played  by  several  major  Amer. 
orchestras. 

Strong,  (i)  Templeton,  N.  Y.,  1856  — 
Geneva,  1948;  pupil  Leipzig  Cons.; 
c.  symph.  "In  den  Bergen"*,  symph. 
poem  "  Undine"  (op.  14);  "Gestrebt  — 
Gewonnen  —  Gescheitert"  ;  f.  orch.  with 
vln.-obbligato;  choral  works  with. 
orch.;  pf.-pcs.,  etc.  (2)  Susan,  b. 
Brooklyn,  N.  Y.,  1875;  operatic 
soprano;  studied  with  Korbaj 
in  Italy,  England  and  in  U.  J5 


DICTIONARY  OF  MUSICIANS 


425 


companies  tinder  Mapleson  and 
I>amrosch;  Met.  Op.,  1899-1900. 

Strozzi  (str6d'-ze),  (i)  Pietro,  b. 
Florence,  i6th  cent.;  co-founder  of 
the  stile  rappresentativo  (v.  PEBI); 
set  to  music  Caccini's  "La  Mascarada 
degli  Accecati"  IS9S-  (2)  Abbate 
Gregorio,  apostolic  protonotary  at 
Naples;  composer,  1683. 

Strube  (shtroo'-bS),  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 C6ns.;  played  in  the  Gewand- 
haus  Qrch.,  later  prof,  at  Mannheim 
Cons.;  1889,  Boston,  Mass.,  in 
Symph.  Orch.;  c.  symphony  in  C 
minor,  in  B  minor;  overtures  "The 
Maid  of  Orleans'9',  "Fantastic"; 
"Puck";  symph.  poems  "Longing,"' 
"Fantastic  Dance";  concertos,  violin, 
'cello,  etc.;  1909  he  became  a  cond. 
of  the  Worcester  Festivals;  1913 
taught  Peabody  Cons.,  Baltimore; 
after  1916  he  cond.  Symph.  Orch. 
there. 

Stueckgold  (shtek'-g61t),  Grete,  b. 
London,  July  6,  1895;  soprano;  of 
English-German  parentage;  studied 
voice  in  Germany  with  Jacques 
Stueckgold;  operatic  d6but  in 
Nuremberg;  engaged  for  Berlin 
Stadtische  Oper,  where  she  sang 
with  succ.,  incl.  leading  rdle  in 
Handel's  "Otto  and  Theophanes" 
'inder  Bruno  Walter;  mem.  Met. 
Op.  Co.,  N-  Y.,  for  several  seasons 
after  1929;  also  a  high-ranking  con- 
cert artist  (esp-  Lieder  singer)  and 
has  appeared  in  radio  programmes; 
m.  Gustav  Schuetzendorf,  barytone. 

Stuntz  (shtoonts),  Jos.  Hartmann, 
Arlesheim,  near  Basel,  1793 — Munich, 
1859;  dram,  composer. 

Such  (zookh),  Percy,  b.  June  27,  1878; 
'cellist;  studied  with  Robt.  Haas- 
manns:  toured  widely. 

Sucher  (zoo'-khSr),  (i)  Josef,  DQbor, 
Hungary,  Nov.  23,  1844 — Berlin, 
April  4,  1908;  eminent  cond.;  studied 
singing  and  the  vln.,  Vienna;  pupil 
of  Sechter  (comp.);  vice-cond.  of  the 
acad.  Gesangverein;  coach  for  solo 
singers  at  the  ct.-opera;  1876,  cond. 
Leipzig  City  Th.;  1877,  m.  the 
distinguished  Wagnerian  soprano,  (2) 
Rosa  Hasselbeck,  Velburg,  Upper 
Palatinate,  Feb.  23,  1849 — Esch- 
weiler,  April  16,  1927;  1878-88  they 
were  engaged  by  Pollini  at  Ham- 
burg; later  as  cond.  of  the  Royal 


Opera  at  Berlin  (retired  1899),  and 
prima  donna  (retired  1898).  Frau 
b.  was  daughter  of  a  musician  and 
sang  small  rdles  at  Munich  and  else- 
where at  first,  later  prominent  in 
Wagner  opera  which  she  sang  at 
Bayreuth  and  in  America. 

Suk  (sook),  Josef,  Kfefcovic,  Bohemia, 
Jan.  4,  1874 — Beneschau,  May  29, 
I935>  composer  and  violinist;  pupil 
and  son-in-law  of  Dvorak  at  Prague 
Cons.,  1896,  2nd  vln.  "Bohemian 
String-Quartet";  c.  a  dramatic  over- 
ture "Winter's  Tale,"  suite  for  orch. 
op.  16  "Ein  Mttrchen"  2  symphonies, 
2  string  quartets,  piano  quartet  and 
trio,  and  a  choral  work,  "Under 
the  Apple  Tree,"  etc. 

Sullivan,  Sir  Arthur  Seymour,  Lon- 
don, May  14,  1842 — Nov.  22, 
eminent  composer  of  national 
lish  comic  opera;  v.  succ.  in  chu 
mus.  also;  at  12  a  chorister  under 
Helmore,  Chapel  Royal;  at  13  pub. 
a  song;  1856,  the  first  Mendelssohn 
Scholar  of  the  R.  A.  M.;  studied  also 
at  Leipzig  Cons.,  etc.  At  18  cond. 
his  overture  "Lalla  Rookft";  at  20 
prod,  his  mus.  to  "The  Tempest" 
(Crystal  Palace);  at  22  his  notable 
cantata  "  Kenilworth"  (Birmingham 
festival);  cond.  of  the  London  Phil- 
harm.  (1885-87);  and  from  1880, 
the  Leeds  Festivals.  1876-81,  prin- 
cipal, and  prof,  of  comp.  at  the 
Nat.  Training  Sch.  for  Mus.;  Mus. 
Doc.  h^j  Cambridge  (1876),  and 
Oxford  (1879),  Chev.  of  the  Legion 
of  Honour,  1878;  grand  organist  to 
the  Freemasons,  1887;  knighted, 
1883.  C.  symphony  (played  at  the 
Gewandhaus,  Leipzig,  etc.)  overtures 
"In  Memoriam"  (on  his  father's 
death),  "Marmion,"  "Di  ballo,"  and 
"Sapphire  Necklace";  oratorios  and 
cantatas,  incl.  "The  Golden  Legend" 
(1886);  "A  Festival  Te  Deum" 
(1872),  Ode  "I  Wish  to  Tune  my 
Quivering  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, 
"Ivanh&e"  (1891),  tie  romantic 
opera,  "Rose  of  Persia"  (1900), 
neither  a  succ. 

Trig  chief  contribution  to  music 
was  his  brilliant  series  of  truly  Eng- 
lish comic  operas,  with  the  equally 
brilliant  Hbrettos  of  W.  S.  Gilbert. 
Some  of  these  had  a  world-wide 


426 


DICTIONARY  OF  MUSICIANS 


succ.,  and  "Patience"  was  a  satire 
of  equal  effectiveness  with  Moli&re's 
"Les  Prgcieuses  Ridicules."  Among 
16  comic  operas  were  the  following 
great  successes:  "Cox  and  Box" 
(1867),  "Trial  by  Jury"  (1875), 
"H.  M.  S.  Pinafore"  (1878),  "The 
Pirates  of  Penzance"  (1880),  "Pa- 
tience"  (1881),  "lolanthe"  (1882), 
"The  Mikado"  (1885),  "Ruddigore" 
(1887),  "The  Yeomen  of  the  Guard" 
(1888),  "The  Gondoliers,"  "Utopia 
(Limited)"  (1893);  "Contrabandista" 
(1867,  revised  1894  as  "The  Chief- 
tain"'), "The  Emerald  Isle"  (1901), 
finished  by  Edw.  German,  libretto 
by  Basil  Hood.  Among  many  works 
on  S.  and  his  music  are  those  by 
Lawrence,  Wells,  Wyndham,  Findon, 
Goldberg,  Bridgeman,  Mackenzie, 
Dunhill,  Godwin,  and  a  life  (with 
letters  and  diaries)  by  Herbert 
Sullivan  and  Newman  Flower  (1927). 

•     (See  article,  page  533.) 

Sulzer  (zool'-tser),  (i)  Jn.  G.,  Winter- 
thur,  1720 — Berlin.  1779;  writer  and 
professor.  (2)  Salomon,  of  Jewish 
parents,  Hohenems,  Vorarlberg,  1804 
— Vienna,  1890;  prof,  of  singing  and 
composer.  (3)  Julius,  Vienna,  1834 
— 1891;  son  of  above;  violinist  and 
conductor,  and  c.  operas.  His  sisters 
(4)  Marie  and  (5)  Henriette,  singers. 

Superyia  (soo-pSr-ve'-a),  Conchita, 
Spain,  1899 — London,  March  30, 
1936;  coloratura  mezzo-soprano; 
deout,  Buenos  Aires,  at  14;  sang 
with  Madrid  Op.,  later  at  La  Scala, 
Paris,  Vienna  with  succ.,  acquiring 
rep.  for  great  flexibility  of  voice  and 
wide  range;  also  with  Chicago  Op., 
1932  as  "Carmen"  and  "Rosina";  at 
Co  vent  Garden  in  "Ultaliana  in 
Algeri"  and  "Cenerentola";  she  was 
also  a  popular  recitalist,  esp.  in 
Spanish  music,  and  esteemed  for 
her  beauty  and  charm  of  personality. 

Suppe,  Fz.  von  (f6n-zopp'-pa),  Spalato, 
Dalmatia,  1819 — Vienna,  May  21, 
1895;  very  popular  operetta  com- 
poser; pupil  of  Padua,  Cigala,  and 
Fex-rari;  at  first  unpaid  cond.  at  the 
Josephstadter  Th.;  then  at  Pressburg 
and  Baden  and  at  Vienna;  he  c.  2 
grand  operas,  a  symph.,  a  Missa  pal- 
matica,  a  requiem,  "Vestremo  giudi~ 
%iof"  overtures  (incl.  the  immensely 
pop.  "Dichter  und  Bauer"  pub.  for 
59  combinations).  Of  his  Singspiele, 
comediettas,  etc.,  some  (like  "Tan- 
nenhauser"  and  "Dinorah"}  are 


parodies,  of  the  others  the  most  succ. 
are  "Fatinitza"  (Vienna,  1876),  and 
"Boccaccio"  (1879). 

Stirette  (su-rSf),  Thps.  Whitney,  b. 
Concord,  Mass.,  Sept.  7,  1862 — 
May  19,  1941;  graduated  Harvard, 
1891;  pupil  there  of  Arthur  Foote 
(pf.),  and  J.  K.  Paine;  organist,  Bal- 
timore; then  University  Extension 
lecturer  (Phila.,  Pa.);  after  1921, 
taught  at  Bryn  Mawr  Coll.,  Pa.; 
wrote  treatises,  etc.;  pub.  2-act 
operetta  "Priscilla"  etc. 

Suriano  (or  Soriano)  (soo'-[or  s5T 
rX-a-n6),  Fran.,  Rome,  1549 — Jan., 
1620;  conductor  and  notable  com- 
poser; pupil  of  Nanini  and  Pales* 
trina;  cond.  S.  Maria  Maggiore,  and 
1603,  at  St.  Peter's,  Rome. 

Siissmayer  (zus'-ml-er),  Fz.  X.,  Steyr, 
Upper  Austria,  1766— Vienna,  1803; 
conductor  and  dram,  composer. 

Sutef  (zoo'-ter),  Hermann,  Kaiser* 
stuhl,  Switzerland,  April  28,  1870-^- 
Basel,  June  22,  1926;  pupil  of  his 
father,  an  organist,  and  of  the  Stutt- 
gart and  Leipzig  Cons.;  from  1892, 
organist  and  cond.  in  Zurich,  from 
1902  in  Basel  as  cond.;  c.  quartets 
and  choruses. 

Sutor  (zoo'-tdr),  WUhelm,  Edelstetten, 
1774 — Linden,  Sept.  7,  1828;  court 
cond.  at  Hanover;  c.  operas,  etc. 

Su/tro,  (i)  Rose  Laura  (Baltimore, 
1870),  pianist,  and  (2)  Ottilie  (Balti- 
more, 1872),  pianist,  sisters  noted 
for  their  two-piano  concerts;  pupils 
of  Berlin  Hochsch. 

SvanTiolm,  Set,  Swedish  heroic  tenor; 
heard  Stockholm  Opera;  elsewhere 
Europe;  engaged  M.  O.  H.  1946-7; 
debut  as  Siegfried. 

Svecenski  (sva-chSn'-skS),  Louis, 
Osijek,  Croatia,  1862 — New  York, 
-  June  1 8,  1926;  violinist  and  violist; 
pupil  of  Vienna  Cons.;  1885—1903 
played  in  Boston  Symph.;  1885- 
1917,  viola  of  ELneisel  Quartet; 
taught  at  Inst.  of  Mus.  Art,  N.  Y.? 
and  later  at  Curtis  Inst.,  Phila- 
delphia. 

Svendsen  (sv6nt'-z£n),  (i)  Oluf, 
Christiania,  1832 — London,  1888; 
flutist.  (2)  Johan  (Severm), 
Christiania,  Sept.  30,  1840 — Copen- 
hagen, June  13,  1911;  important, 
though  eclectic  composer;  son  of  a 
bandm.;  at  n  c.  vln.-pcs.;  at  15 
enlisted  in  the  army  and  was  soon 
bandm.,  and  played  flute,  clarinet, 
and  vln.:  with  a  stipend  from 


DICTIONARY  OF  MUSICIANS 


427 


Charles  XV.,  he  studied  v^n.;  at  23 
he  became  pupil  of  David  and 
Hauptmann,  Richter,  and  Reinecke, 
Leipzig  Cons.;  toured  1868-69,  in 
Musard's  orch.;  and  at  the  Ode"  on, 
Paris;  1869,  Leipzig;  1871,  m.  an 
American  in  New  York;  1872-77, 
and  1880-83,  cond.  Christiania  Mus. 
Assoc.;  1883-1908,  ct.-cond.  at 
Copenhagen;  from  1896,  cond.  Royal 
Th.  there.  C.  2  symphonies,  over- 
ture to  Bjornson's  "Sigurd  Slembe"; 
"Romeo  and  Juliet,"  funeral  march 
for  Charles  XV.,  coronation  march 
(for  Oscar  II.),  wedding-cantata, 
etc.,  with  orch.;  op.  16,  "Carnaval 
des  artistes  norve'giens,"  humorous 
march;  4  "Norwegian  Rhapsodies" 
for  orch.;  vln.  and  'cello  concertos, 
chamber-music  and  songs,  etc. 

Swar'thout,  (i)  Donald  Malcolm,  b. 
Pawpaw,  HI.,  Aug.  9,  1884;  educator; 
studied  in  Chicago,  at  Leipzig  Cons., 
and  piano  with  Philipp;  formerly 
assoc.  dir,  of  music,  Oxford  Coll., 
Ohio,  and  Millikin  Univ.;  after 
1923,  prof,  of  pf .  and  dean,  School  of 
Fine  Arts,  Univ.  of  Kansas,  where 
he  served  as  cond.  of  Lawrence 
Choral  Union  and.  of  annual  music 
fests.;  sec'y*  Music  Teachers  Nat'l 
Assoc.;  ed.  University  Course  of 
of  Music  Study.  (2)  Gladys,  b. 
Deepwater,  Mo.,  Dec.  25,  1904; 
mezzo-soprano;  studied  in  Kansas 
City  and  at  Bush  Cons.,  Chicago; 
debut,  1923,  as  soloist  with  Minne- 
apolis Symph.;  mem.  Chicago  Civic 
Op.  Co.,  1924-25;  Ravinia  Op.  Co., 
1927-29;  after  latter  year  mem.  Met. 
Op.  Co.;  also  active  as  concert,  radio 
and  film  artist;  m.  Frank  Chapman, 
barytone. 

Sweelinck  (or  Swelinck,  the  best  a 
of  the  7  spellings)  (sva'-llnk),  (i) 
Jan  Pieter  (called  Jan  Pieterszoon), 
Amsterdam,  1562 — Oct.  16,  1621; 
chief  of  Dutch  organists.  Son  and 
(iS77~8i)  successor,  probablv  also 
pupil,  of  (2)  Pieter  (  d.  1573)*  who 
Had  won  pre-eminence  as  the  org.- 
virtuoso  and  teacher  of  his  own  time, 
(i)  was  tie  first  to  employ  the  pedal 
in  a  real  fugal  part,  and  originated 
the  org.-fugue;  c.  psalms,  motets,  etc. 

Sweet,  Reginald,  b.  Yonkers,  N.  Y., 
Oct.  14,  1885;  composer;  pupil  of 
Noyes,  Eisenberger,  Koch  and  Kaun; 
taught  at  Chautauqua  and  in  N.  Y.; 
c.  (one-act  opera)  "Riders  to  the 
Sea"  chamber  music,  etc. 


Swert,  Jules  de.     Vide  BESWERT. 

Swieten  (sve'tSn),  Gf.,  Baron  von, 
I734 — Vienna,  1803;  eminent  patron, 
but  unimportant  composer,  of  music; 
c.  6  symphs. 

Swinnerton,  Heap.     Vide  HEAP. 

Sympson.     Vide  SIMPSON. 

Szanto  (shan'to"),  Theodore,  Vienna, 
June  3,  1877 — Budapest,  Jan.  i, 
1934;  noted  pianist;  pupil  of  Koessler 
at  Budapest  Acad.;  also  of  Busoni; 
lived  in  Budapest,  1914-21  in 
Switzerland,  then  in  Paris  and 
Helsingfors;  composer. 

Szarvady.     Vide  CXATTSZ-SZAHVADY. 

SzSkely  (sh§/-kS-l5),  Imre  (Emeric), 
Matyasfalva,  Hungary,  May  8,  1823 
— Budapest,  April  8,  1887;  pianist; 
studied  in  Budapest;  toured  1846; 
from  1852  teacher  Budapest;  c. 
Hungarian  fantasias  on  national 
airs;  pf. -concertos,  etc. 

Szell  (shel),  Georg,  b.  Budapest,  June 
7, 1897;  conductor,  composer;  studied 
with  Robert,  Mandyczewski  and 
Reger;  d6but  with  Tonktinstler 
Orch.,  Vienna,  at  u;  asst.  cond.  R. 
Opera,  Berlin,  1915;  cond.  Stras- 
bourg, 1917;  dir.  Dtisseldorf  Op., 
1921;  cond.  Berlin  State  Op.,  1924- 
29;  dir.  Prague  Op.  after  1929;  has 
appeared  with  leading  orchs.  in 
Europe,  incl.  London  and  U.  S. 
(guest  cond.  St.  Louis  Symph., 
1930-1);  cond.  Met.  Op.,  I944J 
cond.  Cleveland  Orch.,  from  1946. 

Szenkar  (shen'-kar),  Eugen,  b.  Buda- 
pest, April  9,  1891;  conductor;  pupil 
of  Budapest  Acad.;  after  1911  active 
as  opera  cond.;  1922  in  Frankfort; 
1923-24,  at  Berlin  Volksop.;  1924- 
33,  in  Cologne;  after  19 34  cond.  of 
Moscow  Phfih.;  later  in  Brazil. 

Szigeti  (se-gSt'-e),  Joseph,  b.  Buda- 
pest, Sept.  2,  1892;  violinist;  studied 
with  Hubay;  performer  of  high 
musicianship  and  purity  of  style; 
an  outstanding  virtuoso;  has  ap- 
peared with  important  orchs.  in 
Europe  and  U.  S.,  also  as  recitalist 
and  chamber  music  player;  particu- 
larly noted  for  his  perfs.  of  Beethoven 
and  Bach;  has  ed.  and  transcribed 
many  works  for  violin. 

Szumowska  (shoo-m6f'-shka),  Antoi- 
nette, Lublin,  Poland,  Feb.  22,  1868 
— Rumson,  N.  J.,  Aug.  18,  1938; 
pianist;  pupil  of  Strobe!,  Michalow- 
ski  and  Paderewski;  played  with 
great  succ.  at  London,  Paris^  New 


428 


DICTIONARY  OF  MUSICIANS 


York,  Boston,  etc.;  m.  Joseph 
Adamowski;  lived  in  Boston. 

Szymanowska  (she-ma-n6f'-shka), 

Maria  (n6e  Wolowska),  Poland, 
1790 — (of  cholera),  Petersburg,  1832; 
pianist;  pupil  of  Field  at  Mos- 
cow; ct.-pianlst  at  Petersburg; 
Goethe  was  infatuated  with  her 
and  she  with  him;  c.  24  mazurkas, 
etc. 

Szymanowski  (she-man-6f -ske),  Karol, 
Timoshovka,  Ukraine,  1883 — near 
Lausanne,  March  27,  1937;  Polish 
composer,  considered  the  most  im- 
portant creative  figure  of  his  nation 
since  Chopin;  early  composed  piano 
pieces  during  study  with  Noskowski, 
which  have  marked  individuality; 
about  1914  his  style  underwent  a 
change  to  more  complex  harmony; 
the  transitional  period  in  his  work 
marked  by  the  music  drama,  (one 
act)  "Hagith,"  comp,  1912  but  not 
prod,  in  Warsaw  until  1922,  which 
shows  a  somewhat  Straussian  style; 
later  his  works  are  increasingly 
marked  by  atonality  and  post- 
impressionism,  also  by  greater 
subtlety,  ^  refinement  of  effect, 
and  emotional  power:  c.  (operas) 
"Hagith";  "King  Roger";  (ballet) 
"Harnasie"  (with  vocal  soloist); 
(masques)  "Scheherazade";  "Tan- 
tris  the  Fool";  "Don  Juan's  Sere- 
nade"; (orch.)  3  symphonies; 
"Penthesilea";  Serenata;  Sinfonia 
Concertante;  vln.  concerto;  (cham- 
ber music)  string  quartet,  vln.  and 
piano  sonata;  (choral  works) 
"Stabat  Mater,"  "Demeter,"  "Agave"; 
and  many  piano  works  incl.  "Masks" 
and  "Myths,"  songs,  etc. 


Tacchinardi  (tak-ki-nSr'-dg),  (i) 
Nicola,  Florence,  1772 — 1859;  at 
17  a  violinist;  later  a  tenor  of  greatest 
European  popularity,  even  singing 
"Don  Giovanni"  (transposed)  with 
succ.,  though  he  was  hideous  and 
a  hunchback.  His  daughter  (2) 
Fanny  Tacchinardi-Persiani  (v. 
PERSIANI).  His  daughter  (3)  Elisa 
was  a  pianist. 

Tadolini  (ta-do-lS'~ne),  (i)  Giov., 
Bologna,  1703 — 1872;  dram,  com- 
poser; m.  (2)  Eugenia  Savorini  (b. 
Forli,  1809),  a  singer. 

Taffanel  (taf'-fii-nel),  Claude  Paul, 
Bordeaux,  Sept.  16,  1844— Paris, 


Nov.  22,  1908;  flutist,  pupil  of 
Dorns  (flute)  and  Reber  (comp); 
3rd  cond.  Grand  Op6ra,  Paris;  1892, 
dir.  Paris  Cons,  concerts — resigned, 
1901;  1893,  prof,  of  flute  there. 
Tag  (takh),  Chr.  Gotthilf,  Bayerfeld, 
Saxony,  1735 — Niederzwonitz,  1811. 
composer. 

TagHafico    (tal-ya-fe'-ks),    Jos.   Dieu- 
donne,  Toulon,  Jan.  i,  1821 — Nice, 
Jan.   27,   1900;  operatic  singer  and 
stage-manager  in  London. 
Tagliana  (tal-yS'-na),  Emilia,  b.  Milan, 
1854;  pupil  ^of  the  Cons,  there,  also 
of  Lamperti;   colorature-soprano  in 
various  cities;  1873-77,  Vienna. 
Tagliavini    (tal-ya-ve'-ne),    F.,    noted 

Ital.  lyric  tenor;  M.  O.  H.  1946-7. 
TSglichsbeck  (takhMlkhs-bSk),  Thos., 
Ansbach,  1799 — Baden-Baden,  1867; 
violinist,  conductor  and  dram,  com- 
poser. 

Taglioni  (tal-y6'-ne),  Fdo.,  Naples, 
Sept.  14,  1 8 10 — ?;  son  of  the  famous 
ballet-master  Salvatore  T.  (1790 — 
1868).  1842-49,  cond.  at  Laziano; 
till  1852,  leader  San  Carlo  Th.,  Na- 
ples; editor  and  conductor;  founded 
a  sch.  for  choral  singing;  pub 
pamphlets  and  sacred  songs. 
Tailleferre  (tl'-fer),  Germaine,  b.  Pau- 
St.-Maur  near  Paris,  April  19,  1892; 
composer,  pianist;  pupil  of  Paris 
Cons.;  belonged  to  "Group  of  Six"; 
her  works  marked  by  taste  and  sensi- 
tiveness, not  radical  in  manner,  but 
in  tradition  of  Debussy,  Faur6,  etc.; 
visited  TJ.  S.  as  guest  pianist  in  her 
works;  c.  Ballade  for  piano  and  orch.; 
"Pastorale,"  "Les  Jeuz,  de  Plein 
Air"-,  string  guartet;  (ballet)  "Le 
Marchand  d'Oiseaux"  (Swedish  Bal- 
let, Paris,  1923),  etc. 
Tal'ich,  Vaclav,  b.  Kromentz,  Moravia, 
1883;  conductor;  pupil  of  Prague 
Cons.,  of  Reger  and  Nikisch  in 
Leipzig,  also  studied  in  Milan;  played 
vln.  in  Berlin  Philh.;  later  active  as 
cond.  in  Tiflis,  Prague,  Laibach, 
Pilsen,  and  after  1918  with  the 
Czech  jPhilh.  Orch,;  toured  in  other 
countries;  1936,  appointed  dir.  of 
Prague  National  Theatre,  succeeding 
the  late  Ottakar  OstrciL 
Talley,  Marion,  b.  Nevada,  Mo.,  1907; 
coloratura  soprano;  early  studied 
piano  _and  vln.,  then  voice  with  a 
local  instructor;  sang  in  a  church 
choir,  and^  gave  public  concert  in 
Kansas  City,  her  unusual  vocal 
promise  led  tc  a  subscription  by 


DICTIONARY  OF  MUSICIANS 


429 


residents  of  latter  city  for  further 
study  in  N.  Y.  and  Italy;  made  d£but 
with  Met.  Op.  Co.,  as  "Gilda,"  1926, 
an  occasion  attended  by  sensational 
public  interest;  sang  other  coloratura 
roles  with  this  company  during  the 
next  few  seasons;  later  appeared  at 
Ravinia  Op.  and  as  guest  with 
Chicago  Op.  Co.;  also  in  concerts, 
radio  and  musical  films. 

Tal(l)ys  (or  Tallis),  Thos.,  ca.  (1520-29) 
— London,  Nov.  23,  1585;  an  early 
English  composer  whose  remarkable 
contrapuntal  ability  and  harmonic 
richness  place^him  close  to  Palestrina. 
His  training  is  not  known;  1540,  he 
ceased  to  be  organist  at  Waltham 
Abbey  and  joined  the  Chapel  Royal; 
he  was  co-organist  with  Byrd  and 
shared  his  monopoly  of  mus.-paper 
and  printing;  he  c,  notable  church 
mus.  for  both  Catholic  and  English 
services,  also  a  song  in  40  parts,  etc. 

Tamagno  (ta-man'-yd),  Fran.,  Turin, 
1851 — Varese,  Aug.  31,  ^03;  robust 
tenor;  d6but,  Palermo;  sang  with 
great  succ.  at  La  Scala,  Milan,  1880, 
throughout  Europe  and  in  both 
Americas.  1887,  he  created  Verdi's 
"Otello." 

Tam'berlik,  Enrico,  Rome,  1820 — 
Paris,  1889;  famous  tenor;  pupil  of 
Borgna  and  Guglielmi;  d6but,  Na- 
ples, 1841 ;  he  had  a  powerful  high  c'". 

Tamburini  (t&m-boo-re'-ne),  A.,  Faen- 
za,  March  28,  1800 — Nice,  Nov.  $, 
1876.  Next  to  Lablache,  perhaps 
the  most  succ.  of  male  singers;  a 
lyric  bass  with  compass  of  2  octaves; 
the  son  and  pupil  of  a  bandm.  A 
horn-player  first,  then  pupil  of  Boni 
and  Asioli;  d6hut,  Centi,  1818. 

Tanaka  (ta-na'-ka),  Shone",  Japanese 
theorist;  pupil  of  Spitta;  inv.  the 
enharmonium  with  just  intonation. 

Tanejew  (or  Taneiev)  (ta'-nS-ySf), 
(i)  Sergei,  b.  near  Vladimir,  Russia, 
Nov.  13,  1856 — Moscow,  June  18, 
1915;  pupil  of  N.  Rubinstein  and 
Tchaikowsky;  prof,  of  theory  and 
comp.  Moscow  Cons.;  after  1878, 
dir.;  prod.  3-act  opera  "Oresteia" 
(St.  Petersburg,  1895);  a  cantata 
"John  of  Damascus"  1884;  four 
symphonies,  No.  i  pub.  1902,  a 
Russian  overture,  seven  string  quar- 
tets. His  uncle  (2)  Alexander  Ser- 
geivich,  St.  Petersburg,  Jan.  5,  1850 
— Feb,  7,  1918;  statesman  and  high 
chancellor;  was  a  pupil  of  Reichel 
and  later  of  Rimsky-K^rsakov  and 


Petrov;  c.  3  symphs.;  jymph.  poem 
"Alecha  Popovick"-,  operas,  3  string 
quartets,  etc. 

Tans'man,  Alexandra,  b.  Lodz,  Poland, 
June  12,  1897;  composer;  studied  at 
Warsaw  Univ.,  also  with  Gawronski, 
Vas  and  others;  one  of  most  talented 

.  modern  composers  and  has  made 
tours  in  leading  Eur.  countries,  also 
in  America  after  1927,  appearing  as 
guest  cond.  and  pianist  with  im- 
portant orchs.:  c.  (opera)  "  Nuit 
Kurde";  (orch.)  symphony;  "Danse 
de  la  Sorci&re";  Symphonic  Overture; 
Polish  Dances;  Sinfonietta;  2  piano 
concertos,  chamber  music,  etc. 

Tansur  (tan'-siir),  Win.,  Dunchurch 
in  Warwickshire,  1706 — St.  Neots, 
1783;  organist,  teacher,  writer  and 
composer. 

Tappert  (tap'-p&rt),  Win.,  Ober- 
Thomaswaldau,  Silesia,  Feb.  19,  1830 
— Berlin,  Oct.  27,  1907;  important 
theorist;  a  schoolmaster,  then  1856, 
studied  with  Dehn  theory;  Kullak's 
Acad.;  lived  in  Berlin  from  1866  as 
a  writer,  elitor  and  composer. 

Tarchi  (t2r'-ke),  Angelo,  Naples,  1760 
— Paris,  1814;  dramatic  composer. 

Tarditi  (tar-de'-te),  Orazio,  d.  after 
1670;  from  1648,  maestro  Faenza 
Cath.;  composer. 

Tartini  (tSr-tg'-ne*),  Giuseppe,  Pirano, 
Istria,  April  8,  1692 — Padua,  Feb.  26, 
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  mar- 
riage with  a  niece  of  Cardinal  Cor- 
naro,  led  him  to  take  refuge  in  the 
Franciscan  monastery  at  Assisi, 
where  for  two  years  he  practiced  the 
vln.  and  studied  comp.  After  a  rec- 
onciliation he  returned  to  Padua. 
Later  he  heard  the  violinist  Veracini 
at  Venice,  and  sending  his  wife  to 
relations,  retired  to  Ancona  for 
further  study.  1714^  he  discovered 
the  combinational  tones  (v.  jx  »., 
"I^STTLTANT")  and  utilised  them  in 
perfecting  intonation;  1721,  solo~ 
violinist  and  cond.  at  St.  Ajrtonio, 
Padua;  1723—25,  chamber-mus.  to 
Count  Kinsky,  Prague;  1728, 
founded  a  vln.-school  at  Padua; 
pub.  treatises  on  harm,  and  acous- 
tics; he  published  18  vln.-concertos, 
50  sonatas  with  bass,  etc.,  incl.  the 
famous,  posthumous  "II  Trillo  del 


430 


DICTIONARY  OF  MUSICIANS 


Di&oolo,"  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'-kS),  P.  Ant.  (Baron),  Noto, 
Sicily,  April  i,  1864 — May  14,  1934; 
composer  of  opera  "A  Santa  Lucia£ 
succ.  in  Germany,  1902;  symph., 
string  quartet,  etc. 

Taskin  (tSs-k^n),  (i)  Pascal,  Theux 
(Li6ge),  1723— Paris,  1793;  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 — 1829; 
nephew  of  above;  keeper  of  the 
King's  Instruments.  (3)  H.  Jos., 
Versailles,  1779 — Paris,  1852:  son  of 
above;  organist.  (4)  (Emile)  Alex., 
Paris,  1853 — 1897;  grandson  o£  (3); 
barytone. 

Tauber  (tow'-b£r) ,  Richard,  Linz,  May 
16,    1892 — London,    Jan.    8,    1948; 
opera    and    concert    tenor;    studied 
Hoch   Cons.,    Frankfort,   with   Carl 
Beines;  d6but  as  "Tamino"  in  "  Magic 
Flute,"  Chemnitz,  1913;  mem.  Dres- 
den Op.,  1914-24;  after  latter  year 
sang     principally     at     Vienna     and 
Berlin    State    Ops.,    also    in    Paris, 
Salzburg,    Munich,   etc.;   won   wide 
popularity    in    the    light    operas    of 
Lehar,  in  whose  "Land  of  Smiles"  he 
later  made  London  d6but;  ist  Amer. 
appearances  in  recitals,  1931. 
Taiibert  (tow'-bSrt),  (i)  (K.  Of.)  Wm., 
Berlin,    1811 — 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,     Naumburg-on- 
Saale,  Jiuie  26,  1833 — Torgau,  Aug. 
i,   1903;  pupil  of  O.   Claudius  and 
prefect"  of  the  cath.-choir;   1863, 
prof.,  cantor  and  cond.  at  Torgau; 
pub.  treatises;  composer.     (3)  Ernst 
Eduard,     Regenwalde,     Pomerania, 
Sept.  25, 1838 — Berlin,  July,  14, 1934; 
studied  at  the  Stern  Cons.,  Berlin; 
Prof.,  1898;  pub.  chamber-mus.,  etc. 
Taubmann  (towp'-man),   Otto,  Ham- 
burg, March  8,  1859 — Berlin,  July  4, 
1029;  mus.  director;  pupil  Dresden 
Cons.;  1886-89  <&:•  Wiesbaden  Cons.; 
1891  theatre  cond.  in  St.  Petersburg; 
from  1895  in  Berlin  as  critic;  c.  mass 
with    orch.     (1898),    choral    drama 
"Sangerweihe"      (Elberfeld,       1904), 
"Psalm  13"  with  orch.,  etc. 


Taudou  (t5-doo),  A.  (Antonin  Bar- 
th£l§my),  Perpignan,  France,  Aug. 
24,  1846 — Paris,  July  6,  1925;  violin- 
ist; pupil  of  Paris  Cons.,  winning 
Grand  prix  de  Rome,  1889;  member 
of  the  Op6ra-orch.;  from  1883,  prof, 
of  harm,  at  the  Cons.;  c.  vln.- 
concerto,  etc. 

Tausch  (towsh),  Fz.,  Heidelberg,  1762 
— Berlin,  1817;  clarinettist  and  com- 
poser. 

Tausig  (tow'-zlkh),  (i)  Aloys,  1817 — 
1885;  pianist  and  composer,  pupil 
of  Thalberg.  (2)  Karl,  Warsaw, 
Nov.  4,  1841 — (of  typhoid  fever), 
Leipzig,  July  17,  1871;  remarkable 
piano-virtuoso;  son  and  pupil  of 
above;  and  of  Liszt;  d6but,  Berlin, 
1858;  lived  Dresden  and  Vienna  as 
notable  cond.;  1865  founded  a  sch. 
at  Berlin;  c.  bnlliant  exercises, 
transcriptions,  etc. 

Tauwitz  (tow'-vlts),  Eduard,  Glatz, 
Silesia,  1812 — Prague,  1894;  con- 
ductor; c.  more  than  1,000  comps. 
incl.  3  operas. 

Tav'erner,  (i)  John,  d.  Boston,  Eng- 
land; organist  and  composer  at  Ox- 
ford, r530.  (2)  Rev.  J.,  d.  Stoke 
Newington,  1638;  organist  and  com- 
poser. 

Tayber.  Vide  TEYBER. 
Taylor,  (i)  Edw.,  Norwich,  Englv 
1784 — Brentwood,  1863;  bass,  con- 
ductor, critic,  lecturer  and  writer. 
(2)  Franklin,  Birmingham,  Engl., 
Feb.  5,  1843 — London,  1919;  pianist 
and  teacher;  pupil  of  C.  Flavell  (pf.) 
and  T.  Redsmore  (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  Development  of  pf. -playing; 
writer  and  translator.  (3)  Qosepfi) 
Deems,  b.  New  York,  Dec.  22,  1885; 
composer,  critic,  editor;  grad.  N.  Y. 
U.,  from  which  also  hon.  Mus.  D., 
1927;  mem.  editorial  staff,  Nelson 
.  Encyclopedia,  1906-07;  Encyclope- 
dia Britannica,  1908;  assistant  Sun- 
day ed.,  N.  Y.  Tribune,  1916;  served 
as  correspondent  for  Tribune  in 
France,  1916-17;  associate  ed.,  Col- 
Her's  Weekly,  1917-19;  music  critic, 
N,  Y%  World,  1921-25;  ed.,  Musical 
America,  1927—20;  mem.  producing 
board,  Amer.  Op.  Co..  advisory 
board,  Encyclopedia  Brittanica: 
member,  Nat'l  Institute  of  Arts  and 
Letters,  Society  for  the  Publication 
of  American  Music,  Authors'  League 


DICTIONARY  OF  MUSICIANS 


431 


of  America;  c.  musical  comedy,  "The 
Echo,"  prod,  on  Broadway,  1910; 
symph.  poem,  "The  Siren  Song," 
awarded  National  Fed.  of  Music 
Clubs  prize,  1912;  (cantatas)  "The 
Chambered  Nautilus"  and  "The 
Highwayman,"  latter  for  MacDowell 
Fest.,  1914;  suite  for  orch.,  "Through 
the  Looking  Glass";  rhapsody  for 
small  orch.,  "Portrait  of  a  Lady"} 
(pantomime)  "A  Kiss  in  Xanadu"; 
sjrmph.  poem,  "Jurgen"  commis- 
sioned by  N.  Y.  Symph.,  1925;  suite 
for  jazz  orch.,  "Circus  Day,"  1925, 
later  arranged  for  symph.  orch.; 
(operas)  "The  King's  Henchman" 
(to  libretto  by  Edna  St.  Vincent 
Millay),  commissioned  by  Met.  Op. 
Co.,  1927;  "Peter  Ibbetson"  (after 
Du  Maurier  novel),  commissioned  by 
Metropolitan,  1930-31;  incid.  music 
to  Obey's  drama  "Lucrece"  for 
Katharine  Cornell;  also  choral  works 
and  arrangements,  songs,  piano 
pieces;  has  appeared  as  guest  cond. 
of  his  works  with  leading  Amer. 
orch,;  opera,  "Ramuntcho"  on  Basque 
theme  (Philadelphia  Op.  Co.,  1942); 
author  of  many  books  on  music. 
Tchaikovsky  (or  Tschaikowsky,  etc.) 
(tsha-5-k<ff'-shkl),  Peter  Hjitch,  Wot- 
kinsk,  in  the  Government  of  Wiatka, 
May  7,  1840 — (of  cholera)  Peters- 
burg, Nov.  6,  1893;  eminent  Russian 
composer.  Studied  law,  and  entered 
the  government  civil  service;  did  not 
take  up  raus.  seriously  till  22;  then 
entered  the  newly  founded  Peters- 
burg Cons.,  under  Zaremba  and  A. 
Rubinstein,  1865,  winning  a  prize 
medal  for  Schiller's  ode  "An  die 
Freude"  (also  used  in  Beethoven's 
9th  symph.);  1866-77,  instructor  of 
harm,  there;  then  lived  Petersburg, 
Italy,  Switzerland,  as  composer.  He 
visited  England  and  appeared  at 
Phil.  Concerts,  1888  and  '89;  visited 
New  York  for  the  dedication  of  the 
new  Carnegie  Music  Hall,  and-  cond. 
his  own  compositions.  1893,  Mus. 
Doc.  h.  c.,  Cambridge.  Writer,  and 
translator  of  harm,  text-books.  C. 
ii  Russian  operas,  incl.  "  The  Voye- 
vode"  (Moscow.  1869),  "Opritchnnyk" 
(Petersb.,  1874),  "  Vakula,  the  Smith" 
(Petersb.,  1876);  "Jevgenjie  Onegin"; 
1879,  "Eugene  Onegin,"  in  German 
(Hamburg,  1892),  and  posthumous 
"Pique  Dame"  (Vienna  ct.-th.,  1902); 
3  ballets,  "Le  Lac  des  Cygnes"  (op. 
20),  "La  Belle  au  Bois  Dormant" 


(1890),  and  "Le  C  ass  e- Noisette"  (op. 
71);  a  coronation  cantata  with  orch.; 

2  masses;  6  symphs.,  incl.  No.  6  in 
B  minor,  the  famous  "Patfatique"; 
7    symph.    poems,    "The    Tempest," 
"Francesca  da  Rimini,"  "Manfred," 
"Romeo    and    Juliet"     (a    fantasy- 
overture);  "Hamlet,"  "Fatum,"  and 
"Le     Voyevode"     (symph.     ballad); 
4  orch.   suites  incl.    "Mozartiana;" 

3  overtures  1*1:812"  (pp.  49),  "Triom- 
phale"  on  the  Danish  nati.  hymn; 
*'L'Orage";  "Marche  slave,"  corona- 
tion march;  3  pf.-concertos;  a  pL- 
fantasia   with    orch.;    vln.-concerto; 
capriccio  for  'cello  with  orch.;  string- 
sextet    "Souvenir    de    Florence,"    3 
string-quartets,  a  pf.-trio,  pieces  for 
vln.  and   'cello;   and   pf.-pcs*,  incl. 
"Souvenir  de  Hapsal,"  sonata  "The 
Seasons,"      12     characteristic     pcs., 
"Kinder  Album"',  6  duets,  Russian 
songs,  etc.     Also  pub.  a  harmony;  Ms 
"Erinnerungen"  and  translations  of 
Gevaert,  etc. 

Among  many  biographical  works  are 
those  in  English  by  Evans,  Lee,  New- 
march,  Ronald,  Bowen  and  Meek; 
the  one  by  Mrs.  Newmarch  contain- 
ing extracts  from  T's.  critical  writ- 
ings and  the  diary  of  his  1888  tour. 
The  composer's  bro.  Modeste  pub.  a 
"Life  and  Letters  of  T.",  1906.  (See 
article,  page  537.) 

Tebaldini  (ta-bal-dS'-nS),  Giovanni,  b. 
Brescia,  Sept.  7, 1864;  historian;  pupil 
Milan  Cons.,  and  in  musical  history 
of  Amelli,  Haberl  and  Haller;  1889 
cond.  at  St.  Mark's,  Venice;  1894  at 
San  Antonio,  Padua;  from  1897,  dir. 
Parma  Cons.,  after  1902  church  cond. 
at  Loreto;  1926,  in  Naples  as  prof.; 
wrote  historical  works,  and  c.  orch., 
also  church  music. 

Tedesco  (ta'-dSs'-kS),  Ignaz  (Ama- 
dous), Prague,  1817 — Odessa,  Nov. 
13,  1882;  brilliant  pianist  ("the 
Hannibal  of  octaves");  composer. 

Telexnann  (ta'-lS-man),  (i)  G.  Philipp, 
Magdeburg,  March  14,  1681 — Ham- 
burg, June  25,  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 
ind.  40  operas,  44  passions,  etc.; 
autobiog.,  1731.  (2)  G.  Michael, 
Pl6n,  Holstein,  1748 — Riga,  1831; 
grandson  of  above;  cantor,  theorist 
and:  comp. 

Tel'ford.     Vide  PRANCIS  BOOTT. 


432 


DICTIONARY  OF  MUSICIANS 


Tellefsen,  Tlios.  Dyke  Acland,  Trond- 
heim,  Norway,  1823 — Paris,  1874; 
pianist  and  composer. 

Telman'yi,  Emil,  b.  Arad,  Hungary, 
June  22,  1892;  violinist;  pupil  of 
Moritz  Unger,  Hubay,  Koessler  and 
Herzfeld;  d6but  in  Berlin,  1911, 
playing  Elgar  concerto;  toured  U.  S. 
and  Europe;  m.  daughter  of  Carl 
Nielsen,  composer;  res.  in  Copen- 
hagen. 

Tem'pleton,  J.,  Riccarton,  Scotland, 
1802 — New  Hampton,  near  London, 
1886;  tenor. 

Tenaglia  (ta-nal'-ya),  Anton  Fran.,  b. 
Florence;  conductor  at  Rome;  c.  the 
first  known  opera  using  an  aria  da 
capo*  "Clc&rcoS*  x66i. 

Ten  Brink.     Vide  BRINK,  TEN. 

Tenducci  (ten-doot'-che),  Giusto  F., 
b.  Siena,  1736;  famous  male  operatic 
soprano. 

Ten  Kate.    Vide  KATE,  TEN. 

Ternina  (tar-ne"'-na) ,  Milka,  BegisSe, 
Croatia,  1863 — Zagreb,  1940;  noted 
dramatic  soprano;  studied  with  Gans- 
bacher,  d6but  Leipzig,  1883;  then 
sang  Graz  and  Bremen;  1890  Munich, 
named  "court-singer";  sang  in  Bay- 
reuth  and  in  America  1899—1904 
(Met.  Op.  Co.). 

Terpan'der,  b.  Antissa,  Lesbos,  7th 
cent.  B.  C.;  called  the  "Father  of 
Greek  music." 

Terrabugio  (t&r-ra-boo'-j5),  Giuseppe, 
Primiero,  May  13,  1843 — Jan.  9, 
I933J  writer;  pupil  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. 

Terradellas  (Terradeglias)  (t£r-ra-del'- 
las  or  dal'-yas),  Domingo  (Dome- 
nico),  Barcelona,  Spain  (baptised, 
Feb.  13,  1711) — Rome,  1751;  dram, 
composer. 

Ter'ry,  (i)  Sir  Richard  Runcfman, 
Ellington,  1865 — London,  April  18, 
1938;  organist;  1890-92  at  Elston 
School,  then  in  Antigua,  West  Indies, 
at  St.  John's  Cathedral;  1896-1901 
Downside  Abbey;  1901-24  at  West- 
minster Cathedral;  active  in  reviving 
early  English  Catholic  music.  (2) 
Charles  Sanford,  Newport  Pagnell, 
Oct.  24,  1864 — Aberdeenshire,  Nov. 
5,  1936;  studied  Clare  Coll.,  Cam- 
bridge; after  1903  prof,  at  the  Univ. 
of  Aberdeen;  honorary  Mus.  Doc., 
Edinburgh;  founded  ist  competition 


fest.  in  Scotland,  1909;  a  specialist 
in  the  music  of  Bach,  of  whom  he 
wrote  biog.  and  many  other  studies; 
also  tr.  cantata  texts  into  English. 

Terschak  (tSr'-shak),  Ado,  Prague, 
1832 — Breslau,  1901;  flutist;  pupil 
of  Zierer,  Vienna  Cons.;  toured;  c. 
flute-pcs. 

Ter'tis,  Lionel,  b.  West  HartlepooL 
England,  Dec.  29,  1876;  viola  vir- 
tuoso; studied  at  Leipzig  and  R. 
Coll.  of  Music,  London,  originally 
piano,  then  vln.  and  viola;  he  is  the 
most  eminent  British  performer  on 
last  instrument  and  a  number  of  com- 
posers have  written  works  for  him; 
has  toured  United  States. 

Terziani  (tSr-tsi-a'-ng),  Eugenio,  Rome, 
1824 — 1889;  prof.,  conductor  and 
dram,  composer. 

Teschner  (t£sh!-ner),  Gv.  Wm.,  Magde- 
burg, 1800 — Dresden,  1883;  teacher, 
composer  and  editor. 

Tesi-Tramontini  (ta'-ze-tra-mdn-te'- 
n5),  Vittoria,  Florence,  Feb.  13,  1700 
— Vienna,  1775;  famous  contralto. 

Tessarin  (t€s'-sa-ren),  Fran.,  Venice, 
Dec.  3,  1820 — Rome,  June  30,  1889; 
pianist  and  teacher;  pupil  of  A- 
Fan  no  and  G.  B.  Ferrari;  c.  opera 
"L'  Ultimo  Abencerragio1*  (Venice, 
1858);  a  cantata,  etc. 

Tessarini  (tSs-ssL-re'-nS),  Carlo,  b. 
Rimini,  1690;  famous  violinist,  writer 
and  composer. 

Testor6  (tfis-tQ'-ra),  (i)  Carlo  Giu.,, 
vln.-maker  at  Milan,  ca.  1687 — 1710, 
with  his  sons  (2)  Carlo  A.  and 
(3)  Pietro  A. 

Tetrazzini  (tSt-ra-tse'-ng),  Luisa,  b_ 
Florence,  1871 — Milan,  April  28, 
1940;  soprano;  pupil  of  Ceccherini, 
and  her  sister  Eva,  wife  of  Cleofonte 
Campanini;  d6but  1895  as  "Inez"  in 
"  L'  Africaine,"  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  alter  a  season 
of  great  success  at  Co  vent  Garden, 
1907,  she  made  a  sensation  at  the 
Manhattan  Opera,  N.  Y.,  t9o8~io; 
Chicago  Op.,  1913-14;  she  i^ng  held 
a  foremost  position  amoag  the 
world's  sopranos  in  opera  and 
concert. 

Teyber  (or  Tayber)  (tl'-ber),  (i)  An- 
tonj  Vienna,  1754 — 1822;  conductor, 
cembalist  and  composer.  (2}  Fs.. 


DICTIONARY  OF  MUSICIANS 


433 


Vienna,  1756 — 1810;  bro.  of  above; 
organist  and  dram,  composer. 

Teyte  (tat),  Maggie  (rightly  Tate),  b. 
Wolverhampton,  England,  April  17, 
1890;  soprano;  studied  R.  Coll.  of 
Music  and  with  Jean  de  Reszke; 
dSbut  as  "Zerlina,"  Monte  Carlo, 
1907;  sang  with  Paris  Op.-Comique, 
Beecham  Op.  Co.,  Chicago  Op., 
1911-14;  Boston  Op.,  1915-17;  Co- 
vent  Garden,  1923,^  I93°5  has  also 
appeared  with  orchs,  and  in  recital. 

Thadewaldt  (ta'-dfe-valt),  Hermann, 
Bodenhagen,  Pomerania,  April  8, 
1827 — Berlin,  Feb.  u,  1909;  1850- 
55,  bandm.  at  Diisseldorf;  1893—95, 
cond.  at  Dieppe;  1857  at  Berlin. 
Founded  (1872)  Allgemeane  Deuts- 
cher  Musikverband. 

Ifcalberg  (tsl'-b£rkh),  (i)  Sigismtind, 
Geneva,  Jan.  7,  1812 — Naples,  April 
27,  1871;  famous  piano- virtuoso  and 
composer.  "Being  the  SOB  of  Prince 
Dietrichstein,  who  had  matty  wives 
without  being  married,  T.  had  several 
brothers  of  different  family  names" 
(Grove) .  His  mother  was  the  Baron- 
ess von  Wetzlar.  Both  of  the 
parents-  took  the  greatest  interest  in 
his  education.  He  was  intended  for 
a  diplomatic  career,  but  after  his 
succ.  as  a  pianist  at  14,  gave  himself 
up  to  mus.  He  had  some  tuition 
from  Hummel  (pf.)  and  Sechter 
(comp.),  but  chiefly  from  Mittag,  a 
bassoonist.  At  16  three  florid  com- 
positions appeared;  at  18  a  pf.- 
concerto.  The  same  year  he  toured 
Germany  with  much  succ,;  1834, 
ct.-pianist  at  Vienna;  1835^  he  con- 
quered Paris,  and  later  the  rest  of 
Europe.  1843,  he  m.  Mine.  Boucher, 
daughter  of  Lablache;  i8£i,  his  first 
opera  "Florida,"  failed  in  London, 
And  1855,  "Cristina  di  Svezia"  failed 
in  Vienna.  He  then  toured  Brazil 
(1855),  and  1856,  United  States?  re- 
tiring in  1858  to  his  villa  at  Posilippo, 
near  Naples.  1862,  Paris  and  Lon- 
don; 1863,  second  Brazilian  tfcur; 
1864,  retired  again.  He  was  re- 
markable for  his-  legato  effects  and 
for  the  singing-tone,  Liszt  saying 
"Thalberg  is  the  only  artist  who  can 
play  the  violin  on  the  keyboard." 
He  originated  the  subsequently 
abused  scheme  of  dividing  a  central 
melody  between  the  two  thumbs,  and 
enveloping  it  in  arpeggiated  orna- 
ment. His  comps.  include  many 
florid  transcriptions  of  opera-tunes, 


also  a  grand  concerto,  6  nocturnes, 
"La  Cadence,"  and  " Marche  fun&bre 
variSe,"  etc.  (2)  Marcian,  b.  Odessa, 
2877;  pianist;  pupil  of  Leipzig  Cons.; 
toured  in  Europe;  after  1913  teacher 
of  advanced  students  at  Cincinnati 
Conservatory.  

Thayer  (tha'-e'r),  (i)  Alex.  Wheelock, 
South  Natick,  Mass.,  Oct.  22,  1817 — 
Trieste,  July  15,  1897;  graduated 
Harvard,  1843;  was  librarian  there 
for  some  years;  1849  went  to  Europe 
and  began  materials  for  life  of 
Beethoven;  1862,  America  as  jour- 
nalist; 1854  returned  to  Germany 
and  frequently  afterwards  as  his 
means  permitted;  1862,  U.  S.  con- 
sular agent  at  Vienna;  later,  till 
death,  consul  at  Trieste;  besides 
many  articles  he  wrote  a  great  but 
uncompleted  life  of  Beethoven; 
though  written  in  English  it  was  first 
pub*  in  a  German  trans,  by  H. 
Deiters,  in  5  vols.  (Berlin,  1866- 
1008).  The  English  edition^  com- 
pleted by  H.  E.  Krehbielr  was  pub. 
1921,  under  the  sponsorship  of  the 
Beethoven  Ass'n,  N.  Y-  (3  vol&O. 
(2)  (Whitney)  Eugene,  Mendon, 
Mass.,  1838— Burlington,  Vermont, 
1889;  organist,  editor,  composer. 

Theile  (tlMe1),  Jn.»  Naumburg,  1646— 
1724;  conductor  and  composer. 

Thebom,  Blanche,  Am.  mezzo?  Met. 
Op.,  1944. 

Them  (t£rn),  (i)  Karl  (Karolf),  Iglo, 
Upper  Hungary,  1817 — Vienna,  r886; 
conductor,  professor  and  dram,  com- 
poser. His  sons  and  pf  .-pupils  (also 
pupils  of  Moscheles  and  Reinecke), 
(2>  Wffli  (Ofen,  June  22,  1847— 
Vienna,  April  7,  ±911)  and  (3)  Louis 
(Pesth,  Dec.  18,  3:848 — Vienna, 
March  12,  1920)  were  teachers. 

Thibaud  (tS'-bo),  (i)  Jos.,  b.  Bor- 
deaux, Jan.  25,  1875;  pianist;  pupil 
of  L.  Dimmer,  Paris  Cons.,  taking 
ist  prize  for  ^f.-playing,  1892;  1895- 
96,  accompanied  Marsick  to  America. 
(2;  Jacques,  b.  Bordeaux,  Se^t~  27, 
1880;  violinist;  pupil  of  Marsick  at 
Paris  Cons.,  winning  first  prize  at  16; 
platyed  at  the  Caf  6  Rouge  and  was 
engaged  for  Colonne's  orch.,  became 
soloist,  1898*  toured  the  world  as 
leading  virtuoso;  member  trio  with 
Casals,  Cortot;  d.  in  plane  disaster 
in  the  French  Alps,  Sept.  i,  1953- 

Thibaut  IV.  (te-bo-katr),  King  of 
Navarre;  Troyes,  1201 — Pamplona, 
1253;  composer. 


434 


DICTIONARY  OF  MUSICIANS 


Thibaut  (t€'-bowt),  Anton  Fr.  Justus, 
Hameln,  1 7  74 — Heidelberg,  1 840 ; 
professor  and  writer. 

Thiele  (te'-lS),  Jno.  FT.  Ludwig,  Harz- 
gerode,  near  Bernburg,  1816 — Ber- 
lin, 1848;  organist  and  composer. 

Thierfelder  (t€r'-f£lt-er),  Albert  (Wm.), 
Miihlhausen,  April  30,  1846 — Ros- 
tock, Jan.  5,  1924;  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  Heirathstein"  (text 
and  music)  (Rostock,  1898),  "Zla- 
torog,"  and  "Frau  Holde,"  for  soli, 
chorus,  and  orch.,  and  2  symphs.,  etc. 

Tnieriot  (ts'-rf-o),  (i)  Paul  Emfl, 
Leipzig,  1780  —  Wiesbaden,  1831; 
violinist.  (2)  Fd.f  Hamburg,  April 
7,  1838 — Aug.  4,  1919;  pupil  of 
E.  Marxsen,  and  Rheinberger;  mus.- 
dir.  at  Hamburg,  Leipzig,  and  Glo- 
gau;  lived  in  Hamburg;  c.  symph. 
fantasy  "Loch  Lomond,"  vlh.- 
concerto,  etc. 

"Thill  (tel),  Georges,  b.  Paris,  1899; 
tenor,  studied  with  de  Lucia,  Pandol- 
fini,  Dupr6,  and  at  Paris  Cons.; 
d€but,  Paris  Op.  1924;  sang  at 
Monte  Carlo,  Brussels,  Coyent  Gar- 
den, La  Scala,  Buenos  Aires,  and 
with  Met.  Op.  Co.,  1931—32. 

Thillon    (ts-ydn),   Anna    (n€e   Hunt), 


,  marrying 

last  named  at  15;  d€but,  Paris,  1838; 
1844^  Auber's  "Crown  Diamonds" 
was  written  for  her;  1850-54,  in 
America,  the  first  to  produce  opera 
in  San  Francisco;  retired  1867  to 
Torquay, 

Thimtis  (tS'-moos),  Albert,  Freiherr 
von,  Cologne,  1806 — 1846;  writer. 

Thoma  (tQ'-ma),  Rudolf,  Lesewitz, 
near  Steinau-on-Oder,  Feb.  22,  1829 
— Breslau,  Oct.  20,  1908;  pupil  of 
R.  Inst,  for  Church-mus.,  Berlin; 
*&57>  cantor,  Hirschberg,  then  Bres- 
lau, 1870,  "R.  Music  Dir.";  founder 
of  a  singing-soc.,  dir.  of  a  sch.;  c.  2 
operas,  2  oratorios,  etc. 

Thomas  (to-mas)  (Chas.  Louis),  Am- 
broise,  Metz,  Aug.  5,  1811 — Paris, 
Feb.  12,  1896;  pupil  of  Paris  Cons.; 
^Tinning  ist  pf. -prize,  1829;  harm., 
1830;  Grand  prix  de  Rome  (1832), 


with  cantata  "Hermann  et  Ketty." 
After  3  years  in  Italy,  returned  to 
Paris,  and  up  to  1843,  prod,  nine 
stage-pcs.,  at  the  Op6ra  and  Op.- 
Com.  with  fair  succ.  The  failure  of 
the  last  was  retrieved  after  a  silence 
of  5  years  by  "Le  Cid"  (1849),  "Le 
Songe  df  Une  Nuit  d?EU"  (1850,  both 
at  the  Op.-Com.).  1851  elected  to 
the  Academic.  The  next  6  operas 
were  only  moderately  succ.;  but 
"Mignon"  (Op.-Com.,  1866)  made  a 
world-wide  succ.  and  -  "Hamlet" 
(Op6ra,  1868)  a  lasting  succ.  in  Paris, 
where  it  is  still  sung.  "Gitte  et 
Gillotin"  (1874),  "Francoise  de  Ri- 
mini" (1882),  and  the  ballet,  "La 
TempUe"  (Op6ra,  1889),  were  his  last 
dram,  works;  1871,  dir.  of  the  Cons.; 
1845,  Chev.;  1858,  Officier;  1868, 
Commander  of  the  Legion  of  Honour, 
C.  also  cantatas;  messe  solenneUe 
(N6tre-Dame,  1865);  many  excellent 
"choeurs  orph6oniques"  (3-part  male 
choruses),  etc. 

Thomas  (tam'-us),  (i)  J.,  Bridgend, 
Glamorganshire,  March  i,  1826 — 
March  19,  1913;  1861  made  "Pen- 
cerdd  Gwalia,"  i.e^  Chief  Bard  of 
Wales;  pupil  at  the  R.  A.  M.;  1851, 
harpist,  R.  It.  Opera;  toured  Europe, 
1852-62  played  at  the  Gewandhaus, 
etc.  1862,  cond.  of  the  first  annual 
concert  of  Welsh  mus.,  with  a  chorus 
of  400,  and  20  harps;  1871,  harpist 
to  the  Queen;  leader  in  the  Eistedd- 
fodau,  and  harp-prof.  R.  C.  M.  C. 
dram,  cantata  "Llewelyn"  (1863);  a 
Welsh  scene  "The  Bride  of  Neath 
Valley99  (1866);  patriotic  songs,  with 
harp;  2  harp-concertos,  etc.  (2) 
Lewis  Wm*,  Bath,  April,  1826 — 
London,  1896;  concert-bass,  editor 
and  critic.  (3)  Robert  Harold,  Chel- 
tenham, July  8,  1834 — London, 
July  29,  1885;  pianist;  pupil  of 
Sterndale  Bennett,  C.  Potter,  and 
Blagrove;  d£but  1850;  pf.-prof.  R. 
A.  M.  and  Guildhall  Sch.,  London; 
c.  overtures,  etc.  (4)  Theodor(e), 
Esens,  East  Friesland,  Oct.  u,  1835 
— Chicago,  Jan.  4,  1905;  eminent 
cond.,  educator  and  stimulator  of 
mus.  taste  in  America;  son  and  pupil 
of  a  violinist,  at  6  played  in  public; 
at  10  was  brought  to  New  York, 
where  he  soon  entered  an  orch.;  1851, 
toured  as  soloist,  later  with  Jenny 
Lind,  Grisi,  etc.;  1855,  began  the 
Mason  and  Thomas  Soirees  (with 
Da.  WM.  MASON);  1864-69  cond. 


DICTIONARY  OF  MUSICIANS 


435 


"Symph.  Soirees";  1869  made 
concert-tour  with^  an  orch.  of  54; 
1876  at  Philadelphia  Centennial  with 
ill-succ.  leading  to  disbandment; 
1878—80,  pres.  Cincinnati  Coll.  of 
Mus.;  1880,  cond.  New  York,  Philh. 
Orch.;  from  1888,  dir.  Chicago  Cons., 
also  cond.  Chicago  Orch.  (5)  Arthur 
Goring,  Raltoa  Park,  near  East- 
bourne, Sussex,  Nov.  21,  1850 — 
London,  March  20,  1892;  took  up 
music  at  24  and  studied  with  Emile 
Durand,  later  with  Sullivan  and 
Prout  R.  A.  M.,  London,  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,  1881),  v.  succ.  cantata, 
"The  Swan  and  the  Skylark"  (Birm- 
ingham, 1894,  instrumented  by  C.  V. 
Stanford);  psalm  with  orchestra 
(1878);  3  vocal  scenes,  "Hero  and 
Leander"  (1880),  etc.  (6)  John 
Charles,  b.  Meyersdale,  Pa.;  notable 
barytone;  early  designed  for  medical 
career,  but  while  studying  in  a  Balti- 
more medical  coll,,  won  scholarship 
it  Peabody  Cons.;  pupil  of  Blanche 
S.  Blackman  and  Adelin  Ferrnin; 
d6but,  1912,  in  a  stage  production; 
*ang  in  operettas  in  N.  Y.  where  he 
made  debut  as  recitalist^  1921;  op. 
first  appearance  in  Washington,  D. 
C,,  in  "Aida";  sang  for  several 
seasons  after  1925  with  La  Monnaie 
Op.,  Brussels;  1929,  with  Phila. 
Grand  Op.;  Chicago  Op.,  1930-3*; 
mem.  Met.  Op.  after  1933;  also  with 
San  Francisco  and  Los  Angeles  Op. 
Cos.;  has  wide  following  as  concert 
singer  and  in  radio. 

Ihome1  (tS-ma),  Francis  (rightly  Fran- 
cois Luc.  Jos.),  Port  Louis,  Mauri- 
tius, Oct.  18,  1850 — Paris,  Nov.  16, 
1909;  pupil  of  Marmontel  (pf.),  and 
Duprato  (theory),  Paris  Cons.;  lived 
In  Paris  as  teacher  and  critic;  c. 
"Romto  et  Juliette"  \  a  mystery, 
"U Enfant  Jesus";  symph.  ode 
"  Hymne  a  la  Nuit"  and  many  pop. 
songs  and  pf  .-pcs. 

Thomp'son,  (i)  Randall,  b.  New  York, 
April  12,  1899;  composer;  grad.  Har- 
vard Univ.;  studied  music  there  and 
with  Ernest  Bloch;  1922,  awarded 
Fellowship  at  American  Acad.  ^in 
Rome;  also  Guggenheim  FellowshiD, 


1929—31;  for  a  time  asst.  prof,  of 
music,  Wellesley  Coll.  and  lecturer 
on  music  at  Harvard;  1931—32,  cond- 
Dessoff  Choirs,  New  York;  c.  a 
symphonies  (the  second,  in  E  minor, 
perf .  by  Rochester  Philh.  and  N.  Y. 
Philh.,  1933-34);  "Piper  at  the  Gates 
of  Dawn"  for  orch.;  "Seven  Odes  of 
Horace'9  for  chorus,  3  with  orch. 
accompaniment;  "Americana,"  set- 
ting of  amusing  news  notes  from  pro- 
vincial papers,  quoted  from  Amer- 
ican Mercury,  for  chorus;  "The 
Peaceable  Kingdom"  oratorio  (Bos- 
ton, 1935-36);  also  piano  sonata  and 
suite;  important  string  quartet; 
songs,  piano  pieces,  etc.  (2)  Oscar; 
critic,  N.  Y.  Post,  1927-34;  N.  Y. 
Suny  from  1936,  vice  Henderson; 
author,  "Debussy,"  "How  to  Listen 
to  Music,"  "Practical  Music  Criti- 
cism"-,  d.  N.  Y.  July  2,  1945- 

Thomson  (tam'-sun),  (i)  Geo.,  Lime- 
kilns, Fife,  1757 — Leith,  1851;  no- 
table coll.  and  pub.  of  Scotch,  Welsh 
and  Irish  melodies,  to  which  he  had 
special  instrumental  accompaniments 
written  by  Beethoven.  Pleyel,  etc. 
(2)  Virgil,  b.  Kansas  City,  Kan., 
1896;  composer;  studied  TL  S.  and 
Paris;  has  c.  much  chamber  music  of 
witty  and  ironic  style,  attracting 
particular  attention  for  his  opera, 
"Four  Saints  in  Three  Acts"  to  text 
by  Gertrude  Stein,  prod,  in  Hartford, 
Conn.,  and  N.  Y.,  1934;  also  masses 
for  men's  and  women's  voices; 
"Saints9  Procession"  for  male  voices 
and  piano;  "Five  Phrases  from  the 
Song  of  Solomon"  for  soprano  and 
percussion;  "Sonata  da  Chiesa"\  vln. 
sonata,  "Oraison  Funebre"  for  cham- 
ber orch.;  "Three  Psalms"  for  fem- 
inine chorus;  smaller  works  for  piano 
and  voice;  critic,  N.  Y.  Herald  Trib. 

Thomson  (t6n-s6n),  CSsar,  Ltege, 
March  17,  1857 — Lugano,  Aug.  21, 
1931;  notable  violinist;  from  7  pupi] 
of  Li6ge  Cons.;  at  n,  winning  the 
gold  medal;  then  pupil  of  Vieux- 
temps,  Leonard,  Wieniawski  and 
Massart;  1873-83,  chamber-mus.  to 
Baron  von  Derwies  at  Lugano,  and 
a  member  of  Bilse's  orch.,  Berlin: 
1883—97,  teacher  at  Liege  Cons.; 
1898,  vln.-prof.  Brussels  Cons,  (vice 
Ysaye);  toured  widely;  after  1894 
United  States;  1924  taught  at  Ithaca, 
N.  Y.,  Cons. 

Thooft  (toft),  Willem  Frans,  Amster- 
dam, July  iot  1820 — Rotterdam* 


436 


DICTIONARY  OF  MUSICIANS 


Aug.  27,  1900;  pupil  of  Dupont, 
Hauptmann  and  Richter;  founded 
the  German  opera  at  Rotterdam, 
1860;  c.  choral  prize  symphony, 
"Karl  V."  (1861);  3  other  symphs., 
an  opera,  etc. 

Thort>org,  Kerstin;  Swedish  contralto; 
esp.  noted  as  a  Wagnerian  singer;  has 
appeared  with  succ.  in  Vienna, 
Prague  and  elsewhere  on  the  Conti- 
nent; 1936,  at  Salzburg  Fest.  and  at 
Covent  Garden;  engaged  for  Met. 
Op.  Co.,  1936-37. 

Thome  (th6rn),  Edw.  H.,  Cranborne, 
Dorset,  May  9,  1834  —  London, 
Dec.  26,  1916;  pianist  and  org.; 
chorister  under  Elvey;  organist  vari- 
ous churches;  from  1891,  at  St. 
Anne's,  Soho,  London;  cond.  St. 
Anne's  Choral  and  Orch'l  Soc.  C. 
Psalm  57,  with  orch.;  Magnificat  and 
Nunc  dimittis  with  orch.  and  organ; 
an  overture;  "Sonata  elegia"  for  pf. 

Thrane  (tra-nS),  Waldemar,  Chris- 
tiania,  1790—1828;  violinist;  c.  over- 
tures, etc. 

Thuille  (too-g'-le1),  L.  (Wm.  Ands.  M.), 
Bozen,  Tyrol,  Nov.  30,  1861 — 
Munich,  Feb.  5,  1907;  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.  "  Ltederhort"  \  1891,  R. 
Prof,  of  Mus.;  c.  succ.  opera  "  Theuer- 
dank"  (Munich,  1897,  Luitpold 
Prize),  opera  "Lobetanz"  (Carlsruhe 
and  Berlin,  1898);  "Romantic"  over- 
ture, sextet  for  piano  and  wind, 
sonatas,  etc. 

Thinner  (toor'-ne'r),  Fr.  Etigen,  Mont- 
beliard,  1785 — Amsterdam,  1827; 
oboe-virtuoso;  composer. 


Tfcurs'by,  Emma,  Brooklyn,  N.  Y., 
Nov.  17,  1857 — New  York,  July  4. 
1931;  famous  concert-soprano;  pupil 


Nov.  17,  1857 — New  York,  July  4, 
1931;  famous  concert-soprano;  pupil 
of  Meyer  (Brooklyn),  Errani  (New 


York)  and  Mme.  Rudersdorff  (Bos- 
ton), then  of  Lamperti  and  San 
Giovanni,  Milan;  concert~de"but, 
America,  Plymouth  Church,  Brook- 
lyn, 1875;  sang  in  concert  and  ora- 
torio, and  with  Gilmore  (1875); 
frequently  toured  Europe  and  Amer- 
ica with  great  succ.;  compass  c7— e'" 
(v.  PITCH,  D.  D.). 

Tib'bett,  Lawrence,  b.  Bakersfield, 
CaL,  Nov.  1 6,  1896;  barytone;  stud- 
ied with  Joseph  Dupuy,  Basil  Ruys- 
dael,  and  Frank  La  Forge;  early 


acted  on  dram,  stage;  recital  d£but, 
Los  Angeles,  1917;  sang  in  opera  at 
Hollywood  Bowl,  1923,  and  same 
year  made  d6but  with  Met.  Op.  Co., 
where  in  1925  he  leaped  into  sudden 
prominence  with  his  dram.  perf.  as 
"Ford"  in  "Falstaff";  he  is  a  singing 
actor  of  much  resource  and  a  finished 
vocalist;  has  since  sung  leading  rdles 
in  Italian,  French,  German  and  Eng- 
lish works,  particularly  character 
parts;  created  "Col.  Ibbetson"  in 
Deems  Taylor's  "Peter  Ibbetson"  and 
"Brutus  Jones"  in  Louis  Gruenberg's 
"Emperor  Jones";  has  sung  widely  in 
concert  and  with  orchs.,  also  as  "Don 
Juan"  in  Goossens'  opera,  Covent 
Garden,  1937,  at  Vienna,  Prague,  etc. 

Tichatschek  (tgkh'-at-sh£k),  Jos.  Aloys, 
Ober-Weckelsdorf,  Bohemia,  1807 — 
Dresden,  1886;  tenor;  created  Wag- 
ner's "Rienzi"  and  "Tannhauser." 

Tieffen.bru'cker.    Vide  DITIFPOPRUGGAR. 

Tiehsen  (tg'-zSn),  Otto,  Danzig,  1817 
— Berlin,  1849;  c.  comic  opera. 

Tiersch  (tersh),  Otto,  Kalbsrieth,  Thu- 
ringia,   1838 — Berlin,   1892;  singing 
teacher  and  theorist. 

Tiersot  (t*-£r'-so),  (J.  Bapt.  ElisSe) 
Julien,  Bourg-en-Bresse,  France,  July 
5,  1857 — Aug.,  1936;  pupil  of  Franck, 
Paris  Cons.;  from  1883,  asst.  libr. 
there;  pub.  essays,  incl.  "  Histoire  de 
la  chanson  populaire  en  France," 
Bordun  Prize,  1885;  c.  "Hellas"  for 
soli,  chorus  and  orch.;  rhapsodies  on 
popular  airs,  etc. 

Tiessin  (te'-sSn),  Heinz,  b.  Konigsberg, 
Germany,  April  10,  1887;  composer; 
pupil  of  Stern  Cons.,  and  of  Wilhelm 
Klatte;  critic  of  Berlin  Allgemeine 
Zeitung,  1912-17;  asst.  cond.  at  Ber- 
lin Op.  and  Volksbiihne,  and  dir.  of 
Univ.  Orch.  there;  after  1925  taught 
comp.  at  Berlin  Hochschule;  c* 
(opera)  " Revolutionsdrama"  (Berlin,. 
1927);  (dance  drama)  "Salambo" 
(Duisburg,  1929);  several  symphon- 
ies, other  orch.  works,  chamber 
music,  piano  pieces,  songs. 

Tietjens  (rightly  Titiens)  (tet'-ySns)r 
Therese  Johanne  Alex.,  of  Hun- 
garian parents,  Hamburg,  July  17, 
1831 — London,  Oct.  3,  1877;  famous 
soprano;  teachers  unknown;  de"but, 
Hamburg,  1849;  from  1858,  chiefly 
in  London  in  grand  and  comic  opera. 

Til'borghs,  Jos.,  Nieuwmoer,  Sept.  r8, 
1830 — ?;  theorist;  pupil  of  Lemmens 
(org.)  and  Fe*tis  (comp.),  Brussels 
Cons.;  from  1882,  prof,  of  org.* 


DICTIONARY  OF  MUSICIANS 


437 


Ghent  Cons.;  and  of  cpt.  Antwerp 
Mus.-Sch.;  comp.  organ-pieces  and 
motets* 

Till'metz,  Rudolf,  Munich,  April  i, 
1847 — Jan.  25,  1915;  flutist;  pupil  of 
Bohm;  1864  soloist  in  court  orch.; 
1883  teacher  in  Royal  Musichsch., 
and  cond.  to  Prince  Ludwig  Fd.;  c. 
flute  works. 

Tilman  (tel'-mSn),  Alfred,  Brussels, 
1848 — 1895;  composer  and  pianist. 

Tilmant  (tel'-m&n),  (i)  ThSophile 
Alex.,  Valenciennes,  1799 — AsniSres, 
1878;  conductor.  His  brother  (2) 
Alex.,  1808 — Paris,  1880;  'cellist. 

Timanqff  (te'-man-6f),  Vera,  b.  Ufa, 
Russia,  Feb.  18,  1855;  pianist;  pupil 
of  L.  Nowitzky,  A.  Rubinstein, 
Tausig  and  Liszt;  lived  in  Peters- 
burg, Prague  (1871)  and  Vienna 
(1872);  d.  (?). 

Tim'mermans,  Armand,  b.  Antwerp, 
1860;  pupil  of  the  Cons.,  and  teacher 
in  Antwerp,  c.  prize  winning  choral 
works. 

Tinc'toris,  Johannes  (called  John 
Tiuctor ;  or  Giov.  Del  Tintore ;  rightly 
Jean  de  Vaerwere  (var'-wa-rg), 
Poperinghe,  ca.  1446  (or  35,  some  say 
1450) — Nivelles,  1511;  canon;  wrote, 
1477,  the  earliest  known  diet,  of  mus. 
(ca.  1475),  etc.;  composer. 

Tinel  (t5-neT)5  Edgar,  Sinay,  Belgium, 
March  27,  1854 — Brussels,  Oct.  28, 
T9i2;  pianist  and  composer;  son  and 
pupil  of  a  poor  school-teacher  and 
organist;  pupil  also  of  Brussels  Cons.; 
ist  pf.-prize,  1873,  and  pub.  op.  i, 
4  nocturnes  for  solo- voice  with  pf.; 
1877,  won  Grand  prix  de  Rome  w. 
cantata  "  Klokke  Roeland"  (op.  17); 
2881,  dir.  Inst.  for  Sacred  Mus.  at 
"Malines;  1888,  prod,  very  succ. 
oratorio,  "Franciscvs"  (op.  36);  1889, 
inspector  State  mus.  schs.;  1896, 
prof,  of  cpt.  and  fugue,  Brussels 
Cons.;  pub.  a  treatise  on  Gregorian 
chant,  and  prod,  a  "Grand  Mass  of 
the  Holy  Virgin  of  Lowrdes,"  for  5 
parts  (op.  4iy,  Te  Deum,  Alleluia, 
motets  and  sacred  songs,  incid.  mus., 
pf.-pcs.,  etc. 

Tiraboschi  (tS-ra-bds'-ke),  Girolamo, 
Bergamo,  1731  —  Modena,  1784; 
writer. 

Tirindelli  (t5-rXn-dSl'-le),  P.  Adolfo, 
Conegliano,  1858 — Rome,  Feb.  6, 
I937?  Pupil  Milan  Cons.,  then  of 
Boniforti;  cond.  at  Gorizia  3  years, 
then  studied  with  Griin  and  Massart; 
1887,  vln.-prof.  Liceo  Benedetto 


Marcello,  Venice;  1893,  dir.,  also 
cond.  "Verdi  Orchestra";  made 
Cavaliere,  1894;  played  with  the 
Boston  Syxnph.  Orch.  in  1895;  1896- 
1922  taught  Cincinnati  Cons.,  and 
led  orch.  there;  afterward  in  Rome. 
C.  i-act  opera  "  L' Atenaide"  (Venice, 
1892),  etc. 

Tischer  (tish'-er),  Gerhard,  b.  Lubnitz, 
Nov.  10,  1877;  historian,  Ph.  D., 
Berlin,  1903;  from  1904  teacher  of 
musical  history  in  Cologne;  later 
pub.  and  editor, 

Titelouze  (tst-looz),  Jean,  St.  Omer, 
1563 — Rouen,  Oct.  25,  1633;  organ- 
ist; 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  (te'-t6f),  (i)  Vas- 
Sili,  1 7th  century  church  composer, 
(2)  Alexei  Nikolaievich,  1769 — St. 
Petersburg,  Nov.  2,  1827;  Russian 
cavalry  general;  c.  13  operas.  His 
brother  ^3)  Sergei  N.,  b.  1770;  c, 
operas  and  ballets.  (4)  Nikolai 
Alexeivich,  St.  Petersburg,  May  10, 
1800 — 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. 

Toch  (t6kh),  Ernst,  b.  Vienna,  Dec.  7, 
1887;  composer;  pupil  of  Willi 
Rehbergin  Frankfort  (piano);  1913- 
14,  taught  comp.  at  Mannheim 
Hochsch.,  later  privately;  in  com- 
position largely  self-taught;  one  of 
the  more  original  creators  in  modern 
musical  idiom;  visited  U.  S.  as  soloist 
in  his  piano  concerto  with  Boston 
Symph.,  1933,  and  estab.  residence 
here  as  teacher  and  composer;  c. 
(operas)  "Die  Prinzessin  auf  der 
Erbse,"  "Der  Fttcher"-,  incid.  music 
to  Euripides'  "Bacchantes";  "Die 
Chinesische  Plate"  for  soprano  soloist 
and  chamber  orch.;  several  string 
quartets;  2  piano  concertos;  "An 
mein  Vaterland"  for  org.  and  orch.; 
Five  Pieces  for  chamber  orch.; 
"Bunte"  Suite  for  small  orch.;  Dance 
Suite  for  chamber  orch.;  concerto  for 
'cello  and  chamber  orch.;  "Phan- 
tastische  Nacht-Musik"  and  Fantasy 
on  the  Chimes  of  Westminster  for 
orch.;  2  Divertimenti  for  string  due* 
overture,  "Pinocchio  " ;  pf .  works ,  songs . 

Todi  (to'-de),  Luiza  Rosa  (nee  de 
Aguiar),  Setubal,  Portugal,  Jan.  9, 


438 


DICTIONARY  OF  MUSICIANS 


1753 — Lisbon,  Oct.  i,  1833;  famous 
mezzo-soprano;  an  actress  at  15, 
then  pupil  of  Perez;  sang  London, 
1712;  1777  v.  succ.  at  Madrid;  1783 
provoked  a  famous  rivalry  with 
Mara;  1780  ct.-singer,  Berlin. 

Todt  (tot),  Joh.  Aug.  Wilhelm,  Dzis- 
terort,  July  29,  1833 — Stettin,  Oct. 
26,  1900;  organist,  cantor  and 
composer. 

Toeschi  (to-as'-ke)  (in  German  ta'-shS), 
(i)  Carlo  Giu.  (rightly  Toesca  della 
Castella-Monte),  Romagna,  1724 — 
Munich,  1788,  ct.-mus.,  director  and 
composer.  (2)  Jn.  Bapt.,  Mann- 
heim, ca.  1745 — Munich,  May,  1800; 
son  and  successor  of  above;  noted 
violinist;  c.  18  symphs.,  etc. 

Tofano  (to-fa/-no),  Gustavo,  Naples, 
Dec.  22,  1844 — June  30,  1899;  pupil 
at  the  Bologna  Cons,  and  prof,  there; 
pianist  and  composer. 

Tofft,  Alfred,  Copenhagen,  Jan.  2,  1865 
— Jan.  30,  1931;  pupil  of  Nebelong 
and  Bohlmann;  c.  opera  "  Vifandaka" 
(Copenhagen,  1898),  songs,  etc. 

Tofte  (t6f '-tS),  Lars  Waldemar,  Copen- 
hagen, Oct.  21,  1832 — June,  1907; 
court  violinist  and  teacher  at  the 
Cons. 

Tokat'yan,  Armand,  b.  Alexandria, 
1898;  tenor  Met.  Op.  from  1922. 

Tolbecque  (t6l'-b£k),  four  Belgian 
brothers,  (i)  Isidore  Jos.,  Han- 
zinne,  1794 — Vichy,  1871;  conductor 
and  composer.  (2)  Jean.  Bapt.  Jos., 
i  797 — Paris,  1869;  violinist  and 
conductor.  (3)  Aug.  Jos.,  1801 — 
Paris,  1869;  violinist.  (4)  Chas. 
Jos.,  Paris,  1806 — 1835;  violinist 
and  conductor.  (5)  Aug.,  Paris, 
March  30,  1830 — Niorte,  March  8, 
1919;  son  of  (3);  'cellist:  pupil  of 
the  Cons.,  and  1849  took  ist  prize; 
1865-71,  teacher  Marseilles  Cons,; 
later  'cellist  in  the  Paris  Cons,  con- 
certs; pub.  "JLa  Gymnastique  du 
Violoncelle"  (op.  14);  prod.  succ. 
i-act  comic  opera  "A$rls  la  Valse" 
(Niort,  1895). 

Toll'efsen,  (i)  Augusta  (n6e  Schnabel), 
b.  Boise,  Idaho,  1885;  pianist;  stud- 
ied with  Kathe  Widmann,  a  pupil  of 
Mme.  Clara  Schumann;  and  with 
Godowsky  and  Gallico;  toured  in 
Europe  and  U.  S.,  with  orchs.  in 
N.  Y.;  mem.  of  Tollefsen  Trio;  m. 
Carl  Tollefsen.  (2)  Carl,  b.  Hull, 
Yorkshire,  England,  1882  (Scandi- 
navian parents);  violinist;  pupil  of 
Lichtenberg,  Kneisel,  Schradieck, 


Goetschius  and  Rubin  Goldmark; 
played  in  N.  Y.  Symph.,-  mem.  of 
Schnabel  Trio  (afterward  Tollefsen 
Trio);  active  as  teacher. 

Tol'lius,  Jan.  b.  Amersfort,  1550  (?)— 
Copenhagen,  1603;  church-cond.  in 
Italian  cities;  1601  court-cond.  at 
Copenhagen;  c.  motets,  madrigals, 
etc. 

Tolstoi  (tSl'-sto-e),  Count  Theophil 
Matveievich,  1809 — St.  Petersburg. 
March  4,  1881;  critic  under  pen- 
name  "Rostislav"  and  composer; 
studied  singing  with  Rubini,  comp, 
with  Fuchs,  Miller,  Raimondi  and 
Hebel;  1832  prod,  opera  "Birichino 
di  Parigi,"  Naples;  1835  at  St. 
Petersburg,  its  failure  led  Nicholas 
I.  to  forbid  the  Italian  singers  tc 
appear  in  Russian  works.  He  c.  als< 
songs. 

Tomaschek,  Jn.  Wenzel  (rightly  Jar 
Vaclav  Tom££ek)  (tam'-a-shSk), 
Skutsch,  Bohemia,  April  17,  1774 — 
Prague,  April  3,  1850;  notable  pian- 
ist, organist;  also  c.  operas  and  pf.- 
pcs. 

Tomasini  (to-mS-sS'-ne"),  Luigi  (Aloy- 
sius),  Pesaro,  1741 — JEsterhdz,  1808* 
violinist  and  director;  he  had  twc 
daughters  who  sang  in  opera  at 
Eisenstadt  and  2  sons. 

Tombelle  (tdn-bel),  Fd.  de  la,  Paris, 
Aug.  3,  1854  —  Castelnau-Feyrac, 
Aug,  13,  1928;  pupil  of  Guilmani 
and  Dubois,  Paris  Cons.;  his  quartet 
and  symph.  won  ist  prize  of  the 
"Societ6  des  compositeurs;"  Officer 
of  Pub.  Instruction,  Paris;  c.  orch. 
suites,  etc. 

Tomeoni  (t5-ma-6'-n§),  (i)  Florido* 
Lucca,  1757 — Paris,  1820;  teacher 
and  theorist.  (2)  Pellegrino,  b. 
Lucca,  ca.  1759;  bro.  of  above; 
teacher  and  writer  in  Florence. 

TomOkins,  (i)  Rev.  ThosM  Engl.  com- 
poser. Gloucester,  1600.  His  son 
(2)  J.,  d.  1638;  organist  and  com- 
poser. (3)  Titos,,  d.  1656;  organist 
at  Worcester  cath.;  composer;  son  of 
(i).  (4)  Giles,  d.  1668:  bro.  and 
succ.  of  above.  (5)  Robt.9  son  of 
(2);  164.1  one  of  the  ELing's  musicians. 

Tornmasi  (t6m-mas/-se>),  Giu.  M.,  Car* 
dinal,  Alicante,  Sicily,  1649 — Rome,. 
1713;  writer. 

Tommasini  (t^-ma-se'-ne),  Vincenzo^ 
b.  Rome,  Sept.  17,  1880;  composer: 
grad.  Univ.  of  Rome;  studied  piano- 
with  Mazzarella,  vln.  with  Pinelli^ 
comp.  with  Falchi;  won  Rome  .Nat7 


DICTIONARY  OF  MUSICIANS 


439 


Prize,  1912;  mem.  of  St.  Cecilia 
Acad.;  c.  a  ballet,  "The  Good- 
Humoured  Ladies"  based  on  Scarlatti 
sonatas,  which  was  prod,  by  Diaghi- 
leflP;  also  2  operas,  "Med&e"  and 
"  Uguale  Fortuna,"  heard,  resp.  at 
Trieste,  1906,  and  Rome,  1913; 
(orch.)  "Chiari  di  Luna,"  "II  Beato 
Regno,"  "Paesaggi  Toscani,"  pre- 
lude, fanfare  and  fugue,  "Carnevale 
di  Venezia";  2,string  quartets,  sonata 
for  vln.,  pf .,  and  songs;  d.  1950.  * 

Ton'ning,  Gerard,  b.  Stavanger,  Nor- 
way, 1860 — N.  Y.,  1940;  comp.  and 
teacher;  pupil  of  Munich  Cons.; 
1887,  active  in  Duluth  as  choral 
cond.;  also  led  trio;  after  1905  in 
Seattle;  c.  opera,  "Leif  Erikson," 
instrumental  works,  songs,  etc. 

Topfer  (tSp'-fer),  Jn.  GL,  Niederrossla, 
Thuringia,  1791 — Weimar,  1870;  or- 
ganist, writer  and  composer. 

Topler  (t&p'-ler),  Michael,  UUersdorf, 
Jan.  15,  1804 — Bnihl,  Nov.  12,  1874; 
teacher  and  composer  of  church 
music. 

Torchi  (tdr'-k5),  Ltiigi,  Mordano,  Bo- 
logna, Nov.  7,  1858 — Sept.  18,  1920; 
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,  or 
mus.  history,  Liceo  Rossini,  Pesaro; 
then  at  Bologna  Cons.,  1895  also 
prof,  of  comp.;  began  a  great  34-voL 
coll.  of  the  chief  Italian  works  of  the 
15-18  centuries,  "L'arte  musicale  in 
Italia"  (7  vols.  pub.). 

Torelli  (t6-r&'-lg),  Giu.,  Verona,  ca. 
1660 — Ansbach,  1708;  violinist  and 
composer;  developer  of  the  "concerto 
grosso." 

Tor 'ranee,  Rev.  G.  Wra.,  Rathmines, 
near  Dublin,  1835 — Kilkenny,  Aug. 
20,  1907;  chorister,  Dublin;  organist 
at  St.  Andrew's,  and  St.  Anne's; 
studied  at  Leipzig,  1856;  1866,  priest; 
1869,  Melbourne,  Australia;  1895, 
incumbent  at  St.  John's  there;  Mus. 
Doc.,  h.  c.  Dublin,  1879;  he  returned 
to  Ireland,  1897,  and  1900  became 
canon  at  Kilkenny.  His  madrigal 
"Dry  "be  that  tear"  won  Molyneux 
prize  and  London  Madrigal  Society 
medal,  1903;  c.  succ.  oratorios, 
"Abraham"  (Dublin,  1855),  "The 
Captivity"  (1864),  and  "The  Revela- 
tion" (Melbourne,  1882),  services, 
an  opera,  etc. 

Torri     (t<5r'-re),    Pietro,     ca.     1665 — 


Munich,  1737;  court-conductor 
dram,  composer. 

Tor'rington,Fr.  Herbert,  Dudley,  Engl., 
Oct.  20,  1837 — Toronto,  1917;  pian- 
ist and  conductor;  articled  pupil  of 
Jas.  Fitzgerald;  at  16  organist  at 
Bewdley;  1856-68,  organist,  Great 
St.  James's  Church,  Montreal,  Can- 
ada; also  solo-violinist,  cond.  and 
band-master;  his  orch.  represented 
Canada  at  the  Boston  Peace  Jubilee, 
1869;  then  teacher  New  Engl.  Cons.; 
ist  vln.  Handel  and  Haydn,  and 
other  socs.;  from  1873,  organist 
Metropolitan  Ch.,  Toronto,  Canada, 
and  cond.  Toronto  Phillu  Soc.;  1886, 
organised  the  first  Toronto  mus. 
festival;  1888,  founded  Toronto  Coll. 
of  Mus.;  c.  services,  etc. 

Toscanini  (t5s-ka-n6'-ne),  Arturo,  b. 
Parma,  Italy,  March  25,  1867;  most 
eminent  conductor  of  his  period; 
pupil  of  the  Cons,  in  his  native  city, 
where  he  won  a  diploma  in  'cello 
playing  and  comp.  in  1885;  he  had 
already  participated  ably  in  a  con- 
cert tour  as  'cellist  the  preceding 
jrear,  inch  appearances  at  the  Expo- 
sition in  Turin;  in  the  spring  of  1886 
he  was  engaged  as  'cellist  for  the 
opera  season  in  Rio  de  Janeiro,  and 
his  d6but  as  conductor  occurred  on 
the  second  night  of  the  season,  when 
he  took  over  the  orch.  after  the 
batonist  of  the  occasion  had  been 
hissed  by  the  public;  he  at  once 
proved  his  mettle;  and  the  perf .  was 
a  triumph.  In  1887  he  conducted 
in  Turin  the  premi&re  of  Catalani's 
"Edmea."  He  led  many  orchestral 
concerts  there,  incl.  more  than  40 
programs  during  the  Exposition  pf 
1898,  when  he  gave  the  first  perfs.  in 
Italy  of  Verdi's  3  sacred  works, 
"Stabat  Mater,"  "Te  Deum"  and 
"Laudi  alia  Vergine."  He  also 
appeared  in  Bologna  and  Genoa. 
In  1895  he  gave  the  ist  Italian  perfs. 
of  Wagner's  " Cotter dammerung"  at 
the  Regio  in  Turin.  He  conducted 
opera  and  symph.  concerts  at  La 
Scala  under  the  management  of 
Gatti-Casazza  from  1898  to  1908. 
When  that  impresario  came  to  the 
Met.  Op.  in  the  latter  year,  he  en- 
gaged Toscanini  as  conductor.  T. 
remained  in  N.  Y.  until  19x5,  giving 
a  long  series  of  brilliant  perfs.,  incl. 
the  premieres  of  works  by  Puccini, 
Dukas,  Wolf-Ferrari,  Montemezzi 
and  Giordano,  and  conducting  "Got- 


44Q 


DICTIONARY  OF  MUSICIANS 


tefd#mmerung"    and    Gluck's    "Ar- 
mide."     During  this  period  in  N.  Y., 
he  also  led  2  symphonic  concerts  in 
1913,     He  left  the  Met.  as  a  result 
of  a  reported  dissatisfaction  with  its 
artistic  policy  and  returned  to  Italy 
in  1915,  where  he  was  active  during 
the  war  as  a  conductor  of  concerts 
fox   welfare   work.     He   toured    the 
TJ-.  S.    and   Canada   with  an   orch. 
composed    of    musicians    from    La 
Scala,  and  also  led  f  ests.  in  Turin  and 
Milan    in    1920,     In   the   following 
year  he   became  the   mus.    dir.    at 
La  Scala,  a  post  which  he  retained 
until  1929.     During  this  period  he 
led  the  world  premieres  of  Boito's 
"  Nerane?'  in  1924,  of  Puccini's  post- 
humous opera  "Turandot"  in  1926. 
Beginning  with  the  season  of  1926-27 
he  was  guest  conductor  of  the  N.  Y. 
Philh.  Orch.     He  immediately  estab. 
a  reputation  as  perhaps  the  most 
brilliant   cond.    who    had   ever    ap- 
peared  in    N.    Y.     After    1928    he 
became    permanent    cond.    of    this 
orch.,    and    later   musical    director, 
sharing    the    podium    with    several 
others  during  each  season.     In  1930 
he  took  the  orch.  for  a  tour  of  leading 
Eur.  cities.     In  summer  of  1932  he 
conducted  at  the  Bayreuth  Fest.,  but 
severed    his    connection    with    Bay- 
reuth   later    as    the    result    of    his 
disapproval  of  discriminations  made 
by  the  Natl  Socialist  r6gime  in  that 
country  against  musicians  of  Jewish 
birth.     He  was  one  of  a  number  of 
prominent  musicians  who  addressed 
a  cablegram  of  protest  to  the  German 
govt.     He  led  a  few  concerts   (ex- 
changing   the    Philh.    baton    with 
Stokowski)    at   head   of    the    Phila. 
Orch.  in  1930—31.     In  1933  he  began 
a  series  of  annual  appearances  at  the 
Salzburg  Fest.,   but  resigned  1938; 
has  also  conducted  brilliant  concerts 
at  London,   Vienna  and  Paris.     In 
1936  he  announced  his  resignation  as 
cond.  of  the  N.  Y.  Philh.  Orch.  be- 
cause of  the  strain  imposed  by  a 
regular  post.     His  special  virtues  as 
a  cond.  consist  in  his  fidelity  to  the 
composer's  score,  the  extreme  per- 
fection of  detail  and  the  lyrical  tone 
with  which  he  endows  even  the  most 
abstruse     modern    works.     He    in- 
variably conducts  without  a  score. 
He  cond.  for  17  years  (1937-54)  the 
N.B.C.  Symph.  Orch.,  N.  Y.,  esp. 
created  by  Nat'l  Broadcasting  Co. 


Toselli,  Enrico,  Florence,  March  13, 
1883 — Jan.  15,  1926;  composer  and 
pianist;  pupil  of  Sgambati  and  Mar- 
tucci;  d£but  Monte  Carlo,  1896; 
played  in  London  and  America,  1901 ; 
he  eloped  with  Princess  Louise  of 
Saxony,  whom  he  m.;  c.  pop.  oper- 
ettas, songs  and  pf. -pieces;  his 
"Serenade"  esp.  well-known. 

Tosi  (t5'-zS),  Pier  Fran.,  Bologna,  1647 
— London,  1727;  celebrated  con- 
tralto musico  and  singing-teacher. 

Tosti  (t6s'-tS),  Fran.  Paolo,  Ortona, 
Abruzzi,  April  7,  1846 — Rome,  Dec. 
6,  1916;  pupil  of  the  R.  C.  di  S. 
Pietro  a  Majella,  Naples;  sub- 
teacher  there  till  1869;  then  ct.» 
singing-teacher  at  Rome;  1875  sang 
with  great  succ.  London,  and  lived 
there  as  a  teacher;  1880,  singing- 
master  to  the  Royal  family;  1894, 
prof.  R.  A.  M.;  pub.  a  coll.  of  "Canti 
popolari  abruzzesi"  (Milan),  and  c. 
pop.  songs. 

Tottmann  (tdt'-m2n),  Carl  Albert 
Zittau,  July  31,  1837 — near  Leipzig) 
Feb.  26,  1917;  studied  Dresden, 
and  with  Hauptmann,  at  Leipzig 
Cons.;  violinist  in  the  Gewandhaus 
Orch.;  teacher  of  theory  and  history 
at  Leipzig,  also  lecturer;  1873,  Prof., 
for  compendium  of  vln. -literature. 

Toulmouche  (tool-mopsh),  Fr.,  Nantes, 
Aug.  3,  1850 — Paris,  Feb.  20,  1909; 
pupil  of  Victor  Mass£;  1894,  dir. 
theatre  "Menus-Plaisirs";  prod, 
many  operettas. 

Tourel',  Jennie,  French- Can.  mezzo- 
soprano;  Met.  Op.,  1943-5,  sang 
Rosina,  Carmen,  etc.;  also  concerts. 

TourjSe  (toor-zha;,  Kben,  Warwick, 
Rhode  Island,  1834 — Boston,  1891; 
organist,  teacher  and  founder  of 
N.  E.  Cons. 

Tournemire  (toorn-mSr),  Charles  Ar- 
nould,  b.  Bordeaux,  Jan.  22,  1870; 
d.  Paris,  Oct.,  1 939;  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  de  la  Sirene,"  for  voices 
and  orch.  1904,  and  it  has  been  giyen 
in  various  cities;  c.  8  symphonies, 
lyric  tragedy  "  NUtetis,"  chamber 
music,  etc. 

Tours  (toors),  Berthold,  Rotterdam, 
Dec.  17,  1838 — London,  March  n, 
1897;  violinist,  composer  and  editor; 
pupil  Brussels  and  Leipzig  Conserva- 
tory. 


DICTIONARY  OF  MUSICIANS 


441 


Tourte  (toort),  Fran,,  Paris,  1747 — 
1835;  famous  maker  of  vln.-bows; 
est.  the  standard  since  followed. 

To'vey,  Sir  Donald  Francis,  b.  Eton, 
July  17,  1875 — Edinburgh,  July  10, 
1940;  pupil  Sophie  Weisse  (piano), 
Parratt,  Higgs  and  Parry  (comp.); 
graduated  at  Oxford,  1898;  began  to 
compose  at  8;  at  19  gave  a  concert 
at  Windsor  with  Joachim;  from  1900 
played  in  London  and  on  the  con- 
tinent; 1914  succeeded  Niecks  as 
prof,  at  Edinburgh  Univ.;  1917 
founded  Reid  Orch.  in  Edinburgh; 
1924,  hon.  Fellow  of  R.  C.  M., 
London;  knighted,  1935;  c.  4  pf. 
trios,  pf .  quartet,  string  quartet,  pf. 
sonata  and  concerto;  symphony;  3 
vln.  sonatas;  incid.  music  to  plays, 
etc*;  writer  on  music. 

Traetta  (tra-St'-ta)  (not  Trajetta), 
(i)  Tommaso  (Michele  Fran.  Save- 
rio),  Bitonto,  Naples,  March  30, 
1727 — Venice,  April  6,  1779;  pupil  of 
Durante;  1758,  maestro  to  Duke  of 
Parma;  1765,  given  a  life-pension  by 
the  Spanish  King;  1768,  ct.-composer 
at  Petersburg;  he  prod.  37  operas, 
many  of  them  v.  succ.;  c.  also  an 
oratorio,  masses,  etc.  (2)  Filippo, 
Venice,  1777 — Philadelphia,  1854; 
son  of  above;  from  1799  in  America 
as  an  exile;  wrote  a  vocal  method; 
c.  opera,  oratorios,  etc. 

Trapp  (tr6p),  Max,  b.  Berlin,  Nov.  i, 
1887;  composer;  studied  with  Juon, 
also  with  Dohnanyi  at  Berlin  Hpch- 
sch.,  c.  4  symphonies,  vln.  and  piano 
concertos,  2  string  quartets,  2  piano 
quartets,  a  piano  quintet,  and  other 
orch.  works,  piano  pieces  and  songs. 

Trasuntino  (tra-sqon-te'-no),  Vito, 
harps. -maker  and  inv.,  Rome,  1555 — 
1606. 

Tranbel,  Helen,  b.  St.  Louis,  Mo.; 
soprano;  Met.  Op.,  d6but  1937. 

Tfcebelli  (tra-bSl'-lS),  Zella  (rightly 
Guillebert),  Paris,  1838 — fitretat, 
Aug.  1 8,  1892;  noted  mezzo-soprano; 
pupil  of  Wartel;  d£but,  Madrid, 
1859;  1863,  m.  Bellini;  sang  in  Eur- 
ope and  (1884)  U,  S.  with  great  succ. 

Tre'harne,  Bryceson,  b.  Merthyr  Tyd- 
vil,  Wales,  May  30,  1879;  composer; 
pupil  of  Parry,  Stanford  and  Davies 
at  R.  Coll.  of  Music,  also  in  Paris, 
Milan,  Munich;  taught  at  Adelaide 
(Australia)  Univ.,  1901-11;  after 
1912  in  Paris  where  worked  with 
Gordon  Craig;  interned  in  Germany 
during  war;  later  res.  in  London  and 


Boston;  c.  several  hundred  songs  and 
orch.  pieces;  d.  N.  Y.,  Feb.  4,  1948. 

Tren'to,  Vittorio,  b.  Venice,  1761  (or 
1765);  d.  after  1826;  mus.-dir.  and 
dram,  composer. 

Treu  (Italianised  Fedele)  (troi,  or 
fa-da '-15),  Daniel  Gl.,  Stuttgart,  2695 
— Breslau,  1749;  violinist,  conductor 
and  dram,  composer. 

TrSvffle  (tra-ve-yu),  Yvonne  de  (rightly 
Le  Gierce),  b.  Galveston,  Tex.,  1881; 
of  French  father  and  American 
mother;  soprano;  pupil  of  Marchesi; 
1901  sang  in  Spain;  1902,  at  Paris 
Op6ra  Comique;  1911-12,  Boston 
Op.,  also  recitals;  d.  N.  Y.,  1954. 

Trevisan  (tr§/-vg-s5.n),  Vittorio,  b. 
Venice;  operatic  bass;  sang  buffo 
r61es,  of  which  he  was  a  specialist, 
for  a  number  of  seasons  with  Chicago 
and  Ravinia  Op.  Cos.;  afterward 
active  as  teacher  in  Chicago. 

Trial  (trl-al),  (i)  Jean  Claude,  Avi- 
gnon, 1732 — Paris,  1771;  dir.  Paris 
Opera  and  dram,  composer.  (2)  An- 
tome,  1736 — suicide,  1795;  bro.  pf 
above;  tenor;  his  wife  (3)  Marie 
Jeanne  (n£e  Milon)  was  a  colorature- 
sopr.  Their  son  (4)  Armand  Em- 
manuel, Paris,  1771 — 1803;  dram, 
composer. 

Triebert  (trI'-£-b5,r'),  (i)  Chas.  L., 
Paris,  1810 — July,  1867;  oboist  and 

?rof essor  and  manufacturer  of  instrs. 
2)  Fr£d§ric,  1813 — 1878;  bro.  and 
partner  of  above,  and  maker  of  bas- 
soons. (3)  Frederic,  son  of  (2); 
oboist. 

Trit'to,  Giacomo,  Altamura,  Naples, 
I733 — Naples,  1824;  professor  of  cpt. 
and  dram,  composer. 

Tromboncino  (tr6m-b6n-ch6'-n5),  Bar- 
tholomaeus,  c.  at  Verona,  1504-10. 

Tromlitz  (tr6m'-llts),  Jn.  G.,  Gera, 
172  6 — Leipzig,  1 805 ;  flute-player, 
maker  and  teacher. 

Trot'ter,  Thomas  Henry  Yorke,  Nov.  6, 
1854 — London,  March  n,  1934; 
writer  on  music  and  pedagogue; 
grad.  New  College,  Oxford;  1892, 
Mus.  Doc.;  after  1915  prin.  pf  the 
Incorp.  London  Acad.  of  Music;  de- 
vised influential  new  method  of 
teaching,  based  upon  ear  training  and 
rhythmic  exercise;  author  "Construc- 
tive Harmony";  "Ear- Training  and 
Sight-Reading  Gradus";  "The  Making 
of  Musicians";  "Music  and  Mind" 

Trout'beck,  Rev.  J.,  Blencowe,  Cum- 
berland, 1832 — London,  1899;  pub, 
psalters  and  transl.  libretti. 


442 


DICTIONARY  OF  MUSICIANS 


Tschaikowsky.     Vide  TCHAIKOVSKY. 

Tsdierep'nine,  (i)  Nikolai,  St.  Peters- 
burg, May  15,  1873 — Paris,  June 
28,  1945;  pupil  of  Cons,  in  native 
city,  studying  with  Van  Arck  and 
Rimsky-Korsakoff;  after  1907  dir. 
of  class  for  orch.  there,  and  of  the 
Maryinsky  Theatre  company;  1908, 
cond.  at  Paris  Op.-Comique  of 
Rimsky-KorsakoiFs  "Snow  Maiden?3*, 
1909—14,  cond.  of  Diaghileff  Russian 
Ballet;  1918-21,  dir.  of  Tiflis  Cons.; 
after  1921  took  up  residence  in 
Paris;  originally  much  influenced  by 
Rimsky-Korsakoff  and  Tschaikow- 
sky; his  later  works  have  shown 
modernistic  elements,  esp.  some  de- 
rived from  Debussy  and  Ravel;  there 
is  a  strong  ingredient  of  Russian 
folk-music  in  his  scores;  c.  (ballets) 
"Le  Pavilion  d'Armide,"  "Narcisse 
et  Echo,"  "Le  Masque  de  la  Mort 
Rouge"  (after  Poe),  aLa  Favola  della 
Principessa  Ulyba"  "Dionysius" 
(1921),  "Favola  Russa"  (1923).  "Ro- 
mance of  a  Mummy"  (1926);  (orch.) 
Sinfonietta;  Overture  to  "La  Prin- 
cesse  Lointaine"  of  Rostand;  "Fan- 
tasie  Dramatique"  ~,  symph.  poems, 
"Dans  la  Caverne  des  Sorcieres" 
(after  Shakespeare's  "Macbeth")  and 
"Das  Verzauberte  Kb'nigsreich" ;  "Six 
Impressions"  (after  Puschkin's  "The 
Gold  Fish");  piano  concerto,  and 
other  pieces  for  that  instrument; 
"Poeme  Lyrique"  for  vln.  and  orch.; 
string  quartet  in  A  minor;  "Songs  of 
Sappho"  for  soprano,  women's  chorus 
and  orch.;  also  liturgical  works,  other 
choruses  and  songs.  (2)  Alexander, 
b.  St.  Petersburg,  Jan.  8,  1899;  son 
of  Nikolai  T.;^at  19  completed 
musical  studies  in  native  city  and 
was  appointed  dir.  of  Tiflis  Op.;  after 
Russian  Revolution  lived  with  his 
family  in  Paris,  where  he  entered 
Cons,  for  further  study  in  piano 
(Philipp)  and  comp.;  made  cUbut 
with  prod,  of  his  first  piano  concerto 
at  Monte  Carlo,  1923;  his  opera. 
"Ol-Ol"  (based  on  Andreyev's  *'The 
Days  of  Our  Life"),  prod,  in  Weimar, 
1928,  also  in  N.  Y.  by  Russian  opera 
troupe  in  1934;  made  a  world  tour, 
incl.  the  U.  S.;  appeared  as  guest 
cond.  of  his  works  with  Boston 
Symph.,  1931;  and  later  was  resident 
for  some  time  in  China;  c.  also 
(opera)  "  Hochzeit  der  Sobeide"; 
(ballet;  "Ajanta's  Frescoes";  (orch.) 
2  piano  concertos,,  "Rhapsodie 


gienne"  incid.  music  to  plays,  etc.; 
(chamber  music)  string  quartet, 
concerto  da  camera,  trio;  also  Three 
Pieces  for  chamber  orch.;  Suite 
Divertissement  for  piano  and  string 
quartet,  etc. 

Tscheschichin  (ch£sh-e'-ch€n),  Vsevo- 
lod  levgrafovich,  b.  Riga,  Feb.  18, 
1865;  critic  and  author. 

Tschirch  (tsherkh),  Fr.  Wm.,  Lichte- 
nau,  1818 — Gera,  1892;  ct.-conductor 
and  dram,  composer. 

Tschudi.     Vide  BROADWOOD. 

Tua(too'-a),  (i)  Teresina,  b.  Turin,  April 
23,  1866;  violinist;  pupil  of  Massart, 
Paris  Cons.,  took  ist  prize  1880; 
toured  Europe,  and,  1887,  America, 
with  great  succ.;  1889,  m.  Count 
Franchi-Verney  della  Valetta  (d. 
1911);  (2)  Count  Emilio  Quadrio; 
1915-24,  taught  Milan  Cons.,  then 
at  Liceo  of  Santa  Cecilia,  Rome. 

Tucher  (too'-kheX),  G1M  Freiherr  von, 
Niirnberg,  1798 — 1877;  writer. 

Tuck'erman,  Samuel  Parkman,  Bos- 
ton, Mass.,  1819 — Newport,  1890; 
organist,  editor  and  composer. 

Tuczek  (toots'-sSk),  Fz.,  Prague,  ca. 
1755 — Pesth,  1820;  tenor;  conductor 
and  dram,  composer. 

Tud'way,  Thos.,  England,  ca.  1650 — 
London,  1726;  organist  and  pro- 
fessor, Cambridge,  1704—26;  Mus. 
Doc.  there,  1705;  made  a  coll.  of 
contemporary  services,  also  c.  serv- 
ices, etc. 

Tulou  (tii-loo),  J*  L.,  Paris,  Sept.,  r786 
— Nantes,  1865;  chief  flutist  of  his 
time;  at  14  at  the  Op6ra;  1826-56, 
flute-prof,  at  the  Cons.;  composer. 

Tuma  (too'-ma),  Fz.,  Kostelecz,  Bo- 
hemia, 1704 — Vienna,  1774;  gamba- 
virtuoso  and  composer. 

Tunder  (toon^d^r),  Fz.,  1614 — Lubeck, 
1667;  organist  Marienkirche,  as 
predecessor  of  Buxtehude. 

Tunsted(e)  (tiin'-stSd)  (or  Dunstede), 
Simon,  b.  Norwich,  d.  Bruisyard,  Suf- 
folk, 1369;  writer.  (Coussemaker.) 

Turina  (t5o-rg'-na),  Joaquin,  b.  Seville, 
Dec.  9,  1882 — Madrid,  Jan.  14, 
1949;  composer;  one  of  most  pop. 
recent  creative  figures  of  Spain; 
studied  piano  with  Trago  and  Mosz- 
kowski;  comp.  with  Torres  and  then 
with  d'Indy  at  Paris  Schola  Can- 
torum;  returned  to  Spain  with  De 
Falla;  has  served  as  music  critic,  as 
cond.  of  Spanish  perfs.  by  Russian 
Ballet,  and  as  pianist  of  Quinteto  de 


DICTIONARY  OF  MUSICIANS 


443 


Madrid,  which  he  founded;  his  music 
is  imbued  with  folk  rhythms  and  is 
richly  colored  in  impressionistic 
style;  c.  (stage  works)  "Margot," 
"La  Adtiltera  Penitente,"  "Jardin  de 
Oriente"',  (orch.)  "La  Procesion  del 
Rocio"  "Evangelio  de  Navidad," 
"Sinfonia  SevittaKo"  "Danzas  Fan- 
tasticas"',  (chamber  music)  piano 
quintet,  string  quartet,  "Escena 
Andaluza"  for  viola,  piano  and  quar- 
tet; "Poema  de  una  Sanluquena" 
suite  for  vln.  and  piano;  also  many 
vocal  works;  ed.  encyclopedia  of 
music  (2  vols.),  and  pub.  collected 
articles  and  criticisms. 

Turini  (too-re'-ne).  (i)  Gregorio,  Bres- 
cia, ca.  1560 — Prague,  ca.  1600; 
singer,  cornet-player  and  composer. 
(2)  Fran.,  Brescia,  ca.  1590 — 1656; 
son  of  above;  organist  and  comp. 

Tiirk  (tiirk),  Daniel  GL,  Claussnitz, 
Saxony,  Aug.  10,  1750 — Halle,  Aug. 
26,  1813;  eminent  organist  and 
teacher,  theorist  and  composer. 

Turle  (ttirl),  Jas.,  Somerton,  EngL, 
1802 — London,  1882;  organist,  con- 
ductor, editor  and  composer. 

Tur'ner,  Win.,  1652 — 1740;  English 
Muts.  Doc.  Cambridge;  composer. 

Turnhout  (tlrn'-hoot),  (i)  Gerard  de 
(rightly  Gheert  Jacques),  Turnhout, 
Belgium,  ca.  1520 — Madrid,  1580; 
cond.  at  Antwerp  Cath.  and  to  the 
Court  at  Spain,  1572;  composer. 
(2)  Jean,  son  of  above;  ct. -conductor 
and  composer,  ca.  1595. 

Ttur'pin,  Edmund  Hart,  Nottingham, 
May  4,  1835 — London,  Oct.  25,  1907; 
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,  symph.  "The 
Monastery,"  overtures,  etc. 

Turtshaninoff  (toort-sha'-n*-n6f),  Peter 
Ivanovitch,  St.  Petersburg,  1779 — 
1856;  composer. 

Tutkov'sM,  Nikolai  Apollonovich,  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.  "Pensee  elegiaque" 
and  "Backanale  boh&mienne"  for 
orch.;  d.  (?). 

Tye  (ti),  Christopher,  d.  Westminster, 
i572;  *  5  54-6 1,  organist  Ely  cathe- 
dral and  composer. 


T^n'dall,  J.,  Leighlin  Bridge,  Ireland, 
1820 — Haslemere,  EngL,  1893;  fa- 
mous scientist  and  acoustician. 


Ubaldus.     Vide  HUCBAXD. 

Uber  (oo'-b&r),  (i)  Chr.  Benj.,  Bres- 
lau, 1764 — 1812;  dram,  composer. 
(2)  Chr.  Fr.  Hermann,  Breslau,  1781 
— Dresden,  1822;  son  of  above; 
opera-conductor  and  composer.  (3) 
Alex.,  Breslau,  1783 — Carolath,  Si- 
lesia, 1824;  bro.  of  (2);  'cellist,  con- 
ductor and  composer. 

Uberlee  (tt'-b&r-la),  Adelbert,  Berlin, 
June  27,  1837  —  Charlottenburg, 
March  15,  1897;  organist  and  royal 
director;  c.  opera,  oratorio,  etc. 

Uberti  (oo-bSr'-te),  (Hubert)  A.,  Ve- 
rona, 1697  (?) — Berlin,  1783;  bril- 
liant soprano-musico  and  teacher  of 
Malibran,  Grisi,  etc. 

Uccellini  (oo-chSl-la'-ne),  Don  Marco, 
conductor  and  composer  at  Florence, 
1673. 

Ugbaldus,  TTchubaldus.  Vide  HUC- 
BAXJD. 

Ugalde  (ii-g^ld),  Delphine  (n6eBeauce), 
Paris,  Dec,  3,  1829 — July  18,  1910; 
soprano  at  Op.-Com.,  etc.;  1866,  also 
managed  the  Bouffes-Parisiens;  twice 
m.;  c.  an  opera. 

Ugolini  (oo-go-le'-nS),  V.,  Perugia,  ca. 
1570 — 1626;  teacher  and  important 
composer;  pupil  of  Nanini;  1620—26 
maestro  at  St.  Peter's. 

Uhl  (ool),  Edmund,  Prague,  Oct.  25, 
1853 — Wiesbaden,  March,  1929;  pu- 
pil of  Leipzig  Cons,  winning  Helbig 
pf. -prize,  1878;  after  that  year 
teacher  at  the  Freudenberg  Cons., 
Wiesbaden;  organist  at  the  Syna- 
gogue; and  critic;  c.  Romance  for 
vln.  with  orch.,  etc. 

Uhlig  (ooMlkh),  Th.,  Wurzen,  Saxony, 
1822 — Dresden,  1853;  violinist,  the- 
orist and  composer. 

ITjj  (oo'-yl),  Bela  von,  b.  Vienna, 
July  2,  1873;  Hungarian  composer, 
blind  from  his  7th  year;  c.  opera 
"Der  Bauernfeind"  (Baden,  near 
Vienna,  1897);  operettas  "Der  Herr 
Professor"  (Vienna,  1903),  "  Kaiser- 
manover"  (do.,  1907),  and  "Der 


1907;. 
Miiller  und  sein  Kind"  '(Graz,  1907^ 


Ulibisheff     (in     French 

(oo-le'-bl-shfcf),  Alex.  D.,  Dresden, 
1794 — Nishnij  Novgorod,  1858;  dip- 
lomat and  writer  of  biographies. 

Ulrich   (ool'-rlkh),  Hugo   (Otto),   Op- 


444 


DICTIONARY  OF  MUSICIANS 


1872; 


peln,     Silesia,     1827 — Berlin, 
teacher  and  dram,  composer. 

Umbreit  (oom'-brit),  K.  GL,  Rehstedt, 
near  Gotha,  1763  —  1829;  org.- 
virtuoso  and  composer. 

TJmlauf  (oom'-lowf),  (i)  Ignaz,  Vienna, 
1756 — Modling,  1796;  music  di- 
rector; asst.-conductor  to  Salieri. 
(2)  Michael,  Vienna,  1781 — 1842; 
son  of  above;  conductor  and  dram, 
composer. 

Uinlauft  (oom'-lowft),  Paid,  Meissen, 
Oct.  27,  1853 — Dresden,  June  7, 
1934;  pupil  Leipzig  Cons.;  with 
Mozart  scholarship  1879—83;  c.  succ. 
i -act  opera  "Evanthia"  (Gotha, 
1893}  (won  Duke  of  Coburg- Gotha's 
prize);  dxam.  poem  "Agandecca," 
with  ©rch.  (1892);  " Mittelhockdeut- 
schef  Lieder spiel,"  etc. 

Uhger  Gaang'-Si),  (i)  Jn.  Fr.,  Bruns- 
wick^ 1716 — 178^;  inventor.  (2)  (in 
Ital.  Uhgher)  Caroline,  Stuhlweissen- 
burg,  Hungary,  1803 — at  her  villa, 
near  Florence,  1877;  soprano;  1840, 
m.  Sabatier.  (3)  G.,  Leipzig,  1837 — 
rS87;  tenor. 

Up'ton,  G.  Putnam,  Roxburg,  Mass., 
Oct.  25,  1835 — Chicago,  May  20, 
19119;:  graduate  Brown  Univ.,  1854; 
1861-85,  on  the  editorial  staff, 
Chicago  Tribune;  founder  (1872)  and 
firsjt  pres.  Apollo  Clab;  translator  and 
writer  of  valuable  essays,  incl. 
"Standard  Operas93  (1890);  "Standard 
Oratorios"  (1891);  "Standard 
Symphs."  (1892),  etc. 

Urbach  (oor'-bakh),  Otto,  Eisenach, 
Feb.  6,  1871 — Dresden^  Dec.  14, 
1927;  composer;  pupil  of  Muller- 
Hartung,  Stavenhagen,  Scholz,  Knorr 
and  Humperdinck;  won  the  Liszt 
stipend,  1890,  and  the  Mozart  stipend 
1896,  and  studied  with  Draeseke  and 
Klmdworth;  from  1898  piano  teacher 
at  the  Dresden  Cons.;  c.  opera  "Her 
MMler  von  Sanssouci"  (Frankfort, 
1896). 

Urban  (aor'-ban),  (i)  Chr.,  b.  Elbing, 
1778^  mus.-director,  theorist  and 
composer.  (2)  H-,  Berlin,.  Aug~  27, 
^837 — Nov.  24,  1901;  pupil  of  Ries, 
Laubr  Helman,  etc.;  violinist,  and 
theorist;  x88i,  teacher  at  Kullak's 
Acad.;  c.  symph.  "Framing"  over- 
tures to  "Fiesco"  (Schiller),  "Schehe- 
"  and  "Zu  einem  FastnacMts- 
etc.  (3)  FT.  JtOius,  Berlin, 
23,  1838 — July  17,  1918;  bro. 
of  above;  solo  boy-soprano  in  the 
Doiachor;  pupil  of  H.  Ries,  and 


Helmann  (vln.),  GreQ  (theory), 
Eisner  and  Mantius  (singing); 
singing- teacher,  Berlin;  wrote  vocal 
methods  and  songs. 

Urbani.     Vide  VALENTINI. 

Urhan  (iir-an),  Chr6tien,  Montjoie, 
1790 — Paris,  1845;  eccentric  and 
gifted  player  on  stringed  instrs.,  an- 
cient and  modern;  organist  and  com- 
poser. 

Unch  (oo'-rlkh),  Jean,  Trinidad,  1849 
~I939;  pupil  of  Gounod;  prod,  operas 
"Der  Lootse"  "Hermann  und  Doro- 
thea,"  and  2-act  "Le  Carillon" 
(Berlin,  1902). 

Uric  (oo'-rl-s),  Fran.  A.,  b.  Milan, 
1660;  writer  and  composer. 

Urlus  (oor'-loos),  Jacques,  Amsterdam, 
1868 — Noordwyk,  June  6,  1935; 
noted  tenor;  pupil  of  Hoi,  Noltenius, 
the  Amsterdam  Cons.,  making  his 
d6but  in  latter  city  in  1894;  after 
1900  at  Leipzig  Stadttheatre;  sang 
also  in  many  other  Eur.  cities;  at 
Bayreuth  from  1911,  and  in  N.  Y., 
I9T3-I7;  one  of  leading  Wagnerian 
tenors  of  his  day. 

Ursillo  (oor-su'-lo),  Fabio  (or  simply 
Fabio),  i8th  cent,  archlute  virtuoso 
and  composer  at  Rome. 

Urso  (pojr-s6),  (i)  CamiUa,  Nantes, 
France,  1842 — New  York,  Jan.  20, 
1902;  vln.-virtuoso  (daughter  of  (2) 
Salvator,  organist  and  flutist);  pupil 
of  M  assart;  she  played  in  America 
with  great  succ,  at  10;  toured  the 
world;  m.  Fr.  Lufcres, 

Urspruch  (oor'-sprookh),  Anton, 
Frankfort-on-Main,  Feb.  17,  1850 — 
Jan.  ir,  ^907;  pupil  of  Ignaz  Lachner 
and  M.  Wallenstein,  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  Unmoglichste  von 
Allem"  (Carlsruhe,  1897),  a  symph., 
pf.-concerto,  etc. 

U(u)tendal  (or  Utenthal,  TTutendal) 
(Su'-ten-dal),  Alex.,  d.  Innsbruck, 
May  8,,  1581;  Flemish  conductor  and 
composer. 


Vaccai  (vak-ka'-e),  Niccol6,  Tolentino, 
Papal  States,  1790 — Pesaro,  1848, 
noted  singing-teacher;  prof,  of  comp. 
Milan  Cons.;  wrote  vocal  method; 
c.  an  opera,  funeral  cantata,  etc. 


DICTIONARY  OF  MUSICIANS 


445 


Vacqueras  (v&-ka'-ras),  Beltraxne,  1481 
singer  at  St.  Peter's,  Rome;  1483- 
1507  papal  chapel  singer;  c.  motets, 
etc. 

Vaet  (vat),  Jacques,  d.  Vienna,  1567; 
Flemish  conductor  and  composer. 

Valente  (va-lSn'-tS),  Vincenzo,  Cori- 
gliano,  near  Cosenza,  Feb.  21,  1855 
— Naples,  Sept.  6,  1921;  c.  operas 
and  songs. 

^Valentin!  (va-lSn-te'-nS),  (i)  Giov., 
ca.  1615;  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 Urban!)  (oor-ba'-nS),  cele- 
brated contralto-musico;  later  a 
tenor;  London,  1707.  (5)  Giu.,  b. 
Rome(P),  1681;  violinist  and  com- 

f     poser. 

Valentino  (val-an-te'-nS),  Henri  Jus- 
tin Armand  Jos.,  Lille,  1785 — Ver- 
sailles, 1856;  conductor  Paris  Opera, 
1820-31,  then  at  Op.  Com.  till  1837. 

Valet'ta,  Ippolito.     Vide  PRANCHI-VER- 

NEY. 

Vallas  (vay'-as),  Leon,  b.  Roanne, 
May  17,  1879;  writer;  author  of 
studies  of  Debussy  and  Georges 
Migot- 

.Vallin  (va'-y£n),  Ninon,  b.  Montalieu- 
Vercieu,  prov.  of  Dauphin^,  France; 
soprano;  studied  at  Lyons  Cons.; 
d6but,  Paris  Op.-Comique  in  "Car- 
men"', later  sang  in  opera  at  Buenos 
Aires,  also  at  Paris  Op.,  La  Scala, 
Rome  R.  Op.,  Madrid,  Vienna, 
Budapest,  Barcelona,  Stockholm  and 
Constantinople;  esp.  known  as  a  re- 
ci tails t  of  modern  French  music, 
incL  Debussy;  toured  U.  S.  in  con- 
certs. 

Valotti  (v£l-l6t'-te),  Fran.  A.,  Vercelli, 
June  n,  1697 — Padua,  Jan.  16,  1780; 
noted  organist,  theorist  and  com- 
poser. 

Valverde  (vSl-var'-da),  (i)  Joaquin,  d. 
Madrid,  March  19,^1910;  c.  zarzuelas 
and  songs.  (2)  Quirino,  his  son,  also  c. 

Van  Bei'num,  Bduard,  Dutch  conduc- 
tor; led  Amsterdam  Concertgebouw 
Orch.,  1945;  also  guest  cond.  London 
and  elsewhere. 

Van  den  Eeden  (a'-dSn),  (i)  Gilles,  d. 
1792;  first  teacher  of  Beethoven;  son 
or  nephew  of  (2)  Heinrich;  ct.-mus. 
to  the  Elector  of  Cologne. 

Van  der  Straeten  (stra'-te*n) ,  Edmond, 
Oudenaarden,  Belgium,  1826 — 1895; 
writer  of  treatises;  c.  opera,  etc. 


Van  der  Stucken  (van'-dSr-shtpok'-Sn), 
Frank  (Valentin),  Fredericksburg, 
Gillespie  Co.,  Texas,  Oct.  15,  1858 — 
Hamburg,  Aug.  18,  1929;  son  of 
Belgian  father  and  German  mother; 
notable  composer  and  conductor;  at 
8  taken  by  his  parents  to  Antwerp, 
studied  with  Benolt,  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;  he  was  dean  of  the  Cincinnati 
College  of  Music  1897-1901;  cond. 
Cincinnati  Symph.  1895-1907,  when 
he  returned  to  Germany,  retaining 
the  conductorship  of  the  Cincinnati 
May  Festivals;  c.  symph.  prologue 
"  William  Ratcliff"  (Cincinnati,  1899); 
orch.  episode,  "Pagina  d'amore," 
with  choruses  and  songs;  "Festival 
March,"  for  orch.,  "Pax  Triwm- 
phans,"  etc. 

Van  der  Veer7,  Nevada,  b.  Springfield 
Center,  N.  Y.;  contralto;  studied 
with  Beigel,  Arthur  Fagge,  and 
Marie  Roze,  Paris;  has  appeared 
widely  as  oratorio  soloist  and  with 
orchs.;  later  active  as  teacher  at 
Cleveland  Inst.  of  Music;  m.  Reed 
Miller,  tenor. 

Van  Dier'en,  Bernard,  Holland,  Dec. 
27,  1884 — London,  April  24,  1936; 
composer;  of  mixed  Dutch  and 
French  parentage;  studied  in  Rotter- 
dam, Leyden,  Berlin  and  London, 
first  in  science,  and  after  1904  ex- 
clusively in  music;  came  to  London 
1909  as  musical  corr.  for  the  Nieuwe 
Rotterdamsche  Courant,  where  he  re- 
mained; developed  complex  con- 
trapuntal style,  partly  influenced  by 
early  choral  schools  of  the  Nether- 
lands; c.  symph.  for  soloists,  chorus 
and  orch.,  after  Chinese  text;  4  string 
quartets,  several  of  which  were  heard 
at  European  modern  music  fests.; 
"Diaphonie"  for  barytone  and  cham- 
ber orch,,  after  3  Shakespeare  son* 
nets;  (opera  buffa)  "The  Tailor* 
(text  by  Robert  Nicholls);  and  vari- 
ous other  chamber  music  and  vocal 
works;  m.  Frida  Kindler,  pianist. 

Van  Dres'ser,  Marcia,  Memphis,  1880 
^London,  1937;  soprano;  studied 
Chicago,  Munich  and  Paris;  after 
1898  sang  in  light  and  grand  opera 
in  Europe  and,  beginning  19*4*  ^ 
United  States. 


446 


DICTIONARY  OF  MUSICIANS 


Van  Duyze  (van  doi'-ze1),  Florimond, 
Ghent,  Aug.  4,  1848 — May  18,  1910; 
lawyer  and  amateur;  pupil  of  Ghent 
Cons.,  winning  Grand  prix  de  Rome, 
1873,  with  cantata  "  Torquato  Tasso's 
Dood"-9  prod.  7  operas,  Antwerp  and 
Ghent;  c.  also  ode-symphonie  "Die 
Nacht." 

Van  Dyck  (van  dik),  Ernest  (Marie 
Hubert),  Antwerp,  April  2,  1861 — 
Berlaer-les-Lierre  (Antwerp),  Aug. 
31,  1923;  noted  tenor;  studied  law, 
was  then  a  journalist  at  Paris; 
studied  singing  with  St.  Yves;  de"but 
Paris,  1887,  as  "Lohengrin";  1892 
sang  "Parsifal"  at  Bayreuth;  1888 
engaged  for  the  Vienna  ct. -opera; 
sang  in  the  chief  capitals,  London, 
and  1899-1902,  New  York;  later 
taught  at  Antwerp  and  Brussels 
conservatories. 

Van  Gordon,  Cyrena,  b.  Camden,  Ohio, 
Sept.  4,  1896;  contralto;  name  origi- 
nally Procock;  studied  Cincinnati 
Coll.  of  Music;  d6but,  Chicago  Op. 
as  "Amneris,"  19x3;  sang  many  con- 
tralto r6les  with  this  co.;  for  a  time 
with  Met.  Op.  Co.;  her  repertoire 
incl.  German,  Italian  and  French 
parts. 

Van  Hoog'straten,  Willem,  b.  Utrecht, 
March  18,  1884;  conductor;  studied 
Cologne  Cons.;  d6but  as  cond., 
Hamburg,  1911;  he  also  appeared  at 
Hamburg,  Vienna  and  Salzburg;  as 
cond.  N.  Y,  Philh.,  1923—24;  of 
Portland,  Ore.,  Symph.,  after  1925, 
regularly  at  the  Lewisohn  Stadium 
concerts  in  N.  Y.  following  1921;  and 
as  a  guest  with  many  Eur.  and 
Amer.  ensembles,  incl.  Bonn  Beetho- 
ven Fest.;  hon.  Music  D.,  Univ.  of 
Oregon,  1926;  m.  Elly  Ney,  pianist; 
divorced. 

Van  Hoose,  Ellison,  Murfreesboro, 
Tenn.,  Aug.  18,  1869 — Houston, 
Tex.,  March  24,  1936;  tenor;  studied 
U.  S.  and  Europe,  teachers  incl. 
Jean  de  Reszke  and  Cotogni;  after 
1897,  sang  with  Damrosch-Ellis  Op. 
Co.;  at  Mayence  Op.,  and  1911—12, 
Chicago  Op.  Co.;  also  in  oratorio  and 
concerts;  later  church  mus.  dir.  in 
Houston. 

Vanneo  (van-na'-C),  Stefano,  b.  Reca- 
nati,  Ancona,  1493 ;  monk  and  writer. 
Van  Rooy  (van  ro'-I),  Anton,  Rotter- 
dam, Jan.  12,  1870 — Munich,  Nov. 
28,  1932;  notable  barytone;  pupil  of 
Stockhausen  at  Frankfort;  sang  in 
oratorio  and  concerts;  later  at  Bay- 


reuth, 1897;  then  at  Berlin  ct. -opera; 
sang  with  succ.  London  (1898), 
1898—1908  in  New  York  annually; 
then  at  Frankfort  Opera;  his  greatest 
rdle  was  "Wotan." 

Van  Vech/ten,  Carl,  b.  Cedar  Rapids, 
Iowa,  1880;  writer;  Grad.  Univ.  of 
Chicago;  on  staff  of  N.  Y.  Times, 
later  N.  Y.  Press;  ed.  program  notes 
of  N.  Y.  Symph.,  1910—11;  in  later 
years  esp.  known  as  a  novelist,  but 
also  pub.  books  on  music  and  art 
criticism;  author,  "Music  after  the 
Great  War,"  "Music  and  Bad  Man~ 
ners,"  "Interpreters  and  Interpreta- 
tions^ "The  Merry-Go-Round,"  "The 
Music  of  Spain,"  etc. 

Van  Vliet,  Cornelius,  b,  Rotterdam, 
Sept.  i,  1886;  'cellist;  pupil  of  Eberle 
and  Mossel;  played  Concertgebouw 
Orch.  under  Mengelberg;  ist  'cellist 
Leipzig  Philh.;  Prague  Philh.;  solo' 
appearances,  Munich,  Vienna,  and 
BCelsingfors,  where  taught  in  Cons.; 
after  1911  in  U.  S.  as  recitalist, 
'cellist  in  N.  Y.  Trio  and  long  first 
'cellist  of  N.  Y.  Philharmonic. 

Van  Westerhout  (wSs'-tSr-howt),  Nic- 
colo  (of  Dutch  parents),  Mola  di 
Bari,  1862 — Naples,  1898;  dram, 
composer. 

Van  Zanten,  Cornelie,  see  Zanten. 

Varese  (va-reV),  Edgar,  b.  Paris, 
Dec.  22,  1885;  composer;  studied  at 
Schola  Cantorum  with  Roussel  and 
d'Indy,  at  Paris  Cons,  with  Widor; 
1907,  won  Bourse  Artistique  of  City 
of  Paris;  1909,  founded  Sympho- 
nischer  Chor.,  Berlin;  after  1916  res. 
in  N.  Y.,  where  founded  New  Symph. 
Orch.,  giving  modern  scores  for 
several  years;  has  c.  orch.  -and  cham- 
ber wks.,  incl.  "Hyperprism,"  etc. 

Varnay  (var-ni'),  Astrid,  S  wed.- Am. 
soprano;  d6but  Met.  Op.,  1941,  as 
Sieglinde  while  still  in  twenties. 

Varnev  (v&r-nS),  (i)  P.  Jos.  Alpfconse, 
Pans,  1811 — 1879;  conductor  and 
composer  of  operettas.  (2)  Louis, 
Paris,  1844 — Cauterets,  1908;  son 
and  pupil  of  above;  prod,  over  30 
operettas,  comic  operas,  "revues." 

Vascpncellos  (v^s-kon-sSl'-lSs),  Joa- 
quim  de,  Oporto,  Feb.  10,  1849 — ?; 
Portuguese  lexicographer  and  his- 
torian. 

Vasquez  y  Gomez  (vas'-kSth  €  go'- 
mSth),  Marino,  Granada,  Feb.  3, 
1831 — Madrid,  June,  1894;  concert- 
master  at  Madrid  Royal  Theatre: 
e.  zarzuelas,  etc. 


DICTIONARY  OF  MUSICIANS 


447 


Vasseui:  (vis-siir),  Leon  (FSlix  Aug. 
Jos.),  Bapaume,  Pas-de-Calais,  May 
28,  1844 — Paris,  1917;  studied  Ecole 
Niedermeyer;  from  1870  organ- 
ist Versailles  Cath.;  cond.  Folies- 
Berg&res  and  the  Concerts  de  Paris 
(1882);  prod,  over  30  light  operas; 
c.  also  masses,  etc. 

7assilen'ko,  Sergei  NHdforovich,  b. 
Moscow,  March  31,  1872;  writer; 
pupil  of  the  Cons.,  winning  gold 
medal,  1901;  c.  cantata  "The  Legend 
of  the  Sunken  City  of  Kitesch"  (given 
as  an  opera,  Moscow,  1903);  "Epic 
Poem"  for  orch.,  choral  works 
"  Nebuchadnezzar,"  and  "Daphnis," 
etc. 

Vatielli  (va-tt-Sl'-le),  Francesco,  b. 
Pesaro,  Jan.  i,  1877;  pupil  of  Liceo 
Rossini,  1905  librarian  at  Bologna, 
teacher  and  writer  on  history;  c. 
intermezzi,  etc. 

Vaucorbeil  (vS-k6r-b£')j  Aug.  Emanuel, 
Rouen,  1821 — Paris,  1884;  1880,  dir. 
the  Op&ra;  c.  comic-opera,  etc. 

Vaughan-WIlliams,  Ralph;  see  Wil- 
liams* Ralph  Vaughan. 

Vavrinecz  (vS/-vrS-ngts),  Mauritius, 
Czegled,  Hungary,  July  18,  1858 — 
Budapest,  Aug.  5,  1913;  studied 
Pesth  Cons.,  and  with  R.  Volkmann; 
cath.  cond.  at  Pesth;  c.  4-act  opera 
"Ratcli/"  (Prague,  1895),  succ.  i-act 
opera  "Rosamunda"  (Frankfort-on- 
Main,  1895),  oratorio,  5  masses,  a 
symph.,  etc. 

Vecchi(i)  (v£k*-ke-[e-D,  (i)  Orazio, 
Modena,  1550 — Feb.  19,  1603;  noted 
composer;  from  1596  maestro  Mo- 
dena cath.;  his  "mus.-comedy"  " Am- 
fiparnasso,"  in  which  the  chorus 
joined  in  all  the  mus.,  even  the 
monologues,  appeared  the  same  year 
as  PERI'S  (q.  v.)  "Dafne";  c.  also 
madrigals,  etc.  (2)  Orfeo,  Milan, 
1540 — ca.  1604;  maestro,  and  com- 
poser. 

Vecsey  (vSt'-chS-e),  Franz  von,  Buda- 
pest, March  23,  1893 — Rome,  April 
4>  i935>  violinist;  at  8,  pupil  of 
Hubay;  at  10  accepted  by  Joachim, 
and  toured  Germany,  England  and 
America  with  immense  success; 
toured  South  America,  1911;  re- 
appeared in  London,  1912;  later 
toured  as  mature  artist. 

Veit  (vit),  Wenzel  H.  (Vaclav  Jin- 
dHch),  Repic,  near  Leitmeritz, 
Bohemia,  1806 — Leitmeritz,  1864; 
composer. 


Velluti  (vSl-loo'-te-),  Giov.  Bat.,  Mon- 
terone,  Ancona,  1781 — San  Burson, 
1861;  the  last  of  the  great  male 
soprani. 

Venatorini.     Vide  MYSLIWECZEK. 

Venosa,  Prince  of.     Vide  GESTTALDO. 

Venth  (vSnt),  Karl,  Cologne,  Feb.  10, 
1860 — San  Antonio,  Tex.,  Jan.  29, 
1938;  pupil  of  the  Cons,  and  of 
Wieniawski;  1880  in  New  York  as 
concertmaster  at  Met.  Op.  House; 
founded  1888  a  cons,  in  Brooklyn;  c. 
Schiller's  "Bells"  for  chorus  and 
orch.,  etc.;  after  1908  lived  in  Texas; 
dean  of  woman's  coll.  and  orch. 
cond.,  Dallas. 

Ven'to,  (i)  Ivo  de,  b.  Spain;  ct.- 
organist  at  Munich  and  composer 
(1561-91).  (2)  Mattia,  Naples,  1735 
— London,  1777;  c.  operas. 

Venturelli  (vfcn-too-rSl'-le),  V.,  Man- 
tua, 1851 — (suicide)  1895;  essayist 
and  dram,  composer. 

Venturini  (v€n-too-rS'-ne),  Francesco, 
d.  Hanover,  April  18,  1745;  from 
1698  in  the  Hanoverian  court  chapel 
as  cond.:  c.  concertos,  etc. 

Venzano  (vSn-tsa'-nQ),  Luigi,  Genoa, 
ca.  1814 — 1878;  'cellist  and  teacher; 
c.  opera,  pop.  songs,  etc. 

Veracini  (va-ra-che'-ne),  (i)  A.,  violin- 
ist 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. 

Verbrug'ghen,  Henri,  Brussels,  Aug.  i, 
1873 — Northfield,  Minn.,  Nov.  12, 
1934;  conductor,  violinist;  studied 
at  Brussels  Cons.,  ist  prize  in  vln., 
also  with  Hubay  and  Ysaye;  soloist 
with  English  orchs.  and  with  La- 
moureux;  1902,  concertm.  and  asst. 
cond.,  Scottish  Orch.,  Glasgow; 
succeeded  Coward  as  cond.  of  Choral 
Union  in  that  city;  also  org.  string 
cjuartet  and  served  as  guest  leader 
in  London  and  Continental  cities; 
was  dir.  for  8  years  of  New  South 
Wales  State  Cons.,  Sydney,  and 
there  founded  and  led  State  Orch.; 
came  to  N.  Y.  after  war  and  was 
guest  cond.  of  Russian  Symph.,  1918; 
guest  cond.  of  Minneapolis  Symph., 
1922;  appointed  regular  cond.  and 
served  until  1931,  when  illness 
caused  him  to  resign  post;  he  led 
this  orch.  on  tour,  incl.  N.  Y.,  with 
eminent  succ.  and  founded  and 
played  ist  vln.  in  quartet  bearing  his 
»ame;  headed  music  dspt.  at  Carle* 


448 


DICTIONARY  OF  MUSICIANS 


ton  Coll.,  Northfield,  for  several 
years  before  Ms  death. 

Verdelot,  (vard-lo)  (Italianised,  Verde- 
lot'to),  Philippe,  d.  before  1567; 
famous  Flemish  madrigal-composer 
and  singer  at  San  Marco,  Venice; 
between  1530-40  in  Florence. 

Verdi  (v&r'-dg),  (Fortunio)  Giuseppe 
(Fran.),  Le  Roncole,  near  Busseto, 
Duchy  of  Parma,  Oct.  9,  1813 — 
Milan,  Jan.  27,  1901;  eminent  Ital- 
ian opera  composer.  Son  of  an  inn- 
keeper and  grocer;  pupil,  and  at 
10  successor  of  the  village  organist, 
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 
Basili,  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- 
era "Olerto"  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 
Xi6o)  apiece,  and  half  the  copy- 
right. The  first  was  a  comic  opera 
*'  Un  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  "Nabuc- 
co"  ("Nebuchadrezzar"),  prod,  at 
La  Scala,  1842,  with  great  applause, 
the  chief  r61e  being  taken  by  Giu- 
seppina  Strepponi  (1815—97),  whom 
he  m.  in  1844.  "I  Lombardi  alia 
prima  Crociata"  (La  Scala,  1843)  wfs 
still  more  succ.  and  is  still  played  in 
Italy  (in  Paris  as  "Jerusalem"). 
"Ernani"  (Venice,  1844)  was  prod, 
on  15  different  stages  in  9  months. 
8  unsucc.  works  followed,  incl.  "I 
due  Foscari"  (Rome,  1844),  "Mac- 
beth" (Florence.  1847;  revised  Paris, 
1865),  and  "I  Masnadieri"  (after 
Schiller's  "Robbers"  London,  H.  M. 
Th.,  1847)-  "Luisa  Miller"  (Na- 
ples, 1849)  was  well  received  and 
is  still  sung  in  Italy.  " Stiff elio" 
(Trieste,  1850);  later  as  "Guglielmp 
Welingrode"\  also  with  another  li- 
bretto as  "Arnoldo"  (1857),  was 


three  times  a  failure.  "Rigoletto," 
c.  in  40  days  (Venice)  (also  given  as 
"Viscardello"),  began  a  three  years' 
period  of  universal  succ.,  it  was 
followed  by  the  world- wide  successes 
"II  Trovatore"  (Rome,  1853)  and 
"La  Traviata"  (Venice  Th.,  1853; 
also  given  as  "Violetta"),  a  fiasco  at 
first  because  of  a  poor  cast;  "Les 
Vtpres  Siciliennes"  (Paris  Op€ra, 
1855;  in  Italian  "/  Vespri  Sicilian*"; 
also  given  as  "Gio-oanna  di  Guzman") 
was  fairly  succ.;  "Simon  Boccanegra" 
(Venice,  1857;  succ.  revised,  Milan, 
1881),  "Un  Ballo  in  Maschera" 
(Rome.  1859),  "La  Forza  del  Des- 
tino"  (Petersburg,  1862),  and  "Don 
Carlos"  (Paris,  OpSra,  1867),  made 
no  deep  impression,  though  they 
served  as  a  schooling  and  marked  a 
gradual  broadening  from  mere  Ital- 
ian lyricism  to  a  substantial  harmony 
and  orchestration.  "Alda"  (written 
for  the  Khedive  of  Egypt)  was.  prod. 
Cairo,  1871,  at  La  Scala,  Milan, 
1872,  and  has  had  everywhere  a 
great  succ.  The  Khedive  gave  him 
£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 
Nazioni"  for  the  London  Exhibition 
(1862),  songs,  etc. 

In  1893  he  was  offered  the  title 
"Marchese  di  Busseto/'  but  was  too 
democratic  to  accept  it.  He  lived 
at  his  villa  Sant'  Agata,  near  Busseto. 
His  funeral  brought  100,000  wit- 
nesses, though  his  will  ordered  that 
it  should  be  simple  and  quiet.  He 
left  the  bulk  of  his  fortune  to  found  a 
home  for  aged  and  outworn  musi- 
cians in  Milan,  where  there  is  also  a 
Verdi  museum. 

Following  a  period  in  which  V.'s 
operas  were  unfavourably  compared 
with  Wagner's,  there  has  been  a 
marked  tendency  to  rank  him  as  an 
even  superior  musical  dramatist  in 
some  respects.  Particularly  in  Ger- 
many, after  1920,  a  new  interest  in 
his  works  arose,  partly  as  the  result 
of  translations  and  adaptations  mad* 
by  Franz  Werfel,  who  also  pub.  a 
novel  based  on  V.'s  life. 
Biog.  by  Gino  Monaldi  (in  German, 


DICTIONARY  OF  MUSICIANS 


449 


trans,  by  L.  Holthof,  Leipzig,  1898); 
Checchi,  1887;  Blanche  Roosevelt 
(London,  1887);  Crowest  (1897); 
Visetti  (1905);  Bonavia  (1930)  and 
Toye  (1931).  Other  memoirs  by 
Pougin,  Hanslick,  Prince  Valori, 
Parodi,  Perinello,  Cavaretta,  Basso, 
Boni,  Colonna,  Sorge,  Voss,  Gari- 
baldi, Bragagnolo  and  Bettazzi, 
d'Angeli,  Bellaigue,  Lottici,  Righetti, 
Mackenzie,  Chop,  Roncaglia,  and 
Neisser.  (See  article,  page  538.) 

Verdonck7,  Cornelius,  Turnhout,  Bel- 
gium, 1563 — Antwerp,  1625;  com- 
poser. 

Vere-Sapio  (v2,r-sS/-pl-6),  Clementine 
(DuchSne)  de,  b.  Paris;  soprano; 
daughter  of  a  Belgian  nobleman,  and 
an  Englishwoman;  pupil  of  Mme. 
Albertini-Baucarde,  Florence;  d6but 
there  at  16,  sang  at  leading  theatres, 
Europe,  later  in  concert,  also  in  the 
United  States;  1896,  she  returned  to 
opera;  1899,  toured  U.  S.  with  an 
opera  troupe  of  which  her  husband, 
Romualdo  Sapio,  ^was  mgr.;  1900- 
1901  at  Metropolitan,  N.  Y.,  and 
Covent  Garden;  d.  N.  Y.,  1954. 

Verhey  (v£r'-hl),  Th.  H.  H.,  Rotter- 


dam, 1848 — Jan.  28,  1929;  pupil  of 
the  Royal  Music  Sch.,  at  The  Hague 
and  of  Bargiel;  teacher  at  Rotter- 


dam; c.  operas,  a  mass,  chamber 
music,  etc. 

Verhulst  (vfcr-hoolsf),  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  (v6rn-ya),  Jean  Aim6,  b.  Paris, 
1769;  harpist  and  composer. 

V6ron  (va-r6n),  D6sir6,  Paris,  1798 — 
1867;  critic,  writer  and  manager  of 
the  Op6ra. 

Verstovsky  (or  Werstowski),  Alexei 
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  Steibelt  (piano}, 
B5hm  (violin),  Tarquini  (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 
°"^c.  opera,  "JPan  Tuardovski,"  fol- 


SUCC.  opera,  Jr&n  J.  varaovs/sv,  101- 
lowed  by  five  others,  including 
"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. 

Vesque  von  Puttiingen  (v£sk  fQn 
ptt'-ling-Sn),  Jn.,  Opole,  Poland, 
1803 — Vienna,  1883;  pianist  of  Bel- 
gian parentage;  c.  6  operas;  used 
pen-name  "J.  Hoven." 

Ves'tris,  Lucia  E.,  London,  1797 — 
Fulharn,  1856;  opera-singer. 

Vetter  (f£t-ter),  Nikolaus,  KQnigsee, 
1666 — Rudofistadt,  1710;  court  or- 
ganist and  important  choral  com- 
poser. 

Viadana  (ve-S-da'-na),  Ludorico  (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  continue 
(v.  B.  D.). 

Vian'na  da  Mot'ta,  JosS,  see  Da  Motta. 

Vianesi  (v5-a-na7-z5),  Auguste  Chas. 
Leonard  Francois,  Leghorn,  Nov.  a, 
1837 — New  York,  Nov.  n,  1908; 
studied  in  Paris  1859,  cond.  Drury 
Lane,  London;  then  at  New  York, 
Moscow  and  Petersburg;  12  years 
cond.  at  Covent  Garden;  also  in 
other  cities;  1887,  ist  cond.  Gr. 
Op6ra,  Paris;  cond.  New  York, 
1891-92. 

Viardot-Garcia  (vI-JLr'-dS-gar-thS'-a), 
(i)  (Michelle  Fde.)  PatiEne,  Paris, 
July  18, 1821 — May  18, 1910;  famous 
mezzo-soprano  and  teacher;  daughter 
of  Manuel  Garcia  (q.v.),  studied  pf. 
with  Vega  at  Mexico  Cath.,  then 
with  Neysenberg  and  Liszt,  and 
Reicha  (harm.);  and  singing  with 
her  father  and  mother;  concert 
d£but,  Brussels,  1837;  opera  debut, 
London,  1839,  engaged  by  Viardot, 
dir.  Th.  Italien,  Paris,  and  sang 
there  until  1841,  when  she  m.  him 
and  made  European  tours  with  him. 
In  1849  she  created  "Fides"  in  "Le 
Proph&e,"  Paris,  "Sapho"  (Gounod's 
opera),  1851;  1863,  retired  to  Baden- 
Baden;  from  1871  lived  in  Paris  as 
teacher.  Her  voice  had  the  remark- 
able compass  of  more  than  3  octaves 
from  bass  c-f"'.  Wrote  a  vocal 
method  and  c.  3  operas,  60  songs, 
and  also  6  pcs.  for  pf.  and  vln. 
Biogr.  by  La  Mara.  (2)  Louise 
H£ritte  Viardot,  Paris,  Dec.  14,  1841 
— Heidelberg,  Jan.,  1918;  daughter 
.  of  above;  singing-teacher  Hoch 


450 


DICTIONARY  OF  MUSICIANS 


Cons.,  Frankfort  (till  1886);  then 
est.  a  sch.  at  Berlin;  c.  2  comic 
operas,  a  pf  .-quartet,  etc.  (3)  Mme. 
Chamerot,  and  (4)  Marianne  V., 
daughters  of  (r)  were  concert- 
singers. 

Vicentino  (ve-chSn-te'-no),  Nicola, 
Vicenza,  1511 — Rome,  1572;  con- 
ductor, theorist  and  composer;  inv. 
"archiorgano." 
Victorio.  Vide  VTTTORIA. 
Vidal  (ve-dfil,  (i)  B.,  d.  Paris,  1880; 
guitar-virtuoso,  teachei  and  com- 
poser. (2)  Jean  Jos.,  Sorfcze,  1789 
— Paris,  1867;  violinist.  (3)  Louis 
A.,  Rouen,  July^  10,  1820 — Paris, 
Jan.  7,  1891;  'cellist  and  writer; 
pupil  of  Franchomme;  pub.  impor- 
tant historical  works.  (4)  Paul 
Antonio.,  Toulouse,  June  16,  1863 — 
Paris,  April  9,  1931;  pupil  of  Paris 
Cons.,  winning  first  Grand  prix  de 
Rome,  1881;  from  1894,  taught  at 
the  Cons.;  1896,  cond.  at  the  Ope'ra; 
prod.  3-act  lyric  fantasy  "Eros" 
(1892),  a  baUet  "La  Maladetta^ 
(1893),  2  i -act  operettas;  lyric 
drama  "Guernica"  (Op.  Com.,  1805); 
"La  Reine  Fiammette"  (1898);  r'La 
Burgonde"  (1898);  "Ramses"  (1908); 
orch.  suite,  "Les  mysteres  d'Eleusis," 
etc. 
Vierdank  (fSr'-dUnk),  Jn.,  organist 

and  composer  at  Stralsund  1641. 
Vierling  (fer'-Hng),  (i)  Jn.  Gf.,  Metz- 
els,  near  Meiningen,  1750 — Schmalk- 
alden,  1813;  organist  and  composer. 
£2)  Jacob  V.,  1796 — 1867,  organist. 
(3)  Georg,  Frankenthal,  Palatinate, 
Sept.  5,  1820 — Wiesbaden,  May  i, 
ipor;  sou  and  pupil  of  above,  also 
of  Rinck  (org.),  Marx  (comp.);  1847, 
organist  at  Fran  kf  ort-on-Q  der ;  1852— 
53,  cond.  Liedertafel,  Mayence; 
then  lived  in  Berlin,  founder  and  for 
years  cond.  Bach-verein;  prof,  and 
R.  MusXDir.;  c.  notable  secular 
oratorios,  "Der  Raub  der  Sabine- 
rinnen"  (op.  50),  "Alarichs  Tod" 
and  "  Konstantin" ;  Psalm  137,  with 
orch.;  and  other  choral  works;  a 
symph.;  5  overtures,  incl.  "Im 
FrfMing"m9  capriccio  for  pf.  with 
orch.,  etc. 

Vierae,  Louis  Victor  Jules,  Poitiers, 
France,  Oct.  8,  1870 — at  organ, 
Notre  Dame,  Paris,  June  2,  1937; 
pupil  of  Paris  Cons,  under  Franck 
and  Widor,  the  latter  making  him 
Ms  asst.  as  org.  at  St.  Sulpice  in 
1802,  and  in  his  classes  at  the 


1894;  after  1900  he  was  org.  at 
Notre  Dame;  from  1911  instructor 
in  organ  master  class  at  the  Schola 
Cantorum;  he  gave  recitals  in  many 
Eur.  cities;  teacher  of  Nadia  Bou- 
langer,  Joseph  Bonnet  and  Marcel 
Dupr6;  c.  5  symphonies  for  organ 
and  other  works  for  this  instrument; 
Missa  Solemnis  for  choir  and  orch.; 
various  other  church  comps.;  orch., 
chamber  music  and  piano  pieces, 
etc. 

Vieuxtemps  (v'yii-tan),  (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  B6riot  (vln.),  Sechter  (narm.), 
Reicha  (comp.);  he  toured  Europe 
with  great  succ.,  and  three  times 
America  (1844,  1857  and  1870);  1845, 
m.  Josephine  Eder,  a  Vienna  pianist; 
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, 
several  concertinos,  an  overture  on 
the  Belgian  national  hymn  (op.  41), 
fantaisie-caprice,  with  orch.;  fantai- 
sies  on  Slavic  tnemes,  "  Rommage  d 
Paganini,"  caprice,  sonata,  vars,  on 
"Yankee  Doodle,"  2  'cello-concertos, 
a  grand  solo  duo  for  vln.  and  'cello 
(with  Servais),  etc.  Biog.  by  Ra- 
doux  (1891).  (2)  Jules  Jos.  Ernest, 
Brussels,  March  18,  1832 — Belfast, 
March  20,  1896;  bro.  of  above; 
solo-'cellist  It.  Opera,  London;  also 
in  Hallo's  orch.  at  Manchester. 
(3)  Jean  Joseph  Lucien,  Verviers, 
July  5,  1828 — Brussels,  Jan.  1901; 
pianist  and  composer;  pianist, 
teacher,  and  c.  of  piano  pieces, 
brother  of  Henri  and  Jules  V.  (q.  v.). 
Vigand  (vS-ga-no'),  Salvatore,  Naples, 
1769 — Milan,  1821;  ballet-dancer 
and  succ.  composer  of  ballets. 
Vigna  (v5n'-ya),  Arturo,  Turin,  1863 — 
Milan,  Jan.  5,  1927;  cond.  Met.  Op. 
House,  N.  Y.,  1903-07;  pupil  Milan 
Cons. 

Vilbac(k)  (v€l-bak),  (Alphonse  Chas.) 
Renaud  de,  Montpellier,  1829 — 
Paris,  1884;  pianist  and  organist;  c, 
comic  operas. 

Villa-Lo/bos,  Heitor,  b.  Rio  de  Janeiro, 
March  5,  1881;  composer;  studied 
with  Franca,  Braga  and  Nyendem- 


DICTIONARY  OF  MUSICIANS 


451 


berg;  d6but  as  Cellist  at  12;  made 
tour  of  Brazil,  where  has  led  orchs. 
as  well  as  in  Europe;  attracted 
attention  for  his  comps.  in  chamber 
music  and  other  forms,  based  on 
Brazilian  folk-music,  marked  by 
unusual  pungency  and  originality 
in  expression;  he  is  advanced  in 
modern  technical  devices,  and  inde- 
pendent in  idiom  and  personality;  c. 
sonatas,  trios,  quintet,  sextet,  octet, 
4  concertos,  many  symphonic  works, 
and  piano  pieces,  some  of  which  are 
based  on  characteristic  African 
dances,  and  several  suites  for  chil- 
dren; adaptations  of  native  folk- 
songs, with  Portuguese,  French  and 
Spanish  texts. 

\Tillanis  (Vel-la'-nSs),  Luigi  Alberto, 
San  Mauro,  near  Turin,  June  24, 
1863 — Pesaro,  Sept.  27,  1906;  LL.D. 
Turin  Univ.,  1887,  then  pupil  of 
Thermignony  and  Cravero  (comp.); 
1890  prof,  of  mus.  aesthetics  and 
history,  Turin  Univ.;  critic  and 
writer. 

Villarosa  (v5l-la-r5'-sa),  Carlantonio 
de  Rosa,  Marchese  da,  Naples,  1762 
— 1847;  Royal  Historiographer,  1823, 
and  writer  on  music. 

Villars  (v€-yars),  Fran,  de,  He  Bour- 
bon, 1825 — Paris,  1879;  critic  and 
historian. 

ViUebois  (ve'-yii-bwa),  Constantin 
Petrovitch,  1817 — Warsaw,  1882; 
composer. 

Villoing,  Alex,  St.  Petersburg,  1808 — 
1878;  pf. -teacher;  wrote  method 
and  c.  pf  .-pcs, 

VHloteau  (v5'-yd-t6),  Guillaume  An- 
dr6,  BeUteie,  1759 — Paris,  1839; 
tenor  and  writer. 

Vinay  (ve'-nl),  Raoul,  Chilean  tenor; 
d6but  Met.  Op.,  1945,  as  Don  Jose; 
sang  Otello  there  and  at  La  Scala. 

Vincent  (v5,n-san),  (i)  Alex*  Jos.  Hy- 
dulphe,  Hesdin,  Pas-de-Calais,  1797 
— Paris,  1868;  pub.  treatises  claim- 
ing that  the  Greeks  used  harm.,  etc. 
(ftn'-ts£nt),  (2)  H.  Jos.,  Teilheim, 
near  Wtirzburg,  Feb.  23,  1819 — 
Vienna,  May  20,  1901;  gave  up 
theology  and  law  and  became  a  tenor 
in  theatres  at  Vienna  (1849),  Halle 
and  Wiirzburg;  from  1872,  singing- 
teacher  and  conductor;  lived  at 
Vienna;  pub.  treatises;  c.  operettas. 

Vinci  (ven'-che),  (i)  Pietro,  b.  Nicosia, 
Sicily,  1540;  maestro  and  composer. 
(2)  Leonardo;  Strongoli,  Calabria. 


1690 — Naples,  1730;  maestro  and 
dram,  composer. 

Vifies  (ven'-yes),  Ricardo,  b.  LSrida, 
Spain,  Feb.  5,  1875;  pianist;  pupil 
of  Pujol  at  Barcelona  Cons.,  also 
of  de  Be"riot,  Lavignac  and  Godard 
at  Paris  Cons.;  esp.  known  as 
interpreter  of  modern  French,  Rus- 
sian and  Spanish  music,  and  a 
pioneer  in  the  playing  of  Debussy; 
lived  in  Paris;  d.  Barcelona.  1943. 

Viola  (v5-5'-la),  (i)  Alfonso  della,  ct.- 
composer  at  Ferrara,  1541-63  to 
Ercole  II.  (2)  Fran.,  pupil  of  Wil- 
laert;  maestro  at  Ferrara,  and  com- 
poser, 1558-73- 

Viole  (f5'-o-l£),  Rudolf,  Schochwitz, 
Mansfield,  1825 — Berlin,  1867;  pian- 
ist and  composer. 

Viotta  (fe-6t'-ta),  Henri,  Amsterdam, 
July  16,  1848 — Montreux,  Feb.  18, 
I933?  studied  Cologne  Cons.;  also 
a  lawyer,  1883;  founder  and  cond., 
Amsterdam  Wagner  Soc.,  etc.;  1889, 
ed.  Maandllad  •ooor  Muziek;  1896 
— 1917,  dir.  Cons,  at  The  Hague; 
1903-17,  cond.  of  Residentie  Orkest; 
publ.  a  "Lexicon  der  Toonkunst." 

Viotti  (ve-6t'-tS),  Gipv.  Bat.,  Fonta- 
neto  da  Pd,  Vercelli,  Italy,  May  23, 
1753 — London,  March  3,  1824;  son 
of  a  blacksmith;  at  first  self- 
taught,  then,  under  patronage  of 
Prince  della  Cisterna,  studied  with 
Pugnani  at  Turin;  soon  entered  the 
ct. -orchestra;  1780  toured  with  Pug- 
nani, 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  accompa- 
nist to  Marie  Antoinette  and  cond. 
to  the  Prince  de  Soubise.  Failing 
to  be  dir.  of  the  Opera,  1787?  he 
joined  Leonard,  the  Queen's  hair- 
dresser, and  est.  It.  Op6ra,  1789; 
prospering  till  the  Revolution.  He 
went  to  London  as  a  violinist  and 
played  with  great  succ.  I795>  rngr- 
It.  Op6ra  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  modern  sonata-form, 
and  supported  with  broadened  or- 
chestration). C.  also  2  Concertantes 
for  2  vlns.,  21  string-quartets,  51  vln.- 


452 


DICTIONARY  OF  MUSICIANS 


duos,  1 8  sonatas,  etc,  Biogr.  by 
Fayolle  (Paris,  1810);  Baillot  (1825), 
and  Arthur  Pougin  (1888). 

Virdtmg  (fSr'-doongk),  Sebastian, 
priest  and  organist  at  Basel,  1511; 
writer  and  composer. 

Visetti  (ve-sfct'-te),  Alberto  Ant., 
Spalato,  Dalmatia,  May  13,  1846 — 
London,  July  9,  1928;  pupil  of 
Mazzucato,  Milan  Cons.,  concert- 
pianist  at  Nice;  then  Paris,  cond. 
to  the  Empress  Eug6nie;  1871,  on  the 
fall  of  the  Empire,  vocal  teacher  in  the 
R.  C.  M.,  London;  dir.  Bath  Philh. 
Soc,,  1878-90;  pub.  a  "History  of  the 
Art  of  Singing,"  and  translations. 

Vitali  (ve-ta'-lg),  (i)  Filippo,  b.  Flor- 
ence, singer  and  composer,  1631.  (2) 
Giov.  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  i7th  cent.;  leader 
there,  and  c.  a  chaconne. 

Vitry  (ve-tre),  Philippe  De  (Philippus 
di  Vitria'co),  b.  Vitry,  Pas-de-Calais; 
d.  1361,  as  Bishop  of  Meaux;  theorist. 

Vittadini  (v5-ta-d5'-n5),  Franco,  b. 
Pavia,  Italy,  April,  ^884;  composer; 
pupil  of  Cons.  Verdi,  Milan  ?  c. 
(operas)  "Anima  Allegra"  (Costanzi, 
Rome,  1921,  also  at  Met.  Op. 
House) ;  "  Nazareth"  (based  on  Sehna 
Lagerlof  story),  (Pavia,  1925);  "La 
Sagredo";  also  masses,  motets  and 
organ  pieces. 

Vittori  (vit-to'-rS),  Loreto,  Spoleto, 
1604 — Rome,  1670;  composer. 

Vittoria  (vit-t6'-rf-a),  Tomaso  Ludo- 
vico  da  (rightly  Tomas  Luis  De 
Victoria),  Avila(?),  Spain,  ca.  1540 — 
Madrid,  Aug.  27,  1611;  went  to 
Rome  early;  1573  maestro  Collegium 
Germanicum;  f  575,  of  S.  Apollinaris; 
friend  and  disciple  of  Pales trina; 
1589-1602  vice  ct.-con4uetor,  Ma- 
dflfid;  c.  notable  works  incL  a  requiem 
for  the  Empress  Maria,  1605. 

Vivaldi  (vS-vaT-de),  Abbate  Ant., 
Venice,  ca.  1675 — 1743;  celebrated 
violinist;  from  1713  dir.  Cons,  della 
Pieta*  One  of  the  early  masters 
of  Italian  music,  V.  in  his  remarkable 
eoncerti  developed  the  form  created 
by  CfcreUi  and  G.  Torelli  and  tJius 
was-  one  of  the  precursors  of  the 
symphony.  Sixteen  of  his  eoncerti 
were  transcribed  by  Bach  for  clavier 
or  otherwise  musically  extended, 
and  the  concerto  in  I)  minor  by 
Friedemann  Bach  for  organ  is  a 


transcription  of  one  of  his  for  v!n. 
He  c.  some  150  vln.  eoncerti;  18  vln. 
sonatas;  12  trios  for  vlns.  and  'cello; 
6  quintets  for  flute,  vln.,  viola,  *cello 
and  organ-bass;  some  40  operas,  as 
well  as  many  cantatas,  arias  and 
other  vocal  works. 

Vives  (v5'-vas),  Amadeo,  Barcelona, 
1871 — Madrid,  Dec.  2,  1932;  com- 
poser of  many  Spanish  zarzuelas 
and  other  stage  works;  succeeded 
Tomas  Breton  as  teacher  of  comp. 
at  Madrid  R.  Cons,  of  Music;  also 
a  leading  writer  on  music  in  Spain. 


and  wrote  a  harmony.  (2)  Eugene 
Leon,  Ajaccio,  1821 — Nice,  Feb.  24, 
1900;  remarkable  horn-virtuoso; 
pupil  of  Gallay,  then  joined  orch, 
at  Paris  Op£ra;  made  many  tours^ 
was  a  favourite  of  Napoleon  III., 
then  retired  to  Nice;  a  wit  and  a 
composer  of  excellent  songs. 

Vix,  Genevidve,  1887 — Paris,  1940; 
soprano;  sang  at  Madrid,  Buenos 
Aires  and  (1917—18)  with  Chicago 
Opera  Company. 

Vizentini  (v6-zSn-te'-nS),  Louis  Albert, 
Paris,,  Nov.  9,  1841 — Oct.  1906; 
violinist;  pupil  of  the  Paris  and 
Brussels  Cons.;  critic  on  the  Figaro; 
cond.  in  theatres  in  various  cities; 
c.  operettas,  ballets,  etc. 

VTeeshouwer  (flas'-hoo-vSr),  Albert 
de,  b.  Antwerp,  June  8,  1863;  pupil 
of  Jan  Blockx;  prod.  2  operas, 
"L>'£cote  des  Peres"  (1802)  and 
"Zryni"  (Antwerp,  1895),  sym- 
phonic poem,  "De  wilde  Jager"  etc. 

Vock'ner,  Josef,  Ebensee,  March  18, 
1842 — Vienna,  Sept.  ir,  1906;  organ 
tfeacfe&e  at  t&e  Cons.;  c.  oratorio, 
t  fugues,  etc. 

(fo"-gel>,    (i)    Jn.    Chr.,    Niirn- 
erg,  i7|& — Paris,  1788;  dram,  com- 
goser,     (2)  L*f  flutist  and  composer. 
Paris,    ±7<^ — 1798.     (3)    Fr.    Win. 
Fd»y   Ha^lberg,    Prussia,    Sept.    9, 
±$07' — Bergen,   1892;  pupfl  of  Birn- 
bacn,    Berlin;    totwect    as   organist; 
fr&na  185*,  ait  Betgen,  Noiwuy;  pub. 
£t  concertino  for  org.  with  trombones; 
mph^  ov^rtttre,   2  operettas,  etc. 
>  |Clxas.  Louis)  Ad.r  Lflle,  1808— 
189*;    violinist    and    dram, 
composer.     (5)        (Wm.)^      Moritz, 
Sorgau,  near  Freiburg,  Silesia,  July 
9,     1846 — Leipzig,     Oct.    30,,    1922; 
pianist;    pupil    of    Leipzig     Cons.; 


DICTIONARY  OF  MUSICIANS 


453 


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  com- 
poser. (7)  Emil,  Wriezen-on-Oder, 
Jan.  21,  1859 — Berlin,  June  18, 
1908;  Dr.  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, 
Leipzig;  pub.  monographs,  etc. 
(8)  Vladimir,  b.  Moscow,  Feb.  29, 
1896;  noted  modern  composer;  pupil 
of  Busoni  in  comp.;  in  his  works 
strongly  influenced  by  atonal  theories 
of  SchQnberg;  he  lived  in  Berlin 
1918-33,  after  latter  year  in  Stras- 
bourg; a  number  of  his  works  have 
been  perf .  at  f  ests.  of  the  I.  S.  C.  M. 
c.  oratorio,  syrnph.,  suite,  orch. 
pieces,  string  quartet,  piano  works, 
chorus,  etc. 

Voggenhiiber  (f6g'-gSn-hoo-b€r),  ViL- 
ma  von  (Frau  V.  Krolop),  Pesth, 
1845 — Berlin  1888;  dram,  soprano 
at  Berlin  ct.-opera  1868-88. 

Vogl  (f5kh'-'l),  (i)  Jn.  Michael,  Steyr, 
1768 — Vienna,  1840;  tenor  and  con- 
ductor (v.  rz.  SCHUBERT).  (2)  Hein- 
rich,  Au,  Munich,  Jan.  15,  1845 — 
on  the  stage,  Munich,  April  21,  1900; 
famous  tenor;  d6but  Munich  ct.- 
opera,  1865;  sang  there  thereafter; 
eminent  in  Wagnerian  roles  at  Bay- 
reuth;  prod,  an  opera  "Der  Fremd- 
ling"  (Munich,  1899).  (3)  Therese 
(ne'e  Thoma),  Tutzing,  Lake  of 
Starnberg,  Nov.  12,  1845 — Munich, 
Sept.  29,  1921;  from  1868,^  wife  of 
above,  and  like  him.,  eminent  in 
Wagner  opera;  dram,  soprano;  pupil 
of  Hauser  and  Herger,  Munich 
Cons.;  1864,  Carlsruhe;  1865-92, 
Munich,  then  retired. 

Vogler  (fSkh'-lSr),  Georg  Jos.  ("AbbS 
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-conductor  Stockholm;  1807, 
ct.-cond.  at  Darmstadt;  he  was 
eminent  as  a  teacher  of  radical 
methods;  toured  widely  as  a  concert 
organist  with  his  "orchestrion";  he 
wrote  many  treatises;  c.  10  operas,  a 
symphony,  etc. 

Vogrich  (fo'-grikh),  Max  (Wm.  Carl), 
Szeben  (Hermannstadt),  Transyl- 
vania, Jan.  24,  1852— New  York, 


June  10,  1916;  pianist,  at  7  he  played 
in  public,  then  pupil  of  Leipzig  Cons.; 
1870-78,  toured  Europe,  Mexico  and 
South  America;  then  U.  S.  with 
Wilhelmj;  1882-86,  in  Australia, 
where  he  m.;  after  1886,  lived  in 
New  York;  c.  3  grand  operas  (text 
and  music)  incl.  "Wanda"  (Florence, 
1875);  c.  also  an  oratorio  "The  Cap- 
tivity"  (1884;  Met.  Op.  1891);  2  can- 
tatas, Missa  Solemnis;  2  symphs., 
vln.-concerto,  etc. 

Vogt  (fokht),  (i)  Gustave,  Strassburg, 
1781 — Paris,  1870;  oboist,  professor 
and  composer.  (2)  Jn.  (Jean), 
Gross-Tinz,  near  Liegnitz,  1823 — 
Eberswalde,  1888;  pianist  and 
composer.  (3)  Augustus  Stephen, 
Washington,  Ont.,  Aug.  14,  1861 
— Toronto,  Sept.  17,  1926;  pianist, 
teacher;  studied  Leipzig  Cons.;  after 
1888  taught  in  Toronto,  1892  at 
Cons.,  of  which  dir.  after  1913; 
founded  and  led  Mendelssohn  Choir 
there,  1894-1917;  Mus.  D. 

Voigt  (foikht),  (i)  Jn*  G.  Hermann, 
Osterwieck,  Saxony,  1769 — 1811; 
organist  and  composer.  (2)  K., 
Hamburg,  1808 — 1879;  conductor. 
(3)  Henriette  (n6e  Ktinze),  1808 — 
Oct.  15,  1839;  distinguished  amateur 
musician  at  Leipzig;  intimate  friend 
of  Schumann. 

Volbach  (f6l'-bakh),  Fritz,  b.  WiPPer- 
fiirth,  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 
teacher  there;  1892  cond.  at  Mainz; 
1907  at  Tubingen;  after  1919  at 
Miinster  Univ.;  has  written  biogs. 
and  edited  musical  texts;  c.  symph., 
symph.  poems,  "Ostern"  (Easter) , 
for  organ  and  orch.  (Sheffield  Fest., 
1902);  uEs  war  en  sswei  Konigs- 
kinder,"  "AU  Heidelberg,  du  Feine," 
a  series  of  vocal  works  with  orch. 
he  cond.  in  London;  d.  Dec.  6,  1941. 

Volckmar  (f6lk7-mar),  Wm.  (Valentin), 
Hersfeld,  Cassel,  1812 — Homberg, 
near  Cassel,  1887;  mus.-teacher, 
organist,  writer  and  composer. 

Volkland  (f6lk'-lant),  Alfred,  Bruns- 
wick, April  10,  1841 — Basel,  1905; 
pupil  Leipzig  Cons.;  ct.-pianist  at 
Sondershausen;  from  1867,  ct.-cond. 
there  1869-75,  cond.  Leipzig  Euterpe} 
also  co-founder  the  Bach-Verein;  after 
1875,  cond.  at  Basel;  1889,  Dr.  PhiL 
It.  c.  (Basel 


454 


DICTIONARY  OF  MUSICIANS 


Volkmann  (fdlk'-man),  (Fr.)  Robt., 
Lornmatzsch,  Saxony,  April  6,  1815 
— Budapest,  Oct.  30,  1883;  notable 
composer;  son  and  pupil  of  a  cantor; 
studied  with.  Friebel  (vln.  and  'cello), 
Anacker  (comp.)  and  EL.  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, 
inch  "Richard  III.";  concerto  for 
'cello,  Concertsttick  for  pf.  and 
orch.;  2  masses  with  orch.;  Christmas 
Carol  of  the  isth  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 
soprano  with  orch.,  "Sappho";  pf.- 
pcs.  and  songs.  Biog.  by  Vogel 
(Leipzig,  1875). 
Vollerthun  (f61'-Sr-toon),  G.,  b.  Fiirste- 

nau,  Sept.  29,  1876;  composer. 
Vollhardt  (f61'-h&rt),  Emil  Rein- 
hardt,  Seifersdorf,  Saxony,  Oct.  16, 
1858 — Zwickau,  Feb.  10,  1926;  pupil 
of  Leipzig  Cons.;  cantor  Marien- 
kirche  and  cond.  at  Zwickau;  c. 
motets  and  songs. 

Vollweiler  (f61'-vi-ler),  K.,  Offenbach, 
1813 — Heidelberg,  1848;  piano- 
teacher  and  composer. 
Volpe  (v61'-p6),  Arnold,  b.  Kovno, 
Russia,  July  9,  1869 — Miami,  Fla., 
Feb.  2,  1940;  studied  at  Warsaw 
Cons.,  with  Auer  in  St.  Petersburg, 
<md  comp.  with  Soloviev;  came  to 
America  in  1898;  1904,  founded 
Volpe  Symph.  Orch.  in  N.  Y.;  1916, 
led  Stadium  Concerts  at  College  of 
the  City  of  New  York;  1922,  dir.  of 
Kansas  City  Cons.;  has  since  taught 
at  Miami,  Fla.,  Univ.,  and  led  orch. 
concerts  there. 

Voretzsch     (v5'-rStsh),     Jns.     Felix, 

Altkirchen,    July    17,    1835 — Halle, 

May  10,  1908;  pianist  and  conductor. 

Voss,     (i)     (Vos^sius)    Gerhard    Jn., 

Heidelberg,  1577 — Amsterdam,  1649; 

writer  on  mus.     (2)  Isaak,  Leyden, 

1618 — Windsor,  EngL,  1680;  son  of 

above;  canon  and  writer.     (3)  Chas., 

Schmarsow,       Pomerania,       1815 — 

Verona,  1882;  pianist  and  composer. 

Vredemann  (fra'-dS-man),  (i)  Jakob, 

teacher  and  composer,   Leuwarden,  - 

ca,  1600 — 1640.  (2)  Michael,  teacher 

and  theorist.  Arnheim,  1612. 

Vreuls    (vrtils),    Victor,    b.    Verviers, 


Feb.  4,  1876;  pupil  Liege  Cons. 
and  of  d'Indy,  at  whose  Schola  can- 
torum  he  became  teacher  of  har- 
mony; 1906-20,  dir.  of  Luxembourg 
Cons.;  1903  won  the  Picard  prize 
of  the  Belgian  Free  Academy;  c. 
symphonic  poems,  "Triptyque"  for 
voice  and  orch.,  chamber  music  and 
songs. 

Vroye  (vrwa),  Th.  Jos.  De,  Villers-la- 
Ville,  Belgium,  1804 — Li6ge,  1873; 
canon  and  theorist. 

Vuillaume  (vw6-y6m),  Jean  Baptiste, 
Mirecourt,  Dept.  of  Vosges,  France, 
Oct.  7,  1798 — Paris,  March  19,  1875; 
1821-25,  in  partnership  with  Lete; 
he  was  v.  succ.  and  a  remarkable 
imitator  of  Stradivari;  inv.  18 si 
yoctobasse"  (v.  D,D.);  1855,  a 
larger  viola  "contre-alto";  in  1867  a 
mute,  the  "pedale  sourdine,"  etc. 

Vuillermoz,  Emile,  b.  Lyons,  1879: 
Paris  mus.  critic;  c.  songs,  etc. 

Vulpius  (fool'-p]f-oos),  Melchior,  Wa- 
sungen,  ca.  1560 — Weimar,  1616, 
cantor  and  composer. 

W 

Waack  (v£k),  Karl,  Lttbeck,  March  6, 
1861 — Neuminster,  March  7,  1922; 
pupil  of  Grand-ducal  School, 
Weimar;  cond.  in  Finland  and  at 
Riga;  1890  studied  with  H.  Riemann, 
returned  to  Riga  as  editor,  cond.  and 
author;  after  1915  led  pop.  concerts  of 
Musik-Freunde  in  Liibeck. 

Wachtel  (vakh'-tel),  (i)  Theodor, 
Hamburg,  1823 — Frankfort-on-Main, 
1893;  noted  tenor;  son  and  successor 
of  a  livery-stable  keeper;  studied 
with  Frl.  Grand  jean.  His  son  (2) 
Th.  (d.  Dessau,  1875)  was  for  a  tim 
a  tenor. 

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  Gil-pin"  for  chorus  and  orch. 
(1894);  "Ode  to  Music,"  do.;  violin 
and  'cello  sonatas,  etc. 

Waelput  (val'-poot),  Hendrik,  Ghent, 
1845 — 1^85;  cond.,  professor  and 
dram,  composer. 

Waelrant  (wal'-rSnt),  Hubert,  Ton- 
gerloo,  Brabant,  ca.  1517 — Antwerp, 
1595;  a  mus.-pub.  and  teacher;  intro- 
duced "Bocedisation"  (v.  D.D.): 
c.  motets,  etc. 

Wagenaar  (vakh'-S-nfir),  (i)  Johan, 
Utrecht,  1862-1941;  organist  $t 


DICTIONARY  OF  MUSICIANS 


455 


the   Cathedral;    1904,    dir.   of   mus. 
school  there;  1919,  dir.  of  Cons,  of 
Music  in   The   Hague;   c.    "Fritjofs 
Meerfahrt"    and   "Scud  and    David" 
for     orch.,     overture     "Cyrano     de 
Bergerac"     etc.     (2)     Bernard,     b. 
Arnhem,    Holland,    Aug.    18,    1894; 
composer;    studied    Utrecht    Music 
School  of  the  Toonkunst  Soc.,  comp. 
with    Johan     Wagenaar;     came    to 
America  in  1925;  has  taught  comp* 
at  Juilliard  School  of  Music,  N.  Y.; 
c.    (orch.)    2    symphonies,    Divert!* 
mento,  Sinfonietta  (chosen  to  repre- 
sent U.  S.  at  Li6ge  Fest.  of  I.  S.  C.  M. 
1930);    sonata    for    vln.    and   piano 
(prize    of    Soc.    for   Pub.    of   Amer. 
Music,    1928);    also    "Three    Songs 
from  the   Chinese3^  for  voice,   flute, 
harp  and  piano ;  his  works  have  been 
performed  by  N.  Y.  Philh.,  Detroit 
Symph.,  and  other  ensembles. 
Wagenseil  (va'-gSn-zil),  (i)  Jn.  Chp.f 
Nttrnberg,      1633  —  Altdorf,      1708; 
writer.  (2)   G.  Chp.,  Vienna,  1715 — 
17775  teacher  and  composer. 
Wagner    (vakh'-ner),    (i)    K.    Jakob, 
Darmstadt,        1772 — 1822;       horn- 
vi/ttioso, ''     concert-conductor;        c. 
operas.     (2)    Ernst    David,    Dram- 
burg,  Pomerania,  1806 — Berlin,  1883; 
cantor,  organist,   mus.-director  and 
composer;  pub.  essays. 
(3)  CWm.)  Richard,  Leipzig,  May  22, 
1813 — Venice,   Feb.   13,    1883;   emi- 
nent opera  composer;  son  of  a  clerk 
in  the  city  police-court,   who   died 
Vrhen  W.  was  six  months  old;  the 
mother  m.  an  actor  and  playwright, 
Ludwig     Geyer     of     Dresden.     W. 
attended  the   Dresden  Kreuzschule 
until  1827;  he  transL  12  books  of  the 
Odyssey,   and  at  14  wrote  a  bom- 
bastic   and    bloody    Shakespearean 
tragedy;    1827,    he    studied   at    the 
Nikolai  Gymnasium,  Leipzig,  where 
the    family    lived    while    his    sister 
Rosalie   was   engaged   at   the    City 
Theatre    there.     Wagner    was    im* 
pelled    music-ward    by    hearing    a 
Beethoven    symph.    and    took    up 
Logir's   "Thoroughbass."     He   then 
studied  theory  with  the  organist  Gott- 
lieb MOller  and  c.  a  string-quartet,  a 
sonata  and  an  aria.     1830,  after  ma- 
triculation   at    Leipzig    Univ.,    he 
studied  six  months  with  Th.  Weinlig 
(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,  Leipzig 
1833.     He  wrote  the  libretto  for  an 
opera,    "Die     Hochzeit,"    an    intro- 
duction, septet,  and  a  chorus  1832, 
but  his  sister  Rosalie  thought  it  im- 
moral and  he  gave  it  up;  1833  his 
brother  Albert,   stage-manager   and 
singer  at  the  Wiirzburg  Theatre  in- 
vited him  to  be  chorusm.  there.     He 
c.  a  romantic  opera  in  3  acts  "Die 
Feen"  to  his  own  libretto  (after  "La 
Donna  serpente"  by  Gozzi);  it  was 
accepted  but  never  performed,  by  the 
Leipzig  th.-dir.  Ringelhardt  (given  at 
Munich,    1888),     1834,    he    became 
cond.  at  the  Magdeburg  Th.     Here 
he  c.  (text  and  music)  "Das  Liebes- 
verbot  (after  Shakespeare's  "Measure 
for  Measure"),  performed  by  a  bank- 
rupt   troupe,     1836.     Th.-cond.    at 
Konigsberg,   and  m.   (183  5)   an  ac- 
tress Wilhelmine  Planer,  who  d.  1866, 
after  they  had  separated  in  i86r. 
He    c.    an    overture    "Rule    Britan- 
nia" 1837  cond.  Riga  opera.    Moved 
by  Meyerbeer's  triumphs  at  the  Gr. 
Opera  at  Paris,  W.  went  there,  July. 
i839>  by  sea.     The  voyage  lasted  3} 
weeks  and  was  very  stormy;  the  ex- 
perience suggested  to  him  the  opera 
"Flying   Dutchman."         Meyerbeer 
gave  him  letters  to  musicians  and 
pubs,  in  Paris;  here  he  suffered  pov* 
erty  and  supported  himself  by  song- 
writing,  arranging  dances  for  piano 
and  cornet,  preparing  the  pf.-score 
of  HalSvy's  "Reine  de  Chypre,"  and 
writing    articles.     His    operas    were 
scornfully  rejected'-and  he  could  get 
no  hearing  till  the  v.  succ.  "Rienzi" 
was  prod.,  Dresden,  1842,  and  "Der 
Fliegende   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,  "Das  Liebesmahl  der  Apostel" 
for  3  choirs,  a  cappella,  later  with  full 
orch.      "Tannh&user"      was     prod., 
Dresden,  1845,  with  succ.  in  spite  of 
bitter  opposition.     In  1848  "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,     Weltge- 
schichte  aus  der  Sage";  a  p-ose  study 
on    "Der     Niebelungen-Mythus     als 
Entwurf  zu  einem    Drama"    (1848), 
and  a  3-act  drama  with  Prologue, 
written  in  alliterative  verse,  "Sieg 


456 


DICTIONARY  OF  MUSICIANS 


fried's  Tod,"  preparations  for  the 
great  work  to  follow.  A  rashly  ex- 
pressed sympathy  with  the  revolution- 
ary cause  (1849)  nxade  flight  neces- 
sary; he  went  to  Weimar  with  Liszt, 
but  had  to  go  on  to  Paris  to  escape 
the  order  for  his  arrest.  1849  he  pro- 
ceeded to  Zurich,  were  he  wrote  a 
series  of  remarkable  essays:  "Die 
Kunst  und  die  Revolution"  (1849), 
*'Das  Kunstwerk  der  Zukunfi" 
"Kunst  und  Klima,"  "Das  Juden- 
thum  in  der  Musik"  (1850),  "Oper 
und  Drama/'  "  Erinnerungen  an 
Spontini,"  a  prose  drama  "Wieland 
der  Schmiedt,"  and  the  3  poems  of  the 
Niebelungen trilogy  (privately printed 
1853).  The  music  of  "Das  Rhein- 
gold"  was  finished  1854,  "Die  Wal- 
kiire,"  1856.  He  cond.  orch.  concerts 
with  much  succ.,  lectured  on  the 
mus.  drama,  prod.  "  TannMuser" 
(Zurich,  1855);  1855  he  cond.  8  con- 
certs of  the  London  Philh.  Soc.  1857 
he  left  "Siegfried"  unfinished  and  c. 
"Tristan  und  Isolde."  1860  he  gave 
concerts  of  his  own  works,  winning 
many  enthusiastic  enemies  and  some 
valuable  friends.  The  French  Em- 
peror ordered  "TannMuser"  to  be 
prod,  at  the  Gr.  Op6ra,  March  13, 
1 86 1 .  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  accepted 
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  "Die  Meistersinger"  (prod. 
Munich,  1868)  and  "Der  Ring  des 
Nibelungen,"  "Siegfried"  (1869)  and 
"Gmterd&mmerung"  (1874). 
Though  King  Ludwig's  scheme  for 
a  special  Wagner  Theatre  in  Munich 
was  given  up,  there  were  by  now 
enough  Wagner-lovers  and  societies 
throughout  the  world,  to  subscribe 
funds  for  a  theatre  at  Bayreuth, 
where  the  corner-stone  was  laid  in 


1872,  on  his  6oth  birthday.  In 
August,  1876,  complete  performances 
of  "Der  Ring  des  Nibelungen"  were 
given  there  under  most  splendid 
auspices,  but  with  a  deficit  of  $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  " Btthnenweikfestspiel" 
(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 
and  condemned)  are  pub.  in  various 
eds.  There  is  an  English  trans- 
lation in  8  volumes,  by  Wm.  Ashton 
Ellis. 

1870  he  m.  Cosima,  the  divorced 
wife  of  von  Billow  and  natural 
daughter  of  Liszt  (she  d.  1930). 
After  his  death  she  had  charge  of  the 
Bayreuth  Festivals  for  a  number  of 
years,  but  1909  yielded  the  direction 
to  her  son,  Siegfried.  Since  his 
death,  1930,  his  widow,  Winifred 
has  been  in  charge. 
In  the  half  century  since  WVs  death 
his  music  has  been  universally  ac- 
cepted as  the  corner-stone  of  modern 
operatic  repertoires.  Concerning  his 
personal  character  there  has  been 
much  polemical  writing,  ranging 
from  actual  vilification  to  the  most 
fervid  veneration.  Particularly 
about  his  autobiography,  contro- 
versy has  centred,  with  some 
commentators  asserting  that  his 
life  history  was  altered  somewhat 
after  a  few  privately  printed  copies 
of  the  original  edition  were  struck 
off.  It  was  therefore  of  sensational 
interest  when,  in  1929,  the  so-called 
"Burrell  Collection"  of  Wagneriana, 
made  by  an  Englishwoman  of  that 
name,  who  wrote  a  biog.  of  his  earlier 
years,  was  discovered  in  a  strongbox 
in  Great  Britain  after  her  death. 
This  collection  was  bought  by  Mrs. 
Mary  Louise  Curtis  Bok  and  now  i^ 
housed  at  the  Curtis  Inst.  of  Music, 
Phila.  But  the  "revelations"  it  was 
supposed  to  contain,  as  thus  far 
made  public,  only  in  minor  details 
altered  the  impressions  contained  in 
his  book,  "Mein  Leben." 
Besides  his  operas  an<l  the  other 
works  mentioned  he  c.  a  symph. 
(1832);  6  overtures,  incl.  "  Konzert- 
ouvertUre  ziemlich  fugirtj'  "Polo~ 


DICTIONARY  OF  MUSICIANS 


457 


ma,"  "Columbus"  "Rule  Britannia"; 
"New  Year's  Cantata"-,  incid.  mus. 
to  Gleich's  farce  "Der  Berggeist" 
(Magdeburg,  1836);  "  Huldigungs- 
marsch"  (1864,  finished  by  Raff); 
"Siegfried  Idyll"  (1870,  for  his  son 
then  a  year  old),  "  Kaisermarsck" 
(1870),  "Festival  March"  (for  the 
Centennial  Exposition,  Philadelphia, 
1876),  "Gelegenheits-Cantata"  (for 
unveiling  a  statue  of  King  Friedrich, 


on  motives  from  Weber's  "Eu- 
ryanthe,"  and  double  quartet  for 
voices,  1844).  FOR  PP.:  sonata; 
polonaise,  for  four  hands;  fantaisie, 
"  Albums  onate,filr  Frau  Mathilde  We- 
sendonck"  (1853);  "Ankunft  lei  den 
Schwarzen  Schwanen"  (1861);  "Ein 
Albumblatt  fitr  FUrstin  Metternich" 
(1861),  "Albumblatt  filr  Frau  Betty 
Schott"  (1875).  SONGS:  "Carna- 
valslied"  from  "Das  -Liebesverbot" 
(1835-36);  "Dors,  mon  enfant," 
"Mignonne,"  "Attente"  (i  839-40), 
"Les  deux  Grenadiers"  (1839);  "Der 
Tannenbaum"  (1840) ;  "  Kraftlied- 
chen"  (1871),  "Funf  Gedichte"-,  i, 
"Der  Engel";  2,  "Stehe  still" ';  3, 
"Im  Treibhaus"',  4,  "Schmerzen", 
5,  "Trttume"  (1862). 
Biog.  by  C.  F.  Glasenapp  (1876); 
F.  Hueffer  (1881):  R.  Pohl  (1883); 
W.  Tappert  (1883);  H.  v.  Wolzogen 
(1883);  Ad.  Jullien  (1886);  H.  T. 
Finck  (1893);  H.  S.  Chamberlain 
(1897);  E.  Dannreuther,  F.  Prager 
(1893);  G.  Kobb6;  Glasenapp  and 
Ellis  (1900).  There  are  many  trea- 
tises on  his  works.  His  letters  have 
also  been  published  in  various  forms. 
Among  the  vast  number  of  other 
studies  of  his  life  and  music  are 
works  by  Torch!,  Lidgey,  Henderson, 
Kienzl,  Newman,  Mrs.  Burrell, 
Adler,  Buerkner,  Koch,  Schjelderup, 
Lrichtenberger,  E.  Schmitz,  Hadden, 
Kapp,  Pfohl,  Batka,  Runciman, 
Huckel,  Aldrich,  Becker,  Blackburn, 
Buesst,  Heintz,  Krehbiel,  Lavignac, 
McSpadden,  Neumann,  Pourtalfes, 
Shaw,  Thompson  and  Wallace. 
"  Wagner- Lexikons"  have  been  pub- 
lished by  Tappert  and  Stein,  a 
"Wagner- Encyclopedia"  by  Glase- 
napp, while  a  comprehensive  list  of 
more  than  10,000  books  and  essays 
on  his  life  and  music  is  contained  in 
Qesteilein's  "  KatdLop  einer  Wagner- 


Bibliothek."  There  is  also  a  "Wagner- 
Jahrbuch"  and  much  material  has  been 
issued  in  the  "Bayreuther  Blatter,"  ed. 
by  Wolzogen.  (See  articles,  page  538.) 
(4)  Siegfried,  Triebschen,  Lucerne, 
June  6,  1869 — Bayreuth,  Aug.  4, 
1930;  only  son  of  above;  attended 
a  polytechnic  sch.,  but  took  up  mus. 
as  pupil  of  ELniese  and  Humperdinck; 
1893,  concert-cond.  in  Germany, 
Austria,  Italy  and  England;  from 
1898  he  was  teacher  in  Vienna;  1901 
cond.  Acad.  Singing  Society,  and 
Tonktinstler  Orch.;  1912,  cond. 
special  concert  of  the  London  Symph. 
orch.;  from  1896  he  cond.  at  Bay- 
reuth; later  co-director  with  Ms 
mother,  and  1909  both  artistic  and 
mus.  dir.;  hi  1924  he  visited  the 
U.  S.  as  cond.  to  raise  funds  for 
resumption  of  the  fests.  (discon- 
tinued 1914);  m.  Winifred  Klind- 
worth,  who  since  his  death  has  had 
charge  at  Bayreuth;  c.  operas  "Der 
Kobold"  (Hamburg,  1904),  "Bruder 
Lustig"  (do.,  1905),  "Das  Sternenge- 
bot"  (do.,  1908),  "Banadietrich"- 
(Elberfeld,  1910)  and  "Schwarz- 
schwanenreich"  (Black-swan  Coun- 
try), "Sonnenflammen"  "Der 
Heidenkonig,"  "Der  Friedensengel," 
also  male  and  female  choruses;  a 
symph.  poem  "Sehnsitcht"  (Schfller)> 
text  and  music  of  mod.  succ.  comic- 
romantic  opera  "Der  B&renk&uter** 
(Munich  Ct.  Th.,  1899),  unsucc.,. 
"Herzog  Wildfang"  (1901).  (5) 
(Jachmann-Wagner),  Johanna,  near 
Hanover,  Oct.  13,  1828 — Wiirzburg, 
Oct.  1 6,  1894;  niece  of  (i);  dram, 
soprano;  created  "Elizabeth,"  1845; 
m.  a  Judge  Jachmann, 
Waissel  (vls'-sel),  (WaisseOius) 
Matthias,  b.  Bartenstein,  Prussia; 
lutenist  and  composer  at  Frankfort, 

1573-  x         ,     x  ^         «_          *     ^ 

"Walcker  (vST-k^r),  (i)  Ebernard  Fr.> 
Cannstadt,  r  794 — L  u  d  w  i  g  s  b  u  r  g,. 
1872;  son  of  a  skilled  org.-builder; 
himself  a  noted  org.-builder;  suc- 
ceeded by  his  five  sons.  (2)  H.  (b. 


CCCU.CU.    uy    JJJ-a    juvc    awij.0,     \*j    juu. 

Oct.  10,  1828),  (3)  FT.  (b.  Sept. 
1829),  (4)  K.  (b.  March  6,  1845), 
(5)  Paul  (b.  May  31,  1846),  and  (6) 
Eberhard  (b.  April  8,  1850). 
Waldersee  (val'-dSr-za),  Paul,  Count 
von,  Potsdam,  Sept.  3,  1831 — 
KSnigsberg,  June  14, 1906;  a  Prussian 
officer  from  1848-71,  then  took  up 
mus.;  editor  of  Beethoven  and 
Mozart  works. 


458 


DICTIONARY  OF  MUSICIANS 


Waldteufel  (valt'-toi-f&l),  Emil,  Strass- 
burg,  Dec.  9,  1837— Paris,  Feb.  16, 
1915;  pupil  Paris  Cons.;  pianist  to 
Empress  Eug6nie;  c.  immensely 
succ.  waltzes. 
Waley,  Simon,  London,  1827 — 1875, 

pianist  and  composer. 
Walker    (wdk'-er),    (i)    Jos.    Casper, 
Dublin,     1760 — St.-Val6ry,    France, 
1810;   writer.     (2)   Jos.   and   Sons, 
org.-builders,    London.     (3)    Edyth, 
HopeweU,  N.  Y.,  1870— N.  Y.,  1950; 
contralto;    studied    Dresden    Cons, 
with  Orgeni;  engaged  at  the  Vienna 
opera  for  4  years  as  ist  alto;  also  in 
concert;    Met.    Op.    Co.,    1903-06; 
then     in     Berlin,     Hamburg     and, 
1912-17,    Munich  Op.;   after    1933 
taught  at  Amer.   Cons.,    Fontalne- 
bleau.     (4)     Ernest,     b.     Bombay, 
July  15,  1870;  composer;  Mus.  Bac. 
Oxford,  1893;  Mus.  Doc.  1898;  from 
1900,  dir.  at  Balliol  College;  mainly 
self-taught  as  composer  of  "Stabat 
Mater,"  "Hymn  to  Dionysus,31  and 
"Ode  to  Nightingale3'  for  voices  and 
orch.;     overture,     chamber     music, 
songs,  etc.;  d.  London,  1948. 
Wallace,  (i)  Wm.  Vincent,  Waterf ord, 
Ireland,  June  i,  1814— Chateau  de 
Bages,    Haute    Garonne,    Oct.    12, 
1865;  violinist;  wandered  over  the 
world;  c.  very  pop.  pf.-pcs.  and  c.  6 
operas  includ.  the  very  succ.  "Mari- 
tana"    (London,    1845);   and   "Lur- 
line"    (do.    1860).     (2)   William,   b. 
Greenock,  July  3,   1860;  at  first  a 
surgeon;  in  1889  took  up  music  and 
studied  at  the  R.  A.  M.,  London, 
till  1890;  c.  symph.  "The  Creation" 
(New  Brighton,  1892);  choral  symph. 
"Koheleth";  6  symph.  poems,  "The 

T* •   .  _.     .  f    TT»         .     «        »»    y  .«  .      v   -i*     •. 


1806),  "Sister  Helen'3  (do.  1899), 
"Greeting  to  the  New  Century"  (Lon- 
don Phil.,  1891),  "Sir  William  Wai- 
lace3'  (Queen's  Hall,  1905),  "Francois 
Villon33  (New  Symph.,  1909;  also  by 
New  York  Phil.,  1910,  1912),  over- 
tures, suites,  song  cycles,  i-act  lyric 
tragedy  "Brassolis,"  etc.;  author  of 
"Threshold  of  Music";  d.  Malmes- 
bury,  1940. 

Wallaschek  (val'-la-shSk),  Richard, 
Briinn,  Nov.  16,  1860 — Vienna, 
April  24,  1917;  after  1896  docent  at 
Univ.  in  latter  city;  pub.  1886, 
valuable  treatise  "JEsthetik  der  Ton- 
kunst.33 

WaUenstein  (vSl'-lSn-shtln),  (i)  Mar- 


tin, Frankfort-on-Main,  1843—1896; 
pianist;  c.  comic  opera.  (2)  Alfred, 
b.  Chicago,  Oct.  7,  1898;  'cellist  and 
conductor;  studied  with  Julius  Klen- 
gel;  d6but,  Los  Angeles,  1912;  solo 
'cellist  in  Chicago  Symph.,  after- 
wards for  several  seasons  with  N*  Y. 
Philh.,  with  which  he  also  appeared 
as  soloist;  cond.  of  orch.  on  the  radio 
after  1935  mus.  dir.  Mutual  Network- 
from  1943  also  cond.  L.  A.  Philh 

Wallerstein  (vSl'-lSr-shtln),  Anton, 
Dresden,  1813 — Geneva,  1892;  vio- 
linist and  composer. 

Wall'is,  J.,  Ashford,  Kent,  1616— 
London,  1693;  acoustician. 

WalKser  (val'-ll-zer),  Chp.  Thos., 
Strassburg,  1568 — 1648;  mus.-dir., 
theorist  and  composer. 


•U-LV..U.UCI          ^  N f-fj — • 

sky  (singing);  barytone  at  Vienna; 
1882,  with  Neumann's  troupe;  1897- 
98,  N.  Y.;  after  1908  lived  in  Munich; 
for  a  time  active  as  theatre  dir.  in 
Stettin  and  Neustrelitz;  c.  succ.  OD. 
"Eddystone"  (Prague);  d.  (?). 

Walmisley  (wamzy-li),  (i)  Thos. 
Forbes,  London,  1783 — 1866;  organ- 
ist' and  composer.  (2)  Thos.  Att*. 
wood,  London,  1814 — Hastings,  1856; 
son  of  above;  professor  and  com- 
poser. 

Walsh,  John,  d.  London,  1736;  mus^ 
publisher. 

Walter  (val'-ter),  (i)  Ignaz,  Rado- 
witz,  Bohemia,  1759  —  Ratisbon, 
1822;  tenor  and  composer.  (2)  Ju- 
liane  (n6e  Roberts),  wife  of  above? 
a  singer.  (3)  Aug.,  Stuttgart,  1821 
— Basel,  Jan.  22,  1896;  mus.-director 
and  composer.  (4)  Gustav,  Bilin, 
Bohemia,  Feb.  n,  1834 — Vienna, 
Jan.  31,  1910;  tenor;  pupil  of  Prague 
Cons.;  d6but  in  Brunn;  1856-87, 
principal  lyric  tenor  at  Vienna  ct.- 
opera.  (5)  Bruno,  b.  Berlin,  Sept. 
15,  1876;  family  name  Schlesinger; 
noted  conductor;  studied  at  Stern 
Cons.,  Berlin,  with  Radecke,  Ehrlich 
and  Bussler;  early  held  baton  posts 
in  both  opera  and  orchestral  music 
at  Cologne,  Hamburg,  Breslau, 
Pressburg  and  Riga;  1900-01,  Berlin 
Ct. -Opera;  1901-12,  Vienna  Ct.- 
Opera;  1913-22,  gen.  mus.  dir.  at 
Munich,  succeeding  Mottl;  he  made 
visits  to  the  U.  S.  as  guest  cond.  of 
the  N.  Y.  Symph.  in  the  next  a 
seasons;  1925-29,  mus.  dm  of  Berlin 


DICTIONARY  OF  MUSICIANS 


459 


Stadtische  Oper;  1929-33,  cond.  of 
Gewandhaus  Orch.,  Leipzig;  ajiso 
led  annual  series  with  Berlin  PMLh. 
Orch.;  appeared  much  in  other 
countries,  including  Covent  Garden, 
London,  at  the  Salzburg  Fest.,  in 
Paris,  Vienna  and  Amsterdam;  in 
1933  he  resigned  his  Berlin  posts  fol- 
lowing accession  to  political  power  of 
the  Nat'l  Socialists;  co-dir.  Vienna 
Op.,  and  Philh.  Orch.,  1936-38;  cond. 
part  of  season  with  N.  Y.  Philh. 
Orch.  in  1933  and  1934;  c.  orch. 
works,  chamber  music  and  songs. 

Walther  von  der  Vogelweide  (v&l'- 
ter  f5n  der  fo'-gSl-vi-de'),  in  the 
Tyrol  (?),  ca.  1160 — Wiirzburg,  after 
1227;  the  chief  Minnesinger  and 
lyric  poet  of  mediaeval  Germany. 

Walther  (val'-tSr),  (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.  Gf.,  Erfurt,  1684 — Weimar, 
1748;  organist,  writer  and  composer. 

(4)  Jn.     Chp.,    Weimar,     1715-71; 
organist  and  composer. 

WaTthew,  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  class  at  the 
Guildhall;  1909  cond.  at  Finsbury, 
c.  "Pied  Piper"  for  chorus  and  orch; 
_piano  concerto,  jtwo  operettas,  etc. 

Wal'ton,  Sir  William,  born  in  Oldham, 
England,  March  29,  1902;  composer; 
pupil  at  10  at  Christ  Church  Cath., 
Oxford;  later  studied  music  at  that 
Univ.  with  Sir  Hugh  Allen  and  E.  J. 
Dent,  but  mostly  self-trained;  he 
came  to  the  fore  while  still  young 
with  a  piano  quartet,  a  string  quar- 
tet, and  esp.  successfully  with  an 
amusing  work  called  "Faqade" 
settings  of  poems  by  Edith  Sitwell, 
for  reciter  and  small  ensemble,  the 
speaking  voice  issuing  from  a  mega- 
phone in  a  backdrop;  he  also  c. 
"Portsmouth  Point"  overture,  "Dr. 
Syntax"  a  "pedagogical  overture"; 
"The  Passionate  Pilgrim"  for  tenor 
and  orch.;  a  viola  concerto,  and  a 
symph.  which  was  anticipated  with 
so  much  interest  that  parts  were 

Performed  before  it  was  completed 
1935);    his    cantata,    "Belshazzar's 
Feast"     (1933)     first    heard    at    an 
English  f  est.,  later  in  London,  N.  Y. 


hon.  Mus.  D.,  Oxford,  Durham 
and  Dublin;  knighted,  1951. 

Waizel  (v€l'-tsel),  Camillo,  "Magde- 
burg, 1829 — Vienna,  1895;  librettist, 
(pseud.  F.  Zell).  ^ 

Wambach  (vam'-bakh),  Emile  (X.), 
Arlon,  Luxembourg,  Nov.  26,  1854 — 
Antwerp,  May  6,  1924;  pupil  of 
Antwerp  Cons.;  c.  symph.  poem, 
"A an  de  boorden  van  de  Schelde" 
orch.  fantasias,  Flemish  drama 
"Nathan's  Parabel"\  2  oratorios; 
a  hymn  for  chorus  and  orch.,  etc. 

Wangemann  (v&ng'-S-man),  Otto, 
Loitz-on-the-Peene,  Jan.  9,  1848 — 
Berlin,  Feb.  25,  1914;  pupil  of  G. 
Flugel,  Stettin  and  Fr.  Eel  at  Ber- 
lin; 1878,  organist  and  singing-teacher 
Demmin  Gymnasium;  wrote  org. 
treatise. 

Wanhal  (Van  Hal)  (van'-hal),  Jn. 
Bapt.,  Neu-Nechanitz,  Bohemia, 
1739 — Vienna,  1813;  composer. 

Wannenmacher  (vSn'-nSn-makh-e'r) 
(or  Vannius),  Johannes,  d.  Inter- 
laken,  ca.  1551;  important  Swiss 
church  composer  and  canon;  re- 
nounced Catholicism,  was  tortured, 
and  banished. 

WansM  (vaV-shkX),  (i)  Jn.  Nepo- 
muk,  b.  ca.  1800  (?);  son  of  (2)  Jan 
(a  pop.  Polish  song-composer);  vio- 
linist; pupil  of  Baillot;  toured  widely, 
then  lived  at  Aix;  wrote  a  vln. 
method  and  c.  6tudes,  etc. 

Ward,  J.,  d.  before  1641;  English 
composer. 

Ware,  Harriet,  b.  Waupun,  Wis.,  1877; 
graduated  at  Pillsbury  Cons.  Owa- 
tonna,  Minn.,  1895;  pupil  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"\  cantata 
"Sir  Olaf"  (New  York  Symph.  1910), 
piano  pieces  and  many  songs. 

Warlamoff  (var'-la-mdf),  Alex.  Jegoro- 
vitch,  Moscow,  1801 — 1848;  singing- 
teacher  and  composer. 

"Warlock,  Peter",  see  Heseltine, 
Philip. 

War'ner,  H.  Waldo,  b.  Northampton, 
England,  Jan.  4,  1874;  composer, 
violinist;  studied  Guildhall  School 
of  Music,  London;  laureate,  R.  A.  M., 
1895-96;  assoc.,  Guildhall  School 
with  gold  medal,  1899,  fellow,  1924; 
mem.  of  London  String  Quartet 
1908-29  as  viola  player;  c.  string 
quartets,  orch.  music,  3  piano  trios, 
piano  quintet,  and  other  works,  incL 


460 


DICTIONARY  OF  MUSICIANS 


"The    Pixie    Ring,"    popular    with 
quartets;     awarded     Coolidge     and 
Cobbett  chamber  music  prizes  and 
that  of  Phila.  Mus.  Fund  Soc. 
4  War'nery,  Edmond,  b.  Elbeuf,  1876; 
operatic  tenor  (originally  barytone); 
pupil   of   Paris    Cons.;    1899  —  1907, 
sang   at   Paris   Op.-Comique;    after 
1910  with  Chicago  Op. 
Warn'ke,    Heinrich,    b.    near    Heide, 
Holstein,    1871;   'cellist;  studied  at 
Hamburg  and  Leipzig  Cons.;  after 
1898  played  in  Kaim  Orch.,  Munich; 
mem.  of  trio  with  Weingartner  and 
Rettich;.  from  1905  mem.  of  Boston 
Symphony  Orchestra. 
Warnots   (v£r-nc5),    (i)    Jean  Arnold, 
(1801  —  1861).     (2)  Henri,  Brussels, 
1832  —  1893;    opera-tenor;    son    and 
pupil    of    above;    c.    operetta.     His 
daughter  and  pupil  (3)  EUy,  b  LiSge, 
1862;     soprano;     d6but,     Brussels, 
1870;  sang  there,  then  at  Florence, 
Paris  Op*-Com.,  etc. 
Warot  (v&-r6),  (i)  Charles,  Dunkirk, 
Nov.   14,    1804  —  Brussels,   July   29, 
1836;    violinist    and    theatre-cond.; 
pupil  of  Fridzeri;  c.  operas,  3  grand 
masses,  etc.     His  brother  (2)  Victor, 
Ghent,  1808  —  Bois  Colombes,  1877; 
cond.   and  teacher;   c.   operettas,   a 
mass,    etc.     (3)   Victor   Alex.   Jos., 
Verviers,  1834  —  Paris,  1906;  son  of 
(2);   opera   tenor,    later   teacher    at 
Paris  Cons. 

War'ren,  (i)  Jos.,  London,  1804  — 
Kent,  1881;  organist,  pianist,  violin- 
ist, composer  and  writer.  (2)  G. 
Wm.,  Albany,  N.  Y.,  Aug.  17,  1828  — 
New  York,  1902;  self-taught  organ- 
ist; from  1870,  organist  St.  Thomas's 
Ch.,  New  York;  prof.  Columbia 
Univ.;  c.  church-mus.  (3)  Samuel 
Prowse,  Montreal,  Canada,  Feb.  18, 
1841  —  New  York,  Oct.  7,  1915; 
organist;  pupil  of  Haupt,  Gv.  Schu- 
mann (pf.)  and  Wieprecht  (instr.); 
1865-67.  organist  of  All  Souls'  Ch., 
New  York;  later  at  Trinity  Ch.;  c. 
church-mus.,  org.-pcs.,  etc.  (4)  Rich* 
ard  Henry,  Albany,  N.  Y.,  Sept.  17, 
9  —  South  Chatham,  Mass.,  Dec.  3, 


T933>  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  gave  many  important  works 
their  ist  hearing;  c.  choruses,  songs, 
etc.  (5)  Leonard,  Amer.  barytone; 
sang  Radio  City  Mus.  Hall,  won  Met. 
Op.  auditions;  d6but  1940. 


Wartel    (var-tel),     (i)    Pierre  ^ 

Versailles,  1806 — Paris,  1882;  tenor 
(2)  Atala  ThSrSse  (ne'e  Adrien) 
Paris,  July  2,  1814— Nov.  6,  1865; 
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  (va-zS-lSf'-shki),  Jos. 
W.  von,  Gross-Leesen,  Danzig,  1822 
— Sondershausen,  1896;  violinist, 
conductor,  critic,  composer,  and 
important  historical  writer. 
Wassennann  (vS-s'-sSr-man),  H.  Jos., 
Schwarzbach,  near  Fulda,  1791 — 
Riehen,  n.  Basel,  1838;  violinist  and 
composer. 

Wat'son,  (i)  Thos.,  Eng.  composer, 
1590.  (2)  Wm.  Michael,  New- 
castle-on-Tyne,  1840 — E.  Dulwich, 
London,  1889;  teacher  and  composer 
under  pen-name  Jules  Favre. 
Watts,  WIntter,  b.  Cincinnati,  (X, 
March  14,  1886;  composer;  studied 
painting  and  architecture,  also  sing' 
ing  in  Florence,  and  theory  with 
Goetschius;  1919,  won  Loeb  Prize; 
c.  (orch.)  "Two  Etchings"',  incid. 
music  to  "Alice  in  Wonderland," 
ballads  and  songs,  some  of  them 
with  orch.,  and  the  vocal  cycles. 
"Vignettes  of  Italy,"  "Wings  of 
Night,"  "Like  Music  on  the  Water/9 
Webb,  (i)  Daniel,  Taunton,  1735— 
Bath,  1815;  writer.  (2)  G.  Jas., 
Rushmore  Lodge,  near  Salisbury, 
EngL,  1803— Orange,  N.  J.,  1887; 
organist  and  editor. 
Webbe  (wSb),  (i)  Samuel,  Sr.,  Min- 
orca, 1740 — London,  1816;  ed.  colls., 
etc.  (2)  Samuel,  Jr.,  London,  1770 
— 1843;  son  of  above;  writer  and 
composer. 

Web'ber,  Amherst,  b.  Cannes,  Oct. 
25,  1867;  studied  music  at  Oxford, 
then  at  Dresden  with  NicodS  and 
at  Paris  Cons.;  pianist  to  Covent 
Garden  and  Met.  Op.,  N.  Y.;  c. 
symph.  (Warsaw  Phil.,  1904,  Bos- 
ton Symph.,  1905);  i-act  opera 
"Fiorella"  (London,  1905),  songs, 
etc.;  d.  London,  July  26,  1946. 
Weber  (va'-bSr),  (i)  Fridolin  (b. 
Zelli,  1733 — d.  1764),  and  his  bro. 
(2)  Fz.  Anton  (Freiburg,  1734 — 
Mannheim,  1812),  were  violinists 
in  the  orch.  of  the  Elector  K.  Theo- 
dor.  Fz.  became  cond.  of  Eutin 
town  orch.  His  four  daughters 
were  (3)  Josepha  (d.  1820),  soprano; 
m.  the  violinist  Hof  er,  1 789,  later  m. 


DICTIONARY  OF  MUSICIANS 


461 


*  bass,  Meyer.  For  her  Mozart  c. 
"The  Queen  of  the  Night"  in  the 
"Magic  Flute.33  (4)  Aloysia,  1750— 
Salzburg,  1839.  Mozart's  first  love; 
she  m.  an  actor,  Lange,  1780  and 
toured  as  a  singer.  (5)  Constanze, 
Zell,  1763 — Salzburg,  1842.  Mozart's 
wife  (1782);  1809,  m.  Nissen.  (6) 
Sophie,  1764 — Salzburg,  1843;  m. 
the  tenor  Haibl.  (7)  Fr.  Aiig., 
Heilbronn,  1753 — 1806;  physician 
and  c.  (8)  Bd.  Anselm,  Mannheim, 
April  18,  1766 — Berlin,  March  23, 
1821;  pianist,  conductor  and  dram, 
composer.  (9)  (Fr.)  Dionys-  Wel- 
chau,  Bohemia,  Oct.  9,  1766 — 
Prague,  Dec.  25,  1842;  1811,  founder 
and  ist  dir.  Prague  Cons.,  c.  operas, 
etc.  (10)  Gf.,  theorist  and  com- 
poser, Freinsheim,  near  Mannheim, 
1779 — Kreuznach,  Sept.  12,  1839; 
amateur  pianist,  flutist  and  'cellist, 
also  cond.;  wrote  essays  and  valuable 
treatises;  c.  3  masses,  a  requiem  and 
a  Te  Deum  with  orch.  and  pf  .-sonata, 
(n)  Fridolin  (II.),  b.  1761:  son  of 
(2),  and  step-broth,  of  (r2);  pupil 
of  Haydn;  singer  and  mus.-director. 
(12)  K.  Maria  (Fr.  Ernst),  Frei- 
herr  von,  Eutin,  Oldenburg,  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  in- 
fluential German  composer  of  the 
cent.  He  was  important  not  solely 
as  a  path-finder,  but  also  showed  a 
striking  artistic  individuality;  he 
was  also  a  notable  pianist  (he  could 
stretch  a  i2th),  and  a  pioneer  in 
modern  pianistic  composition.  At 
first  a  pupil  of  his  step-bro.  (n). 
His  mother,  Genoveva  (d.  1798,  of 
consumption),  was  a  dram,  singer, 
and  the  family  led  a  wandering  life. 
At  10  he  became  pf. -pupil  of  J.  P. 
Heuschkel.  As  a  chorister  in  the 
cathedral  at  Salzburg,  1797,  he  kad 
gratuitous  lessons  in  comp.  from 
Michael  Haydn,  to  whom  he  dedi- 
cated his  first  published  comps.,  six 
fughettas  (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  Sene- 
felder,  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  W  aldmttdchen"  (Frei- 
burg, also  played  at  Chemnitz, 
Prague,  Vienna  and  St.  Petersburg). 
In  1801,  he  c.  a  third  opera  "Peter 
Schmoll  und  seine  Nachbarn"  (Augs- 
burg, 1803?);  1803,  in  Vienna,  he 
became  a  pupil  of  Abb  6  Vogler. 
1804,  cond.  Breslau  City  Th.;  re- 
signed 1806;  supported  himself  by 
lessons,  then  mus.-intendant  to  Duke 
Eugen  of  Wtirtemberg;  1807,  private 
secretary  to  Duke  Ludwig  at  Stutt- 
gart, and  mus.-master  to  his  chil- 
dren. In  a  turmoil  of  intrigue  and 
dissipation  he  forgot  his  art,  until 
he  became  involved  in  a  quarrel  lead- 
ing to  his  banishment  in  1810.  This 
sobered  him  and  awoke  his  better 
self.  Going  to  Mannheim,  he  prod, 
his  first  symph.;  then  rejoined  Abbe* 
Vogler,  at  Darmstadt.  His  opera 
"Silvana"  was  prod.  (Frankfort-on- 
Main,  1810),  and  "Abu  Hassan"  a 
comic  Singspiel  (Munich,  1811).  He 
made  a  concert-tour  to  various  cities, 
1813,  cond.  of  the  Landstandisch.es 
Th.  at  Prague,  where  he  reorganised 
the  opera,  and  won  such  note  that  in 
1816  the  King  of  Saxony  called  him 
to  Dresden  to  reorganise  the  Royal 
Opera.  At  20  he  began  "Der  Frei- 
schiitz,"  but  gave  it  up  till  later 
(the  incid.  mus.  to  Wolff's  "Preciosa" 
took  3  weeks).  In  1817,  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  Freischiitz"  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. DRAMATIC  WOKES:  Besides  the 
operas  already  mentioned  he  c.  "R&- 
bezahl"  (begun  1804,  not  completed): 
"Die  Drei  Pintos"  (completed  by 
G.  Mahler,  written  and  prod.  Leip- 
zig, 1888).  Incid.  mus.  to  Schiller's 
"  Turandot,"  Milliner's  "  Kdnig 
Yngurd,"  Gehe's  " Heinrich  IV.;9 


462 


DICTIONARY  OF  MUSICIANS 


and  Houwald's  "Der  Leuchtthurm*" 
C.  also  cantatas,  incl.  "Der  erste  Ton'9 
(1808);  and  "  Kampf  und  Sieg"  (on 
the  battle  of  Waterloo),  with  orch. 
(1815);  "Natur  und  Liebe,"  1818; 
hymn,  "In  seiner  Ordnung  schajft 
der  Herr,"  with  orch..;  (1812),  2 
masses  and  2  offertories,  with  orch.; 
some  very  pop.  songs,  four  scenas 
and  arias  for  soprano  with  orch.;  2 
scenas  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-Ouverture;     2 
clarinet-concertos;  bassoon-concerto; 
adagio  and  rondo  ungarese  for  bas- 
soon with  orch.;  variations  for  many 
instrs.;  chamber-mus. ;   2  pf. -concer- 
tos, Concertstiick  with  orch.,  10  so- 
aatas,  a  4-hand  sonata,  the  famous 
araltz    "Au/orderung    sum     Tanze" 
("Invitation  to  the  Dance"),  op.  65; 
12     AUemandes;     6    Ecossaises;     18 
"Valses  favorites  de  Vimperatrice  de 
France"',  several  sets  of  Variations, 
etc.     The    so-called    "Weber's    Last 
Waltz"    (Thought    or   Farewell)    was 
written  by  Reissiger;   a   MS.   copy 
of  it  being  found  in  WVs  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.   HeU   (1828).     An 
almost  ideal  biog.  is  that  of  "W.'s  son 
the  Baron  Max  Maria  von  W.  (in  3 
vols.,  1866-68).     Other  memoirs  by 
Benedict,  Reissmann,  Nohl,  Skalla, 
Gehrmann,  Hacker,  Von  der  Pf  ordten, 
O.    Schmidt,    etc.     Thematic    cata- 
logue by  Jahns,  1871. 
(13)  Edmund  von,  Hildesheim,  1766 
— Wurzburg,      1828;      mus.-director 
and      composer.     (14)      Ernst     H., 
Wittenberg,  June  24,  1795 — Leipzig, 
Jan.,    1878,    with   his    brother    (15) 
Wm.a   Ed.     (1804 — 1891),    prof,    at 
Gottingen;  writer  on  acoustics,  etc. 
(16)  Fz.,   Cologne,   1805 — 1876;   or- 
ganist, conductor  and  composer.  (17) 
Eduard  W.,  town-musician,  Franken- 
berg.     (18)     K.     H.,     Frankenberg, 
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,     Ober-Erlenbach, 
Upper  Hesse,  Feb.  25,  1838 — May- 
ence,     Sept.     24,     1911;     pupil     of 
Schrems>    Ratisbon;    took    orders; 


since  1866,  cond.  at  Mayence  Cath., 
expert  and  writer  on  org.-building; 
composer.  (20)  Gustav,  Miinchen- 
buchsee,  Switzerland,  1845 — Zurich. 
1887;  organist,  conductor  and  com- 
poser. (21)  Miroslaw,  Prague, 
Nov.  9,  1854 — Munich,  Jan.  2,  1906; 
violinist;  pupil  of  his  father;  at  10 
played  before  the  Austrian  Emperor, 
and  toured;  pupil  of  Blazek,  Prague; 
also  of  the  Cons.;  Konzertmeister, 
royal  orch.  at  Wiesbaden,  and  2nd 
cond.  at  the  opera  (resigned,  1893); 
1889,  R.  Mus.-Dir.  C.  incid.  mus'. 
to  ballet  "Die  JRheinnixe"  (Wies- 
baden, 1884),  2  string  quartets  (the 
2nd  taking  prize  at  Petersburg, 
1891),  etc. 

Webern  (va'-bSrn),  Anton  von,  b. 
Vienna,  1883 — d.  1945;  composer; 
Ph.  D.,  Vienna  Univ.,  studied  theory 
with  Guido  Adler  and  comp.  with 
SchQnberg,  whose  atonal  musical 
system  he  adopted,  but  with  some 
individual  changes;  one  of  the  out- 
standing members  of  the  Schanberg 
circle,  W.  has  in  recent  years  de- 
veloped a  highly  reticent  musical 
style,  writing  extremely  short  pieces, 
with  fragile  timbres  only  employed 
and  with  much  economy  of  design',, 
these  have  an  exquisite  quality,  if 
rather  abstract  and  aloof;  c,  (orch.) 
Passacaglia,  Six  Pieces,  Five  Pieces, 
5  symphs.;  (chamber  music)  quartet, 
trio,  vLn.  and  'cello  works,  choruses, 
songs,  piano  pieces,  etc.;  winner 
of  Vienna  State  Prize,  1924. 

Wecfcer  (vSk'-gr), ,  Georg  Kaspar, 
Nuremberg,  1632 — 1695;  organist, 
teacher  and  composer. 

Weckerlin  (vSk-Sr-lafi),  Jean  Bapt. 
Th.,  Gebweiller,  Alsatia,  Nov.  9, 
1821 — Trottberg,  Alsatia,  May  10, 
1910;  entered  his  father's  business  of 
cotton-dyeing;  in  1844,  studied  sing- 
ing with  Ponchard  and  comp.  with 
Hal^vy  at  the  Paris  Cons.,  prod, 
heroic  choral  symph.  "Roland," 
1847;  gave  mus.-lessons;  1853,  prod, 
succ.  i -act  opera,  "L'Organiste  dans 
I'embarras"  (100  performances,  Th.- 
Lyrique),  followed  by  several 
privately  performed  operettas,  2 
comic  operas  in  Alsatian  dialect, 
i-act  opera  "Apres  Fontenot"  (Th.- 
Lyrique,  1877);  1869,  asst.-libr. 
Paris  Cons.;  1876,  libr.;  wrote 
bibliogr.  and  other  articles  and 
treatises,  and  ed.  valuable  colls. 
C.  "Symphonic  de  let  Jor&S'  an 


DICTIONARY  OF  MUSICIANS 


463 


oratorio  "Le  Jugement  Dernier," 
2  cantatas,  incl.  "Paix,  Charite, 
Grandeur"  (Op6ra,  1866);  the  ode- 
symphonie  "Les  Poemes  de  la  Mer," 
etc. 

Weckmann  (vSk'-msln),  Matthias,  Op- 
pershausen,  162 1 — Hamburg,  1 674; 
organ-virtuoso  and  comp. 

Wedekind  (va'-dS-klnt),  Erika,  b. 
Hanover,  Nov.  13,  1869;  coloratura 
soprano;  pupil  of  Orgeni  at  Diesden 
Cons.;  1894 — 1909  at  court  opera 
Dresden,  then  at  Berlin  Comic 
Opera. 

Weelkes  (weks),  Thos.,  organist 
Chichester  Cathedral;  c.  notable  mad- 
rigals, etc.;  d.  London,  Nov.  30,  1623. 

Wegeler  .(va'-gS-lSr),  Fz.  Gerhard, 
Bonn,  1765 — Koblenz,  1848;  physi- 
cian and  biographer  of  Beethoven. 

Wegelius  (va-g&'-H-oos),  Martin, 
Helsingfors,  Nov.  10,  1846 — March 
22,  1906;  pupil  of  Bibl,  Vienna,  and 
Richter  and  Paul,  Leipzig;  1878, 
opera  cond.  and  dir.  of  the  Cons,  at 
Helsingfors;  pub.  text-books;  c.  over- 
ture "Daniel  Hjort"-,  a  ballade  with 
orch;  "Mignon"  for  sopr.  with  orch., 
etc. 

Wehle  (va'-le1),  K.,  Prague,  1825— 
Paris,  1883;  pianist  and  composer. 

Wehrle  (var'-le),  Hugo,  Donaueschin- 
gen,  July  19,  1847 — Freiburg,  March 
29,  1919;  violinist;  pupil  of  Leipzig 
Cons,  and  Paris  Cons.;  toured  and 
played  in  Singer's  Quartet  till  nerv- 
ous trouble  lamed  his  hand;  1898 
retired  to  Freiburg;  c.  violin  pieces. 

Weidig  (vl'-dlkh),  Adolf,  Hamburg, 
Nov.  28,  1867— Hinsdale,  EL,  Sept. 
24,  1931;  pupil  of  the  Cons,  and 
winning  Mozart  stipend,  pupil  of 
Rheinberger;  from  1892,  teacher  in 
Chicago  and  co-director  of  the  Amer- 
ican Cons.;  c.  orch.  and  chamber 
music. 

Weidt  (vft),  (i)  K.,  b.  Bern,  March  7, 
1857;  1889  cond.  at  Klagenfurt; 
lived  in  Heidelberg;  c.  male  choruses. 
(2)  Lucy,  Troppau,  1880 — Vienna, 
1927;  noted  opera  soprano,  1910-11 
at  Met.  Op.,  N.  Y.,  also  sang  at 
Munich,  Milan  and  in  South  America. 

Weigl  (vikh'-'l),  (i)  Jos.,  Eisenstadt, 
Hungary,  1766 — Vienna,  1846;  ct.- 
conductor  and  dram,  composer.  (2) 
TaddSus,  Vienna,  1774  (?) — 1844; 
bro.  of  above;  c.  operettas. 

Weill  (vil),  (i)  Kurt,  Dessau,  Mar.  2, 
1900 — N.  Y.,  Apr.  3, 1950;  composer; 
studied  at  Berlin  Hochsch.  for  a 


time;  then  with  Busoni;  came  into 
prominence     with     orch.     Fantasy, 
Passacaglia  and  Hymn  (1923);  ist 
major    succ.    with    one-act    opera, 
"Der    Protagonist"    (Dresden    Op.), 
has    since    c.    highly    versatile    and 
ingenious  modern  stage  works,  incl. 
"Mahagonny,"  "  Drei-Grosehen"  Oper 
(jazz  treatment  of  Gay's  "Beggar's 
Opera,"  with  new  text  by  Brecht. 
which  had  great  vogue  in  Central 
Europe   and  was   sung  in   English 
version  in  N.  Y.);  "Na  und?"-,  "Der 
Czar     l&sst     sich     photo graphieren"} 
"Der  Jasager"  (school  opera,  based 
on  Japanese  story,  prod,  by  Neigh- 
borhood   Music     School,     N.     Y.); 
"Royal   Palace"    (Berlin   Op.,   work 
using  cinema  and  in  jazz  style) ;  "  The 
Seven   Cardinal  Sins"    "Marie  Ga- 
lante,"    "A    Kingdom  for   a   Cow"; 
(orch.)    Divertimento ;    "Quodlibet" ; 
"Lindbergh's  Flight"  (with  solo  male 
voice);     also     string     quartet,     and 
choral  works,  "Recordare"  and  "The 
New  Orpheus"  latter  given  in  stage 
version  at  Berlin  Op.;  visited  Amer- 
ica and  was  present  at  concert  of  his 
works  by  League  of  Composers,  1935; 
he  took  up  res.  in  U.  S,  after  tins 
year  and  made  marked  succ.  as  com- 
poser of  musical  plays,  incl.  "Lady 
in  the  Dark,"  "Street  Scene,"  "Lost  in 
the  Stars,"  and  folk  opera,  "Down  in 
the  Valley."  (2)  Hermann,  Germany, 
1878 — Blue  Mt.  Lake,  N.  Y.,  1949; 
barytone;  pupil  of  Mottl  and  Dippel; 
d6but  Freiburg,  1900;  sang  at  Bay- 
reuth;    Met.    Op.,   in   heroic   roles, 
1911-7;  Amfortas,  Wotan,  Sachs,  etc. 
Weinberger  (vln'-bfcrkh-er),  (i)  K.  tfr., 
Wallerstein,  1853 — Wurzburg,  1908; 
teacher  and  cath.  cond.  at  Wtirzburg. 
(2)  Karl,  b.  Vienna,  April  3,  1861; 
c.    9    succ.    operettas,    incl.     "Die 
Ulanen"  (Vienna,  1891),  "Lachende 
Erben"  (1892),  "Die  Blumen-Mary" 
(ib.,   1897),  "Adam  und  Eva"   (ib., 
1898).     (3)  Jaromir,  b.  Vinohrady, 
Bohemia,   1896;  composer;  pupil  of 
Kricka  and  Karel  Hofmeister;  also 
studied  at  Leipzig  Cons,  with  Reger; 
taught    at    Ithaca    Cons.,    1923;    c. 
(operas)     "Schwanda     the     Bagpipe 
Player"    (Prague,    1927,    but    later 
trans,    into    German    and    enjoyed 
enormous  vogue  for  several  years  ^in 
Germany  and  Austria  because  of  its 
sprightly  Czech  folk  tunes  and  mod- 
ern orch.   treatment;   also   given  at 
Met.    Op.,     1931);     "The     Beloved 


464 


DICTIONARY  OF  MUSICIANS 


1  Voice**  (Munich  Op.,  1930);  (orch.) 
•  "Overture  to  a  Marionette  Play"; 
"Scherzo  Giocoso,"  "Don  Quichote"', 
(pantomime)  "Die  Entfiihrung  der 
Eveline3'}  piano  sonata,  cham.  music; 
op.,  "Wattenstein,"  Vienna,  1937. 

Weiner  (vl'-nSr),  Leo,  b.  Budapest, 
April  1 6,  1885;  composer;  studied 
with  Koessler  at  the  Prague  Acad., 
also  in  other  countries;  after  1913, 
teacher  of  theory  at  Buda-Pest 
Acad.;  c.  orch.  works,  string  quar- 
tets, trio,  vln.  sonata;  quartet  in  F 
sharp  minor  winning  Coolidge  Prize, 
1921;  also  arr.  works  of  Bach  and 
others  for  orchestra. 

Weingartner  (vln'-gart-ner),  (Paul) 
Felix,  Zara,  Dalmatia,  June  2,  1863 
— Winterthur,  May  7*  J942;  pupil 
W.  A.  Remy;  later  of  Leipzig  Cons., 
winning  Mozart  prize;  friend  of  Liszt 
at  Weimar,  where  his  opera  "Sakun- 
tala"  was  prod.  1884;  until  1889, 
theatre  cond.  at  Konigsberg,  Danzig, 
Hamburg;  1889,  Mannheim;  1891-97, 
was  cond.  Berlin  ct.-opera,  also  cond. 
symph.  concerts  at  the  Royal  orch.; 
from  1898  lived  in  Munich  as  cond. 
Kaim  concerts  as  well  as  the  R. 
Orch.  Berlin;  in  1908—11,  he  suc- 
ceeded Mahler  as  dir.  of  the  Vienna 
Royal  Op.,  also  leading  concerts  of 
the  Philh.  Orch.  in  that  city;  in 
1912—14,  ist.  cond.  at  the  Hamburg 
Op.;  then  ct.-cond.  at  Darmstadt 

.  and  -dir,  of  the  Cons,  there;  he  con- 
tinued to  make  notable  guest  appear- 
ances^in  various  cities,  incl.  visits  to 
America  in  1905—06  and  1912—13; 
1919-20  he  was  dir.  of  the  Vienna 
Volksoper;  1928—35,  dir.  of  Basel 
Cons.,  and  cond.  of  orch.  there;  in 
1935  he  was  again  called  to  the 
directorship  of  the  Vienna  Op.,  but 
resigned  in  1936  after  differences 
with  lie  state  officials  over  artistic 
policy;  c.  operas  "Sakuntala"  (1884), 
"Malawika"  (Munich,  1886),  "Gene- 
sius"  (Berlin,  1893),  withdrawn  by 
the  author  because  of  press  attacks 
and  revived  with  succ.  at  Mannheim 
and  elsewhere:  "Orestes"  (Berlin, 
June  15,  1902);  c.  symph.  poems 
"Konig  Lear,"  "Das  Gefilde  der 
Seligen,"  a  drama  "Golgotha"  (1908), 
3  symph.,  "FruMingsmdrchenspiel" 
OCVeimar,  1908),  music  to  "Faust" 
(do.,  1908);  operas,  "Dame  Kobold" 
(to  his  own  libretto),  1916;  "Meister 
Andrea"  (1920);  "Terokayn"  (1920); 
"Julian  the  Apostate,"  He  orches- 


trated Beethoven's  Hammer klavier 
pf.-sonata  and  ed.  an  unfinished 
Schubert  symphony  (not  the  famous 
one);  wrote  "  tfjber  das  Dirigieren" 
"Die  Symphonie  nach  Beethoven" 
etc.;  m.  Marie  Juillerat,  1891; 
Baroness  Feodora  de  Dreyfus,  1903; 
Lucille  Marcel,  singer,  1912  (she  d. 
1921);  Mme.  Kalisch,  actress,  1922: 
and  later  Carmen  Studer,  a  talented 
conductor. 

Weinlig  (or  Weinlich)  (vin'-llkh),  (i) 
Chr.  Ehregott,  Dresden,  1743 — 1813; 
organist  and  composer.  (2)  (Chr.) 
Th.,  Dresden,  1780 — Leipzig,  1842; 
nephew  and  pupil  of  above;  cantor, 
theorist  and  composer. 

Weinwurm  (vin'-voorm),  Rudolf, 
Schaidldorf-on-the-Thaja,  Lower 
Austria,  April  3,  1835 — Vienna,  May 
25,  1911;  chorister,  ct. -chapel,  Vi- 
enna; 1858,  studied  law  and  founded 
the  Univ.  Gesangverein;  mus.-dir.; 
1880  mus.-dir.  of  the  Univ.;  pub. 
treatises  and  composer. 

Weinzierl  (vin'-tsSrf),  Max,  Ritter  von, 
Bergstadl,  Bohemia,  1841 — Modling, 
near  Vienna,  1898;  conductor  and 
dram,  composer. 

.Weis  (vis),  Karel,  b.  Prague,  Feb.  13, 
1862 — 1936;  composer  of  a  succ. 

.  2-act  opera  "The  Polish  Jew"  (Ber- 
lin, 1902);  comic  opera  "  The  Twins" 
(Frankfort,  1903),  etc. 

Weismann  (vis'-mlin),  Julius,  b.  Frei- 
burg, Dec.  26,  1879;  pupil  of  Royal 
Musicschool,  Munich,  then  with 
Herzogenberg  and  Thuille;  from 
1905  in  Freiburg  as  composer  of 
choral  works,  a  symph.,  the  operas, 
"  Traumspiel"  (after  Strindberg  play), 
"Schwanenweiss,"  "  Leonceund  Lena" 
etc.;  d.  Singen,  Dec.  22,  1950. 

Weiss  Cvis),  (i)  KL.,  Miihlhausen,  ca. 
*738 — London,  1795;  composer.  (2) 
K.,  b.  1777,  son  and  pupfl.  of  above; 
writer  and  composer.  (3)  K.,  bro. 
of  above;  prod,  the  opera  "Twelfth 
Night"  (Prague,  1892).  (4)  Fz., 
Silesia,  1778 — Vienna,  1830;  viola- 
virtuoso  and  composer. 

Weissheimer  (vis'-hi-mer),  Wendelin, 
Osthofen,  Feb.  26,  1838 — Nurem- 
berg, June  1 6,  1910;  mus.  director 
and  composer;  pupil  Leipzig  Cors., 
teacher  and  theatre-cond.  in  various 
cities;  c.  2  operas,  "Theodor  Korner" 
(Munich,  1872),  and  "Meister  Martin 
und  seine  Gesellen"  (Carlsruhe,  1897), 
,  bass  solo  with  orch.,  "Das  Grab  in 
o9"  etc.;  wrote  memoirs. 


DICTIONARY  OF  MUSICIANS 


465 


Weist-Hill,  H.,  London,  1828  —  1891; 
violinist;  pupil  R.  A.  M.;  cond. 
various  concerts  with  much  hospital- 
ity to  novelties;  1880  principal 
Guildhall  Sch. 

Weitzmann  (vits'-man),  K.  FT.,  Berlin, 
1808,  —  1880;  eminent  theorist;  c. 
operas,  etc*;  wrote  valuable  treatises, 

Welcker  von  Gontershausen  (vgT-ker 
fon  g6n*-t£rs-how-z£n),  H.,  Gonters- 
hausen,  Hesse,  1811  —  Darmstadt, 
1873;  ct.-pf.  -maker  and  writer. 

Wel'don,  (i)  J.,  Chichester,  EngL, 
1676  —  London,  1736;  org.,  comp. 

Welitsch  (va'-lech),  Ljuba,  Jugoslav 
sopr.;  d6but  Met.  Op.,  1949,  as 
Salome. 

Wellesz  (va'-ISsh),  Egon,  b.  Vienna, 
Oct.  21,  1885;  composer,  educator; 
Ph.  D.,  Vienna  Univ.,  1908,  Mus.  D., 
1909;  studied  history  of  music  with 
Guido  Adler,  comp.  with  Schonberg, 
by  whose  atonal  methods  he  was 
influenced;  prof,  of  musicology, 
Vienna  Univ.,  after  1929;  vice-pres., 
Austrian  Composers'  Soc.  and  active 
on  juries  of  I.  S.  C.  M.;  c.  (operas) 
"  "  (Frank- 


Prinzessin Girnara 
fort,  1921);  "Alkestis"  (Mannheim, 
1924);  "Scherz,  List  und  Roche" 
(chamber  opera),  (Stuttgart.  1928); 
(ballets)  "Die  NOchtlichen"  (Berlin, 
1925),  "Persisches"  (1925);  "Opfe- 
rung  des  Gefangenen"  (Cologne 
1926);  "Achilles  auf  Skyros";  string 
quartets,  piano  music  and  songs;  has 
works  on  music;  taught  Oxford  Univ. 

Wels  (v&s),  Chas.,  Prague,  Aug.  24, 
1825  —  New  York,  1906;  pupil  of 
Tomaschek;  1847,  ct.-pianist;  1849, 
New  York  as  concert-pianist  and 
teacher;  c.  concert-overture  and  suite 
for  orch.;  a  pf.  -concerto,  etc. 

Welsh  (i)  Thomas,  Wells,  Somerset, 
1780  —  Brighton,  1848;  bass  and 
singing-teacher.  (  2)  Mary  Anne  (ne'e 
Wilson),  1802  —  1867;  wife  and  pupil 
of  above;  v.  succ.  soprano,  earning 
£10,000  ($50,000)  the  first  year  of 
her  short  career. 

Wendel  (ven'-del),  Ernst,  b.  Breslau, 
1876;  violinist  and  director;  pupil  of 
Wirth,  Joachim,  Lucco  and  Bargiel; 
1896  joined  Thomas  Orch..  Chicago; 
1898  cond.  KSnigsberg  Musikverein; 
1909  cond.  Bremen  Phil.;  gen.  mus. 
dir.y  7-921;  1912-15,  cond.  also  of 
Berlin  Musikfreunde  concerts;  c. 
choruses;  d.  Jena,  1938. 

Wendling  (vgnt'-Hng),  (i)  Jn.  Bapt., 
from  1754-1800  flutist  in  Mannheim; 


band  composer.  His  wife  (2)  Doro- 
thea (n6e  Spurni),  Stuttgart,  1737 — 
Munich,  1811,  was  a  singer.  (3)  K.^ 
d.  1794;  violinist  in  Mannheim  band* 
His  wife  (4)  Auguste  EHzabethe,  was 
a  singer.  (5)  K.,  Frankenthalr  Rhine 
Palatinate,  Nov.  14,  1857 — Leipzig, 
1918;  pianist;  pupil  Leipzig  Cons.;, 
performer  on  Jank6  keyboard;  teacher 
ol  it  from  1887  at  Leipzig  Cons^  ct.- 
pianist  to  Prince  of  Waldeck. 

Wenzel  (veV-tsel),  (i)  Ernst  Fd., 
Walddorf,  near  Lobau^  iSo&— Band 
Kosen,  1880;  pf. -teacher  and  writer. 
(2)  Leopold,  Naples,  Jap.  23,  1847 
— Paris,  Aug.,  1925;  studied  Cons.  S. 
Pietro  a  Majelia;  at  13.  toured  as 
violinist;  1866  joined  M^tra^s,  oceh. 
at  Marseilles;  1871,  conduetorj  latter 
cond.  of  the  Alcazar,  Paris;  1883, 
London;  from  1889  cond.  at  the  E*BI- 
pire  TlL;  prod,  operettas,  Baany 
ballets,  etc. 

Wenzel  von  Gamter  (or  Szamotulski) 
(sha-mo-tool'-skl),  Gamter,  1525 — 
Cracow,  1572;  Polish  composer  of 
church  music. 

Werbecke,  Gaspar  van.    Vide 

Werckmeister  Cv&rk'-ml-sh 
Beneckenstein,     1645 — 
1706;    organist,   impoirtant   theorist 
and  composer. 

Wermann  tvSr'-man),  Ft.  Oskar,  Nei- 
chen,  near  Trebsen,  Saxony,  April  30, 
1840 — near  Dresden,  Nov.  22,  19106; 
pianist  and  organist;  pupil  of  Leipzig 
Cons.;  1868,  teacher  R.  Seminary, 
Dresden;  1876,  mus.  dir,  3  churches 
and  cantor  at  the  Kreuzschule  there; 
c.  "  Reformations-CantateS'  mass  in 
8  parts,  etc. 

Werner  (vSr'-ner),  (i)  Oregonus  Jos.,j 
1695 — Eisenstadt,  1766;  conductor 
and  composer.  (2)  Jn.  Gottkrt?, 
Hoyer,  Saxony,  1777— Merseburg, 
1822;  organist,  mus.-directar,  teacher 
and  composer.  (3)  BL,  near  Erfurt, 
1800 — Brunswick,  1833;  composer. 
(4)  Josef,  Wiirzburg,  June  25,  1837 
— Munich,  Nov.  14,  1922;  'cellist; 
pupil  of  the  Cons,  theie^  teacher 
Munich  School  of  Music;  pub.  a 
method;  c.  pcs.  for  'cello*  etcu 

Wer'renrath,  Reinald,  b.  Brooklyn, 
N.  Y.,  Aug.  7,  1883;  barytone;  grad. 
N.  Y.  U.,  pupil  of  Frank  King  Clark, 
Carl  DufEt,  Percy  Rector  Stephens, 
Arthur  Mees  and  Victor  Maurel; 
debut  in  N.  Y.  concert,  1907;  ap- 
peared widely  as  a  ^concert  and 
oratorio  singer:  also  with  Met*  Qp« 


466 


DICTIONARY  OF  MUSICIANS 


(d6but  as  "Silvio,"  1919);  1921,  Lon- 
don; made  many  recital  tours;  assoc. 
as  vocal  counsel  with  leading  radio 
co.,d.Plattsburg,N.Y.,Sept.  12,  1953. 

WertXv&rt),  Jacob  van,  b,  Netherlands, 
1536 — Mantua,  1596;  conductor  and 
composer. 

Wesembeck.     Vide  BTJRBUHE  DE  w. 

Wesley,  (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;  organist  and  composer.  (3) 
Samuel  Sebastian,  London,  Aug.  14, 
1800 — Gloucester,  April  19,  1876; 
son  of  above;  organist. 

Wessel  (vSs'-sel),  Chr.  R.,  Bremen, 
1797  —  Eastbourne,  1885;  mus.- 
publisher,  London. 

Wessely  (v£s'-s£-lg),  (i)  Jn.,  Frauen- 
burg,  Bohemia,  1762 — BaHenstedt, 
I^I4L  violinist;  c.  comic  operas. 
(2)  (K.)  Bd.,  BerHn,  1768 — Potsdam, 
1826;  dram,  composer.  (3)  Hans, 
Vienna,  Dec.  23,  1862 — Innsbruck, 
Sept.  29,  1926;  violinist;  pupil  of  the 
Cons.;  toured  with  success;  from 
1889  prof.  R.  A.  M.,  London,  leader 
of  the  W.  Quartet. 

West,  J.  Ebenezer,  South  Hackney, 

'  London,  Dec.  7,  1863 — Feb.,  1929; 
concert-organist  and  pianist;  pupil 
of  Bridge  and  Prout,  R.  A.  M.; 
1891,  organist  S.  Hackney  Parish 
Ch.;  c.  2  cantatas;  Psalm  130;  serv- 
ices, etc. 

Wesfbrook,  Wm.  Jos.,  London,  1831 
— Sydenham,  1894;  organist,  con- 
ductor and  composer. 

Westlake,  FT.,  Romsey,  Hampshire, 
1840 — London,  1898;  composer. 

Westmeyer  (vSsht'-ml-er),  Win.,  Iburg, 
near  Osnabrack,  1832 — Bonn,  1880; 
c.  operas. 

Westmoreland,  J.  Jane,  Earl  of, 
London,  1784  —  Apthorpe  House, 
1850;  dram,  composer. 

Westphal  (vSsht'-fal),  Rudolf  (G.  Hn.), 
Oberkirchen,  Lippe-Schaumburg, 
1826 — Stadthagen,  1892;  writer. 

Wesfrop,  H.  J.,  Lavenham,  Suffolk, 
1812 — 1879;  pianist,  violinist,  singer, 
organist  ana  composer. 

Wettergren  (v£t'-tSr-grSn),  Gertrud,  b. 
Esloev,  Sweden;  contralto;  studied 
at  Stockholm  Acad.  and  R.  School 
"of  Op.;  d6but  at  R.  Op.  there,  1922,  as 
"Cherubino";  sang  leading  r61es  with 
this  co.;  esp.  noted  as  "Carmen"; 


d6but,    Met.    Op.    Co.,    N.   Y.,   aa 

"Amneris,"  1935. 

Wetzel  (vSt'-tsel),  Hermann,  b.  Kyritz, 
Pomerania,  March  11,  1879;  teacher 
at  Riemann  Cons.  1905-07;  then  in 
Potsdam  as  teacher  and  author;  c. 
songs,  etc* 

Wetzler  (vSts'-lgr),  Hermann  Hans, 
Frankfort,  1870 — N.  Y.,  May  29, 
1 943 ;  pupil  of  Frau  S  chumann  (pf .) ,  B . 
Scholz  (comp.)«  Ivan  Elnorr  (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.;  1905,  dir* 
Hamburg  Op.;  1908  cond.  in  Russia, 
then  in  various  German  cities;  c,, 
opera  "The  Basque  Venus,"  etc. 

Weweler  (va/-v&-l&r),  August,  b.  Recke, 
Westphalia,  Oct.  20,  1868;  composer; 
pupil  Leipzig  Cons.;  c.  fairy  opera 
*'Dornr$scheri'*  (Kassel,  1903),  comic 
opera  "Der  grobe  M&rker"  (Detmold, 
1908),  etc. 

Weymarn  (vi'-marn),  Paul  Platono- 
vich,  b.  St.  Petersburg,  1857;  son  of 
a  lieut.-general  and  himself  an  officer; 
gave  up  the  arrny  for  music;  wrote 
biographies,  criticisms,  'cello-pieces, 
etc.;  d.  (?). 

Weyse  (vJ  -zS),  Chp.  Ernst  FT.,  Altona, 
1774 — Copenhagen,  1842;  dram,  com- 

^poser. 

Wielpley,  Benj.  Lincoln,  b.  Eastport, 
Maine,  Oct.  23,  1864;  studied  with 
B.  J.  Lang,  etc.,  at  Boston,  1890  in 
Paris;  lived  in  Boston  as  teacher  and 
composer. 

White,  (i)  Robt.,  d.  Westminster, 
Nov.  7  (ii  ?),  1574;  organist  at  Ely 
Cath.  (1562-67);  noted  in  his  day  as 
organist  and  composer.  Often  con- 
fused with  (2)  Win.  (c.  fantasias  or 
"fancies"  for  org.,  etc.)  and  (3)  Rev. 
Matthew,  Mus.  Doc.  1629;  c.  an- 
thems and  catches.  (4)  Alice  Mary, 
Meadows  (n6e  Smith),  1839 — 1884; 

Eupil  of  Bennett,  and  Macfarren, 
ondon;  c.  symphs.,  cantatas,  etc. 
(5)  J->  W.  Springfield,  Mass.,  March 
12,  1855 — Bad  Neuheim,  Germany, 
July  1 8,  1902;  pupil  of  Dudley  Buck; 
then  of  Haupt  (org.  and  cpt.), 
Rheinberger;  gave  org.-concerts  in 
various  German  cities;  1887-96,  or- 
ganist, New  York;  from  1897  lived 
in  Munich;  pub.  Missa  Solemnis; 
O  salutaris;  c.  an  oratorio  "Alpha 
and  Omega,"  etc.  (6)  Maude  ValeV 
lie,  b.  of  English  parents,  Dieppe, 


DICTIONARY  OF  MUSICIANS 


467 


June  23,  1855 — London,  Nov.  2, 
T937;  pupil  of  O.  May  and  W.  S. 
Rockstro,  and  of  R.  A.  M.,  Mendels- 
sohn Scholar,  1879,  also  studied  in 
Vienna;  lived  in  London;  c.  mass; 
pf.-pcs.;  "Pictures  from  Abroad" 
and  pop.  songs,  etc.  (7)  Carolina, 
b.  Dorchester,  Mass.,  Dec.  23,  1883; 

§upil  of  Weldon  Hunt;  concert 
6but,  1905;  1907  studied  with 
Sebastian  at  Naples;  d6but  at 
San  Carlo  Theatre,  1908;  sang  in 
Italy,  and  from  1910  with  Chicago 
Op.  Co.;  1911  with  Boston  Op. 

Whiteliill,  Clarence,  Marengo,  Iowa, 
Nov.  5,  1871 — New  York,  Dec.  18, 
1932;  notable -bass;  d6but  in  "Romeo 
et  Juliette,"  Brussels,  1899;  sang  Paris 
Op.  Com.  and  Bayreuth;  Met.  Op., 
1900-31,  except  during  1911—15, 
when  he  sang  with  Chicago  Op. 

Whitehouse,  William  Edward,  b.  Lon- 
don, May  20,  1859 — Jan.  12,  1935; 
'cellist;  pupil  of  Pettit  and  R.  A.  M., 
winning  prize,  1878;  and  from  1882 
teacher  there;  later  prof.,  member  of 
Ludwig  Quartet  and  London  Trio. 

White 'man,  Paul,  b.  Denver,  Colo., 
1891;  conductor;  son  of  a  supervisor 
of  music  in  Denver  public  schools; 
early  studied  to  be  viola  player; 
during  World  War  became  cond.  of 
a  U.  S.  Navy  Orch,,  and  began  ex- 
periments in  original  style  of  synco- 
pated dance  music,  for  which  he 
acquired  internat'l  reputation;  has 
toured  widely  in  U.  S.,  also  one 
season  in  Europe  as  head  of  his  own 
orch.;  encouraged  prod,  of  symphonic 
jazz  comps.  by  giving  concerts  of 
new  works  of  this  form  in  New  York. 

Whith'orne,  Emerson,  b.  Cleveland, 
O.,  Sept.  6,  1884;  composer;  studied 
with  James  H.  Rogers,  Leschetizky, 
Schnabel  and  Robert  Fuchs;  lived 
in  London,  1907—14,  where  was  critic 
of  Pall  Mall  Gazette,  1913;  served  as 
exec,  ed.,  Art  Publication  Soc.,  St. 
Louis,  1915-20;  c.  (orch.)  sympho- 
nies, "Fata  Morgana,"  "New  York 
Days  and  Nights"  (Salzburg  Fest., 
1923);  "Ranga,"  "The  City  of  Ys," 
"The  Aeroplane";  vln.  concerto; 
"Saturday's  Child"  for  mezzo- 
soprano,  tenor,  and  small  orch.; 
string  quartets,  incl.  "Three  Greek 
Impressions"-,  (dance  satire)  "Sooner 
or  Later"  (prod,  in  N.  Y.);  piano 
quintet,  also  music  to  plays  incl. 
O'Neill's  "Marco  Millions"-,  "The 
Grim  Troubadour"  for  voice  and 


string  quartet;  songs  and  piano 
works;  "Sierra  Morena"  and  "The 
Dream  Pedlar,"  for  orch. 
WM'ting,  (i)  G.  Elbridge,  Holliston, 
Mass.,  Sept.  14,  1842 — Cambridge, 
Mass.,  1923;  organist  at  Worcester 
when  13;  fitter  at  Hartford,  Conn, 
(where  he  founded  the  Beethoven 
Soc.);  later  organist  in  various  Bos- 
ton churches;  studied  with  G.  W. 
Morgan,  New  York,  and  Best, 
Liverpool;  Haupt  and  Radecte, 
Berlin;  till  1879,  teacher  at  the  N.  E. 
Cpns^.,  Boston;  till  1882,  at  the 
Cincinnati  Coll.  of^Mus.;  then  again 
at  the  N.  E.  Cons.;  c.  masses  with 
orch.  and  organ,  cantatas,  ballade 
with  orch.,  "Henry  of  Navarre" 
pf.-concerto,  etc.  (2)  Arthur  Bat- 
telle,  Cambridge,  Mass.,  June  20, 
1861 — Beverly,  Mass.,  July  21,  1936; 
nephew  of  above;  pf. -pupil  of  W.  H. 
Sherwood;  d£but  at  19,  Boston; 
studied  with  Chadwick  and  J.  C*  D. 
Parker;  then  with  Rheinberger,  in 
Munich;  lived  in  Boston,  organist  of 
N.  E.  Cons,  until  1897;  organised 
concerts  at  Harvard,  Yale  and 
Princeton;  teacher  of  pf.  and  comp.; 
c.  fantasy  with  orch.,  concert- 
overture,  concert-e'tude,  church- 
service,  concerto,  song  cycles,  etc. 
Whitney,  Samuel  Brenton,  Woodstock  * 
Vermont,  June  4,  1842 — Brattleboro/ 
Vt.,  1914;  organist;  pupil  of  Chas. 
Wells  and  J.  K.  Paine;  1871,  organ- 
ist, Ch.  of  the  Advent,  Boston; 
conductor  of  church-choir  festivals; 
org.-prof.  and  lecturer,  Boston  U. 
and  N,  E.  Cons.;  c.  anthems,  org.- 
sonatas,  etc. 

WMftaker,  William  Gillies,  New- 
castle-on-Tyne,  England,  July  23, 
1876 — 1944;  composer,  cond.j  stud- 
ied with  Frederic  Austin  and  G.  F. 
Huntley;  hon.  Mus.  Doc.,  Durham 
Univ.,  1921;  c.  orch.,  chamber, 
choral  and  piano  music  in  modern 
style;  author  of  books  on  music. 
Whyfhorne  (or  "fcrhitehorne)r  Thos., 

b.  1528;  Engl.  composer. 
Wlchern  (v6kh'-grn),  Caroline,  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;  1900  cond.  at  Ham- 
burg a  concert  of  her  own  orchestral 
works;  c.  vocal  works. 
Wjchmann     (vXkh.'-man),     Hermann, 


468 


DICTIONARY  OF  MUSICIANS 


Berlin,  Oct.  24,  1824  —  Rome,  Aug. 
27,  1905;  studied  at  R.  Akademie; 
also  with  Taubert,  Mendelssohn  and 
Spohr;  then  lived  in  Berlin;  c. 
symphs,,  sonatas,  etc. 
Wkfcfl  (vXkht'-'I),  G.,  Trostberg,  Ba- 
varia, 1805  —  Bunzlau,  Silesia,  1877; 
violinist,  conductor  and  dram,  com- 


(vlk'-£n-hows'-ser), 
Richard,  Brunn,  1867  —  Vienna,  1936; 
piipil  of  Leipzig  Cons.;  1894  was 
given  a  stipend  on  the  advice  of 
Brakms  and  HansHck;  1895  leader  of 
a  singing  society  in  Brimn;  1902  in 
Graz;  1907  dir.  Vienna  Singaka- 
demie,  c.  choral  works,  also  2  piano 
sonatas,  a  violin  sonata,  etc. 

Widmann  (vft'-man),  (i)  Erasmus, 
poet-laureate,  organist  and  conductor 
at  Weikersheim;  publisher  and  com- 
poser (1607).  (2)  Benedikt,  BrSun- 
lingen,  March  5,  1820  —  Frankfort, 
1910;  rector  at  Frankfort;  theorist 
and  composer.  (3)  Jos.  Victor, 
Nennowitz,  Moravia,  Feb.  20,  1842 
—  Berne,  1912;  at  3  taken  to  Switzer- 
land; wrote  librettos  and  biog.  of 
Brahms, 

Widor  (ve-d6r),  Chas.  (M.),  b.  Lyons, 
Feb.  24,  1845  —  Paris,  March  12, 
1937;  son  of  an  Alsatian  of  Hun- 
garian descent  (organist  at  Lyons); 
studied  with  Lemmens  (org.;  and 
Fe*tis  (comp.),  Brussels;  at  15  organ- 
ist at  St.  Francois,  Lyons,  and  1869- 
*935,  organist  at  St.  Sulpice,  Paris; 
1890,  teacher  at  the  Paris  Cons.; 
from  1:896  prof,  of  cpt.,  fugue  and 
comp.;  critic  (under  pen-name  *'Au- 
IStes")  and  dir.  of  the  soc.  "La  Con- 
cordia,"  c.  v.  succ.  ballet  "La  Korri- 
gane"  (Op£ra,  1880);  music  to  "Conte 
d'Avrti"  (Od6on,  1885);  "Les  Jaco- 
bties"  (OdSon,  1885);  unsucc.  lyric 
drama  "Maitre  Ambros"  (Op.-Com., 
May  "6,  1896);  3  pantomimes;  a  mass 
for  2  choirs  and  2  orgs.;  Psalm  112, 
with  orch.  and  org.;  "La  nuit  de 
Walpurgts,"  for  chorus  and  orch.; 
3  symphs.;  10  org.  symphs.  incl. 
*'Gotique,"  a  concerto  for  vln.,  'cello, 
and  pf.,  org.-sonatas,  etc.;  Chevalier, 
Legion  of  Honour;  1910,  member  of 
Academic,  and  after  1913  secretary 
of  this  body. 

Wieck  (vgk),  (i)  Fr.,  Pretzsch,  near 
Torgau,  1785—  Loschwitz,  near  Dres- 
den, 1873;  est.  a  pf.-factory  and  li- 
brary at  Leipzig;  eminent  pf  .-teacher  ; 
also  singing-teacher  and  composer; 


teacher  also  of  his  daughter  (2) 
Clara.  <Vide  SCHUMANN.)  (3)  Al* 
win,  Leipzig,  18^1 — 1885;  son  of  (i); 
pupil  of  .David;  violinist  at  St.  Peters- 
burg; later  pf.- teacher  at  Dresden. 
(4)  Marie,  Leipzig,  Jan.  17,  1832— 
1916;  pianist;  daughter  of  (i);  played 
in  public  at  8;  1858,  ct. -pianist  to  the 
Prince  of  HohenzoUern;  toured;  est. 
a  sch.  in  Dresden;  1914,  Royal 
Professor. 

Wiedemann  (vg'-dS-mlin),  Ernst  Jn.f 
Hohengiersdorf,  Silesia,  1797 — Pots- 
dam, 1873;  organist,  teacher  and 
composer. 

Wiederkehr  (ve'-dSr-kar),  Jacob  Chr. 
Michael,  Strassburg,  1739— Paris, 
1823;  'cellist,  bassoonist,  tambourin- 
ist  and  composer. 

Wiedmnann  (ve'-dgr-man),  K,  FT., 
G6risseiffen,  Dec.  25,  1856 — Berlin, 
1918;  organist  and  Royal  Dir.,  in 
Berlin;  c.  overture,  songs,  etc. 
Wiegand  (vS'~g2nt),  Josef  Anton  H., 
FrSnkisch-Crumbach  in  the  Oden- 
wald,  1842 — Frankfort,  1899;  bass. 
Wiehmayer  (vS'-ml-Sr),  Theodor,  b. 
Marienfeld,  Westphalia,  Jan.  7, 1870: 
pianist;  pupil  Leipeag  Cons,  and  of 
Krause;  d^but  Leipzig,  1890;  teacher 
there;  1902-06  at  the  Cons.;  from 
1908  at  Stuttgart  Cons.,  1909  prof.; 
c.  piano  pieces  and  songs. 
Wielhorski.  Vide  WILHORSKI* 
Wiemann  (vS'-man),  Robert,  b.  Fran- 
kenhausen,  Nov.  4,  1870;  pupil 
Leipzig  Cons.;  cond.  various  theatre 
orchs.  and  singing  societies;  from 
1899  in  Osnabriick;  1910,  munic.  dir. 
of  music,  Stettin;  c.  orch.  works, 
"Erdenwallen,"  "  JZassandra,"  etc.; 
choral  works  with  orch.,  etc. 
Wieniawski  (v'ya-ne-af'-shkl),  (i)  H., 
LubHn,  Poland,  July  10,  1835 — Mos- 
cow, April  12,  1880;  eminent 
violinist  and  composer;  d£but,  at 
Petersburg,  at  13;  studied  with 
Clavel  and  Massart,  and  Colet 
(harmony)  Paris  Cons.;  won  ist  vln.- 
prize,  1846;  1860,  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.,  Lublin,  May  23,  1837 — 
Brussels,  Nov.  11,  1912;  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 


DICTIONARY  OF  MUSICIANS 


469 


pf  .-sch.  of  Ms  own;  later  teacher  in 
Brussels  Cons.;  c.  2  overtures,  suite 
romantique  for  orch.,  pf.-concerto, 
etc. 

Wieprecht  (vS'-prSkht),  Wm.  Fr., 
Aschersleben,  1802 — Berlin,  1872; 
famous  trombonist  and  violinist;  inv. 
the  bass  tuba  (1835). 

Wietrowetz  (v5'-trQ-vStz),  Gabriele, 
b.  Laibach,  Carmola,  Jan.  13,  1866; 
violinist;  pupil  of  Joachim,  winning 
Mendelssohn  prize  at  Berlin  Hoch- 
sch.;  d6but  1885  at  Miinster;  toured 
and  from  1904,  teacher  at  the  Berlin 
Hochsch.;  founded  quartet. 

Wig 'man,  Mary,  b.  Hanover,  Germany; 
dancer;  studied  Berlin,  Dresden- 
Hellerau  and  Rome;  pupil  of  and 
asst.  to  Rudolf  von  Laban  in  Munich 
and  elsewhere;  after  1919  came  for- 
ward with  her  own  dance  recitals, 
which  exhibited  style  of  notable 
freedom  and  force,  a  feature  of  which 
was  discarding  of  all  conventional 
"prettiness"  and  pirouetting  of  the 
classic  ballet  school;  Frl.  Wigman, 
as  she  has  expressed  it,  danced 
"man's  kinship  with  the  earth  and 
with  feet  flat  on  the  earth";  although 
the  general  tendency  was  apparent 
in  dance  world  since  Isadora  Duncan, 
the  Wigman  style  developed  into 
an  internat'l  cult  known  as  the 
"free  dance"  and  she  estab.  schools 
in  many  German  cities,  also  in  other 
countries  incl.  U.  S.  after  1920;  has 
also  toured  several  times  in  America 
as  soloist  and  with  her  girl  dance 
group;  one  of  her  tenets  is  dancing 
to  percussion,  with  special  scores 
created  for  her. 

Wihan  (ve'-han),  Hans  (Hanug),  Politz, 
near  Braunau,  June  5,  1855 — Prague, 
May  3,  1920;  'cellist;  pupil  of  Prague 
Cons,;  1873,  prof,  of  'cello,  Mozart- 
eum,  Salzburg;  1877-80,  chamber- 
virtuoso  to  Prince  Schwarzburg- 
Sondershausen;  1880,  rst  solo-' cellist 
Munich  ct.-orch.;  1888,  prof,  at 
Prague  Cons.,  a  member  "Bohemian 
String  Quartet." 

Wlhtol  (ve'-tdl),  Jos.,  b.  Wolmar, 
Livonia,  1863;  studied  at  Mitau; 
then  with  Johansen  (harm.)  and 
Rimsky-ELorsakov  (comp.  and  in- 
strumentation) Petersburg  Cons.; 
1886,  prof,  of  harm,  there;  1918,  dir. 
ef  Ri&a  Opera;  1919,  founded  New 
Cons,  there;  c.  "La  ftte  Ligho," 
symph.  picture,  "Dramatic"  over- 
ture, e"-c 


Wilbye  (wH'-bl),  J.;  lutenist  and 
teacher,  London,  1598;  most  brilliant 
composer  of  madrigals. 

Wild  (velt),  Fz.,  Niederhollabrunn, 
Lower  Austria,  1792 — Oberddbling, 
near  Vienna,  1860;  tenor. 

Wilder  (vel-dar),  Jerome  Albert  Victor 
van,  Wettern,  near  Ghent,  1835 — 
Paris,  1892;  writer  and  translator. 

Wilhelm  (vel'-h&m),  K.,  Schmalkal- 
den,  1815 — 1873;  "R.  Prussian  Mus, 
Dir.";  c.  "Die  Wacht  am  Rhein,"  etc. 

Wilhelmj  (vel-hSL'-me-),  (i)  Aug.  (Emil 
Daniel  Fd,),  Usingen,  Nassau,  Sept. 
21,  1845 — London,  Jan.  22,  1908; 
eminent  violinist;  pupil  of  Fischer, 
at  Wiesbaden;  played  in  public  at  8; 
at  1 6  recommended  to  David  by 
Liszt  as  a  young  Paganini;  he  studied 
1861-64,  with  David  (vln.),  Haupt- 
mann  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.  Niemann)  a  "Hochschule" 
for  vln.;  1886,  lived  at  Blasewitz, 
near  Dresden;  1894,  head-prof^ 
Guildhall  Sch.,  London;  1895,  he  m. 
the  pianist  Mariella  Mausch;  c. 
"  Hochzeits-Cantate"  vrith  orch.,  vln.- 
pcs.,  etc.  His  son  (2)  Adolf,  b.  1872, 
violinist;  after  1898  vln.-prof.  rf 
Belfast  Cons. 

Wllhem  (rightly  Bocquillon)  (vSl-to 
or  b6k-€-y6n),  Guillatime  Lotiis, 
Paris,  1781 — 1842;  dir.-gen,  of  all 
Paris  schools;  founder  of  the  great 
system  of  popular  singing  societies  or 
"OrphSonistes"  (v.  D.  D.);  pub. 
many  treatises  on  his  method  of 
"mutual  instruction"  and  a  lo-vol, 
coll.  of  comps. 

Wi(e)Ui6rski  (vel-hdr'-shki),  (i)  Count 
Matvei  JUrjevitch,  Volhyiiia,  1787 — 
Petersburg  (?),  1863;  'cellist.  His 
brother  (2)  Count  Michail  J^rje- 
vitch,  Volhynia,  1788 — Moscow, 
1856;  composer. 

Willaert  (wll^lart)  (Wigliar'dTis,  Vi- 
gliar,  Vtiigliart),  Adrian  (caUed  Adri- 
ano),  Flanders,  ca.  1480 — Venice, 
1562;  eminent  composer  and  teacher; 
called  the  founder  of  the  Venetian 
Sch.;  a  very  prolific  composer;  pupil 
of  Mouton  and  Josquin  Despres; 
1516  at  Rome,  later  at  Ferrara;  then 
mus.  to  the  King  of  Bohemia; 
Dec.  12,  1527,  maestro  at  San 
Marco,  Venice,  where  he  organised 


470 


DICTIONARY  OF  MUSICIANS 


a  famous  sch.;  <:.  5  masses,  many 
motets,  psalms,  madrigals,  etc.;  the 
first  to  write  for  two  choirs. 
Willan,  Healey,  b.  Balham,  England, 
1880;  composer  and  organist;  studied 
St.  Savior's  Choral  School,  Eastham; 
org.  in  leading  British  churches;  after 
1913    res.    in    Toronto    as    theory 
teacher  at  Cons.,  and  later  vice-pres. 
and  dir.;  c.  choral  and  organ  works. 
Wille  (vXT-le"),  Oeorg,  b.  Greiz,  Sept. 
20,   1869;  'cellist;  from  1899  court- 
concertmaster  at   Royal   Chapel  in 
Dresden  and  teacher  in  the  Cons.; 
pupil  of  Leipzig  Cons. 
Wilieke    (vel'-a-kS),   Willem,    b.    The 
Hague,     1878;     'cellist,     conductor; 
studied     Hague     and     Amsterdam 
Cons.,  pupil  of  Hartog;  solo  'cellist 
I-eipzig  Philh.,    1901-03;    afterward 
at  Covent  Garden  and  Vienna  Op., 
mem.     Kneisel     Quartet,     1907-17; 
founded  in  latter  year  the  Elshuco 
Trio  and  was  its  'cellist;  life  dir.  of 
Berkshire  Music  Colony;  taught  at 
Inst.  of  Musical  Art,  N.  Y.,  where 
cond.   orch.;   appeared  in   U.   S.  as 
orch.  soloist  and  in  recitals. 
Waient-Bordogni  (ve-yan-bdr-dQn-yS), 
Jean  Bapt.  Jos.,  Douai,  1809 — Paris, 
1852;      bassoon- virtuoso,      teacher, 
writer  and  dram,  composer.     1834, 
m.  the  daughter  of  Bordogni. 
Williams,  (i)  Charles  Lee,  Winchester, 
May  r,  1853 — Gloucester,  Aug.  29, 
I93SJ    organist;    pupil    of    Arnold; 
1882-98  org.   at   Gloucester   Cathe- 
dral; cond.  of  festivals;  c.  cantatas, 
church     music,     etc.     (2)     Charles 
Francis  Abdy,  Dawlish,  July  16,  1855 
— Milford,  Feb.  27,  1933;  took  music 
degrees  at  both  Cambridge  and  Ox- 
ford;   later    pupil    Leipzig     Cons.; 
organist  at  various  posts;  authority 
on  Greek  music  and  Plain  song;  c. 
church  music,  choruses  for  "Alcestis" 
"Antigone"      and      "Agamemnon." 
(3)  Ralph  Vatighan,  b.  Down  Ampney, 
England,  Oct.    12,   1872;  composer; 
grad.  Trinity  Coll.,  Cambridge;  Mus. 
D.,  Oxford  and  Cambridge;  studied 
R.  Coll.  of  Music  with  Moore,  Parry, 
Stanford,    Wood,    Parratt,    Sharpe, 
Gray,  also  with  Ravel  and  Bruch; 
was  early  active  as  an  organist,  and 
has  been  extension  lecturer  at  Ox- 
ford; it  is,  however,  as  a  composer 
that  he  has  estab.  a  rank  among  the 
outstanding  musical  figures   of   the 
day;    as   a   symphonist   he   has    an 
especial  aptitude,  and  some  of  his 


music  has  been  influenced  by  English 
folk-song  in  which  he  has  been  a 
leading  investigator;  esp.  popular  in 
other  countries  are  his  "London" 
Symphony,  a  programmatic  work 
depicting  sights  of  that  metropolis, 
but  welded  cleverly  into  impressive 
symph.  form;  and  his  "Pastorale" 
Symphony,  which  is  exquisitely  com^ 
pounded  of  English  country  tradi- 
tional tunes  treated  with  the  hand 
of  a  poet  and  an  expert  craftsman; 
his  extremely  large  output  includes 
also  stage  works  and  various  forma 
of  chamber  music,  part-songs,  choral 
arrangements  of  folk-music;  in  his 
later  music,  W.  has  shown  a  tend- 
ency to  depart  from  descriptive 
writing  into  more  abstract  realms 


Three  Impressions,"  "In  the  Fen 
Country,"  three  "Norfolk  Rhapso- 
dies"*, "Bucolic  Suite";  "Heroic 
Elegy";  "Serenade";  "Fantasia  on  a 
Theme  by  Thomas  Tallis";  suite  for 
"The  Wasps"  of  Aristophanes;  Fan- 
tasie  for  piano  and  orch.;  "Concerto 
Academico"  for  vln.  and  orch.; 
"Studies  in  English  Folk  Music"  for 


tets;  (choral  works)  "Toward  the 
Unknown  Region";  "A  Sea  Sym- 
phony"; "The  Garden  of  Proserpine"; 
five  "Mystical  Songs";  (oratorio) 
"Sancta  Ciritas";  3  Nocturnes  for 
barytone  with  orch.;  (song  cycles) 
"The  House  of  Life,"  "Songs  of 
Travel,"  "On  Wenlock  Edge";  arr. 
Purcell's  "Welcome  Songs"  also  many 
folk-songs,  madrigals,  etc.;  ed.  "The 
English  Hymnal."  (See  page  544.) 

Williamson,  John  Finley,  b.  Canton, 
O.,  June  23,  1887;  conductor,  educa- 
tor; studied  with  Bispham  and 
Witherspoon,  also  Otterbein  Coll.; 
hon.  Mus.  D.,  Wooster  Univ.;  served 
as  dean  of  Ithaca  Cons.;  founder  and 
dean  of  Westminster  Choir  School, 
now  at  Princeton  Univ.;  and  cond, 
Westminster  Choir,  with  which  he 
toured  U.  S.  and  Europe;  c,  and  arr. 
choral  works. 

Willing  (va'-lXng),  (i)  Jn.  L.,  Eltthn- 
dorf,  1755 — Nordhausen.  1805;  or- 
ganist and  composer.  (2)  (wfr  -ling) 
Chr.  Edwin,  London,  Feb.  28,  1830- — 
St.  Albans,  Dec.  i,  1904;  organist 


DICTIONARY  OF  MUSICIANS 


471 


various  London  churches,  conductor 
and  teacher. 

Wil'Hs,  (i)  H.,  England,  April  27,  1821 
— London,  Feb.  ir,  1901;  prominent 
org.-builder  and  improver.  (2)  Rich- 
ard Storrs,  Boston,  Mass.,  Feb.  10, 
1819 — Detroit,  May  7,  1900;  bro.  of 
N.  P.  Willis  the  poet;  critic  and 
editor  in  N.  Y-,  later  Detroit;  com- 
poser. 

WHTman,  (i)  Magdalena,  d.  1801; 
famous  soprano;  her  brother,  (2)  K.f 
violinist. 

Willmers  (vfl'-mSrs),  H.  Rudolf,  Ber- 
lin, 1821 — Vienna,  1878;  pianist  and 
composer. 

Wilm  (vflm).  Nicolai  von,  Riga, 
March  4,  1834 — Wiesbaden,  Feb.  20, 
1911;  pianist;  studied  Leipzig  Cons.; 
1857,  2nd  cond.  Riga  City  Th.;  then 
Petersburg,  1860;  teacher  of  pf.  and 
theory  Imp,  Nicolai  Inst.;  1875, 
Dresden;  1878,  Wiesbaden:  c.  pop. 
string-sextet,  'cello  and  vln.-sonatas, 
male-choruses,  etc. 

Wilms  (vttms),  Jan  Wfflem,  Witz- 
helden,  Schwarzburg-Sondershausen, 
1772 — Amsterdam,  1847;  teacher  and 
org.-composer. 

Wilsing  (vH'-zIng),  Daniel  Fr.  Ed., 
Horde,  near  Dortmund,  Oct.  21,  1809 
— Berlin,  May  2,  1893;  1829—34, 
organist  in  Wesel,  then  Berlin;  c. 
oratorio  "Jesus  Christus"  in  2  parts 
[Bonn,  1889);  a  De  profundis  d  16 
(gold  medal  for  Art,  Berlin);  pf.- 
sonata,  etc. 

Wil'son,  (i)  J.,  Faversham,  Kent,  1594 
— London,  1673;  famous  lutenist  and 
composer.  (2)  J.,  Edinburgh,  1800 
— (of  cholera)  Quebec,  1849;  tenor. 
(3)  Mortimer,  Chariton,  Iowa,  Aug. 
6,  1876 — New  York,  Jan.  27,  1932; 
composer;  studied  in  Chicago  with 
Jacobsohn,  Gleason  and  Middle- 
schulte;  1901-07,  taught  theory, 
Univ.  Sch.  of  Mus.,  Lincoln,  Nebr.; 
then  a  pupil  of  Sitt  and  Reger  in 
Leipzig;  1911,  taught  Atlanta  Cons.; 
and  cond.  symph.  orch.  there; 
1916-18,  at  Brenau  Coll.,  Gaines- 
ville, Ga.;  later  consultant  at  Nat'l 
Acad.  of  Mus.,  N.  Y.;  author  of 
many  orch.  and  other  pieces,  incl. 
m'usical  scores  for  motion  pictures. 

Wilt  (vflt),  Marie  (n6e  Liebenthaler), 
Vienna,  Jan.  30,  1833 — (suicide) 
SeDt.  24,  1891;  famous  operatic  so- 
prano; dSbut  1865  at  Graz;  sang 
throughout  Europe,  also  popular  in 
concerts.  In  1866-67  she  sang  at 


Coyent    Garden    under    the    name 
**Vilda,"  again  in  1874-75. 

Wiltberger  (vut'-bgrkh-er),  Hemricn, 
Sobernheint,  Aug.  17,  1841 — Colmar, 
1916;  son  of  an  organist;  1872-1906 
teacher  in  Alsace;  co-founder  of  the 
Cecilia  society  and  composer  ot 
church  music,  and  favourite  Alsatian 
composer  of  male-choruses. 

Winderstein  (vln'-d&r-shtln),  Han  a 
(Wm.  Gv.),  Liineburg,  Oct.  29,  1856 
— Hanau,  June  23,  1925;  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  (Switzerland)  Cons.,  then 
cond.  at  Ntirnberg;  1893-96,  dir. 
PMLh.  Orch.,  at  Munich,  and  at  the 
Kaim  Concerts;  1896,  organised  and 
conducted  the  "Winderstein  Orch."; 
1898,  cond.  Leipzig  Singakademie; 
c.  Trauermarsch,  Valse-Caprice  and 
StSndchen  for  orch.;  orch.  suite,  etc. 

Winding  (vXn'-ding),  Aug*  (Henrik), 
Taaro  (Laaland),  Denmark,  March 
24,  1835 — Copenhagen,  June  16, 
1899;  pianist;  pupil  of  Reinecke,  Ree, 
Dreyschock  and  Gade;  dir.  and  prof. 
Copenhagen  Cons.;  c.  vln.-concerto, 
sonatas,  etc. 

Wingliam,  Thos.,  London,  1846 — 
IS93;  organist  and  composer. 

Winkel  (vlnk'-el),  Dietrich  Nikolaus, 
Amsterdam,  ca.  1780 — 1826;  a  mech- 
anician; inv.  the  "componium"  and 
"metronome/'  which  later  Malzel 
(q.  v.)  appropriated, 
rinketmann  (vyr>k/-^--mte)>  TTft-nn^riTiy 
Brunswick,  March  8,  1849 — Mauer 
(Vienna),  Jan.  18,  1912*,  tenor;  pupil 
of  Koch  at  Hanover;  d6but  Sonders- 
hausen,  1875;  sang  at  Altenburg, 
Darmstadt  and  Hamburg;  then  at 
ct.-opera,  Vienna,  1882;  created 
"Parsifal"  at  Bayreuth. 

Wlnkler  (vXnkMer),  Alex.  Adolfovich, 
Charkov,  March  3,  1865 — Lenin- 
grad,  1935;  pianist;  studied  at 
Charkov  and  at  Vienna  under 
Leschetizky  and  Navratil;  teacher 
at  Charkov;  from  1896  at  St.  Peters- 
burg Cons.;  c.  prize-winning  string 
quartet,  op.  7,  piano  pieces,  etc. 

Win'ner,  Septimus,  Philadelphia,  1826 
— Nov.  23,  1902;  writer  of  pop.  songs 
and  methods;  said  to  have  written 
200  technical  books  on  instruments 
and  to  have  c.  and  arranged  over 
2,000  pcs.  for  vln.  and  piano;  also 
wrote  for  Grahasmts  Mag.9 


Winke 


472 


DICTIONARY  OF  MUSICIANS 


Poe  was  editor.     His  songs  include 
"Listen  to  the  Mocking  Bird,"  and 
"Give  us  Back  our  old  Commander"; 
founder  of  Musical  Fund  Soc. 
Winogradsky  (ve-no-grat'-shkl),  Alex., 
Kiev,    Russia,  Aug.   3    (new   style), 
1856 — 1912;   noted  cond.;   pupil  of 
Sploviev,    Petersb.    Cons.;    1884-86, 
dir.  Imp.  Sch.  of  Mus.  at  Saratov; 
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'-ter),  Peter  von,   Mann- 
heim, 1754 — Munich,  1825;  studied 
with  Abb  4  Vogler,  but  mainly  self- 
taught;  violinist  and  ct.-conductor; 
composer  of  v.  succ.  operas,  38  in 
all;  c.  9  symphs.  incl.  "Die  Schlacht" 
and  much  church-mus. 
Winter-Hjelm   (vln'-tSr-hySlm),   Otto, 
Christiania,     Oct.     8,     1837 — Oslo, 
May  3,  1931;  organist;  pupil  Leipzig 
Cons,   and  of  Kullak   and   Wtierst; 
dir.  Phil,  concerts;  c*  2  symph.,  50 
Psalms,  46  Norwegian  "Fjeld  melo- 
dier"  or  mountain  songs,  etc. 
Winterberger  (vm'-tSr-bSrkh-Sr),  Alex., 
Weimar,    Aug.    14,    1834— Leipzig, 
Sept.    23,    1914;    pianist;    pupil    of 
Leipzig  Cons,  and  of  Liszt.     1861, 
pf.-prof.  at  Petersburg  Cons.;  1872, 
lived  in  Leipzig;  c.  pf  ,-pcs.  and  songs. 
Winterfeld  (vlnf- t£r-felt),  K.  G.  Aug. 
yivigens   von,    Berlin,    1784 — 1852; 
libr.  and  writer  of  valuable  historical 
works. 

Wippern  (v*p'-pSrn),  Louise  (Harriers- 
Wippern),  Hildesheim  (or  Bucke- 
burg),  1835(7)-— Gorbersdorf,  Silesia, 
1878;  operatic  singer. 
Wirth.  (vert),  Emanuel,  Luditz,  Bohe- 
mia, Oct.  18,  1842 — Berlin,  Jan.  5, 
1923;  violinist;  pupil  of  Prague  Cons., 
1864-77;  teacher  at  Rotterdam  Cons., 
and  orch.-leader;  then  vla.-player  in 
the  Joachim  Quartet,  Berlin,  and 
vln.-prof.  at  the  Hochschule;  Royal 
Prof. 

Wirtz  (vSrts),  Charles  Louis,  The 
Hague,  Sept.  i,  1841 — Breda,  1935; 
pupil  of  the  Cons.;  later  piano 
teacher  there;  c.  church  music. 
Wise,  Michael,  England,  1648  ? — in  a 
street  brawl,  Salisbury,  1687;  tenor 
and  notable  early  composer  of  an- 
thems, etc. 

Wis'ke,  Mortimer,  Troy,  N.  Y., 
Jan.  12,  1853 — Lewiston,  Me.,  July 
<j,  1934;  long  active  as  cond.  and 
fest.  dir.  in  New  York,  New  Jersey 


and  elsewhere;  from  1872  organist 
and  dir.  Brooklyn;  c.  church  and 
organ  music. 

Wit  (vet),  Paul  de,  Maastricht,  Jan.  A 
1852— Leipzig,  Dec.  10,  1925;  'cellist 
and  viola  da  gambist;  coll.  of  ancient 
instrs. 

Witek  (ve'-t&k),  Anton,  Saaz,  Bohemia, 
1872 — Winchester,  Mass.,  Aug.  19,. 
1933;  noted  violinist;  pupil  of  Benne- 
witz;  at  Prague  Cons.;  1894  concertm. 
Berlin  Philh.;  toured  in  solo  recitals 
and  with  Vita  Gerhardt  (whom  he 
later  m.);  in  1903  with  her  and 
Joseph  Malkin  formed  Trio;  1905,. 
played  ^  concertos  by  Beethoven, 
Paganini  and  Brahms  in  one  concevt; 
after  1910,  concertm.  of  Boston 
Symph.;  1918  resigned  this  post  and 
gave  himself  to  solo  work  and  teach- 
ing; in  1926,  after  the  death  of  his 
first  wife,  he  m.  Alma  Rosengron> 
a  former  pupil, 

Witii'erspoon,  Herbert,  Buffalo,  N.  Y., 
July  21,  1873— New  York,  May  ic, 
I93S»  notable  basso  cantante;  gradu- 
ated 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.  d6but  in 
recital,  N.  Y.,  1902;  coached  with 
Lamperti  in  Berlin;  in  1908  he  joined 
the  Met.  Op.,  N.  Y.,  and  sang  there 
until  1916  with  increasing  success, 
making  especially  deep  impression 
in  the  r61es  of  "Gurnemanz,"  "King 
Mark,^'  etc.  Gave  recitals  in  Lon- 
don ^with  great  success,  1910,  and 
continued  his  concert  and  oratorio 
appearances;  he  was  active  in  later 
years  as  a  voice  teacher  and  choral 
cond.  in  N.  Y.  and  Chicago;  1925-29, 
pres.  of  Chicago  Musical  Coll.;  vice- 
pres.  and  artistic  dir.  of  Chicago 
Civic  Op.  Co.,  1931;  dir.  Cincinnati 
Cons.,  1932-33;  I93S  appointed 
general  manager  of  Met.  Op.  Co.,. 
N.  Y.,  to  succeed  Giulio  Gatti- 
Casazza,  and  had  begun  intensive 
work  on  the  repertoire  for  the  follow  - 
ing  season  when  he  was  stricken 
fatally  with  a  heart  attack  in  his* 
offices  at  the  opera  house;  he  m. 

S  Greta  Hughes,  singer;  divorced; 
Florence    Hinkle,    soprano    (d. 
1933):  (3)  Mrs.  Blanche  Skeath. 
Witkowski      (vlt-kdf'-skl),      Georges 
Martin    (rightly  Martin),    b,    Mos- 
tagneaux,  1867— died  in  Paris,  during 
1943;  French  comp.;  son  of  a  Polish 


DICTIONARY  OF  MUSICIANS 


473 


woman  and  a  French  military  officer; 
himself  trained  in  the  officers'  school 
at  St.  Cyr;  but  early  showed  talent 
for  composition;  after  producing  a 
vact  opera  and  various  symph. 
works,  he  entered  the  Paris  Schola 
Cantorum,  where  he  studied  under 
D'Indy;  in  1902,  when  he  left  the 
army,  he  founded  in  Lyons  a  mixed 
chorus  and  in  1905  the  Soc.  des 
Grands  Concerts;  Ms  earlier  style 
was  based  on  the  classical,  but  in 
later  works  he  has  shown  modern 
tendencies;  c.  2  symphs.,  piano  quin- 
tet, string  quartet,  sonata  for  vln. 
and  piano;  choral  work,  "Poeme  de 
la  maison"',  and  "Mon  Lac"  for 
piano  and  orch.,  prod,  in  Paris,  1921. 

Witt  (vlt),  (i)  Fr.,  Halten-Bergstetten, 
1770  —  Wtirzburg,  1837;  violinist, 
conductor  and  dram,  composer. 
(2)  Theodor  de,  Wesel,  1823 — (of 
consumption)  Rome,  1855;  organist 
and  composer.  (3)  Fz.,  Walderbach, 
Bavaria,  1834 — Schatzhofen,  1888; 
editor  and  writer. 

Witte  (vlt'-te1),  (i)  Chr.  Gl.  Fr.,  d.  r873; 
org.-builder.  (2)  G.  H.,  Utrecht, 
Nov.  1 6,  1843 — Essen,  1929;  son  of 
above;  pupil  of  R.  Mus.  Sch.  at  The 
Hague,  then  of  Leipzig  Cons. ;  teacher 
in  Leipzig  till  1867,  then  in  Alsatia, 
1871;  cond.  at  Essen,  1882;  R.  Mus. 
Dir.:  c.  pf. -quartet  (prize  at  Flor- 
ence;, grand  Elegy  for  vln,  and  orch., 
etc. 

•Wittgenstein  (vft'-gSn-stln),  Paul,  b. 
Vienna,  Nov.  5,  1887;  pianist;  lost 
one  arm  in  the  war,  but  acquired 
notable  facility  in  performing  works 
for  one  hand;  among  noted  com- 
posers who  wrote  works  for  him  were 
Ravel  (concerto  for  one  hand)  and 
Richard  Strauss,  whose  symph. 
study,  " Panatkenaenzug"  (piano  and 
orch.)  was  given  premiere  by  W.  and 
Vienna  Philh.  under  Schalk  in  1929; 
toured  U.  S.  with  succ.,  1935. 

Wittich  (vft'-tlkh),  Marie,  Giessen, 
May  27,  1868 — Dresden,  Sept.,  1931; 
soprano;  studied  with  Frau  Otto- 
Ubridy;  sung  various  cities;  1901 
Dresden  ct.-opera. 

Witting  (vlt'-tfnk),  Karl,  JUlich,  Sept. 
8,  1823 — Dresden,  June  28,  1907; 
tenor  singer;  pupil  of  Reichel  in 
Paris;  teacher  in  various  cities;  c. 
'cello  sonata,  etc. 

Wladigeroff  (vlS,d-g-ga'-r6f),  Pantscho, 
b.  Zurich,  1899,  of  Bulgarian  parents; 
composer;  studied  with  Paul  Juon 


and  Georg  Schumann;  orig.  a  theatre 
cond.  with  Max  Reinhardt  in  Berlin; 
has  c.  incid.  music  to  Strindberg's 
"Dream  Play"  works  for  orch.,  piano 
and  violin. 

Wohlfahrt  (v5l'-fart),  H.t  Kossnitz, 
near  Apolda,  1797 — Connewitz,  1883; 
noted  teacher,  writer  and  composer. 

Woldemar  (v6l-dii-mar)  (rightly  Mi- 
chel), Orleans,  1750 — Clermont- 
Ferrand,  1816;  conductor  and  com- 
poser; wrote  methods;  inv.  a  mus.- 
stenography  "Tableau  melotachigra- 
phique."  and  mus.-correspondence 
"  NotograpMe." 

Wolf  (v61f),  (i)  Ernst  Wm.,  Gross- 
heringen,  1735 — Weimar,  1792;  ct.- 
conductor ;  c.  4  2  pf, -sonatas.  (2;  Fd., 
Vienna,  1796-— 1866;  writer.  (3)  L., 
Frankfort-on-Main,  1804 — Vienna, 
i85g;pianist,  violinist  and  composer. 
(4)  Wm,,  Breslau,  April  22,  1838 — 
Berlin,  1913;  pupil  of  Kullak,  teacher 
of  mus.-history,  Berlin,  also  writer 
and  composer.  (5)  Hugo,  Windisch- 
gratz,  Styria,  March  13,  1860 — 
Vienna,  Feb.  22,  1903;  notable  com- 
poser, esp.  famed  for  his  many 
beautiful  songs;  began  study  of  vln. 
and  piano  with  his  father  at  5;  for  a 
time  attended  the  Vienna  Cons,  but 
was  expelled  as  "incorrigible*'*  A 
shy,  sensitive  figure  he  was  princi- 
pally self-taught,  and  held  only 
minor  posts,  as  asst.  and  chorus- 
master  at  the  Salzburg  Op.,  under 
Muck,  1881-82,  and  as  critic  for  the 
Vienna  SaLonUatt,  1884-87.  ^  His  life 
was  a  desperate  struggle  with  pov- 
erty and  was  attended  by  little 

-  recognition;  he  eked  out  his  income 
by  giving  occasional  piano  and  vln. 
lessons;  after  1888  he  began  writing 
the  series  of  more  than  275  songs 
which  were  later  to  make  him  im- 
mortal. He  had  ambitions  to  com- 
pose for  the  stage,  and  his  opera, 
"Der  Corregidor"  based  on  a  Spanish 
comedy,  Alarcon's  "Three-Cornered 
Hat,"  was  prod,  in  Mannheim,  1896, 
but  despite  the  praise  it  received  was 
not  given  repetitions;  he  was  at  work 
on  another  opera,  "Manuel  Venegas" 
when  his  mind  failed.  After  spend- 
ing some  months  in  an  asylum  he  was 
released  but  had  to  return  in  1898; 
paralysis  set  in  and  he  lived  for  5 
years  in  a  helpless  condition.  His 
great  genius  was  discovered  only 
slowly,  but  today  he  is  generally 
ranked  among  the  few  foremost 


474 


DICTIONARY  OF  MUSICIANS 


Lieder   composers,   including   Schu- 
bert, Brahms  and  Franz.     His  songs 
have  had  a  great  and  growing  popu- 
larity with  recitalists  the  world  over. 
Hfs  comps.  include,  besides  the  pop. 
Spanish  and  Italian  "  Liederb&cher," 
the  "Lieder  aus  der  Jugendzeit"  his 
Goethe,     M6rike    and    Eichendorff 
songs;  choral  works,  most  pop.  being 
"Elfenlied"  and  "Feuerreiter";  also  a 
partially  completed  symph.,  "Italian 
Serenade"   for   small    orch.,    a    vln. 
concerto     and     other     works.     His 
"Corregidor"    has    been    cond.     by 
Bruno   Walter  at  the  Munich  and 
Salzburg  Fests.  and  in  1936  an  om- 
cial  ceremony  was  held  at  the  latter 
event.     More  than  a  score  of  un- 
known songs,   some  youthful,  were 
discovered    in    1936.     His    literary 
productions  were  ed.  by  Batka  and 
Werner  and  pub.  in  193:1.     Memoirs 
have  been  issued  by  Decsey,  Haber- 
landt,  P.  Mueller,  E.  Schmitz,  New- 
man,   Morold,    Schur    and    others. 
There    are    W.-Vereins    in    various 
Eur.  cities. 

Wolf-Ferrari  (v6lf-f a-r&'-re) ,  Ermanno, 
Venice,    Jan,     12,     1876 — Jan.     31, 
1948;  composer;  b.  of  German  father, 
Italian  mother;  studied  at  the  Mu- 
nich Acad.  withRheinberger;  1902-07, 
dir.  Liceo  Benedetto  Marcello,  Venice; 
after  latter  year  lived  in  Neubiberg, 
Bavaria,  for  the  most  part  devoting 
himself  to  comp.;  c.    (operas)    "La 
Sulamita"     (1889);     " Aschenbrodel" 
(Venice,  1900);  "Le  Donne  Curiose" 
(Munich,    1903;   also   sung  at  Met. 
Op.  House,  1912);  "/  Quattri  Rus- 
tegki"    (Munich,    1906);    "UAmote 
Medico"  (after  Molifcre),   (Dresden, 
1913);  the  3  previous  works  as  well 
as  "//  Segreto  di  Susanna"   (i-act, 
called    an    "Intermezzo,"    Munich, 
1909),   being   comic  in   theme   and 
musically  reviving  a  somewhat  Mo- 
zartean  type   of  sparkling  melody; 
totally  different  is  "The  Jewels  of  the 
Madonna"    (Berlin    R.    Op.,    1911, 
Chicago,  1912),  a  melodrama  which 
provides   tie   composer's   single   at- 
tempt to  imitate  the  works  of  the 
veristic  school;  later  productions  in- 
clude:   "Liebesband    der    Marches  a" 
(Dresden,  i925);"D<w  Himmelskleid" 
(Munich,    1927);     "Sly"   (La   Scala, 
Milan,  1927);  "La   Vedova  Scaltra" 
(1931)   and  "//  Campiello"   (Rome, 
193 6) .^    He  also  c.  the  choral  work, 
4t  La  Vita  Nuova,"  and  opuses  for  orch. 


and  i>iano,  and  for  various  chamber 
combinations;  a  symphony  da  camera, 
vln.  sonata,  piano  quartet,  etc. 
Wolff    (v61f),     (i).     Vide    WCXLF    (4). 
(2)  Edouard,  Warsaw,  1816 — Paris. 
1880;    pianist    and    composer.     (3) 
Auguste  Desire*  Bd.,  Paris,   1821-- 
1887;  pianist,  pf. -teacher  and  maker- 
head    of    firm    "Pleyel-Wolff."     (4j 
Hermann,     Cologne,     1845 — Berlin, 
1902;  pupil  of  Fz.  Kroll  and  Wiirst; 
editor,    concert-agent   and   mgr.   at 
Berlin;    c.   pf.-pcs.    and   songs.     (5) 
Erich,  Vienna,   Dec.   3,    1874 — New 
York,  March  20,  1913;  notable  song 
composer;    pupil    of    Door,    Robert 
Fuchs  and  J.  N.  Fuchs  at  the  Cons, 
of  the  Musikfreunde  in  his  native 
city;  he  lived  there  until  1906  and 
later  in  Berlin;  made  many  tours  as 
an  accompanist  for  Lieder  singers, 
incl.  visits  to  the  U.  S.;  his  death 
occurred  on  one  of  these  tours;  c, 
ballet,  "Zlatorog,"  prod,  in  Prague, 
1913;  a  vln.  concerto  and  a  number 
of  Lieder  which  have  won  marked 
popularity  since  his  death;  he  wrote 
a  study  of  Schumann's  songs  5n  their 
original  and  later  published  forms. 
WSlf(f)l  (v£lf'->l)    (Woelfel,  Woelfle), 
Jos.,  Salzburg,  1772 — London,  1812; 
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  (v61'-frSm),  (i)  Jn.  Chr.,  d. 
1828;  organist  and  writer  at  Gold- 
bach,  near  Gotha.  (2)  Jos.  Maria, 
Dobrzan,  Bohemia,  1789 — TeplitZj 
1839;  conductor  and  dram*  composer. 
Wolfram  (v61'-froom),  Phffipp, 
Schwarzenbach-am-Wald,  Bavaria, 
Dec.  17,  1854— Samaden,  May  8, 
1919;  pupil  Munich  Sch.  of  Mus.; 
mus.-dlr.  Heidelberg  Univ.;  Dr.  Phil. 
h.  c.  (Leipzig,  1891);  c.  "Grosses 
Halleluja^  and  other  choruses,  pf.- 
pcs.,  etc. 

Wolkenstein  (v61'-k£n-shtin),  Oswald 
von,  Tyrol,  ca.  1377— Aug.  2,  1445; 
a  knight,  ambassador,  and  wanderer, 
"the  last  of  the  Minnesinger/'  c. 
poems  and  melodies. 
Wollancfc  (v61Mank),  Fr.,  Berlin,  1782 
— 1831;  amateur  composer  of  an 

WoS!r(avdl'-l6),  John  Frederick,  Beihle^ 
hem,   Pa.,   April  4^   1863 — Jan.    i%t 


DICTIONARY  OF  MUSICIANS 


475 


1933;  founder  of  a  choir  with  which 
from  1900  he  gave  remarkable  pro- 
ductions of  the  works  of  Bach;  in 
1901  at  a  three-day  festival  the 
Christmas  oratorio,  "Passion  Ac- 
cording to  St.  Matthew,"  and  Mass  in 
B  minor  were  given  entire;  1904,  a 
nine-day  festival  of  Bach's  works  was 
given;  1905  prof.  University  of 
California  and  cond.  symph.  concerts 
at  the  Open  Air  Greek  Theatre  at 
Berkeley,  CaL;  later  again  active  in 
Bethlehem  until  his  death. 

Wollenhaupt  (vdl'-lSn-howpt),  BL  Ad., 
Schkeuditz,  near  Leipzig,  1827 — New 
York,  1865;  pianist,  teacher  and 
composer;  from  1845  *n  New  York. 

Wollick  (v61'-lik)  (Volli'cius,  Bolli'- 
cius),  Nicolas,  b.  Bar-le-Duc;  teacher 
and  writer  at  Metz,  1501—12. 

Worstenholme,  William,  Blackburn, 
Feb.  24,  1865 — Hampstead,  July  23, 
1931;  organist,  blind  from  birth; 
pupil  of  Dr.  Done,  Mus.  B.  Oxford, 
1887,  from  1888  organist  in  London; 
toured  the  U.  S.  1908;  c.  organ  music 
of  all  kinds,  piano  sonata,  choral 
ballad,  "Sir  Humphrey  Gilbert,"  etc. 

Wolzogen  (und  Weiihaus)  (vdl'-tsS-gSn 
oont  noi-hows),  (i)  K.  Aug.  Alfred, 
Freiherr  von,  Frankfort,  1823 — 
San  Remo,  1883;  writer.  (2)  Hans 
(Paul),  Freiherr  von,  Potsdam,  1848 
— Bayreuth,  June  2,  1938;  son  of 
above;  lived  as  writer  at  Potsdam 
till  1877.  Wagner  made  him  editor 
of  the  Bairettther  Blffier.  Author 
of  many  books  on  Wagner's  music. 

Wood,  (i)  Mrs.  Mary  Ann.  Vide 
PATON.  (2)  Sir  Henry  J.,  London, 
March  3, 1870 — Aug.  19, 1944;  cond.; 
pupil  of  his  father;  at  10  an  organist; 
1883-85,  gave  org.-recitals;  studied 
at  R.  A.  M.  with  Prout  and  others; 
then  cond.  societies;  1891-92,  Carl 
Rosa  Op.  Co.;  1894,  Marie  Roze  Co.; 
after  1895,  Queens  Hall  Prom,  Con- 
certs, London;  visited  U.  S.  as  cond. 
of  Boston  Symph.,  at  Hollywood 
Bowl,  etc.  C.  oratorio  "Dorothea," 
operettas,  masses,  songs,  etc.;  wrote 
treatise  on  singing;  cond.  of  the 
Sheffield  Festivals  in  1902  and  of  the 
Norwich  Festivals  in  1908.  (3) 
Charles,  Armagh,  June  15,  1866 — 
Cambridge,  England,  July  n,  1926; 
pupil  of  T,  O.  Marks,  and  at  R.  C. 
M.,  London,  winning  the  Morley 
scholarship,  later  teacher  there,  and 
cond.  Cambridge  U.  Musical  Society; 
Mus.  Doc.  Cambridge,  1894;  LL.  D. 


Leeds,  1904;  c.  "Ode  to  the  West 
Wind,"  voices  and  orch.,  incid.  music 
to  Greek  plays;  "Dirge  for  Two 
Veterans"  (LeedsFest.,  1901),  "Ballad 
of  Dundee"  (do.,  1904);  symphonic 
variations  on  "Patrick  Sarsfield" 
(London,  1907).  songs,  etc. 

Wood'forde-Fin'den,  Amy,  b.  Val- 
paraiso, Chile,  of  British  parents;  d. 
London,  March  13,  1919;  her  father 
British  Consul  in  Valparaiso;  com- 
poser; studied  with  Adolph  Schlosser, 
Winter  and  Amy  Horrocks;  c.  many 
songs,  among  which  the  cycle  of 
"Indian  Love  Lyrics"  to  verses  of 
Laurence  Hope,  have  had  world- wide 
popularity;  m.  CoL  Woodforde- 
Finden,  officer  in  Indian  Army 
(retired). 

Wood'man,  Raymond  Htmtington, 
Brooklyn,  N.  Y.,  1861 — 1043;  piaJio 
pupil  of  his  father,  of  Dudley  Buck, 
and  C6sar  Franck;  1875-79,  asst.- 
organist  to  his  father,  at  Flushing, 
L.  L;  1894-97,  mus.-editor  2V.  Y. 
Evangelist;  1880,  organist  First 
Presb.  Ch.,  Brooklyn;  1889,  head  of 
org.-dept.  Metr.  Coll.  of  Mus.,  N.  Y., 
etc. ;  c.  pf .-  and  org.-pcs. 

Wool'dridge,  H.  Ellis,  Winchester, 
March  28,  1845 — London,  1917; 
writer;  historian;  at  first  a  painter 
and  1895  Slade  Prof,  of  Fine  Arts  at 
Oxford;  wrote  extensively  on  mediae- 
val music. 

WooITett,  Henry,  Havre,  1864 — 1936: 
noted  teacher,  composer;  dir.  of 
music  school  in  native  city. 

Wormser  (v6rm-zar),  Andre  (Alphonse 
Toussaint),  Paris,  Nov.  i,  1851 — 
Nov.  4,  1926;  pupil  of  Marmontel 
(pf.)  and  Bazdn,  Paris  Cons.,  taking 
ist  pf. -prize,  1872;  Grand  prix  de 
Rome,  1875;  lived  in  Paris;  c,  the 
opgras-comique  "Adele  de  Ponthieu" 
(Aix-les-Bains,  1877),  "Rivoli"  (Paris, 
1896);  v.  succ.  pantomime  "L9 En- 
fant Prodigue"  (Paris,  1890,  London, 
1891,  New  York,  1893);  pantomime 
"L>  Ideal"  (London,  1896);  ballet, 
"L'£toile"  (Paris,  1897),  etc. 

WorobMewicz  (v6r-6p-k'-ya'-vlch),  Isi- 
dor,  Czernowitz,  1836 — Sept.  18, 
1903;  priest  in  the  Greek  church,  and 
pupil  on  stipend  at  Vienna  Cons.; 
later  teacher  of  church  music  at 
Czernowitz  and  author;  c.  Rou- 
manian scngs,  etc. 

Wot'quenne,  Alfred,  b.  Lobbes,  Henne- 
gau,  Jan.  25,  1867;  pupil  Brussels 
Cons.;  1894,  Librarian;  d.  1939* 


476 


DICTIONARY  OF  MUSICIANS 


Wouters  (voo'-t&rs),  (Fran.)  Adolphe, 
Brussels,  May  28,  1849 — April  16, 
1924;  pupil,  and  1871-1920,  pf.-prpf. 
at  the  Cons,  there;  1886,  organist 
N6tre-Dame  de  FinisteTe,  and  cond. 
at  Saint-Nicolas;  c.  3  masses  solen- 
uelles  (under  pseud.  "Don  Adolf o"), 
a  grand  Te  Deum,  overture,  etc. 
Woyrsch  (voirsh),  Felix  von,  b.  Trop- 
pau,  Austrian  Silesia,  Oct.  8,  1860; 
studied  with  A.  Chevallier,  Ham- 
burg, but  mainly  self-taught;  after 
1895,  organist  and  conductor  at 
Altona;  c.  4  comic  operas  incl.  succ. 
"Wikingerfahrt"  (Niirnberg,  1896), 
4  choral  works  with  orch.;  symph.; 
symph.  prologue  to  "Divina  Comme- 
dia."  etc.;  d.  Altona,  1944- 
Wranitzky  (fra-n5t'-shk:0,  (i)  Paul, 
Neureisch,  Moravia,  1756 — Vienna, 
1808;  violinist,  conductor  and  dram, 
composer.  (2)  Anton,  Neureisch, 
1761 — Vienna,  1819;  violinist;  bro. 
and  pupil  of  above;  conductor  and 
composer. 

Wfferst  (vu'-€rst),  Richard  (Fd.),  Ber- 
lin, 1824 — 1881;  teacher,  critic  and 
dram,  composer. 

Wiillner  (vfl/-ner),  (i)  Fz.,  Miinster, 
Jan.  28,  1832 — Cologne,  Sept.  8, 
1902;  noted  conductor;  studied  Miin- 
ster, later  at  Berlin,  Brussels,  Co- 
logne, Bremen,  Hanover  and  Leipzig, 
and  gave  concerts  as  pianist;  1854, 
pf. -teacher  Munich  Cons.;  1858, 
town  mus.-dir.  at  Aix-la-Chapefie; 
1861,  "R.  Mus.-Dir."  1864,  1882, 
1886  and  1890  he  conducted  the 
Lower  Rhine  Mus.  Fest.;  cond.  the 
ct.-chapel,  Munich;  1867,  dir.  choral 
classes  in  the  Sch.  of  Mus.;  in  1869, 
cond.  ct.-opera  and  the  Acad.  Con- 
certs (vice  von  Billow),  giving  Wag- 
ner's "Rheingold"  and  "Walkilre" 
their  first  hearing.  1870,  ist  ct.-cond., 
R.  Prof.  1875;  in  1877,  ct.-cond.  at 
Dresden,  and  artistic  dir.  of  the 
Cons.;  1883-84,  cond.  Berlin  Philh.; 
1884,  dir.  Cologne  Cons.;  was  Dr. 
Phil.  Leipzig  U.;  c.  cantata  "  Hein- 
rich  d&r  Finkl&r,"  with  orch.  (rst 
prize,  Aix-la-Chapelle  "Liedertafel" 
1864);  new  arrangement  (with  added 
recitatives)  of  von  Weber's  "Oberon"', 
Psalm  125,  with  orch.;  Miserere  and 
Stabat  Mater,  for  double  chorus, 
masses,  chamber-mus.,  etc.  (2)  Lud- 
wig,  Miinster>  Aug.  19,  1858 — 
Berlin,  March  22,  1938;  son  of  above; 
Dr.  phil.,  then  studied  Cologne 
Cons.:  1888.  dir.  a  church  choir; 


became  an  actor  in  spite  of  a  vocal 
impediment,  then  a  tenor  singer  in 
concert,  also  in  opera  (as  "Tann* 
h&user,"  etc.).  Eminent  as  a  Lieder 
singer  and  reciter;  toured  widely, 
incl.  United  States. 

Wunderlich  (voon'-d&r-llkh),  Jn.  G., 
Bayreuth,  1755 — Paris,  1819;  flute- 
virtuoso  and  prof.  Paris  Cons.;  also 
composer. 

Wtirfel  (vtir'-fel),  Wm.>  Planian,  Bo- 
hemia, 1791 — Vienna,  1852;  pianist, 
prof.,  conductor  and  dram,  composer* 

Wunn  (voorm),  (x)  Mary  J.  A.,  b. 
Southampton,  1860 — Munich,  1938; 
pianist;  pupil  of  Pruckner  and  Stark, 
Anna  Mehlig,  Mary  Krebs,  Jos* 
Wieniawski,  Raff  and  Frau  Schu- 
mann; 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* 
Her  sisters  (2)  Alice  and  (3)  Ma- 
thilde,  also  pianists,  the  lattei 
known  as  Verne  (d,  London,  June  4, 
1936),  a  notable  recitalist  and 
teacher. 

Wylde  (wild),  H.,  Bushy,  Hertford- 
shire, 1822 — London,  1890;  pianist, 
organist  and  teacher. 

Wyszkowski.    Vide  HOFMANN,  c. 


Xylander  (rightly  Holtzmann)  (ks5*« 
I3,nt-er  or  h6lts/-man),  Wm.,  Augs- 
burg, 1532 — Heidelberg,  1576,  writer. 

Xyndas  (ksgn'-das),  Spiridioii,  Corfu, 
1812 — (in  poverty)  Athens,  r896; 
Greek  composer  of  succ.  ballad- 
operas. 


Yon,Pietro,SettimoVittone5  Italy,  1886 
— Huntington,  N.  Y.,  1943;  studied 
with  Fumagalli,  at  Turin  Cons,  and 
at  Acad.  of  St.  Cecila,  Rome,  winning- 
honours;  after  1907  res.  in  N.  Y.r 
where  was  mus.  dir.  and  org.  at  St. 
Patrick's  Cathedral;  known  as  organ 
recitalist;  hon.  org.  of  Bas.  of  St. 
Peter's,  Rome;  c.  many  masses,  an 
oratorio  "The  Triumph  of  St.  Pa- 
trick"', and  many  choral  and  organ 
works,  and  songs. 

Yonge  (yung).     Vide  YOUNG. 

Yost  (y6st),  Michel,  Paris,  1754—1786; 
celebrated  clarinettist  and  composer. 

Young,  (i)  (or  Yonge),  Nicholas,  b. 
Lewis,  Sussex;  d.  1619;  pub.  "Music* 


DICTIONARY  OF  MUSICIANS 


Transalpine*,"  colls,  of  Italian  madri- 
gals, 1597-  (2)  J.  Matthew  Wilson, 
Durham,  Engl.,  1822 — W.  Norwood, 
i8Q7;  organist  and  composer. 

Yradier  (e-radh'-I-ar),  Sebastian,  Satt- 
ciego,  Spain,  Jan.  20,  1809 — Vitoria, 
Dec.  6,  1865;  Spanish  song-composer. 

Yriarte  (e'-rl-ar'-te'),  Don  Tomas  de, 
Teneriffe,  ca.  i75o-^-Santa  Maria, 
near  Cadiz,  1791;  writer. 

Ysaye  (5-si'-yu),  (i)  Eugfcne,  Li6ge, 
July  16,  1858 — Brussels,  May  13, 
1931;  prominent  violinist,  son  and 
pupil  of  a  cond.  and  violinist,  then 
pupil  of  Li6ge  Cons.,  and  of  Wieniaw- 
ski  and  Vieuxtemps;  later  with  govt.- 
stipend  studied  in  Paris;  till  1881, 
leader  in  Bilse's  orch.,  Berlin,  made 
v.  succ.  tours  throughout  Europe  and 
N.  America;  from  1886,  head  prof, 
of  vln.  Brussels  Cons.,  and  leader 
"Ysaye  Quartet";  1893,  Chev.  of  the 
Legion  of  Honour;  1918-22,  cond. 
Cincinnati  Symph.  and  biennial  fest.; 
later  again  in  Belgium;  c.  opera, 
"Peter  the  Miner"  (1930);  suffered 
amputation  of  one  leg  in  1929  and 
never  fully  recovered  health;  c.  vln.- 
concertos;  variations  on  a  theme  by 
Paganini;  Pofcme  616giaque  for  vln. 
with  orch.  (or  pf.),  etc.  (2)  ThSo- 
pile,  Verviers,  1865— Nice,  1918; 
bro.  of  (i);  composer,  pianist;  pupil 
of  Lie"ge  Cons,  and  of  Franck;  dir.  of 
Brussels  Acad.  of  Music. 
Yussupoff  (yoos'-soo-pdf),  Prince  Nico- 
lai,  Petersburg,  1827 — Baden-Baden, 
1891;  violinist;  pupil  of  Vieuxtemps; 
writer  of  treatises,  andc.aprogramme- 
symph.  "Gonzalvo  de  Cordova"  with 
•  vln.  obbligato;  "Concerto  sympho- 

nique,"  for  vln,,  etc. 
Yzac  (5'-zak).     Vide  ISAAC. 


Zabalza  y  Olaso  (tM-Ml'-tha  6  5-la'- 
sQ),  Don  Damaso,  Irurita,  Navarre, 
1833— Madrid,  1894;  pianist  and 
teacher;  prof.  Madrid  Cons.;  c. 
studies. 

Zabel  (tsa'-bel),  Albert,  Berlin,  1835-- 
St.  Petersburg,  1910;  harpist;  pupil 
Berlin  Royal  Inst.  for  church  mus.; 
soloist  Berlin  Opera;  from  1851  at 
Royal  Ballet  orch.  St.  Petersburg; 
from  1862  prof,  at  the  Cons.;  c.  harp 
concertos,  etc.  . 

Zacconi  (tsak-ko'-ne),  Ludovico,  ^  b. 
Pesaro,  1555 — 1627;  monk  and  im- 
portant theorist. 


Zach  (tsakh),  Johann,  (i)  Czelakowicz, 
1699 — Bruchsal,  1773;  director  at 
Mayence  and  composer  of  church 
music.  (2)  Max  Wilh.,  Lemberg, 
1864 — St.  Louis,  1921  ^violinist  and 
conductor;  pupil  of  Vienna  Cons.; 
played  in  Boston  Symph.,  and  1887- 
97  cond.  summer  concerts  there; 
1900,  mem.  Adamowski  Quartet; 
after  1907,  cond.  of  St.  Louis 
Symphony. 

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;  organist  and  composer. 

Zahn  (tsan),  Johannes,  Espenbach, 
Franconia,  Aug.  i,  1817 — Neudet- 
telsau,  Feb.  17,  1895;  historian  of 
church  music,  and  compiler  of  hymn 
books,  etc. 

Zajczek  (za'-X-tsSk),  Jtdius,  Vienna, 
1877 — 1929;  composer  of  opera 
"Helmbrecht"  (Graz,  1906). 

ZajiS  (zS'-yech),  Florian,  Unhoscht, 
Bohemia,  May  4,  1853 — Berlin, 
May  17,  1926;  violinist;  son  of  poor 

-  parents;    on    a    stipend    studied    at 
Prague  Cons.;  member  theatre-orch., 
Augsburg;  1881,  leader  at  Mannheim 
and  Strassburg;  1889,  at  Hamburg; 
1891,   teacher   Stern   Cons.,   Berlin; 
later     at      Klindworth-Scharwenka 
Cons.;  toured  widely  and  was  made 
chamber-virtuoso    1885    and    given 
Russian  order  of  Stanislas. 

Zamara     (tsa-ma'-ra),     (i)     Antonio, 

-  Milan,     June     13,     1829 — Hietzmg, 
near  Vienna,  Nov.   u,   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. 

Zamxniner  (tsam'-mS-nSr),  Fr.,  Darm- 
stadt, 1818  (?)— Giessen,  1856; 
acoustician. 

Zanardini  (tsa-nar-dS'-ne),  Angelo, 
Venice,  1820 — Milan,  1893;  c.  opera, 
also  writer  and  translator  of  libretti. 

Zandonai  (tsan-do-na'-e") ,  Riccardo, 
Sacco,  1883 — Rome,  June  18  (?)  1944; 
pupil  of  Gianferrai  at  Trento;  from| 
1899  at  Rossini  Cons.,  Pesaro,  ^j| 
1902  winning  comp.  prize  wi«l! 
symph.  poem  for  voices  and  orch.;' 
c.  also  "Serenata  Mediosoale"  for  cello, 
2  harps,  and  strings;  "Ave  Maria" 
for  female  voices,  harp,  and  strings; 
"O  'Padre  Nostro"  (from  Dante's 
Purgatorio),  for  chorus,  orch.,  and 
organ;  operas,  "Grille  del  .Focolare* 


478 


DICTIONARY  OF  MUSICIANS 


(Cricket  on  the  Hearth)  (Turin, 
1908),  and  with  great' success  else- 
where, and  the  highly  succ.  "Con- 
chita"  (based  on  Pierre  Louy's 
"Femme  et  le  Pantin"  (Milan,  1911, 
Covent  Garden,  1912,  etc.); 
"Melanis"  (Milan,  1912);  "Fran- 
cesca  da  Rimini*,"  to  a  libretto  drawn 
by  Tito  Ricordi  from  the  tragedy 
of  D'Annunzio  (adjudged  his  master- 
piece), (Teatro  Regio,  Turin,  1914; 
Met.  Op.,  1916);  "La  Via  detta 
Finestra"  on  a  comic  theme  from 
a  play  by  Scribe,  book  by  Adami 
(Pesaro,  1919);  "Giulietta  e  Romeo/9 
a  new  version  of  the  original  Italian 
story  on  this  subject,  book  by  Ros- 
sato  (Rome,  Teatro  Costanzi,  1921); 
"/  Cavalieri  di  Ekebti,"  after  Selma 
Lagerlof's  novel,  "Gdsta  Berling," 
book  by  Rossato  (La  Scala,  Milan, 
1925);  "Gitdiano,"  a  mystic  legend 
based  on  Flaubert's  story,  with  book 
by  Rossato  (Naples,  1928);  "La 
Farsa  Amorosa"  based  on  the 
Spanish  comedy,  **  Three-Cornered 
Hat,'9  (Rome  and  Milan,  1935-36); 
also  symph.  works,  "Concerto  Roman- 
tico"  for  vln.  and  orch.;  Requiem 
Mass,  and  various  other  vocal 
compositions. 

Zandt,  van  (ffin-tsant),  Marie,  New 
York,  Oct.  8,  1861 — Cannes^  Dec.  3r, 
1919;  (daughter  of  (2)  Jeame  van  Z., 
singer  formerly  in  Royal  and  Carl 
Rosa  Companies) ;  pupil  of  Lamperti, 
Milan;  d6but,  Turin,  1879;  sang  in 
London,  then  from  1880  at  Op.- 
Com.,  Paris,  with  great  succ.;  1884, 
temporary  loss  of  voice  due  to  pros- 
tration 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". 

Zanella  (tsa-n51'-la),  Aroilcare,  b. 
Monticelli  d'Ongina,  Sept.  26,  1873; 
pupil  of  Parma  Cons,  and  from 
1903  director,  after  years  as  operatic 
cond.  in,  SoutJb  America,  etc.;  c.  a 
sympn.  fantasie  and  fugue  for  piano 
and  orch.,  operas,  etc.;  d.  1949. 

Zanettini.     Vide  GIANETTTNI. 

Zang  (tsang),  Jn.  H.,  ZeUa  St.  Blasii 
1733 — Mainstockheim,  1811;  cantor; 
pianist. 

Zange  (ts&ng'-S)  (Zang'ius),  Nicolaus, 
d.  Berlin,  before  1620;  conductor 
^nd  composer. 


Zani  de  Ferranti  (dsa'-ne  da  fSr-ran-te)T 
Marco  Aurelio,  Bologna,  1800 — ±>isav 
1878;  gui tar- virtuoso . 

Zanobi.     Vide  GAGLIANO. 

Zan'ten,  Cornelie  Van,  b.  Dordrecht, 
1855 — d.  The  Hague,  1946;  soprano, 
pupil  of  Geul,  Schneider,  and  Fr. 
Lamperti;  d£but  in  Turin,  sang 
throughout  Europe,  and  with  the 
"National  Opera"  in  America;  then 
sang  at  Amsterdam  and  taught  in  the 
Cons.;  from  1903  teacher  in  Berlin. 

Zarate  (thS-ra'-te),  Eleodoro  Ortiz  de, 
b.  Valparaiso,  Dec.  29,  1865;  pupil  of 
Collegio  di  San  Luis  there;  1885  won 
ist  govt.  prize,  and  studied  Milan 


Chilean  opera,  the  succ.  "La  Fioraia 
de  Lugano"  (Santiago,  Chile,  Nov. 
10). 

Zaremba  (tsS-ram'-ba),  Nicolai  Ivan- 
ovitch  de,  1821 — Petersburg,  1879; 
teacher. 

Zarembski  (tsa-rSmp'-shkX),  Jules  de, 
Shitomir,  Russian  Poland,  1854 — 
1885;  pianist,  pf.-prof.  and  composer. 

Zarlino  (dsar-lS*-n5),  Gioseffo  (caUed 
Zarlinus  Clodiensis),  Chioggia, 
March  22,  1517 — Venice,  Feb.  14, 
1590;  eminent  theorist,  conductor 
and  composer;  a  Franciscan  monk; 
pupil  of  Willaert  at  Venice;  from 
1565  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  cele- 
bration of  Lepanto,  a  mass  for  the 
plague  of  1577  and  in  welcome  of 
Henri  III.,  1574,  on  w2iich  occasion 
he  also  c.  a  dram,  work  "Orfeo"^ 
his  theoretical  ability  is  shown  by  the 
great  work  "Instituzioni  harmo- 
niche99  (1558). 

Zarzycki  (zSar-zSk'-g),  Alex,  Lemberg, 
Austrian  Poland,  1834 — Warsaw, 
1895;  pianist,  conductor  and  dram, 
composer. 

Zaytz  (dsa'-Sts),  Giovanni  von,  Fiume, 
Jan.  21,  1832 — Agram,  Dec.  17,  1914; 
pupil  of  Lauro  Rossi,  Milan  Cons.; 
1870  theatre-conductor  and  singing- 
teacher  at  the  Cons,  at  Agram;  c.  the 
first  Croatian  opera  "Nicola  Subic 
Zrinjski"  (1876),  also  20  German 
Singspiele,  masses,  etc. 

Zeckwer  (tsSk'-var),  (i)  Richard,  Stendal, 
Prussia,  April  30,  1850 — Philadel- 
phia, Dec.  30,  1922;  pianist;  pupil 
Leipzig  Cons.;  from  1870  organist  at 


DICTIONARY  OF  (MUSICIANS! 


479 


Philadelphia;  1870  teacher  Phila. 
Mus.  Acad.;  1876  director,  composer. 
(2)  Camille,  son  of  (i)  b.  Phila.,  1875 
— Aug.  7,  1924;  pianist,  composer. 

Zelenka  (zS-lSn'-ka),  Jan  Dismas, 
Lannowicz,  Bohemia,  1679 — Dres- 
den, 1745;  conductor  and  composer. 

2elenski  (zhS-lSn-shkl),  Ladislas,  on 
the  family  estate  Gradkowice,  Ga- 
licia,  July  6,  1837 — Cracow,  Jan.  23, 
1921;  pupil  of  Mirecki  at  Cracow, 
ELrejcl  at  Prague,  and  Damcke  at 
Paris;  prof,  of  comp.,  later  dir., 
Warsaw  Cons.;  c.  a  symph.,  2  can- 
tatas, etc.  for  orch.;  succ.  opera 
"Goplana"  (Cracow,  1896),  etc. 

Zell,  F.     Vide  W&LZEL. 

Zeller  (ts&'-lSr),  Dr.  Karl,  St.  Peter- 
in-der-Au,  Lower  Austria,  July  19, 
1842 — Baden,  near  Vienna,  Aug.  17, 
1898;  c.  operettas. 

Zellner  (tsSl'-ner),  (i)  Ld.  Alex., 
Agram,  1823 — Vienna,  1894;  son  and 
pupil  of  an  organist;  editor,  professor, 
writer  and  composer.  (2)  Julius, 
Vienna,  1832 — Mtirzzuschlag,  Styria, 
1900;  c.  2  symphs.,  etc. 

Zelter  (ts&'-ter),  Karl  FT.,  Berlin, 
Dec.  n,  1758 — May  15,  1832;  son  of 
a  mason;  studied  with  Kirnberger 
and  Fasch,  to  whom  he  was  assistant 
and  1800  successor  as  cond.  of  the 
Singakademie;  1809  he  founded  the 
"Liedertafel"  from  which  grew  the 
great  "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. 

^emlin'sky,  Alexander  von,  Vienna, 
Oct.  4,  1872 — Larchmont,  N.  Y., 
March  16,  1942;  composer,  conduc- 
tor; studied  Vienna  Cons.;  cond.  at 
various  theatres,  then  at  the  Op.  in 
that  city ;  also  at  Mannheim,  Prague, 
Berlin  and  elsewhere;  c.  (operas) 
"Sarema;'  "Es  War  Einmal,"  "Klei- 
der  Machen  Leute"  "Kreidekreis"; 
orch.  and  choral  works,  chamber 
music,  piano  pieces,  songs ;  brother- 
in-law  and  teacher  of  Schonberg-. 

Eenatello  (tsSn-a-t&'-lS),  Giovanni,  b. 
Verona,  Feb.  22,  1879;  popular 
operatic  tenor,  appearing  at  Covent 
Garden  1905,  and  from  1907  in 
America;  1907-09  at  Manhattan  Op., 
N.  Y.;  1909-14,  Boston  Op.  Co.; 
later  active  as  voice  teacher  in  N.  Y. 
.  and  Europe;  m.  Maria  Gay,  con- 
tralto; d.  N.  Y.,  Feb.  TI,  i949*< 


Zenger  (ts&ig'-er),  Max,  Munich. 
Feb.  2,  1837— r-Nov.  1 6,  1911;  pupil1 
of  Stark,  and  Leipzig  Cons.;  1860, 
cond.  at  Ratisbon;  1869  mus.-dir. 
Munich  ct.-opera;  1*878-85,  Munich 
Oratorio  Soc.,  etc.;  Dr.  Phil.  h.  c., 
1897;  c.  4  operas;  succ.  oratorio 
"  Kain"  (after  Byron,  Munich,  1867), 
cantatas  with  orch.,  "tragic"  symph., 
chamber  music,  songs,  etc. 

Zenta.     Vide  AUGUSTA  HOLMES. 

Zerr  (tser),  Anna,  Baden-Baden,  1822 
— on  her  estate,  near  Oberkirch, 
1881;  singer. 

Zerrahn  (ts&r-ran),  K.,  Malchow, 
Mecklenburg,  July  28, 1826 — Milton, 
Mass.,  Dec.  29,  1909;  distinguished 
conductor;  studied  with  Fr.  Weber 
and  at  Hanover  and  Berlin;  1848, 
America,  as  a  member  of  Germania 
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'-h&r),  Jakob  (known 
as  J.  Z.  Hermann),  Zurich,  1805 — 
Liverpool,  1865;  violinist  and  con- 
ductor. 

Zeuner  (tsoi'-ne*r),  K.  Traugott,  Dres- 
den, 1775 — Paris,  1841;  pianist, 
teacher  and  composer. 

Ziani  (dse-ay-n5),  (i)  P.  Andrea,  Venice, 
ca.  1630 — Vienna,  1711;  organist  and 
dram,  composer.  (2)  Marco  A*, 
Venice,  1653 — Vienna,  1715;  nephew 
of  above;  ct.  conductor  and  dram, 
composer. 

Zichy  (tsg'-shg),  Count  G€za,  Sztira. 
Hungary,  July  22,  1849 — Budapest, 
Jan.  14,  1924;  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,  Intendant  Nat. 
Th.  and  Opera,  Pesth.  C.  succ. 
operas,  "Aldr"  (Pesth,  1896);  "M&is- 
ter  Roland'3  (Pesth,  1899,  Magde- 
burg, 1902),  cantata,  etc.;  pf.-pcs., 
for  the  left-hand  and  studies  (with 
preface  by  Liszt),  etc. 

Ziegler,  Edw.,  b.  Baltimore,  March  25,, 
1870 — N.  x.,  1947;  critic;  studied 
music  with  F*  X.  Arens;  critic,  N.  Y. 
World,  1903—08;  mus.  and  dram, 
critic,  Herald,  1908—17;  American, 
1920;  after  1917  exec,  of  Met.  Op. 
Co.,  asst.  gen.  manager,  after  1920. 

Ziehn    (tsen)    Beniuard,  Erfurt,   Jan. 


480 


DICTIONARY  OF  MUSICIANS 


20,  1845 — Chicago,  Sept.  8,  1912; 
theorist;  came  to  -Chicago  1868; 
teacher  and  organist;  author  of  im- 
portant works:  "  Harmonie  und 
Modulationslehre"  (Berlin,  1888), 
"Five  and  Six  Part  Harmonies" 
(Milwaukee,  1911),  etc. 

fciehrer  (tse'-rer),  Carl  Michael,  Vienna, 
May  2,  1843 — Nov.  14,  1922;  mil!* 
tary  bandmaster;  toured;  c.  600 
dances  and  an  operetta  "Ein  tolles 
MOdel"  (Nuremberg,  1908). 

Zilcher  (tsflkh'-er),  Hermann,  b. 
Frankfort-on-Main,  Aug.  18,  1881; 
pupil  of  the  Hoch  Cons.;  c.  concerto 
for  2  violins  with  orch.,  violin  con- 
certo, etc.;  1901,  won  Mozart  Prize 
for  comp.;  1905,  taught  Hoch  Cons., 
Frankfort;  1908,  Munich  Akad.  der 
Tonkunst;  after  1920,  dir.  of  State 
Cons.,  Wurzburg,  and  cond.  of  orch- 
concerts  there;  c.  operas,  choral, 
orch.  mus.,  etc.;  d.  Wurzburg,  1948. 

Zimbalist  (tsim'-ba-list),  Efrem,  b. 
Rostov,  Russia,  May  7, 1889;  notable 
violinist;  pupil  of  his  father,  a  con- 
ductor; 1901—07  at  St.  Petersburg 
Cons,  under  Auer,  winning  gold 
medal  and  scholarship;  toured  Eu- 
rope and  1911  America,  where  he  has 
made  his  home  for  a  number  of  years; 
c,  Slavic  dances,  etc.,  for  violin. 
Dir.,  Curtis  Inst.  of  Mus.,  Phila. 

Zimmermann  (tsfcn'-m&r-man),  (i)  An- 
ton, Pressburg,  1741 — 1781;  con- 
ductor, composer  and  organist.  (2) 
Pierre  Jos.  Gtiillattme,  Paris,  March 


19,  1785 — Oct.  29,  1853;  famous 
pf. -teacher;  pupil,  later,  1816-48, 
prof.,  at  Paris  Cons.,  c.  comic  opera 


and  many  pf.-pcs.  (3)  Agnes,  Co- 
logne, July  5,  1845 — -London,  Nov. 
14,  1925;  pianist;  at  9  pupU  of 
London  R.  A.  M.,  winning  King's 
Scholarship  twice,  and  also  silver 
medal;  d6but,  Crystal  Palace,  1863; 
toured  with  great  succ.;  ed.  scores 
and  c.  a  pf  .-trio,  etc. 
Zinga*elli  (tsIn-ga-rSi'-le'),  Nicola  A.; 
Naples,  April  4,  1752 — Torre  del 
Greco,  near  Naples,  May  5,  1837; 
violinist,  teacher  and  eminent  com- 
poser; the  succ.  of  his  grand  operas 
throughout  Europe  was  almost 
equalled  by  his  noble  and  devout 
sacred  mus.;  pupil  of  Fenarolo  and 
Speranza;  his  first  opera  was  prod, 
at  16,  and  followed  by  another  at 
21,  but  he  had  no  succ.  till  "Al- 
sinda,"  written  in  7  days  (La  Scala, 
1785);  he  followed  this  with 


many  others,  incl.  his  best,  "Giulietta 
e  Romeo"  (ibid.,  1796);  1792,  cond. 
at  Milan  Cath.;  1794,  at  Loreto: 
1804  at  St.  Peter's,  Rome,  1811,  im- 
prisoned for  refusal  to  conduct  a  serv- 
ice in  honour  of  the  King  of  Rome, 
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.  34  operas, 
masses  of  all  kinds  in  a  series 
"Annuale  di  Loreto"  for  every  day 
in  the  year,  80  magnificats,  etc. 

Zingel  (tsing'-el),  Rudolf  Ewald,  b. 
Liegnitz,  Sept.  5,  1876;  pupil  Berlio 
Royal  Hochsch.;  from  1899  dir 
Singakad.  at  Frankfort-on-Oder; 
from  1907  at  Greifswald;  c.  operas 
"Margot"  (Frankfort-on-Main,  1902), 
" Liebeszauber"  (Stralsund,  1908), 
"Persepolis"  (Rostock,  1909). 

Zinkeisen  (tsfcik'-i-zSn),  Konrad  L» 
Dietrich,  Hanover,  1779 — Bruns- 
wick, 1838;  violinist,  conductor  and 
composer. 

Zipoli  (dse'-po-le),  Dom.,  organist, 
Jesuit  Church,  Rome;  pub.  impor- 
tant clavier-sonatas,  treatises,  etc, 
(1726). 

Zoeller  (tsSl'-ler),  Carl,  Berlin,  1840— 
London,  1889;  writer  and  notable 
composer. 

Zoilo  (dso'-e-lo),  Annibale,  conductor 
at  Laterano,  Rome,  1561-70,  1571, 
singer,  Papal  Chapel;  c.  madrigals, 
etc. 

Zmiaer  (ts&'-ner),  (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,  1860;  fa- 
mous composer  of  male  choruses; 
pupil  of  Schicht,  Thomasschule, 
Leipzig;  vocal-teacher  there,  founded 
a  Liedertafel  "Zollner-verein,"  other 
socs.  of  similar  nature,  organised 
1859  to  form  a  "Z.-band."  (3)  H., 
b.  Leipzig,  July  4,  1854;  son  of 
above;  pupil  Leipzig  Cons.;  1878, 
mus.-dir.  Dorpat  Univ.;  1885,  Co- 
logne Cons,  and  conductor  various. 
vocal  socs.;  1889,  toured  Italy  with 
a  male  chorus;  from  1890,  cond. 
New  York  "Deutscher  Liederkranz"; 
1898,  mus.-dir.  Leipzig  University 
and  cond.  "Paulinerchor";  critic  of 
Tageblatt  there;  1907  taught  Stern 
Cons.,  Berlin;  1908,  cond.  Antwerp 
Op.,  after  1912  in  Freiburg;  c.  10 


DICTIONARY   OF  MUSICIANS 


operas,  u  choral  works  with,  prch., 
cantata  "Die  neue  Welt"  (won  inter- 
national prize,  Cleveland,  Ohio, 
1892),  a  symph.,  oratorio,  male 
choruses;  d.  May  8,  1941. 

Zopff  (tsdpf),  Hermann,  Glogau,  1826 
— Leipzig,  1883;  editor,  writer  and 
dram,  composer. 

Zschiesche  (tshe'-shS),  Aug.,  Berlin, 
1860 — 1876;  dram.  bass. 

Zschocher  (tshdkh'-Sr),  Jn.,  Leipzig, 
1821 — 1897;  pianist. 

Ztunpe  (tsoom'-pS),  Hermann,  Tauben- 
heim.  Upper  Lusatia,  April  9,  1850 — 
Munich,  Sept.  4,  1903;  grad.  Semi- 
nary at  Bautzen;  taught  a  year  at 
Weigsdorf;  from  1871  at  Leipzig; 
also  studied  with  Tottmann;  1873— 
76,  at  Bayreuth,  as  copyist  and  asst. 
to  Wagner;  thereafter  th.  cond. 
various  cities;  1891,  ct.-cond.  at 
Stuttgart;  1895,  ct.-cond.  Munich; 
later  at  Schwerin;  1901,  Meiningen; 
c.  2  operas;  v.  succ.  operettas 
"Farinelli"  (Vienna,  1886).  "  Karin" 
(Hamburg,  1888),  and  "Polnische 
Wirtschaft"  (Berlin,  1891);  overture 
"Wallenstein*s  Tod,"  etc. 

Zumsteeg  (tsoom'-shtakh),  (i)  Jn. 
Rudolf,  Sach.senfl.ur,  Odenwald,  1760 
— Stuttgart,  1802;  'cellist  and  ct,- 
conductor;  c.  operas  and  important 
"durch-komponirten"  ballads,  before 
L6we  (q.vl).  His  daughter  (2) 
Eroilie,  Stuttgart,  1797 — 1857,  was 
a  pop.  song-composer. 

Zur  Miihlen  (tsoor-mu'-lSn),  Raimund 
von,  on  his  father's  estate,  Livonia, 
Nov.  10,  1854 — Steyning,  Sussex, 
Dec.  9,  1931;  concert-tenor;  studied 
at  Hochschule,  Berlin,  with  Stock- 


hausen  at  Frankfort,  and  Bussine  at 
Paris;  later  active  as  an  important 
voice  teacher. 

Zur  Kieden  (tsoor  n5'-dSn),  Albrecht, 
Emmerich-on-Rhine,  1819  —  Duis- 
burg,  1872;  mus.-director,  conductor 
and  composer. 

Zuschneid  (tsop-shnlt'),  Karl,  Ober- 
glogau,  Silesia,  May  29,  1854 — 
Weimar,  Aug.  18,  1926;  pupil  Stutt- 
gart Cons.;  director  of  societies  in 
various  towns;  from  1907  dir.  Mann- 
heim Hochschule;  c.  male  choruses 
with  orch.,  etc. 

Zvonaf  (tsvo'-narzh),  Jos.  Ld.,  Kublov, 
near  Prague,  1824 — Prague,  1865; 
teacher,  theorist  and  dram,  com- 
poser. 

Zweers  (tsvars),  Bernard,  Amsterdam, 
May  18,  1854 — Dec.  9,  1924;  com- 
poser of  4  symphs.,  sonatas,  etc.; 
studied  with  Jadassohn. 

Zweig  (tsvlg),  Fritz,  b.  Olmtitz,  Sept.  8, 
1893;  conductor;  pupil  of  SchSnberg 
in  Vienna;  after  1912,  opera  con- 
ductor at  Mannheim;  1921—3,  in 
Barmen-Elberfeld;  1923—5,  at  the 
Berlin  Grosse  Volksoper;  1925,  Mu- 
nicipal Op.,  Berlin;  1927—33,  at  Berlin 
State  Op.;  1934,  Prague;  later  in  U.  S. 

Zwintscber  (tsvlnt'-sher),  Bruno,  Zie- 
genhain,  Saxony,  May  15,  1838 — 
near  Dresden,  March  4,  1905;  pianist; 
pupil  of  Julius  Otto,  then  of  Leipzig 
Cons.;  1875—98,  teacher  there;  writer. 

Zwyssig  (tsves'-sikh),  P.  Alberich, 
(rightly  Joseph),  Bauen,  Nov.  17, 
1808 — Mehrerau,  Nov.  17,  1854; 
lived  at  Cistercian  abbey  Mehrerau; 
entered  the  Cistercian  order  1826;  c, 
"Swiss  Psalm,"  etc. 


481 


SHORT  BIOGRAPHIES  OF  MUSICIANS 


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  Pieterzoon  Swelinck 
in  Amsterdam  had  already  done  much  to  define  its  true  sphere  and  style  before 
the  era  of  pure  choral-music  was  ended-     The  early  years  of  the  seventeenth 
century  saw  Frescobaldi  in  the  zenith  of  his  fame,  and  his  pupil  Froberger 
following  worthily  in  his  footsteps;  and  throughout  the  century  rapid  progress 
in  the  accumulation  of  artistic  methods  and  the  development  of  true  instru- 
mental forms  was  made  by  such  famous  organists  as  Scheidt,  Scheidemann, 
Pachelbel,  Muffat,  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.     TThese  cir- 
cumstances 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  that,  great  as  his  powers  were  as  a  com- 
poser 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  foundation  of  his  style  in  all  branches  of  art  which  he  attempted. 
In  his  earlier  years  he  copied  out  and  studied  the  works  of  great  composers  for 
the  organ,  and  watched  with  critical  appreciation  the  performances  of  great 
organists  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  melodies  with  elaborate  figuration  of  accompanying  counterpoint  in 
which  Pachelbel  excelled,  by  the  copious  picturesqueness  of  detail  and  the  rich- 
ness and  emotional  force  of  the  harmonisation  of  Buxtehude.     IpEe  brought  all 
such  specialities  of  earlier  composers  into  the  sphere  of  his  own  operations,  and 
fused  them  into  consistency  by  the  force  of  his  personality,  and  this  assimilation 
became  the  foundation  of  his  life's  work.     Most  of  his  best  organ-music,  such 

482 


5 


»0 


<    2 
«  .8 

CO       ?* 


CO 


SHORT  BIOGRAPHIES  OF  MUSICIANS  483 

as  the  sonatas,  preludes,  fugues,  fantasias,  canzonas  and  movements  founded 
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  production  of  a  few  church  cantatas,  which  showed  that  he  had  begun  to 
consider  other  forms  of  art,  in  which  in  later  years  he  attained  such  compre- 
hensive 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  "k^m  to  apply  his  mind  almost  exclusively 
for  some  years  to  secular  instrumental  music,  mainly  of  a  domestic  kind. 
ITHe  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  Muffat.  He  studied  also  the  instru- 
mental compositions  of  the  Italians,  such  as  the  concertos  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 
Mttsicus";  and  the  outcome  was  a  perfect  outpouring  of  suites  and  partitas  for 
the  domestic  keyed  instruments,  solo  sonatas  for  violin,  flute,  viole  de  gamba 
and  concertos  for  strings  and  various  combinations  of  orchestral  instruments; 
and  last  and  perhaps  most  notable  of  all,  the  collection  of  the  twenty-four  pre- 
ludes and  fugues  in  all  keys,  which  he  called — as  a  sort  of  manifesto  of  his  belief 
in  the  system  of  equal  temperament,  which  made  all  keys  equally  available  for 
the  purposes  of  the  composer — "Das  Wohltemperirte  Clavier"  Underlying  a 
very  large  proportion  of  the  works  of  various  kinds,  even  dance  tunes  or  move- 
ments for  a  solo  instrument  like  the  violin,  fugue  principles  of  procedure  are 
predominant.  The  lightest  dance  tunes  have  a  contrapuntal  texture,  and  in 
the  more  serious  and  artistic  examples  it  is  so  woven  as  to  display  beautiful 
combinations  of  ornament  and  melodic  designs,  ingenious  sophistications  oi 
accent  and  subtleties  of  rhythm  such  as  are  only  possible  in  the  style  of  instru- 
mental counterpoint  which  had  sprung  up  in  the  development  of  the  artistic 
requirements  of  organ  fugues.  IJIn  the  famous  collection  of  preludes  and 
fugues,  which  he  ultimately  increased  to  forty-eight  by  the  addition  of  a  second 
collection,  the  style  of  instrumental  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  picturesque  harpsichord,  they  necessarily  illustrated  different  artistic 
intentions  from  such  as  characterised  genuine  organ-music.  Large  scope  of 
design  and  powerful  effects  of  tune  were  obviously  out  of  place,  and  more  subtle 
treatment  and  greater  intrinsic  interest  of  detail  were  inevitable.  IJThus  the 
fugue  became  much  more  compact  than  the  organ-fugues,  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  majry 
of  the  fugues  may  be  taken  as  studies  in  human  moods,  such  a  playfulness  and 
gaiety,  pathos  and  melancholy,  contemplation  and  fervour,  merriment,  dignity, 
and  confidence.  The  adaptation  of  known  principles  of  artistic  procedure  to  a 
purpose,  at  that  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  pre- 
ludes may  in  some  cases  be  traced  back  as  far  as  the  figurate  preludes  and  little 
fantasias  of  such  early  types  as  were  produced  by  the  Elizabethan  composers 


484  SHORT  BIOGRAPHIES  OF  MUSICIANS 

of  virginal  music  and  their  contemporaries  in  other  countries;  though  the  form 
is  enormously  enhanced  in  J.  S.  Bach's  hands  by  the  skilful  use  of  more  definite 
and  attractive  figures,  and  a  higher  balance  of  organisation  in  each  work. 
However,  the  forms  of  the  preludes  are  extremely  various.     Some  seem  to  be 
almost  without  precedent.     As,  for  instance,  the  rapturous  instrumental  song 
with  solo  part  and  accompaniment  all  combined  for  one  instrument.     If Among 
the  preludes  are  also  a  few  of  the  rare  anticipations  of  complete  sonatas  of  the 
harmonic  kind,  movements  with  distinct  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 
excursions  out  of  what  seemed  to  be  his  most  congenial  ground,  are  often  thor- 
oughly successful,  but  all  the  same  his  venture  into  the  Italian  manner  and  the 
Italian  type  of  form  proves  rather  that  he  grasped  their  artistic  meaning  fully 
than  that  he  believed  in  their  efficiency  as  vehicles  for  the  highest  aspirations 
of  the  composer.     In  the  latter  part  of  his  life  J.  S.  Bach  dealt  more  in  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 — the  work  known  as 
the  "Christmas  Oratorio"  and  the  immense  collection  of  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  various  kinds  had  been  explored. 
The  Italian  aria-form  had  been  more  or  less  transformed  for  German  purposes 
before  he  gave  it  his  own  exceptional  character  and  bigfa,  artistic  organisation. 
IfThe  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  manifestations,  had  found  worthy  exposition.     The  treat- 
ment 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 
characteristic  German  exponents.     Moreover,  the  form  of  Passion  music  had 
engaged  the  attention  of  composers  for  nearly  two  hundred  years  and  had 
arr^-ed  at  a  considerable  degree  of  development  recently  in  the  hands  of 
Kuhnau,  Keiser  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  "according  to  St.  Matthew"  and  "St.  John"  seem  to  stand  almost  alone 
in  their  pre-eminent  glory.     The  same  is  the  case  with  his  church  cantatas. 
TThe  best  work  even  of  such  composers  as  Biixtehude  and  John  Christophe 
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  they  had  helped 
to  make  available.     1[His  peculiar  quality  was  to  divine  how  the  resources  of 
art  which  he  found  in  being  could  be  applied  to  purposes  so  grazid  and  com- 
prehensive that  it  is  difficult  to  realise  that  the  methods  were  in  truth  the  same 
as  had  been  used  by  his  forerunners.     His  artistic  powers  and  insight  were  at 
such  an  immeasurably  higher  plane  than  those  who  preceded  "him  that  music 
seems  at  once  to  have  stepped  out  of  childishness  into  maturity  at  his  bidding. 
Uln  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  charao 


SHORT  BIOGRAPHIES  OF  MUSICIANS  485 

teristicaHy  Teutonic  direction  seemed  so  complete  that  nothing  remained  to  be 
said  in  the  lines  which  he  had  illustrated.  No  composer  followed  in  his  foot- 
steps. Those  who  understood  him  saw  that  they  could  not  approach  him; 
and  the  world  in  general  wanted  a  more  easy-going  and  accommodating  stand- 
ard of  art.  So  the  succeeding  generation  of  composers  cultivated  the  more 
plausible  Italian  manner  and  the  easily  manipulated  Italian  form.  1[It  was 
not  for  a  century  that  his  style  and  methods  began  to  exert  influence,  and  they 
came  back  to  regenerate  the  world  growing  stale  with  the  overpersistency  of 
harmonic  forms  of  the  sonata  order,  ^flndeed  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  procedure  suggestive  of  new  developments.  The  fore- 
most prophets  of  the  Romantic  movement,  Schumann  and  Chopin,  were  his 
most  ardent  admirers.  TTo  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  characterisation  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  manifests  may 
serve  as  a  corrective  and  a  counterpoise  in  the  turbulent  times  which  follow 
the  opening  of  the  floodgates  of  dramatic  passion.  Those  who  cherish  a  con- 
stant love  of  the  human  art  of  John  Sebastian  Bach  have  still  a  guiding  light 
which  will  not  betray  them.  (See  Dictionary  entry ,  page  38.) 


LTIDWIG  VAN  BEETHOVEN 

BY  H.  E.  EJEUEHBIEL 

iN  ONE  respect  Beethoven  stands  alone  in  the  history  of  music.  The  influence 
of  all  his  fellows,  from  Bach  to  Wagner  and  Brahms,  can  be  determined  in 
matter  as  well  as  manner,  and  set  down  in  plain  terms;  his  full  significance  is 
yet  to  be  grounded.  Beethoven  was  a  gigantic  reservoir  into  which  a  hundred 
proud  streams  poured  their  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  are  still  pouring  to  irrigate  lands  that  are  still 
terrae  incognitae.  1]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  unruly,  and  impatient  of  discipline.  The  sternness 
and  cruelty  of  a  dissipated  father  made  his  earliest  studies  a  suffering  and  an 
oppression.  In  later  years  he  performed  his  duties  toward  Albrechtsberger,  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.  UHe  refused  to  acknowledge 
these  men  as  his  teachers,  while  they  returned  the  compliment  by  refusing  to 
own  Vnm  as  their  pupil.  Haydn  condemned  his  first  trios;  Albrechtsberger 
advised  his  other  pupils  to  have  nothing  to  do  with  Tirm  because,  as  he  said, 


486  SHORT  BIOGRAPHIES  OF  MUSICIANS 

"he  had  never  learned  anything,  and  would  never  do  anything  in  decent  style." 
Yet  Beethoven  was  proud  of  his  ability  in  the  department  of  stuay  for  which  he 
had  gone  to  this  teacher  of  counterpoint.     In  his  old  age  he  considered  Cheru- 
bini  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  variations  which  occur  incident- 
ally in  his  symphonies,  sonatas,  and  quartets,  we  find  that  Beethoven  left  an 
extraordinarily  large  number  of  compositions  in  these  forms  behind  him — no 
less  than  thirty-five  canons,  five  independent  fugues  and  thirty-two  sets  of 
variations  for  different  instruments.     Could  there  be  a  more  convincing  dem- 
onstration of  his  devotion  to  the  scientific  side  of  his  art?     TfBut  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.     Tfln  1809 
Wilhelm  Rust  sat  in  a  coffee-house  in  Vienna  with  Beethoven.    A  French 
officer  happening  to  pass,  Beethoven  doubled  up  his  fist  and  exclaimed:  "If  J 
were  a  general  and  knew  as  much  about  strategy  as  I  know  about  counterpoint^ 
being  a  composer — I'd  cut  out  some  work  for  you  fellows."     HThe  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.     1[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;  but  as  a  widener  of  forms  and  a  crea- 
tor of  rules  for  the  development  of  expression,  which  is  and  must  ever  remain 
the  aim  of  musical  art.     He  was  the  prototype  of  Wagner's  Hans  Sachs,  who 
wished  due  respect  paid  to  the  laws  of  the  poet's  craft  so  that  poetical  creation 
might  go  on  within  the  lines"bf  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  of  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.     IT" 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  re- 
turned to  its  original  purpose  with  its  power  raised  a  hundred-fold."     I  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  tremen- 
dous strides  which  music  has  made  in  the  last  half  century,  the  transformation 
of  forms,  the  augmentation  of  expressive  potencies  (rhythmic,  melodic,  hai- 
monic,  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  fore- 
shadowed 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, 


SHORT  BIOGRAPHIES  OF  MUSICIANS  487 

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  forever  delighting  to 
dwell  on  that  which  is  not  tangibly  present."  IfLike  Faust  he  ever  heard  the 
dread  words  ringing  in  his  ears:  "Entbehren  sollst  dtt,  sollst  entbehren."  His  art 
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  historian  of  the  struggle 
between  the  human  and  the  divine  reflected  in  his  own  soul.  AU  the  misan- 
thropy which  filled  his  later  years  could  not  shake  his  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.  TTBut  it  will  not  serve 
the  purposes  of  this  study  merely  to  generalise.  If  the  contention  set  forth  is 
to  be  maintained,  there  must  be  some  martialling  of  evidence.  Confining  our- 
selves to  the  cyclical  form,  the  symphony,  we  note  that  Beethoven  introduced  a 
voider  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  con- 
necting portions  between  themes,  substituting  therefor  phrases  developed  out 
jf  the  themes  themselves;  introduced  original  episodic  matter;  extended  the 
free  fantasia  and  coda;  developed  the  old  minuet  into  the  scherzo,  which  could 
better  carry  on  the  psychological  story  which  he  wished  to  tell  in  the  foui 
chapters  of  his  instrumental  poem;  infused  unity  into  his  works,  not  only  by 
bringing  the  spiritual  bonds  between  the  movements  more  clearly  before  our 
percipience,  but  also  by  making  the  material  bonds  obvious  and  incontroverti- 
ble. This  last  achievement  has  its  simplest  as  well  as  most  eloquent  illustra- 
tions in  the  community  of  rhythms  between  the  first,  third,  and  last  movements 
of  the  Fifth  Symphony,  and  all  the  movements  of  the  Seventh;  the  recurrence 
of  themes  in  different  movements  of  the  Fifth  and  Ninth;  the  family  likenesses, 
physiognomical  resemblances,  between  the  principal  melodies  of  the  Ninth; 
•finally  the  programmatic  conceit  back  of  the  Sixth.  HThe  acceptance  and 
continuation  of  the  hints  contained  in  these  innovations  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  invention  of  "I'id&e 
fixe"  by  Berlioz  for  his  "Symphonic  Fantastiqite"  and  the  successive  recapitu- 
lation of  material  akeady  used  in  the  second,  third,  and  fourth  movements  in 
the  symphony,  "From  the  New  World,"  by  Dvorak.  1flt  has  not  been  necessary 
to  go  far  afield  for  examples;  the  proofs  are  surely  convincing  and  come  down 
to  our  own  day.  Moreover  we  find  an  illustration  of  the  same  principle, 
coupled  with  an  exposition  of  Beethoven's  system  of  thematic,  instead  of  melo- 
dic, development — another  form  of  variation,  in  brief — in  all  the  symphonic 
poems  of  Liszt  and  his  imitators  down  to  Richard  Strauss.  TfBeethoven's 
license  may  have  degenerated  into  lawlessness,  but  he  pointed  a  way  that  has 
been  followed  in  all  the  particulars  enumerated,  and  also  broke  down  the  barriers 
between  voices  and  instruments  in  the  symphonic  forms  to  the  delight  of  many 
successors.  His  revolutionary  proceeding  in  the  Ninth  svmphony  found  imita- 


488  SHORT  BIOGRAPHIES  OF  MUSICIANS 

tion  by  Mendelssohn  in  his  "Hymn  of  Praise"  by  Berlioz  in  his  "Romeo  and 
Juliet"  by  Liszt  in  his  "Faust"  and  "Dante"  symphonies,  by  Nicod6  in  "Das 
Meer,"  and  by  Mahler  in  his  symphony  with  contralto  solo.  (See  page  jj.) 


HECTOR  BERLIOZ 

BY  ERJSTEST  NEWMAN 

BEKI/IOZ'S  early  influences  were  as  much  literary  as  musical.  His  reading  was 
mainly  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.  HTnto  the  intellectual  world  of  the  Beethoven 
symphony  and  the  operas  of  Gluck  and  Weber  he  breathed  the  newer,  more 
nervous  life  of  the  French  Romanticists.  Colour  and  sensation  became  as 
important  as  form  and  the  pure  idea.  ^These  influences  and  his  literary  in- 
stincts led  >n'm  to  graft  the  programme  form  on  the  older  symphony.  All  his 
music  aims  at  something  concrete.  Instead  of  the  abstract  world  of  the  classical 
symphonists  he  gives  us  definite  emotions,  or  paints  definite  scenes.  Colour, 
passion,  and  veracity  were  the  prime  needs;  form  had  to  follow  their  guidance. 
Hence  both  his  successes  and  his  failures.  His  virtue  is  truth  and  vivacity  of 
expression;  his  defect  the  pursuit  of  these  to  the  detriment  of  the  musical  in- 
terest. 1TA11  modern  programmists  have  built  upon  him — Liszt,  Richard 
Strauss,  and  Tschaikowsky.  Wagner  felt  his  influence,  though  he  belittled  it. 
TfHis  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  thf 
poetic  idea  which  has  transformed  modern  art.  (See  page  5p.) 


GEORGES  BIZET 

BY  EDWARJD  E.  ZIEGLER 

As  BIZET'S  last  work  was  his  best,  it  is  logical  to  argue  that  his  untimely  death 
has  cheated  us  of  compositions  more  valuable  than  "Carmen";  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  persistency  with  which  he  composed  for  it,  and  a  study 
of  his  different  efforts  proves  the  wisdom  of  his  choice,  for  there  are  no  master- 
pieces among  his  songs,  or  among  his  piano-compositions,  and  even  his  most 
successful  orchestral  number  is  the  "First  Suite"  compiled  for  his  incidental 
music  to  Daudet's  "L'Arlesienne"  HHis  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  general 
and  Beethoven  as  the  master  of  all.  But  Bizet  was  a  stranger  to  the  larger 
forms  in  music — for  two  years  he  toiled  intermittingly  at  a  symphony  and  pro- 
duced 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 


SHORT  BIOGRAPHIES  OF  MUSICIANS  489 

Wagner's  music,  then  condemned  that  of  Bizet's,  which  it  did  not  like  or  could 
uot  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  only  resemblance  between  the  two  is  that 
both  were  innovators  who  presented  their  theories  about  dramatic  art  in  practi- 
cal forms,  proving  them  by  their  operas.  TfBizet  realised  the  sorry  state  of  the 
French  operatic  stage,  but  contented  himself  with  an  effort  at  reforming  the 
minor  stage  of  the  Opera-Comique,  and  it  is  doubtless  due  in  a  great  measure 
to  the  precedent  of  "Carmen"  that  to-day  the  Op6ra-Comique  is  on  a  higher 
artistic  plane  than  the  Op6ra.  1[A  direct  musical  influence  it  would  be  difficult 
to  trace  to  Bizet.  As  an  orchestral  colourist  he  had  been  outdone  and  outdared 
by  even  his  contemporaries;  nor  did  he  bequeath  to  us  a  new  art-form.  But 
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  commands  our  re- 
spect. His  work  shows  a  musical  sincerity  foreign  to  French  composers  gen- 
erally, ard  he  deserved  a  better  fate  than  a  sequence  of  failures  ending  with 
an  early  death.  (See  Dictionary  of  Musicians  entry,  page  64.) 


JOHANNES  BRAHMS 

By  JAMES  HUNEKER 

SOTOMANN,  in  his  much-discussed  article  "New  Paths/*  called  Brahms  the  true 
successor  to  Beethoven.  His  prediction  was  verified.  To-day  Johannes 
Brahms  stands  for  the  ultra-classic  in  symphonic  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.  Iflt  was  Von  Billow's  audacious  epigram,  "The  three  B's, — Bach, 
Beethoven,  and  Brahms,"  that  drew  down  upon  the  head  of  the  innocent  com- 
poser 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 
\tfas  not  in  the  least  affected  by  Wagner — how  could  he  be,  working  as  he  did  hi 
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  modern  among  the  moderns — indeed  his  has  also  been  called  the  music  of  the 
future.  U"To  old  forms  like  the  symphony,  to  the  smaller  forms,  he  has  brought 
an  abounding  invention,  a  vitality  in  execution,  and  a  musical  intellect  the  most 
profound  since  Beethoven's.  To  the  complex  symphonic  structure  of  Beetho- 
ven he  had  superadded  a  polyphony  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  in  music  the  born  builder — combined  with  a  fecund  fantasy. 
a  grim  but  elastic  humour,  and  no  little  susceptibility,  mark  Brahms  as  one  of 


490  SHORT  BIOGRAPHIES  OF  MUSICIANS 

the  elect,  a  master  among  masters.  His  control  of  the  orchestra  is  absolute  in 
its  eloquence,  though  he  is  no  painter,  no  seeker  after  the  unique  word,  the  only 
colour.  1)He  has  been  reproached  for  a  colour  monotone  by  those  critics  who 
are  easily  moved  by  brilliant  and  showy  externals.  But  that  reproach  falls  to 
earth  when  the  adaptability  of  the  garb  to  the  musical  idea  is  discovered. 
Brahms  never  erred  in  this  matter;  his  taste  was  impeccable.  ^fHe  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  sym- 
phonic 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  lyrist,  deep  in  feeling,  capri- 
cious, noble  and  moving  as  Schumann  or  Schubert.  He  will  rank  with  these 
song  writers.  In  chamber  music,  in  the  amiable  conjunction  of  piano  and 
strings,  trios,  quartettes,  quintetts,  horn-trio  and  two  darinet-quintetts, 
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.  TTThe 
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  beauti- 
ful specimens  of  piano-writing.  The  solo  scherzo  in  E  flat  minor,  opus  4,  was 
a  great  favourite  with  Liszt,  who  saw  in  it  traces  of  Chopin.  The  little  pieces 
written  during  the  closing  years  of  the  composer's  lifte  are  exquisite  and  poetic 
gems,  conceived  by  a  poet,  executed  with  all  the  dainty  cunning  of  a  lapidary 
These  miniatures  are  Brahms  in  his  most  genial  mood.  The  forger  of  thunder- 
bolts was  now  resting  and  plotting  lovely  little  gardens  of  fragrant  flowers. 
1fHis  extraordinary  technical  invention  is  nowhere  better  evidenced  than  in  his 
Paganini  variations  for  the  piano,  the  Ultima  Thule  of  pianists.  These  varia- 
tions are  paralleled  in  his  St.  Anthony  variations  for  orchestra,  a  noble  disproof 
of  the  assertion  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  nation's  grief.  1[He  was  not  uniformly  successful — little 
wonder,  for  his  published  works  number  130.  But  if  this  Titan  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.  (See  page  77.) 


FREDERIC  FRANCOIS  CHOPIN 

BY  JAMES  HUNEKER 

CHOPIN'S  home  education  doubtless  preserved  in  him  a  certain  feminine  delicacy 
which  never  deserted  him.  1[At  the  age  of  nine  he  played  a  Gyrowetz  concerto 
in  public  and  improvised,  but  seemed  more  solicitous  about  the  impression  his 
new  collar  made  on  the  audience,  than  for  the  success  of  his  music.  IJAs  a 
composer  of  nineteen,  he  was  remarkable  and  far  in  advance  of  his  critics  and 


SHORT  BIOGRAPHIES  OF  MUSICIANS  491 

audiences.  The  disturbed  political  atmosphere  of  Poland  coupled  with  an 
unsuccessful  love  affair — he  vainly  adored  the  singer  Constantia  Gladowska — 
decided  him  on  a  residence  in  Vienna.  There  his  playing  did  not  create  any 
enthusiasm,  and  in  the  fall  of  the  year  he  went  to  Stuttgart  en  route  for  Paris. 
It  was  in  the  German  city  that  he  heard  of  the  downfall  of  Warsaw  and  of  his 
patriotic  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- 
TfHis  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  intellectual 
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  dis- 
appointment, 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  P£re-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.  IfDuring  his  lifetime  Chopin  was  the 
centre  of  a  circle  of  wit,  talent,  and  fashion,  Balzac,  Delacroix,  Liszt,  Meyer- 
beer, 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.  IfChopin  played  but  seldom  in 
public,  for  he  was  unfitted  by  nature  to  cope  with  the  audiences  of  the  larger 
concert  halls.  That  task  he  gratefully  resigned  to  Liszt.  But  in  the  twilight 
of  the  salon  among  the  favoured  choice  souls,  his  playing  took  on  almost  un- 
earthly qualities.  His  touch,  light  in  weight,  was  exquisite  in  timbre;  his  tone 
ranged  from/arte,  to  a  feathery  pianissimo,  while  his  style  was  absolutely  unique. 
Tender,  martial,  ironical,  capricious,  gay,  and  sad,  this  young  Pole  held  in 
bondage  the  entire  emotional  gamut.  Never  had  the  piano  sounded  so  before, 
sounded  so  aerial,  so  witty,  so  passionate;  and  it  may  be  doubted  if  it  has 
sounded  thus  since;  for,  while  Liszt,  Rubinstein,  Tausig,  Joseffy,  Heymanr 
DePachmann,  Essipoff,  Rosenthal,  and  Paderewski  were,  and  are,  remarkable 
interpreters,  yet  those  who  heard  Chopin  the  pig.rn.st  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  figuration;  and  the  lovely  melodic  life* 
IFChopin  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  world  in 
an  idealised  form.  His  mazurkas  are  tiny  poems  full  of  caprice,  wounded  pride,, 
ecstatic  moments;  his  four  ballads  are  epical  in  scope,  containing  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  outbursts  of  melody  arouse  in  the 
listener  the  most  vivid  emotions.  It  is  Chopin  at  the  apex  of  his  power.  The 
polonaises  are  passionate  and  patriotic,  or  else  fantastic  and  graceful,  but  always 


492  SHORT  BIOGRAPHIES  OF  MUSICIANS 

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  nevertheless  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  4p  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  25  with  the  Preludes,  opus  28  are  Chopin  in 
all  his  dazzling  invention,  his  never-failing  fancy,  poetry,  daring  harmonic  in- 
novations and  moving  melodic  richness.  1fHe  changed  the  modern  map  of 
music  by  his  subtle  and  profound  experimentings  with  the  possibilities  oi 
chromatic  harmonies,  and  for  this  ranks  among  the  great  composers.  Within 
his  range  he  is  the  most  perfect  lyrist  that  ever  sang,  and  the  ethereal  sonorities 
of  his  style,  his  discreet  and  original  use  of  the  tempo  rubato,  make  him  a  fore- 
runner of  all  that  is  free,  individual  and  exotic  in  latter-day  music.  ^Chopin 
was  not  happiest  in  writing  for  orchestra  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  varia- 
tions, fantasies,  a  'cello-sonata,  a  piano-trio  and  bolero,  a  tarantelle  and  songs. 
fWe  have  forgotten  them;  but  never  so  long  as  the  piano  remains  the  piano, 
will  Chopin  be  forgotten.  He  is,  as  Rubinstein  said,  its  soul.  (See  page  zoo.) 


CLAUDE  DEBUSSY 

BY  RICHARD  ANTHONY  LEONARB 

A  CONTEMPORARY  once  described  Debussy  as  "a  musician  of  genius,  who  has 
the  forehead  of  a  Pekinese  dog,  a  horror  of  his  neighbour,  a  fiery  glance  and 
a  slightly  husky  voice."  If  the  portrait  is  only  partly  flattering,  at  least  it 
leaves  us  assured  that  Debussy  was  extraordinary  even  down  to  the  unimportant 
externals.  He  was  a  man  of  genius — one  of  the  greatest  of  a  century  which 
teemed  with  geniuses.  He  was  the  founder  of  the  so-called  school  of  impression- 
ism in  music;  he  gave  it  a  form,  a  language,  and  a  spirit,  and  he  endowed  it  with 
most  of  its  finest  works.  To  French  music  in  general  he  provided  an  impetus 
that  had  been  lacking  for  many  years;  he  liberated  it  from  the  Germanic  influ- 
ence and  bequeathed  it  a  style  in  harmony  with  the  character  of  the  French. 
His  influence  on  all  modern  music  has  been  enormous.  The  stream  of  musical 
thought  has  taken  on  new  colours  and  flows  to-day  in  different  channels  than 
it  would  have,  had  Debussy  never  lived,  fllf  he  had  a  bulging  forehead,  then 
it  was  simply  the  outward  evidence  of  a  powerful  intellect,  of  a  mind  capable 
of  grappling  with  some  of  the  most  difficult  problems  that  ever  confronted  any 
artist,  and  of  solving  many  of  them.  If  he  had  a  horror  of  his  neighbour,  it  was 
merely  one  of  the  phases  of  his  solitary  and  fastidious  nature.  The  obvious 
and  the  hackneyed  repelled  him;  he  was  drawn  instead  to  the  internal,  intangible 
side  of  life,  to  the  reticent  and  the  hidden,  There  lay  the  inspiration  for  his 
impressionistic  art.  If  he  had  a  fiery  glance,  so,  too,  did  he  have  stubborn 
courage.  His  was  a  soul  in  rebellion  and  he  needed  a  certain  obstinacy  and  a 


SHORT  BIOGRAPHIES  OF  MUSICIANS  493 

disdain  of  his  inferiors  if  he  was  to  achieve  his  revolutionary  ends.  1fDebxass> 
was  in  revolt  even  as  a  youth  of  sixteen  at  the  Paris  Conservatoire,  where  he 
shocked  his  teachers  by  questioning  the  classic  rules  of  harmony  and  counter- 
point. He  was  a  brilliant  enough  student  to  win  the  coveted  Prix  de  Rome  at 
the  age  of  twenty-two,  with  his  cantata  "L}  Enfant  Prodigue"  but  he  left  his 
studies  at  the  Villa  Medici  in  Rome  before  the  three-year  course  was  completed. 
In  his  sky  loomed  the  gigantic  figure  of  Richard  Wagner,  the  great  god  of  all 
nineteenth-century  revolutionists,  the  man  who  had  broken  down  the  barriers 
of  form  in  music,  given  melody  a  new  elasticity  and  freedom,  and  let  harmony 
run  riot.  IfBut  Debussy's  most  potent  early  influences  came  from  the  sister 
art  of  painting,  where  a  group  of  men  known  as  the  impressionists  were  hi 
rebellion  against  the  established  canons  of  the  Academy.  This  famous  move- 
ment grew  from  the  studies  by  Edouard  Manet  of  the  effect  of  light  and  atmos- 
phere on  colour.  The  impressionists  sought  to  interpret  not  so  much  the  direct 
or  photographic  representation  of  an  object  as  the  impression  which  that  object 
left  upon  them — the  emotions  which  it  conjured  up.  They  were  more  concerned 
with  light,  colour,  and  atmosphere  tha.n  with  form  and  structural  balance.  To 
this  new  art,  and  to  its  practitioners  and  champions,  Debussy  was  powerfully 
drawn.  He  came  to  know  the  work  of  Manet  and  Monet,  Pissarro,  Degas, 
and  Whistler.  He  sought  the  company  and  literary  advice  of  the  allied  poets 
and  writers — the  "Symbolists" — St6phane  Mallarm6,  Pierre  Louys,  Paul 
Verlaine,  and  Andr£  Gide.  1[As  early  as  1894,  when  he  was  but  thirty-two, 
Debussy  had  already  laid  the  foundations  of  his  refined-,  subtle,  and  exquisitely 
fashioned  art.  1$  that  year  he  completed  "L'Apres-midi  d'un  faune"  after 
the  famous  eclogue  of  his  friend  Mallarme.  In  this  superb  score  (it  remains 
to-day  one  of  the  most  perfect  of  all  Debussy's  works)  his  music  evokes  with 
sensuous  delicacy  the  dreams  and  desires  of  a  faun  on  a  hot  summer  afternoon. 
It  was  an  instant  success.  Even  the  more  obtuse  critics  of  his  time  realised  that 
a  new  voice  of  singular  impressiveness  had  spoken.  IfWith  his  next  major 
works,  the  three  "Nocturnes"  for  orchestra  ("Nuages,"  "Fetes"  and  "Sirenes"), 
Debussy's  impressionistic  methods  had  become  firmly  fixed.  In  these  scores 
all  is  cloudlike  and  impalpable;  the  orchestral  colouring  is  transparent  and  light 
as  air.  The  composer  uses  his  instruments  with  a  marvellous  economy  and  yet 
with  a  richness  of  effect  that  is  magical.  His  harmonic  scheme  is  new  and 
daring,  while  the  old  ideas  of  harmonic  progression  he  discards,  until  his  modu- 
lations move  freely  outside  the  boundaries  of  a  key  centre.  After  the  first 
performances  of  these  works,  in  1900,  Debussy  had  definitely  arrived  as  a 
composer.  But  his  greatness  was  far  from  established.  It  was  still  to  be  many 
years  before  the  more  conservative  critics  and  even  many  musicians  of  discern- 
ment could  stomach  his  advanced  style.  Tfln  1902  came  the  first  performance 
of  his  opera,  " Pelleas  and  Melisande"  a  work  which  had  absorbed  Debussy's 
creative  energies  for  more  than  ten  years.  No  opera  since  "  Tristan  and  Isolde  " 
let  loose  such  torrents  of  controversy.  It  divided  the  music  world  into  two 
warring  factions:  one  side  saw  the  composer  reducing  the  established  canons  of 
opera  to  fragments  in  a  manner  straining  for  novelty  and  effect;  the  other 
looked  upon  him  as  the  Messiah  of  a  new  movement  in  music,  and  called 
"Petteas  and  Melisande"  the  most  perfect  work  for  the  lyric  stage  since  "  Tristan 
and  Isolde."  Debussy  had,  in  fact,  succeeded  in  carrying  out  the  ideal  which 
Wagner  set  up  but  never  fully  ;Kalised  himself:  i.e.,  the  perfect  union  of  poetic 


494  SHORT  BIOGRAPHIES  OF  MUSICIANS 

text,  dramatic  action,  and  music.     In  "PdUas  and  Melisande"  the  music 
moves  hand-in-hand  with  the  drama;  there  are  no  arias,  no  set  vocal  pieces, 
and  no  thematic  development  in  the  orchestra  to  hamper  the  dialogue  on  the 
stage.     The  drama  unfolds  itself  in  song  of  a  recitative  style,  following  the 
in  flections  of  the  speaking  voice.     Under  this  the  orchestra  lays  a  richly  deco- 
rative pattern  of  sound,  accenting  and  underlining  the  text  and  action  but  only 
at  rare  moments  rising  in  climactic  intensity  to  overshadow  all  else.     HFollow- 
ing  "Petteas  and  Mglisande"  Debussy's  creative  powers  moved  rapidly  to  their 
apex.     Between  1902  and  1912  he  produced  some  of  his  finest  piano  music 
(including  the  Preludes,  "L'Islejoyeuse"  and  the  superb  "Reflets  dans  I'eau") 
as  well  as  his  three  great  orchestral  canvases,  "La  Her"  "Iberia"  and  "Rondes 
de  Print&mps"     In  "La  Mer"  and  "Iberia"  Debussy  reached  the  highest  point 
in  the  development  of  impressionism  in  music.    Here  colour  and  atmosphere  are 
present  in  unparalleled  richness,  while  the  old  frameworks  of  form  and  contra- 
puntal development  have  almost  vanished.     Debussy  is  the  master  of  his 
technique.    And  he  refutes,  once  for  all,  the  notion  that  his  art  is  effeminate 
or  essentially  small-scaled.     ^Debussy  was  to  produce  one  more  major  work 
of  consequence,  his  "Le  Martyre  de  Saint-Sebastien"  in  1911,  and  thereafter  hi& 
art  began  to  suffer  a  tragic  decline*     It  grew  formularised,  mannered,  stale. 
The  composer  seemed  no  longer  able  to  rouse  Viim^lf  from  the  laziness  which 
had  always  been  his  besetting  sin.     The  outbreak  of  the  World  War  affected 
him  profoundly,  and  in  1915  he  began  to  suffer  acutely  from  the  disease  which 
was  to  cause  his  death  three  years  later.     His  work  during  this  period  is  often 
the  merest  shadow  of  its  former  greatness.     Composition  had  always  been 
difficult  for  him;  and  now,  under  the  pressure  of  the  war  horror,  the  ever- 
increasing  pain  of  his  disease,  and  a  recalcitrant  inspiration,  the  effort  of  work 
must  have  become  intolerable.     He  tried  heroically  to  continue,  but  in  March 
1918  he  died — this  creator  of  some  of  the  most  exquisite  sounds  in  all  music— to 
the  noise  of  "Big  Bertha's"  shells  crashing  into  the  streets  of  Paris.     HWith 
the  passage  of  time  and  the  appearance  of  composers  even  more  revolutionary, 
much  of  the  strangeness  has  disappeared  from  the  music  of  Debussy.     His 
technical  discoveries  and  innovations  have  been  analysed  until  they  are  the 
familiar  property  of  every  music  student  and  the  common  coin  of  even  the 
modern  jazz  band  arranger.     Even  so,  his  contributions  to  the  purely  technical 
side  of  music  are  not  yet  fully  appreciated.     ^Debussy  is  most  famous  for  his 
unusual  harmonies.     He  began  early  to  use  chords  which  did  not  belong  to  the 
scale  or  key  of  the  work.     Gradually  these  interlopers  assumed  greater  and 
.greater  importance  until  in  his  mature  works  the  idea  of  a  key  centre  almost 
disappears  and  it  is  often  impossible  to  name  the  key  or  tonality  that  pre- 
dominates at  a  given  moment.     Debussy  used  the  chord  as  an  entity  in  itself^ 
not  merely  as  the  support  of  a  melody  or  the  result  of  the  contrapuntal  move- 
ment of  different  voices.     He  mixed  completely  unrelated  chords,  and  he  made 
great  use  of  chords  of  the  seventh,  ninth,  and  eleventh.     From  Wagner  he 
learned  the  subtle  aesthetic  value  of  the  dissonance  and  he  expanded  its  use 
with  telling  effect.     One  of  his  favourite  devices  was  the  "gliding"  of  chords, 
that  is,  the  parallel  movement  of  the  same  chord  through  any  of  the  twelve 
tones  of  the  scale.     This  required,  of  course,  the  use  of  parallel  or  "  consecutive  'J 
fifths  and  octaves — once  the  unforgivable  sin  of  orthodox  harmony.     ^Another 
of  Debussy's  most  valuable  innovations  was  his,  use  of  neglected  scales,  notably 


SHORT  BIOGRAPHIES  OF  MUSICIANS  495 

the  whole-lone  scale  and  the  pentatonic,  or  five-tone  scale.  The  former  in 
particular  is  used  so  extensively  that  it  gives  its  characteristic  colouring  to  a 
great  part  of  the  composer's  work*  -Debussy  also  employed  the  medieval 
modes,  for  their  novel  tonal  colouring  and  to  gain  the  effect  of  a  classic  or 
archaic  style;  and  there  are  uses  of  the  ancient  organum  of  the  early  Roman 
Church.  1T Great  as  was  his  mastery  of  harmony,  Debussy  could  never  have 
wrought  as  he  did  without  equal  gifts  for  melody — melody  being  in  the  last 
analysis  the  sine  qua  non  of  all  music  that  endures.  For  a  long  time  his  singular 
skill  in  this  respect  was  overlooked,  largely  because  he  neither  harmonised  nor 
developed  his  themes  in  the  expected  manner.  Now,  when  we  may  «ee  his 
work  in  truer  perspective,  his  melodic  material  stands  out  in  its  proper  light — 
beautifully  curviform,  full  of  originality  and  exquisite  charm.  1TOf  Debussy's 
use  of  the  orchestra  it  is  difficult  to  speak  without  excess  of  praise.  For  his 
most  delicate,  most  elusive,  most  enigmatic  ideas  he  seemed  always  able  to  find 
the  most  richly  eloquent  orchestral  voice.  He  expanded  the  entire  instrumental 
palette,  inventing  a  whole-new  range  of  prismatic  values.  Yet  his  most  magical 
effects  are  often  achieved  with  a  reticence  and  an  economy  of  means  that  leave 
us  breathless.  (See  Dictionary  of  Musicians  entry,  page  i  jp.) 


MANUEL  DE  FALLA 

BY  RICHARD  ANTHONY  LEONARD 

THE  GREAT  NATIONALIST  MOVEMENT  in  music,  which  began  in  Russia  in  the 
nineteenth  century,  had  Its  repercussions  all  over  Europe.  Composers  hi  Ger- 
many, Hungary,  France,  Italy,  and  England  awoke  to  the  possibilities  of  native 
folk  music  and  legend  as  the  source  of  their  inspiration.  But  Spain  lagged 
behind.  For  many  years  the  .most  effective  Spanish  music  was  composed  by 
men  who  were  not  Spaniards  at  all,  but  Frenchmen  like  Bizet,  Chabrier, 
Debussy  and  Ravel,  and  even  Russians  like  Rimsky-ELorsakoff.  IfThe  first 
important  steps  toward  a  truly  native  Spanish  music  were  taken  by  Albeniz 
and  Granados;  but  neither  of  these  men  ever  gained  the  stature  sufficient  to 
place  them  in  the  class  of  first-rate  creators.  Both  were  gifted  in  manipulating 
the  externals  of  the  Spanish  idiom — the  characteristic  dance  rhythms  and 
melodies,  the  warm,  languorous  colouring.  But  for  the  most  part  the  best 
contributions  of  both  were  in  the  smaller  forms — piano  pieces  and  songs.  With 
the  rise  of  Manuel  de  Falla,  however,  Spain  has  at  last  produced  a  composer  of 
unquestioned  genius;  one  who,  almost  single-handed,  has  created  a  genuinely 
nationalistic  music  for  bis  country.  If  Falla  was  born  in  Cadiz,  in  Andalusia,  in 
1876.  His  first  important  work  was  the  short  opera,  "La  Vida  Breve,"  composed 
in  1004  and  1905,  in  which  he  displays  a  remarkable  maturity  of  style  and 
technique.  Two  years  later  Falla  went  to  Paris,  where  he  met  Debussy.  That 
was  the  most  important  event  in  his  creative  life,  for  he  fell  under  the  spell  of 
the  French  composer,  absorbing  the  ideas  of  Impressionism  which  were  to  influ- 
ence all  his  major  works  thereafter.  TfThe  most  immediate  effect  of  this  new 
influence  was  the  composition  of  the  three  Nocturnes  for  orchestra  and  piano, 
"Nights  in  the  Gardens  of  Spain.'9  Then  followed  what  is  probably  Falla's 
masterpiece,  the  ballet  "El  Amor  Brujo"  performed  with  great  success  in  1915. 


496  SHORT  BIOGRAPHIES  OF  MUSICIANS 

A  second  ballet,  "The  Three  Cornered  Hat,"  produced  by  Diaghileff  in 
made  the  composer  internationally  famous.  Since  then  Falla's  chief  works  have 
been  a  marionette  opera,  "The  Puppet  Show,"  and  a  concerto  for  harpsichord 
It  will  be  noted  that  Falla's  output  has  been  comparatively  small;  even  so,  it 
has  been  sufficient  to  bring  Mm  world  fame  and  an  honoured  place  among  the 
most  important  composers  of  his  time.  UFalla's  music  represents  by  far  the 
finest  and  most  effective  use  that  has  yet  been  made  of  the  Spanish  idiom.  It  is 
infinitely  more  subtle  and  truer  to  the  spirit  of  Spain  than  any  of  the  attempts 
made  by  foreign  composers,  with  the  exception  of  Debussy.  For  Falla,  although 
steeped  in  the  folk  music  and  popular  dance  tunes  of  Spain,  never  makes  direct 
use  of  them.  In  his  music  the  conventional  mannerisms  of  melody,  the  dance 
rhythms,  the  characteristic  harmonies  and  ornamental  figures  are  suggested,  in- 
sinuated, but  rarely  referred  to  directly.  For  these  purposes  the  impressionistic 
technique  is,  of  course,  invaluable;  and  Falla's  debt  to  Debussy  is  undeniably 
large.  His  harmonic  scheme  is  thoroughly  "modern  "  in  scope  and  exceptionally 
rich — not  at  all  bound  by  the  limits  of  his  native  material.  In  the  field  of  orches- 
tration Falla  has  developed  effects  of  great  beauty  and  originality,  sometimes 
by  borrowing  the  effects  belonging  to  popular  Spanish  instruments.  He  works 
subtly  and  often  with  disarming  simplicity  to  achieve  his  ends.  Ifln  his  finest 
works,  like  "El  Amor  Brujo"  and  "Nights  in  the  Gardens  of  Spain"  this  com- 
poser has  made  a  notable  contribution  to  the  music  of  our  time,  not  only  in  the 
quality  of  the  work  itself,  but  by  his  proof  that  the  Spanish  idiom  can  be  made 
the  basis  for  great  music  in  the  larger  forms.  So  completely  is  he  the  master  of 
his  materials  that  he  is  able  to  give  them  variety  instead  of  monotony,  and  a 
universal  rather  then  a  narrow  provincial  appeal.  (See  Dictionary  of  Musicians 
entry,  page  121^ 


CESAR  FRANCK 

BY  RICHARD  ANTHONY  LEONARD 

IT  is  NO  EXAGGERATION  to  say  that  the  father  of  modern  French  music  came 
perilously  close  to  dying  without  issue.  For  C6sar  Franck,  the  man  whose 
work  engendered  the  rebirth  of  music  in  France  after  1870,  lived  for  almost 
three  quarters  of  his  life  in  obscurity.  It  was  not  until  after  his  fifty-fifth  year 
that  he  began  to  produce  the  series  of  masterpieces  which  brought  him  posthum- 
ous fame  and  a  place  among  the  jnrmnort.fl.1a  of  his  art.  French  music  had  de- 
clined hopelessly  after  Berlioz;  Rosa  Newmarch  declares  that  the  public  taste 
had  "degenerated  into  a  craze  for  opera  of  a  merely  frivolous  kind."  Then 
came  this  shy,  painfully  modest  little  organist  and  pedagogue  who  was  to 
build,  in  the  twilight  of  his  life,  a  new  and  enduring  edifice  of  cathedralesque 
beauty,  one  that  rested  for  the  most  part  upon  the  solid  classicism  of  J.  S.  Bach* 
Ambitious  young  French  composers  of  the  eighteen-eighties,  who  had  despaired 
of  the  future  music  of  their  country,  listened  to  Franck's  violin  sonata  and  his 
string  quartet,  to  his  "Beatitudes"  and  the  Symphony  in  D  minor — and  raised 
their  eyes  in  wonder.  Here  at  last  was  a  French  composer  (albeit  he  was 
born  in  Belgium)  who  by  a  lifetime  of  industry  and  with  stainless  purity  of 
mqtive  could  revive  and  expand  the  old  classic  forms  and  clothe  them  with 


SHORT  BIOGRAPHIES  OF  MUSICIANS  497 

a  new  aesthetic  personality  of  his  own.  Thus  Cesar  Franck  became  the 
spiritual  father  of  most  of  the  younger  men  who  were  to  help  Hm  restore 
French  music  to  its  former  greatness — of  D'Indy,  Chausson,  Duparc  and 
of  Debussy  and  Ravel.  UThe  salient  qualities  of  Franck's  music  can  be 
explained  only  by  the  details  of  his  life  and  character.  Born  in  Liege  in 
1822,  the  son  of  a  banker,  he  was  brought  by  his  father  to  the  Paris  Conserva- 
toire at  the  age  of  fifteen.  He  became  one  of  the  most  brilliant  and  talented 
pupils  of  that  venerable  institution,  and  was  advised  to  follow  the  career  of 
virtuoso.  But  once  he  had  left  the  Conservatoire  he  was  hardly  ever  again 
to  be  beyond  the  pressure  of  economic  necessity.  He  became  a  church  organist 
and  a  teacher  of  the  piano.  Vincent  D'Indy  (his  pupil,  biographer,  and  de- 
voted disciple)  has  left  us  a  picture  of  his  master  that  is  both  revealing  and 
pathetic.  Every  morning  for  almost  fifty  years  Franck  arose  at  five-thirty 
and  spent  two  hours  at  composition.  After  breakfast  he  went  out  to  give  his 
piano  lessons,  hurrying  all  over  Paris  to  provide  the  rudiments  of  music  training 
to  recalcitrant  young  ladies  in  boarding  schools  and  colleges  .  .  .  "in- 
variably in  a  hurry,  invariably  absent-minded  and  making  grimaces,  running 
rather  than  walking,  dressed  in  an  overcoat  too  large  and  trousers  a  size  too 
short."  In  the  evening,  after  a  long  day  of  teaching,  he  still  had  energy  left 
for  a  few  minutes'  work  on  his  scores.  When  he  became  organist  of  the  Church 
of  Ste.  Clothilde,  a  post  he  held  for  thirty  years,  he  began  to  satisfy  the  only 
other  great  passion  in  his  life  besides  composition.  He  was  a  great  organist 
and  a  transcendent  improviser.  In  1866  Franz  Liszt  went  to  Ste.  Clothilde 
and  after  hearing  Franck  left  "evoking  the  name  of  J.  S.  Bach  in  inevitable 
comparison."  TfThat  was  Franck's  life  for  half  a  century.  There  is  no  doubt 
that  under  the  strain  of  the  teaching  routine  his  music  suffered;  for  most  of  his 
earlier  work,  though  competent  and  sincere,  is  seldom  of  first  quality.  But 
through  perseverance,  prodigious  industry,  and  selfless  devotion  to  his  ideal 
he  succeeded  at  last.  After  he  had  reached  the  age  of  fifty-five  he  began  to 
produce  the  great  works  which  finally  brought  tnm  fame.  His  quintet  for 
piano  and  strings,  his  oratorio,  "The  Beatitudes"  the  prelude,  chorale  and 
fugue  for  piano,  the  symphonic  variations;  the  sonata  for  violin  and  piano, 
the  Symphony  in  D  minor,  the  string  quartet,  and  the  three  organ  chorales  are 
all  products  of  this  closing  period  of  his  life.  1f Because  his  music  was  so  much 
the  soul  of  classic  purity,  without  the  slightest  acknowledgment  to  current 
fads  or  styles,  even  Franck's  finest  works  were  often  slow  in  achieving  deserved 
recognition.  At  the  first  performance  of  the  Symphony  in  D  minor,  Gounod 
pronounced  the  work  "the  affirmation  of  incompetence  pushed  to  dogmatic 
lengths."  But  Franck  merely  said,  "Oh,  it  sounded  well,  just  as  I  thought  it 
would."  He  became  so  used  to  obscurity  and  so  indifferent  to  public  acclaim 
that  he  seemed  almost  surprised  when  fame  at  last  overtook  him.  When  his 
string  quartet  scored  an  unexpected  success  at  a  performance  in  Paris  in  1890, 
Franck  was  utterly  bewildered  by  the  ovation.  "  There,  you  see,"  he  said, 
"  the  public  is  beginning  to  understand  me."  He  was  then  sixty-eight  years 
old -and  within  a  few  months  of  his  death.  IfFor  the  expression  of  his  musical 
ideals  Franck  was  fortunate  in  two  aspects  of  his  purely  technical  equipment: 
the 'first  was  his  mastery  of  the  classic  forms,  the  result  of  a  lifetime  of  study 
as  well  as  a  natural  predilection;  and  the  second  was  his  extraordinary  resource 
as  a  harmonist.  Franck's  harmonies  remain  to-day  the  most  characteristic 


498  SHORT  BIOGRAPHIES  OF  MUSICIANS 

feature;  of  his  work.  They  are  richly  varied  and  expressive,  full  of  unexpected 
chromatic  modulations,  flooded  with  colour  and  light.  Franck  owed  much 
in  tMs  respect  to  Wagner  and  to  Liszt;  but  his  music  is  mostly  lacking  in  the 
sensuous  qualities  that  mirrored  the  passions  of  the  great  Germans.  Sensuosity 
seemed  not  to  exist  for  Franck.  He  was  a  man  of  almost  saint-like  modesty, 
for  whom  the  love  of  his  ffellow  men  was  a  cardinal  life-principle.  His  piety  was 
utterly  sincere,  his  faith  in  his  religion  deep  and  abiding.  This  spiritual  and 
mystic  nature  speaks  in  almost  every  bar  of  his  works.  His  music  soars  and 
sings-;  it  is  full  of  the  choiring  of  angelic  voices,  the  perpetual  adoration  of 
heavenly  hosts*  (See  Dictionary  of  Musicians  entry,  page  755.) 


GEORGE  GERSHWIN 

BY  FERBE  GROFE 

GERSHWIN  proved  in  his  own  achievements  what  Paul  Whiteman  and  I  had 
always  believed  when  we  were  first  associated  in  his  band  (I  as  pianist  and 
arranger);  that  the  better  elements  of  jazz  could  be  incorporated  into  art  music 
and  be  the  basis  of  a  series  of  symphonic  creations  typically  expressive  of  our 
nation.  jfUntil  Gershwin  wrote  his  u Rhapsody  In  Blue"  our  serious  American 
orchestral  composers  had  been  preponderatingly  influenced  by  their  German 
and  French  predecessors  and  contemporaries.  Of  course,  there  were  essays  ir> 
adapting  the  Indian  and  Negro  idioms-,  but  there  was  nothing  that  completely 
represented  the  particular  spirit,  atmosphere  and  voice  of  our  land.  Even 
Dvorak's  "New  World99  symphony,  themed  with  tunes  of  Southern  implication, 
was  found  by  experts  to  be  more  Czech  than  American.  1f  Gershwin's  early  songs 
showed  strong  originality  in  melody,  harmony  and  rhythm,  but  it  was  not  until 
he  composed  the  "Rhapsody"  and  the  "Preludes"  for  piano,  that  critics  pricked 
up  their  ears,  promoted  him  from  Broadway,  and  admitted  him  into  the  charmed 
circle  of  serious  creators.  1fl  had  done  some  arranging  for  Gershwin  before  he 
came  to  me  with  the  piano  score  of  the  "Rhapsody"  in  1923-24.  I  was  aston- 
ished at  the  resource  and  taste  displayed  in  his  newest  manuscript.  It  fired  my 
imagination  and  inspired  me  as  I  had  never  been  before.  Naturally  I  am  proud 
of  the  orchestration  of  the  "Rhapsody."  TfThere  are  those  who  do  not  think 
that  Gershwin  grew  musically  after  the  "Rhapsody"  but  I  disagree  with  them 
emphatically.  I  consider  his  "Concerto  in  F"  the  most  important  piano  opus 
in  that  form  ever  to  come  from  the  pen  of  an  American  composer.  It  is  es- 
sentially individual  and  national,  with  a  slow  movement  of  irresistible  feeling. 
The  "Second  Rhapsody"  is  completely  different  from  the  "Blue,"  and  yet  speaks 
in  novel  and  convincing  utterance.  "An  American  in  Paris"  is  a  lifelike  charac- 
terisation of  our  people,  confident,  ebullient,  mostly  gay,  and  perhaps  a  bit 
swaggering.  The  "Cuban  Overture"  presents  delightful  persiflage  and  good- 
natured  satirisation  of  the  rhumba  style.  "Porgy  and  Bess"  frankly  puzzled 
the  hidebound  critics.  It  may  not  be  a  "grand  opera"  in  the  strictest  sense  of 
the  term,  but  it  surely  is  a  brilliant,  warm-blooded,  witty  and  indigenous  piece 
of  writing.  The  picturesquesness  and  psychology  of  the  famous  Southern 
drama  have  been  set  forth  with  the  utmost  fidelity.  1f A  distinctive  Gershwin 
touch  typified  all  his  music,  even  the  rollicking  and  sentimental  songs  and  other 


SHORT  BIOGRAPHIES  OF  MUSICIANS  499 

numbers  he  did  for  Broadway.  Some  of  them  have  become  classics  in  their 
field.  I  do  not  imagine,  for  instance,  that  "  The  Man  I  Love93  could  ever  lose  its 
heart-filling  appeal,  even  though  "I  Got  Rhythm"  might  diminish  in  popularity 
should  newer  dance  metres  come  into  vogue.  If  Gershwin  has  left  a  measure  of 
fame  that  is  not  writ  in  water.  (See  Dictionary  of  Musicians  entry,  page 


VICTOR   HERBERT 

BY  DEEMS  TAYLOR 

WHEN  THEODORE  THOMAS  conducted  his  third  Popular  Matinee  for  Young 
People  in  Steinway  Hall  on  the  afternoon  of  Saturday,  December  tenth,  his 
programme  included,  among  other  things,  Mendelssohn's  "Fingal's  Cave39 
overture,  the  prelude  to  "Lohengrin"  and  a  new  "Concerto  for  Violoncello  and 
Orchestra"  by  the  brilliant  twenty-eight-year-old  first  'cellist  of  the  Metro- 
politan Opera  House  orchestra.  The  composer  played  the  solo  part.  On  the 
evening  of  the  same  day,  in  the  Metropolitan,  the  young  'cellist  again  played 
his  new  work  at  the  season's  second  concert  of  the  Philharmonic  Society.  "  The 
violoncello  concerto  was  introduced  in  place  of  the  scene  from  'EwryantheJ 
'Wo  berg  ich  mich?',  which  was  announced  for  Herr  Einil  Fischer,  but  who 
became  hoarse  after  the  public  rehearsal  on  the  preceding  day."  TThis,  from 
Henry  E.  Krehbiel's  "Review  of  the  New  York  Musical  Season,  1887-88"  is  the 
earliest  mention  of  Victor  Herbert  as  a  composer  that  I  have  been  able  to  find. 
The  young  Irishman  who  spoke  English  with  a  brogue  that  had  a  bewildering 
Teutonic  flavour  (he  had  been  brought  up  and  educated  hi  Germany,  where  he 
lived  from  his  fifth  to  his  twenty-fifth  year)  was  known  chiefly  as  a  'cellist,  and 
a  good  one.  In  1886,  when  his  wife,  Therese  Foerster,  of  the  Stuttgart  Opera, 
had  been  engaged  for  the  Metropolitan  in  New  York,  Herbert  came  to  America 
with  her,  where  he  entered  the  orchestra  of  the  Metropolitan.  Before  long  he 
gave  up  the  career  of  instrumentalist  to  become,  successively,  assistant  con- 
ductor with  Thomas  and  Seidl,  bandmaster  of  the  Twenty-Second  Regiment 
Band  in  New  York,  and  conductor  of  the  Pittsburgh  Symphony  Orchestra. 
Ifln  later  years  he  organised  his  own  orchestra,  which  existed  as  a  more  or  less 
loosely  constructed  unit  almost  to  the  time  of  his  death;  but  it  is  not  as  a  con- 
ductor, first-rate  leader  though  he  was,  that  we  remember  him.  In  Germany 
he  had  composed,  aside  from  the  'cello  concerto,  a  'cello  suite  and  a  suite  for 
strings.  These,  together  with  a  cantata,  " The  Captive"  written  in  America, 
all  come  under  the  head  of  " serious"  music,  and  they  possess  undeniable  charm 
and — as  one  would  expect  of  Herbert — great  technical  fluency;  all  the  work  of  a 
young  composer  concerning  whose  future  one  could  say  nothing  more  definite 
than  that  he  possessed  great  talent.  '1flt  was  not  long  before  the  direction  in 
which  that  talent  was  to  turn  became  increasingly  clear.  In  1894  he  wrote, 
and  saw  produced,  a  comic  opera,  "Prince  Ananias"  I  know  little  about  it, 
have  not,  as  a  matter  of  fact,  heard  any  of  the  score.  I  do  know,  however,  that 
it  attracted  critical  attention  and  was  successful  enough  to  procure  its  composer 
another  commission.  This  was  a  starring  vehicle  for  Frank  Daniels,  a  fantastic 
musical  farce  written  by  Harry  B.  Smith.  It  was  called  "The  Wizard  of  the 
Nile"  Opening  on  the  evening  of  November  4,  1895,  at  the  Casino  Theatre 


500  SHORT  BIOGRAPHIES  OF  MUSICIANS 

in  New  York,  it  was  an  instant  success,  not  only  in  America,  but,  later,  in 
Mexico,  England,  and  Germany.  Herbert  had  found  his  calling.  IfThe 
"Wizard"  was  the  second  in  a  list  of  musical  comedies,  operettas,  and  extrava- 
ganzas that  is  far  too  long  to  enumerate  here — even  if  it  were  necessary.  "  The 
Gold  Bug,"  "The  Serenade,"  "The  Idol's  Eye,"  "The  Fortune  Teller,"  "Babes 
in  Toyland,"  "Mile.  Modiste,"  "The  Red  Mill,"  "Naughty  Marietta,"  "The 
Princess  Pat,"  "The  Madcap  Duchess,"  "Eileen" — these  are  a  handful  of  the 
best  known  of  the  forty-odd  scores  that  flowed  from  Herbert's  inexhaustible  pen 
during  the  forty  years  between  "Prince  Ananias"  and  his  swan  song,  "Orange 
Blossoms"  Add  to  his  stage  works  the  quantity  of  overtures,  divertimenti,  and 
other  short  instrumental  pieces  that  he  wrote,  and  the  sum  of  his  separate  vocal 
and  instrumental  numbers  comes  to  well  over  a  thousand.  1f Other  composers 
of  light  music  have  equalled  this  output  (Johann  Strauss  the  Younger  and 
Jacques  Offenbach  probably  exceeded  it;  Sullivan  wrote  about  half  as  much), 
but  none,  in  my  opinion,  has  ever  maintained  its  incredibly  high  average  of 
excellence.  To  me,  Victor  Herbert's  music,  taken  on  its  average,  is  the  finest 
repertoire  of  light  opera  music  ever  written.  Strauss  can  be  gluily  sentimental 
at  times;  Offenbach  can  and  does  write  pages  whose  apparent  purpose  is  merely 
to  keep  things  going  until  an  idea  turns  up.  Herbert  can  be  sentimental  upon 
occasion,  Lord  knows;  witness  "Tm  Falling  in  Love  with  Someone"  and  "Ah, 
Sweet  Mystery  of  Life"  from  "Naughty  Marietta"  But  even  at  his  worst  he 
generally  contrives  something — an  unexpected  melodic  leap,  a  piquant  chord 
progression — that  saves  him  from  complete  banality.  And  throughout  his 
scores  you  will  be  hard  put  to  it  to  find  a  passage  that  can  honestly  be  called 
perfunctory,  that  does  not  contain  some  wholly  individual  turn  of  phrase  of 
which  one  says,  "That's  Herbert."  His  music  is  light,  superficial,  if  you  like; 
it  was  meant  to  be.  But  its  crystalline  charm  and  glossy  perfection  of  finish 
contrive  to  give  it  a  detached,  aristocratic  flavour  that  keeps  it  from  ever 
becoming  obvious  and  cheap.  ^[Ordinarily,  one  would  expect  the  music  of 
a  man  whose  entire  education,  academic  and  musical,  was  German,  to  reflect 
the  characteristics  of  his  stepmother  country.  As  a  matter  of  fact,  except  for 
its  consummate  workmanship  and  the  Viennese  character  of  his  waltz  rhythms, 
I  can  find  nothing  at  all  Teutonic  about  Herbert's  music.  It  is,  if  anything, 
French.  Not  the  adopted  French  style  of  Offenbach,  but  the  truly  Gallic  style 
of,  for  example,  Bizet.  The  two  seem  to  me  curiously  alike  in  the  quality  of 
their  talent:  unhackneyed  but  instantly  remembered  melodies,  vocally  grateful 
(the  fact  that  Mrs.  Herbert  was  an  opera  singer  undoubtedly  had  much  to  do 
with  that),  a  tendency  to  make  sudden  brief  incursions  into  remote  keys,  an 
effective  and  ingenious  sense  of  rhythm,  and  an  unerring  feeling  for  style  and 
atmosphere.  The  composer  of  the  "Card  Song"  from  "Carmen"  might  well 
have  written  the  verse  of  the  "Gypsy  Serenade"  from  "The  Fortune  Teller,"  just 
as  the  composer  of  "Panamericana"  might  have  written  the  Habanera  from 
"Carmen"  TfOne  striking  feature  of  his  music  is  its  extraordinary  variety. 
In  his  own  field  I  know  of  no  one  who  can  equal  him  in  versatility  of  style.  The 
gypsy  music  in  "The  Fortune  Teller"  has  a  true  gypsy  flavour;  "In  the  Toy- 
maker's  Workshop"  is  a  brilliantly  successful  modern  " Kindersimfonie" ;  there 
is  real  eighteenth-century  atmosphere  in  much  of  "The  Madcap  Duchess"  score: 
and  the  Oriental  music  of  "Algeria,"  while  not  perhaps  the  Orient  of  Algiers, 
is  at  least  the  Orient  of  Borodin.  He  was  a  master  of  rhythm;  not  the  rhythm 


SHORT  BIOGRAPHIES  OF  MUSICIANS  501 

of  contemporary  jazz — he  never  mastered  that.  On  the  other  hand,  unlike  the 
contemporary  jazz  composer,  he  had  not  one  but  a  dozen  dance  rhythms  at  his 
fingertips.  He  was  particularly  happy  in  writing  pieces  that  called  for  tempo 
rubato  playing.  Trifles  like  the  "Absinthe  Frappe"  "Punchinello,"  and 
"Badinage"  are  little  masterpieces  of  this  style  of  writing.  Ifln  neither  of  his 
two  ventures  into  the  field  of  grand  opera,  "Madeleine"  and  "Natoma"  was  he 
successful.  There  were  two  reasons  for  this  failure,  I  think.  One  was — and 
this  is  the  tragedy  of  Herbert's  career — that  he  never  found  a  librettist  who 
could  match  him.  All  his  life  he  was  a  genius  working  with  hacks;  clever,  even 
brilliant  men,  expert  in  the  kind  of  word  carpentry  that  turns  out  successful 
musical-comedy  books  and  lyrics,  but  nonetheless  hacks.  Many  of  Arthur 
Sullivan's  best  numbers  obviously  owe  their  form  to  the  inspiration  of  Gilbert's 
lyrics.  In  Herbert's  case  I  always  have  the  feeling  that  the  music  pulls  the 
lyrics  along,  that  if  Herbert  wrote  brilliant  and  charming  tunes,  he  wrote  them 
without  help,  that  the  inspiration  for  them  came  entirely  from  within.  No  man 
can  set  banal  and  pedestrian  words  to  music  for  half  a  lifetime  without  having 
his  poetic  sense  blunted.  Herbert's  ear  for  literary  English  was  never  very 
keen — the  result,  probably,  of  speaking  little  but  German  for  twenty  years. 
As  he  grew  older,  he  seemed  at  times  to  be  almost  incapable  of  judging  good 
lyrics  or  a  good  libretto.  Music  came  to  him  so  easily  that  the  words  became 
little  more  than  a  take-off;  so  why  bother  about  them?  IfBut  grand  opera  is  a 
different  matter.  No  composer  can  write  a  continuous  score,  lasting  two  or 
three  hours,  without  inevitably  reflecting  the  quality  of  his  libretto;  if  the  music 
is  to  have  any  distinction,  the  libretto  must  possess  some  sort  of  distinction, 
either  poetic  or  dramatic,  in  its  own  right.  ^"Madeleine"  and  "Natoma"  had 
neither.  The  former  is  a  little  better  poetically,  but  neither  has  any  real  dra- 
matic interest.  As  for  the  words  of  "Natoma"  no  critic  has  ever  been  cruel 
enough  to  do  them  full  justice.  The  oft-quoted  phrase  from  the  "  Vaquero's 
Song"  "See  how  the  bull,  upon  his  knees,  Snorts  when  his  neck  we  tighter 
squeeze,"  is  one  of  dozens  of  similar  triumphs  of  bathos.  In  too  many  places 
the  music  of  "Natoma"  sounds  trivial,  prettily  uninteresting,  "catchy"  in  the 
Broadway  sense  of  the  word,  rather  than  the  music  of  a  serious  lyric  drama. 
How  could  it  be  otherwise?  It  is  an  all-too-perfect  setting  of  the  words.  For 
a  hint  as  to  what  he  might  have  done,  had  he  been  given  a  genuinely  poetic  and 
emotionally  sincere  libretto,  listen  to  the  prelude  to  the  third  act.  Here,  freed 
momentarily  from  the  necessity  of  setting  refined  doggerel  to  music,  he  writes 
broadly  and  nobly.  If  Many  of  Verdi's  librettists  were  hacks,  too;  but  Verdi 
always  managed  to  whip  even  the  worst  written  libretto  into  some  sort  of  dra- 
matic shape,  so  that  if  he  lacked  words  that  were  an  inspiration,  at  least  he  had 
a  situation.  But  this  Herbert  was  helpless  to  do.  The  second  reason  that 
his  operas  failed  is  that  he  was  not  by  instinct  a  dramatic  composer.  IfThis 
seems  an  odd  thing  to  say  of  a  composer  who  had  spent  twenty  years  in  the 
theatre.  But  theatrical  music  is  not  necessarily  dramatic  music.  Particularly 
is  this  true  of  musical  comedy,  where  the  score  exists  primarily  for  its  own  sake, 
rather  than  to  advance  or  enhance  the  action.  The  order  in  which  the  musical 
numbers  occur  is  determined  solely  by  considerations  of  musical  rather  than 
dramatic  effectiveness.  But  a  successful  grand  opera  must  be  a  dramatic  unit. 
The  words  and  music  combine  to  create  the  drama,  and  the  composer  must  be 
prepared  to  sacrifice  or  cut  short  his  happiest  inspirations  if  the  action  requires 


502  SHORT  BIOGRAPHIES  OF  MUSICIANS 

him  to  do  so.  Herbert  had  had  no  experience  at  this  sort  of  thing.  He-had  not 
acquired  Verdi's  or  Puccini's  or  Bizet's  knack  of  carrying  the  action  along 
through  the  medium  of — apparently — purely  musical  numbers.  He  could  stop 
the  action  and  burst  into  song,  or  he  could  stop  the  music  and  underline  dia- 
logue; but  he  could  not  combine  the  two  styles  of  writing,  or  hide  the  seams,  so 
to  speak,  in  his  musical  fabric.  His  operatic  scores,  consequently,  sound  short- 
winded  and  scrappy.  UHe  took  then:  failure  much  to  heart.  But  that  is  his 
tragedy,  not  ours.  He  was  put  here  to  sing,  and  sing  he  did — for  forty  years; 
and  we  are  still  under  the  spell  of  the  charm  and  bubbling  freshness  of  what  he 
sang.  There  has  never  been  anyone  quite  like  him.  (See  page  204.) 


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  (except  for  an  occasional  charitable  pur- 
pose) 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  masters*  He  had  transcribed  for  the  same  in- 
strument a  large  number  of  songs,  operatic  melodies  and  orchestral  works 
(the  number  of  these  transcriptions  at  his  death  was  371),  thereby  vastly  in- 
creasing their  vogue.  He  also  wrote  altogether  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  en- 
deavours to  impart  to  it  orchestral  power  and  variety  of  tonal  effect;  and  finally, 
when  he  became  conductor  at  Weimar  (1849),  he  transferred  his  attention 
chiefly  to  the  orchestra,  f  Of  his  thirty-four  orchestral  works,  the  most  impor- 
tant are  the  "Faust"  and  "D&nte"  symphonies,  and  thirteen  symphonic  poems, 
in  which  he  deviated  from  the  old  symphonic  form  in  a  spirit  similar  to  Wagner's 
operatic  reforms — 'abolishing  the  mosaic  of  unconnected  movements  and  allow- 
ing the  underlying  poetic  idea  (programme)  to  shape  the  form  of  the  music. 
Of  great  importance  and  beauty  also  are  his  sixty  songs,  which  represent  the 
dimax  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  writing  of  sacred  compositions.  Among  these,  the  most  original  in 
substance  is  the  "Legend  of  St.  Elizabeth,"  the  most  original  in  form  "Christus" 
in  which  the  last  remnants  of  the  opera  (the  aria  and  recitative)  are  eliminated 
from  the  oratorio,  and  little  remains  besides  choruses  and  instrumental  numbers. 
Liszt's  genius  in  early  life  was  shaped  largely  by  Schubert,  Chopin,  Berlioz, 
and  Wagner.  His  own  influence  on  the  pianists  and  orchestral  writers  of  Ger- 
many, France,  and  Russia-  can  hardlv  be  overestimated,  (See  page  263.) 


SHORT  BIOGRAPHIES  OF  MUSICIANS  503 

EDWARD  MAcDOWELL 

BY  RICHAKD  ANTHONY  LEONARD 

MUSIC  of  Edward  MacDoweJl  is  heard  much  less  frequently  thsse 
days  than  it  was  at  the  time  of  his  death,  in  the  first  decade  of  the  present 
century;  but  it  will  be  a  long  time  before  our  debt  to  him  is  paid.  For  it 
was  MacDowell  who  proved,  once  for  all,  that  America  was  not  a  musical 
desert;  that  it  could  produce  a  composer  of  high  rank,  gifted  with  distinction 
and  originality  of  utterance,  whose  genius  would  be  recognised  not  only  in  his 
own  country  but  in  Europe  as  well.  MacDowell  was  in  fact  the  first  important 
American  composer.  He  was  the  pioneer  who  broke  the  ground  and  who,  by 
the  potency  of  his  example,  gave  courage  to  many  an  American  composer  who 
came  after  him,  IfMacDowell  was  born  in  New  York  City  in  1861  and  he 
displayed  such  early  talent  for  the  piano  that  at  the  age  of  fifteen  he  was  taken 
by  his  mother  to  Europe  to  study  music.  When  he  returned  to  America  in 
1888  after!  twelve  years  hi  France  and  Germany,  the  state  of  music  in  his  native 
country  was  (and  always  had  been)  far  from  exhilarating.  What  little  serious 
musical  composition  there  was  could  only  be  described  in  terms  of  mediocrity. 
It  was  the  palest  of  imitations  of  European  models,  so  devoid  of  life-blood  that 
it  is  now  practically  impossible  to  name  a  single  work  of  major  proportions 
which  has  survived  into  our  time.  On  his  return  MacDowell  and  his  early 
compositions  were  received  with  immense  acclaim.  For  once  (as  more  than 
one  critic  of  t&at  day  remarked)  a  prophet  had  great  honour  in  his  own  country. 
MatxDowieJl?&  first  appearances  in  New  York  and  Boston  as  a  young  composer- 
pianist  were  scenes  of  wildest  enthusiasm,  almost  without  parallel  in  American 
eoncertrhalls>  And  in  the  ensuing  decade  he  received  ovations  ordinarily 
reserved  for  the  very  greatest  European  artists.  ^To-day  when  we  are  able 
to  view  the  sum  of  MacDowelTs  achievement,  that  early  enthusiasm  still  seems 
justified.  It  is  true  there  was  nothing  in  his  technical  equipment  and  little  in 
his  inspiration  that  had  not  been  gained  hi  Europe.  His  music  belongs  in  the 
great  stream  of  the  Romantic  movement,  and  his  musical  ancestors  were  Liszt, 
Mendelssohn,  Wagner,  Tchaikovsky,  Greig,  and  his  teacher,  Raff.  He  created 
nothing  that  could  be  called  "typically  American,"  nor  did  any  "American 
school"  spring  from  the  soil  that  he  broke.  But  his  achievement  is  none  the 
less  valid.  He  proved  that  an  American  could  have  the  strength  and  stature 
to  grapple  with  musical  composition  in  its  more  serious  forms;  that  he  could 
take  European  models  and  manipulate  them  with  outstanding  ability;  that  he 
could  give  them  an  accent  which  is  vigorously  and  singularly  his  own.  HThe 
whole  of  MacDowelFs  work  is  not  large,  for  he  died,  after  a  tragic  mental  de- 
cline, in  his  forty-seventh  year.  Most  of  it  was  for  the  piano,  of  which  instru- 
ment he  attained  a  notable  mastery.  In  fact  it  was  only  the  counter-attraction 
of  composition  which  prevented  hirn  from  becoming  one  of  the  important  piano 
virtuosos  of  his  day.  His  best  works,  as  we  may  judge  them  to-day,  are 
probably  the  second  Piano  Concerto,  the  second  "Indian  Suite"  some  of  the 
shorter  piano  pieces,  and  the  four  Piano  Sonatas — especially  the  "Keltic? 
sonata,  a  work  of  powerful  emotion  and  heroic  sweep,  undeservedly  neglected 
to-day.  He  also  wrote  many  songs,  several  symphonic  poems  and  a  number  of 


504  SHORT  BIOGRAPHIES  OF  MUSICIANS 

small  choral  works.  IfMacDowell  was  a  man  of  unimpeachable  sincerity  and 
deep  sensitivity.  He  worshipped  nature,  and  in  a  great  number  of  his  shorter 
and  best-known  pieces  he  went  for  his  inspiration  to  the  sea,  to  the  New  England 
woods  for  which  he  had  an  abiding  love,  and  to  the  artless  beauty  of  simple 
flowers.  Poetry  was  another  of  the  motivating  forces  of  his  work — the  poetry 
of  Keats,  Tennyson,  Shakespeare,  Dante,  Heine  and  Goethe,  His  own  gift 
for  poetic  writing  was  not  inconsequential  and  he  provided  the  verses  for  a 
number  of  his  songs.  Coupled  with  this  sentimental  strain  in  MacDowell's 
make-up  was  another  and  equally  assertive  quality  of  manly  vigour — a  full* 
blooded,  sinewy  quality.  Thus  we  find  in  his  work  a  wide  emotional  range: 
from  the  fragile  tenderness  of  some  of  the  piano  pieces  and  songs  to  the  heroic, 
grandiose  style  of  the  Sonatas,  music  of  such  breadth  and  spaciousness,  of  such 
concentrated  power  that  it  often  strains  the  resources  of  the  instrument. 
ITSonie  of  the  best  of  these  works  suffer  neglect  to-day  but  it  cannot  in  justice 
be  said  that  this  is  wholly  the  composer's  fault.  Because  he  was  a  part  of  the 
great  Romantic  movement  in  music  which  has  since  been  overshadowed  by 
revolutionary  new  developments,  he  (like  many  another  Romantic  composer 
who  just  missed  being  first-rate)  has  gone  into  eclipse.  But  with  the  inevitable 
turn  in  the  cycle  of  events  it  is  possible  that  he  may  yet  enjoy  a  return  to  favour. 
Chief  among  the  gifts  which  work  to  keep  his  music  alive  is  the  indispensable 
gift  of  melody.  This  MacDowell  had  in  abundance.  His  melodies  are  always 
expressive  and  often  deeply  felt;  they  have  staying  power,  and  even  when  they 
are  so  simple  as  to  reach  the  least  exacting  of  listeners,  they  seldom  descend 
into  the  commonplace.  MacDowell  was  not  an  innovator  in  any  sense,  but 
he  did  contrive  to  stamp  his  music  with  an  individuality  that  is  entirely  his 
own.  Sometimes  it  was  by  an  unusual  harmonic  progression,  or  by  a  character- 
istic moulding  of  the  melodic  line  but  whatever  the  effect,  it  was  unmistakably 
his.  Lastly,  MacDowell  was  a  natural  music-maker.  Too  much  American 
music  both  before  and  after  hirn  betrays  fatally  the  conscious  effort;  it  smells 
of  the  lamp.  But  MacDowell's  was  utterly  spontaneous  and  free.  He  had  a 
noble  imagination,  and  the  wings  to  follow  it  far.  (See  Biographical  Dictionary 
of  Musicians  entry,  page  270?) 


FELIX  MENDELSSOHN-BARTHOLDY 

BY  VERNON  BLACKBURN 

FELIX  MENBELSSOHN-BARTHOLDY  almost  rivalled  Mozart  in  the  precocity  of  his 
genius.  Music  came  to  him,  as  it  were,  straight  out  of  the  skies.  He  played 
with  it  from  boyhood,  and  at  the  age  of  nineteen  wrote  his  greatest  work.  I 
refer,  of  course,  to  the  overture  to  "A  Midsummer  Night's  Dream"  It  would 
be  difficult  to  say  exactly  whence  Mendelssohn  derived  the  leading  motives  of 
his  musical  tendency.  Mozart,  of  course,  did  much  for  him,  but  he  was  a  bril- 
liant, 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  in 


SHORT  BIOGRAPHIES  OF  MUSICIANS  SOS 

fluence  over  this  gay,  companionable,  brilliant  musician  to  'whom  music  was 
not  so  much  a  spiritual  as  a  pantheistic  influence.  1fThe  external  world  to  him 
fired  his  brain,  and  his  delicate  genius  responded  to  the  influence.  His  personal- 
ity 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  life.  Such  a  tempera- 
ment 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.  ITHis  place  in 
the  art  of  music  has  not,  I  should  imagine,  been  quite  definitely  settled  even  at 
t*"»  day.  While  Sir  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  ha  the  " Watchman"  from  the  "Hymn of  Praise,"  or 
"How  Lovely^  Are  the  Messengers"  from  "St.  Paid."  There  will  be  none,  how- 
ever, 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.  1[If  I  were 
asked  to  assign  his  position,  in  the  flash  of  a  phrase,  I  should  call  "Kim  the  Gany- 
mede, the  cupbearer  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  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  disciple 
lias  here  indeed  outstripped  the  master.  (See  page  287.) 


GIACOMO  MEYERBEER 

BY  HRENAJETJS  PKQCE-STEVENSON 


WITHIN  the  last  fifty  years,  especially  since  the  Wagnerian  measuring-rule 
was  applied  right  and  left,  up  and  down,  to  almost  all  the  lyric  drama,  more 
in  enthusiasm  than  in  good  judgment,  and  also  since  opera-making  has  come  to 
be  talked  of  as  a  sort  of  exact  science  —  Meyerbeer  has  been  ungraciously  han- 
dled by  a  certain  school  of  criticism.  This  school  is  rich  in  Podsnaps.  If  we 
can  believe  these  arbiters  and  observers,  Meyerbeer  was  a  feeble  charlatan  in 
French  opera,  or  in  any  kind  of  opera,  a  vulgar  and  bawdy  melodist  and  a  com- 
monplace orchestrator.  Moreover,  we  must,  by  such  critics,  believe  that  the 
public  as  well  as  the  critics  have  so  thoroughly  "found  him  out,"  that  the  popu- 
lar interest  in  his  works  is  over;  that  "The  Huguenots,"  "  L'  Africaine,"  and  "Le 
Proph&te"  are  works  that  bore  everybody  of  true  musical  intelligence  —  "the 
souls  of  them  fumed  forth,  the  hearts  of  them  torn  out."  ^"Unfortunately  for 
these  undiscerning  prophets,  then:  premises  are  obviously  wrong,  and  their  re- 
sults are  short-sighted.  Meyerbeer  is  a,  composer  full  of  faults  '.  His  incon- 
sistencies are  a  continual  irritation.  His  shortcomings  are  plain  to  the  ear* 


506  SHORT  BIOGRAPHIES   OF  MUSICIANS 

His  superficial,  emotional  side,  too,  is  indisputable.  He  was  never  sure  of 
himself,  or  rarely  so;  and  that  is  fatal  often  to  artistic  strength.  But  wheu  all 
is  counted  against  him,  Meyerbeer  is  still  a  great  composer,  an  operatic  master 
to  be  reckoned  with  for  a  long  operatic  time  to  come;  and  as  for  the  world  in 
general  it  is  far  from  setting  him  aside  when  his  best  scores  are  the  question. 
IfHis  splendid  subtler  mastery  of  true  dramatic  effect  is,  after  all,  as  emphatic 
as  his  cheaper  method  of  making  a  point.  He  does  not,  alas!  sustain  his  melo- 
dies. He  does  not  work  out  good  themes  as  they  deserve,  over  and  over.  He 

gives-out,  he  resorts  to  noise  and  clap-trap.     His  favourite  rhythm   f  f  f  f  fa 

tedious.  IpBut  notwithstanding  all,  he  is  a  genius  in  dramatic,  pathetic  melody. 
He  is  constantly  able  to  move  us  legitimately  by  his  beautiful  art  as  an  orches- 
tral colourist.  He  writes  for  the  operatic  actor  as  a  singer,  perfectly  and  con- 
sistently, as  well  as  for  the  operatic  artist  as  a  declaimer.  He  is  a  king  at  great 
musical  phrases,  words  and  music  so  linked  that  we  cannot  tT-nnlr  of  them  as  not 
together.  And  as  a  merely  French  composer  Meyerbeer  is  of  the  first  rank 
A  sincere  and  learned  musician  himself,  especially  influenced  by  the  greates* 
and  even  severest  German  and  Italian  musicians,  he  is  distinctly  a  descendant 
in  artistic  speech  of  no  less  than  Gluck.  One  often  finds  a  Gluck-like  nobility 
of  phrase  hi  Meyerbeer's  dialogue,  a  Gluck-like  outstart  of  melody,  to  atone  for 
all  that  is  savoury  of  Offenbach  or  worse.  1JAs  for  Meyerbeer's  influence  on 
not  only  the  French  opera  but  in  far  wider  range,  that  is  undeniable.  From 
Halevy  to  Reyer  French  opera  since  his  day  has  never  set  his  monitions  aside,, 
and  Wagner  (heretical  as  it  sounds  to  say  so)  never  quite  drew  away  from  the 
French  principles  in  dramatic  opera  that  he  often  most  repudiated — exactly 
as  he  repudiates  his  eternal  practical  debts  to  Meyerbeer  for  no  vague  kindness. 
^Meyerbeer  is  the  Scott,  the  Jokai,  of  opera,  forever.  Just  as  we  forgive  tech- 
nical error  or  error  of  sentiment  in  both  here  and  there,  so  must  we  forgive 
Meyerbeer:  and  in  admiring  his  best  scenes  much  indeed  is  to  be  forgot  I 
IfPersonally,  he  was  a  large-souled  and  a  good  man  as  well  as  a  man  of  finest 
cultivation  and  polish.  His  charities  were  numberless  and  his  large  bequests 
have  continued  them.  Take  him  all  in  all,  he  was  a  creator  and  an  influencer 
of,  we  may  say,  permanent  dignity  and  honour  in  the  general  gallery  of  the 
really  great,  not  merel}*-  the  pseudo-great,  operatic  sovereigns.  (See  page 


MODEST  PETROVICH  MOUSSORGSKY 

BY  RICHARD  ANTHONY  LEONARD 

IT  ^WOTTIJO  HAVE  AMAZED  the  contemporaries  of  Modest  Petrovich  Moussorgsky 
qould  they  have  foreseen  the  homage  which  is  paid  the  man  to-day.  Though 
he  was  one  of  the  original  "Five,"  that  little  band  of  determined  men  who 
created  the  Russian  school  of  music  in  the  nineteenth  century,  he  was  the  one 
from  whom  least  was  expected  and  for  whom  most  had  to  be  forgiven.  When 
he  died  in  1881  at  the  age  of  forty- two  (a  victim  of  poverty,  drink,  anqL  broken 
hopes)  his  work  was  so  imperfectly  understood  that  his  friends,  before  publishing 
k?  sought  to  cover  up  what  they  thought  to  be  his  musical  illiteracy.  His 
fellow-member  of  the  "Fivet"  Rimsky-J£orsakoflt,  was  a  firm  believer  in  Mous- 


SHORT  BIOGRAPHIES  OF  MUSICIANS  507 

sorgsky's  great  talent;  so  he  "rearranged"  many  of  Moussorgsky's  works, 
"touching  them  up  to  make  them  more  understandable  to  the  public,"  remov- 
ing what  he  thought  to  be  crudities  of  theoretical  music  procedure.  In  short, 
Moussorgsky  was  looked  upon  as  a  bungler — a  man  of  powerful  and  original 
talent  who,  through  his  failure  to  master  the  fundamentals  of  harmony,  counter- 
point, and  form,  had  left  tragically  little  of  enduring  quality  to  the  world. 
TfBut  we  see  him  with  far  different  eyes  to-day.  As  a  writer  of  songs  he  is 
now  ranked  with  Schubert,  Schumann,  and  Wolf,  We  call  him  one  of  the 
supreme  masters  of  the  music  drama,  and  we  name  his  opera  "Boris  Godounqff" 
one  of  the  two  greatest  works  for  the  lyric  stage  since  Wagner.  More  than 
that,  Moussorgsky  is  now  seen  to  be  the  wellspring  from  which  much  of  the 
important  music  of  the  twentieth  century  has  flowed.  IfMoussorgsky's  musical 
"illiteracy"  was  due  in  part  to  his  early  association  with  Balakireff.  That 
astonishing  young  man,  who  was  the  original  inspiring  genius  of  the  "Five," 
was  almost  entirely  self-taught  in  harmony,  counterpoint,  and  form;  and 
because  he  understood  by  instinct  what  other  men  could  acquire  only  by 
rigorous  training,  he  disparaged  the  necessity  for  such  training.  Many  author- 
ities have  agreed  with  Moussorgsky's  contemporaries  in  lamenting  the  influence 
of  Balakireff  in  this  respect.  But  it  must  be  remembered  that  Moussorgsky, 
a  revolutionist  and  an  innovator  to  the  core,  would  probably  have  learned  the 
rules  only  to  break  them.  He  repeatedly  defended  his  unorthodox  procedure, 
on  the  ground  that  he  was  trying  to  express  something  in  music  that  had  never 
been  done  before.  His  mistakes  and  crudities  were  often  the  outward  evidences 
of  his  powerful  individuality  seeking  new  forms  of  expression.  They  were  the 
trademarks  of  his  genius.  ^Absolute  °r  purely  formal  music  interested  Mous* 
sorgsky  hardly  at  all.  Such  abstract  tone- weaving  as  writing  symphonies, 
sonatas,  or  suites  was  foreign  to  his  purposes.  Instead  he  devoted  most  of  his 
creative  energies  to  operas  and  songs — i.e.,  to  those  forms  which  gave  him 
access  to  the  human  heart.  He  was  profoundly,  avidly  interested  in  his  fellow- 
men,  and  he  spent  jbis  life  searching  their  minds  and  characters.  What  he 
discovered  in  that  search  and  the  way  he  put  his  findings  into  music  constitute 
one  of  the  great  glories  of  the  tonal  art.  1[He  left  us  hardly  more  than  forty 
songs,  yet  they  are  perfect  testaments  to  his  intense  and  concentrated  force, 
to  the  wide  and  daring  range  of  his  subject  matter,  and  above  all  to  his  deep 
and  touching  sympathy  with  the  pitiful  human  victims  of  a  pitiless  world 
The  very  titles  are  indicative:  e.g,,  "The  Orphan  Beggar  Child,"  "Peasant's 
Cradle  Song"  "O  My  Savishna"  (tie  plaint  of  the  village  idiot  for  love  and 
sympathy),  "The  Ragamuffin,"  "The  Song  of  the  Flea,"  and  the  song-cycles 
"Sunless"  "In  the  Nursery"  and  "Songs  and  Dances  of  Death."  In  his  songs 
Moussorgsky  attempted  always  to  express  in  tones  the  very  letter  and  spirit 
of  the  text:  the  picture  that  the  words  painted,  the  inmost  thought  of  the 
character,  the  subtlest  shades  of  idea  and  meaning  that  could  not  even  be  ex- 
pressed in  the  words.  In  realising  this  ideal  he  refused  to  be  bound  by  the 
conventional  song  forms  and  formulas.  What  did  it  matter  if  a  song  began  in 
one  key  and  ended  in  another?  Or  if  one  chord  followed  another  harshly  and 
gratingly,  not  properly  "prepared"?  Or  if  a  song  ended  without  a  cadence? 
The  justification  was  always  in  the  text.  And  the  end  was  often  miraciilously 
realised.  TpBesides  the  songs,  the  works  upon  which  most  of  Moussorgsky's1 
Deputation  rests  to-day  are  his  operas,  "Boris  Godoimajf"  and  "  KhovaristtMna" ; 


508  SHORT  BIOGRAPHIES  OF  MUSICIANS 

the  brilliant  tone  picture,  "A  Night  on  the  Bare  Mountain"  which  is  probably 
the  most  satisfactory  of  Rimsky-Korsakoff's  revisions  of  the  composer's  music; 
and  his  single  great  work  for  the  piano,  "Pictures  at  an  Exhibition"  best  known 
to-day  in  Ravel's  superb  orchestration.  1T" Khovanstchina"  was  found  in  a 
chaotic  state  after  Moussorgsky's  death — unfinished,  only  partly  orchestrated, 
and  almost  twice  too  long.  Rimsky-Korsakoff  orchestrated  the  entire  work, 
made  numerous  cuts,  and  generally  "touched  up"  the  harmonies  and  part- 
writing.  Whether  he  was  justified  in  his  ministrations  or  whether  he  was 
guilty  of  malpractice  is  a  matter  of  endless  controversy.  At  any  rate,  his 
version  remains  a  work  of  singular  power  and  beauty.  About  "Boris"  there 
is  less  question.  It  is  the  capstone  of  Moussorgsky's  achievement,  and  Rimsky- 
KorsakofT  was  probably  wrong  in  attempting  twice  to  revise  it.  True,  he  did 
not  make  nearly  as  many  or  as  drastic  changes  as  he  made  hi  " Khovanstchina" ; 
and  (to  do  him  complete  justice)  it  was  his  versions  which  brought  the  opera 
world  fame  and  Moussorgsky  a  rightful  place  in  the  sun.  But  since  1928, 
when  the  Soviet  government  published  the  original  score,  it  has  become  appar- 
ent that,  aside  from  certain  weaknesses  in  the  orchestration,  Moussorgsky  had 
wrought  far  better  than  anyone  of  his  time  realised.  It  is  possible  that  the 
opera  may  again  stand  on  its  own  feet,  as  it  did  so  successfully  during  the  com- 
poser's lifetime.  1[No  matter  which  version  of  "Boris"  eventually  displaces 
the  other,  however,  certain  indisputable  facts  remain.  The  intense  nationalism 
of  this  work,  its  use  of  material  derived  from  or  imitative  of  folk-music,  its 
astonishingly  modern  blending  of  music  and  text,  have  all  been  th§  inspiration 
of  numberless  composers  since  Moussorgsky's  day.  And  above  alj  it  discloses 
the  composer's  unique  genius  for  portraying  mankind  and  his  crown  of  sorrows. 
Like  Macbeth,  it  is  a  "tragedy  of  twilight  and  the  setting  in  of  thick  darkness 
upon  a  human  soul."  (See  Dictionary  of  Musicians  entry,  page  303.) 


WOLFGANG  AMADEUS  MOZART 

BY  VERNON  BLACKBURN 

JOHN  CHRYSQSTOM  WOLFGANG  AMADEUS  MOZART,  the  son  of  a  tolerably  good 
musician,  by  name  Leopold,  from  his  earliest  years  displayed  the  most  extraor- 
dinary sense  of  musical  precocity.  At  the  age  of  three  years  he  was  able  to  pick 
out  liaTmonies  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  exhibition  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  of  melody  that  this  earth  has  ever  seen,  the  writer  of  innumer- 
able symphonies,  innumerable  songs,  innumerable  sonatas,  the  possessor  of  a 
musical  memory  such  as  had  never  been  conferred  on  the  son  of  man  before,  he 
flras  the  brilliant  artist  of  high  spirits,  the  man  who  lived  life  to  the  very  last 
drop  of  the  glass.  Hln  a-  word,  a  genius,  in  art  and  in  living,  of  the  highest 
flower.  He  went  down  to  his  grave  before  he  was  forty  years  of  age,  buried  no 
ma™  knows  where,  deserted  of  friends,  deserted  even  in  his  last  journey  to  the 


SHORT  BIOGRAPHIES  OF  MUSICIANS  509 

Vienna  cemetery  by  his  wife;  abjectly  poor,  with  not  a  soul  to  weep  for  him,  not 
a  soul  to  care  what  became  of  these  sacred  relics.  Here  was,  indeed,  a  combina- 
tion of  glory  and  the  darkest  tragedy  which  can  scarcely  be  found  outside  the 
Attic  drama.  1f  Yet,  from  the  critical  point  of  view,  it  can  scarcely  be  said  that 
Mozart  was  in  any  sense  a  revolutionary;  he  was  the  glorious  Hnk  which  com- 
bined the  music  of  the  last  century  with  the  music  of  this.  The  strictest  formal- 
ist, the  impeccable  master  of  counterpoint,  the  respecter  in  every  way  of  tradi- 
tions, 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.  TfBut  it  is  as 
a  writer  of  opera  that  his  fame  is  like  to  last  longest,  for  it  is  here  that  be  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  equally  noteworthy  could  not  have  touched  the  dramatic  significance  of 
it.  "Don  Giovanni,"  that  glory  of  our  blood  and  state,  "te  Noz&e  di  Figaro," 
"Cosi  Fan  Tutte,"  "Die  Zauberflote,"  these  remain  as  noble  a  testimony  of  his 
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  Requiem  declares  Hm  to  be,  as  a  master  of  the  emotions,  of 
supernatural  terror,  unsurpassed;  I  would  almost  say  unsurpassable.  In  a 
word,  here  was  the  golden  child  of  music,  adding  to  the  simplicity  of  his  childish- 
ness the  complex  wisdom  of  the  serpent.  TfPoor  Mozart!  Yet,  who  is  ordinary 
man  that  he  should  say  "poor  "  of  such  an  immortal  creature?  Poor  as  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.  (See  Dictionary  of  Musicians  entry,  page  303.) 


GIOVANNI  PALESTRINA 

BY  W.  J.  HENDERSON 

PAI-ESTRINA'S  work  in  musical  history  was  bringing  order  out  of  chaos  in  church- 
music,  and  setting  the  model  for  the  loftiest  purity  of  style.  The  music  of  the 
Church  had  become  too  complex  through  the  extreme  development  of  rigidly 
canonic  Writing.  Palestrina,  following  the  lead  of  some  of  his  predecessors, 
who  had  begun  to  write  in  free  counter-point,  showed  how  this  new  style  could 
be  made  to  yield  the  finest  possible  results  in  the  composition  of  music  for  the 
mass,  and  other  parts  of  the  Roman  ritual.  By  adhering  to  the  ecclesiastical 
scale  and  avoiding  chromatic  progressions,  by  clinging  to  purely  religious 
thought  and  excluding  anything  like  passion,  Palestrina  produced  works  which 
have  remained  to  this  day  the  perfect  model  of  church-music.  '[[The  con- 
trapuntal skill  in  his  writing  is  masterly,  but  it  never  parades  itself.  Its  most 
beautiful  effects  are  produced  with  apparent  spontaneity,  and  frequent  chord 
harmonies  of  enchanting  loveliness  seem  to  be  accidental.  The  Roman  school 
of  church-composers  was  founded  by  Palestrina,  and  his  influence  is  even  yet 
perceptible  in  the  music  of  the  Holy  City.  He  has  universally  been  accorded 
the  position  of  the  greatest  of  all  church-composers.  (See  also  page  32  3.) 


510  SHORT  BIOGRAPHIES  OF  MUSICIANS 

HENRY  PURCELL 

BY  JOHN  F.  RUNCIMAN 

THE  early  English  school  reached  a  magnificent  culmination  in  Puxcell.  Many 
influences  went  to  the  shaping  of  him.  Behind  was  the  contrapuntal  English 
school,  of  which  Tallis  and  Byrde  were  exemplars;  more  immediately  behind 
was  Pelham  Humphries,  who  brought  to  England  all  that  France  knew;  and  it 
is  as  good  as  certain  that  he  knew  what  the  Italians,  with  Corelli  at  their  head, 
had  accomplished.  That  is  to  say,  he  must  have  learned  how  to  handle  many 
parts  in  a  chorus  or  orchestral  movement;  learned  how  to  write  recitative  and 
expressive  song;  learned  what  could  be  done  in  the  way  of  chamber-music;  and 
such  orchestral  colouring  as  was  possible  at  that  day.  1[To  these  acquired 
masteries  he  brought  a  native  ear  for  miraculous  colour  in  music — as  witness 
his  "Tempest"  music,  written  for  the  worst  libretto  that  the  world  has  not  lis- 
tened to;  a  glorious  invention  of  expressive  or  picturesque  melody,  though 
chiefly  picturesque;  a  fine  instinct  for  the  dramatic,  and  for  expressing  it  in 
music;  and  the  most  noble  sense  of  the  splendid  effects  to  be  gained  by  throw- 
ing about  masses  of  vocal  tone  in  the  manner  afterwards  appropriated  and 
made  entirely  his  own  by  Handel.  UThose  who  have  studied  PurcelPs  scores 
will  be  astonished  by  the  extent  to  which  Handel  took  his  themes  and  modes 
of  using  them.  In  that  lies  his  sole  contribution  to  what  must  be  called  the 
"progress"  of  music.  Later  English  composers,  to  their  shame,  and  certainly 
to  their  utter  confusion,  copied  Handel  instead  of  developing  on  PurcelPs  lines. 
They  profited  nothing;  and  Purcell  xemains  as  the  last  of  the  tribe  of  the  genu- 
inely creative  Englisli  musicians  before  Elgar,  He  was  determined  to  excel  in 
everything  he  touched;  and  he  excelled  in  everything.  His  forms  are  at  once 
broad  and  flexible;  his  harmonies  are  as  daring  as  Sebastian  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.  U"Born  just  before  the  Restoration,  he  felt  to  the  full  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  Tie  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  religious  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  which  give  his  music  the 
character  that  stamps  and  marks  it  off  as  his  own.  (See  page  346.} 


SERGEI  RACHMANINOFF 

BY  RICHARD  ANTHONY  LEONAKD 

SERGEI  RACHMANTNOpaF  is  one  of  those  not  infrequent  composers  whose  artistic 
convictions  become  fixed  at  an  early  time  in  their  lives,  and  who  thereafter, 


SHORT  BIOGRAPHIES  OF  MUSICIANS  511 

despite  the  pull  of  a  thousand  counter-attractions,  never  relinquish  those  early 
ties.  He  was  born  in  Russia  in  1873,  and  by  the  time  he  had  reached  his  early 
tweoties  the  great  nationalist  movement  in  Russian  music  had  reached  its  high 
tide.  In.  his  early  compositions  Rachmaninoff  identified  himself  with  one  of 
the  phases  of  that  movement.  Since  then  he  haa  witnessed  the  "whole  art  of 
jnusic  passing  through  a  vast  metamorphosis;  nevertheless  he  had  hardly  moved 
from  his  original  position.  TfThe  figure  of  Rachmaninoff  the  concert  pianist 
-was  a  familiar  one  the  "world  over,  and  in  many  ways  was  revealing  of  Rach- 
maninoff the  composer.  He  was  tall,  powerfully  built,  commanding,  with  wrists 
and  fingers  of  steel;  his  closely  cropped  hair,  strong  nose  and  deep-set,  melan- 
choly eyes  all  bespoke  a  nature  that  was  austere,  aloof,  proudly  individualistic. 
In  short,  a  man  of  forceful  inner  convictions  that  could  not  easily  be  shaken. 
Seeing  him  made  it  easy  to  understand  how,  at  an  early  age,  he  might  have 
discovered  his  own  aims  and  ideals,  as  well  as  his  limitations,  and  how  he  might 
steadfastly  have  refused  for  the  rest  of  his  creative  life  to  veer  his  course,  re- 
gardless of  how  the  winds  of  musical  fashion  might  blow.  That  is  why  to-day 
much  of  Rachmaninoff's  music  sounds  like  a  voice  from  the  past,  speaking  the 
Romantic  speech  of  the  eighteen-eighties  and  nineties.  ^"Rachm  a.n  in  off  is 
often  spoken  of  as  a  kind  of  connecting  link  between  the  two  main  branches  of 
Russian  music  of  the  nineteenth  century.  One  group  included  the  arch- 
Nationalists,  led  by  the  famous  "Five/'  who  preached  that  all  Russian  music 
should  come  directly  from  the  native  soil;  that  it  should  be  based  on  Russian 
literature,  folk  songs  and  legends,  and  the  music  of  the  Russian.  Church.  They 
were  opposed  by  the  so-called  Eclectics,  composers  like  Tchaikowsky  and 
Rubinstein,  who  had  studied  and  were  sympathetic  with  the  trends  of  music 
in  western  Europe.  While  he  was  still  in  hig  teens  Rachmaninoff  met  Tchai- 
kowsky, and  the  influence  of  the  great  Russian  Romanticist  upon  the  talented 
young  man,  was  profound  and  lasting;  Nevertheless,  Rachmaninoff  stands  not 
entirely  with  either  school,  but  between  the  two.  He  has  the  technical  equip- 
ment of  an  Eclectic,  a  thorough  knowledge  of  the  methods  and  procedure  of  the 
French  and  German  schools  of  the  nineteenth  century;  but  his  thematic  ma- 
terial, the  whole  colour  and  feeling  of  his  music,  is  unmistakably  Russian. 
^[Rachmaninoff  has  composed  in  many  forms,  but  the  bulk  of  his  enduring 
work  centres  around  the  piano.  His  piano  solos  are  among  the  most  famous 
and  popular  pieces  produced  for  that  instrument  in  the  present  century.  The 
composer's  own  pre-eminence  as  a  concert  pianist  as  well  as  the  ingratiating 
qualities  of  the  pieces  themselves  has  been  responsible  for  their  widespread 
favour.  They  are  chiefly  in  the  small  forms,  the  preludes  predominating,  and 
most  of  them  bear  the  marks  of  Chopin's  influence.  They  lack  the  depth  and 
subtlety  of  Chopin's  greater  works,  but  they  are  brilliantly  pianistic  and  exem- 
plify the  composer's  mastery  of  the  technical  resources  of  the  instrument.  Tin 
the  larger  forms  Rachmaninoff's  most  distinguished  works  are  undoubtedly  the 
piano  concertos.  He  has  written  four;  but  the  Second,  in  C  minor,  is  most 
often  performed  to-day,  in  fact  it  remains  one  of  the  most  successful  concertos 
produced  in  the  past  four  decades.  It  is  typically  a  work  of  the  Romantic  era, 
melodious  and  expressive,  alternating  between  long-breathing,  darkly  coloured 
cantabile  phrases  and  powerfully  built  climaxes,  grandiose  and  declamatory. 
The  flavour  of  the  work  is  strongly  Russian,  and  shows  the  influence  of  Tchai- 
kowsky. The  piano  part  is  in  the  virtuoso  vein  throughout.  TfSeveral  oi 


512  SHORT  BIOGRAPHIES  OF  MUSICIANS 

Rachmaninoff's  orchestral  works,  such  as  his  Second  Symphony  in  E  minor, 
his  symphonic  poem,  "The  Island  of  the  Dead,"  and  "The  Bells'9  (for  chorus, 
soloists,  and  orchestra)  enjoyed  a  wide  vogue  in  the  early  part  of  the  present 
century,  but  they  are  less  often  heard  to-day.  Recently  his  brilliant  "Rhapsody 
on  a  Theme  of  Paganini"  for  piano  and  orchestra,  and  his  long-awaited  Third 
Symphony  have  received  genuine  acclaim.  All  these  works  give  evidence  of 
the  composer's  masterful  command  of  the  orchestra,  and  his  ability  to  sustain, 
in  the  difficult  large  forms,  a  lofty  inspiration.  ^Rachmaninoff's  songs  are  for 
the  most  part  deeply  coloured  and  rich  in  sentiment,  more  in  the  lyrical  pattern 
of  Tchaikowsky  than  in  the  stark,  unadorned  style  of  Moussorgsky.  Several 
of  them,  like  "Floods  of  Spring"  and  "In  the  Silence  of  Night,"  have  achieved 
a  popularity  almost  as  widespread  as  the  piano  preludes.  (See  Dictionary  of 
Musicians  entry,  page  348.) 


MAURICE  RAVEL 

BY  RICHARD  ANTHONY  LEONARD 

THE  MUSIC  of  Maurice  Ravel  suffered  for  a  long  time  from  unjust  comparison 
with  that  of  Claude  Debussy.  It  used  to  be  the  fashion  to  say  that  Ravel 
was  a  kind  of  minor  Debussy,  who  was  more  imitative  than  original,  more 
clever  than  profound.  Perhaps  such  comparisons  were  inevitable:  they  were 
both  Frenchmen,  they  were  contemporaries  (Ravel  being  but  a  dozen  years 
younger  than  Debussy),  and  both  were  leading  exemplars  of  the  impressionist 
movement  in  music.  They  even  displayed  a  curious  parallelism  in  their  choice 
of  subjects.  It  is  true  that  Debussy  had  the  more  original  creative  gifts.  His 
impressionism  is  more  subtle  and  mysterious  than  Ravel's;  his  was  indeed  the 
deeper  and  more  enigmatic  mind.  But  Ravel  had  his  gifts,  too,  not  nearly  so 
inconsiderable  as  his  early  detractors  had  surmised.  HFor  one  thing  Ravel 
was  a  scrupulous  craftsman.  One  might  search  his  music  from  "Jeux  d'Eau" 
to  the  two  piano  concertos,  and  find  scarcely  a  bar  that  gave  evidence  of  having 
been  set  down  carelessly,  or  that,  for  want  of  new  inspiration,  was  obviously 
repetitious  of  something  he  had  done  before.  Furthermore,  he  was  a  crafts- 
man not  merely  in  one  form  but  in  many*  He  wrote  a  number  of  exquisite 
songs;  his  piano  music  is  brilliant  and  effective;  his  string-quartet  is  one  of  the 
best  in  modern  music;  his  "L'Heure  Espagnole"  is  a  delicious  comic  opera; 
while  "Daphnis  and  Chloe"  is  one  of  the  two  or  three  greatest  ballets  of  our 
time.  ITRavel's  indebtedness  to  Debussy  is  incontestable,  but  we  can  discern 
now  that  it  was  nevertheless  limited.  It  lay  chiefly  in  the  field  of  harmony — 
in  his  use  of  seventh  and  ninth  chords,  parallel  chords,  poly  tonality,  the  twelve- 
tone  scale,  the  medieval  modes,  etc.  But  we  discern,  too,  that  Ravel's  music 
has  a  rhythmic  quality  that  Debussy's  often  lacks.  The  latter's  music  is 
liquid,  flowing,  sensuous,  vague  in  outline.  Ravel's  is  more  incisive,  definite, 
clean-cut.  And  Ravel  was  far  more  preoccupied  with  form  than  Debussy 
ever  was.  He  had  a  special  liking  for  the  formal  classicism  of  the  eighteenth- 
century  masters,  especially  Couperin,  Rameau,  and  Mozart.  He  admired 
their  elegance,  their  perfection  of  style,  their  economy  of  means.  His  study  of 
these  masters  is  reflected  in  a  great  deal  of  his  work — most  obvicuslv  in  his 


SHORT  BIOGRAPHIES  OF  MUSICIANS  513 

Sonatine  and  "Tombeau  de  Couperin"  for  the  piano,  his  string-quartet,  and 
the  first  movement  of  his  Piano  Concerto.  It  has  given  his  work  a  balance 
and  symmetry,  a  classic  grace  that  is  almost  unique  in  impressionistic  music. 
IfDebussy  was  of  course  a  supreme  stylist,  but  so  was  Ravel — and  in  a  totally 
different  sense.  There  was  one  problem  of  style  which  Ravel  delighted  in 
solving  i  that  of  taking  the  essentials  of  another  Tn^i^iral  idiom  and  translating 
them  into  his  own  impressionistic  medium.  The  above-mentioned  works 
based  on  the  eighteenth-century  masters  are  typical  examples;  others  are  his 
numerous  excursions  into  the  Spanish  idiom  in  such  works  as  "Rhapsody 
Espagnole"  "UHeure  Espagnole,"  "Bolero?*  and  "Alborado  del  Gracioso"; 
his  brilliant  study  of  the  Strauss  waltz  in  "La  Valse";  and  his  paraphrase  of 
Liszt's  Hungarian  Rhapsodies  in  "Tzigane"  for  violin  and  orchestra.  We 
even  find  the  last  movement  of  his  piano-concerto  tinctured  with  American 
jazz.  1fln  the  art  of  orchestration  Ravel  stood  at  the  summit.  Some  of  his 
pieces  are  very  nearly  Studes  in  orchestration;  "Bolero"  for  example,  is  hardly 
more  than  an  instrumental  tour  deforce.  But  in  others  he  made  his  orchestra- 
tion an  integral  part  of  his  inspiration.  "Daphnis  and  Chloe"  is  a  matchless 
example.  Here  it  is  the  orchestral  garb  almost  as  much  as  the  substance  of 
the  music  itself  which  gives  this  work  its  exquisite  antique  flavour,  its  air  of 
pure  Arcadian  beauty.  And  in  his  orchestral  arrangement  of  Moussorgsky's 
"Pictures  at  an  Exhibition"  by  precisely  the  same  means  Ravel  achieves  a 
miraculous  affinity  with  the  nineteenth-century  Russian  composer.  Surely  the 
Greece  of  Longus  and  the  Russia  of  Moussorgsky  stand  at  the  poles;  and  yet 
is  it  not  one  of  the  triumphs  and  one  of  the  mysteries  of  art  that  an  elegant, 
urbane,  and  somewhat  ironical  Frenchman  of  the  twentieth  century  can  reach 
out,  through  music,  and  touch  them  both?  TfMany  critics  have  observed 
Ravel's  sly  wit,  his  unexpected  irony.  More  than  one  has  intimated  that  a 
coldness  in  his  nature  must  have  found  its  way  into  his  work,  that  it  too  often 
lacks  the  warmth  of  human  sympathy.  This  is  partly  true.  Ravel's  music 
never  wrings  the  heart  as,  say,  Debussy's  does  in  the  last  act  of  "Pelleas  and 
Melisande"  Ravel  abhorred  sentimentality  even  more  than  Debussy  did, 
more  than  most  Frenchmen.  He  could  no  more  have  been  guilty  of  a  senti- 
mental orgy  like  "Ein  Heldenleben"  than  Richard  Strauss  could  have  written 
anything  so  cold  and  glittering  and  cynical  as  "La  Valse"  But  Ravel  had 
his  moments,  too,  a  few  moments  when  he  exposed — half-ashamedly — an 
innate  tenderness  of  heart.  One  of  them  is  in  his  early  "Pavane  pour  une 
Infante  defunte";  others  are  to  be  found  hi  his  "Ma  Mere  L'Oye."  And  is  not 
"Daphnis  and  CMoe"  a  monument  to  the  wild  ecstasy  of  young  love,  alive  in 
every  bar  with  breathing  passion?  Hovel's  whole  life,  both  personal  and 
artistic,  was  that  of  an  arch-aristocrat — perfectly  ordered,  fastidious,  with- 
drawn. He  never  married,  and  he  had  few  intimate  friends;  so  that  most  of  his 
life  after  the  World  War  was  spent  at  Montfort  PAmaury,  near  Paris,  in  sur- 
roundings so  quiet  as  to  make  hirn  practically  a  recluse.  For  several  years  be- 
fore he  died  the  same  terrible  black  veil  that  had  covered  the  faces  of  Schumann 
and  Smetana  covered  his.  IfWe  might  sum  him  up  to  say  that  he  was  one  of 
the  very  greatest  of  French  composers;  that  whatever  he  set  out  to  do  in  music 
he  accomplished  by  sheer  force  of  craftsmanship  and  elegance  of  taste;  that  his 
music  is  "modern"  to  the  core — singularly  a  product  of  his  time  and  his  coun- 
try: and  that,  above  all,  he  shares  with  Debussy  the  distinction  of  having  con- 


614  SHORT  BIOGRAPHIES  OF  MUSICIANS 

tributed  most  to  the  impressionist  movement  in  music,    (See  Dictionary  of 
Musicians  entry,  page  352.) 


RECOLLECTIONS  OF  MY  LAZY  CHILDHOOD 

BY  MATTRICE  RAVEL 

IN  THE  LAST  PEW  YEARS  of  his  life  Ravel  met  the  most  tragic  fate  that 
can  overtake  anyone.  He  began  to  lose  his  mind.  What  made  the  dis- 
aster even  more  terrible  was  the  fact  that  he  had  intervals  of  complete 
lucidity,  during  which  he  realised  all  too  well  what  was  happening  to 
M™  He  died  in  Paris  on  the  aSth  of  December,  1937.  ^Shortly  before 
his  death,  during  one  of  his  lucid  intervals,  the  composer-wrote  an  essay  that 
he  called  Mes  Souvenirs  d}  Enfant  Paresseux  ("Recollections  of  My  Lazy 
Childhood")?  in  which  he  discussed  the  various  influences  that  shaped  his 
career,  gave  a  partial  estimate  of  his  own  work,  and  voiced  his  own  decla- 
ration of  faith  as  an  artist.  The  article  was  published  in  the  French  news- 
paper ParisvSvir  a  week  after  Ravel's  death.  It  has  never  been  widely 
read  here,  was  not  reprinted.  It  appears  here  in  my  own  translation. 

DEEMS  TAYLOR 

For  me  [writes  Ravel]  there  have  never  been  several  arts:  Only  one.  Music, 
painting,  and  literature  differ  only  as  to  their  means  of  expression.  So  .there 
are  not  various  kinds  of  artists,  only  various  kinds  of  specialists.  The  need 
for  specialisation  becomes  greater  and  greater  as  our  field  of  knowledge  broad- 
ens; for  nothing,  even  in  art,  can  be  acquired  without  hard  study.  Conse- 
quently it  has  become  impossible  for  us  to  follow  the  example  of  Leonardo  da 
Vinci,  who  managed  to  be  an  amateur  of  all  the  arts — even  of  painting!  f As 
for  myself,  I  was  certainly  born  to  be  a  musician;  but  if  I  am  not  a  writer,  it  is 
simply  because  of  the  lack  of  the  impulse  to  be  one.  I  notice,  for  example,  that 
when  I  read,  my  attitude  is  a  professional  one,  as  if  I  were  a  writer.  The  same 
with  painting.  I  look  at  a  picture,  not  with  the  eyes  of  a  picture  lover,  but  with 
those  of  a  painter.  This  comes,  perhaps,  from  the  fact  that  as  a  child  I  was 
gifted  in  many  ways;  a  fact  that,  needless  to  say,  greatly  worried  my  parents. 
It  worried  them  all  the  more  because  my  various  artistic  leanings  were  coupled 
with  an  extraordinary  laziness.  I  never  worked  except  "taxi"  fashion,;  that  is 
to  say,  in  order  to  induce  me  to  make  the  slightest  exertion,  I  had  to  be  bribed. 
Ifln  school,  the  only  study  that  amused  me  somewhat  was  that  of  mathematics 
— to  the  great  joy  of  my  father,  who  was  an  engineer.  My  mother,  who  was  a 
Basque  and,  like  all  the  people  of  her  country,  a  musician,  would  have  liked 
to  see  me  a  little  more  zealous  in  my  piano  studies.  But  they  merely  bored 
me.  However,  the  minute  I  took  up  the  study  of  composition,  everyone 
realised  that  my  path  lay  in  that  direction.  It  even  amused  me!  Which  was 
not  extraordinary,  after  all,  since  my  interest  in  mathematics  tended  to  bring 
me  to  music.  I  became  interested  to  such  a  point  that,  inveterately  lazy  as  I 
had  been  up  to  then,  I  began  to  work  nights  as  well  as  in  the  daytime — aiiabit 
that,  unfortunately  for  my  health,  has  always  persisted.  My  teacher,  Charles 
Rene,  started  me  working  exercises  in  composition  when  I  was  no  more  than 


SHORT  BIOGRAPHIES  OF  MUSICIANS  515 

sixteen  or  seventeen;  but  it  was  not  until  three  or  four  years  later  that  I  devoted 
myself  to  serious  attempts  at  composition.  I  had  made  others  before,  but  kept 
them  carefully  hidden.  At  the  Conservatoire  I  was  enrolled  both  as  a  compo- 
sition student  and  as  a  pianist.  In  the  latter  capacity  I  was  a  member  of  the 
class  of  Camille  de  Beriot,  who  soon  noticed  that  while  I  had  definitely  the 
temperament  of  an  artist,  I  had  a  minimum  amount  of  zeal  as  an  executant. 
Meanwhile  I  plunged  ardently  into  the  study  of  harmony,  counterpoint,  and 
fugue,  and  notwithstanding  the  fact  that  up  to  then  I  had  written  very  little, 
I  began  to  feel  the  itch  to  compose.  1flt  was  at  that  time  that  I  began  to  make 
continual  discoveries  among  the  works  of  my  favourite  authors,  feeling,  mean- 
while, that  I  had  something  to  say  in  another  direction.  The  influences  that 
I  felt  at  that  time  confirm  me  in  my  belief  that  there  are  not  various  kinds  of 
arts.  I  did  fall  under  the  spell  of  one  musician:  Chabrier.  Not  yet  has  he 
been  given  the  rank  that  he  deserves,  for  modern  French  music  all  stems  from 
him.  He  played,  in  music,  thje  part  that  Manet  played  in  painting.  And,  as 
a  matter  of  fact,  Chabrier  owned  some  of  the  finest  of  Manet's  paintings.  The 
discovery  of  Debussy  was  less  of  a  shock  to  me,  in  that  I  had  already  surrendered 
to  Chabrier.  And  if  I  have  been  influenced  by  Debussy  I  have  been  so  de- 
liberately, and  have  always  felt  that  I  could  escape  him  whenever  I  chose.  In 
any  case,  I  never  completely  accepted  Debussy's  principles,  and  I  believe  that 
that  should  be  obvious  to  anyone.  As  a  matter  of  fact,  as  regards  musical  tech- 
nique, my  teacher  has  certainly  been  Edgar  Allan  Poe.  To  me  the  finest  treatise 
on  composition,  certainly  the  one  that  has  influenced  me  the  most,  is  Poe's  essay 
on  the  genesis  of  a  poem.  Mallarme  to  the  contrary,  when  he  claims  that  the 
<jssay  was  written  as  a  joke.  I  firmly  believe  that  Poe  wrote  his  poem,  "The 
Raven,"  exactly  as  he  says  he  did.  1[My  passion  for  discovering  new  things,  in 
tainting,  literature,  and  music,  was  not  merely  a  phenomenon  of  my  youth. 
1  have  always  had  it,  especially  about  myself.  It  is  this  passion  for  discovery 
that  has  always  driven  me  to  try  to  renew  my  artistic  self.  1fl  never  put  down 
a  work  until  I  have  made  absolutely  certain  that  there  is  nothing  about  it  that  I 
could  not  improve.  The  great  thrill  comes  when  I  do  put  it  down.  After  that 
I  have  no  more  interest  in  it.  I  have  never  tried  to  write  in  the  style  of  Ravel. 
If  I  have  found  new  ways  of  expressing  myself,  I  leave  it  to  others  to  discover 
them.  If  you  want  to  convict  me  of  inconsistency  by  hurling  my  earlier  works 
at  my  head,  well  and  good.  I  know  that  a  conscious  artist  is  always  right. 
H~I  say  "conscious,"  rather  than  "sincere";  for  there  is  something  humiliating 
about  the  latter  term.  A  true  artist  cannot  be  sincere.  The  imaginary,  the 
false,  if  you  please,  used  to  create  an  illusion,  is  mankind's  one  great  superiority 
over  the  fl.-nima.ls,  and,  when  he  undertakes  to  create  a  work  of  art,  the  artist's 
one  point  of  superiority  over  the  rest  of  mankind.  Anyone  who  rests  his  claim 
on  so-called  spontaneity  alone,  is  merely  babbling.  1fln  art,  everything  that  is 
not  significant  must  be  rejected.  Massenet,  who  was  so  highly  gifted,  squan- 
dered himself  through  too  much  sincerity.  He  wrote  down,  literally,  everything 
that  came  into  his  head;  with  the  result  that  he  spent  his  career  saying  the  same 
thing  over  and  over  again.  What  he  thought  were  discoveries  were  only  remi- 
niscences. As  a  matter  of  fact,  artists  seldom  exercise  enough  self-mastery. 
After  all,  since  we  cannot  say  what  we  have  to  say  without  deliberately  exploit- 
ing, and  so  translating,  our  own  emotions,  is  it  not  better  at  least  to  be  conscious 
of  that  fact,  and  realise  that  great  art  is  simply  a  supreme  form  of  pretense? 


516  SHORT  BIOGRAPHIES  OF  MUSICIANS 

The  thing  that  people  sometimes  call  my  own  lack  of  sentiment  is  simply  m> 
scrupulous  care  to  avoid  saying  the  obvious  and  unimportant.  IfAs  ior  "the 
charge  they  level  against  me,  of  writing  "only  masterpieces"  that  is,  of  creating 
works  that  leave  me  nothing  more  to  say  in  that  particular  idiom,  T  can  only 
answer  that,  if  that  were  true,  I  should  be  the  first  to  know  it  and  that  there 
would  be  nothing  left  for  me  to  do,  except  either  to  stop  work,  or  to  die.  I  say 
this,  despite  the  example  of  the  Lord,  who  took  a  long  rest  after  having  created 
the  world  .  .  .  and  who  was  so  wrong!  (See  also  page  332.) 


RIMSKY-KORSAKOFF 

BY  RJCHAKD  ANTHONY  LEONAIO> 

OP  THE  ORIGINAL  "Five"  who  created  the  Russian  school  of  music  in  the 
nineteenth  century,  four  were  essentially  amateurs.  Balakireff  was  looked 
upon  by  his  fellows  as  a  professional  musician;  but  Cui  was  an  army  officer, 
an  engineer  of  fortifications;  Borodin  was  a  doctor  and  a  teacher  of  chemistry 
Moussorgsky,  after  his  retirement  from  the  army,  spent  his  life  as  a  government 
clerk.  Rimsky-ELorsakoff  was  a  naval  officer.  As  a  young  midshipman  he  had 
fallen  under  the  spell  of  the  fascinating  Balakireff,  and  wrote  his  first  symphony 
before  he  was  twenty-one  years  old.  At  that  time  he  was  so  ignorant  of  music 
theory  (Balakireff  having  scorned  the  necessity  for  academic  training  in  har 
mony,  "counterpoint,  form,  efc.)  that  h^*did  not  even  know  the  names  of  the 
common  chords.  1fBut  Rimsky-Korsakoff  \fras  the  one  member  of  the  famous 
group  who  refused  to  remain  an  amateur.  In  fact,  he  became  one  of  the  most 
skilful  musicians  of  his  time,  and  a  consummate  master  of  many  aspects  of 
musical  technique.  He  accomplished  this  through  years  of  unceasing  industr^ 
Harmony  and  counterpoint  he  learned  only  after  he  had  accepted  a  professo*- 
ship  at  the  St.  Petersburg  Conservatory!  He  taught  simply  by  teaching  him- 
self  first  and  keeping  one  jump  ahead  of  his  pupils.  To  understand  orchestra- 
tion more  fully  he  bought  many  of  the  instruments  and  learned  how  to  play 
them.  He  succeeded  so  well  that  he  was  later  able  to  write  a  manual  of  orches- 
tration which  remains  a  classic  to  this  day.  IfRimsky-KorsakofFs  life  was  a 
steady  progression,  a  carefully  planned  development  of  a  great  natural  talent. 
He  was  a  perfectionist,  who  never  ceased  polishing  not  only  the  brilliant  facets 
of  his  music  but  the  very  tools  of  his  trade  as  welL  He  seemed  never  to  be 
idle;  and  when  he  was  not  adding  to  his  own  immense  output  he  was  spurring 
on  his  friends  Borodin  and  Moussorgsky  to  similar  achievement — helping  them 
with  their  orchestrating,  even  completing  and  editing  their  works  after  their 
deaths.  Hit  is  curious  that  for  all  his  methodical  mind  and  well-ordered  habits 
Rimsky-KorsakofFs  music  is  the  most  fanciful,  picturesque,  and  charmingly 
extravagant  of  all  the  nineteenth-century  Russians.  It  offers  a  contrast  with 
the  music  of  Moussorgsky,  for  example,  that  is  almost  as  great  as  the  gulf 
between  the  temperaments  of  the  two  men.  Moussorgsky's  art  was  that  of 
the  natural  dramatist,  the  realistic  interpreter  of  the  hearts  of  men.  His  music 
is  often  shaggy  and  unkempt;  it  reeks  continually  of  the  Russian  soil.  Rimsky- 
KorsakofFs  is  melodic,  lyrical,  and  essentially  pictorial.  It  is  Russian,  but 
With  a  bleed  of  the  exotic  East;  and  its  polished  technique  often  covers  melodic 


SHORT  BIOGRAPHIES  OF  MUSICIANS  517 

Ideas  tiiat  are  commonplace.  There  is  no  doubt  now  that  Moussorgsky  was 
the  more  powerful  and  original  genius,  for  his  music  has  grown  steadily  with 
the  years  and  a  whole  generation  of  modern  composers  have  fed  upon  it. 
Rimsky-KorsakofFs,  on  the  other  hand,  has  declined.  ^Though  he  composed 
in  many  forms,  Rimsky-KorsakofFs  operas  constitute  the  great  bulk  of  his 
works.  He  wrote  fifteen,  nearly  all  of  them  based  on  Russian  stories,  legends, 
or  dramas.  For  a  time  they  were  so  important  a  part  of  the  operatic  repertoire 
in  Russia  that  he  seemed  destined  to  become  the  equivalent  in  his  native  coun- 
try of  Wagner  in  Germany  and  Verdi  in  Italy.  But  in  recent  years  many  of 
these  works  have  faded  and  now  suffer  neglect.  Outside  of  Russia  one  hears 
only  the  exquisite  "Le  Coq  d'Or"  and  occasionally  "Sadko"  and  "Snyegoo- 
rochka"  If  Far  more  popular  are  the  purely  orchestral  works:  the  "Capriccio 
Espagnol,"  the  Russian  Easter  overture,  the  "Antar"  Suite,  and — inevitably — 
"  *>cheherezade"  There  is  still  great  vitality  ir  these  pieces,  and  they  are 
likely  to  represent  their  composer  on  symphonic  programmes  for  many  years. 
They  will  live  because,  for  one  thing,  Rimsky-Korsakoff  had  the  gift  of  lyricism, 
and  his  melodies  (though  often  somewhat  obvious)  nearly  always  have  charm. 
He  knew,  too,  how  to  hide  their  defects  by  his  expert  use  of  colourful  harmonies. 
He  was  also  a  past-master  of  orchestration,  by  which  he  gave  his  music  a  mar- 
vellous clarity  of  expression,  a  richness  of  texture,  and  a  brilliance  that  is  almost 
Oriental  in  its  opulent  splendour.  For  his  discoveries  in  the  science  of  instru- 
mentation, a  host  of  modern  composers — Stravinsky,  Ravel,  Falla,  Respighi, 
Prokofieff ,  etc. — owe  him  a  great  debt.  IfRussia  owes  him  a  great  debt,  too. 
For  at  a  time  when  nationalism  in  music  was  still  on  trial  in  western  Europe, 
he  was  her  most  ardent  and  successful  propagandist.  He  proved  by  his  own 
technical  mastery  that  nation  a.]  ism  need  not  be  synonymous  with  amateurism. 
He  made  it  plain  that  the  literature,  legend,  folk,  and  church  music  of  a  single 
cation  might  be  made  the  basis  for  a  treasury  of  musical  inspiration.  (See 
Dictionary  of  Musicians  entry,  page  362.) 


GIOACCHINO  ROSSINI 

BY  IRENAEXJS  PSIME-STEVENSON 

Ir  is  like  a  page  of  goldenest  sunshine  in  the  volume  of  musical  personalia 
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.  1[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'ltaliana  in 
Algeri,"  "II  Barbiere  di  Seviglia,"  "Guglielmo  Tell,"— and  possibly  "Se- 
miramide,"  for  the  world  will  have  lost  too  completely  a  natural  irresistible 
feeling  for  melody,  for  restrained  elegance  of  orchestral  diction,  and  above  all 
for  the  perfect  expression  of  true  comedy  in  music.  Only  in  one  other  master, 


518  SHORT  BIOGRAPHIES  OF  MUSICIANS 

Mozart,  to  whom  Rossini  felt  that  he  owed  so  much,  and  to  whom  he  declared 
himself  so  far  inferior,  do  we  meet  equal  sincerity,  taste,  and  eloquence  as 
prolificacy  put  into  operatic  song  and  orchestration.  If  And  as  to  "Tell," 
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.  TfThe 
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  orches- 
tra, 1flt  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  significant  advantages  to  great  individualities  for  them- 
selves, 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  paralysing  to  all  other  music.  Iflmmediately  after  the  striking 
renunciation  of  his  career,  at  only  thirty-seven  years  of  age,  came  the  Wagner 
movement.  (See  Dictionary  of  Musicians  entry,  page  368.) 


ARNOLD  SCHONBERG 

BY  RiGHAiu>  ANTHONY 


SCHONBERG  is  either  music's  most  hopelessly  misguided  fanatic  01 
her  supreme  martyr.  He  occupies  the  "last  and  lofty  station"  of  a  St.  Simeon 
Stylites,  for  his  is  an  ideal  which  few  beside  himself  have  had  the  temerity 
even  to  acknowledge  but  which  he  pursues  with  the  demoniac  intensity  of  a 
zealot.  Schonberg  is  the  most  advanced  of  all  ultra-modernists,  and  (if  we 
may  change  our  metaphor)  no  one  can  yet  see  whether  his  explorations  along 
the  course  of  music's  stream  are  pointing  the  way  to  the  future,  or  whether  he 
has  drawn  himself  off  into  the  shallows  of  a  stagnant  backwater.  No  composer 
since  Wagner  has  been  exposed  to  such  merciless  critical  diatribes.  No  com* 
poser's  music  has  drawn  from  audiences  such  unrestrained  resentment,  ridicule, 
and  even  hatred.  "Empty  ingenuity  and  ingenious  pedantry"  .  .  .  "the 
fanciful  imaginings  of  a  lunatic"  .  .  .  "the  drunken  gesture  of  a  learned 
professor"  .  .  .  these  are  but  samples  of  the  criticism  that  Schonberg's 
music  has  met  unfailingly  for  three  decades.  IfThere  is  a  revealing  sentence 
in  Egon  Wellesz's  sympathetic  study  of  this  composer  and  his  works.  Speaking 
of  a  performance  of  a  group  of  Schonberg's  early  songs,  in  Vienna  in  1900, 
Dr.  Wellesz  writes,  "When  the  performance  was  over  there  was  a  mild  'scene' 
in  the  hall.  *And  from  that  time,'  said  Schonberg  with  a  smile  one  day  when 
he  was  telling  me  about  it,  'the  scandal  has  never  ceased.'  "  Indeed  it  has  not, 
as  those  who  heard  the  first  New  York  performance  of  Schonberg's  "  Variations 
for  Orchestra"  twenty-nine  years  later  can  testify.  1fYet  there  can  be  no 
question  that  Schonberg's  mastery  of  the  purely  technical  side  of  music  might 
well  be  the  envy  of  any  musician  of  our  time.  The  same  is  true  of  his  unswerv- 
ing sincerity  and  his  intellectual  strength.  This  man,  it  must  be  remembered, 
was  practically  self-taught  in  an  art  whose  mechanics  have  been  comoared, 


SHORT  BIOGRAPHIES  OF  MUSICIANS  519 

for  their  complexity,  to  those  of  astronomy.  At  twenty-six  he  composed  the 
"  Gurre-Lieder  "  a  work  of  gargantuan  size,  on  a  par  for  sheer  physical  bulk  with 
Mahler's  "Symphony  of  One  Thousand."  As  a  teacher  he  is  probably  without 
a  peer.  His  pupils  (some  of  the  foremost  German  composers  of  to-day)  revere 
him  as  the  most  inspiring  of  pedagogues  and  prophets.  His  books  and  essays 
on  music,  notably  his  great  treatise  on  harmony,  are  unrivalled  in  their  contribu- 
tions to  the  aesthetics  of  this  art.  In  the  face  of  such  accomplishment  only  the 
bigoted  or  the  ignorant  could  fail  to  accord  Schonberg  the  fullest  measure  of 
tolerance  in  his  strivings  toward  a  new  frontier  in  music.  IfThis  supreme  ultra- 
modernist  began  his  career  in  the  nineties  as  a  post-romanticist,  steeped  in  the 
music  of  Richard  Wagner.  His  early  songs,  his  sextet,  "  Verklarte  Nacht"  and 
the  " Gurre-Lieder"  all  bear  'the  inevitable  marks  of  "Tristan  and  Isolde." 
The  "Gurre-Lieder"  is,  in  fact,  a  huge  over-expansion  of  the  Wagnerian  style 
and  method,  a  grandiose  enlargement  of  already-stale  nineteenth-century 
Tomanticism.  It  is  a  remarkable  achievement  for  a  young  man  of  twenty-six 
"but  it  suffers  from  having  been  born  too  late.  All  through  his  early  work 
Schonberg  displays  a  prodigious  mastery  of  the  technical  side  of  his  art.  His 
symphonic  poem,  "Pelleas  and  Melisande"  is  of  a  contrapuntal  density  almost 
Trithout  parallel,  while  in  the  two  early  string  quartets  there  is  a  superb  handling 
of  the  thematic  material  and  of  the  part  writing.  Nevertheless,  the  composer 
leaves  the  impression  that  he  is  unsatisfied  by  the  facility  which  he  has  achieved 
so  quickly  in  the  existing  styles  and  that  he  is  struggling  toward  new  concepts 
of  beauty  and  form.  Moreover,  facility  is  not  by  any  means  the  whole  of 
iccomplishment,  and  it  is  disturbing  to  find  in  much  of  this  early  work  a  lack 
of  first-rate  creative  ideas.  TfWith  the  completion  in  1909  of  his  famous  Opus 
n,  the  "Three  Piano  Pieces"  Schonberg  arrived  at  the  point  of  his  "complete 
'break  with  the  past."  Here  was  the  beginning  of  a  journey  which  he  -  was  to 
travel  with  a  fixed  and  unshakable  purpose  for  the  remainder  of  his  creative 
life.  These  three  small  pieces  are  Schonberg's  first  complete  expression  of  his 
new  atonal  style.  Atonality  is  not  the  only  feature  of  Schonberg's  music, 
from  this  point  on,  which  is  to  be  looked  upon  as  revolutionary  and  even  bizarre. 
His  work  abounds  in  innovation.  (There  are,  for  example,  the  use  of  the 
" Sprechgesang"  or  song  speech,  the  elaborate  synchronisation  of  music  and 
stage  lighting  in  his  opera,  "Die  Glilckliche  Hand,"  and  his  highly  individual 
uses  of  orchestration.)  But  all  else  is  of  secondary  importance  when  compared 
with  the  far-reaching  effect  of  atonality.  In  the  public  mind  at  least  it  is  his 
use  of  atonality  which  is  the  kernel  of  Schonberg's  art,  and  the  fundamental 
cause  for  which  ultimately  he  is  'to  be  canonised  or  damned.  If  Atonality  is 
a  new  word,  coined  to  express  the  antithesis  of  tonality,  i.e.,  without  tonality. 
To  Schonberg  the  idea  of  a  single  key  or  tonal  centre  was  a  limitation;  so  he 
turned  to  atonality  in  which  all  twelve  tones  of  the  scale  are  given  equal  im- 
portance and  complete  independence.  In  atonality  the  old  laws  of  harmony 
and  tonality  are  no  longer  obeyed.  Schonberg  even  refused  the  compromise 
of  a  mixture,  purposely  banning  all  consonant  chords  of  orthodox  procedure 
from  his  scheme.  Coexisting  with j  atonality  in  the  Schonbergian  method  is 
the  new  type  of  counterpoint  which  he  evolved  to  accompany  it.  As  every 
music  student  knows,  orthodox  counterpoint  required  in  melodic  writing  the 
copious  use  of  scale  lines,  alternating  with  skips  and  leaps.  Schonberg's 
melodies  consist  largely  of  wide  leaps  of  every  possible  interval,  often  extending 


520  SHORT  BIOGRAPHIES  OF  MUSICIANS 

(even  in  the  vocal  parts)  beyond  the  limits  of  an  octave.  These  melodies, 
though  angular  and  eccentric  in  the  extreme,  are  always  subjected  religiously 
to  the  basic  principles  of  unity  and  variety;  chief  themes  as  well  as  secondary- 
themes  and  accompaniment  material  are  derived  from  the  same  basic  musical 
germs.  If  This  so-called  dissonant  counterpoint  be.came  the  basis  of  all  Schon- 
berg's  work  after  1909.  His  scores  are  thick,  labyrinthine  masses  of  contra- 
puntal development  in  which  he  displays  an  almost  superhuman  facility  in  the 
manipulation  of  the  traditional  devices.  His  music  abounds  in  imitation, 
fugue,  canon,  inverted  canon,  and  even  the  crab-canon,  or  "  cancrizans,"  in 
which  the  melody  progresses  to  a  certain  point  and  then  reverses  itself  until 
the  entire  part  is  played,  note  for  note,  backward  to  the  beginning.  Lest  the 
unwary  might  imagine  that  dissonant  counterpoint,  being  released  from  the 
strict  laws  of  orthodox  harmony,  might  be  a  relatively  simple  matter,  it  must 
be  pointed  out  that  Schonberg  in  his  scheme  is  guided  by  an  entirely  new  set 
of  rules  which  are  even  more  stern  and  unrelenting  than  the  old  ones.  They 
are  rules  of  his  own  devising,  an  outgrowth  of  his  inner  convictions  about  the 
course  which  the  music  of  tie  future  must  take.  Often  they  seem  strained 
and  pedantic  to  the  point  of  sheer  perversity,  suggesting  that  Schonberg,  in 
his  struggle  to  free  music  from  her  traditional  fetters,  had  succeeded  only  to 
forge  an  entirely  new  set  himself.  1[The  net  result  of  these  methods  is  one  of 
the  most  curious,  if  not  utterly  bewildering,  developments  in  the  history  of 
music.  To  the  eye,  there  is  no  doubt  that  Sch5nberg*s  music  is  based  upon 
the  logical  application  of  sound  aesthetic  principles.  We  may  clearly  see  in 
his  scores  the  use  of  time-tested  principles  as  foundation  stones  for  his  innova- 
tions. But  to  the  ear  it  is  the  new,  the  startling,  and  even  the  downright  ugly 
which  predominate.  Dissonance  follows  dissonance  until  all  semblance  of  a 
connection  with  the  past  seems  to  disappear,  and  the  ear  longs  for  the  eventual 
appearance  of  a  consonance  or  even  the  suggestion  of  a  tonality.  For  many 
listeners  this  is  a  development  which  has  tortured  the  art  of  music  out  of  shape 
to  suit  an  arbitrary  and  self-imposed  discipline,  an  experiment  in  beauty  which 
destroys  beauty  and  leaves  only  a  shell  of  ugliness  and  frustration.  For  them 
it  is  significant  that  the  most  effective  of  all  Schonberg's  works  is  his  "Pierrot 
Lunaire."  This  melodrama  consists  of  twenty-one  songs  scored  for  eight 
instruments  and  a  "sprechstimme" — that  is,  a  soloist  who  half  speaks,  half 
sings.  The  poems  upon  which  the  songs  are  based  relate  the  never-ending 
struggle  between  idealism  and  materialism.  Pierrot,  the  embodiment  of 
idealistic  youth,  passes  from  spirituality  to  the  depths  of  degradation  and  sin, 
then  back  to  regeneration  and  idealism.  It  is  a  decadent  idea,  sicklied  o'er 
and  staled  by  a  thousand  different  uses.  Schonberg's  is  precisely  the  setting 
that  it  deserves.  He  distills  into  his  weird  score  the  essence  of  a  decayed 
romanticism.  His  music  is  perverse  and  morbid,  heavy  with  the  scent  of 
sickening  perfume;  it  is  ironic  and  sinister,  full  of  malicious  humour  that  seems 
always  on  the  point  of  breaking  into  the  cackling  laughter  of  sheer  insanity. 
^Significant,  too,  is  the  fact  that  the  only  work,  not  merely  of  Schonberg's  but 
of  any  of  his  close  followers,  which  has  as  yet  received  a  genuine  and  widespread 
acclaim  is  the  opera  "  Wozzeck"  by  his  distinguished  pupil,  Alban  Berg.  Here 
is  a  score  of  singular  originality,  the  most  powerful  contribution  of  our  time  to 
the  operatic  stage.  Its  story  is  one  that  qhills  and  repells  the  listener — a 
welter  of  human  miserv  and  suffering,  of  perversion,  murder,  and  suicidr 


SHORT  BIOGRAPHIES  OF  MUSICIANS  521 


The  lyric  muse  walks  into  the  charnel  house  and  the  psychopathic  Ttfard,  and 
the  music  follows,  suiting  itself  perfectly  to  its  surroundings.  In  other  words, 
it  is  to  conceptions  of  the  morbid  and  the  decadent  that  the  Schonbergian  art 
has  so  far  found  its  most  successful  application.  ^There  is  another  pertinent 
observation  to  be  made  here.  In  "Wozzeck"  Berg  uses  with  consummate 
skill  all  of  Schonberg's  complicated  atonal  and  contrapuntal  technique  —  but 
his  work  has  a  power  and  a  colour  and  an  inner  vitality  that  are  lacking  in  the 
work  of  his  master.  "Wozzeck"  may  be  monstrous,  but  at  least  it  walks. 
Too  much  of  Schonberg,  on  the  other  hand,  is  inert  and  static.  Too  often  we 
are  amazed  at  his  immense  resource,  only  to  be  disappointed  that  his  inspira- 
tion remains  still-born.  It  is  possible,  of  course,  that  Schonberg  is  another 
C&zanne.  an  artist  misunderstood  and  despised  during  his  lifetime,  only  to  be 
canonised  after  his  death.  But  at  present  it  would  seem  that  his  influence., 
not  his  work,  is  to  cast  the  longer  shadow.  (See  Dictionary  of  Musicians  entry, 
page  389.) 


FRANZ  SCHUBERT 

BY  H.  A.  Scoxx 

FRANZ  SCHUBERT  was  very  nearly  the  greatest  of  all  composers.  If  he  had 
lived  longer,  been  more  carefully  trained  when  young,  and  received  greater 
appreciation  in  his  lifetime — three  very  reasonable  "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  off  at  this  age  what  treasures 
the  world  would  have  lost! — in  the  case,  say  of  Handel,  every  one  of  his  ora- 
torios; in  that  of  Beethoven,  his  seven  greatest  symphonies;  in  that  of  Wagner, 
all  his  operas  after  "Tannh&itser"  and  "  Lohengrin" ;  in  that  of  Brahms,  the 
"German  Requiem"  and  all  his  symphonies.  1flt  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  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  tuch  unparalleled  abun- 
dance. He  was  a  stupendous  genius,  it  might  almost  be  said,  with  an  infinite 
capacity  for  not  taking  pains — whose  "profuse  strains  of  unpremeditated  art" 
were  at  once  too  profuse  and  too  unpremeditated.  1fBut  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 


522  SHORT  BIOGRAPHIES  OF  MUSICIANS 

endowed  by  nature,  whether  one  considers  either  the  surpassing  beauty  of  his 
ideas  or  the  profusion  of  their  supply.  Kin  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  Schubertian,  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  in- 
strumental pieces  than  to  his  songs.  1TTne  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  fact  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  characteristic  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  sym- 
phonies, Ms  chamber  compositions,  and  those  exquisite  one-movement  pieces 
foi  the  pianoforte,  the  "Impromptus"  and  "Moments  Musicals"  which  in  their 
way,  be  it  said,  were  only  a  degree  less  epoch-making  than  the  songs.  UWhat 
then  is  the  distinctive  place  in  music  of  this  divinely  gifted  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  position  is  assured.  It  seems 
safe  to  say  that  his  noblest  achievements  under  this  head  will  never  be  sur- 
passed. 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,  and  dramatic  or  emotional  content  of  the  poem  illustrated,  was  a 
distinctive  creation  in  its  way  not  one  whit  less  wonderful  than,  say,  the  Bee- 
thoven symphony  or  the  Wagnerian  music-drama.  Such  songs  as  "Der 
Erlkonig,"  "Diejunge  Nonne,"  "Der  Tod  und  das  Madchen,"  "Der  Atlas,' 
"Der  Doppelgimg&r"  or  "Gruppe  aus  dem  Tartarus"  to  name  but  half-a-dozeL 
almost  at  random  from  his  more  descriptive  examples,  were  a  totally  new  thing- 
in  music,  the  influence  of  which  upon  all  succeeding  composers,  not  only  of 
songs  but  of  every  kind  of  dramatic  or  illustrative  music,  not  excluding  opera, 
it  would  be  hard  to  over-esteem.  IfAnd  more  remarkable  still  perhaps  is  the 
fact  that  this  superb  emotional  and  dramatic  expressiveness  was  attained  with- 
out the  smallest  sacrifice  of  qualities  specifically  musical — nay,  took  shape  in 
music  of  the  greatest  beauty,  richness,  variety  and  charm,  as  music  alone  and 
without  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  kind  of 
song,  but  developed  its  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.  TfSchubert'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  romantic  school  one  has  only  to 
consider  in  general  the  whole  character  of  his  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  connection.  Here  also,  in  these  last-named  works,  he  did 
that  which  no  one  before  him  had  attempted,  inventing  new  forms  for  the  ex- 
pression of  moods  too  delicate,  too  intimate,  and  too  personal  for  treatment 


SHORT  BIOGRAPHIES  OF  MUSICIANS  523 

in  the  larger  movements  uf  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  enchanting  to  the  ear,  regarded 
from  the  purely  sensuous  standpoint — than  some  to  be  found  in  these  inspired 
works.  Had  Schubert  left  nothing  further  than  this  slender  volume  of  "  Im- 
promptus" and  "Moments  Musicals"  for  the  pianoforte  his  name  would  live 
forever  in  the  records  of  the  art.  1flf  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  enormous  significance  and  im- 
portance. Schubert  in  these  larger  works  may  have  been  diffuse  at  times,  may 
not  always  have  developed  to  the  full  the  wondrous  ideas  which  came  to  him 
in  such  abundance,  his  works  may  sometimes  lack  proportion;  but  what  quali- 
ties 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  minor  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 
:he  dry-as-dusts*  and  analysts'  strictures  in  the  face  of  such  imperishable  com- 
positions 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, 
tinder  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.  IfWell  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 
schonere  Hoffnungen."  (See  Dictionary  of  Musicians  entry,  page 


ROBERT  SCHUMANN 

BY  RICHARD  ALDRICH 

SCHUMANN'S  music  fa!is  into  three  groups  or  periods  as  easily  as  Beethoven's. 
There  is,  first,  the  product  of  his  early,  exuberant  style,  those  wonderful  series 
of  short  piano  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  conservative  methods;  his  ideal  had 
expanded,  and  was  leading  him  to  compose  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 
failing  powers,  the  exhausted  imagination  of  an  intellect  already  overshadowed 
by  its  approaching  doom.  ^Schumann's  beginnings  in  music  were  as  nearly 
the  spontaneous  outpourings  of  himself  as  can  well  be  thought  of.  It  is  difficult 
to  derive  the  sources  of  even  his  first  attempts  from  the  music  of  his  predeces- 


524  SHORT  BIOGRAPHIES  OF  MUSICIANS 

iors.  He  studied  some  of  Hummers  works,  and  greatly  admired  Moscheles, 
and,  the  critics  say,  that  the  "Abegg"  variations,  Opus  j,  are  in  the  Hummel- 
Moscheles  style.  He  was  devoted  to  Schubert  from  his  early  years,  and  played 
his  little  piano  pieces,  especially  the  dances,  with  great  love;  perhaps  the  traces 
of  this  may  be  found  in  the  Papittons,  Opus  2.  But  even  here,  the  influence,  if 
there  be  any,  related  more  to  the  concise  and  sententious  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  instinctive  feeling  for  contrapuntal 
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.  IfThere  is  one  influence,  however,  that  cannot  be  overlooked 
in  computing  the  forces  bearing  on  Schumann's  formative  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  copious 
writer — but  his  very  ideals  in  music,  were  moulded  on  Jean  Paul's,  and  thickly 
overlaid  with  his  mannerisms.  For  in  these  early  years  of  Schumann's  life 
music  and  poetry  seem  to  meet  on  common  ground,  and  to  take  their  impulse 
from  one  and  the  same  starting-point.  In  Jean  Paul,  all  that  charming  crevs 
of  "Dawdites"  with  "Florestan"  and  "Eusebius"  as  their  forefront,  have 
their  prototypes;  and  their  appearance  in  the  early  Zeitschrijt  articles  is  no  more 
characteristic  of  this  influence  than  their  appearance  in  the  "Carneval"  and 
the  " Davidsbiindlertanze."  1[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  indifferent*  Some  of  his  ardent  companions  in  the 
revolutionary  parties  of  the  earlier  years  saw  in  this  a  backsliding  from  his 
professions.  But  the  fact  that  he  parted  company  with  "Florestan"  and 
"Eusebius,"  and  erased  their  names  from  the  reissues  of  musical  works  once 
signed  by  them,  can  be  for  us  naught  but  an  indication  of  intellectual  growth. 
We  enjoy  those  romantic  and  engaging  figures,  but  we  see  greater  things  than 
they  were  concerned  with  in  the  symphonies,  the  piano-quintette,  the  string- 
quartettes,  the  piano-concerto,  the  third  part  of  "Faust,"  and  "Paradise  and 
the  Peri"  IJThe  contributions  of  Schumann  to  the  development  of  the  art 
are  important  and  permanent.  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,  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  effects.  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  pianoforte-playing  and  composition.  ^Schumann's  use  oi 
short  pieces^  in  connected  series,  as  an  exposition  of  what  is  really  a  single 


SHORT  BIOGRAPHIES  OF  MUSICIANS  525 

poetic  idea  running  through  them  all,  is  his  own  creation,  and  one  that  suc- 
ceeding composers  have  made  the  most  of.  So  is  his  idealised  form  of  pro- 
gramme-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  intelligible  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  discuss  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.  Schumann  added  something  peculiarly 
his  own  to  the  Lied,  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  many  instances,  giving  its  ritournelles  or  instru- 
mental postludes  an  independent  elaboration  and  meaning  of  their  own. 
TfSdmmajm  came  of  a  well-to-do  family,  and  his  early  general  education  and 
social  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  disposed  toward  moodiness;  and  by  the  time  he, 
reached  manhood  he  had  fallen  into  a  staite  of.  remarkable  taciturnity  and  in- 
trospection. 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,  of  ten  with  an  incipient  smile -upon,  his  face,  and  with  his  lips  purssd, 
as  though  to  whistle.  His  letters  show  him  to  have  been  of  a  sweet  and  affec- 
tionate nature' toward  his  family  and  intimates;  kindly  and  generous  in. Ms 
estimate  and  treatment  of  others,  yet  roused  to  anger  by  a. wrong,  and  capable 
of  deep  and  glowing  resentment.  TfScfaumann'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  unskilful 
orchestration,  in  the  estimation  of  a  generation  to  whom  fine  feeling  for  or- 
chestral colour  is  essential,  but  the  magnificent  elegance  of  the, two  great 
overtures  (to  "Manfred99  and  "Genoveva")  is  little  discounted  in  this  w$y; 
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  UB&-. 
mitted  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  nimble!uess 
of  finger  and  brilliancy  of  effect;  but  it  is  impossible  to  deny  that  these  pieqss. 
are  still  competent,  as  few  others  are,  to  serve  deep  and  sincere  music  loverst 
"  for  the  enjoyment  of  god  at  home."  Schumann  will  always.have  a  cominaadr 
ing  hold,  a  commanding  place  in  the  nineteenth  century,  the  century  of  evolu^ 
tion,  the  century  that  struck  off  the  academic,  bonds  .from-  art,.  In  the  a^ioble, 
band  of  romantic  adventurers  into  new  and  unexplored  realms  of.itLusip>, 
Schumann  was  a  leader,  but  he  never  failed  in  his  bold  and  chivalrous 
ship  of  the  rectitude  of  his  art.  (See  also  page  395.) 


526  SHORT  BIOGRAPHIES  OF  MUSICIANS 

JEAN  SIBELIUS 
BY  RICHAKD  ANTHONY  LEONARD 

THE  MUSIC  of  Jean  Sibelius  stood  before  the  world  for  more  than  three  decades 
before  this  composer  began  to  receive  his  just  dues.     On  the  stage  of  modern 
iniisic  he  was  for  years  a  powerful  but  never  a  dominating  figure;  he  remained 
adoof  and  in  the  half-light,  never  in  the  centre  of  the  stage.     Had  Sibelius  died 
as  recently  as  1925  it  might  have  been  with  the  belief  that  much  of  his  finest 
work  was  destined  for  oblivion.     But  now  at  last  he  stands  forth  in  his  true 
stature  as  one  of  the  two  or  three  greatest  composers  of  our  time,  while  for  many 
critical  admirers  he  is  the  master  spirit  of  all  twentieth-century  musicians. 
IfNo  mystery  surrounds  this  long-delayed  recognition,  for  two  often-encountered 
factors  had  been  at  work.     The  first  is  the  inherently  difficult,  almost  forbidding 
quality  of  Sibelius'  greatest  work,  a  quality  which  makes  early  appreciation 
well-nigh  impossible.     The  second  was  the  appearance,  at  the  moment  when 
Sibelius  began  his  first  serious  work  of  composition,  of  new  and  startling  trends 
in  modern  music — first  the  impressionism  of  Debussy,  then  the  ultramodernism 
of  Stravinsky,  and  finally  the  atonality  of  SchSnberg — a  small  revolution  which 
was  to  absorb  the  attention  of  the  music  world  for  more  than  thirty  years,  during 
which  time  Sibelius  and  his  works  had  to  wait,  alone  and  neglected,  in  the  ante- 
room.    Still  a  third  factor  should  be  mentioned;  it  was  accidental  but  neverthe- 
less potent.     Sibelius  was  unfortunate  in  that  several  of  his  early  minor  works . 
(notably  "Finlandia"  and  "Valse  triste")  achieved  a  widespread  and  super- 
ficial popularity.     For  many  years  musicians  (even  symphony  conductors  ol 
otherwise  discerning  taste)  thought  of  Sibelius  in  terms  of  these  competent  but 
essentially  second-rate  scores — to  the  great  detriment  of  his  other  vastly  more 
important  works.     TfThere  is  special  interest  in  the  fact  that  Sibelius  was  born 
in  1865,  for  it  indicates  that  he  is  a  contemporary  of  Debussy  (born  1862)  and  of 
Richard  Strauss  (born  1864).     The  contrast  in  the  creative  careers  of  these 
three  men  is  curiously  revealing.     Debussy  died  in  1918,  and  for  six  years  before 
that  the  flame  of  his  inspiration  had  tragically  drooped.     Strauss  has  survived 
into  old  age,  but  the  genius  who  composed  "Der  Rosenkavalier"  and  "Till 
f&ulenspiegel'*  has  been  dead  these  many  years.     Sibelius,  alone  of  the  three, 
jgrew  old  without  suffering  a  serious  decline  in  his  creative  powers.     During  the 
first  decade  of  the  twentieth  century,  when  the  other  two  men  had  already 
reached  their  zenith,  Sibelius'  star  was  rising  in  a  steady  curve;  in  the  second 
decade,  when  they  had  passed  their  peak,  he  had  just  entered  the  great  creative 
period  of  his  life.     Hit  should  be  noted,  too^  that  all  three  men  began  their  im- 
portant work  in  the  nineties,  at  the  time  when  the  tremendous  tide  of  Wagner- 
ism  was  moving  toward  its  flood.     The  most  vital  single  consideration  in 
Sibelius'  early  life  is  the  fact  that  he  was  not — and  never  did  become — a  Wagner- 
ite*     Sibelius  has  always  disliked  Wagner's  music.     So  many  composers,  like 
Strauss',  bad- succumbed  to  the  Wagnerian  magic  and  spent  their  lives  largely 
in  imitation  of  him.     But  Sibelius  turned  completely  away  from  Wagner,  and 
therein  lay  the  ultimate  salvation  of  his  creative  soul.     In  his  finest  work  we 
find  instead  a  definite  kinship  with  Brahms.     To-day  indeed  it  becomes  in- 
creasingly evident  that  tbe  Sibelius  symphonies  are  the  most  powerful  essays 


SHORT  BIOGRAPHIES  OF  MUSICIANS  527 

in  that  form  since  the  death  of  Brahms.  An  English  protagonist  of  Sibelius, 
Cecil  Gray,  goes  even  further,  declaring  that  for  Sibelius'  equal  as  a  symphonist 
we  must  actually  name  the  All-Highest — Beethoven  himself.  If  The  whole 
body  of  Sibelius'  work  comprises  an  enormous  quantity  of  music  in  a  great 
variety  of  forms.  Besides  the  seven  symphonies  there  are  more  tha.n  fifty 
orchestral  and  choral  works,  large  and  small;  incidental  music  to  a  number  of 
plays,  a  violin  concerto,  a  string  quartet,  dozens  of  piano  pieces,  more  than  one 
hundred  songs,  and  a  number  of  miscellaneous  works  of  every  type — many  ol 
which  have  never  been  published.  In  such  a  wealth  of  material  it  is  inevitable 
.that  there  should  be  a  wide  variation  in  quality.  But  the  general  level  is  un- 
commonly high.  The  greater  works  fall  mainly  into  two  categories — the  tone 
poems  and  the  symphonies.  The  latter  are  the  more  likely  to  prove  the  supreme 
-examples  of  the  composer's  genius,  but  it  was  the  former  which  first  established 
him  and  which  even  to-day  remain  in  the  public  consciousness  as  his  most 
characteristic  creations.  IfThe  Sibelius  of  the  tone  poems  is  closely  akin  to 
nature  and  they  are  an  unmistakable  product  of  his  Northern  environment. 
He  himself  has  written,  "  It  is  true  I  am  a  dreamer  and  a  poet  of  nature.  I  love 
the  sounds  of  the  field  and  forest,  water  and  mountains."  He  is  profoundly 
moved,  too,  by  the  legends  of  the  North,  especially  by  the  Finnish  mythology. 
From  these  two  wellsprings  of  inspiration  have  come  many  of  his  best  works. 
"The  Oceanides"  for  example,  is  an  impressionistic  tone  picture  with  the 
myriad  aspects  of  the  sea  as  its  background.  The  stupendous  "Tapiola"  (one 
of  Sibelius'  masterpieces)  takes  its  name  from  Tapio,  the  Finnish  forest  god. 
"Rn  Saga,"  the  first  work  of  Sibelius  to  become  widely  known  outside  of  Fin- 
land, is  a  symphonic  poem  based  on  an  unnamed  legend.  Most  potent  of  afl 
sources  of  material  for  this  composer  has  been  the  "Kalevala,"  the  great  national 
epic  of  the  Finns.  From  its  runes  he  has  drawn  the  brilliant  "  Pokjola's  Daugbr 
ter"  a  tonal  painting  of  the  maiden  of  Pohjola  sitting  upon  a  rainbow,  spinning. 
Also  " The  Origin  of  Fire"  for  barytone  solo,  male  chorus  and  orchestra,  in 
-which  Ukko,  the  Zeus  of  the  Finnish  mythology,  restores  sunlight  and  warmth 
to  a  world  plunged  in  darkness.  The  story  of  the  Creation  as  told  in  the 
"Kalevala"  is  set  forth  in  " Lunnotar"  for  soprano  solo  and  orchestra.  Other 
runes  of  the  same  work  are  the  basis  for  "The  Song  of  Vaino"  for  chorus  and 
orchestra;  the  "Legend"  for  orchestra,  "The  Return  of  Lemminkainen"  and 
-its  companion  piece,  the  famous  "Swan  of  Tvonela"  In  the  Finnish  mythology 
Tuonela  is  the  Hell,  or  land  of  death.  Ifln  dominating  such  tremendous  ma- 
terial— the  painting  of  vast,  icy  Northern  spaces,  of  mighty  half-barbaric 
legends — Sibelius  displays  complete  mastery.  He  brings  to  his  task  a  pro- 
digious technical  equipment,  an  Olympian  style,  and  a  sovereign  imagination. 
The  result-is  music  of  truly  epic  quality.  "It  is  blood-brother  to  the  wind  and 
silence,"  writes  Paul  Rosenfeld;."to  the  lowering  cliffs  and  the  spray  r  to  harsh 
crying  of  sea-birds  and  the  breath  of  fog.  .  .  .  The  orchestral  compositions 
«of  Sibelius  seem  to  have  passed  over  'black  -torrents  and  desolate  moorlands, 
through  pallid  sunlight  and -grim  primeval  forests,  and  become, drenched  with 
them.  The  instrumentation  is  all  wet  grays  and  blacks,  relieved  only  .by  bits 
of  brightness  wan  and  elusive  as  the  Northern  summer,  frostily  green  as  the 
polar  lights.  The  works  are  full  of  gnawing  of  bassoons  and  the  bleakness  of 
•the  English  horn,  full  of  shattering  trombones  and  screaming  violins,  full  of  the 
sinister  rolling  of  drums,  the  menacing  reverberation  of  cymbals,  the  icy  glicter- 


528  SHORT  BIOGRAPHIES  OF  MUSICIANS 

ing  of  harps.  The  musical  ideas  of  those  of  the  compositions  that  are  finally 
realised  recall  the  ruggedness  and  hardiness  and  starkness  of  things  that  persist 
in  the  Finnish  winter.  The  rhythms  seem  to  approach  the  wild,  unnumbered 
rhythms  of  the  forest  and  the  wind  and  the  flickering  sunlight."  Ifln  spite  of 
these  qualities  in  the  music  of  Sibelius  it  cannot  be  said  that  he  has  ever  evolved 
a  special  or  characteristic  "style.'*  We  may  speak  of  Debussy's  typical 
harmonies,  or  Stravinsky's  rhythms,  or  Schonberg's  atonality;  but  no  such 
ready  epitietic  qualities  associate  themselves  with  the  work  of  the  great  Finn. 
For  that  reason  there  are  no  Sibelius  imitators,  and  there  probably  never  will 
be.  There  never  has  been  a  Sibelius  school  or  a  Sibelius  cult — no  swarm  of 
gadfly  imitators  such  as  flitted  around  Stravinsky  and  Schonberg.  The  music 
of  Sibelius  contains  little  that  is  revolutionary  or  startlingly  new,  little  upon 
which  the  facile  imitator  may  seize.  His  development  as  an  artist  has  been  a 
slow,  steady  growth,  based  solidly  on  the  foundations  of  his  great  predecessors 
and  coloured  only  by  his  strong  Northern  personality.  His  mastery  is  all- 
embracing:  his  melodies  are  aggressive  and  strong,  full  of  salt  and  savour;  his 
harmonies  are  richly  expressive  or  acrid  and  harsh,  depending  upon  his  specific 
aims;  while  his  superb  command  of  modern  orchestration  is  exercised  only  for 
the  most  legitimate  purposes,  never  for  mere  virtuosity  for  its  own  sake.  1fln 
the  seven  Sibelius  symphonies  all  these  qualities  are  present  in  superabundance. 
The  First  Symphony,  written  in  1899  when  the  composer  was  thirty-four,  is 
largely  orthodox  in  form.  It  contains  strong  reminders  of  Grieg,  Tchaikowskir 
and  Dvorak,  but  its  melodies  are  distinctive  and  unhackneyed,  its  orchestration 
brilliantly  effective.  Even  to-day,  when  so  much  of  the  music  of  the  late 
nineteenth  century  has  faded  and  grown  stale,  this  work  retains  its  vital  fresh- 
ness. The  Second  Symphony  is  closely  akin  to  the  First;  it  contains  a  finale 
of  the  type  beloved  by  late  Victorians.  Yet  it  gives  strong  evidence  of  the 
composer's  growth  and  its  inner  construction  contains  acorns  that  were  later 
to  produce  some  of  his  greatest  oaks.  For  his  Third  Symphony  Sibelius  uses  a 
process  of  reduction.  The  form  is  scaled  down  to  three  movements,  the  orches- 
tration is  restrained,  while  the  imposing,  dramatic  dignity  of  the  thematic 
material  of  the  preceding  symphonies  is  discarded  for  simple,  straightforward 
melodies.  The  prevailing  mood  of  the  work  is  sunny  and  bright.  Ifln  his 
Fourth  Symphony  Sibelius  produced  not  only  the  crown  of  his  own  endeavour, 
but  one  of  the  most  astonishing  works  in  all  modern  music.  Early  performances 
left  its  hearers  baffled  and  unsatisfied,  while  most  conductors  thought  it  so  harsh 
and  ungrateful  that  it  lay  neglected  for  almost  twenty  years.  The  reasons  are 
not  far  to  seek.  It  is  a  remote,  solitary,  deeply  introspective  work,  saturated 
with  the  darkest  gloom.  Its  themes  sound  bare  and  elementary,  and  often 
so  sparsely  developed  that  at  first  hearing  they  seem  not  to  be  developed  at  all. 
"The  Fourth  Symphony,"  writes  Cecil  Gray,  "is  the  outcome  of  a  process  of 
sheer  starvation,  of  a  f akirlike  asceticism  and  self-denial.  It  is  gaunt,  spectral, 
emaciated  almost;  the  question  is  no  longer  one  of  superfluous  flesh,  but  of  any 
flesh  at  all — the  very  bones  protrude."  When  the  outward  strangeness  of  this 
extraordinary  work  wears  off  we  begin  to  feel  the  workings  of  the  powerful  and 
original  creative  mind  beneath  it,  and  the  desperate  suffering  which  must  have 
brought  it  to  fruition.  No  other  music  of  our  time  is  such  a  distilled  essence  of 
irLtolerable  pain.  IJSibelius  returns  to  something  nearer  serenity  in  his  Fifth 
Here  is  a  far  mote' conventional  work  than  the  Fourth,  but  every 


SHORT  BIOGRAPHIES  OF  MUSICIANS          529 

bar  contains  the  stamp  of  its  creator.  The  last  movement  is  a  notable  success — 
a  stirring,  triumphant  finale  that  nevertheless  contrives  to  be  unhackneyed. 
For  many  critics  Sibelius'  Sixth  Symphony  represents  something  of  a  falling  ofi 
in  creative  interest.  It  is  a  restrained,  carefully  poised  work,  lacking  the 
intensity  of  the  Fourth  and  the  brilliance  of  the  Fifth.  But  with  the  Seventh 
Symphony  we  come  again  upon  an  undisputed  masterpiece.  This  symphony 
is  in  one  gigantic  movement,  a  vast  massing  of  the  composer's  creative  forces 
for  a  single  stunning  attack.  It  has  no  counterpart  in  the  music  of  our  time. 
(See  Dictionary  of  Musicians  entry,  page  405.) 


RICHARD  STRAUSS 

BY  JAMES  HUNEKER 

THAT  Richard  Strauss  was  the  son  of  the  famous  horn-player  may  explain 
his  predilection  for  the  beautiful  instrument.  IfAt  Meiningen  he  met  Alex- 
ander Ritter,  a  pupil  of  Wagner,  and  this  friendship,  with  Von  Billow's  daily 
coaching,  decided  Richard  Strauss's  tendency  in  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  with  enthusiasm;  he  was  a  modern  conductor  in  all  the  im- 
plications of  the  phrase.  A  man  of  good  physique,  Scandinavian  in  appearance, 
Strauss  was  widely  cultured  and  well  read  in  classic  and  modern  literature. 
1fln  music  he  was  a  true  descendant  of  Berlioz,  Liszt,  Wagner,  though  early 
in  his  career  he  showed  marked  traces  of  a  devotion,  to  Brahms.  This  is 
more  noticeable  in  his  piano  and  orchestra  Burleske  in  D  minor,  in  the  solo 
sonata  and  in  the  "Wanderer's  Sturmlied"  opus  14,  for  six-voiced  chorus 
and  orchestra.  1fHe  has  in  his  symphonic  forms  pushed  to  the  verge  of  the 
sublime — or  the  ridiculous — or  both — the  poetic  programme  (Vide  D.  i>., 
''programme  music").  His  "Don  Juan,"  "Macbeth,"  "Death  and  Transfigura- 
tion," "TiH  EulenspiegeFs  Merry  Pranks,"  "Thus  Spake  Zarathustra,"  "Don 
Quixote"  and  "Ein  Heldenleben"  are  tokens  of  labours  almost  Balzacian  in 
their  intensity.  An  emotional  strenuousness,  a  marvellous  mastery  of  the 
orchestral  apparatus,  an  abnormal  colour  and  rhythmic  sense,  combined  with 
poetic  feeling,  bizarre,  even  grotesque  methods  of  utterance,  an  utter  defiance 
of  formalism  either  classic  or  romantic,  and  a  thematic  invention  not  commen- 
surate with  his  other  gifts — all  these  qualities  jumbled  in  amazing  juxtaposition 
and  flavoured  by  a  powerful  individuality,  easily  made  Richard  Strauss  the 
leader  of  the  New  German  School  and  a  formidable  figure  in  the  musical  arena. 
1[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  some- 
what startling,  whole.  Form  he  abandons  utterly,  striving  to  capture  the  idea 
as  he  perceives  it,  in  its  full  bloom.  Opera  10, 15, 17, 127, 29, 32,  are  favourites; 
the  later  songs  are  difficult  and  almost  cryptic  in  sentiment  and  execution. 
Strauss  was  the  greatest  master  of  the  orchestra  of  his  day*  (See  page  422.") 


530  SHORT  BIOGRAPHIES  OF  MUSICIANS 

IGOR  STRAVINSKY 

BY  RICHARD  AarasoNY  LEONAED 

WHATEVER  the  future  may  think  of  him,  Igor  Stravinsky  has  achieved  during 
his  lifetime  a  place  in  modern  music  so  far  attained  by  no  other  composer  of 
the  twentieth  century.  One  almost  uses -the  word,  "notorious"  in  connection 
with  Stravinsky.  Specifically  he  is  responsible  for  that  most  infamous  of  all 
scores,  "Le  Sacre  du  Printemps"  When  Diaghileff  first  produced  this  ballet 
in  Paris  in  1913,  with  choreography  by  Nijinsky,  much  of  the  music  was 
drowned  out  by  the  hissing,  stamping,  and  yelling  of  the  enraged  audience. 
They  heard  a  tonal  picture  of  the  coming  of  Spring  in  pagan  Russia,  and  it 
assaulted  their  ears  and  their  emotions  with  a  ferocity  that  knew  no  bounds. 
It  was  cacophonous,  complex,  intense — it  was  sadistic,  frenzied,  horrifying. 
After  its  "first  concert  performance  in  England  in  1921  outraged  citizens -took 
arms  in  typical  British  fashion  and  wrote  letters  of  protest  to  the  newspapers. 
Lawrence  Oilman  relates  that  one  man,  shaken  to  his  emotional  roots,  insisted 
that  the  score  "stood  for  all  the  unnamable  horrors  of  revolution,  murder,  and 
rapine."  Tn  1924,  when  New  York  first  heard  the  concert  version  of  the  work, 
indignant  members  of  the  old  school  walked  out  in  droves,  unwilling  to  listen 
to  the  "blasphemous  destruction  of  music  as  an  art";  while  t©  later  perform- 
ances sensation-seekers  flocked  as  they  would  to  a  gangster's  funeral.  HThe 
cause  of  all  this  pother  was  a,  small-sized,  slight-figured  Russian,  with  the  full 
lips  and  slanting  eyes  of  a.  Tartar — a  cold  little  man  with  the  calculating, interest 
of  an  experimenter  me  music,  an  iconoclast  and  a  hater  of  all  sentiment.  This 
is  the  man  around  whom  the  entire  ultra-modernist  movement  in  music  re- 
volved* 'For  almost  twenty  years,  following  the  outbreak  of  the  Great  War, 
Stravinsky  bestrode  the  narrow  world  of  music  like  a  Colossus*  His  every 
score  was  accorded  instant  recognition  wherever  important  music  is  played. 
Imitators  and  disciples  sprang  up  everywhere,  until  effeminate  Frenchmen, 
staid'  y6tuig  Englishmen,  and  talented  American  Jews  were  all  slavishly  imitat- 
ing the  bitter  polytonality  and,  shock  ing  rhythms  of  tMs.  ultra-modern  primitiv- 
ist  Russian.  The  concert  halls  of  Europe  and  America-  rang  with  a  new  and 
strange  music.  The  rich,  sensuous  styles  of  Wagner  and  Strauss  began  to 
disappear;  their  sniooth-fibwing,  long-breathing  melodic  line  gave  way  to  hard, 
angular  rhjrthms  and  short,  metallic  utterance.  Atonality  became  the  reigning 
fashion;  notes  without  benefit  of  a  key  centre  were  juxtaposed  in  counterpoint 
that  shrieked.  ^Stravinsky  was  not  by  any  means  the  sole  moving  force  in 
tkis  revolution  which  swept  the  art  of  music;  for  more  than  a  decade  before 
the  war  the  currents  had  been  moving  swiftly  toward  this  climax.  But  he, 
Btfore  than  any  other  composer,  epitomises  the  upheaval  that  finally  took  place. 
His  'music  reflected,  more  than  any  other,  the  profound  changes  wrought  in 
every  phase  of  man's  activity  and  thought  during  the  second  and  third  decades 
of  the  twentieth  century.  It  reflected  a  cold,  hard  cynicism,  a  disdain  of  senti- 
ment, a  preoccupation  with  pure,  steely  mechanics,  mixed  with  occasional  out- 
bursts of  an  almost  frenzied  despair — in  brief,  all  the  characteristics  of  a  race 
of  men  whose  faiths,  traditions,  and  sentiments,  whose  moorings  to  a  nostalgic 
past  were  all  blasted  away  in  the  shell-shock  of  a  monstrous  war.  IfPossibly 


SHORT  BIOGRAPHIES  OF  MUSICIANS  531 

the  future  will  look  with  bewilderment  upon  the  huge  clouds  of  controversial 
dust  which  Stravinsky's  music  raised  when  it  burs,t  upon  an  unprepared  world. 
Much  of  its  strangeness  has  already  vanished;  atonality,  polytonality,  poly- 
harmony,  and  all  the  other  devices  of  ultra-modern  composition  no  longer  raise 
even  a  critical  eyebrow.  But  a  span  of  years  must  still  pass  before  any  final 
critical  estimate  can  be  made  of  Stravinsky's  fundamental  importance.  The 
composer  himself  has  complicated  the  issues  and  rendered  final  judgment 
difficult  by  refusing  to  remain  in  the  categories  which  musicians  and  critics,  in 
their  disturbed  attempts  to  classify,  have  tried  to  create  for  him.  Several  times 
in  the  course  of  his  development  he  has  changed  his  style,  advanced  new  and 
often  disquieting  theories,  or  taken  unto  himself  strange  and  incongruous  gods 
to  worship.  Few  composers  have  been  more  completely  unpredictable,  f  As 
with  so  many  revolutionists,  Stravinsky's  beginnings  were  orthodox.  His 
early  works,  after  a  period  of  study  with  Rimsky-Korsakoff,  include  a  set  of 
piano  6tudes,  a  song  cycle,  a  symphony  after  the  manner  of  Tchaikowsky,  and 
several  short  orchestral  pieces.  One  of  these,  "Fireworks,"  was  composed  as 
a  wedding  present  for  Rimsky's  daughter,  and  is  a  deftly  orchestrated,  exceed- 
mgly  clever  mimicry  of  fire  and  light.  Another,  " Scherzo  fantastique"  though 
a,  work  of  less  originality,  brought  about  the  most  important  single  happening 
hi  Stravinsky's  early  life.  It  was  heard  by  Serge  Diaghileff,  who  promptly 
commissioned  the  young  composer  to  write  for  his  Russian  ballet.  Between 
1909  and  1914  Stravinsky  composed  "L'Oiseau  de  Feu/9  "  Petrcuckka,"  and 
*'Le  Sacre  du  Printemps"  all  in  collaboration  with  Diaghileff,  who  produced 
them  first  in  Paris.  All  three  were  landmarks  in  the  history  of  the  ballet  and 
in  the  course  of  modern  music.  Moreover,  in  the  short  space  of  those  four 
years  the  composer  had  traversed  an  astonishing  span  of  creative  development 
and  achieved  a  rUma*-  which,  for  many  critics,  he  has  never  again  approached. 
With  "L'Oiseau  de  Feu"  he  stepped  with  one  stride  out  of  the  class  of  the 
talented  but  still  uncertain  amateur  to  an  assured  and  immensely  gifted  mas- 
tery. Much  of  this  work  is  plainly  derived  from  Stravinsky's  Russian  prede- 
cessors; nevertheless  it  is  full  of  originality  and  charm  and  it  exhibits  a  use  of 
the  orchestra  that  is  both  exquisite  and  brilliant.  " Petrouchka"  represents 
another  stride  forward — a  huge  stride.  Here  Stravinsky  discloses  a  genius 
not  only  for  scene  painting  in  music  but  also  for  the  far  more  difficult  art  of 
character  delineation.  With  incredible  vividness  and  speed  he  draws  for  us 
a  picture  of  the  Russian  peasant  fair — a  marvellous  phantasmagoria  of  gypsies, 
dancers,  organ-grinders,  drunkards,  a.nfma.la — in  a  whirl  of  merry-making  and 
noise.  Against  thfe  background  are  mimed  the  four  main  characters — the 
Charlatan  and  his  three  puppets,  the  Blackamoor,  the  Ballerina,  and  Petrouch- 
ka. Stravinsky  exposes  their  cruelty  and  vulgarity,  their  gaiety  and  charm, 
their  morbid,  violent  passions,  and  their  pathetic  struggling  for  a  transient 
happiness.  Petrouchka,,  "a  child-like  soul  crying  in  a  withered  hell,"  is  an 
especial  masterpiece  of  musical  characterisation.  fOf  "  Le  Sacre  du  Printemps  " 
and  its  first  impressions  we  have  already  spoken.  It  is  no  longer  the  terrifying 
monument  that  it  was  in  1913,  but  it  still  remains  a  solitary  and  profoundly 
disturbing  one.  Stravinsky  achieved  these  "Pictures  of  Pagan  Russia"  by  a 
combination  of  effects  which  were  violently  new  and  startling  at  that  time, 
and  which  were  to  leave  indelible  marks  on  all  the  music  of  the  next  two  decades. 
Dissonance,  atonality,  and  polyhsrmony  abound  in  the  score,  with  hardly  -  a 


532  SHORT  BIOGRAPHIES  OF  MUSICIANS 

bar  of  orthodox  harmony  to  be  found  anywhere.  The  orchestra  employ**!  is 
vast,  but  its  immense  frame  is  often  strained  to  the  utmost  by  the  explosive 
fury  of  the  music.  By  far  the  most  extraordinary  feature  of  the  score  is 
Stravinsky's  use  of  rhythms.  They  are  violent  in  the  extreme,  running  a  huge 
gamut  of  intensities  and  cadences,  and  often  so  complex  that  the  time  signatures 
change  with  almost  every  bar.  It  has  been  rightly  said  that  in  this  work 
Stravinsky  uses  rhythm  as  a  separate  entity,  much  as  Debussy  had  used  the 
chord — divorced  from  melody  and  employed  purely  for  its  own  sake.  Rhythm 
— brutal,  stark,  realistic  rhythm— now  became  the  hallmark  of  Stravinsky's 
work.  IfAfter  "Le  Sacre  du  Printemps"  a  change  came  over  the  composer— a 
change  about  which  there  still  remains  certain  elements  of  mystery.  Up  to 
this  time  his  work  had  been  unmistakably  Russian,  as  well  as  pictorial  and 
emotional.  •  Now  he  sought  to  develop  a  new  style.  His  life  in  Paris  suddenly 
*nade  him  aware  of  the  eighteenth  century  in  music,  of  its  abstract  purity, 
its  lack  of  a  pronounced  nationalism.  He  announced  that  he  wanted  to  become 
"a  classicist,  an  objectivist,  a  constructive  artist,"  He  scaled  down  his  huge 
orchestral  forces  and  wrote  more  intimate  works  like  the  chamber  operas, 
"Renara"  and  "L'Histoire  du  Soldat"  and  the  cantata/with  dances,  "Les 
Noces"  Then  he  became  completely  enamoured  of  the  neoclassic  style  and 
composed  "  Pulcinella,"  a  "  ballet  with  song,"  based  on  airs  of  Pergolesi,  a 
"  Symphony  for  Wind  Instruments"  an  "Octuor,"  also  for  wind  instruments, 
a  Concerto  for  piano,  wind  instruments  and  percussion,  and  a  Piano  Sonata. 
These  works,  according  to  the  composer,  were  "in  the  style  of  the  eighteenth 
century  viewed  from  the  standpoint  of  to-day."  The  view  could  not  have 
been  very  good,  for  often  the  results  were  simply  an  odd  mixture  of  old  counter- 
point and  new  atonality.  In  the  later  "Capriccio"  for  piano  and  orchestra 
and  the  Concerto  for  violin  it  appears  that  Stravinsky  was  chiefly  influenced  by 
Bach  and — miraUle  dictu — modern  jazz.  H"Even  though  this  neoclassic  phase 
was  to  dominate  the  composer's  work  for  more  than  a  decade,  and  although 
he  spoke  a  great  deal  in  its  defense,  for  the  general  music  public  it  was  a  dis- 
appointing anti-climax.  The  world  had  expected  tremendous  things  from  the 
composer  of  "Le  Sacre  du  Printemps'3  and  " Petrouchka" ';  it  felt  unexpectedly 
let  down  when  he  produced  instead  these  abstruse  cerebral  exercises,  deliber- 
ately drained  of  the  emotional  force  and  the  brilliant  colouring  that  had 
characterized  his  most  potent  work.  TfLater,  neoclassicism  itself  was  to  be 
supplanted.  The  seeds  of  the  newest  phase  are  to  be  found  in  the  opera  bouffe, 
"Mama"  which  appeared  in  1922.  It  is  based  on  a  book  of  Pushkin's  and  is 
an  admitted  attempt  to  imitate  the  style  of  the  early  nineteenth-century  opera 
composers.  Stravinsky  dedicated  it  to  the  memory  of  Pushkin,  Glinka,  and 
Tchaikowsky.  Later  he  publicly  declared  his  admiration  for  Tchaikowsky, 
to  the  utter  bewilderment  of  many  of  his  ultra-modernist  followers  who  had 
already  relegated  the  Russian  arch-romanticist  to  a  waxworks  of  long-forgotten 
horrors.  '  lit  1927  Stravinsky  finished  "Oedipus  Rex"  an  "opera-oratorio," 
based  on  a  Latin  translation  of  Jean  Cocteau's  French  version  of  the  Greek 
drama  by  Sophocles.  This  dark  and  sombre  score  (for  orchestra,  male  chorus, 
and  soloists)  Stravinsky  declared  to  be  "the  largest  of  all  his  works,"  in  which 
his  style  "had  reached  the  utmost  simplification  and  the  greatest  similarity 
with  the  ideal  style  to  be  found  in  Glinka's  'Life  of  the  Tsar.7 "  When,  in  1930, 
be  composed  his  "Symphony  cf  the  Psalms"  for  chorus  and  orchestra,  based 


SHORT  BIOGRAPHIES  OF  MUSICIANS 

on  verses  from  three  of  the  Psalms,  his  purposes  began  to  emerge  more  clearly. 
It  seemed  likely  that  his  cycle  of  development  had  turned  at  last  to  the  neo- 
rom antic  stage,  and  that  now  the  nineteenth  century  was  to  be  "viewed  from 
the  standpoint  of  to-day."  If  It  cannot  be  denied  that  Stravinsky  no  longer 
enjoys  the  undisputed  eminence  and  the  immense  prestige  that  he  did  for 
almost  two  decades  after  1914.  His  phase  of  neodassicism  in  particular 
brought  about  a  strong  critical  revulsion.  He  has  often  been  termed  an  oppor- 
tunist in  music,  a  shrewd  observer  of  fads  and  fashions,  an  innovator  who  used 
the  surface  brilliance  of  his  art  to  buy  popular  recognition  and  fame  during  his 
lifetime.  His  shortcomings — notably  his  weakness  in  melodic  invention — have 
been  proclaimed  again  and  again.  None  of  these  factors,  however,  is  likely  to 
mar  the  enduring  reputations  of  his  three  great  ballets,  produced  between  1909 
and  1914-  This  was  the  time  when  his  natural  impulses  and  his  Russian  herit- 
age of  strong,  primitive  emotionalism  were  given  free  rein.  As  soon  as  he 
sought  to  restrain  these  impulses  and  instead  apply  his  tremendous  technical 
skill  to  the  abstract  and  the  unemotional,  his  work  suffered  in  consequence. 
IfThe  inevitable  fact  remains  that  Stravinsky  had  reached  with  "Petrouchka" 
and  "Le  Sacre  du  Printemps"  such  a  peak  of  creative  intensity  that  almost  any 
work  which  followed  was  bound  to  disappoint.  Moreover,  we  may  now  dis- 
cern that  "Le  Sacre  du  Printemps"  was  not  the  beginning  of  a  genuine  new 
phase  in  modern  music,  but  the  ending  of  one.  It  is  clearly  a  work  of  im- 
pressionism— an  application  of  Stravinsky's  brutal,  angular,  hard-surfaced 
technique  to  the  impressionist  style.  In  spite  of  its  primitivist  outlines  it  is 
highly  sophisticated,  decadent;  it  represents  the  impressionist  movement 
developed  finally  to  overripeness.  With  its  completion  Stravinsky  was  left 
no  course  but  to  seek  other  modes  of  expression.  (See  Dictionary  of  Musicians 
entry,  page  423.) 


ARTHUR  SEYMOUR  SULLIVAN 

BY  ERIC  HODGINS 

AJFTER  the  death  of  Henry  Purcell,  it  took  England  some  one  hundred  and  fifty 
years  to  produce  a  native  composer  worthy  of  any  critical  notice  whatever. 
She  finally  succeeded  in  1842,  when  Arthur  Seymour  Sullivan  was  born  in 
London.  IfThis  second  son  of  an  Irish  clarinetist  was  marked  for  music  from 
the  first.  In  an  autobiographical  moment  he  once  assured  a  listener  that  from 
the  age  of  five  onward  music  was  the  only  thing  in  his  life  which  meant  anything 
to  him.  After  his  father  rose  sufficiently  in  the  musical  world  to  become  band- 
master in  the  Royal  Military  College,  Sullivan  quickly  learned  to  play  all  the 
band's  instruments.  It  is  recorded  by  Hesketh  Pearson  that  he  composed  his 
first  anthem  at  the  age  of  eight.  1f After  this  achievement  had  been  followed  by 
a  career  as  a  choirboy,  as  Mendelssohn  Scholar  at  the  Royal  Academy  of  Music, 
and  as  a  brilliant  student  at  the  Leipzig  Conservatoire,  Sullivan  settled  down  in 
England  with  the  avowed  intention  of  becoming  a  composer.  This  was  an  odd 
ambition  for  a  young  Englishman  of  the  period  (it  is  interesting  to  remember 
that  Sullivan  was  roughly  the  contemporary  of  Johann  Strauss  the  Youngei, 
and  of  Johannes  Brahms) ;  it  was  also  somewhat  eccentric  of  Sullivan  to  be  such 


534 


SHORT  BIOGRAPHIES  OF  MUSICIANS 


an  energetic  enthusiast  for  the  music  of  Schubert  and  Schumann,  when  Mendel- 
ssohn was  the  one  composer  whom  the  English  regarded  as  possessing  true 
merit.  But  Sullivan  was  an  ingratiating  young  man,  as  his  personality  tri- 
umphed over  these  peculiarities.  Soon  he  was  professor  of  pianoforte  and 
ballad  singing  at  the  Crystal  Palace  School  of  Art,  and  hard  at  work  completing 
a  work  begun  in  Leipzig:  music  to  Shakespeare's  " Tempest."  Its  performance 
in  1862,  when  he  was  just  twenty,  instantly  made  his  reputation,  fit  was  not, 
however,  for  five  years  that  Sullivan  was  to  begin  venturing  with  the  art  form 
in  which  his  genius  was  to  make  him  famous,  wealthy,  and  unhappy.  Between 
1862  and  1867  the  official  record  of  Sullivan's  productivity  lists  dozens  upon 
dozens  of  oratorios,  sacred  songs,  hymns,  cantatas,  anthems,  and  "secular 
works."  But  in  1867  Sullivan  joined  hands  with  F.  C.  Burnand  (a  humorist 
later  to  become  editor  of  Punch),  and  between  them  they  wrote  libretto  and 
music  for  a  minor  theatrical  tidbit  called  "Cox  and  Box."  It  was  well  but 
mildly  regarded.  Dabbling  thus  in  the  theatre  it  was  inevitable  that  Sullivan 
should  sooner  or  later  meet  William  Schwenck  Gilbert,  who,  while  Sullivan  was 
producing  his  endless  series  of  religious  works,  had  been  turning  out  heaps  of 
serious  and  semi-serious  theatrical  rubbish  sometimes  accompanied  by  music. 
The  two  men  were  introduced  in  1870  by  Frederic  Clay,  a  composer  who  had 
been  Gilbert's  occasional  previous  collaborator.  There  thus  began  one  of  the 
most  notable  collaborations  in  the  history  of  the  English-speaking  theatre.  It 
opened  inauspiciously  with  the  production  of  "  Thespis,  or  The  Gods  Grown 
Old"  in  1871,  a  "comic  opera"  which  withered  after  a  brief  run.  It  took  suc- 
cessful root  in  1875  with  a  curtain  raiser,  "Trial  by  Jury"  originally  written  to 
fill  out  an  evening  made  not  quite  long  enough  (in  one  sense)  by  Offenbach's 
"La  Perichole"  It  was  once  and  for  all  confirmed  by  the  unparalleled  success 
(after  an  uncertain  beginning)  of  "Pinafore"  in  1878.  Thereafter  the  Gilbert 
and  Sullivan  collaboration,  with  one  or  two  small  exceptions,  swept  everything 
before  it.  It  was  thrice  broken  off  by  its  partners,  who  were  never  able  to  like 
or  respect  one  another,  and  who  never  met  as  friends.  But  between  the  date 
of  the  first  successful  full-length  comic  opera  ("Pinafore")  and  the  last  ("The 
Gondoliers"  produced  in  1889)  there  elapsed  eleven  years  of  national  acclaim 
for  librettist  and  composer  alike.  The  closing  years  of  the  collaboration,  which 
finally  ceased  in  1896,  were  marred  by  increasing  quarrels,  one  semi-failure 
("Utopia,  Limited,")  and  one  final  effort  ("The  Grand  Duke")  which  was,  by 
unanimous  testimony,  so  intolerably  bad  that  it  was  all  but  unrecognisable 
as  a  product  of  the  famous  partnership.  Ifln  the  course  of  their  quarrels  the 
partners  had  frequent  recourse  to  other  collaborators.  Yet  neither  was  ever 
able  to  write  a  successful  work  without  the  other.  Sullivan's  significant  operas, 
therefore,  are  limited  to  those  for  which  Gilbert  provided  the  libretti.  The 
passage  of  half  a  century  has  not  dimmed  their  popularity.  Throughout  the 
English-speaking  world  they  have  been  heard,  year  in,  year  out,  almost  con- 
tinuously since  their  first  production.  The  following  is  a  condensed  record: 

No.  of 

Performances  at 
Firs**  Production 


Opera 

Thespis,  or  The  Gods  Grown  Old 
Trial  by  Jury 
The  Sorcerer 


Premi&re 


December  23,  1871 
March  25,  1875 
November  17,  1877 


294 


SHORT  BIOGRAPHIES  OF  MUSICIANS  533' 

H.M.S.  Pinafore,  or  The  Lass  that  Loved 

a  Sailor  May  25,  1878  563 
The  Pirates  of  Penzance,  or  The  Slave  of 

Duty  April  3,  1880  360 
Patience,  or  Bunthorne's  Bride  April  23,  1881  578 
lolanthe,  or  The  Peer  and  the  Peri  November  25,  1882  400 
Princess  Ida,  or  Castle  Adamant  January  5,  1884  147 
The  Mikado,  or  The  Town  of  Titipu  March  14,  1885  672 
Ruddigore,  or  The  Witch's  Curse  January  22,  1887  288 
The  Yeomen  of  the  Guard,  or  The  Merry- 
man  and  His  Maid  October  3,  1888  423 
The  Gondoliers,  or  The  King  of  Barataria  December  7,  1889  559 
Utopia,  Limited,  or  The  Flowers  of  Prog- 
ress October  7,  1893  245 
The  Grand  Duke,  or  The  Statutory  Duel  March  7,  1896  123 

TfFor  his  services  to  the  cause  of  English  music,  Sullivan  was  knighted  by 
Queen  Victoria  in  1883 — a  distinction  not  conferred  upon  his  collaborator  (of 
whom  the  Queen  disapproved)  until  Edward  VII  redressed  the  balance  in  1907. 
But  the  acclaim  and  honours  with  which  Sullivan  was  surrounded  were  disfigured 
for  him  by  the  feeling — fostered  by  many  of  his  acquaintances — that  his  talents 
were  being  squandered  upon  the  trivialities  of  Mr.  Gilbert's  topsy-turvy  imagi- 
nation. The  suggestion  was  even  borne  to  him  that  the  Queen  would  be  pleased 
to  have  him  compose  an  opera  to  which  the  adjective  "grand"  could  be  properly 
applied.  The  eventual  result  of  this  was  "Ivanhoe"  composed  by  Sullivan  to  a 
libretto  by  Julian  Sturgis  and  produced  in  1891.  1fThe  result  was  not  happy. 
By  all  accounts,  "Ivanhoe"  contained  much  good  music.  Incontestably,  how- 
ever, "Ivanhoe"  contained  no  music  that  would  live.  In  this,  it  illustrates  the 
anomaly  of  Sullivan's  entire  career:  the  music  by  which  he  himself  set  the  great- 
est store,  and  on  which  he  laboured  hardest,  was  either  stillborn  or  died  in 
infancy;  the  music  he  composed  in  a  fuming  fret  at  the  limitations  of  Gilbert's 
libretti  is  the  only  music  that  has  lived — and  it  has  lived  as  "light "  music  never 
lived  before  or  has  since.  The  "Kenttworth  Cantata"  (1864),  "  The  Light  of  the 
World"  (1873),  "  The  Martyr  of  Antioch"  (1880),  "  The  Golden  Legend"  (1886)— 
every  one  of  these  noble  efforts  is  as  dead  as  any  music  could  possibly  be. 
Aside  from  the  Gilbert  and  Sullivan  operas,  the  pieces  of  music  by  Sullivan  of 
which  the  present-day  world  has  any  first-hand  knowledge  are  only  two:  the 
rousing  "Onward,  Christian  Soldiers"  and  the  lugubrious  "Lost  Chord" — both 
composed  before  "Pinafore"  sealed  his  fate.  1[But  the  music  for  these  operas 
should  be  monument  enough  for  any  composer.  Sullivan's  supreme  gift  was 
the  gift  of  melodic  invention — without  which  music,  whatever  its  pretentious, 
reduces  itself  to  the  status  of  ear  noises.  He  scored  for  a  small  orchestra  (two 
flutes,  one  oboe,  two  clarinets,  two  bassoons,  two  horns,  two  cornets,  two  trom- 
bones, percussion  and  strings)  and  by  the  standards  of  the  present  some  of  the 
instrumentation  sounds  thin.  The  traditionalism  with  which  the  D'Oyly 
Carte  Opera  Company,  holders  of  the  performing  rights  to  the  operas,  carry  out 
their  presentations,  accounts  for  the  fact  that  no  modernised  orchestrations 
have  been  made — and  anyone  who  would  like  to  study  the  full  scores  of  the 
operas  will  discover  that  they  are  jealously  and  secretly  guarded  by  the  holders 
of  the  performing  rights  and  are  not  made  available  to  anyone  else.  But 
Sullivan's  orchestrations,  if  slightly  dated  to  the  modern  ear,  are  almost 
invariably  perfect  models  of  deftness,  taste^  and  ingenuity.  Cecil  Forsyth,  in 


536  SHORT  BIOGRAPHIES  OF  MUSICIANS 

his  great  work  Orchestration,  stuns  up  his  opinion  of  Sullivan's  gifts  in  instru- 
mentation by  pointing  to  "Were  I  Thy  Bride"  in  "The  Yeomen  of  the  Guard" 
and  urging  his  students  to  observe  "not  only  the  notes  which  Sullivan  has 
written,  but  the  many  other  notes  he  might  have  written  and  didn't/'  IJTwo 
other  qualities  of  Sullivan's  musicianship  are  to  be  noted.  The  first  is  his 
ability — so  painfully  and  inexplicably  rare — to  express  humour  in  music.  The 
second — and  one  of  the  most  significant  qualities  in  the  success  of  the  operas — 
is  his  uncanny  ability,  while  managing  his  melody  and  performing  those  prodi- 
gies of  rhythmical  skill  which  Gilbert's  lyrics  demanded  of  him,  to  provide 
settings  for  the  words  which  were  not  only  appropriate  but  which  helped  rather 
than  hindered  the  audience's  ability  to  hear  what  was  being  sung.  One  hold 
of  Gilbert  and  Sullivan  operas  upon  their  early  audiences  lay  in  the  joy  those 
audiences  felt  that  here  at  last  was  a  native  product  in  an  art  form  which,  they 
had  come  to  think,  could  never  be  successfully  transplanted  from  the  Continent. 
Now,  however,  they  heard  English  words  clearly  set  to  tunes  which  were  also 
their  own;  they  had  had  no  such  experience  before,  and  were  enchanted.  If  Prob- 
ably part  of  Sullivan's  unique  ability  to  set  Gilbert's  words  with  such  sympathy 
lay  in  his  method  of  we  A.  On  receiving  a  set  of  Gilbert's  verses,  Sullivan's 
first  studies  were  always  directed  toward  the  problems  of  rhythm;  it  was  only 
after  he  had  interpreted  the  words  in  a  system  of  dots  and  dashes  that  he  under- 
took to  set  his  melodic  line.  Thereafter  the  operas  grew  organically.  Sullivan 
would  present  roughly  sketched  parts  to  the  singers  and  supply  an  approxi- 
mation of  the  accompaniment  for  the  piano.  From  these  beginnings,  the 
finished  instrumentation  grew.  1[Like  that  of  all  other  composers,  Sullivan's 
level  of  inspiration  varied  notably,  not  only  from  opera  to  opera,  but  often  from 
song  to  song.  He  could  be  banal  and  tedious.  One  of  his  greatest  strengths — 
and  weaknesses — was  his  inexhaustible  facility.  Many  of  his  loveliest  effects 
he  achieved  without  half  trying;  effort  was  unnecessary.  Thus  if  the  best 
solution  of  some  troublesome  problem  escaped  him,  he  was  not  apt  to  agonise 
to  find  it — a  second  or  third  best  solution  was  already  waiting  to  be  set  down 
on  paper.  There  was  never  a  less  slovenly  composer;  but  there  have  been 
composers  who  have  needed  a  higher  threshold  of  self-criticism  than  Sullivan 
ever  felt  called  upon  to  apply  to  himself  in  the  operas  he  wrote  with  Gilbert. 
TfAny  ranking  list  of  the  operas  in  terms  of  musical  excellence  means  little  more 
than  an  expression  of  personal  preference.  Sullivan  did  not  become  greater 
as  the  operas  progressed;  he  became  only  surer.  (He  also  became  increasingly 
repetitive.)  The  emptiness  of  " The  Grand  Duke"  is  unanimously  acknowledged, 
The  merits  of  " Utopia,  Limited"  have  never  been  tested  by  a  D'Oyly  Carte 
revival.  "Thespis"  is  as  dead  as  a  cantata.  "The  Sorcerer"  and  "Princess 
Ida"  are  near  the  bottom  of  the  list  in  popularity  among  the  operas  still  heard. 
"Ruddigore"  (originally  titled  "Ruddygore"  to  the  shocked  amazement  of  a 
people  to  whom  the  word  bloody  was  once  a  prime  obscenity)  was  a  comparative 
failure  in  its  first  production,  but  when  it  was  finally  revived  in  1920  it  met  a 
surprising  success.  For  the  rest,  every  opera  has  its  own  group  of  particular 
enthusiasts.  In  the  United  States,  "The  Mikado"  seems  to  enjoy  a  unique 
esteem  which,  in  England,  is  reserved  to  " The  Gondoliers"  Musically  it  is 
hard  for  some  enthusiasts  to  regard  "The  Pirates  of  Penzance"  as  the  full  equal 
of  most  of  its  brothers.  "Pinafore,"  perhaps  because  of  the  delirious  joy  with 
which  an  earlier  generation  rega-rded  it,  seems  a  trifle  more  faded  than  most* 


SHORT  BIOGRAPHIES  OF  MUSICIANS  53V 

"  The  Yeomen  of  the  Guard,"  seldom  performed  in  this  country  in  the  20th  cen- 
tury until  the  triumphal  tour  of  the  D'Oyly  Carte  players  in  1934-35  (repeated 
in  all  its  enthusiasm  in  1936-37),  is  now  certainly  regarded  as  one  of  Sullivan's 
major  triumphs.  But  a  census  of  Sullivan's  most  studious  admirers,  whether 
in  the  United  States  or  England,  would  probably  reveal  "lolantke"  in  first 
place  as  the  finest  creation  of  England's  most  distinguished  musician  of  the  i9th 
century.  From  the  opening  woodwind  notes  of  the  overture  to  the  rollicking 
dance  tune  that  concludes  the  last  act,  this  opera  never  falters  in  the  beauty 
and  drama  of  its  music  or  the  perfection  with  which  the  words  and  action  are 
carried  forth  by  Sullivan's  skill.  Of  the  thrilling  moment  in  Act  I  when  the 
entrance  of  the  Peers  begins,  Thomas  Dunhill,  a  balanced  and  scholarly  com- 
mentator on  Sullivan,  has  written:  "There  are,  perhaps,  only  two  processional 
operatic  scenes  which  can  be  said  to  compare  with  this  for  musical  grandeur — 
one  is  ha  'Atda?  and  the  other  is  in  the  last  act  of  'Die  Meister singer.'" 
1f Sullivan  died  of  heart  failure  on  November  22,  1900.  He  was  buried  in  St. 
Paul's  Cathedral,  his  funeral  the  occasion  of  national  mourning.  The  successful 
operas  which  he  composed  with  Gilbert  have  survived  his  own  death,  the  death 
of  Gilbert,  the  death  of  three  successive  British  monarchs,  and  the  World  War. 
None  of  the  profound  changes  in  musical  taste  which  have  occurred  in  the  four 
decades  since  his  death  have  lessened  the  popularity  of  the  works  which  he 
himself  regarded  so  lightly  by  comparison  with  the  pretentious  efforts  which 
were  dead  long  before  his  time,  if  not  before  theirs.  (See  also  page  425.) 


PETER  IYLITCH  TSCHAIKOWSKY 

BY  ERNEST  NEWMAN 

HALF  French  in  his  ancestry,  Tschaikowsky's  prenatal  influences  were  a  blend 
of  East  and  West.  While  Westerns  regard  Mm  as  typically  Russian,  his  com- 
patriots 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  expressed  **  a  deep  humanity/'  like  Grieg's.  To 
the  delicate  brain  and  nerves  of  the  modern  man  he  added  the  long-accumulated 
eruptive  passions  of  his  race.  He  took  the  language  made  by  the  great 
Germans,  and  used  it  to  express  the  complex  pessimism  of  another  culture. 
The  colour  of  life  in  his  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  example,  though  melancholy  is  the  dominant  note  of  nine  out  of  ten, 
each  paints  a  different  shade  of  the  generic  mood.  TfMore  interested  in 
^^^sona^jlramatic  emotion  than  in  music  of  abstract  beauty,  he  worked  his  way 
through  andTB^onSTEe^ordinary  symphonic  form,  to  the  symphony  with  a 
human  significance  or  the  symphonic  poem  pure  and  simple.  His  phrases, 
scoring  his  general  conceptions,  are  vital,  emotional,  intimate.  Music,  he 
held,  must  always  interest  in  the  first  place;  and  so  he  avoided  the  cold  displays 
of  technical  artifice  which  Brahms,  for  example,  so  often  produced,  preferring 


538  SHORT  BIOGRAPHIES  OF  MUSICIANS 

rather  f>  repeat  tne  old  matter  with  variations  of  ornamentation.  l[His  real 
contribution  to  the  history  of  music,  apart  from  the  general  beauty  and  expres- 
siveness of  his  work,  was  the  modification  of  the  symphonic  form  in  obedience  to 
a  poetic  idea.  He  took  up  the  suggestions  bequeathed  by  Berlioz  and  Liszt, 
and  turned  them  into  accomplished  realities.  (See  also  page 


GIUSEPPE  VERDI 

BY  W.  J.  HENDERSON 

VERDI  has  been  the  representative  Italian  opera  composer  of  his  time  and  Lis 
personal  development  in  art  is  that  of  his  country,  which  has  followed  his 
dominating  influence.  He  began  to  write  in  the  prevalent  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.  UThis  vigour  came  conspicuously  into  notice-in  his  "ILrnam,"  though 
the  most  familiar  example  of  his  style  in  this  period  of  his  development  is 
"Rigoletfa"  The  early  works  shaw  fecundity  of  .melodic  invention,  but  a 
.close  .adherence  to  the  elementary  dance  rhythms  used  by  the  Neapolitan 
school.  The  .dramatic  element  and  -the  cvirile  power  of  the  mau,  .however, 
continually  pressed  toward*  the  front  till  on  "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  truthful  dramatic  expression  as  none  of 
his  predecessors  had.  "A'ida"  has  been  the.inodel  of  the  younger  Italian  school 
and  its  influence  can  be  traced  through  the  works  of  such  writers  as  Mascagni, 
Leoncavallo,  and  Puccini,  fin  "<Otetto"  Verdi -left 'the  old  Italian  patterns 
still  further  behind  him,  yet  without  ceasing  to  'be  Italian  in  style  or  individual 
in  ddeas.  The  voice  parts, are -dominant  and  essentially  melodious  at  all  times, 
but  ithe  determination  of  the  composer  to  be  faithful  to. 'the  spirit  of  the  text  is 
more  manifest  than  ever  before.  The  work  is  a  monument  of  genius.  In  his 
"Fdlsiqff"  Verdi  produced  a  comic  opera  which  stands  next  to  Mozart's 
"Nozze  di  Figaro"  and  Wagner's  "Die  Meister  singer."  The  freshness  and 
spontaneity  of  the  score,  the  marvellous  eloquence  of  the  orchestral  details 
.and  the  infinite  significance  of  the  recitative  make  this  work  one  of  the  master- 
pieces 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  his  old  age,  is  the  feature  of  his  artistic  career,  and  where  he  has  led,  Italy 
has  followed.  He  was  the  master  .and  the  moulder  of  Italian  musical  thought 
ior  half  a  century.  (See  Dictionary  of  Musicians  entry,  page  448^) 

RICHARD  WAGNER 

BY  HENRY  T.  FINCK 

WHEN  Richard  Wagner  was  living  as  a  political  refugee  in  Switzerland,  at  the 
age  of  thirty-six,  he  elaborated  his  theory  of  the  "art-work  of  the  future"  in 


SHORT  BIOGRAPHIES  OF  MUSICIANS  539 

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  responsible  for  this  theory,  so  far  at  least  as 
the  union  of  poetry  and  music  is  concerned.  Beethoven,  he  argued,  wrote  his 
first  eight  symphonies  for  instruments  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  sufficed  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  of  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  corner-stone  for 
the  Bayreuth  Theatre — in  which  the  "art-work  of  the  future"  was  to  be  pre- 
sented to  the  world — was  laid,  Wagner  significantly  made  it  the  occasion  for 
the  performance  of  this  epoch-making  Ninth  Symphony.  ^Undoubtedly  it 
was  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  claiming 
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  Beethoven  had  been 
intending  nearly  all  his  life  to  set  to  music  Schiller's  "Ode  to  Joy"  According 
to  Czerny,  he  subsequently  even  pronounced  this  experiment  of  incorporating 
the  Ode  in  his  symphony  a  mistake  (Miss griff).  The  voice,  in  truth,  was  never 
congenial  to  him.  "Songs  I  do  not  like  to  write,"  he  said  to  Rochlitz,  in  182 2,, 
the  very  time  when  he  was  at  work  on  the  "Ninth  Symphony"  In  both  this 
work  and  the  "Missa  Solemnis"  of  the  same  period,  Beethoven,  moreover, 
uses  the  human  voice  like  an  instrument,  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  combination.  ^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 
favour  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  com- 
posers"; and  who,  therefore,  endeavoured  to  reduce  operatic  music  to  its  proper 
function;  that  of  seconding  the  poetry  and  deepening  the  feeling  it  arouses, 
duck'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  cordially  endorsed  and  adopted  by  Wagner.  1TThe  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  "Ewyvnthe"  realised  the  ideal  of  musico-dramatic  art, 
as  here  the  orchestra  "interpenetrates , the  recitatives  as  the  blood  do.es  th? 
veins  of  ,the  body."  What  .Weber  himselijmrote  about  this  opera, :  " '  Euryanthe ' 


540  SHORT  BIOGRAPHIES  OF  MUSICIANS 

is  a  purely  dramatic  work,  which  depends  for  its  success  solely  on  the  co- 
operation of  the  sister  arts,  and  is  certain  to  lose  its  effect  if  deprived  of  their 
assistance,"  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  have 
been  lie  man  to  annihilate  the  old-fashioned  opera  and  triumphantly  establish 
the  modern  music-drama.     He  even  made  use  of  leading  motives  [vide  B.  D.]. 
His  early  opera  "Abu  Hassan"  has  a  melody  which  is  afterwards  repeated  in  a 
reminiscent   way.    The    "Freyschutz"   has   eleven   recurring   melodies,   and 
"" Euryanthe"  has  eight.     IfWhile  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  with- 
out any  connection";  while  opera  in  general  remained  after  him,  as  before,  a 
mere  variety  show,  with  here  a  pretty  time,  there  a  graceful  skip  of  a  dancer 
or  a  brilliant  feat  of  vocalisation,  here  a  dazzling  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  genuine  picture  of  it — an  art-work  organically 
united  in  all  its  parts.     He  did  this  by  means  of  the  leading  motives — thes  typical 
melodies  &nd  characteristic  harmonies  which  accompany  each  of  the  dramatis 
-persona  throughout  the  score,  just  as  their  social  and  moral  character  ac- 
companies them,  with  such  modifications  as  the  situation  calls  for.     Weber 
jhad  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.     TfHis  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  declamation  or  "speech- 
,-song."     This  led  to  the  ridiculous  accusation  that  there  was  "no  melody"  in 
his  operas,  whereas  the  orchestral  score  usually  bubbles  over  with  melodies — 
often  two  or  more  at  a  time.    After  the  singers  had-  begun  to  master  the  new 
vocal  style,  it  was  found,  moreover,  that  an  artist  like  Lilli  Lehmann  or  Jean  de 
Reszk6  could  make  this  speech-song  sound  smooth,  and  melodious,  toa — as 
•smooth  and  melodious  as  the  bel  canto  of  Rossini  and  Mozart.     And  after  the 
singers  had  learned  how  to  act,  and  to  enunciate  distinctly,  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 
JFlying  Dutchman'3    "Tannhauser,"    "Lohengrin,"    "Rheingold,"    "Walktire?* 
"Siegfried,"  "  Gotterdammerung,"  "Tristan,"  "  Meister singer  J'  and  "Parsifal" 
— apart  from  the  music,  rank  among  the,  best  plays1  ever  written  in  Germany; 
though  to  be  sure  they  must  not  be  judged  apart  frdm  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  'professional  musicians  and  critics 
due  chieflv  to  the  fact  that  they  did  not  beat  this  in  mind,  though  Wagner 


SHORT  BIOGRAPHIES  OF  MUSICIANS  541 

protested  on  every  possible  occasion  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  de- 
lightful pantomimic  music  in  these  operas,  the  meaning  of  which  is  lost  if  the 
stage-manager  is  a  bungler,  and  the  singers  poor  actors.  IfWith  all  these 
reforms  and  innovations,  Wagner  never  could  have  become  the  most  command- 
ing figure  in  the  modern  music- world  had  he  not  been  endowed  at  the  same 
time  with  the  faculty  for  creating  an  extraordinary  abundance  of  ideas,  melodic 
and  harmonic.  Wilhelm  Tappert  has  truly  observed  that  there  is  more 
melody  in  Wagner's  "Meister -singer"  than  in  all  the  operas  of  the  melodious 
Mozart.  In  the  field  of  harmony  and  modulation  Wagner  was  an  innovator  of 
unprecedented  originality.  There  can  be  no  tragic  expression  without  discord, 
and  he  was  the  greatest  of  all  masters  of  discord — the  musical  tragedian  par 
excellence.  In  orchestration,  too — the  art  of  clothing  his  ideas  in  beautiful 
garbs  of  various  colours— he  was  without  a  rival.  ^fAs  Schubert  influenced  all 
song-writers  after  him,  Chopin  all  the  pianoforte-composers,  and  Beethoven 
all  the  symphonists,  so  Wagner  has  cast  his  spell  on  every  writer  for  the  stage. 
"Wagner  is  the  oxygen,  the  atmosphere  which  modern  opera  breathes/7  writes 
Ferdinand  Pfohl;  and  he  hardly  exaggerates  when  he  adds  that  "modern  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  more  than  half 
a  century  in  a  very  bacchanal  of  plagiarism  at  his  expense,  while  even  the 
greatest  of  masters— Dvorak,  Grieg,  Saint-Saens,  Richard  Strauss — have  hon- 
estly profited  by  his  example  in  various  branches  of  music.  Rubinstein  com- 
mitted 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,  in  his  last  period,  paid  homage  to  Wagner's  genius. 


WAGNER  THE  MONSTER* 

BY  DEEMS  TAYLOB 

HE  WAS  AN  UNDERSIZED  little  man,  with  a  head  too  big  for  his  body — a  sickly 
little  man.  His  nerves  were  bad.  He  had  skin  trouble.  It  was  agony  for  him 
to  wear  anything  next  to  his  skin  coarser  than  silk.  And  he  had  delusions  of 
grandeur.  IfHe  was  a  monster  of  conceit.  Never  for  one  minute  did  he  look 
at  the  world  or  at  people  except  in  relation  to  himself.  He  was  only  the  most 
important  person  in  the  world,  to  himself;  in  his  own  eyes  he  was  the  only  person 
who  existed.  He  believed  himself  to  be  one  of  the  greatest  dramatists  in  the 
world,  one  of  the  greatest  thinkers,  and  one  of  the  greatest  composers.  To 

*The  reader  wfll  be  interested  to  know  that  other  essays  by  Deems  Taylor  on  a  variety  of  musical  sub- 
jects appear  in  "Of  Men  and  Music?*  from  which  this  e»say  was  reprinted  through  the  kind  permission  of 
Simon  &  Schuster,  publishers. 


542  SHORT  BIOGRAPHIES  OF  MUSICIANS 

hear  him  talk,  he  was  Shakespeare,  and  Beethoven,  and  Plato  rolled  into  one. 
And  you  would  have  had  no  difficulty  in  hearing  him  talk.  He  was  one  of  the 
most  exhausting  conversationalists  that  ever  lived.  An  evening  with  him  was 
an  evening  spent  in  listening  to  a  monologue.  Sometimes  he  was  brilliant; 
sometimes  he  was  maddeningly  tiresome.  But  whether  he  was  being  brilliant 
or  dull,  he  had  one  sole  topic  of  conversation:  himself.  What  he  thought  and 
what  he  did.  IfHe  had  a  mania  for  being  in  the  right.  The  slightest  hint  of 
disagreement,  from  anyone,  on  the  most  trivial  point,  was  enough  to  set  hirn 
off  on  a  harangue  that  might  last  for  hours,  in  which  he  proved  himself  right  in 
so  many  ways,  and  with  such  exhausting  volubility,  that  in  the  end  his  hearer, 
stunned  and  deafened,  would  agree  with  hirn,  for  the  sake  of  peace.  1flt  never 
occurred  to  him  that  he  and  his  doings  were  not  of  the  most  intense  and  fascinat- 
ing interest  to  anyone  with  whom  he  came  in  contact.  He  had  theories  about 
almost  any  subject  under  the  sun,  including  vegetarianism,  the  drama,  politics, 
and  music;  and  in  support  of  these  theories  he  \vrote  pamphlets,  letters,  books 
.  .  .  thousands  upon  thousands  of  words,  hundreds  and  hundreds  of  pages. 
He  not  only  wrote  these  things,  and  published  them — usually  at  somebody  else's 
expense — but  he  would  sit  and  read  them  aloud,  for  hours,  to  his  friends  and  his 
family.  1fHe  wrote  operas;  and  no  sooner  did  he  have  the  synopsis  of  a  story, 
but  he  would  invite — or  rather  summon — a  crowd  of  his  friends  to  his  house  and 
read  it  aloud  to  them.  Not  for  criticism.  For  applause.  When  the  complete 
poem  was  written,  the  friends  had  to  come  again,  and  hear  that  read  aloud. 
Then  he  would  publish  the  poem,  sometimes  years  before  the  music  that  went 
with  it  was  written.  He  played  the  piano  like  a  composer,  in  the  worst  sense 
of  what  that  implies,  and  he  would  sit  down  at  the  piano  before  parties  that  in- 
cluded some  of  the  finest  pianists  of  his  time,  and  play  for  them,  by  the  hour, 
his  own  music,  needless  to  say.  He  had  a  composer's  voice.  And  he  would 
invite  eminent  vocalists  to  his  house,  and  sing  them  his  operas,  taking  all  the 
parts.  U"He  had  the  emotional  stability  of  a  six-year-old  child.  When  he  felt 
out  of  sorts,  he  would  rave  and  stamp,  or  sink  into  suicidal  gloom  and  talk 
darkly  of  going  to  the  East  to  end  his  days  as  a  Buddhist  monk.  Ten  minutes 
later,  when  something  pleased  him,  he  would  rush  out  of  doors  and  run  around 
the  garden,  or  jump  up  and  down  on  the  sofa,  or  stand  on  his  head.  He  could 
be  grief-stricken  over  the  death  of  a  pet  dog,  and  he  could  be  callous  and  heart- 
less to  a  degree  that  would  have  made  a  Roman  emperor  shudder.  1[He  was 
almost  innocent  of  any  sense  of  responsibility.  Not  only  did  he  seem  incapable 
of  supporting  himself,  but  it  never  occurred  to  him  that  he  was  under  any  obliga- 
tion to  do  so.  He  was  convinced  that  the  world  owed  him  a  living.  In  support 
of  this  belief,  he  borrowed  money  from  everybody  who  was  good  for  a  loan — 
men,  women,  friends  or  strangers.  He  wrote  begging  letters  by  the  score,  some- 
times grovelling  without  shame,  at  others  loftily  offering  his  intended  benefactor 
the  privilege  of  contributing  to  his  support,  and  being  mortally  offended  if  the 
recipient  declined  the  honour.  I  have  found  no  record  of  his  ever  paying  or  re- 
paying money  to  anyone  who  did  not  have  a  legal  claim  upon  it.  TfWhat 
money  he  could  lay  his  hands  on  he  spent  like  an  Indian  rajah.  The  mere 
prospect  of  a  performance  of  one  of  his  operas  was  enough  to  set  him  to  running 
up  bills  amounting  to  ten  times  the  amount  of  his  prospective  royalties.  On  an 
income  that  would  reduce  a  more  scrupulous  man  to  doing  his  own  laundry,  he 
would  keep  two  servants.  Without  enough  money  in  his  pocket  to  pay  his  rent, 


SHORT  BIOGRAPHIES  OF  MUSICIANS  543 

he  would  have  the  walls  and  ceiling  of  his  study  lined  with  pink  silk.  No  one 
will  ever  know — certainly  he  never  knew — how  much  money  he  owed.  We  do 
know  that  his  greatest  benefactor  gave  him  $6,000  to  pay  the  most  pressing  of 
bis  debts  in  one  city,  and  a  year  later  had  to  give  him  $16,000  to  enable  him  to 
live  in  another  city  without  being  thrown  into  jail  for  debt.  IfHe  was  equally 
unscrupulous  in  other  ways.  An  endless  procession  of  women  marches  through 
his  life.  His  first  wife  spent  twenty  years  enduring  and  forgiving  his  infidelities. 
His  second  wife  had  been  the  wife  of  his  most  devoted  friend  and  admirer,  from 
whom  he  stole  her.  And  even  while  he  was  trying  to  persuade  her  to  leave  her 
first  husband  he  was  writing  to  a  friend  to  enquire  whether  he  could  suggest 
some  wealthy  woman — any  wealthy  woman — whom  he  could  marry  for  her 
money.  1[He  was  completely  selfish  in  his  other  personal  relationships.  His 
liking  for  his  friends  was  measured  solely  by  the  completeness  of  their  devotion 
to  him,  or  by  their  usefulness  to  him,  whether  financial  or  artistic.  The  minute 
they  failed  him — even  by  so  much  as  refusing  a  dinner  invitation — or  began  to 
lessen  in  usefulness,  he  cast  them  off  without  a  second  thought.  At  the  end  of 
his  life  he  had  exactly  one  friend  whom  he  had  known  even  in  middle  age.  1[He 
had  a  genius  for  making  enemies.  He  would  insult  a  man  who  disagreed  with 
him  about  the  weather.  He  would  pull  endless  wires  in  order  to  meet  some 
man  who  admired  his  work,  and  was  able  and  anxious  to  be  of  use  to  him — and 
would  proceed  to  make  a  mortal  enemy  of  hi™  with  some  idiotic  and  wholly 
uncalled-for  exhibition  of  arrogance  and  bad  manners.  A  character  in  one  of 
his  operas  was  a  caricature  of  one  of  the  most  powerful  music  critics  of  his  day. 
Not  content  with  burlesquing  him,  he  invited  the  critic  to  his  house  and  read 
him  the  libretto  aloud  in  front  of  his  friends.  IfThe  name  of  this  monster  was 
Richard  Wagner.  Everything  that  I  have  said  about  him  you  can  find  on 
record — in  newspapers,  in  police  reports,  in  the  testimony  of  people  who  knew 
him,  in  his  own  letters,  between  the  lines  of  his  autobiography.  And  the  curi- 
ous thing  about  this  record  is  that  it  doesn't  matter  in  the  least.  TfBecause  this 
undersized,  sickly,  disagreeable,  fascinating  little  man  was  right  all  the  time. 
The  joke  was  on  us.  He  was  one  of  the  world's  great  dramatists;  he  was  a  great 
thinker;  he  was  one  of  the  most  stupendous  musical  geniuses  that,  up  to  now, 
the  world  has  ever  seen.  The  world  did  owe  him  a  living.  People  couldn't 
know  those  things  at  the  time,  I  suppose;  and  yet  to  us,  who  know  his  music,  it 
does  seem  as  though  they  should  have  known.  What  if  he  did  talk  about  himself 
all  the  time?  If  he  had  talked  about  himself  twenty-four  hours  every  day  for 
the  span  of  his  life  he  would  not  have  uttered  half  the  number  of  words  that 
other  men  have  spoken  and  written  about  him  since  his  death.  TfWhen  you 
consider  what  he  wrote — thirteen  operas  and  music  dramas,  eleven  of  them  still 
holding  the  stage,  eight  of  them  unquestionably  worth  ranking  among  the 
world's  great  musico-dramatic  masterpieces — when  you  listen  to  what  he  wrote, 
the  debts  and  heartaches  that  people  had  to  endure  from  him  don't  seem  much 
of  a  price.  Eduard  Hanslick,  the  critic  whom  he  caricatured  in  "Die  Meister- 
singer"  and  who  hated  him  ever  after,  now  lives  only  because  he  was  caricatured 
in  "Die  Meistersinger."  The  women  whose  hearts  he  broke  are  long  since 
dead;  and  the  man  who  could  never  love  anyone  but  himself  has  made  them 
deathless  atonement,  I  think,  with  "  Tristan  mid  Isolde"  Think  of  the  luxury 
with  which  for  a  time,  at  least,  fate  rewarded  Napoleon,  the  man  who  ruined 
France  and  looted  Europe;  and  then  perhaps  you  will  agree  that  a  few  thousand 


544  SHORT  BIOGRAPHIES  OF  MUSICIANS 

dollars'  worth  of  debts  were  not  too  heavy  a  price  to  pay  for  the  "Ring"  trilogy. 
IfWhat  if  he  was  faithless  to  his  friends  and  to  his  wives?  He  had  one  mistress 
to  whom  he  was  faithful  to  the  day  of  his  death:  Music*  Not  for  a  single  mo- 
ment did  he  ever  compromise  with  what  he  believed,  with  what  he  dreamed. 
There  is  not  a  line  of  his  music  that  could  have  been  conceived  by  a  little  mind. 
Even  when  he  is  dull,  or  downright  bad,  he  is  dull  in  the  grand  manner.  There 
is  greatness  about  his  worst  mistakes.  Listening  to  his  music,  one  does  not 
forgive  hi™,  for  what  he  may  or  may  not  have  been.  It  is  not  a  matter  of  for- 
giveness. It  is  a  matter  of  being  dumb  with  wonder  that  his  poor  brain  and 
body  didn't  burst  under  the  torment  of  the  demon  of  creative  energy  that  lived 
inside  him,  struggling,  clawing,  scratching  to  be  released;  tearing,  shrieking  at 
him  to  write  the  music  that  was  in  him.  The  miracle  is  that  what  he  did  hi  the 
little  space  of  seventy  years  could  have  been  done  at  all,  even  by  a  great  genius. 
Is  it  any  wonder  that  he  had  no  time  to  be  a  man?  (See  also  page  455.) 


VAUGHAN  WILLIAMS 

BY  RICHARD  ANTHONY  LEONARD 

VAUGHAN  WILX-IAMS  is  one  of  the  foremost  of  that  little  group  of  valiant  English- 
men who  are  making  the  music  of  their  native  land  bloom  again  after  a  barren 
ness  of  more  than  two  hundred  years.  The  Germans  (and  before  them  the 
Italians)  have  dominated  the  art  of  music  for  so  long  that  we  are  apt  to  forget 
the  extraordinary  efflorescence  of  musical  genius  which  England  produced  in 
the  sixteenth  and  seventeenth  centuries.  Byrd,  Morley  and  Tallis,  Wilbye, 
Weelkes,  Gibbons  and  Henry  Purcell  composed  some  of  the  finest  music  of 
their  time,  and  were  worthy  of  mention  even  with  the  incomparable  Palestrina. 
But  after  the  death  of  Purcell,  in  1695,  English  music  suffered  a  serious  decline. 
Later  the  influence  of  Handel  was  devastating,  from  the  standpoint  of  its 
effect  upon  native  English  genius,  for  the  German  set  up  an  ideal  which  made 
English  composers  servile  imitators  of  the  Teutonic  art  for  almost  two  centuries. 
IfThe  present  blooming  of  English  music  had  its  origins,  of  course,  in  the 
spectacular  rise  of  Russian  music  in  the  nineteenth  century  and  the  ensuing 
spread  of  nationalism.  The  famous  Five  (Moussorgsky,  Balakireff,  Borodin, 
Cui,  and  Rimsky-Korsakoff)  revolted  against  the  Germanic  tradition  and 
tapped  instead  as  their  source  of  inspiration  the  marvellously  colourful,  half- 
barbaric  folk-songs  of  their  native  land,  and  the  equally  characteristic  music 
of  the  Russian  church.  For  their  literary  bases  they  went  to  the  folk-lore  and 
to  the  history  of  Russia.  Their  immense  success  created  a  wave  of  national- 
istic feeling  that  swept  every  country  in  Europe.  England  was  no  exception. 
The  renascence  of  the  art  of  music  in  England  has  been  one  of  the  most  striking 
developments  in  twentieth-century  music.  Men  like  Bax  and  Delius,  Hoist 
and  Vaughan  Williams  have  not  wrought  with  the  lasting  magnificence  of  the 
greater  Russians,  but  they  have  wrought  ably  and  with  important  implications 
for  the  future.  IfWithout  attempting  any  comparative  estimate  of  the  work 
of  these  Englishmen,  it  may  be  said  that  the  one  whose  contributions  have  been 
most  typically  English  is  probably  Vaughan  Williams.  This  is  tiue  even 
though  a  great  part  of  his  work  is  clearly  impressionistic,  owing  an  immense 


SHORT  BIOGRAPHIES  OF  MUSICIANS  545 

debt  of  gratitude  to  Claude  Debussy.  His  "London  Symphony"  for  example, 
is  a  panorama  of  the  vast  English  macrocosm,  with  many  of  its  typically  British 
aspects;  but  musically  it  speaks  the  impressionistic  language  of  the  Frenchman. 
Impressionism,  however,  is  simply  a  technique,  and  when  we  dig  deeper  into 
the  music  of  Vaughan  Williams  we  come  upon  qualities  which  only  an  English- 
man could  have  produced.  First  of  all  we  find  music  that  is  nurtured  in  the 
rich  soil  of  English  folk-music.  All  his  life  Vaughan  Williams  has  collected 
and  studied  and  used  English  folk-tunes.  Not  only  is  much  of  his  work  based 
directly  upon  this  native  material,  but  many  of  his  original  themes  are  so  closely 
patterned  after  this  original  that  it  is  often  difficult  to  tell  the  old  from  the 
new.  Hit  is  important  to  note  that  in  English  folk-music  Vaughan  Williams 
did  not  have  at  hand  material  as  brilliantly  effective  as  the  Russians  had. 
The  popular  melodies  which  the  Five  and  their  successors  used  were  heavy 
with  a  rich  and  sensuous  beauty;  they  flashed  across  the  music  of  nineteenth- 
century  Europe  with  the  startling  splendour  of  the  aurora  borealis  across  the 
night  sky.  Their  characteristic  colour  and  form  are  instantly  evident  whenever 
they  are  used  by  modern  Russian  composers.  English  folk-music,  on  the  other 
hand,  has  few  such  readily  effective  attributes.  It  is  a  refined  and  delicately 
modelled  product  of  a  sober  people.  Vaughan  Williams  has  used  it  as  only  an 
Englishman  could — with  sobriety  and  good  taste,  with  moderation  and  unfail- 
ing rectitude.  He  has  used,  too,  with  equal  inspiration,  the  patterns  left  by 
his  great  English  predecessors,  the  Elizabethans  who  first  made  English  music 
glorious.  The  most  noted  example  of  his  devotion  to  their  art  is  his  "Fantasia 
on  a  Theme  by  Thomas  Tallis" — an  exquisite  paraphrase  in  terms  of  the  modern 
string  orchestra  of  the  work  of  the  great  sixteenth-century  contrapuntist. 
1f After  his  interest  in  folk-music  the  strongest  impulse  in  Vaughan  Williams* 
creative  life  has  come  from  his  love  of  nature,  particularly  of  the  quiet,  in- 
comparably beautiful  English  countryside.  Here  again  is  a  quality  typical 
of  the  English,  but  one  too  subtle  to  be  translated  easily  into  terms  of  music. 
Nevertheless,  it  has  been  the  inspiration  for  some  of  Vaughan  Williams'  finest 
scores,  including  "The  Lark  Ascending"  for  violin  and  orchestra;  "On  Wenlack 
Edge,"  a  song  cycle  based  on  "A  Shropshire  Lad"',  his  first  symphony,  called 
"A  Sea  Symphony,"  in  which  soprano,  barytone,  and  chorus  intone  Walt 
Whitman's  rhapsodic  invocation  to  the  sea;  and  above  all  his  "Pastoral  Sym- 
phony " — probably  the  greatest  orchestral  work  produced  in  modern  England, 
and  certainly  this  composer's  masterpiece.  There  is  nothing  photographic 
about  this  last  work,  despite  its  title;  no  imitations  in  music  of  the  sounds  of 
nature.  Instead  it  presents  a  serene  and  quiet  contemplation,  a  mood  of  gentle 
reverie,  of  melancholy,  and  yet  a  thrilling  sense  of  spaciousness  and  lig>t. 
Every  listener  may  find  in  this  music  his  own  images  of  meadow  and  plain,  of 
winding  river,  and  the  wide,  wind-swept  sky.  Or  he  may,  if  he  choose,  find 
none  of  these;  but  only  the  intensely  personal  recital  of  the  composer's  inmost 
confidences,  told  with  a  reticence  and  a  delicate  charm  that  has  seldom  been 
equalled  in  modern  music.  (See  Dictionary  of  Musicians  entry,  page  470.) 


A  PRONOUNCING  &  DEFINING 

DICTIONARY 
OF  MUSICAL  TERMS,  INSTRUMENTS,  &c, 


A  (G.  a;  F.  I.  &Sp.  la.)-  i-  A  musical 
pitch  (435  vibrations  per  second, 
according  to  the  standard  adopted  in 
France  1879  an<i  at  Vienna  .1887,  and 
called  diapason  normal).  2.  Any 
octave  of  this  pitch.  3*  This  tone 
designated  in  Absolute  Pitch  (q.v-) 
as  a>'  is  invariable  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,  L.,  /„  F.  By,  'from,  for,  to, 
at,  in,  etc.1 

ab  (ap),  G.     "Off."     Used  of  stops. 

ab'acus  harmon'icus,  L.  i.  A  table 
of  notes.  2.  The  arrangement  of 
the  keys  and  pedals  of  an  instrument. 

abanera  (a-ba-na'-r#),  Sp.  Vide  ^HA- 
BANERA. 

.abandon  (2,-ban-ddn),  »F.  Lack  of  all 
restraint  in  emotion. 

abbadare  (ab-ba-da'-rS),  J.  "To  take 
care. 

abbandonar'si,  abbandonatamen^te, 
abbando'ne,  abbando'no,  J.  With 
abandon. 

abbassamen'to,  I.  Lowering.  A.  di 
mano,  (a)  down-beat;  (b)  the  carry- 
ing of  one  hand  below  the  other  in 
?iano  playing.  A.  di  yoce  (vo-che1), 
.  Lowering  of  the  voice.  Diminu- 
tion. 

abbatimen'to,  J.     Down-beat. 

abbeUare  (ab-bel-la'-reO,  /.  To  orna- 
ment, abbelitura(e)  (too'-ra),  a- 
bellimen'toCi).  Embellishment  (s). 

abbetont  (ap'-ba-tont),  G.  With  final 
emphasis. 

a-b-o-d-i(e)ren  (a-ba-tsa-de'ren),  G. 
To  sing  the  notes  by  their  letter 
names. 

Abend  (a'-bent) ,  G.  Evening,  -glocke. 
Curfew,  -lied  (let).  Even  song, 
-musik  (moo-ze"k';.  Evening  music. 

^Phrases  beginning  with  these  and  other  preposi- 
tlons  will  be  found  under  tb~*r  principal  words. 


abenteuerlich  (a'-ben-toi-er-llkh),  G. 
Venturesome. 

ab 'fallen,  G.  To  deteriorate,  -ge- 
brochen  (ap'-gS-brdkh-Sn).  Inter- 
rupted. Vide  RADENCE.  Abgesang 
(apr-gg-zangk).  Refrain.  It  fol- 
lowed the  two  Stollen  in  the  songs  of 
the  Meistersanger.  -gestossen  (ap'- 
gS-sht6s-sSn).  Staccato.  -gleiten 
(ap'-gli-tSn).  To  slide  the  finger 
from  a  black  key  to  the  next  white 
key.  Abkurzung  (ap'-kur-tsoongk). 
Abbreviation.  -leiten  (apMi-te'n). 
To  derive  from,  -losen  (ap'-lS-zSn). 
To  change  fingers  on  a  sustained 
tone,  -nehmend  (ap'Tna-zaSnt). 
Diminuendo. 

.abreges  (ab-ra-zha),  F.     Trackers. 

abreichen  (ap'-ri-kh^n),  G.  On  the 
violin,  to  extend  the  little,  or  draw 
back  the  first,  finger. 

Ahreissung  (ap'-ris-soongk),  G.  Sud- 
jden. pause. 

abrup'tio,  L.     An  abrupt  halt. 

Absatz  (ap'-zats),  G.  i.  Cadence.  2. 
A  phrase. 

Abschnitt  (ap'-shnft),  G.     Section. 

abschwellen  (ap'-schvgl-len),  G.  Di- 
minuendo. 

absetzen  (ap'-zSt-zSn),  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. 

abstain  men  (ap'-sh  tarn-men),  G.  To 
be  derived  from. 

Abstand  (ap'-sh tant),  G.     Interval. 

ab'stossen,  G.  To  play  staccato. 
Ab'stosszeichen  (tsi-khSn).  Stac- 
cato mark(s). 

Abstrak'ten,  G.     Trackers. 

Abstufung  (ap'-shtoo-foongk),  G.  Shad- 
ing. 

abtonen  (ap'-ta-nSn),  G.  To  err  from 
the  key. 

ab(h)ub  (a'-boob).     A  Hebrew  horn. 

ab  tin 'dans,  L.     Augmented. 

abwechselnd  (ap'-vfckhs-Slnt),  G.  Al- 
ternating. 


546 


DICTIONARY  OF  TERMS 


547 


Abweichung  (ap'-vikh-oongk),  G.  A 
variant. 

Abyssinian  flute.     A  beak  flute. 

Abzug  (ap'-tsookh).  i.  Lifting  of  a 
finger  or  a  bow.  2.  The  sliding  of 
the  finger  from  one  key  to  the  next. 

academie  spirituelle  (£k-ad-a-me  sptr- 
et-wel),  F.  A  sacred  concert. 

acathis'tus,  Gr.  Ancient  Greek  Church 
hymn  in  honour  of  the  Virgin. 

accademia  (ak-kad-a-ine'-a),  I.  i.  An 
Academy.  2.  A  concert. 

accarezzevole  (ak-ka-re'd-za'vS-le'),  /. 
Caressing.  accarezzevolmen'te. 

Pleadingly. 

accell.,  acceldo.     Abbr.  of  accelerando. 

accelerando  (St-cha-lfc-ran'-ds),  J. 
Accelerating  (the  velocity),  accele- 
ratemen'te.  Swiftly.  accelerate 
(ra'-to).  Swift. 

accent  (in  F.,  Sik-san).  accento  (at- 
chSn'-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  aes- 
thetic, emotional,  pathetic,  poetical  or 
rhetorical  accent. 

accent-mark.  One  of  the  numerous 
signs  of  stress;  as  >  sforzando  or 
<  (strictly  tenuto) ;  'or/,  used  (a)  to 
indicate  pitch  (q.v.)  as  c"  and  C"  = 
c2  and  Ca;  (b)  as  an  abbreviation  of 
foot  (q.v.)  as  8'  =  8-foot. 

accent'or.     Leader  of  a  chorus. 

accentuate  (too-a'-re),  J.  accentui(e)- 
ren  (ak-ts£n-too-€'-r&0,  G.  To  ac- 
cent. To  accentuate  accentua'to. 
With  marked  accent. 

accentuation.  The  act  or  art  of  prop- 
erly distributing  emphasis. 

accen'tus,  L.  Portion(s)  of  the  ritual 
song  of  the  Church,  chanted  by  the 
priest  at  the  altar;  in  contradistinc- 
tion to  the  Concentus,  sung  by  the 
assistants  or  choir.  A.  ecclesias- 
tici,  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  immvtab'ilis,  monotone; 
me'dius,  a  minor  third;  grav'is,  a 
fifth;  acu'tus,  sol  mi  mi  sol;  modera'- 
tus,  rising  a  second  and  returning; 
interrsgati'vus,  falling  a  second  and 
returning;  final' is,  sol  la  sol  fa  m? 
re — thus  closing  in  the  Dorian  key. 

Accessis'ten,  G.     Unpaid  choristers. 

accessory  notes.  The  subordinate 
notes  of  an  ornament.  accessory 
tones.  Overtones. 

acciaccato  (at-cha-ka'-tS),  /.  Vi- 
olent. 

Acciaccatur  (at-tsl-ak-ka-toor'),  G. 
The  doubling  of  the  6-4  chord  on 
the  dominant,  the  right  hand  alone 
resolving  it. 

acciaccatura  (at-chak-ka-too'-ra),  7. 
A  short  appoggiatura,  usually  a 
grace-note,  struck  at  the  same  time 
with  its  principal,  but  instantly  re- 
leased. 

accidentals,  E.  accidenti  (at-tshl-dfcn'- 
t€),  /.  accidents  (3.k-sl-d&n),  F. 
Sharps,  flats,  and  naturals,  foreign  to 
the  key-signature. 

accolade  (&k-kd-15.d),  F.     Brace. 

accompagnamento  (ak-kom-pan-ya- 
mSn'-to),  /.  Accompaniment;  figured 
bass,  accompagnare  (ya'-r5).  To 
accompany.  accompagnato  (ya/- 
to).  Accompanied. 

accommodare  fda'-re"),  /.     To  tune. 

accompagner  (£k-k6m-pln-y5,)>  F.  To 
accompany.  accompagne  (ak- 

k6m-pin-ya).  Accompanied.  ac- 
compagnement  (ak-k6m-pin-yu- 

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-k6p-p!-a/-t5),  7.     Tied. 

accord,  JS.  (in  F.,  &k-kQr),  i.  Conso- 
nance. 2.  A  chord;  a  1'ouvert,  on  the 
open  strings;  natural,  a  fundamental 
chord;  parfait,  a  triad;  renverse", 
inverted;  de  sixte  ajoutee,  chord 
of  the  added  sixth.  Vide  ALTERED. 
accordant  (3.k-k6r-d§,fi),  F.  In  con- 
cord, accorder  (S.k-k6r-da).  To 
tune,  accordeur  (dttr).  i.  A  tuner, 
2.  a  set  of  12  tuning  forks  giving  the 
tempered  scale.  3.  Monochord.  ac- 
cordoir  (SLk-kdr-dwar).  A  tuning^ 
key,  hammer,  or  cone. 

accordamen'to,  accordanza  (dan'-tsa), 
T  Consonance. 


548 


DICTIONARY  OF  TERMS 


accordance,   accor'dature,    E.   accor- 

datura  (too'ra),  J.      The  system  of 

tuning  the  strings  of  an  instrument; 

thus,  the  a.  of  a  violin  is  g-d-a-e. 
accordare  (da-re),  /.    To  tune,    accor- 

dan'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  (&k-koo-pla),  F.    To  couple. 

accouplez  (&k-koo-pla).     "Draw  the 

coupler." 
accrescendo       (ak-krSs-sh£n'-do).       /. 

Crescen'do.     acorescimento  (ac-cra- 

she-me'n'~t5) .     Augmentation  as  of  a 

fugal  theme,       pttnto  d'a.,  the  dot 

placed  after  a  note  to  prolong  it.   ac- 

cresciuto  (shoo '-to),  /.    Augmented, 
acetab 'ilium,   L.  An  ancient  instr.  of 

percussion.     Earthen  vessels  beaten 

as  drums  or  clashed  as  cymbals, 
achromatic.    Lacking  accidentals  and 

modulations. 
aclit  (akht),  G.     Eight.     Achtfusston 

(akht'-foos-ton)     or     8-fiissig     (fus- 

slkh).     Eight-foot  tone.     8-stimmig 

(shtim-mlkh).       For  eight  voices  or 

instruments. 
Achtel  (akhtl),  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  all  aboriginal  wind-instr.  of  the 

same  name  was  made. 
acplyth'ia,   Gr.      The  order   of   service 

in  the  Greek  Church. 
acous'tics  (a-kow'-stix,  or  a-koo'stix), 

j£.,  acoustique  (a-koos-t6k),  F.    The 

science  of  sounds.     (See  article,  page 

718.) 
act-tune.    Music  between  the  acts  of  a 

play. 

acuitS  (£k-wg-te),  F.     Acuteness. 
acustica     (a-koos'-tl-ka),     /.,    Acustik 

(a-koos-t£k'),  G.  Acoustics,  acustisch 

(tlsh),  G.     Acoustical. 
acuta  (a-koo'-ta),  J.     i.  Acute,    shrill. 

2,  A  shrill  2-ft.  mixture-stop. 
acu'tae  clav'es,    L.     The   name   given 

bv  Guido  to  the  tones  from  a  to  g. 
acute.     High  in  pitch,  shrill 
acutus,  L.     Vide  ACCENTUS.  - 


ad,  L.     To,  for,  at. 

adagio  (a-da'-jc),  /.  i.  Slow,  slower 
than  andante,  not  so  slow  as  lento. 
2.  A  slow  movement  or  division  of  a 
symphony  or  sonata,  adagietto  (&- 
da-jgt'-t5).  A  little  faster  than  ada- 
gio, acagissimo  (jls-sX-mo).  Ex- 
tremely slow. 

adaptation,  E.,  adaiiazione  (a-dat- 
ta-tsi-o'-nS),  /.  An  arrangement  or 
transcription. 

adasio  (a-da'-sl-o),  /.     Adagio. 

added  lines.  Leger  lines.  added 
sixth.  Vide  SIXTH. 

additato  (ad-dl-ta-to),  7.     Fingered. 

additional  keys.  Those  above  i'"  on 
the  piano,  additional  accompani- 
ments. Accompaniments  or  parts 
added  to  a  work  by  another  hand 
than  that  of  the  composer. 

addolorato  (ad-d5-l6-ra'-to),  /.  Mel- 
ancholy. 

Adel  (a'-del),  G.     Majesty. 

Adi'aphone.     Vide  GABELKLAVTER. 

Adi'aphonon,  G.  A  piano  of  permanent 
tune,  inv.  in  1820  by  Schuster.  The 
tone  was  produced  by  metal  bars. 

adirato  (a-dl-ra'-t6),  /.  Angry,  adi- 
ratamen'te.  Angrily. 

adjtuict  notes.  Unaccented  auxiliary 
notes. 

Adjuvant  (at'-yoo-fant),  G.  Assistant 
to  a  chorister. 

Adler  (at'-ler),  G.  A  rarely  used  organ- 
stop. 

ado'nia.     An  ancient  musical  feast. 

adornamen/to  (pl.-i),  I-  An  embellish- 
ment. 

adoucir  (a-doo-s6r),  F.  To  soften,  to 
flatten. 

adquis'ta  or  adsuma'ta  vox,  L.  The 
extreme  low  tone. 

adufe  (a-dhoo'-fe),  Sp.  Tambourine. 
adufero  (fa'-ro).  Player  of  it. 

A-dur  (a-door),  G.  The  key  of  A 
major. 

se'rophone.     A  kind  of  harmonium. 

SMigStlich  (gnkst-llkh),  C.      Anxiously. 

ssorKarmon^ca.     A  kind  of  seraphine. 

^Bo'lian.  i.  Vide  MODES.  2.  The  fifth 
of  the  authentic  Gregorian  modes. 
3.  AL  automatic  reed  instrument  in 
which  the  performer  controls  the 
time,  the  stops,  and  the  expression. 

JEolian  Harp  or  Lyre,  An  instr.  inv. 
by  Kircher  in  the  1 7th  century  It  is 
usually  a  box  set  in  a  window  and 
fitted  with  6  or  more  strings  of  silk  or 
gut,  tuned  in  unison,  passing  over 
bridges  about  f-inch  high*  The 
stnngs  are  so  arranged  that  the  air 


DICTIONARY  OF  TERMS 


549 


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. 

^Eolian  mute,  A  combination  of  the 
pitch-pipe  and  mute. 

^Eolian  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. 

aeoli'na.  i.  A  small  free-reed  mouth 
instr.,  inv.  by  Wheatstone,  1829. 
2.  An  organ-stop. 

aeolo'dicon  or  seolo'dion,  Gr.  A.  keyed 
instr.  in  which  the  tone  is  produced 
by  steel  springs,  put  in  vibration  by 
bellows. 

jeolomelo'dicon.  The  same  instru- 
ment with  brass  tubes  to  reinforce  the 
springs. 

aeolopan 'talon.  An  aeolodicon  com- 
bined with  a  piano. 

^Eolsharfe  (a-dls-har'-fe1),  G.  Aeolian 
harp. 

^Eolsklavier  (a-dls-kla-fer),  G.  A  key- 
board wind  instr.,  inv.  r825,  by 
Schortmann,  with  reeds  of  wood  in- 
stead of  metal. 

dSota'na,  Gr.  A  small  mouth  instr.  of 
short  metallic  reeds. 

^Equal  (a-kwal),  G.,  from  JLat.,  signify- 
ing "8-ft."  Vide  STOP. 

aequiso'nus,  L.  Unison,  aequiso'nans. 
Concordant. 

qequiva'gans,  L.  Simultaneously  syn- 
copated or  varied  in  all  the  parts. 

^quivoken  (a'-kwI-fo-kSn),  G.  Meis- 
tersinger  airs  of  the  same  name. 

sere  recurvo.,  L.     Bucena. 

aerophone.     A  French  melodeon. 

aevia  (e'-v*-a),  L.  Abbr.  (the  vowels 
only)  of  Alleluia. 

affabile  (af-fa'-M-le"),  I.  Affable,  af- 
fabiliti  (bg-H-taO-  Cordiality,  affa- 
bilmen'te.  Affably. 

affanna'to,  affano'so,  7.  Tormented, 
distressed. 

affectiert  (af-f Sk-tSrt'),  G.  With  affec- 
tation. 

affectueux  (Sf-fSk-tu-ttO,  F.  Affec- 
tionate. 

affettazione  (ta-tsl-o'-ne*),  7.        Affec- 

~*  tation.    affettatamen'te.    Affectedly. 

affet'to,  I.  Affection,  affettuoso.  Af- 
fectionate, affettuosamente.  Af- 
fectionately, affettivo  (t§'-vo).  Af- 
fecting. 

affilar',  /.     Vide  FILAR. 

affinity.     Close  relation  (as  of  keys). 


afflizione  (af-fle-tsjC-o'-n$).  Sorrow, 
aflit'to.  Sorrowful. 

affrettan'do,  afErettate  (ta'-tS).  Hur- 
rying, anretto'so.  Hurried. 

afofa7.     Portuguese  fandango. 

after-beat.  Two  notes  used  as  ending 
a  trill,  after  note.  A  small  unac- 
cented note  taking  its  time  from  the 
preceding. 

agevole  (a-ja'-vo-lS),  /.  Agile,  age- 
volmen'te.  Nimbly.  agevolezza 
(a-  ja-vo-ied'-za) .  Agility. 

aggiustato  (ad-joos-ta'-to),  7.  Ad- 
justed, arranged,  adapted,  aggius- 
tataxnen'te.  In  strict  time. 

aggraver  la  fugue  (5.g-gr&-va  la  fiig),  F. 
To  augment  the  (subject  of  a)  fugue. 

agiatamente  (a-jat-a-mSn7-tS).    Easily. 

agilita  (a-jgl-I-ta'),  7.  Agility,  agil- 
men'te.  Nimbly. 

agitato  (a-jl-ta'-t6),  7.  'Agitated,  hiir- 
ried.  agitamen'to,  agitazione  (a-je- 
ta'-tsI-S'-nS).  Agitation. 

agite  (a-zhe-ta),  F.     Agitated. 

agli  (al'-yg),  7.     Vide  AL. 

Ag'nus  Del.  L.  "Lamb  of  God." 
Vide  MASS. 

ago'ge,  Gr.  i.  The  order  of  intervals 
of  melodic  progression.  2.  Rhyth- 
mical order  of  accents  and  duration* 
3.  Expression.  Ago'gik,  G.  The  art 
of  expression  by  rubato,  acceleration, 
&c.  ago'gic  accent.  Expression 
mark. 

agraffe  (a,-gr£ff),  F.  A  small  pin  to 
check  the  vibration  of  a  piano  string. 

agrSments  (£-gra-man),  F.  i.  Em- 
bellishments. 2,  Incidental  music 
and  dancing. 

ai  (a'-5),  7.     To  the.     Vide  AL. 

aigre  (Sgr),  F.  Harsh,  sharp,  aigre- 
ment  (Sgr-man).  Sharply. 

aigu  (€-gu),  F.     Acute,  shrill. 

air,  E.  and  F.  A  melody,  or  tune;  an 
aria.  a.  aboire  (bwar).  A  drinking 
song.  a.  a  reprises  (ru-prez).  Catch. 
a.  chantant  (shan-tan).  A  lyric,  a. 
detadi§  (da-t£-sha).  A  single  air 
detached  from  a  larger  work.  a. 
rapide  (r^l-ped).  A  flourish,  a.  variS 
(va-rf-a).  Theme  with  variations* 

Ais  (a-Is),  G.  The  note  or  key  "A" 
sharp. 

aisS  (S-za),  F.  Easy,  aisiment  (6-za- 
man).  EasHy,  freely. 

aiuton  (I'-a-tan),  Gr.  An  organ  made 
of  tuning-forks,  inv.  by  Charles  Clag- 
get  and  guaranteed  never  to  require 
return  ng. 

ajakli-keman  (a-y&k'-le-ka-m£n).  A 
Turkish  violin. 


550 


DICTIONARY  OF  TERMS 


Akkord  (ak-k6rt'),  G.  A  chord.  A.- 
passage.  An  arpeggio.  A.-zither. 
i.  The  auto-harp.  2.  A  set  of  instru- 
ments. 

Akromat  (a-kro-maf),  G.     A  musician. 

akromatiscL  (a-krfi-ma'-tish),  G.  Ach- 
romatic. 

Akustik  (a-koos'-tSk),  G.       Acoustics. 

a  la,  au,  aux,  al,  all9,  alia,  alle,  allo,  agli, 
ai,  F.  and  /.  Varying  combinations 
of  the  different  genders  of  the  article 
"the"  with  the  preposition  "to," 
meaning  "in  the  manner  of,"  as  d  la 
grecque,  and  alia  cappella. 

a'laxnoth,  Heb.  Obscure  and  disputed 
musical  term  in  Psalm  LXVIII,  25. 

alar'um,  L.  all*  armi,  /.    A  call  to  arms. 

albada  (S,l-b§/-dha),  Sp.  A  morning 
serenade. 

Albert!  Bass.  A  bass  consisting  of 
monotonous  simple  broken  chords. 
So  called  after  its  alleged  inventor. 
Vide  B.D. 

albogue  (Sl-bo-ga'),  Sp.  An  instr.  of 
the  flute  species. 

Albmnblatt  (al'-boom-blat).  Album- 
leaf.  Plural.  A.-biatter  (bl£t-ter). 

alcuna  (al-koo  -na),  I.  Some;  as  con 
a.  licenza,  with  some  licence. 

alelu'ya,  Sp.     HaUelujah. 

alemana  (ai-S-ma'-na),  Sp.     Old  Span- 
ish dance. 
Alexandra   organ.         Vide   AMERICAN 

ORGAN. 

aliquot.  TTsed  of  the  parts  into  which 
a  vibrating  string  is  subdivided  in 
producing  overtones.  Aliquotfltigel, 
G.  A  piano  inv.  by  Bltithner  with  a 
sympathetic  octave  string  for  each 
note.  Aliquottheorie  (aT-X-kwdt-ta- 
5-re"),  G.  The  theory  of  overtones. 

alia.     Vide  At. 

allargan'do,  /.  Gradually  slower  and 
broader. 

all*  ova.     Vide  OTTAVA. 

alle  (al'lS),  G.  AU:  alle  Instrumente. 
All  the  instruments;  tutti. 

allegrativo  (al-ls-gra-te'-v5);  allegra- 
men'te,  allegran'te,  /.;  aU6grement 
(Sl-la-grti-m&n),  F.  Gayly  and 
quickly. 

allegrettino  (§l-la-grSt-tg'-n6),  J.  A 
little  slower  than  allegretto. 

allegretto,  J.  Slower  than  allegro, 
but  blithe  and  cheery. 

allegrezza  (al-la-grSd'-za);  allegria 
(grg'-a),  J.  Joy,  cheer. 

allegro  (al-la'-gro),  /.  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- 
vpora),  /.  Compositions  to  display 
virtuosity.  allegrissimamen'te, 

allegris'simo,  i\  Extremely  fast, 
allegro  con  moto,  /.  a.  di  molto. 
Very  fast.  a.  moderate,  a.  non 
molto,  a.  non  troppo,  /.  Moderately 
fast.  a.  giusto  (joos'-to),  /.  Fast; 
but  exactly  in  time. 

allein  (al-Un'),  G.  Alone,  single.  A.- 
sang.  Solo.  A.-sanger,  or-spieler. 
Solo-singer  (or  player). 

alleluia,  allerujah  (al-la-loo'-ya),  Heb. 
"Praise  the  Lord;"  HaUelujah. 

Allemande  (ai-mand),  F.  i.  A  German 
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,   and  anti-no  ^ 
with  a  short  note  on  the  up-take. 

allentato  (t&'-ts),  allentamen'to,  al- 
lentan'do,  7.  Retarding. 

aUgemeiner  Bass  (al-khS-mJ'-ngr  bas), 
G.  Thorough  bass. 

allied.     Accessory. 

allmShlich,  allmahlig  (al'-ma-llkh),  G. 
GraduaUy. 

allonger  1'archet  (ai-16n-zha  lar-sha), 
F.  To  prolong  the  bow  stroke. 

allo'ra,  /.     Then. 

Almain,  Alman,  Almand.      AUemande. 

Alma  Redemp'toris,  L.  Hymn  to  the 
Virgin. 

aTpenhora,  alpliom.  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),  J.  High.  In  alt  is  applied 
to  tones  in  the  first  octave  above  the 
treble  staff,  as  b";  in  alttesimo  refers 
to  tones  in  the  second  octave  above 
the  treble  staff,  as  d/7/. 

al'ta,  /.,  alt,  G.  High,  or  alto;  as 
Althorn.  octava  alta.  An  octave 
above, 

al'ta,  Sp.     An  old  Spanish  dance. 

alterata  (a'-ta),  J.  Scales  with  notes 
foreign  to  the  Church  modes. 

altera'tio,  L.  The  doubling  of  the 
time  value. 

alterato  (Sl-tS-ra'-td),  /.,  alt€r6  (al- 
ta-ra),  F.,  altered,  E.  Changed 
chromatically,  especiaUy  applied  to 
certain  inverted  chords. 

alterezza  (al-tS-r&l'-za),  I.  Haughti- 
ness. 


DICTIONARY  OF  TERMS 


551 


altername£'tt,  alternan'do,  7.  Alter- 
nating. 

alternations.     Tunes  for  bells. 

alternative  (te'-vo),  7.  i.  Alternative; 
a  choice  of  methods,  2.  A  short  trio. 

Altgeige  (alt'-gl-khe),  G.     The  viola. 

Althorn.     Vide  SAXHORN. 

altieramente  (tl-a'-ra),  7.     Haughtily. 

alti  naturali.  Male  altos,  or  counter- 
tenors, as  opposed  to  castrati. 

altisonan'te,  altiso'no.     Sonorous. 

altis'onpus.  High-sounding,  used  of 
the  highest  male  voice. 

altis'simo,  L,     Vide  ALT. 

altist,  altista  (al-t5s'-ta),  7.,  altiste 
(31-test),  F.  An  alto  singer. 

AltOdausel  (alt  '-klow-zSl)  ,  G.  The  pro- 
gression of  the  alto  part  in  a  cadence. 

alto  (alM:6)y  7.  i.  High;  originally 
applied  to  the  high  range  of  the  arti- 
ficial or  falsetto  tenors  (castrati,  alti 
naturali,  teriori  acuti,  falsetti,  counter- 
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  e" 
(an  octave  above  middle  C).  2.  Viola, 
also  alto  viola,  a.  primo,  7.  The 
higher  alto.  a.  secondo,  T.  The 
lower  alto.  a.  tenore,  7.  The 
higher  tenor, 

aTto-basso,  7.  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'ottava,  7.     Vide  ALT  A. 

Altposaune  (Slt'-po-zow-nS),  G.  Alto- 
trombone. 

aTtra,  al'tro,  7,  Another,  altra  volta. 
Encore.  altro  mo  do.  alternate 
manner. 

AltsSnger  (alt'-zSng-er),  G.  Alto,  or 
counter-tenor. 

Altschlussel  (alt-shliis'-sel),  G.  The 
alto  clef. 

Altviole,  G.     The  viola. 

al'tus,  L.     Alto  or  counter-tenor. 

alzamento  (al-tsa-m£n'-to),  7.  An  ele- 
vating, as  of  the  voice,  a.  di  mano. 
Up-beat. 

alzando  (al-tsan'do),  7.     Raising. 

amabile  (a-ma'-M-le*),  7.  Amiable. 
amabilmen'te.  Amiably,  amabilita 
(bS-H-tft  0  .  Tenderness. 

omarezza  (a-ma-rSd'-za),  7.  Bitter- 
ness. amaro  (a-mS/-r6).  Bitter. 

't  6  , 


Very  bitter  (ly). 
amateur  (am  a-ttirO,  P.     A  "lover"  of 
an  -j.rt  who  does  not  make  it  his  pro- 


fession; makes  it  rather  an  avocation 
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. 

amHbo  or  ambon.  The  platform  where 
canons  were  sung  in  the  mediaeval 
Eastern  Church. 

Ambro'sian,  Ambrosia 'nus.  Intro- 
duced by  Ambrose.  Vide  B,  D.  A 
Hymn.  The"Te  Deum"  doubtfully 
credited  to  him. 

ambuba'ja  (am-boo-ba'-ya),  L.  A 
strolling  flute-player  from  Syria. 
Vide  ANBUBA. 

ambulant  (an-bu-lan),  F.  Vagabond 
musician. 

ame  (am),  F.     Soundpost. 

amen  (aVmSn7),  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  orgatu  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  gives  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- 
bers developed  by  Mason  &  Hamlin. 
The  stops  are  many,  and  imitate  va- 
rious instruments. 

amore  (a-mo'-rS),  7.  Love;  affection. 
amorevole  (rS'-vS-le"),  amorevol- 
men'te,  amoro'so,  amorosamente. 
Loving  (ly). 

amphichord.     Lira  barberina  (q.v.). 

A'morschall  (a'-mdr-shall),  Amors- 
klang,  G.  An  imperfectly  valved 
French  horn,  inv.  by  K6lbel,  1760. 

ampho'ter,  Gr.  A  series  of  tones  com- 
mon to  two  registers. 

ampollo'so,  ampollosamen'te,  7.  am- 
poule (an-poo-laO,  F*  Pompous(ly). 

amusement  (a-miiz-man),  F.  A  light 
composition. 

an  (S-n),  G.  On  (of  an  organ-stop); 
"draw." 

anab'asis,  Gr.  A  series  of  ascending 
topes. 


552 


DICTIONARY  OF  TERMS 


anabath/mi,  Gr.  Certain  antiphons 
in  the  Greek  Church. 

anacru/sis,  anakrusis,  Gr.  i.  The 
up-beat.  2.  The  up-take,  or  ac- 
cented part  of  a  measure  beginning  a 
theme  or  air. 

nnafil  (a-na-fel'),  Sp.  A  Moorish  pipe, 
anafilero  (fe-la-rS).  A  player  of  it. 
'a-na-ga'-tha),  Sp.  A  bird- 


anakamp'sis,  anakamp'tos,  Gr.  A  se- 
ries of  descending  tones. 

anaka'ra,  Gr.  Ancient  kettle-drum, 
anakaris'ta,  Gr.  Kettle-drummer. 

analisi  (a-na-le'-ze),  J.,  analyse  (£n-a- 
ISz),  F.  Analysis. 

anbu'ba  (ya).     Syrian  flute. 

anche  (ansh;,  F.  A  reed,  libre.  Free- 
reed,  jeu  d'a*,  or  a.  d'orgue.  A 
reed-stop. 

ancia  (an-chs'a),  I.     A  reed. 

anco'ra,  /.  Once  more;  yet;  still,  as 
ancor  pift  mosso.  Still  more  quickly. 

Anddcht  Oin'-dakht),  G.  Devotion, 
andiichtig  (an-dSkh'-tikh).  Devo- 
tional. 

andamen'to,  /.  i.  Rate  of  speed. 
2.  An  episode  as  in  a  fugue.  3.  A 
fugal  theme. 

andante  (an-dan'-tS),  /.  Literally — 
"going";  moderately  slow,  reposeful. 
Often  much  qualified  by  other  words, 
as  con  moto,  largo,  maestoso,  piti  tosto 
allegretto  =  (nearly  allegretto'). 

andantino,  J.  Literally,  slower  than 
Andante;  but  usually  considered  to 
mean  slightly  faster. 

andare  (an-da  -ra),  /.  To  move;  as  a 
diritto,  go  straight  on;  a.  a  tempo, 
keep  strict  time. 

anenrochord  or  anim/ocorde.  An 
instr.  inv.  by  Schnell,  1789,  aiming  to 
imitate  the  ^Eolian  harp  by  means  of 
keys  pressing  bellows  and  forcing  air 
against  strings. 

ajaemom'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. 

Anfang  (Sn'-fangk),  G.  Beginning, 
vom  A*,  =  Da  capo.  Anfanger  (an - 
fSng-Sr).  A  beginner.  Anfangs- 
griinde.  Rudiments.  Anfangsri- 
tornell.  Prelude. 

Anfiinrer  (an'-fii-rSr),  G.  Conductor, 
leader. 

angeben  (an'ga-bSn),  G.  To  give,  den 
Ton  a.,  to  give  the  pitch. 

.Angelica  (an-ja'-U-ka),  G.  angelique 
(aii-zha-lek),  angelot  (an-zhii-15),  F. 


1.  An  organ-stop.     Vide  vox.     2.  A 
1 7th  century  keyboard  instr.  with  17 
strings. 

anglophone.  Eaily  form  of  harmo- 
nium. 

angemes'sen,  G.     Appropriate. 

angenehm  (an'-khS-nam),  G.    Pleasing. 

angkloung  (ankMoong).  A  Javanese 
xylophone. 

anglaise  (an-gl6z),  F.,  anglico  (an-gle'- 
k5),  I.  i.  In  the  "English"  style. 

2.  An  English  country  dance,  ballad 
or  hornpipe.     3.  A  sprightly  French 
dance  in  3-4  time. 

ango're  (an-gd'-rS),  angoscia  (an-go7- 
sha),  /.  Anguish. 

angoscevole  (an-go-sha'-v6-16),  ango- 
sciamen'te,  angosciosamen'te,  ango- 
scio'so,  /.  With  anguish  or  anxiety. 

SngstUch  (gngshtlikh),  G.  Anxious(ly). 

anhaltend  (Sn'-hal-tSnt),  G.  Contin- 
uous, a.  Cadenz.  A  pedal  point  or 
prolonged  cadence.  , 

Anliang  (an'-hangk),  G.     Coda. 

am 'ma,  /.     Soul  spirit. 

animan'do,  animato  (a '-to),  /.,  anim^ 
(a.n-3C-ma),  F.  Animated,  anima- 
zione  (a-nl-ma-tsl-Q'-nS),  /.  Anima- 
tion. 

animo  (an'-X-mo),  /.  Spirit,  animo'so, 
animosamen'te,  /.  Boldly. 

animocorde.     Vide  ANEMOCHORD. 

An'klang,  G.     Harmony. 

Anlage  (an'-lS.-khe'),  G.     Outline. 

anlaufen  (an '-low-fen),  G.  To  increase; 
to  swell. 

Anleitung  (an'-li-toongk),  G.  Introduc- 
tion; instruction. 

Anmuth    (an'moot),   G.         Sweetness, 

trace.  anmuthig  (an'moo-tlkh). 
weetly.  anmuthvoll  (f6l).  FuU  of 
grace. 

anom'aly.  Deviation  from  exactitude 
due  to  temperament  (q.v.).  anom- 
alous. As  a  chord;  characterised  by 
a  much  tempered  interval. 

anonner  (5,-ntin-na),  F.  To  hesitate, 
blunder. 

anpfeifen  (an'-pfi-fen),  G.  To  whistle 
at;  to  hiss. 

An'sa.  In  Hindu  music  the  note  cor- 
responding to  our  tonic. 

Ansatz  (an'-zats),  G.  i.  Embouchure. 
2.  Attack. 

Anschlag  (an'-shlakh),  G.  i.  Touch. 
2.  A  short  double  appoggiatura. 

anschwellen  (an'-shvSl-lSn),  G.  To  in- 
crease; swell. 

an'singen,  G.     To  greet  with  song. 

ansio'so,  ansiosamen'te,  I.   Anxiously. 


DICTIONARY  OF  TERMS 


553 


anspielen  (an'-shpe-lSn),  G.  To  play 
first. 

Ansprache  (an'-sprakh-S),  G.  "Speak- 
ing" or  intonation. 

ansprechen,  anstlrmnen,  G.  To  speak; 
sound. 

Anstimmung  (an'-shtlm-moongk),  G. 
Intonation. 

answer*     Vide  FUGUE. 

antelu'dium,   C.     A  prelude. 

antece'dent.  i.  A  subject.  2.  Vide 
FUGUE. 

anthem.  In  the  Anglican  Church  serv- 
ice, a  sacred  vocal  work  with  or 
without  accompaniment.  "There  are 
five  species  of  anthems,  i.  Verse 
and  chorus  a.,  consisting  of  verse 
and  chorus,  but  beginning  in  chorus. 
2.  Verse  a.,  containing  verse  (i.  e., 
solo)  and  chorus,  but  beginning  in 
verse.  3.  Full  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. 

Anthologie  (an-tS-lo-zhe'),  Antholo'- 
gium,  F.  and  G.  The  collection  of 
hymns,  prayers,  and  lections  of  the 
Greek  Church. 

an'thropoglossa,  Gr.  The  vox  humana; 
a  stop. 

anticipation,  antidpamento  (an-te-che- 
pS-men'-to),  or  anticipazione  (Sn-tS- 
chS-pa'-tsi-o'-ne-),  /.  The  sounding 
of  one  or  more  parts  of  a  harmony 
before  the  natural  a  nd  expected  place. 

antico  (an-te'-kS),  /.  Ancient,  all*  a. 
in  the  ancient  style. 

antienne  (ans-y6n),  P.,  antifona  (an- 
te '-fo-n2,),  /.  Anthem;  antiphon. 
atifona'rio,  7.,  atifonero  (an-tl-fo- 
na'-r6),  Sp.  A  precentor;  anthem 
singer. 

antifonal',  Sp.     A  book  of  anthems. 

an'tiphon,  an'tiphone,  antipho'non,  an- 
tiph'onjr.  i.  In  Greek  music,  ac- 
companiments in  the  octave.  2. 
Responsive  singing  by  parts  of  a  di- 
vided choir,  or  congregation.  3.  A 
short  scriptural  sentence  sung  before 
and  after  the  Psalms  or  Canticles. 
The  chant  or  alternate  singing  in 
churches  and  cathedrals. 

antiphona,  Gr.     An  anthem. 

antiphonal,  antiphonaire  (anti-f6- 
nar),  F.9  antiphona'rium,  L.,  an'ti'- 
phonary.  A  collection  of  Catholic 
antiphons. 

AntiphoneL     Vide  PLANTCHETTE. 

an'tiphonic.  Not  in  unision;  made  up 
of  2  or  more  parts. 


antistro'fa.    An  ancient  Spanish  dance. 

antith'esis.  i.  Contrast.  2.  Countex'- 
sub  ject.  3.  In  fugues  applied  to  the 

answer. 

anto'de,  Gr~     Responsive  singing. 

Antwort  (ant'-v6rt),  G.     Answer. 

anwachsend  (anVakh-zSnt),  G.  Cre- 
scendo. 

aoi'dos,  Gr .     Singer. 

aper'to,  X.  i.  Open,  broad.  2,  In 
piano  music,  "use  the  damper  pedal.*7 

aper'tus,  L.  Open;  as  diapason, 
canon,  pipes. 

Apfelregal  Ob'fSl-rakh-al),  G.  "Apple- 
register,**  an  obsolete  reed-stop. 

aph'ony,  aphonie  (a-f6-nS),  F.  Dumb- 
ness, aph'onous.  Without  voice. 

apoggiatura.     Vide  APPOGGIATUIIA. 

apolli'no,  Gr.  An  invention  combining 
the  qualities  of  several  instruments. 

applloy  apollon.  A  20-stringed  lute 
inv.  in  1678,  by  Prompt,  of  Paris. 

apollo  lyra.  An  improvement  made 
by  Schmidt  in  1832,  on  the  Psalm- 
melodicon  (q.v.). 

apollo 'nicon.  A  gigantic  orchestrion 
exhibited  in  1817,  by  Flight  &  Rob- 
son,  and  containing  5  manuals,  45 
stops,  1,900  pipes,  and  kettle-drums. 
It  could  be  played  automatically  or 
by  five  performers  at  once. 

apollo 'nion.  An  instr.  inv.  by  Voller  in 
1800;  a  piano  with  double  key-board, 
organ-pipes  and  automatic  performer. 

aposrtrophe.  In  singing,  used  to  mark 
a  breathing-place. 

apot'ome,  Gr.  A  major  semitone,  in 
Greek  music. 

appassionato  (ap-pas'-sI-Q-na'-to),  ap- 
passionatamente,  J.  Passionately). 

appeau  (2,p-po),  F.     Bird-like  tone. 

Appel  (ap-p&O,  F.  &  G.  Drum  call;  as- 
sembly. 

appenato  (ap-pa-nS/-tQ),  7.  Distressed. 

application  (ap-pll-k&s-y6n),  F,,  ap- 
plicatura  (ap-pH-ka-top'-ra),  J-,  Ap- 
plikatur  (toor'),  G.  Fingering. 

apppggiando  (ap-p6d-jan'-do),  appog- 
giato  Qa/-to5,  /.  Leaning  upon,  as  a 
tone  that  slides  into  the  next  legato. 

appoggiatura  (ap-p6d-ja-too/-rS),  pl.e, 
I.  "Leaning  note."  i.  The  short  or 
lesser  a.,  or  grace  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.  (Nackschlag)  follows  its 
principal,  is  connected  with  it  by  a 


554 


DICTIONARY  OF  TERMS 


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 
suspension.  Almost  any  dissonan- 
tial  note  can  be  introduced  unpre- 
pared as  an  a.  3.  A  superior  a.  is  one 
placed  above  its  principal;  an  inferior 
a.  one  below.  Vide  GRACE. 
apprestare  (ap-pra-sta'-rS),  /-,  ap- 
preti(e)ren  (kp-prS-te'-rfcn),  G.  To 
prepare,  as  an  instrument. 
Appretur  (ap-prS-toor'),  G.  The  proper 

set-up  of  an  instrument. 
ipre  (apr),  F.    Harsh,    iprement  (apr- 
man).     Harshly.     £pret6  (ap-ru-t&). 
Harshness. 
AT  (2r),  Port.     AIL 

Arabeske  (ar-a-b&s'-kS),  G.,  arabesque 
(5,r-a-bSsk),   F.         i.  An   embellish- 
ment.     2.  A  light  and  graceful  form 
of  music,  resembling  the  rondo, 
arbit'rio.     Pleasure.     A  suo  a.  =  ad  lib. 
arbit'rii  (trl-i).    Embellishments  im- 
provised at  pleasure  while  singing. 
arc,  J.       The  bow;  an  abbr.  of  arco 
arcata  (ar-ka'-ta).      Use  of  the  bow. 
area 'to.     Played  with  the  bow. 
Arche  (ar-kh£),  G.     Sounding-board. 
arch-,  E.  &  F.,  archi-,  L.,  arci-  I.  A 
prefix,  meaning  "chief,  principal";  of 
instruments  "the  greatest." 
archeggiare  (ar-kSd-ja'-re'),  I.     To  use 

the  bow,  to  fiddle. 
archet  (£r-sha),  jF.,  archetto  (ar-kef- 

to),  /.  Violin  bow. 
archlute,  archiluth,  (ar-shl-lut),  F., 
arciliuto  (ar-ch5l-yoo-to),  /.  A  the- 
orbo in  which  the  bass  strings  were 
doubled  with  an  octave  and  the  small 
strings  with  a  unison. 
arcicembalo  (ar-chJC-cham'-ba-lo),  J. 
A  harpsichord  inv.  by  Vincentino  in 
the  1 6th  century  with  6  key-boards 
and  a  diatonic,  chromatic,  and  enhar- 
monic scale.  He  also  inv.  the  so- 
called  arci-organ. 

arco  (ar'-k5),  J.  The  bow.  a  ptin'ta 
or  colla  punta  d'arco.  With  the 
point  of  the  bow.  coll'  arco,  or 
simply  arco  after  pizzicato.  "Resume 
the  bow."  a.  in  gift  GOO).  Down- 
bow,  a.  in  su  (soo).  Up-bow. 
contr'arco.  Bowing  against  the  rule. 
arden'te,  ardentemen'te,  ardentis'- 

simo,  /.     Ardent(ly). 
arditezza  (ar-di-tSd'-za),  I.     Boldness. 

ardito,  arditamen'te.     B old(ly) . 
Aretin'ian.    Concerning  Guido  D'Arez- 


zo  or  Aretinus,  as  the  A.,  syllables. 
Vide  SOLMISATION  (and  GTJIDO  in  the 
B.  D.). 

argentin  (a,r-zhan-t&n),  $.     Silvery. 

arghool'.  An  Egyptian  cane  pipe  with 
reed  mouthpiece. 

aria  (a'-rl-a)  (pi.  e),  J.  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  re- 
peated after  the  second)  was  the  first 
important  form,  though  the  rondo 
and  even  the  sonata  idea  have  been 
used.  Various  sorts  of  aria  are  a. 
buff  a  (boof'-fa),  humorous;  canta- 
bile,  lyrical;  concertante  (c6n-chSr- 
tan'-tS)  or  da  concerto,  for  conceit 
use,  elaborately  accompanied* 
d'abilita  (da-be-le-ta),  for  a  display 
of  virtuosity;  d'entrata  (dgn-tra'-ta) 
or  sortita  (sdr-te'-ta),  for  the  first 
appearance  or  entrance  of  an  operatic 
character;  di  bravura,  highly  florid; 
da  chiesa,  for  church  with  accompa- 
niments of  full  orchestra;  fuga'ta 
parlan'te,  declamatory;  tedes'ca, 
with  closely  related  accompaniment. 
A.  d'ostinazione  (d6s-tX-na/-ts*-6'- 
nS),  /.  An  aria  with  a  basso  ostinato. 
aggiunte.  One  introduced  into  an 
opera,  ariettina  (t67-na),  ariet'ta, 
/.  A  short  air  or  melody. 

ariette  (ar-I-St),  F.  Literally  "a  short 
aria,"  actually  a  grand  aria. 

arigot  (a-rJ-go),  F.     A  fife. 

ario'sa  (or-o),  /.  Melodious (ly),  can- 
tabile.  ariose  cantate  (a-rI-6'sS 
ka.n-ta7t€),  I.  Airs  in  a  style  be- 
tween a  song  and  recitative,  intro- 
ducing frequent  changes  in  time  and 
manner,  ario'so.  In  the  style  of 
an  air;  between  an  aria  and  a  reci- 
tation. A  rather  melodious  declama- 
tion. 

arm.     Iron  end-piece  in  an  organ-roller. 

Annandine  (£r-man-d§n)  F.  A  grand 
piano  with  gut-strings  and  no  key- 
board, invented  by  Pascal  Taskin, 
and  named  after  the  singer  Mile. 
Armand. 

arma'rius,  L.     Precentor. 

armer  la  clef  (ar-ma  la  kla),  F.  Tc 
mark  the  signature  on  the  clef. 

Armgeige  (arm'-gi-kh6),  G.  Viola  da 
braccia. 

annoneggiare  (ar-mo-n6d-ja'-rS),  /. 
To  harmonise. 

armonia  (ar-mo-ne'-a),  J.  Harmony; 
union,  a.  militare.  Military  band, 
armonia'co  (a'-k5),  armoniales  ar- 


DICTIONARY  OF  TERMS 


555 


monia'to,  armo'nico,  armonio'so, 
armoniosamen'te,  I.  Harmonised; 
harmonious  (ly) . 

armo'nica,  /.  i.  Early  form  of  the 
accordeon.  2.  Musical  glasses.  Vide 
HARMONICA,  armonica  guida  (gwe- 
d£).  Text-book  in  harmony. 

annure  (ar-miir),  F.  i.  The  key 
signature.  2.  Action,  mechanism. 

ar'pa  (pi.  e),  1.  Harp.  a.  d'eolo. 
^Eolian  harp.  a.  doppia.  i.  For- 
merly a  harp  with  double  strings 
for  each  tone.  2.  Now  a  double- 
action,  arpanet'ta,  arpinella.  A 
small  harp  or  lute.  Vide  SPITZHARFE. 

arpe"ge  (&r-pSzh),  arpegement  (ar- 
pgzh-m&n),  F.  Arpeggio,  arpfcger 
(£r-p£-zha).  To  arpeggiate. 

arpeggi  (ar-pSd'-je),  7.  PL  of  Arpeg- 
gio. 

arpeggiare  (ar-pSd-jS'rS),  7.  i.  To 
play  the  harp.  2.  To  play  chords 
in  harp-manner,  i.  e.,  waved,  broken. 
arpeggiamento  (ar-p£d-ja-m£n'-to), 
arpeggian'do  (p«d-jan'-d6),  arpeg- 
giato  Qa'-to).  Played  arpeggio,  in 
imitation  of  the  harp. 

arpeggiatura  (too'-ra),  7.  A  series  of 
arpeggi. 

arpeggio  (2r-pSd'-j5),  7.  i.  The  play- 
Ing  of  the  notes  of  a  chord  quickly, 
one  after  another,  in  the  harp  style, 
ripplingly.  2.  Such  a  chord  written 
out. 

arpeggione  (j5'-nS).  A  small  6- 
stringed  'cello  tuued  like  a  guitar, 
inv.  by  Stauffer  in  1823. 

arpicor'do,  7.     Harpsichord. 

arpo'ne,  7.  A  harp,  with  horizontal 
strings,  inv.  in  the  i8th  century  by 
Barbieri. 

arranger  (&r-r3,n-zha),  F.  arrangiren 
(ar-r2n-zher'en),  G.  To  arrange. 

ar'sis,  Gr.  A  raising  as  opposed  to 
thesis.  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. 

Art  (art),  G.  Species,  quality,  as  Ton- 
art,  key. 

articolare  (ar-ts-ke-la'-re'),  I.  articu- 
lar (ar-te-kii-la),  F.,  artikuliren 
(ar-te-koo-le'-rSn),  G.  To  articu- 
late, articolato  (la/to),  7.  Articu- 
lated, articolazione  (la'-tsX-p'-nS), 
7.  Exact  and  distinct  pronunciation; 
articulation. 

artiglich  (ar'tfkh-likh),  G.     Neat(ly). 


As  (as),  G.  The  note  A  flat.  Asas, 
or  Ases.  The  note  A  double  flat. 

ascaulos  or  askaulos,  Gr.     A  bagpipe. 

As-dur  (as-door),  G.  The  key  of  A  flat 
major. 

Ashantee  trumpet.  One  made  of  the 
tusk  of  an  elephant. 

asheor  (a-'sh5-6r).  Hebrew  instr.  of 
10  strings. 

As-moll  (as-m611),  G.  The  key  of  A 
flat  minor. 

aspirare  (as-pl-ra'-r6),  7.  To  breathe 
audibly. 

aspira'tion.  i.  The  dot  indicating 
Spiccato.  2.  An  obsolete  grace  note 
having  the  effect  of  a  beat  in  a  sus- 
tained tone. 

asprezza  (as-prSd'-za),  7.     Harshness. 

assai  (as-sa'-S),  7.  Very;  as  allegro 
a.»  very  fast. 

assemblage  (as-sSn-blazh),  F.  Double 
tonguing;  rapid  execution. 

assembly.     A  rallying  call  for  troops. 

assez  (2-s-sa),  F.     Enough;  rather. 

assoluto  (loo'-to),  7.  Absolute;  alone; 
of  a  chief  singer. 

as 'sonant,  E.9  assonan'te,  7.  Having 
resemblance  in  sounds,  concordant. 
Assonanz  (2,s-sQ-nants7),  G.9  asso- 
nanza  (as-sa-nan'-tsa).  7.  Conso- 
nance. 

assourdir  (&s-soor-der),  F.  To  muffle; 
to  deafen,  assourdissant  (dls-san). 
Deafening. 

at-abal.     A  large  Moorish  drum. 

Athem  (a'tSm),  G.  Breath,  a.-los. 
Breathless.  A.-zug  (tsookh).  Res- 
piration. 

athmen  (at'-mSn),  G.     To  blow  softly. 

atonality.  A  quality  possessed  by 
music  which  employs  all  12  tones  of 
the  chromatic  scale  freely,  as  related 
only  to  one  another,  with  no  one 
predominate.  Such  music  has  no 
definite  key  centre  or  tonic,  to  which 
other  tones  are  related, 
attacca  (at-tak'-ka),  7.,  attaquer  (at- 
t&-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.,    attaque    (£t-t2.k),    ^.     i. 
A  brief  fugue  theme.     2.  A  subject 
for  imitation  in  fugue, 
attack.     The  manner  or  act  of  begin- 
ning a  tone,  a  phrase  or  a  movement. 
atto    (at'-t5),    7.     An   act.     a.    di  ca- 
denza.    Point  where  a  cadence  may 
occur. 


556 


DICTIONARY  OF  TERMS 


au  (6),  F.     "To  the;  in  the  style  of 

the."     Vide  AL,  etc. 
aubade    (o-b&d),   F.     Morning   music; 

a  day-break  serenade, 
audace  (a-oo-dat'-che),  7.     Audacious, 
auf   (owf),  G.     On,  upon,  in,  at,   etc. 
-blkssen.     To      blow     upon,     -fas- 
sung.     Conception;     interpretation, 
-fuhrung  (fii-roongk).     Performance. 
-geregt  (-ge-rakht).     Agitated,     -ge- 
weckt  (-gg-vSkt).    Lively,    -geweck- 
theil  (til).     Cheer. 

aufhalten,  G.     To  retard,  to  suspend. 
Aufhaltung      (owf'-hal-toongk),      G. 
A  suspension.     Vorhalt. 
Auflage  (owf'-la-khS),  G.     Edition. 
auflb'sen     (owf-la'-zSn).     To     resolve. 
Auflosung  (owf'-la-zoongk).     i.  Res- 
olution.    2.  The  solution  of  a  riddle 
canon.     3.  A  natural  (fcO  sign. 
Aufsatz    (owf'-zats),    G.     Tube    (of    a 

reed-pipe), 

Aufschlag  (owf'-shlakh).  G.     Up-beat. 
Aufschnitt    (owf'-shnftt),    G.     Mouth 

(of  a  pipe). 
aufsteigende     (owf-shti'-khSn-de1),     G. 

Ascending. 
Aufstrich    (owf'-shtrXkh),    G.     An   up- 

bow. 

Auf' takt,  G.     Anacrusis;  up-take. 
Auf 'tritt.  G.     A  scene. 
Aufzug  (ow'-ftzookh),  G.     An  act. 
augmentant,    en    (a-nog-man-tan),    F. 

Crescendo. 

augmenta'tio,  L.9  augmenta'tion  (in 
F.  6g-man-t3,s'-y6n).  Increase,  i. 
Of  interval  (q.v.)  a  semitone  larger 
than  major,  as  an  augmented  fifth. 
2.  Of  note- values,  as  in  counterpoint, 
where  a  theme  may  appear  with 
quarter  notes  changed  to  half,  etc. 
augmented,  E.,  augmente  (6g-man- 
ta),  F.  Used  of  i.  Intervals  a  semi- 
tone greater  than  major.  2.  Chords 
containing  such  intervals.  Vide 

ALTERED  CHORDS. 

aul'os,  Gr.  Most  important  Greek 
instrument,  probably  a  flute,  pos- 
sibly like  the  oboe.  auTetes.  Flute- 
player. 

aulozo'num,  Gr.  The  tuning- wire  of 
reeds. 

uus  (ows),  G.  From,  out  of.  -arbeitung 
(-ar-bi-toongk).  Elaboration,  -deh- 
nung  (-d2.-noongk).  Development. 
-druck  (-drook).  Expression. 

-drucksvoll.  Full  of  expression. 
-fuhrung  (fU-roongk).  Performance; 
axposition.  -fullung.  The  middle 
parts.  -gabe  C-ga-be).  Edition. 


-gang.  Exit;  conclusion,  -gehal- 
ten.  Sostenuto.  -geigen  (gl-kh6n). 
To  finish.  -gelassen.  Wild;  un- 

Evernable.     Aus'gelassenheit  (hit), 
ctravagance;      wantonness,     -hal- 
ten.        To  sustain.        Auslialtung. 
Sustaining.  Aushaltungszeichen 

ftsi-khSn).      The  fermata.      -ISsung 
(-la-zoongk).        The  device  that  re- 
leases the  hammer  of  a  piano. 
Susserste  Stimmen  (is'-sSr-stg  shtlm- 

mSn),  G.     Extreme  parts. 
ausweichen  (ows-vikh'n),  G.     To  mod- 
ulate.    Ausweichung     (yi-kJioongk), 
G.     Modulation;  transition. 
authentic,   E.,  autentico   (a-<5o-tSn'-t3t- 
ko),  /.,  authentisch  (ow-ten'-tlsh),  G. 
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 
au'toharp.     A  zither  whose  strings  are 
stopped  by  a  series  of  dampers  so 
arranged   that   pressing    one    down, 
leaves    free    certain    strings.     When 
these  are  swept  with  the  plectrum  a 
chord  results. 
au/tophon.          A    barrel-organ,    whose 

music  is  cut  in  heavy  pasteboard. 
autos     sacrementale     (a/-oo-tos     sak- 
ra-mSn-ta'-le),  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 
belonging  to  auxiliary  or  related 
keys. 

avanera.     Vide  HABANERA. 
ave     (aVa),     L.     "Hail."     Ave    Ma- 
ria.    "Hail  Mary,"  the  salutation  of 
the  angel  at  the  Annunciation,  which, 
•with  the  words  of  Elizabeth  (Luke  i, 
42)    and    a    concluding    hymn,    has 
formed  a  favourite   text   for   music 
since  the   7th  century.     Ave  maris 
Stella,   L.     "Hail,  star  of  the  sea." 
A  Catholic  hymn. 
avec  (3,-vSk),  F.     With. 
averna,  L.     A  reed;  a  pipe, 
avicin'ium.     A  bird-like  organ-stop.- 
avoided.     Prepared  and  then  omitted,. 

as  a  cadence  (q.v.). 

avoir  du  retentissement  (3,-vwar-dtt 
ru-tan-tes-man),  F.  To  be  repeated 
and  echoed. 

azione     sacra      (a'-ts!-5-n£     s 
Oratorio;  passion  music. 


DICTIONARY  OF  TERMS 


B 


B.  i.  A  musical  pitch,  one  whole  step 
higher  than  A,  and  its  octaves.  In 
France  and  Italy  called  "si."  In 
Germany  B  natural  is  called  H  (hS,), 
and  the  term  B  (ba)  confined  to  B 
flat.  2.  The  major  key  having  five 
sharps;  the  minor  key  relative  to 
D  major.  In  old  works  (and  mod- 
ern German)  square  B  (or  B  quad- 
ratum  or  quadnam  or  durum,  in  F. 
Be  carr6)  stands  both  for  B  natural 
and  for  the  natural  sigh  (fcj)  itself. 
B  rotundum  (or  molle,  in  jF,  b6mol) 
stands  for  B  flat,  and  for  the  flat 
sign  itself  (b),  the  tone  B  having 
been  the  first  to  be  chromatically 
lowered.  B  cancellation  stands  for 
the  sharp  sign  (#)  first  formed  by 
crossing  the  flat  (J?)  and  originally 
equivalent  merely  to  nullifying  or 
naturalising  the  flat. 
In  old  solmisation  B  flat  was  B  fa; 
B  natural,  B  mi. 

As  abbr.  B — basso;  c.  b. — col  basso; 
C.  B.  —  Contrabasso.  Mus.  B.  — 
Bachelor  of  music. 

baas  (bas)  or  base  dance.  A  dance 
resembling  the  minuet. 

baazas  (ba-za),  F.     A  kind  of  guitar. 

babara  (ba-ba'-ra),  Sp.  A  Spanish 
country  dance. 

baborack'a,  bab'orak.  Bohemian 
dances  of  eccentric  rhythm. 

baccalaureus  musicse,  L.,  bachelier 
(bash-ttl-ya),  F.  Bachelor  of  Music. 
A  degree  granted  to  those  who  have 
proved  a  certain  standard  of  pro- 
ficiency. Inferior  to  Doctor  of 
Music. 

bacchanale  (nal),  F.  A  Bacchic  revel, 
bacchanalian  songs.  Drinking  songs. 

bacchia.  A  Kamschatkan  dance  in 
2-4  time. 

bacciocolo  (bSt-tcht-o-ko'-lo),  7.  A 
Tuscan  guitar. 

bachelor.     Vide  BACCAXAURETTS. 

back-block.     Wrest-block. 

badinage  (b£-d*-nazh),  F.     Banter. 

back.     The  under  side  of  a  violin. 

back-fall,  i.  An  obsolete  sign  and  the 
grace  note  it  indicated.  Vide  GRACES. 
2.  A  lever  in  the  organ. 

back-turn.     Vide  TURN. 

baga'na.     lo-stringed  Abyssinian  lyre. 

bagatelle  (b£g-£-tel),  F.     A  trifle. 

bagpipe  (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  botliL 
has  usually  one  chanter  or  ra 
pipe  with  a  reed,  and  6  or  8 
played    with    the    fingers;    3 
pipes     sounding     continuously  ,  4 
octave  and  a  fifth. 
baguette  (b^-gSt),  F.     r.  A 

2.    BOW.  ,tjj 

baile  (ba-e'-lS),  Sp.     National  Spaa& 

dances.  i  U 

baisser  (bes-sa),  F.     To  lower,  as>t 

pitch.  't  J 

bal'afo.     A    Senegambian 
balalaika  (ba-la-H'-ka).     A  rude 

sian   or    Gipsy  guitar   with    2 

strings.  -  > 

balancement      (b£l-ans-man)  ,      F,  . 

tremolo  (as  of  a  violinist's  finger) 
balance-rail.     The    wooden    strip  n 

which  piano  keys  are  balanced.    T« 
Bal(c)ken  (bal'-ken),  G.     i.  Bas 

2.  The  heavy  lines   connecting 

stems  of  a  series  of  small  notes,      f  '  *  ' 
Balg     (balkh),     G.     Bellows.     B.-zug. 

Bellows-stop.  ,% 

ballabile  (bal-la'-bMS),  7.     In  a  dai^e 

manner.  Jo 


bal'lad,    BaUade    (b^l-iad),    F.  - 

la'-d6),  G.  baUata  (bal-la'-ta),  -^j. 
Originally  a  dance  tune  (from  ballade, 
to  dance);  it  now  means  a  simple 
song  of  popular  tone.  In  instiu- 
mental  work,  it  may  be  as  elaborate 
as  "Chopin's  Ballades,"  But  it  still 
has  an  idea  of  directness  and  melo^J 
diousness,  if  not  narrative,  balladen^  ' 
massig  (m£s-s!kh),  G.  BaUad  style. 
ballad  of  ballads.  Solomon's  song., 
ballad  opera.  Light  tuneful  opera. 
alia  ballata.  In  ballad  style,  balla- 
tella,  ballatetta.  A  short  ballata. 

ballet  (b£l-la),  F.,  Ballett  (bal-l€tO,  G., 
ballet  'to,  7.  i.  An  elaborate  dance 
by  professionals,  often  spectacular 
and  narrative.  2.  A  light  glee  of  the 
1  6th  cent.  Vide  FA-LA.  3.  bal- 
letto  was  used  by  Bach  for  an  alle- 
gretto in  common  time. 

baTlo  (pl-0,  7.  A  dance,  or  dance  tune, 
as  b.  della  stira,  St3rrian  dance  like 
the  waltz;  b.  ungaresi,  a  syncopated 
2—4  Hungarian  dance;  da  ballo,  in 
dance  style. 

baUonchio  (bal-l^n'kl-o),  7.  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  (bant),  G.     A  volume. 


558 


DICTIONARY  OF  TERMS 


ban 'da,  /.  i.  The  brass  and  the 
drums  of  a  theatre-orchestra.  2.  An 
orchestra  on  the  stage. 

Bande  (ban'^S,  G.,  band,  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  after 
the  Heinrich  Band,  invented  by 
Uhlig,  1830. 

bandurria  (ban-door '-rl-a),  Sp.  A 
wire-strung  guitar. 

ban  la,  ban'ja.  African  instrs.  from 
which  the  banjo  may  have  been 
derived. 

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. 

BMnkelsSnger  (bSnk'el-zSng-er),  G. 
"Bench-singer(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  Stollen  and 
an  Abgesang.  3.  Vide  BARRER. 

bar'baro,  /.     Barbarous (ly). 

barbarism.  Crudeness  of  progression 
or  combination. 

barbet',  bar  Chiton,  barHbitos.  i.  An- 
cient Greek  lyre.  2.  In  i6th  cent,  a 
violin. 

bar  car  o  la,  barcaruola  (bar-ka-roo-6'- 
la)  barca/ta,  7.,  barcaroUe  (ba.r-ka- 
r61),  F.  i.  An  air  sung  by  gondoliers, 
or  boatmen.  2.  Hence,  a  lyrical  in- 
strumental composition  usually  in 
6—8  time  (Chopin's  are  in  12—8). 

bard.     A  Celtic  minstrel. 

bardd  alan  (bS,rd-a'-ian).  A  Welsh 
prof,  of  music. 

Bardlet,  Bardit  (bar-def),  G.  Ancient 
German  war-song. 

bardo'ne,  I.     Vide  BARYTONE. 

bare.     Open;  parallel,  as  bare  fifths. 

Barem  (ba'-ram),  G.  Obs.  soft  organ- 
stop. 

BSrentanz  (bar'-Sn-tants),  G.  Bear- 
dance. 

bargaret,     bargeret,     barginet.     Vide 

BERGERET. 

•baribas'so.     A  deep  barytone, 
bariolage  fbS.r-Y-5-lS.zh),  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,  I.,  barock',  G.,  baroque  (ba- 
r6k),  F.  Eccentric;  uncouth. 

Barpfeife  (bar'-pfl-fS),  G.  Bear-pipe, 
an  old  growling  organ-stop. 

barquade  (bar-kad),  F.  Old  form  of 
barcarolle. 

bar'ra,  I.     Bar. 

barrage  (bax-razh),  F.     Vide  BARRER. 

barre  (bar),  F.  i.  A  bar;  also  b,  de 
mesure;  b.  de  repetition,  repetition 
mark.  2.  A  bridge. 

barre  (bS.r-ra),  F.     Vide  BARRER. 

barred  C.  The  mark  for  common  time. 
C  with  a  bar  through  it;  a  mark  of 
alia  breve. 

barrel.     The  body  of  a  bell. 

barrel  chime.  Portion  of  a  mechanism 
ringing  a  chime  of  bells. 

barrel  organ,  i.  An  instrument,  com- 
monly portable,  in  which  the  bellows 
are  worked,  the  pipes  blown  and  the 
time  automatically  played  by  a  crank 
turning  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. 

barrer  (bar-ra),  F.  To  bar.  Pressing- 
the  strings  of  a  guitar  or  lute  with  the 
forefinger  of  the  left  hand  to  raise 
their  pitch;  great,  or  grand  b.,  press- 
ing all  the  strings;  small  b.,  pressing 
2  or  3  strings;  hence  barre"  and  bar— 
rage. 

Bart,  G.     Ear,  as  of  an  organ-pipe. 

bar'yton(e),  £.,  baryton  (bar-5C-t6n)^ 
Baryton  (ba-rX-t6n'),  G.,  barito'no. 
I.  i.  The  male  voice,  between  bass 
and  tenor,  with  a  compass  between. 
low  G  and  g  (vide  PITCH).  If  low  in 
quality  it  is  bass-baryton,  if  high, 
tenor-baryton.  2.  A  brass  valved 
instr.  (vide  SAX-HORN).  3.  The 
viola  di  bordone  (or  bar  done).  An 
obsolete  i8th  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  any  instr.  between 
bass  and  tenor,  as  b.  clarinet.  5.  b. 
clef.  The  obsolete  F  clef  on  the  3d. 
line. 

barz  (barz),  Welsh.     A  Welsh  bard. 

bas  (ba),  F.  Low.  bas-dessus  (dSs- 
sti) .  Mezzo-soprano . 


DICTIONARY  OF  TERMS 


559 


tvase,  bass,  E.,  Bass  (bits),  G.,  basse 
(Ms),  F.,  basso  (bas'-soO,  /.  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.  Formerly  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  chaatante  (shan-tant),  basso 
cantan'te,  a  flexible  "lyric"  bass 
voice;  basse-contre  (k6ntr),  basso 
profundo  (pro-foon'-do),  a  very  low 
voice;  basse  taille  (ti-yu),  a  high 
bass;  basso  buffo,  bass  comedian. 
6.  Thorough  bass,  continued  bass, 
figured  bass,  Generalbass  (g&-n£- 
ral'-bas),  bezifferte  Bass,  basse 
chiffree  (shlf-fra),  basse  continue 
Ck6n-t3,n-u),  basse  figuree  (fe-gti- 
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.  Funda- 
mentalbass,  basse  fondamentale, 
basso  fondamentalo,  vide  FUNDA- 
MENTAL. 8.  Ground-bass,  drone- 
bass,  basse  contrainte  (k6n-trJLfit)> 
basso  construtto,  basso  ostinato, 
basso  tenuto,  a  bass  phrase  or  figure 
obstinately  repeated.  9.  basse- 

contre,  a  very  deep  voice;  also  the 
double-bass;  b.  de  cremo(r)ne,  or, 
de  cromorne  or  d'hautbois  or  de  flute 
traversiere,  old  names  for  the  bas- 
soon; b.  de  cornet,  the  serpent; 
b.  d'harmonie,  the  ophicleide:  b. 
guerriSre,  a  bass  clarinet;  bass 
orgue,  an  instr.  inv.  in  1812  by 
Sautermuiter.  10.  Bassflote,  an 
obsolete  bassoon;  an  8-foot  organ- 
stop  on  the  pedal.  Bassgeige,  'cello; 
grosse  Bassgeige,  double-bass.  Bass- 
schliissel,  or  -zeichen — F  clef, 
ii.  basso  cpncertante,  the  principal 
bass  in  recitatives,  etc.;  also  florid 
music  for  the  lower  strings;  basso 
obbligato,  a  necessary  bass-part; 
b.  ottava,  an  octave  lower;  b*  ripieno, 
vide  RIPIENO;  b.  rivoltato,  inverted 
bass.  12.  bass  clef,  the  F  clef. 
Alberti  bass,  vide  AXBERTI.  given 
bass,  a  bass  on  which  harmony  is 
to  be  built,  supposed  bass,  a  bass 
tone  not  the  root  of  the  chord, 
murky  bass,  vide  MURKY,  bassa- 


nello,  an  obsolete  instr.  bass-bar, 
bass-bram,  in  violins,  etc.,  a  strip  of 
wood  glued  inside  the  belly  near  the 
bass  string. 

basset  horn.     An  obsolete  clarinet. 

Bassett',  bassettl,  Bassl,  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  1 6  ft.  reed-stop.  4.  The 
lowest  voice  when  the  bass  is  silent. 

Bassklausel  (b&s'-klow-zel).  The  pro- 
gression of  the  bass  in  a  cadence. 

Basslade  (bas'-la-dS),  G.    Soundboard. 

basson  (bas-s6n),  F.  Bassoon,  b. 
quart  (kar).  One  whose  tones  are 
a  fourth  lower,  b.  quinte  (kant). 
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.  It  is  the  bass  of  the 
oboes;  its  natural  scale  is  G  major; 
its  music  is  written  in  the  F  def, 
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  reedy,  the  highest  re- 
sembling partly  a  'cello  and  partly 
a  tenor  voice,  the  medium  is  rather 
colourless.  The  compass  Bxb-c" 
(sometimes  to  i"). 

basta,  bastante,  I.     "Enough!  stop!" 

bastardiUa  (bas-tar-del'-ya),  Sp.  A 
kind  of  flute. 

bath'yphon,  Gr.  An  obsolete  clarinet 
inv.  1829. 

batil'lus,  L.  An  Armenian  instr.  used 
in  the  place  of  bells;  a  board  struck 
with  a  hammer. 

battant(e)  (bat-tan (t)  ),  F.      Beating. 

baton  de  mesure  (ba-t6fi  dii  mti-zur), 
F.  i.  Stick  used  in  beating  time. 
2.  A  conductor's  manner.  3.  A  rest 
of  2  or  more  measures.  4.  baton, 
The  thick  line  of  a  measure-rest,  b. 
de  reprise.  Repeat. 

battement  (bat '-man),  F.  battimen'- 
to,  7.  Beat. 

battere  (bat'-tS-re'),  J.  The  down 
stroke. 

batterie  (bat-re),  F.  i.  The  roll  of 
the  drum.  2.  Smiting  the  guitar 
strings.  3.  Broken  chords  on  string 


560 


DICTIONARY  OF  TERMS 


instrs.     4.  The  group  of  percussion 
instruments. 

battery.  A  harpsichord  effect  amount- 
ing to  a  quick  sharp  repetition  of  a 
chord. 

battre  (batr),  F.     To  beat. 

battuta  (bat-too'-ta),  /.  i.  A  beat; 
so  a  b.,  with  the  beat,  strictly  a  tem- 
po. 2.  A  measure.  3.  A  progression 
from  the  loth  on  an  up-beat  to  the 
octave  on  the  down,  forbidden  in  old 
counterpoint. 

Bau  (bow),  G.     Construction. 

bauerisch  (bi'-er-Xsh),  G.  Rustic; 
coarse. 

Bauernflo'te  (bow'-ern-fla-te"),  Bauern- 
pf  eif  e,  Bauerlein,  £.  i.  Rustic  flute. 
2.  A  stopped  register  in  old  organs. 

Bauernlied  (bow '-fern-let),  G.  A  rustic 
ballad. 

baxoncillo  (bax-on-thel'-yo),  Sp.  i. 
Small  bassoon.  2.  Open  diapason 
stop. 

bayla,  bayle  (ba'-S-la),  Sp.     A  dance. 

b  b  (ba-ba),  G.     Double  flat. 

B-cancellatum.     Vide  B. 

B-dur  (ba-door),  G.  B.  durum,  L. 
The  key  of  B  flat  major. 

bearbeitet  (bS-ar'-bl-tfct),  G.  Ar- 
ranged. Bearbeitung  (bi'-toongk). 
Adaptation. 

beards.  Small  projections  on  the  side 
of,  or  beneath,  the  mouth  of  a  pipe, 
to  improve  the  speech;  hence,  cross- 
and  side-beards. 

bearings.  The  tones  and  intervals 
first  established  by  a  tuner  as  a 
basis* 

beat,  beating,  i.  The  hand-motions 
of  a  conductor.  2,  That  part  of  a 
measure  marked  by  one  beat.  3. 
One  pulsation  of  a  trill.  4.  An  old 
ornament  consisting  of  a  short  pre- 
liminary trill  with  the  next  note 
below.  Vide  GRACES.  5.  The  throb 
produced  by  the  interference  of  two 
tones  of  slightly  different  pitch. 
Vide  ACOUSTICS. 

bebisation.     Vide  SOLMISATION. 

Bebung  (ba'-boongk),  G.  i.  A  tremolo; 
on  the  clavichord,  a  tremolo  made  by 
vibrating  the  finger  upon  the  key. 
2.  Also,  German  organ-stop. 

bee  (bSk),  F.,  bec'cp,  /.     The  mouth- 
piece, as  of  a  clarinet,     becco  polac- 
co.     A  large  bagpipe. 
b£carre     (ba-kar),     F.     The     natural 

sign  (hi). 

Becher  (bSkh'er),  G.  i.  The  cup  or 
bell  of  a  wind-instr.  2.  The  tube  of  a 
reed-pipe. 


Becken  (bSk-n),  G.     Cymbals. 

bedeckt'.  G.     Covered;  stopped. 

bedon  (bti-ddn),  F.  Old  name  for 
drum.  b.  de  Biscaye.  A  tam- 
bourine. 

Be  (ba),  G,  B  flat.  Be-be.  B  double 
flat. 

beffroi  (biif-frwa),  F.  i.  Belfry.  2. 
Tocsin. 

befflzen  (bS-fel'-tsen),  G.  To  put  felt 
on.  Befilztuig.  Felt. 

Begeisterung  (bS-gls'-te'r-oongk),  G. 
Enthusiasm. 

begleiten  (bS-gll'-ten),  G.  To  accom- 
pany. Begleitung.  Accompaniment. 
Begleitstirnmen.  The  accompanying 
parts,  beglei'tete  Fu'ge.  A  fugue 
with  free  parts. 

beide  (bl'-deO,  G.  Both,  usually  die 
Beiden. 

Beispiel  (bl'-shpel),  G.     Example. 

Beisser  fbis'sSr),  G.     A  mordent. 

Beitone  (bl'-ta-nS),  G.  Accessory  tones; 
harmonics. 

Beizeichen  (bi'-tsI-khSn),  G.  Acci- 
dentals. 

bekielen  (bS-keMSn),  G.  To  fit  with 
quills. 

beklemmt',  G.     Oppressed. 

bel  (bel),  7.  Beautiful,  perfect,  as  fl 
bel  canto.  The  perfect- (art  of)  song. 

belebend  (be* -la '-bent),  G.  Accelerat- 
ing, belebt  (bS-lapt).  Lively.  Be- 
lebtheit  (hit).  Belebting.  Vivacity 

beledern  (bS-la'-dSrn),  G.  To  cover 
with  leather  or  felt.  Belederung. 
Felt. 

belegt  (b6-lakhtO,  G.     Hoarse;  veiled. 

belieben  (bS-le'-bSn),  G.  Pleasure;  at 
pleasure. 

beHebig  (bS-le'-blkh),  G.     At  pleasure. 

bell.  i.  A  hollow  metallic  instrument 
set  in  vibration  by  a  clapper,  or  ball, 
within,  or  by  hammers  from  outside. 

2.  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.-sharp.     An     old    form    of 
harp  which  was  swung  when  played, 
b. -metronome.     A  met.  with  a  bell- 
indicator,     b.-scale.     A       diapason 
for    testing    bells,     b.-piano.     Vide 

GLOCKENSPIEL. 

bellezza  (bel-lSd'aa),  I.     Beauty. 
bellico'so,  bellicosamen'te,   J.     Belli- 

cose(ly). 
bello'nion.     An  automatic  instr.  inv.  in 

1812,  consisting  of  24  trumpets  and 

2  drums. 


DICTIONARY  OF  TERMS 


561 


bellows.  A  pneamatic  device  for  sup- 
plying air  to  various  instruments, 

belly.  A  soundboard  of  an  instr., 
violin  or  piano,  over  which  strings  are 
stretched. 

bemerk'bar,  6?.     Marked. 

bemol  (ba-mul),  P.,  bemolle  (ba-m6l- 
lg),  I.  The  mark  called  a  flat  0). 
bemoliser  (ba-m6-ll-za),  F.,  bemol- 
lizzare  (ba-m61-ttd-za'rS),  /.  To 
mark  with  a  flat,  bemolisee(za). 
Flatted. 

ben  (ban),  bene  (ba'-ng),  /.  Well, 
good;  as  ben  tenuto,  well-sustained, 
a  bene  placito,  at  the  good  pleasure. 

Benedic'ite,  Omnia  Opera.  "All  ye 
works  (of  the  Lord)  praise  Him,"  L. 
A  canticle  for  morning  prayer. 

"Benedictus,  Domine,"  Blessed  be 
Thou,  O  Lord.  A  canticle.  Bene- 
dic'tus  Qui  Venit,  L.  "Blessed  is 
He  that  cometh,"  vide  MASS. 

bequadro  (ba-kwa'dr5),  I.  The  natural 
sign  (Iq). 

berceuse  (bSr-stiz),  F.  A  cradle-song; 
hence,  an  instrumental  piece  in  that 
spirit. 

bergamask,  E.t  bergamas'ca,  /., 
bergamasque  (misk),  F.  A  rustic 
dance,  imitating  the  clumsy  peasants 
of  Bergamask  in  Italy. 

bergeret  (bfcr-zhfc-ra),  F.  A  rustic 
song  or  dance. 

Bergkreiyen,  Bergreigen  (birkh-rl7- 
khen),  G.  Mountain  melodies. 

berlingozza  (ber-lln-g6d'za),  I.  A 
rustic  dance. 

Bes  (bas),  G,     The  note  B  double  flat. 

besaiten.  (bS-zi'-tSn),  G.     To  string. 

beschleunigend  (bS-shloi'-n*-gSnt),  G. 
Accelerating. 

befiedern   (bS-fS'-dSrn),  G.     To   quill. 

bestimmt  (bS-shtfcnt),  G.  Distinct. 
B.-heit  (hit),  G.  Precision. 

betonend,  betont  (bfi-tQnt),  G.  Ac- 
cented. Betonung.  Accentuation. 

betrubt  (bg-triipf),  G.     Troubled. 

Bet'tlerleier  (ll-er),  G.  Hurdy-gurdy; 
Bettieroper.  "Beggar's  opera." 

bewegen  (bS-va'-khSn),  G.  To  agi- 
tate, bewegt  (vakht).  Agitated. 
Bewegung.  Motion,  emotion.  Be- 
wegungsart.  Tempo,  a  movement. 

beziffert  (bS-tsff'-fgrt),  G.  Figured. 
Vide  BASS. 

Bezug  (b«-tsookhO,  G.  The  set  of 
strings  for  an  instrument. 

bhat.     A  Hindu  bard. 

bianca  (bl-an'-ka),  I.  A  "white"  or 
half  note. 

bibi  (bS-be),  F.     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'ium.     A  2-part  composition. 

bien  (b'y£n),  F.     WeU. 

bifara  (bg'-fa-ra),  biTfara,  biTra,  /. 
A  stop  with  paired  pipes  slightly  out 
of  tune,  so  as  to  produce  a  tremolo. 

biju'ga.     The  two-necked  cither. 

bina.     Vide  VTNA. 

bimmoUe  (b3Lm-m6l'-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  (bin'-d£-bS-khSn),  G.  A 
slur. 

bin7 den,  G.  To  bind;  to  perform  legato. 
Binding.  A  slur;  hence,  a  suspension 
or  syncopation;  the  legato  manner. 
Bindungszeichen.  The  slur. 

biquadro  (b5-kwa'-dro),  /,  The  nat- 
ural sign. 

bird-organ.  A  small  organ  for  teach- 
ing tunes  to  birds. 

Birn(e)  (bSr'nS),  G.  The  socket  of  a 
mouthpiece. 

bis  (bes),  L.  i.  Twice,  bis  tinea,  i6th 
note.  2.  Used  by  the  French  in- 
stead of  our  pseudo-French  "en- 
core!" meaning  "please  repeat." 

biscan'to,  /.     A  duet. 

bischero  (beV-ka-rS),  /.  A  peg  or 
pin. 

biscroma  (bes-kro'-ma),  /.,  biscrome 
(b5s-kr6m),  F.  A  i6th  note. 

bisdiapa'son,  L.  A  double  octave,  or 
fifteenth. 

biseau  (be-so),  F.     Stopper  of  a  pipe. 

bisinlum,  L.     A  duet. 

bisogna  (b€-s6n'-ya),  7,  "It  is  neces- 
sary." 

biscfua'dro  (kwar-dro),  J.  A  natural 
sign. 

bissare  (bls-s£'-r5),  /.,  bisser  (bes-sa), 
F.  To  encore. 

bis 'sex,  L.     A  i2-stringed  guitar. 

bit.  A  small  tube  to  supplement  a 
crook. 

Bit'terkeit  (kit),  G.     Bitterness. 

bizzarria  (bld-zar-re  '-a) ,  I.  Eccentric- 
ity, bizzar'ro.  Curious,  bizzar- 
ramen'te.  Oddly. 

blanche  (blansh),  F.  A  "white"  or 
half-note. 


562 


DICTIONARY  OF  TERMS 


Blasebalg  (blS'-zg-balkh),  G.     Bellows. 

blasen  (bla'-zSn),  G.  To  blow.  Bla'- 
ser.  A  blower;  an  instrument  for 
blowing.  Blasemusik.  Music  for 
wind  instrs.  Bias 'instrument.  A 
wind-instrument. 

Blatt  (blat),  G.     A  leaf:  a  reed. 

Blechinstrumente  (blSkh'-In-stroo- 
m£n-tg),  G.  The  brass  instruments. 

blind  (blint),  G.  "Blind,"  simulated, 
as  a  dummy  pipe. 

Blockfl5te  (bldk'-fla-te1),  G.  i.  A  stop, 
of  large-scale  pipes.  2.  A  i6th  cen- 
tury flute. 

b-mol  (b5-m61),  F.  The  flat  mark  !?. 
Vide  BEMOL. 

B-moll  (ba-m61),  G.  The  key  of  B 
flat  minor. 

blocks.  Supporting  strips  in  violins, 
etc. 

boat-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.  major;  10,  b.  royal; 
12,  b.  maximus. 

bo'bisation,  bocedisation.  Vide  SOL- 
MIS  AXION. 

bocal  (b6-kal),  F.,  boc'ca,  I.  Mouth- 
piece; mouth.  bocca  ridente. 
"Smiling  mouth,"  believed  to  aid  the 
production  of  pure  tone,  con  bocca 
chiusa  (kl-oo'-za).  With  mouth 
closed,  humming,  bocchino  (kg  '-no) , 
7.  Mouthpiece. 

bocina  (bo-the'-na),  Sp.  A  large  trum- 
pet. 

Bockpfeife    (b6k/-pfl-fg),    G.     A    bag- 

Bocksfailler  (baks'-trtt-ler),  G.  A  goat- 
ish bleat. 

Boden  (bS'-dSn),  G.  The  back  (of  vio- 
lins, etc.). 

Boehm  FISte  (bam  fla'-te^.  An  im- 
proved flute  inv.  1834  by  Boehm,  in 
which  a  series  of  keys  simplify  the 
fingering  and  intonation;  the  system 
is  also  fitted  to  oboes  and  clarinets. 
Vide  the  B.  D. 

Bogen  (bo'-kh£n),  G.  i.  A  bow.  2, 
A  slur,  as  Haltebogen.  Bogenffihrung. 
Bowing.  Bogenstrich.  A  stroke  of 
the  bow.  Bogeninstrumente. 
Stringed  instruments.  BogenfLiigel, 
-hammerklavier,  or  -klavier.  Piano- 
violin. 

bois  (bwa),  F.  Wood,  les  (la)  bois. 
The  wood-wind. 

boite  (bwat).  Box;  swell  box.  ouvrez 
(fermez)  la  b.  Open  (close)  the 
swell. 


bolero  (bo-la '-r5),  Sp.  A  lively  Span- 
ish dance,  in  3-4  time,  with  castanetSr 
See  chart  of  dance-rhythms. 

bom/bard,  22.,  bombarde  (b6n-b&rd), 
F.,  bombar'do,  7.  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.  b6n-bar-d6n; 
in  G.  b6m-bar-donO-  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 'bo,  /.     A  figure  in  repeated  tones. 

bon  (b6n),  F.  Good,  bon  temps  de 
la  mesure,  F.  The  accented  part  of 
a  measure. 

bonang.     A  Javanese  series  of  gongs. 

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  strings. 

boot.     The  foot  of  a  reed-pipe. 

bo'ra.  A  tin  trumpet  used  by  the 
Turkish. 

bordone  (bdr-do'-ne1),  /.,  Bordun  (b6r'- 
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.  FISte, 
G.  A  stop,  bourdon  de  cornemuse 
(-k6rn-miiz),  or  bourdon  de  musette, 
F.  The  drone  of  a  bagpipe. 

bouche  (boo-sha),  JP.  i.  Stopped  (of 
horn,  etc.,  tones).  2.  Covered  (of 
pipes). 

bouche  ferm€e  (boosh  f£r-ma),  F. 
With  closed  mouth;  humming. 

botdfe  (boof),  F.  A  buffoon,  opera  b. 
Comic  opera. 

boulon.     A  Senegambian  harp. 

bour'don,  J2.  (in  F.,  boor-ddn).     Vide 

BORDONE. 

bourr6e  (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.  Used  as 
an  alia  breve  movt.  in  old  suites. 
See  chart  of  dance-rhythms. 

boutade  (boo-tad),  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 


DICTIONARY  OF  TERMS 


563 


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  r~l)  from  nut  to  point;  or  up- 
bow  (marked  V  or  A)  from  point  to 
nut.  The  back  of  the  bow  is  some- 
times used,  and  indicated  by  sul  or 
col  legno,  "with  the  wood."  The 
bow  may  be  allowed  to  bounce  on 
the  strings  (the  bounding  or  spring- 
ing bow),  the  spiccato  (marked  by 
dots  over  the  notes)  being  played 
with  a  loose  wrist  near  the  middle 
of  the  bow;  the  saltato  being  with 
higher  leaps,  bow  instruments. 
String  instruments  played  with  a 
bow.  bow  guitar.  A  violin  shaped 
like  a  guitar;  vide  also  PIANO- VIOLTNT, 
and  BOW-ZITHER. 

boyau  (bwa-yS),  F.  Gut-strings,  bo- 
yaudier  (bwa-y5d-ya).  A  maker  of 
them. 

bozzetto  (b5d-zeV-t5),  Z.     Sketch. 

B-quadratum,  B-quadrum,  L.  i.  Vide 
B.  2.  R-natural. 

brabanconne  (bra-b&n-sun).  The  Bel- 
gian or  Brabantine  national  hymn. 

braccio  (brat'-shq),  J.  "Arm."  A 
term  applied  to  instruments  held  up 
to  the  neck,  as  viola  da  b.,  an  arm- 
cello.  Vide  VIOLA. 

brace,  i.  A  character  used  to  connect 
staves.  2.  Leather  slides  on  drum- 
cords. 

branches.  Parts  of  a  trumpet  that  con- 
duct the  air. 

bran  de  inglaterra  (bran  dfc  e*n-gla- 
t£r'-ra),  Sp.  An  old  Spanish  dance; 
the  English  Brawl. 

bran(s)le  (bran'-lu),  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  instruments. 

Bratsche  (brat'-shS)  (pi.  -en),  G.  Vi- 
ola. 

Brautiied  (browt'let),  G.  A  wedding- 
song.  Brautmesse.  Music  before 
the  wedding. 

Bravour  (bra-foorO,  G-  Bravura.  Bra- 
vour-arie  or  -stftck,  G.  A  florid 
song  or  piece. 

bravura  (bra-voo'ra),  /.,  bravoure 
(bra-voor),  F.  Dexterity,  dash,  aria 


di  b.  A  show-piece,  con  b.  With 
brilliancy,  b.  mezza.  Medium  diffi- 
culty. 

brawl (e).     An  old  dance  in  a  circle. 

break,  i.  The  point  at  which  one  . 
register  ends  and  another  begins. 
2.  Slips  of  various  kinds  in  tone  pro- 
duction. 5.  In  a  stop,  the  abrupt 
return  to  an  octave  lower,  due  to 
insufficient  pipes.  4.  Tn  compound- 
stops,  a  point  where  the  relative 
pitch  changes. 

breakdown.     An  hilarious  negro  clog. 

breit  (brit),  G.     Broad,  slow. 

Brettgeige  (brSt'-gl-ge1),  G.  A  pocket 
fiddle. 

breve  (-E.,  brSv — in  /.,  bra'vS).  breve 
(br6v),  F.  i.  Formerly  the  shortest 
note,  now  the  longest,  equal  to  two 
whole  notes.  2.  In  oM  music — one- 
half  the  longa.  aHa  breve.  To  the 
breve,  i.  e.,  a  half  note  to  each  beat, 
formerly  four  minims  to  the  measure, 
and  in  quick  time;  it  is  indicated  by 
a  common-time  signature,  with  a 
vertical  bar  through  it;  also  called 
alia  cappella,  or  tempo  maggiore. 

bre'viary.  A  book  of  matins,  lauds, 
and  vespers. 

Bre'vis,  L.  and  G.     A  breve. 

bridge,  i.  A  piece  of  wood  on  which 
strings  rest;  itself  rests  on  the  reso- 
nance box  or  board,  to  which  it  trans- 
mits vibrations. 

brief,    i.  A  bass-viol  bridge.    2.  Breve. 

brillant(e)  (br5-ySn(t)  in  F.,  in  J.  bru- 
lan'tS).  Brilliant. 

Brillenbasse  (bru'-lSn-bSs-se*),  G. 
"Spectacle  basses,"  on  account  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'-dS-zS),  J.  A  drinking- 
song. 

brio  (brS75),  7.  Vigour;  fire,  con  brio, 
or  brio'so.  With  spirit;  vivacity. 

brise"  (brg-za),  F.  Broken,  as  chords. 
cadence  b.  A  trilling  grace. 

broach.  ATI  old  instr.  played  with  a 
crank. 

broderies  (br6d-r6),  F.     Ornaments. 

broken.  Vide  (interrupted)  CADENCE; 
of  chords  whose  notes  are  not  taken 
simultaneously,  but  in  arpeggio;  so 
broken  octaves. 

brokTdng.     Quavering. 

B-rotundtun,  £.  i.  Flat  sign,  b-  2- 
The  note  B  flat. 

Brurnmeisen  (broom'mi-zSn),  G.  Jew's 
harp. 


564 


DICTIONARY  OF  TERMS 


brummen  (broom 'mSn),  G.  To  hum, 
drum.  Brummer.  Drone.  Brunmi- 
ton.  Drone.  Brunimstimmen. 
Humming  voices. 

bruscamen'te,  7.,  brusquement  (briisk- 

man),  F.     Brusquely. 
Brust  (broost),  G.     The  Breast  or  chest, 
hence    B.-ton    or    -stinune.     Chest 
voice.       Brust Verk.       The  middle 
pipes  of  an  organ. 

buca  (boo'-ka),  7.     Sound-hole. 

buce'na,  L.,  buccina  (boot-chg'-na),  7. 
An  ancient  curved  trumpet. 

Biichse  (biikh'-sS),  G.     Boot  (q.v.). 

Buch'stabentonschrift,  G.  Alpha- 
betical notation. 

bucolic,  £.,  buccol'ica,  I.,  bucolique 
(bti-k6-lek),  F.  Pastoral. 

buffa  (boof 'fa),  or  (-o),  7.  Comic;  a 
comic  singer,  buffo  carica'to.  Comic 
character,  aria  buffa*  Comic  aria. 
opera  buffa.  Comic  opera,  buf- 
fo 'ne.  Comic  singer.  bufFonesco, 
-amente,  B  urlesque  (ly) . 

buffet.  Organ  case,  buffet  organ. 
A  small  organ. 

bugle,  i.  A  hunting  and  military  horn 
in  3  or  more  keys  (Bb,  C,  Et>)  having 
7  harmonic  tones.  2.  The  key-bugle 
with  6  keys  (inv.  in  1815  by  Halliday, 
and  named  by  him  after  the  Duke  of 
Kent)  has  a  chromatic  compass 
b-c'".  3.  Valve-bugle.  Vide  SAX- 
HORN. 

bugle  horn*     A  hunting-hoi n. 

Bunnenweinfestspiel  (bti'-ngn-vl- 

fSsht-shpel),  G.  "Stage-consecrat- 
ing-festival-piece."  Wagner's  name 
for  his  opera  "Parsifal" 

Bund  (boont),  G.  Fret.  bundfrei. 
Fret  free.  Vide  CLAVICHORD. 

Bunge  (boong'-S),  G.     A  kettle-drum. 

bungen     (boong'-Sn),     G.     To     drum. 

buonaccordo  (boo-6n-ak-kdr'-d6),  7. 
A  child's  spinet. 

buono(-a)  (boo-S-n6(a)),  7.  Good.  b. 
nota.  An  accented  note.  b.  mano. 
A  skilful  hand. 

buras'ca,  7.  A  comp.  descriptive  of 
a  storm. 

bur 'den,  i.  A  regular  refrain.  2. 
The  bass.  3.  The  drone. 

btirla  (boor'-la),  7.  A  quip,  burlan'- 
do>  burles'co,  burlescamen'te.  Fa- 
cetious(ly).  burles'ca,  7.,  burlesque 
(biir-lSsk),  F.  A  travesty,  burlet7- 
ta,  7.  A  light  farcical  work. 

burre  (bttr),  F.     A  dance  melody. 

bur'then.     Burden. 

busain    (bu-sS,n),    F^    Busaun    (boo- 


zown'),  G.  A  i6-ft.  reed-stop  on  the 
pedal. 

busna  (boos'na),  7.  A  species  of  trum- 
pet. 

bussone  (boos-so'-ne1),  7.  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. 

bux'ea  tibia,  bux'us,  L.  Ancient  3- 
holed  flute. 

bysrsynge  songes.  Early  English 
lullabies. 


(For    German   words   not   found   here 
look  under  1C.) 

C  (G.,  C  (tsa),  F.,  ut;  7.,  do.),  i.  A 
musical  pitch  (mid-C  or  c'  has  256 

-  vibrations,  "philosophical  pitch"; 
c",  522,  international  pitch),  c' 
called  middle-c  from  its  position  on 
the  piano  key-board,  is  tie  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  rela 
five  to  E  flat  major.     C  reversed, 
an  old  sign  indicating  a  decrease  of 
one  half  of  the  note-values.     4.  Vide 

TIME  and  NOTATION. 

cabalet'ta,  7.  "A  little  horse/'  Hence 
a  song  (usually  a  rondo  with  varia- 
tions) with  an  accompaniment  in 
triplets  suggesting  hoof-beats. 

cabinet  d'orgue  (kab-i-na  d6rg),  F 
Organ-case. 

cabinet  organ.     A  small  reed-organ. 

cabinet  pianoforte.     An  upright  piano 

cabis'cola,  7,.     Precentor. 

caccia  (kat'cha),  7.  A  hunt,  alia  c. 
In  hunting  style. 

cache" e  (ka-sha),  F.     Hidden  (as  fifths). 

cachucha  (ka-choo'-cha),  Sp.  A  dance 
like  the  bolero. 

cacofonia  (ka-ko-f6-ne'-a),  7.,  caco- 
phonie  (kS.k-6-fo-ng),  F.,  cacoph'- 
ony,  E.  Discord.  cacofon7ico,  7. 
Discordant. 

ca'dence,  E.  (in  F.  k&-dS,ns),  ca'- 
dens,  7,.,  cadenza  (ka-d£n-tsa),  7., 
,  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 


DICTIONARY  OF  TERMS 


565 


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  highest  voice 
does  not  take  the  tonic  in  the  last 
chord  (takes  the  third  for  instance), 
this  cadence  is  called  an  imperfect 
authentic  cadence.  Other  names 
for  the  authentic  cadence  are, 
whole,  perfect,  full  or  complete 
cadence;  cadence  parfaite  Cpar- 
fgt),  F.  volllcommene,  or  eigent- 
liche  (i'-khSnt-llkh-S)  Kadenz,  G. 
(b)  When  the  cadence  is  formed  by  a 
sub  dominant  chord  followed  with  a 
tonic,  the  cadence  is  called  plagal 
(popularly  church  or  am, en  cadence); 
cadence  plagale  (pla-gal),  F.; 
Plagal'kadenz,  G,  (c)  When  a  sub- 
dominant  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  followed 
by  the  dominant  the  cadence  is 
called  a  half-cadence,  semi-cadence, 
imperfect  cadence,  half-close;  c. 
imparfaite  (&n-p3,r-fSt)  or  c.  sur  la 
dominante  or  c,  irr^gulifcre  (er-rag-ul- 
y&r),  F.;  unvollkommene  or  Mittel 
Kadenz,  G.  (f)  When  the  chord 
of  the  dominant  apparently  prepar- 
ing a  close,  is  followed  by  other  than 
the  tonic  harmony  the  progression 
is  called  a  deceptive,  avoided, 
broken,  interrupted,  irregular  or  sur- 
prise cadence;  cadence  6vit§e 
(a-vl-ta)  or  interrompue  (&n-tSr- 
r6n-pu),  or  rompue,  F.;  cadenza 
d'ingann'o,  c.  sfuggita  (sfood-je'- 
ta)  or  fin'ta,  /.;  Trug'kadenz  or 
-schluss,  or  ab'gebrochene  K.,  G. 
(g)  When  various  modulations  are  in- 
troduced between  the  dominant  and 
its  tonic,  the  cadence  is  said  to  be 
suspended;  or  sospesa  (s6s-pa'-za), 
/.  (h)  When  any  dissonant  harmony 
is  followed  by  a  consonance  the 
French  call  this  a  cadence  pleine 
(pl€n).  (i)  A  cadence  of  any  kind  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  fioritu'ra  or  fiorita  (fe-o- 
rS'-ta).  So  the  word  cadenza  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,  aad  may  be  written 
out  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  f  ennata 
or  hold-mark  over  it  (in  F.  pointe 
d'orgue).  The  Germans  accordingly 
call  this  an  auf  'gehaltene  Kadenz, 
the  F.  call  it  a  pointe  d'orgae. 

3.  The    French    use    cadence    of   a 
brief  trilling  ornament  as  c.  brillante, 
or    c.   perlee;    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 
i  So  steps  to  the  minute. 

ca'dent.  An  old  ornament  like  a  short 
anticipation. 

c(a)esu'ra,  E.,  I.,  and  L.  caesore 
(se"-zur),  F.  i.  A  minor  rhythmic 
pause  dividing  a  line  or  period;  hence, 
2.  The  last  accented  note  preceding  a 
caesura,  c.  tedesca.  A  lo-st  ringed 
zither. 

caisse  (kSs),  F.  A  drum.  c.  plate 
(plat).  A  shallow  side-drum,  grosse 
(gr6s)  c.  The  bass-drum,  c.  roulan- 
te  (-roo-lant).  The  side-drum,  of 
wood,  caisses  claires  (kSs-kia,r). 
The  drums. 

caTamus,  c.  pastoralis,  or  tibialis, 
L.  A  reed  used  by  shepherds. 

calan'do,  I,  Diminishing  and  retard- 
ing. 

calandro'ne,  I.     A  small  clarinet. 

calascione  (kS-la-shi-S'-ne"),  I.  A  2- 
stringed  guitar  of  lower  Italy. 

calata  (ka-lS/-ta),  J.  A  lively  dance  in 
2-4  time. 

calcando   (kal-kan'-do),   I.     Hurrying. 

Calcant    (kal'-kant),    G.  Bellows- 

treader. 

Calliope,  i.  The  Greek  muse  of 
heroic  verse.  2.  An  instr.  played  by 
an  engine  that  fills  its  metal  pipes 
with  steam  instead  of  air. 

Vide  SHIVAJBLEB* 


calma  (kal-ma),  J.     Calm,     calma'to. 

With  calm. 
calore  (ka-lo'-rS),  I.     Warmth.     Calo- 

rc/so.     Animated. 
cambiare  (kam-bl-a're1),  J-    To  change. 

nota  cambia'ta.     Changing  note. 
cam/era,    /.     Chamber,    used    in    dis- 

tinction from  a  large  auditorium,  as 

musica  di  c.,  sonata  di  c.,  aUa  c. 
cainniinan'do,  /.     Andante. 
campana     (kam-pa'-na),     I.     A     bell. 

campanel'la  (or  o),  I.     A  little  belL 


566 


DICTIONARY  OF  TERMS 


campanile  (ne'-le*),  I.  A  bdfrey. 
campanology.  The  art  of  ringing 
or  making  bells,  campano'ne,  7. 
A  great  bell,  campana'rum  con- 
cer'tus,  or  modula'tio,  L.  Chimes. 
campanarum  pulsa'tor,  L.  A  ringer 
of  bells. 

canarder  (ka-nS.r-da),  F.  To  imitate 
a  duck;  to  couac. 

canarie  (k£-na-r5),  F..  cana'ry,  ca- 
na'ries,  J5.,  canario  (ka-na'-rl-o),  7. 
A  lively  old  dance  irt  3-8,  6-8  or  1 2-8 
time.  Named  from  the  Canary 
Islands. 

cancan  (kan-kan).  A  boisterous  French 
dance. 

cancel.  The  natural  sign,  fc|.  cancel- 
latum,  X.  Vide  B. 

Cancellen  (kan'-tsel-l£n),  G.  Grooves 
in  an  organ. 

ean'crizans,  cancrica'nus,  Z.,  can- 
crizzante  (kan'-krfd-zan'-te),  /.  Ret- 
rograde. Vide  CANON. 

canere  (ka'-nS-rfi),  L.  To  sing;  to 
play. 

cangiare  (kan-ja'-rS),  I.  To  change; 
to  alter. 

can'na,  7.  A  reed,  or  pipe.  c.  d'an- 
ima.  Flue-pipe,  c.  a  lingua.  Reed- 
pipe. 

cannon-drum.     East   Indian   tomtom. 

can 'on  (in  F.,  k&-ndn),  canone  (ka- 
n6*-ne"),  /.,  G.  Canon  or  Kanon 
(ka'-rnQn).  The  most  rigid  form  of 
imitation,  a  subject  (antecedent) 
being  followed  accurately  by  an 
answer  ^consequent) ;  once  the  play- 
ground of.  musical  ingenuity,  all 
forms  of  complication  being  indulged 
on.  A  canon  written  out  completely 
was  full  or  aper'to.  Often  only  the 
antecedent  (or  canon)  was  written 
out,  the  consequent  (now  called  f uga 
or  consequenza)  being  left  to  the 
performer's  skill;  this  was  called 
close  or  chiuso  (kl-oo'-zo).  If  the 
entrances  of  the  other  parts  were 
indicated  by  cabalistic  signs,  it  was 
a  riddle-canon  (Rathsel-Kanon),  or 
enigmatical  or  enigmatico.  Canons 
were  named  by  the  interval  between 
answer  and  antecedent  and  by  the 
general  treatment  as  in  Imitation 
(q.v.). 

canonic  hours.     Vide  HOR^E. 

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. 


cantabile  (kan-ta'-bMS),  7.     Lyrical. 

cantajuolo  (kan-ta-yoo-5'-lo),  can- 
tamban'co,  7.  A  street  singer. 

cantamen'to,  7.     Air;  cantilena. 

cantan'do  (kan-tan'-de),  7.  In  a 
melodious,  singing  style. 

can 'tans,  L.     Singing. 

cantan'te,  7.  A  singer;  also  a  vocal 
part.  c.  ariose.  A  form  of  melody 
transitional  between  air  and  recita- 
tive. 

cantare  (ta'-r£),  7.  To  sing.  c.  di 
maniera  (man-ya'-ra)  or  maniera'- 
ta.  To  sing  with  mannerism,  c.  a 
orecchio  (o-reV-kl-o).  To  sing  by 
ear.  c.  a  aria.  To  sing  with  impro- 
vised cadenzas. 

cantarina  (r5'-n&),  Sp.  A  woman- 
singer. 

cantata  (kan-ta'-ta),  7.,  cantate  (kan- 
tat),  F.,  Cantate  (kan-ta'-t^),  G. 
i.  Originally,  something  sung,  in 
distinction  to  something  played 
(sonata).  2*  Now  a  work  for  chorus 
and  solo,  often  with  orchestral  ac- 
companiment; a  short  oratorio  of  a 
narrative  style;  a  short  opera  not 
meant  for  the  theatre,  c.  amoro'sa, 
7.  A  cantata  having  love  for  its 
subject,  c.  morale  or  spirituale, 
A  sacred  cantata  designed  for 
the  church,  cantatilla,  cantatille 
(tg7-yu),  cantati'na.  A  short  ean- 
tata;  an  air  preceded  by  a  recitative. 

canta'tor,  L.     A  singer;  a  chanter. 

cantato're,  7.  A  male  singer,  can^ 
tatrice  (trS-chS).  A  female  singer. 
c.  buffa.  A  woman  who  sings  in 
comic  opera. 

cantato'rium,  L.  The  Roman  Cath- 
olic book  containing  the  music  of  the 
Antiphonary  and  Gradual. 

Canterei  (kan'-t5-ri),  G.  i.  The  dwell- 
ing-house of  the  cantor.  2.  A  class 
of  choristers. 

canterellare  (kan-tS-rfcl-la'-re),  7.  To 
sing  softly,  canterellan'do.  Sing- 
ing softly. 

canti  carnascialeschi  (car-na-sha-leV- 
kS),  canti  carnevali  (kar-nS-va'-lS),  I. 
Songs  of  the  carnival  week. 

can'ticles,  E.,  can'tico,  7.,  cantique 
(kan-tSk),  F.,  can'ticum,  L.  i. 
JBiblical  lyrics,  the  Song  of  Songs 
(canticum  canticortim).  2.  A  sacred 
chant  with  scriptural  text.  3.  The 
cantica  majora  include  the  Mag- 
nificat, Benedictus  and  Nunc 
dimittis.  The  cantica  minora  are 
seven  texts  from  the  Old  Testament. 

can'tillate,    E.     To   recite   with   occa* 


DICTIONARY  OF  TERMS 


567 


sional  inUflical  tones;  hence,  cantil- 
lation. 

cantilena  (kan-tl-l5/-na),  I.  The  mel- 
ody; air. 

cantilla'tio,  L.  A  singing  style  of 
declamation. 

cantino  (t6'-no),  I.  The  smallest 
string  on  a  violin. 

can 'to,  7.  i.  A  song;  a  melody;  the 
voice,  col  canto.  ''With"  (i.  ev 
adopting  the  time  and  expression  of) 
the  voice  or  melody.  2.  The  art  of 
singing,  as  il  bel  canto,  the  old  art 
of  allegedly  perfect  production.  3. 
The  highest  part  in  concert  music. 
4.  The  soprano  voice.  5.  The  high- 
est string  of  an  instrument,  c.  a 
cappella.  Vocal  music  without  ac- 
companiment, c.  ambrosiano.  Am- 
brosian  chant  (Vide  CANTTTS).  c. 
armonico.  A  part  song.  c.  clef. 
The  C  clef  on  the  first  line.  c.  con- 
certante  (kdn-chSr-tan'-te1).  The 
treble  of  the  principal  concerting 
parts.  c.  cromat'ico.  Chromatic 
melody,  c.  fermo.  i.  A  chant  or 
melody.  2.  Choral  unison.  3.  Can- 
tus  firmus,  c.  figurato.  A  figured 
melody  instead  of  figured  bass  (q.v.), 
c.  fiorito.  A  much  ornamented  air. 
c.  fune'bre.  Funeral  song.  c.  gre- 
go'riano.  The  Gregorian  chant,  c* 
plana.  Plain  chant,  c.  necessa'rio. 
A  principal  part.  c.  primo.  The 
first  treble  or  soprano,  c.  recitative. 
Recitative,  ci.  ripie'no.  Vide  RI- 
PIENO.  c.  rivolta'to.  The  treble 
inverted,  c.  secondo.  The  second 
treble,  c.  semplice.  A  simple  song. 

cantolla'no,  Sp.     Precentor. 

cantor,  L.  Singer,  c.  choralis.  Pre- 
centor, canton  are  the  singers  that 
sit  near  the  cantor,  on  the  left  side; 
opposite  to  decani,  those  on  the 
dean's  side. 

can'tus,  L.  i.  A  song;  a  melody.  2. 
The  treble  or  soprano  part.  c.  Am- 
brosia'nus.  The  four  chants  intro- 
duced by  St.  Ambrose,  in  the  fourth 
century,  supposed  to  be  derived  from 
Greek  melodies,  c.  figuraTis  (or 
figuratus).  Mensurable  music;  mel- 
ody with  figurate  embellishment. 
c.  fir'mus.  (a)  The  melody  origi- 
nally given  to  the  tenors,  later  to  the 
sopranos;  (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.  f.  they  are 
called  the  counterpoint  (q.v.). 
c.  coronatus.  A  c.  fractus  when  ac- 
companied by  a  fa-burden,  c.  du- 
rus.  A  song  modulating  into  a  key 
with  one  or  more  sharps,  almost  the 
same  as  "major  key."  c.  eccle- 
siasticus.  Church-music,  particu- 
larly plain  song;  also  the  singing  of 
the  liturgy.  c.  fractus.  Broken 
melody,  c.  Gregorianus.  A  melody 
introduced  by  St.  Gregory,  c.  planus. 
Plain  song.  c.  mensurabilis.  Reg- 
ular, or  measured,  melody.  Vide 

MENSURABLE  MUSIC.     C.molIlS.     Song 

in  the  minor. 

ca'ntin,  Tur.     A  Turkish  zither, 
canzona,     canzone     (kan-tso'-ne*),     /. 

1.  A  folk-son^.     2.  A  part-song.     3. 
An   instrumeDtal    work,    in    two    or 
three   parts,   with   passages   in  imi- 
tation, somewhat  like  the  madrigal, 
canzonaccia  (nat'-cha).     A  low  song, 
canzoncina  (che'-na).     A  short  can- 
zone, or  song.     c.  sacra.     A  sacred 
song,         canzonet,         canzonnet'ta, 
canzonina.     A  short  canzone,     can- 
zoniere  (tsSn-ya'-re*).     A  song-book. 

caoine,  caoineadli  (ku-en'-S-u)i  Irish. 
A  funeral  song. 

capis'col.     A  precentor. 

capis'trmn.  A  face  bandage  worn  by 
ancient  trumpeters. 

capo  (ka/-po),  I.  The  head  or  begin- 
ning, da  capo  (return  and  play 
again),  from  the  beginning,  capo 
d'opera,  capo-lavoro.  Master-piece, 
chief  work.  c.  violino.  The  first 
violin,  capo-dastro,  c.  di  tasto. 
Vide  CAPOTASTO.  c.  d'instrumentL 
Leader,  c.  d 'orchestra.  The  con- 
ductor. 

capodastre  (kap-6-da.str),  F.  Capo- 
tasto. 

capo'iia*     A  Spanish  dance. 

capotasto  (ka-po-taV-to),  /.  r.  The 
nut  of  a  fingerboard.  2.  A  strip 
fastened  across  a  fretted  fingerboard 
and  serving  as  a  movable  nut  to 
raise  the  pitch  of  all  the  strings  at 
once. 

capperia,  7.     i.  A  chapel,  or  church. 

2.  A   band    of    musicians.     A   c*    or 
all**     c.     (a)   Without    instrumental 
accompaniment,          (b)  Alia   breve, 
da  c.     In  solemn  church  style. 

cappello  Chinese  (ke-na'-z£),  I-     Vide 

CHATEAU. 

caprice,  E.  and  F.y  capriccio  (ka-pret7- 
cho),  J.  A  whimsical  work  of  ir- 
regular form,  capriccietto  (chSt'-to), 


568 
7. 


DICTIONARY  OF  TERMS 


A  short  caprice,  capricciosamen'- 
te,  capriccio'so,  7.,  capricieuse- 
ment  (ka-pres-ydz'-maii),  capricietix 
(ka-pres-yti),  F.  Capricipus(ly). 

captan'dum,  ad,  L.  Takingly,  bril- 
liantly. 

caput  scholae,  L.     Precentor. 

caracteres  de  musique  (kar-ak-tar 
dti  mti-zgk),  F.  Musical  symbols. 

caramillo  (ka-ra-mel'yo),  Sp.  A  flag- 
eolet. 

carattere  (ka-rat'-ta-rS),  7.  Character, 
dignity. 

caressant  (ka-rSs-sanO,  F.,  carezzaado 
(ka-rSd-zan'-d6),  carezzevole  (za'- 
vo-16),  7.  Caressing;  tender. 

carica'to  (ka'-to),  7.     Exaggerated. 

carillon  (ka-r€-y6n),  F.  i.  A  set  of 
fixed  bells  on  which  tunes  may  be 
played  by  hand  or  mechanism.  ^  2. 
A  composition  suggesting  or  using 
bells.  3.  The  simultaneous  clashing 
of  many  large  bells.  4.  A  bell-like 
stop.  c.  a  clavier,  F.  A  set  of^  keys 
and  pedals,  acting  on  bells,  cariHon- 
ner  (ka-r6-y6-naO,  F.  To  ring  bells, 
carillonneur  (nttr),  F.  A  bell-ringer. 

carita  (ka-rS-ta'),  7.     Tenderness. 

Carmagnole  (kar-min-ydl),  F.  A  fa- 
mous French  revolutionary  song. 
It  derived  its  name  from  the  town 
Carmagnola. 

carmen,  L.  A  song.  c.  natalitium. 
A  carol  of  the  Nativity. 

carol,     i.  A  song  of  joy  and  devotion. 

2.  Ballads  for  Christmas  and  Easter. 

3.  An  old  circling  dance. 

carola,  7.  A  circling  dance,  resem- 
bling the  Carmagnole,  carolet'ta. 
A  little  dance. 

carree  (kar-ra),  F.     A  breve. 

carrure  des  phrases  (k&r-riir-da  fr&z), 
F.  The  balance  of  the  phrases. 

cart'el,  E.9  cartelle  (kar-tel),  F.  i. 
The  first  draft  of  a  score.  2.  A  sheet 
of  hide  or  varnished  cloth  on  which 
music  could  be  sketched  and  erased. 

cartellone  (Is'-ne*),  7.  A  catalogue  of 
operas  to  be  performed. 

cas  sa,  7.  The  drum.  c.  grande,  c. 
militare.  The  great  drum,  c,  ar- 
monica.  The  body  (as  of  a  'cello). 

cassa'tio,  £.,  cassazione  (kas-sa''- 
tsI-Q'-ne1),  7.  i.  The  final  number. 
2.  A  serenade  consisting  of  instru- 
mental pieces. 

castagnetta  (kas-tan-yfet'ta),  7.,  cas- 
t^nettes  (kas-tin-ySt),  F.,  castag- 
nole  (kas-tan-yo -IS),  castafietas 
(kas-tan-ya'tas),  castanuelas  (kas- 
tan-yoo-a'-las).  Sp.,  castanheta 


(kas-tanya'-ta),  Port.,  castanets,  Et 
Small,  concave  shells  of  ivory  or 
hard  wood,  carried  in  the  hand  and 
rhythmically  snapped  by  dancers  irj 
Spain  and  other  countries. 

castrate  (kas-tra'-to),  7.  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  humorous  and  ambiguous 
effect. 

catena  di  trilli  (ka-t§/-na),  7.  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  (kat-te'-vS),  7.  "Bad."  c. 
tempo.  The  weak  beat. 

catzoze'rath.     Hebrew  trumpet. 

cauda,  L.     The  tail  of  a  note. 

cavallet'to,  7.  i.  A  cabaletta.  2.  A 
small  bridge.  3.  The  break  in  the 
registers. 

cavata  (ka-vS'-ta),  7.  i.  Tone-pro- 
duction. 2.  A  recitative;  a  cavatina. 

cavatina  (ka-va-te'na),  7.,  cavatine 
(kav-a-t5n),  F.  A  melody  of  one 
strain  only. 

c-barre  (ut-bar-ra),  F.    Vide  BARKED  c. 

c-clef.  The  tenor  def;  wherever  it 
stands  it  indicates  middle  C. 

Odur  (tsa-door),  G.  The  key  of  C 
major. 

cebell'.  A  theme  in  common  time  with 
variations  and  alternation  of  high 
and  low  notes.  A  sort  of  English 
gavotte. 

cecilitim  (su-sS'-U-tin),  F.  A  key-board 
reed  instr.  the  size  and  shape  of  a 
'cello,  the  left  hand  playing  keys,  the 
right  working  bellows. 

cedez  (sa-da),  F.     Decrease' 

celamustel  (sa-la-mii-stel),  F.  A  har- 
monium with  unusual  imitative 
stops. 

celere  (cha'-la-re1),  7.  Rapid,  cele- 
rita  (rf-ta7).  Rapidity. 

celeste  (sa4Sst),  F.  Celestial,  applied 
to  stops  of  soft,  sweet  tone,  and  to  a 
piano  pedal  of  the  same  effect. 

celestina  (cha-lSs-te"na),  7.  i.  A  4-ft. 
stop.  2.  A  tremolo  stop  in  reed 
organs. 

cell.     Vide  EIXIS  (B.  D.). 

'cello  (chSl'16).  Abbr,  and  common 
name  of  violoncello,  cello  'ne.  A 
'cello  inv.  by  Stelzner  gaining  in- 
creased sonority  by  its  method  of 
stringing. 

cembalo  (cham'ba-15),  cembolo  (cham''- 


DICTIONARY  OF  TERMS 


569 


bo-lo),   /.,  cembal  (san-bal),  F.     i. 

A        harpsichord.     2.  A        cymbal. 

cembalista,  /.     A  player  on  either. 

cembal  d'amour,  F.     A  very  large 

harpsichord,     tutto   il   c.,    /.     Loud 

pedal,     c.    onnicordo,     I.     Proteus. 

cembalist,     E.     A    player     on     the 

harpsichord. 
cembaneria,        cennamel'Ia,       •/.     A 

flute. 
cent,    E.     The  hundredth  part  of  an 

equal  semitone.     Vide  ELLIS  (B.  D.)- 
cento  (ch§,n'-t6),  cento  'ne,  /.,  centon 

(san-t6n),  F.     i.  The  Gregorian  an- 

tiphonary.     2.  A  patchwork  or  med- 

ley. 
cercare    (char-ka'-re*),    /.     To    search. 

c.  la  nota.     A  common  effect  in  sing- 

ing where  a  note  taken  by  skip  is 

lightly  anticipated  with  a  short  grace. 
cer  'valet,  cervelat.     An  obsolete  clari- 

net, 
Ces  (tsSs),  G,    The  note  C  flat.    Ceses. 

C  double  flat. 


cesura,  cesttre.     Vide 

cetera  (cha'-tS-ra),  /.     A  cittern. 

c.  f  .     Abbr.  of  Cantus  firmus. 

cha  chi  (cha-che),  Chinese.  A  chro- 
matic kin. 

chacona  (cha-ko'-na),  Sp.,  chaconne 
(sha-ktin),  F.,  ciaccona  (chSk-k5'- 
na),  /.  A  slow  dance  probably  Span- 
ish in  origin;  in  3-4  time  with  a 
groundbass;  almost  always  in  major, 
in  contrast  with  the  passacaglia;  and 
generally  in  form  of  variations. 

chair  organ.     Vide  CHOIR  ORGAN. 

chalameau,  E.,  chalumeau  (sh&l-tt-mo), 
F.,  Chaiamau,  ChalSmaus  (shal'-a- 
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  (shi-ldtO-     A  tube  to  receive 

a  reed. 
chamber  music.     Music  composed  for 

a  small  auditorium,  as  a  string  quar- 

tet or  a  pianoforte  trio. 
chamber-organ.     A  cabinet  organ. 
chang.     A  Persian  harp. 
change,     z.  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-chord.  (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  (shan-zha  dti  zhu),  F. 
To  change  the  stops. 

chanson  (shan-sofi),  F.  A  song;  a 
ballad,  c.  bachique  (ba-sh£k).  A 
drinking-song,  c.  des  rues  (da-rtt). 
A  street-song;  a  vaudeville,  chan- 
sonnette  (n£t).  A  little  or  short 
song.  chansonnier  (sfin-ya1).  A 
song-writer;  a  book  of  songs. 

chant,  i.  Originally  a  song,  and  still 
so  meant  in  the  French  word  (vide 
below),  since  the  Gregorian  time  used 
of  vocal  music  marked  by  the  recita- 
tion of  many  syllables  on  one  tone,  . 
and  employed  for  prose  texts  such  as 
the  Canticles  and  Psalms.  There 
are  two  sorts  of  chant,  the  Gregorian 
and  the  Anglican,  (a)  The  Gregor- 
ian is  a  short  tune  to  be  repeated  in 
successive  sections  of  prose;  it  has  8 
tones  and  is  in  four  parts;  the  in- 
tonation (or  inchoatio)  or  opening 
notes;  the  first  reciting  note  (or  dom- 
inant); the  mediation;  the  second 
reciting  note  (or  dominant)-,  the  ter- 
mination (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,  triple, 
and  quadruple  forms  of  proportionate 
length.  In  chanting,  the  fitting  of 
the  unequal  phrases  to  the  music  is 
called  pointing,  and  consists  of  recit- 
ing them  strictly  within  the  duration 
of  the  notes  except  those  of  the  ist 
and  4th  measures  which  are  enlarged 
to  fit  the  words.  Words  to  be  sung 
to  the  cadence  are  cut  off  from  those 
to  be  sung  to  the  reciting-note,  by  a 
vertical  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-cliant. 
A  form  in  which  the  hemistichs  con- 
sist of  only  2  measures.  8.  Roman 
Chant- Gregorian.  9.  Phrygian 

chant.  One  intended  to  provoke 
wrath. 

chant    (shan),    F.     Song;    tune;    vocal 


570 


DICTIONARY  OF  TERMS 


part.  c.  amoureux.  Love  song. 
c.  d'eglise,  or  grSgorien.  Gregorian 
chant,  c.  egal,  c.  en  ison.  Chant 
on  one  tone,  or  with  one  interval  of 
two  tones,  c,  figure.  Figured  coun- 
terpoint, c.  funebre.  Funeral  song. 
c.  royal.  A  sacred  song;  or  a  prayer 
for  the  monarch;  the  mode  in  which 
such  prayer  was  sung.  c.  sur  le 
Bvre,  i.  e.,  "on  the  book,"  vocal 
counterpoint  extemporized  on  a 
printed  canfas  firmus. 

chanter,    E.  i.  One    who    chants, 

arch-c.  The  leader  of  the  chants. 
2.  The  tenor  or  melodic  pipe  of  a 
bag-pipe. 

chanter  (shan-ta),  F.  To  sing.  c. 
a  livre  ouvert  (a  lev-roov&r).  To 
sing  at  sight,  chantant(e).  Lyric. 
basse  c.  Vide  BASS,  cafe  c.  (ka- 
fa-chan-tan).  A  music  hall,  chan- 
t£(e)  (shan-ta).  Sung.  chanteur 
(euse).  A  male  (female)  singer. 
chantonner.  Canterellare. 

chanterelle  (shant-fi-rel),  F.  The  high- 
est and  smallest  string  of  an  instru- 
ment. 

chanterie  (shan-trg).  F.  chantry,  E. 
A  chapel  endowed  for  daily  mass. 

Chanterres  (shan-ter),  F.  roth  cen- 
tury ballad-singers. 

chan 'tor,  E,.  A  singer  in  a  cathedral 
choir. 

chantre  (shantr),  F.  Choir-leader, 
grand  c.  Precentor,  second  c.  A 
chorister. 

chapeau  (sha-p5),  F.  A  "hat";  a  >tie. 
c.  chinois  (shen-wa).  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  (sh£-pel),  F.     Cappella. 

characteristic.  Strongly  individual  in 
character,  or  mood,  used  of  a  com- 
position (as  Charakterstuck,  C?.). 
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  (sha-rl-va'-rl),  F.  Vide  SHI- 
KAREE. 

chasse  (shas),  F.  The  hunt,  a  la  c. 
In  hunting  style. 

chatsoteroth.     A  Hebrew  trumpet. 

che  (ka),  /.     Than,  that,  which. 

che  chi  (ka-ke).  One  of  the  eight 
species  of  Chinese  music. 

•chef  (sh«f),  F.  Leader,  chief,  chef- 
d'attaque  (d&t-tak).  i.  The  leader, 
or  first  violin.  2.  Leader  of  a  chorus. 


chef-d'oeuvre  (shS-diivr).  Master- 
piece, chef-d'orchestre  (sh£f-d6r- 
kfistr).  The  leader,  ch.  du  chant. 
Leader  of  an  opera  chorus. 

cheipour.     A  Persian  trumpet. 

chelldonizing.  Singing  a  spring  or 
"swallow  song." 

chel'ys.  i.  Vide  LYRE.  2.  Old  name 
for  viol. 

cheng  (chSng).  A  Chinese  mouth- 
organ,  a  gourd  with  many  free  reeds; 
it  suggested  the  invention  of  the  har- 
monium. 

cheng  chi  (chSng-chS).  One  of  the 
eight  species  of  Chinese  music. 

cherub  'ical  hymn.     The  Prisagion. 

chest  of  viols.  A  group  or  set  of  viols, 
two  basses,  two  tenors,  and  two 
trebles. 

chest  tone,  chest  voice.  The  lowest 
register  of  the  voice. 

chevalet  (shSv-a-la),  F.     Bridge. 

cheville  (shS-ve'-yS),  F.     Peg. 

chevroter  (sh£v-r6-ta),  F.  To  bleat 
like  a  goat,  hence,  chevrotement 
(shS-vr6t-mdn).  A  tremor  or  shake 
in  singing. 

chiarenta'na,  /.  An  Italian  country 
dance. 

chiarina  (ke-aVrg'-na),  7.     A  clarion. 

chiaro  (kg-a'-ro),  I.  Clear,  pure,  chia- 
ramen'te.  Brightly,  purely,  chia- 
rezza  (rSd'-za).  Clearness,  di  c. 
Clearly. 

chiave  (ke-a'-vS),  J.  i.  A  clef.  2. 
Key.  3.  Tuning-key,  4.  A  failure. 
5.  c.  maestro.  The  fundamental 
key  or  note. 

chiavette  (vSt'-te1),  /.  pL  Transposing 
clefs  of  the  n5th  century;  of  which 
the  high  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  el?;  or  a,  or  ab. 

chickera  (kr-kS-ra)  or  chikarah.  A 
Hindu  bow  instrument. 

chiesa  (ke-a'-za),  /.  A  church,  da  c. 
For  the  church,  or  in  sacred  style,  as 
sonata  or  concerto  da  chiesa. 

chifrre  (shifr),  F.  A  figure  in  thorough 
bass,  basse  chirrree  (shlf-f ra) .  Fig- 
ured bass. 

chifonie  (she-fo-ng7),  F.  Old  name  for 
hurdy-gurdy. 

chime.  A  set  of  bells  tuned  to  a  scale. 
chime-barrel.  Portion  of  the  mech- 
anism for  ringing  a  chime. 

chimney.  A  tube  in  the  cap  of  a 
stopped  pipe. 

Chinese  flute.     Bamboo  flute. 

Chinese  hat.     Vide  CHAPEAJT. 


DICTIONARY  OF  TERMS 


571 


Chinese  scale.  Five  notes  without 
semitones;  the  music  is  written  on 
five  perpendicular  lines,  the  pitch  is 
indicated  by  distinctive  names. 

chirm  or,  chinor.     Vide  KINNOR. 

chirimia  (ch€-re-me'a),  Sp.  The  oboe; 
clarion. 

chirogym'nast.  A  ^  mechanical  con- 
trivance for  exercising  the  fingers. 

chi-roplast  (ki'rS).  A  device  of  gloves 
and  bars,  inv.  1814  by  Logier,  to 
keep  the  hands  and  fingers  of  piano- 
players  in  the  right  position. 

chitarra  (ke-tar'-ra),  /.  i.  A  guitar,  a 
cithara.  c.  coll*  arco.  A  violin  with 
guitar-shaped  body.  chitarris'ta. 
One  who  plays  on  the  guitar,  chit- 
tarrina  (re'-na).  Small  Neapolitan 
guitar,  chitarro'ne.  A  double  gui- 
tar. 

chitema  (k5-ter'-na),  I.     Quinterna. 

chiuso  (ke-oo'-z6),  J.  Closed.  Vide 
CANON  and  BOCCA.  chiuden'do. 
Closing. 

Chladni's  figures.  Vide  NODAL  HG- 
TTKES. 

choeur  (kur),  F.  Choir,  chorus,  a 
grand  c.  For  full  chorus. 

choice  note.     An  alternative  note. 

choir.  T.  A  body  of  singers  usually  in 
a  church.  2.  Their  place  in  the 
church.  3.  A  subdivision  of  a  chorus 
or  orchestra,  c.  organ.  Vide  OR- 
GAN, grand  c.  The  combination  of 
all  the  reed-stops. 

Chor  (kor),  G.  Same  as  Choir  i,  2,  3; 
also  on  the  piano,  or  organ,  a  unison, 
i.  e.,  all  the  strings  or  pipes  belonging 
to  one  digital  or  pipe;  hence  a  piano 
with  3  strings  to  each  tone  is  drei- 
chCrig. 

chora'gus,  chore'gus  (ks).  The  donor 
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. 

cho'rale,  Choral  (k5-r2l'),  G.  i.  Choral 
psalm  or  hymn.  2.  Early  German- 
Protestant  hymn. 

choraleon.     Vide  JEOLOMELODICON 

choraliter  (kO-ral'-I-ter),  choralmassig 
(mes-sikh),  G.  In  choral  style. 

Choramt  (k6r'-amt),  G.  Choral  serv- 
ice. 

chorauTes.     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- 
material  of  all  our  music  are  made  up 
of  thirds  laid  brick-wise  one  upon 
another.  A  single  third  is  not 
counted  a  chord,  two  thirds  (for  in- 
stance the  two  intervals,  g-b-d)  make 
up  a  triad;  another  third  (d  to  f) 
makes  a  chord,  called  a  seventh 
(g-b-d-f)  because  the  interval  (q.v.) 
from  g  to  f  is  a  seventh;  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 
fundamental  or  root  of  the  chord. 
Chords  are  distinguished  in  mode,  as 
major  or  minor,  from  the  majority  or 
minority  of  their  intervals,  a  minor 
triad  differing  from  a  major  in  hav- 
ing a  minor  third,  the  fifth  being  per- 
fect in  both  cases.  When  the  chord 
has  been  constructed,  as  above  <jg-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  g 
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  fh<v\  the  root  in  the 
bass  the  chord  is  said  to  be  inverted. 
The  names  of  these  inversions  have 
been  cumbrously  taken  from  the  in- 
tervals between  the  lowest  note  and 
the  others,  no  interval  being  stated 
in  terms  of  over  an  octave,  the  great- 
est interval  being  named  first,  and 
some  of  the  intervals  being  unmen- 
tioned,  especially  those  of  doubled 
notes:  thus  the  intervals  in  that  in- 
version of  a  seventh  chord  in  which 
the  seventh  is  in  the  bass  might  be, 
counting  upward,  n  (-4),  16"  (-2), 
20  (-6),  but  it  would  be  called,  for 
short,  a  4-2  chord,  or  chord  of  the 
second  and  fourth. 
A  line  or  dash  through  any  Arabic 
numeral  as  £  means  that  the  note  it 
represents  is  sharpened;  it  may  be 
also  preceded  by  a  natural  or  fiat. 
A  sharp  or  flat  standing  over  a  bass 
r  te  means  that  the  third  of  the 
c  *rd  is  to  be  sharpened  or  flattened; 


572 


DICTIONARY  OF  TERMS 


In  the  following  table  the  names  of  all  the  inversions  are  given.      In  thorough- 
bass these  inversions  are  indicated  by  Arabic  numerals  above  the  baas  notes, 

5       8 

A  triad  in  the  root  or  fundamental  position  is  marked — 3  or  3  or  5. 

3 

A  triad  in  the  ist  inversion  is  called  a  chord  of  the  6th  and  marked  6. 
A  triad  in  the  2d  inversion  is  called  a  chord  of  the  4th  and  6th  or  a  six-four  chord 

6 

and  marked  4.  7 

A  7th  chord  in  the  root  or  fundamental  position  is  marked  7  or  5. 

A  7th  chord  in  the  ist  inversion  is  called  a  chord  of  the  5th  and  6th  or  a  six-five 

6       6 
chord,  and  marked  5  or  5. 

A  7th  chord  in  the  2d  inversion  is  called  a  chord  of  the  3d,  4th  and  6th,  or  a 

6 

four-three  chord  and  marked  4  or  4. 

3 
A  7th  chord  in  the  3d  inversion  is  called  a  chord  of  the  2d  and  4th  or  a  four- 

4       6 
two  chord  and  marked  2  or  4. 

2  99 

A  9th  chord  in  the  root  or  fundamental  position  is  marked  9  or  7  5  according  at 

3  3 

the  sth  or  7th  is  omitted. 


a  dash  or  horizontal  line  following  a 
numeral  continues  its  tone  in  the  next 
chord. 

The  character  (but  not  the  inversion) 
of  chords  may  be  indicated  by 
Roman  numerals  indicating  the  de- 
gree of  the  scale  on  which  they  are 
founded,  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  degree 
with  a  major  third  and  perfect  fifth; 
iv.  a  triad  on  the  fourth  degree  with 
minor  3d  and  perfect  fifth.  An  ac- 
cent after  the  numeral  indicates  an 
augmented  fifth,  as  IV;  a  small 
cipher  indicates  a  diminished  fifth, 
as  VII0;  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  chax^cter- 
istic,  the  leading  chord;  chromatic, 
containing  a  chromatic  tone;  com- 
mon, a  triad;  accidental,  produced 
by  anticipation  or  suspension;  al- 
tered, having  some  tone  chromati- 
cally changed  with  modulatory  « ffect 
(one  of  the  bugaboos  of  the  ther  sts), 


vide  ALTERED;  anomalous,  vide 
ANOMALY;  augmented,  having  an  aug- 
mented fifth;  broken,  vide  BROKEN; 
derivative,  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,  containing  a  torn* 
in  common;  solid,  opposed  to  broken; 
threefold,  a  triad;  transient,  modula- 
tory. (See  article,  Altered  Chords* 
page  720.) 

chord 'a,  L.  A  string;  a  note.  c. 
characteristica.  The  leading  note, 
c.  dominant  septima.  The  domi- 
nant chord  of  the  seventh;  no'na,  the 
ninth,  chordae  essentiales.  The 
tonic,  third  and  fifth,  chordae  vo- 
cales.  Vocal  chords. 

chordaulo'dian,  chordomelo'dipn.  A 
large  automatic  barrel  organ,  inv.  by 
ELaufmann,  18x2. 

Chordienst  (k6r'-denst),  G.  Choral  ser- 
vice. Chordirektor.  A  director >who 
trains  a  chorus  at  the  opera  house. 

chordom'eter.  A  gauge  for  measuring 
strings. 

Chare  (kar'S),  G.  plural.     Choirs,  cho- 


DICTIONARY  OF  TERMS 


573 


Chorist',  G.,  choriste  (k6-rest),  F., 
chorister,  E.  i.  A  leader  of  a  choir. 
2.  A  choral  singer.  Chorsanger,  C.- 
schuler,  C.-knabe  (k6r'-kna-be),  G. 
Choir-boy. 

Chorstimme  (kdr-shtlm-me'),  G.  Cho- 
rus part. 

Chorton  (k6r-ton),  G.     "Choir-pitch." 

1.  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  supporting 
body  of  vocalists  who  do  not 
sing  solos.  2.  A  composition  for  a 
chorus,  usually  in  4  parts — a  "double 
chorus"  requires  8  parts.  3.  A 
refrain.  4.  The  compound  stops, 
5.  The  bagpipe,  or  drone-pipe. 
7.  Marine  trumpet.  8.  The  free- 
staves  of  the  crwth.  chorusmaster. 
The  chief  singer  in  a  chorus. 

choutarah.     Vide  TAMBOURA. 

Cbris'te  eleison  (a-la'e-son),  Gr. 
"Christ  have  mercy";  part  of  the 
Kyrie. 

Christmesse,  Christmette  (krest'-me't- 
tfc),  G.  Christmas  matins. 

chro'ma,  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  semi- 
tone.   4.  (Or  c.  simplex.)    An  eighth 
note.     c.  duplex.     A  i6th  note. 

chromam'eter.     A  tuning-fork. 

chromatic,  chromatique  (tek),  F., 
chromatisch  (ma'-tlsh),  G.,  cro- 

•  mat'ico,  /.  i.  Literally,  "coloured" 
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  chromatic 
(i.  e.,  progress  by  semitones);  a 
chord,  an  interval  or  a  progression 
altered  by  a  flat  or  sharp  is  called 
chromatic,  and  the  process  of  so 
modifying  it  is  called  c.  alteration; 
an  instr,  playing  semitones  is  called 
c.,  and  the  signs  themselves  that 
sharpen  or  flatten  a  tone  are  called 
c.  signs,  or  chromatics.  2.  Vide 

MODES. 

chronom'eter.  Metronome,  particu- 
larly Godfrey  Weber's. 

chronometre  (kr6n-6-mStr),  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. 

ciaconne.     Vide  CHACONNE. 

ciaramella  (cha-ra-meT-la),  /.  A  bag- 
pipe. 

cicogna  (che-con-ya),  /.     Mouthpiece. 

cicu'ta,  L.     A  Pan's  pipe. 

cicutrenna  (che-koo-treV-na),  /.  A 
pipe. 

cifrato  (che-fra'-to),  J.     Figured. 

cimbalo  (chem'-ba-l6),  /,  i.  Cymbal. 
2.  Tambourine.  3.  Harpsichord  or 
dulcimer. 

cimbalon.     Vide  CZIMBALON. 

Cimbel  (tslm'-b^l),  G.  A  high  mixture 
stop.  Cimbelstern.  A  group  of 
star-shaped  cymbals  attached  to  old 
organs. 

cinelii  (che-nel'-le),  /.,  CineUen  (ts€- 
nel'-lSn),  G.  Cymbals. 

Cink  (tslnk),  G.  i.  A  small  reed-stop. 
2.  Vide  ZTNE:. 

cinq  (sink),  F.,  cinque  (chSn'kwS),  7. 
Five;  the  fifth  voice  or  part  in  a 
quintet,  a  c. — in  5  parts,  cinque- 
pace  (sank-pas).  Old  French  dance 
in  quintuple  time. 

cin/yra.     Old  name  for  harp. 

ciphering*  The  sounding  of  organ 
pipes,  when  the  keys  are  not  touched, 
due  to  leakage,  cipher  system.  An 
old  notation  using  numerals  instead 
of  letters. 

circle  of  fifths.  A  method  of  modu- 
lation by  dominants.  Vide  TEMPER- 
AMENT and  preliminary  essay,  INTRO- 
DUCTION TO  MUSIC. 

circular  canon.  A  canon  going  through 
the  major  keys. 

circular  scale.  The  curved  row  of 
tuning-pins. 

Cis  (tses),  G.  The  note  C  sharp. 
Cis-is.  C  double  sharp.  Cis-dur. 
C  #  major.  Cis-moll.  C  ft  minor. 

cistel'la,  L.     A  dulcimer. 

cistre  (sestr),  F.     Cither. 

cistrum,  L.     Vide  SISTRTJM. 
citara  (chg-ta'-ra),  I.     Cither, 
citaredo  (the-ta-ra'-dho),  Sp.,  citarist^ 
(che-ta-r6s'-ta),    J.     A    minstrel,    a 
player  upon  the  harp  or  cittern. 
citerna  (che-teV-na),  I.     Quinterna. 
cith/ara,  L.     The  large  lyre  from  which 
the   guitar  and  zither   are   derived. 
c.  biju'ga.     A   2-necked  c.     c.  his- 
panica.    The  Spanish  guitar,     keyed 
c.     The     clavicitherium.     cith'aris. 
The  theorbo,    citharoe'dus.    A  sing- 
ing lutenist. 


574 


DICTIONARY  OF  TERMS 


cith'er,  cithera,  cithern,  cittern,  cyth- 
orn.  An  old  guitar-like  instr.,  strung 
with  wire  and  played  with  a  plec- 
trum; sometimes  with  a  bow,  or 
by  means  of  keys. 

cito'le.     A  dulcimer. 

crt'tam.     Ancient  English  guitar. 

civetteria  (chS-vSt-tS-re'-a),  J.  Co- 
quetry. 

clair  (klar),  F.     Clear,  shriU,  loud. 

claircylindre    (kl£r-si-l&ndr),    F.     Vide 

CLAVICYIJNDEiR, 

clairon  (kl3.r-6n),  F.  i.  Trumpet.  2. 
Reed-stop.  3.  Vide  CLARINET.  4. 
A  bugler. 

clang,      i.  A    bell-tone.     2.  In    acous- 
tics   a    fundamental    tone    with    its 
group  of  over  and  under-tones,  their 
completeness  giving  the  clang-colour 
or  clang-tint,  Tyndall's  word, 
clang-key,  E.,  Klangschliissel,  G.  Rie- 
mann's  word  for  his  system  of  chord 
designation    intended    to     supplant 
thorough-bass  as  a  better  method  of 
describing     a     combination     by    its 
qualities.     Intervals    are    reckoned, 
not   from    the    bass,    but    from    the 
principal    tone   of    each   chord.     He 
uses     Arabian     figures     for     major, 
Roman  for  minor  chords,  the  former 
indicating  an  interval  upwards  from 
a  tone,  the  latter  an  interval  below, 
as   follows:    i    (I).     Principal    tone. 
2  (II).     Major  2d.     3  (III).     Major 
3d.     4    (IV).     Perfect    4th.     5    (V). 
Perfect    5th.     6    (VI).     Major    6th. 
7     (VTI).     Minor     7th.     8     (VIII). 
Octave.     9    (IX).     Major    pth.      10 
(X).      Major     xoth.      <      indicates 
raising   a  tone    by  a   semitone.     > 
Lowering     it     a     semitone;     "tones 
doubly  raised  or  lowered  being  in- 
conceivable musically.'*     The  major 
chord  (or  upper-clang)  is  abbreviated 
4-   (for  5-3-1),  the  minor  chord  (or 
under-clang)  is  abbr.  °  (for  I-III-V) 
— thus  a*  or  a°.     Feeling   that,  for 
instance,   the  tone    C  in  the   major 
triad  ab-c-eb  has  a  different  meaning 
from  the  tone  c  in  the  minor  triad 
a-c-e,  he  has  coined  for  this  "sub- 
stitution of  clangs"  the  word  Klang- 
vertretung     (klang  '-f  er-tra  '-toongk) . 
clang-succession     is     a     chord-pro- 
gression  with    regard   to  its  clang- 
meaning,  that  is,   a  tonality  which 
does  not  consider  every  chord  in  its 
proper  absolute  key  but  in  its  re- 
lation to  some  other  chord  to  which 
it  plays  the  part  of  principal  or  re- 
lated   clang.     Fuller    particulars    of 


this  interesting  philosophy  must  be 

sought  in  Riemann's   Dictionary  of 

Music,  and  other  of  his  writings, 
claquebois    (kl&k-bwa),     F.     A    xylo* 

phone. 

clar.     Abbr.  of  Clarinet. 
clarabel'la,    L.     A    soft-voiced    wood 

organ-stop. 
claribel  flute,     i.  A  flute.     2.  A  4-ft. 

clarabella. 
clar'ichord,   clarico'lo,   clar'igold.     An 

old  harp,  or  a  clavichord. 
Clarin   (kla-r§n',  G.        In  F.  klar-&n). 

1.  A  clarion.     2.  A  4-ft.  reed-stop. 
Clarinblasen.     Soft     notes     of     the 
trumpet. 

clar'inet,  clarinette  (nSt),  F.,  clari- 
netto,  /.  An  important  wood-wind 
instr.  with  a  single  beating  reed, 
cylindrical  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  differ- 
ent fingering  from  the  oboe,  etc.  It 
has  1 8  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 
register   (whence  the  instr.  took  its 


b'-c' 


3.  The    medium, 


name) 

f'-b'b.  4-  The  chalumeau  (shal'-ii- 
mo)  or  Schalmei  (shal-ml)  g-e'; 
the  qualities  being  respectively, 
i.  Shrill.  2.  Liquid  and  clear.  3. 
Veiled  and  feeble.  4.  Rich  and 
sonorous  like  a  contralto  voice. 
The  clarinet  is  a  transposing  instr. 
written  in  the  C  clef;  it  is  made  in 
many  sizes  to  adapt  it  to  different 
keys;  the  large  soprano  in  C,  Bb 
(often  called  simply  "clarinet  in  B") 
and  A;  the  small  soprano  in  D,  E,  F, 
Ab;  the  alto  or  barytone  in  F  and 
Eb,  the  bass  (an  octave  lower  than 
the  sopranos)  in  C,  Bb  and  A.  The 
soprano  in  Bb  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  Denner  of  Niirnberg,  1700) 
upon  the  old  chalumeau  or  Schalmei, 


DICTIONARY  OF  TERMS 


575 


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  placing 
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  darinetto  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  Bohm  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  (kla-re'-no),  /.,  clarion,  E. 
(in  F.  klar-y6n).  i.  A  small  trum- 
pet. 2.  A  4-foot  organ  reed-stop,  an 
octave  above  the  trumpet.  3.  The 
trumpet  parts  in  score,  c,  harmo- 
nique.  A  reed-stop. 

clarionet.  Obsolescent  spelling  of  clar- 
inet. 

clarionet-flute.     A  stop. 

clarone  (kla-ro'-ne*),  I.     A  clarinet. 

Clarseach  (klar'-sakh),  clarseth  (klar'- 
sS).  The  old  Irish  harp. 

claus'ula,  L.     A  dance. 

clavecin  (klav-s&nX  F.  i.  The  harpsi- 
chord. 2.  The  keys  a  bell-ringer 
plays  on.  c.  acoustique.  An  instr. 
of  the  1 8th  cent,  imitating  various 
instruments. 

Claviatur  (kla-f *-a-toor'),  G.  The  key- 
board. 

clavichord.  Prototype  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. 

clavicyl'inder.  An  instr.  inv.  by 
Chladni,  about  1800,  consisting  of 
cylinders  of  glass  attuned. 

clavicymbalum,  L.,  clavicembalo,  /. 
The  harpsichord. 

clavicytiie'rium,  L.  An  upright  harp- 
sichord of  the  i3th  century. 

Clavier  (d&v-ya,  P.,  in  G.  kla-f Sr'). 
i.  The  key-board.  2.  An  old  name 
for  the  clavichord.  3.  c.  de  r£cit. 
The  swell  manual.  4.  In  French 
use,  the  gamut  included  in  the  stave. 
$.  Vide  KLAVTEP. 


clav'is,  L.  and  G.  i.  A  key.  2.  A 
clef.  3.  A  note.  4.  Handle  of  a 
bellows. 

c!6  (kla),  clef  (kla),  P.  (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  grips  is 
middle  C  (c')«  The  most  common 
clefs  are  the  "G"  (or  treble  c.  or 
clef  sol,  or  clef  descant,  or  violin  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'ut)  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, 
according  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 
other  instruments  and  in  contra- 
puntal writing. 

The  obsolete  clefs  are  the  F  on  the 
3d  line  (the  barytone  clef),  the  C  on 
the  2d  line  (the  mezzo  soprano),  the 
G  on  the  ist  line  (the  French  violin, 
or  French  treble  clef.) 

dear  flute.     Organ-stop. 

clef  d'accordeur  (dS,k-k6r-dur),  F. 
Tuning-hammer. 

cloc'ca,  i.,  cloche  (k!6sh),  P.  A  bell. 
clochette.  A  hand-bell. 

clock.  To  swing  the  clapper  of  a  sta- 
tionary bell. 

clog,  Irish.     A  shuffling  dance. 

cloro'ne,  7.     Alto  clarinet. 

close  (kl5z).     A  cadence. 

close  harmony  or  position.  That  in 
which  the  chords  spread  over  little 
space;  when  a  chord  extends  beyond 
an  octave  it  is  said  to  be  in  open  po- 
sition. 

close  play.  Lute-playing  in  which  the 
fingers  remain  on  the  strings. 

close  score.  That  with  more  than  one 
voice  on  a  stave. 

C-mpll  (tsa-m61),  G.  The  key  of  € 
minor. 

c.  o.     Abbr.  of  choir-organ. 

coalotino  (ko-a-16t-tS'-n6),  I.  Concer- 
tino. 

cocchina  (k6k-ke'-na),  7.  An  Italian 
country-dance. 

co 'da,  /.  "TaH."  i.  An  additional 
termination  to  the  body  of  a  compo- 
sition, ranging  from  a  few  chords  to 


576 


DICTIONARY  OF  TERMS 


a  long  passage.  2.  The  stem  of  a 
note. 

codet'ta.  i.  A  short  coda.  2.  A  short 
passage  in  fugue,  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  (k6fr),  F.  The  frame  of  an 
instrument. 

cogli  (kol'-ye),  coi  (ko'-e),  col,  coll', 
colla,  collo,  7.  Forms  of  the  prepo- 
sition "con,"  and  the  definite  article 
meaning  "with  the." 

colachon  (ko-ia-shdn),  F.  An  instr. 
like  a  lute  with  longer  neck. 

colascione.     Vide  CALASCIONE. 

collet  (k6l-la),  F.  The  neck,  as  of  a 
violin. 

collinet  (k61-13t-na) .  A  flageolet,  named 
from  a  famous  virtuoso  on  it. 

colofo'nia,  /.,  colophane  (k6l-5-fan), 
F.,  Colophonium  (k6-16-f6'-nl-oom), 
G.,  col'ophony,  E.  Resin. 

colorato  (k<5-lo-r2/-to),  /.     Florid, 

coloratura  (k6-lo-ra-too'-ra)  (pi.  e),  /.,. 
Coloraturen  (kd-16-ra-too'-r£n),  G. 
Ornaments  and  ornamental  passages, 
in  vocal  or  instrumental  music; 
brilliant  vocalization. 

coloris  (k6-lo-reO,  F-,  .Colorit  (ret7), 
G.  The  "colours-scheme  of  a  work. 

colour,  i.  Vide  NOTATION.  2.  Tim- 
bre. 3.  Literally  colour;  to  some 
minds  each  tone,  or  each  key,  has  a 
distinctive  actual  colour,  as  C  is 
red  to  some,  C#  scarlet,  Ctj  blood 
red,  Cb  darker,  etc.  The  Editor  has 
even  met  a  painter  who  claimed  the 
ability  to  play  any  picture  or  paint 
any  composition. 

colpo,  di,  /.     "At  a  blow,"  abruptly. 

combinational  tones.     Vide  RESULTANT 

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'me),  /.  As,  like,  the  same 
as.  c.  prima.  As  before,  as  at  first. 
c.  sopra.  As  above,  c.  sta.  Ex- 
actly as  it  stands. 

co'mes,  L.  i.  In  fugue,  the  compan- 
ion or  answer,  to  the  dux  (leader),  or 
subject.  2.  In  canon<  the  conse- 
quent. 


comiquement  (ko-me'k-man),  F.  Com- 
ically. 

com/ma,  i.  A  breathing-mark.  2.  A 
theoretical  term  indicating  the  mi- 
nute difference  between  two  tones 
nearly  identical,  (a)  The  comma 
syntonum,  or  c.  of  Didymus,  is  that 
between  a  major  and  a  minor  tone 
80:8 1.  (b)  The  comma  ditonicum, 
or  c.  of  Pythagoras,  is  that  by  which 
six  whole  notes  with  the  ratio  9:8 
exceed  the  octave,  or  531  +  :  524  -+-. 

com(m)odamenxte,  com'(m)odo,  I. 
With  ease. 

common.  Vide  CHORD  and  TURN.  c» 
measure  or  time.  4-4  time. 

compass.     Range  of  a  voice  or  instr. 

compiacevole  (k6m-pX&-cha'-v6-le), 
compiacevolmen'te,  /.  Pleasant- 

(ly)- 

complainte  (k6n-plant),  F.  A  religious 
ballad. 

complement.  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. 

complete 'rium,  L.,  com'pletory,  E. 
i.  An  Ambrosian  anthem  supple- 
mentary to  the  artiphon.  2.  A 
compline. 

complin  (e),  L.   Vide  HOR-ffl  CANONICJE. 

componis'ta,  /.     A  composer. 

compo'num.  A  machine  inv.  by  Win- 
kel  to  present  a  given  theme  in  end- 
less variety  of  forms. 

composition,  /.  The  act,  art  or  sci- 
ence of  writing  original  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-po-z£- 
tsl-S'-nS  de  ta-v6-le'-n5),  /.  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  (kom-pre-rna'-Tl-a),  I. 
The  next  in  rank  to  a  prima  donna. 

con  (kon),  /.  "With";  it  is  often  com- 
bined with  the  article  "the,"  vide 
KXJGIJ,  etc.  con.  8va,  vide  OTTAVA. 

concave  pedals.     Radiating  pedals. 


DICTIONARY  OF  TERMS 


577 


concealed.     Vide  HIDDEN. 
concento    (k6n-che"n'-to),    7.     i.  Con- 
cord.    2.  Non-arpeggiation. 
concen'tus,   L.     i.  Concord,  vide  AC- 

CENTUS. 

concert  (in  F.  k6n-sai').  i.  A  public 
performance.  2.  c.  spiritual.  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  (kdn-cher-tan'-te'),  7.  i. 
A  piece  in  which  each  part  is  alter- 
nately principal,  as  a  duo  concertante. 
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  (ta'-tQ),  /.,  concerted,  E. 
Used  of  music  for  several  voices  or 
instruments. 

concert-grand.  The  largest  size  of  the 
piano. 

concertina  (k6'n-se'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  Eng- 
lish treble  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,  tenor,  bass  and 
double-bass  ranges. 

.concertino  (kdn-cher-te '-no) ,  /.  r.  A 
small  concerto.  2.  Principal  as  op- 
posed to  ripienOy  e.  g.,  violino  c., 
principal  violin.  3.  The  first-violin 
part. 

concertis 'ta,  I.     Virtuoso. 

Concertmeister  (kon-tsert-mishte'r),  G. 
i.  The  leader.  2.  The  first  of  the 
first-violins. 

concerto  (k6n-che*r'-tQ),  7.  i.  A  con- 
cert. 2.  A  composition  for  one — 
two  (double)  three  (triple) — or  more 
solo  instruments  with  orchestral 
accompaniment.  It  is  ^  usually  in 
sonata  form  with  modifications  to 
allow  of  virtuosity,  notably  the 
cadenzas  played  by  the  performer  of 
the  solo  part  just  before  the  conclud- 
ing tutti  of  the  first  and  last  move- 
ment. Formerly  the  word  was  ap- 
plied to  concertante.  Torelli  is  cred- 
ited with  the  modern  form.  The  c. 
without  orchestral  accompaniment 
<c.  a  solo)  is  very  rare.  c.  da  ca- 


mera.  Chamber  concerto,  opposed 
to  grosso.  c.  da  chiesa  (ki-a'-za) 
or  c,  ecclesiastico.  (a)  In  Viadana's 
work,  merely  motets  with  accomp. 
for  organ,  (b)  A  concerto  for  church 
use.  c.  doppio.  a  c.  for  two  or 
more  instruments,  c.  gros'so.  A 
composition  for  full  orchestra,  c. 
spirituale.  Sacred  concert. 

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. 

Concertspieler  (k6n-ts6rt'-shpS-lSr),  G. 
A  solo  or  concerto  player.  Con- 
cert'stuck  (shtuk).  i.  A  concert- 
piece.  2.  A  concerto. 

concitato  (k6n-chl-ta'-t6),  7.  Agi- 
tated. 

conclusion  e  (kloo-zI-O'-nS),  7.  Con- 
clusion. 

concord.  An  harmonious  combina- 
tion, concordant,  i.  Harmonious. 
2.  In  French  use  (pron.  k6n-k6r- 
dan),  a  barytone. 

con-dissonant.  Used  of  a  triad  which 
is  consonant  with  each  of  two 
mutually  dissonant  triads. 

Conducten  (dook'-tSn),  G.  Wind- 
tubes. 

conductor.  The  time-beater  and  direc- 
tor of  a  chorus  or  orchestra.  (See 
article,  page  723.) 

conduct'us,  L.  That  form  of  discant 
in  the  i2th  century  in  which  not  only 
the  improvised  counterpoint  of  the 
singers  was  original,  but  the  central 
melody  (or  cantus  firmus)  also. 

conduit  (k6n-dw6),  F.  i.  A  wind- 
trunk.  2.  Conductus. 

cone-gamba.     The  bell-gamba. 

confinal.     Vide  FINAX. 

conjoint,  or  conjunct,  E.,  congiunto 
(joon'-to),  7.  i.  Used  of  notes  lying 
immediately  next  to  each  other;  of 
motion  or  succession  proceeding  regu- 
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, 
tetrachord. 

connecting  note.  One  common  to 
successive  chords. 

consecutive.  Following  in  immediate 
succession.  Chiefly  applied  to  pro- 
gressions of  intervals  such  as  perfect 
fifths  and  octaves,  strictly  forbidden 
in  most  cases. 

conseguente    (gwe'n'-tS),     7.,    con'se- 


578 


DICTIONARY  OF  TERMS 


quent,  E.  In  fugue  or  canon,  the 
Imitation  or  answer  of  the  subject. 

conservatoire  (k6n-sSr-va-twar),  F.t 
conservato'rio,  /.,  Conservatorittm 
(oom),  G.,  conservatory,  22.  A 
school  of  music. 

consolan'te,  J.  Consoling,  consola- 
tamen'te.  Cheeringly. 

consonance,  £.,  consonanza  (nan'- 
tsa),  /.  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,  I.     Rustic. 

contano,  Z.  "They  count,"  of  instrs. 
which  "rest." 

continua'to  (tln-oo-a'-to),  I.  Sus- 
tained* 

continued  bass.     Vide  BASS  (6). 

continuo,  I.     Vide  BASS  (6) 

con'tra.  Against  or  under.  As  a  pre- 
fix to  names  of  instruments,  or  of 
organ-stops,  it  indicates  a  pitch  an 
octave  lower  than  the  standard, 
as  Contraposaune,  contra-octave. 
(Vide  PITCH.)  contra-aero.  Bow- 
ing against  the  rule,  contra-tempo. 
Syncopation,  contrabass  (k6n-tr&- 
bas).  The  double-bass,  contrabonv- 
barde.  A  32-ft.  stop  in  the  pedal. 

contraddanza  (kdn-trad-dan'tsa),  I. 
A  country-dance. 

contralto  (k6n-tral'-t6),  J.  The  deep- 
est female  voice.  The  term  means 
lower  than  the  alto  (high),  the  former 
name  of  male  soprano. 

contrappunto  (poon'-t6),  J.  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.  hi 
the  twelfth,  c.  sciolto  (shol'-to). 
Free  cpt.  c.  sopra  (sotto)  il  sog- 
getto  (s6d-jeV-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  ki  tenths  or  thirds 
below  the  subject,  c.  simplex. 
Simple  cpt. 


con'trapuntal.  Relating  to  counter- 
point, contrapuntist.  One  skilled 
in  counterpoint. 

contrario  (tra'-rl-o),  /.  Contrary. 
Vide  MOTION,  contrary  bow.  A  re- 
versed stroke. 

contrasogetto  (s6d-jeV-to),  7.  Coun- 
ter-subject. 

contratenor.     Vide  COUNTER-TENOR. 

Contratone  (k6n'tra-ta-nS),  G.  The 
deeper  bass  tones. 

contraviolo'ne,  /.     Double-bass. 

contre  (k6ntr),  F.  Contra,  or  coun- 
ter, as  contrebasse.  Double-bass. 
c.  e*clisse.  Lining,  c.  partie.  A 
part  contrasted  with  another,  as  bass 
and  soprano,  contrepoint  (k6ntr- 
pwS,n).  Counterpoint,  contresujet. 
Counter-subject,  centre-temps. 
Syncopation. 

contredanse  (kdA-trti-dans),  F.  A 
country-dance,  in  which  the  dancers 
stand  in  opposite  ranks. 

conver'sio,  Z.     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  (k6r),  F.  Horn,  cor-alt.  Alto 
horn,  cor-basse.  Bass-horn,  c.- 
anglais.  "English  horn,"  in  reality 
an  alto  oboe  (q.v.).  c.  de  basset. 
Basset-horn,  c.  de  chasse  (shas). 
Hunting-horn;  the  French  horn.  c. 
de  postilion.  Postilion's  horn.  c. 
de  signal.  A  bugle,  c.  de  nuit. 
The  Cremona  stop.  c.  de  vaches. 
Cow-horn,  c.  omnitonique.  A  Sax- 
horn. 

coirale  (kS-ra'lS),  J.     Chora. 

coranto    (k6-ran'-to),    /.     Vide    cou- 

RANTE. 

corda  (k6r'-da),  J.  A  string;  una  cor  da, 
one  string,  i.  e,,  the  soft  pedal;  due 
(two)  or  ire  (three)  or  tutte  (all)  le 
corde  (the  strings),  "release  the  soft 
pedal  1"  In  violin-playing,  due-corde 
means  "play  the  same  note  on  2 
strings  simultaneously";  ima,  sda, 
3za,  or  4ta  corda,  means  that  the 
passage  is  all  to  be  played  on  the 
string  indicated. 

cordatura   (too'-ra),    7.     Vide  ACCORD 

corde  (k6rd),  F.  A.  A  string,  c.  a 
boyau.  Catgut,  c.  &  jour  (zhoor). 
c.  a  vide  (v€d).  Open  string,  c. 
de  luth.  A  lute-string,  c.  fausse 
(f6s).  A  false  string,  c.  sourde. 
(soord).  A  mute-string. 


DICTIONARY  OF  TERMS 


579 


cordier  (k6rd-ya),  F.  cordiera  (k6r- 
d*-a-ra'),  /.  Tail-piece. 

cordometre  (k6r-d6'-xne'tr),  F.  String- 
gauge. 

corifeo  (k5-rX-fa'-5),  I.  Leader  of  a 
ballet,  corimagistro  (ma-jes'-trS). 
Leader  of  a  chorus. 

corista    (k5-res'-ta),    I.     i.  Chorister. 

2.  Tuning-fork  or  pitch-pipe, 
cormorne.     i.  A  soft-toned  horn.     2. 

A  reed-stop. 

corn  (k6rn).     Welsh.     Horn. 

cornamusa  (k6r-na-moo'-z§.),  7.,  cor- 
nemuse  (k6rn-muz),  F.  Bagpipe. 

cor'net  (not  cornetO,  E.  (in  F.  k6r-na), 
Cornett',  G.  i.  Loosely  used  of  the 
cornet  d  pistons  (q.  v.).  2.  An  obso- 
lete wind  instr.  of  the  i5th  cent, 
made  straight  (diritto  or  muto)  and 
bent  (curvo  or  torto);  the  latter  was 
also  called  cornon  or  cometto  basso 
and  was  the  original  of  the  serpent. 

3.  Various    reed-stops    as    echo    c., 
mounted  c.,  grand  c.,  c.  de  recit, 
C.  dreifach  (or  3-ranked). 

corneta  (k6r-na'-ta),  cornet'to,  7.  A 
i6-ft.  reed-stop. 

cornet  a  bouquin  (boo-kan),  F.  Bugle- 
horn. 

cornet  a  pistons  (k6r-n5  ta  pes-t6n), 
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  Bb,  and 
has  crooks  (A,  Ab,  G).  It  has  a 
chromatic  compass,  f#  -c7  '  '. 

cor 'no,  7.  Horn.  c.  alto.  A  horn 
of  high  pitch,  c.  basso.  A  bass- 
horn,  c.  di  basset'to.  i.  The  bas- 
set-horn. 2.  A  soft-reed  stop,  c*  di 
caccia  (kat'-cha).  The  hunting  or 
French  horn.  c.  dolce  (dol'che). 
An  organ-stop,  c.  in  B  basso.  A 
low  B  horn.  c.  inglese  (gn-gla'-ze1). 
The  English  horn  (vide  OBOE). 
c.  ventile  (vSn-te'-le).  Chromatic 
horn.  c.  sor'do.  A  horn  with 
dampers. 

cornope'an.  i.  Cornet  si  pistons.  2. 
An  8-ft.  reed-stop. 

co'ro,  7.  and  Sp.  Chorus,  c.  della 
chiesa,  7.  Church-choir,  c.  primo. 
The  first  chorus. 

coro'na,  7.     A  pause  or  fermate  (T). 

coronach  (kdr'-Q-nakh).  A  Gaelic 
dirge. 

corps  (kdr),  F.  Body  (as  of  an  instru- 
ment).  c.  de  ballet  (bal-la).  AU 
the  dancers  in  a  ballet,  c.  d'har- 
tnonie  (dar-mo-nS).  A  fundamental 


chord,  c.  de  musiqne.  A  band 
c.  de  rSchange.  The  crook  of  a 
horn.  c.  de  voix.  Body  or  range 
of  a  voice. 

corren'te,  7.     Vide  COURANTE. 

Coryphaeus,  G.  i.  The  conductor  of 
the  chorus.  2.  At  Oxford,  a  special 
instructor  in  music. 

coryphee  (k5-rl-fa),  F.  i.  The  leader 
of  dancers.  2.  A  ballet-dancer. 

cosaque  (ko-s£k),  F.  The  Cossack 
dance. 

cotillon  (ko-te-y6n),  F.  "Petticoat." 
An  elaborate  ceremonial  dance  of 
many  couples,  not  unlike  the  Ger- 
man. 

couac  (kw&k),  F.     Vide  GOOSE. 

couched  harp.     Spinet. 

coulS  (koo-la),  F.  i.  Slurred.  2.  A 
grace  note  consisting  of  two  or  three 
sliding  notes,  indicated  by  a  dash 
between  the  notes. 

coulisse  (koo-les),  F.  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 
fa)  of  the  art  of  writing  simultaneous 
melodies  or  (b)  of  the  melodic  part 
added  to  a  given  part  called  the 
cantus  firmus  (q.v.).  The  contra- 
puntal style  differs  from  the  har- 
monic in  that  while  the  latter  consists 
of  melody  accompanied  by  chords, 
the  former  is  a  combination  of  me- 
lodic parts.  The  supreme  contra- 
puntal 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  pre- 
ceding species.  Counterpoint  is  also 
Simple  and  Double.  In  the  lattei, 
the  Darts  are  invertible3  i.  e.,  mav  be 


580 


DICTIONARY  OF  TERMS 


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.  (See  article, 
page  727-) 

counterynge  ye  songe  (kown  -ter-ong 
the  sdng)  (old  E.).  Descant. 

country-dance.  Whatever  the  ety- 
mology, a  country-dance  is  a  contra- 
dance  (in  duple  or  triple  time)  in 
which  partners  are  ranged  opposite 
each  other. 

coup  (koo),  F.  Blow.  c.  d'archet 
(dar-sha).  A  stroke  of  the  bow.  c. 
de  glotte  (g!6t).  A  snappy  vocal  at- 
tack, double  c.  de  langue.  Double- 
tonguing.  c.  de  baguette  (ba-ge"t). 
Beat  of  the  drum.  c.  de  cloche 
(k!6sh).  Stroke  of  a  bell. 

couper  le  sujet  (koo-pa  lu  sop-zha),  F. 
To  cut  or  contract  the  subject. 

coupler.  An  organ  mechanism  con- 
necting 2  manuals,  or  manuals  with 
pedals. 

couplet.  Two  notes  occupying  the 
time  of  a  triplet. 

courante  (koo-rant),  F.  "Running," 
an  old  dance  in  3-2  and  6-4  time. 
Hence  an  instrumental  piece  in  the 
same  style.  Vide  SUITE.  The  sec- 
ond part  of  the  suite,  usually  in  pas- 
sage work. 

couronne  (koo-riin),  F.     A  hold. 

course.  A  group  of  strings  sounding 
in  unison. 

courtal  (koor-tal),  courtaud  (koor-t6), 
courtaut  (koor-t5),  F.  An  old  short 
bassoon. 

couvre-feu  (koovr-fa),  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  colla  parte,  or  counter- 
point. 

cr.,  cres.,  cresc.     Abbr.  of  crescendo. 

crackle.  In  lute-playing,  to  play 
chords  brokenly. 

cracoviak,  Pol.,  cracovienne  (kra- 
ko'vl-en),  F.  A  Polish  dance  in 
syncopated  2-4  time. 

creanluidli  (kran'-loo-e).  Vide  PI- 
BROCH. 

Cre'do,  L.     "I  believe."     Vide  MASS. 

crem'balum,  L.     Jew's  harp. 

Cremona  (krS-mS'-na),  I.  i.  A  town 
in  Italy,  hence  an  instr.  made  there 
by  the  Stradivari,  the  Amati,  or 
Guarnerius.  2.  A  corrupt  form  of 
crom-horn. 


cremorn.     Vide  CROM-HORN. 

crepitac'tilum  or  crepun'dia,  L.  An- 
cient frictional  castanets. 

crescendo  (krS-shSn'-do),  /.  "Increas- 
ing," i.  e.,  in  loudness.  c.  il  tempo. 
Increasing  in  speed.  C-zug,  G.  The 
swell-box,  or  crescendo  pedal. 

cres  'cent.  A  Turkish  instr.  of  crescent- 
shaped  metal  plates  hung  on  a  pavil- 
ion; or  small  bells  on  an  inverted 
crescent. 

criard(e)  (kr6-ar(d)  ),  F.     Bawling. 

crib  'rum,  L.     Sound-board. 

croche  (kr6sh),  F.  An  eighth  note. 
c.  double.  Sixteenth  note.  c.  quad- 
ruple. A  sixty-fourth  note.  c.  tri- 
ple. 32d  note. 

crochet  (kro-sha),  F.  The  hook  of  a 
note,  croche  'ta,  L.  A  quarter  note. 

croisement  (kwaz-man),  F.  Crossing 
(as  of  parts). 

croma  (kr5'-ma)  (pi.  e),  /.  An  eighth 
note,  "crome*'  written  under  notes 
of  larger  value  indicates  that  they  are 
to  be  played  as  eighth  notes. 

cromat'ica,  /.     Chromatic. 

crom'-horn.  i.  A  melancholy  double- 
reed  wood-  wind  instr.  of  the  i6th 
cent.  2.  A  4,  8  or  i6-ft.  reed-stop. 

crom/mo,  /.     A  choral  dirge. 

cromor'na,  /.,  croxnorne  (kr5-m6rn), 
F.  Crom-horn. 

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  (krdk-nSt),  F.  An  Unin- 
telligent virtuoso. 

cross,     i.  The  head  of  a  lute.     2.  Vide 


cross-beards.     Vide  BEARDS. 
cross-fingering.     A  method  of  playing 

old  flutes. 

cross  flute.     A  transverse  flute. 
cross-relation.     Vide  FALSE. 
crotale     (krS-tal),     F.,     crota'lo,      f.. 

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. 


DICTIONARY  OF  TERMS 


581 


CrucMx'us,  L.  "Crucified/'  part  of 
the  Credo.  Vide  MASS. 

emit  (kru'lt),  Irish.     Old  Irish  Crwth. 

crush-note.     Acciaccatura. 

crutch 'etam.  Name  originally  given 
to  the  crotchet. 

crwth  (krooth),  Welsh.  An  old  instr, 
of  Welsh  or  Irish  origin;  it  was  some- 
what lyre-shaped,  had  six  strings, 
and  was  the  first  European  instr. 
played  with  a  bow. 

c.  s.     Abbr.  of  Con  sordino. 

cs&rd&s  (tsar-dash),  Magyar.  A  Hun- 
garian (Magyar)  dance  in  2-4  or  4-4 
time.  Triple  time  is  very  excep- 
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-Schlussel  (tsa'-shltis-sel),  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  ctwvrer  (far  kwev-ra). 
To  half -stop  a  French  horn  with  clan- 
gorous effect. 

Cum  sancto  spiritu,  i.  "With  the 
Holy  Ghost."  Part  of  the  Gloria. 
Vide  MASS. 

cupo  (koo'-po),  J.     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'-to),  /.,  custos,  L.  A 
direct. 

cuvette  (kii-vet),  F.  Pedestal  of  a 
harp. 

cycle.  A  complete  set  (as  of  songs). 
cyclical  forms  (G.  cyclische  Formen). 
Those  made  up  of  a  set  or  cycle  of 
movements,  as  the  sonata,  suite  or 
symphony. 

Cyl'inder,  G.     Ventil  piston. 

cym'bals,  E.,  cymbales  (san-bal),  F. 
i.  Circular  metal  plates,  clashed  to- 
gether. 2.  A  steel  triangle  with  a 
number  of  rings.  3.  A  high-pitched 
mixture-stop . 

cyxnbalum,  L.  i.  Cymbal.  2.  A  me- 
diseval  series  of  eight  drums  to  a 
scale. 


czakan  (tshak'-Sn).  A  Bohemian  bam- 
boo flute. 

czardas  (tshar'-dash).     Vide  CSARDAS. 

czimken  (tschlm'-ken).  A  Polish 
country-dance. 

czymbalom  (tshIm'-bS-16m).  The 
Hungarian  dulcimer. 


IX     In  G.  pron.  da,  F.  re  (ra),  7.  re  (r£). 

1.  A    musical    pitch,    the    next    full 
step    above    C    in    all    its    octaves* 

2.  The  major  key  having  two  sharps; 
the  minor  key  relative  to  F  major. 

3.  Abbr.   d   =    discantus,  or  dessus, 
in  da  capo,  dal  segno,  main  droit,  mano 
drit'.o,  <r  abbr.  of  de  before  a  vowel. 

da  (da),  L.  By,  from,  for,  through,  in 
the  style  of,  etc. 

dabbuda  (dab-boo'-da),  J.     A  psaltery. 

da  capo  (da  kS/-pp),  J.  "From  the 
beginning."  A  sign  of  repetition. 

Dach  (dakh),  G.  "Roof."  The  belly 
of  a  violin,  etc. 

Dachschweller  (dakh'-shvSl-ler),  G. 
Swell-box. 

dactyl'ion,  Gr.  An  apparatus  of  10 
rings  hung  from  steel  springs  above 
the  key-board,  used  to  strengthen  the 
fingers;  inv.  by  Herz,  1835. 

dada.  A  term  in  drum  music — the  left 
hand. 

daddy-mammy.  A  colloquial  term  for 
a  roll  on  the  side-drum. 

dagli  (dal-ye),  dai  (da-€),  dal,  daU% 
dalle,  dal'lo,  dalla.  /.  Combinations 
of  the  prep,  da  with  the  article  "the." 

daina  (da-e'-na),  dainos.  A  tender 
Lithuanian  folk-song. 

daire  (da-5'-ra),  /.     The  tambourine. 

dal,  7.     Vide  DAGU. 

Apl^f-my.    An  Egyptian  reed  instrument. 

damenisa'tion.     yide  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. 

da*mpfen  (dSmp'-fen),  G.  To  muffle. 
Damp'fer.  A  mute  or  damper. 
Damp'fung.  Damping  mechanism. 

DanMied  (dank'-let),  G.  A  thanks- 
giving song. 

danse  (dans),  F.  A  dance,  or  dance- 
tune,  contre  d»  (k6ritr).  A  country- 
dance,  a  quadrille,  d.  de  matelot 
(m2Lt-lo).  A  horn-pipe,  danseries 
(dans-r5).  Dance-tunes. 


582 


DICTIONARY  OF  TERMS 


Chart  of  Dance-Rhythms. 


(  Spanish  national  dance.  A  pan- 

BOLERO.  -C  tomime  in  honor  of  Cupid,  ac- 

( companied  with  castanets. 

Theme.  " 


r      ( French  or  Spanish.  Theperi- 
BOURREE.  -<  ods  commence  on  the  fourth 
{ and  end  on  the  third  beat. 


( Moorish,Spanish,  or  Italian. 
CHACON(N)E.  •<  Begins  on  the  second  beat ; 

( contains  a  basso  osttnato* 
Moderate.  or      _p^_ 


(Polish.    Full  of  syncopa- 
CRACOvncNBTEXtionsand  unexpected  ac- 
f  cent. 


CZARDAS. 


Hungarian  national  dance,be- 
ginning  with  a  slow,  sad  Las- 
san*  followed  by  a  fiercelj 
rapid  Friska.  The  rhythm  is 
too  varied  to  plot,  but  this 
germ  usually  appears  i 

*=> 


{ Spanish  dance   with    guitar 
FANDANGO. -<  and  castanets,  performed  be- 

( tween  verses. 
'      Allegro. 


LrAENDLER.    Slow  Tyrolese  walte. 
3    J       J       J\    J> 


( Polish  national  dance  of  state- 
MAZURKA. sly  character,  with  varied  ac- 
( cents. 


r   r 


r-fr 


( Old  French,of  stately  character, 
MINUET. -{The  third  beat  is  slightly  acl 

f  cented. 
t  Moderate.  I 


LJ 

Old  French  dance,now  usual- 
IT  P^  o£  Q*  Gavotte.,  its 
bag-pipe  origin  gives  it  a 
drone-bass.  See  Gavotte. 


T  Polish  dance,  formerly  very 


POLONAISE.  \ 


accent  and  closes 


Moderato. 


v 
I  on  the  last  beat,  thus  :. 


Close. 


r  u-r  r  t  '  \ 

( Italian  and  Spanish  dance 
SALTARELLO.X  of  leaping  and  bounding 
(style. 

or. , 

rcccr 

SARABANDE.^P^ten^t^ 
Andante.      t  »  « or 


f^naante.      .  . 

r  r'glrr  llr 


GAVOTTE. 


(  Old  French.  Periods  begin  on 
J  the  third  and  end  upon  the 
1  second  beat.  It  is  generally 
I  combined  with  a  Musette. 


j  j  i_j  j  j  j 


J  J 


TARANTELLA. 


Presto. 


Theme. 


f  Cuban  national  dance.    Ac- 
J  companiment     of     marked 
4  fbyfa^  theme  greatly  va- 
tried  and  syncopated, 
or  or 


Old  ItaliHn  dance  of  great 
violence,  said  either  to  be 
the  result  of,  or  an  anti- 
dote for,  the  tarantula 
bite.  Also  said  to  be  of 
Tarentine  origin. 

'and  I 


WALTZ. 

Vienna*  or 
Quick  Waltz. 

German^  or 
Slow  Waltz. 


•{  A  dance  o£ 


origin  and 


r  r  r 


fr 


i  r  r 

or'  _ 


r  r 


DICTIONARY  OF  TERMS 


danza^dan'-tsa),  J.    A  dance  or  dance- 
tune;,     danzet'ta.     A  little  dantce. 
daraboo'ka  or  darabuk'keh.     A  small 

Arabian  drum. 
dar  la  voce  (dar  la  vo-che),  I.     Give 

the  key-note. 
Darmsaite    (daxm'-a-te)    (pL    en),  G. 

Gut-strimg- 

DarsteUer  (dar'-sht£l4er),  G.     A  per- 
former.   DarsteUung.    Performance. 
dash.     i.  A  staccato   mark.     2.  Vide 

CHORD.     3.  Vide  couufc. 
Da'sian-notierting,  G.     Hucbald'-s  no- 

tation,  using  forms  of  the  letter  Ffor 

14  tones. 

Dauer  (dow-e*r),  G,     Duration. 
Daumen  (dow'-mSn),  G.     The  tiramb. 

D.-aufsatz.      Thumib-position.      IX- 

klapper.     Castanet, 
D,  C.     Abbx.  «>f  <&*  caps- 
D-dur  (da-door),  G,     D  major. 
de  (du),  F.     Of,  in,  from,  by.     De  plus 

e»  plas  'vite.     More  and  more  quickly. 
dead  march.     Funeral  march. 
deb&e,  debde  (da '-bo-la),  /.     Feeble, 
dec'achord,  decachor'don,  decacorr»do, 

L*     An  ancient  harp  ox  'gmtar  "with 

ten  strings. 

dec'ad.     Vide  EILIJS  (B.  D.)- 
de'cani,  L.  pL    Vide  -CANTORI. 
Decem  (da-tsfim),  G.     Vide  DECISIA  (2). 
deceptive.     Vide  CADENCE. 
dechant  <,darshanj,  F.     Discant. 
dj§cide  (da-s6-da),  decid§ment  <da-s€- 

da-man),  F.     Decisive(ly). 
decima    ^de-cima/)>     L.     i.  A    teniih. 

2.  An  organ-stop  sounding  the  tenth. 

d.  plena  de  tonis.     A  major  tenth. 

d.   non  plena   de  tonis.     A   minor 

tenth,     d.    tertia,,    quarta,    quinta. 

Intervals  of  the  i3th,  i4th,  i$th. 
D6 'dme  (da-s5m),  F.  (da-ts5mO,  G-    A 

tenth. 
decimole.     A     group     of    ten     eqtial 

notes. 
d§7cis2  <da-se-sef),  decisivement  'XseV- 

man5,  F.     Decisively). 
decisione  (da-che'-zt-o^),  J.     Becis- 

ioii.     decisive     (da-chI-se*vqX     de- 

clso  (da-ch6'-z6) .     In  a  bold  manner, 

decisively. 
Decke     (dSk'S),    G.     i.  Sxmnd-^board. 

2.  BeHy.     3.  Coveriortopformgan- 

stops. 
deelamanMo     (da-da-man'-dS),    J. 

With  declamatory  expression. 
declamation,     declamazione     (da-tfla- 

ma-tsl-o'-ne),  JL     Singing  in  declam- 
atory style. 
d^ctarer   <^a-ki&-va),    F.     To  Change 

the  key. 


583 

F.     Dis- 


To    use 


Tne 


decompose    (da-Wn-po-za), 

connected. 
d€compter    (da-k6n-ta),     F. 

the  portamento. 
decoration     (da-k6-ra.s-y6n),     F. 

signature. 
decorative  notes.     Notes  of  'embellish- 

ment. 

decottplez  (da-koo-pla),  F.  IJncouple. 
decousu(e)  (da-koo-su),  F.  Disjointed. 
deer.,  decres.  Abbr.  of  decresoendo. 
decrescendo  (da-krSsh-en'-do),  JT. 
in  loudness. 
A  group  of  ten 

notes. 
dedicato  (da-d!-ka're),  J.,  d€die  (dftd- 

ya),  F.     Dedicated. 
deduct'io,      L.     i.  Resotaflaon.     2.  In 

tJuido  d'  Arezzo's  iieacachor<is7  the  as- 

cending series. 
deficiendo  (da-fe-chSn'-dSj,  I. 

a-way. 
degli  (daT-ye),  <iei  <x3S-O,  ^» 

della,    delle,    deilo,    J.     Of    tlw; 

than  the. 
degre  (dii-gra),  F~,  degree,  E.     i.  lane 

or  space  <©n  the  staS.     2.  One  of  tbe 

diatonic  tones  of  a  scale. 
detaen     (da'-nSn),     G,     To     extend. 

gedehnt  (gfi-dant).    Prolonged,  slow. 

Debuting.        Prolongation.        De*h- 

nungsstrich.     i.  The  Kne  or  -dot  in 

vocal  music  holding  one  syllable  ov«r 

several  motes.     2.  A  long  bow-stroke. 
delassement  (d5-ias-man),  F.     A  4ight 

deliberate-  <da4e^be*-raMx>),  delibenrta- 
men'te,  /.  Deliberately)  - 

delicatesse  (da-11-ka-t^s),  F.,  d^fica- 
tezza  (da-tt-ia-tSd'-za),  J.  Deli- 
cacy, 

delicato  (da-H-ka'-to),  deHcatamente, 
7.  DeHcate(ly).  delicafissima^ 
men'te^  -deficatis'simo.  Most  *del- 
icate(ly). 

deli6  (dal-ya),  F.     Ligirt,  easy. 

delir'k),  I.     Frenzy,  -excftement. 

delizio'so    or   -amente,    J.     DeMci0iifi- 


dem  C^am),  G.  'To  the.™  I>al5ve  -of 
"the." 

demandier  (da-man-sha),  F.  To 
change  ^oor  cross  hands;  *to  shift  on 
€he  ''cello  or  violin;  hence  dSmancbe, 
demanchement  (da-mansh-m'Sn). 

demande  (dfi-mand),  -F.  Tlie  ^ques- 
tion," subject  of  a  fugue. 

deini  <dii-me),  F.  Half.  d.-baton- 
(bJL-t6n)  .  A  semibreve;  or  ^-measure 
rest,  d.-cadence  (ka-dans).  Aliaff 
cadence,  d.-croche-  A  i6th  note. 


584 


DICTIONARY  OF  TERMS 


d.-jeu.  With  half  power,  ml.  d.- 
mesure.  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.-temps.  A  half  beat,  d.-ton.  A 
half  tone. 

demi-dit'onus,  L.     A  minor  3d. 

demi-quaver.  A  i6th  note,  or  semi- 
quaver. 

dem'isemiquaver.     A  ssd  note. 

dem'itone.     A  semitone. 

demoiselle  (dfcm-wa-zel),  F.     Tracker. 

Denis  d'or  (dtin-e-ddr).  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),  G.     i.  The.     2.  Of  the. 

derivative,  i.  The  root  of  a  chord. 
2.  An  inversion. 

derive  (da-re-y5),  F.  i.  Derivative. 
2.  An  inversion.  3.  Inverted. 

dernier e  (dfcrn-yar),  F.  Last.  d.  fois. 
The  last  time. 

Des  (dSs),  G.  i.  The  note  Dt>.  2. 
From  the;  of  the. 

desaccorder  (da-z2.k-k6r-da),  F.  To 
untune,  disaccorded  Untuned. 

des'cant.     Vide  DISC  ANT. 

descend.  To  pass  from  higher  to  lower 
pitch,  descent.  Such  a  passing. 

descendere  (da-sh&n'-dS-re*),  7.,  de- 
scendre  (dtt-sandr),  F.  To  descend. 
d.  d'un  ton.  To  descend  a  step, 
descendant  (dti-s&n-dan).  Descend- 


desciant  (dtt-shSn),  F.     Discant. 
Desdes  (dasdas)  or  Deses  (dasas),  G. 

D  double  flat. 

Des-dur  (das '-door),  G.  Db  major. 
desiderio  (da-s5-da'-rf-C),  /.  Desire, 

passion, 
desinvolturato  (vol-too-r&'-to),  I.,  avec 

desinvolture  (£-v€k  da-sin- v61-tiir), 

F.  Free,  easy. 

Des-moll  (das-m61),  G.  Db  minor. 
desperazione.  Vide  DISPERAZIONE. 
Dessauer  Marsch  (d6s7-sow-er  marsh), 

G.  One  of  the  national  march-songs 
of  Germany. 

dessin  (dus-s£n),  F.     Sign. 
dessus  (dtis-sii),  F.     j.  Treble  or  up- 
per part.     2.  Old  name  for  violin. 
desto  (das'-tS),  /.     Brisk,  sprightly 
desterita  (ta-rS-ta'),  I.     Dexterity. 


destra  (das'-tra),  /.  Right,  d.  xnano. 
Right  hand,  colla  d.  With  the 
right  hand. 

detach6  (da-ta-sha),  F.  Detached; 
with  separate  bow  movements,  but 
not  staccato,  grand  d.  With  a 
whole  bow-stroke  to  each  note. 

determinazione  (da-t£r-m3t-na-tsI-6'- 
nS),  /.  Determination,  determi- 
nate (na'-tQ).  Determined,  resolute. 

detoni(e)ren  (da-tS-ng'-rSn),  G.,  de- 
tonner  (da-tttn-na),  F.  To  sing  or 
play  off  the  key;  hence  detonnation 
(da-tun-n^s'-ydn) . 

detto  (dfit7-to),  /.     The  same;  ditto. 

deut'erus.     Vide  MODES. 

deutUch  (doit'-llkh),  G.     Distinctly. 

Deutsch  (doitsh),  G.  "German." 
deutsche  Flote.  The  German  or 
transverse  flute,  deutscher  Bass. 
An  obsolete  5  or  6  stringed  double- 
bass,  deutsche  Tabulator.  Vide 
TABLATXJRE.  deutsche  TSnze.  Old 
slow  waltzes. 

deux  (dtt),  F.  Two.  a  deuxhuit  (dti^ 
wat).  In  2-8  time,  a  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  d  d.  t.  deux  fois. 
twice. 

deuxiSme  (dtiz-ySm),  F.  Second,  d. 
position  (p5-zes-y6n).  i.  The  sec- 
ond fret.  2.  The  second  position  or 
half-shift. 

development.  Working  out;  free  fan- 
tasy. Vide  FORM. 

devorto,  /.  Devout,  devozione  (da- 
vo-tsX-o'-ne1).  Devotion. 

dex'tra,  L.,  dextre  (dSxtr),  F.  i. 
Right;  the  right  hand.  2.  Vide 

TIBIA. 

Dezem  (da-tsSmO,  G.     Vide  DECIMA. 

Dezime  (da'-tsS-mS),  G.     A  tenth. 

di  (d6),  J.     Of,  with,  for,  from,  by,  etc. 

di  molto.     Extremely,   as  allegro  di 

molto. 

di'a,  Gr.     Through, 
diacon'icon,  Gr.     Collects  in  the  Greek 

Church. 

di'adrom,  Gr.     Vibration. 
diagonal  bellows.     The  old  form  with 

slanting  flap. 
diagram 'ma,     Gr.     Diagram,     i.  The 

Greek     scale.     2.  The     staff.     3.  A 

score. 
dialogo  (de-a-l5'-go),  /.,  dialogue  (dS- 

a-16g),  F.     Dialogue:  a  duet. 
diamond-shaped     notes.     Vide     HAR- 
MONICS. 


DICTIONARY  OF  TERMS 


585 


diana  (de-S/-na),  /.,  Diane  (dl-3,n),  F. 
The  reveille. 

diap.     Abbr.  of  diapason. 

diapa'son,  Gr.  pron.,  in  E.  (di-a-pa'- 
s6n;  in  P.,  de~S.p-a-s6n).  i.  An  oc- 
tave, d.  (cum)  diapente.  An  octave 
with  the  fifth — a  twelfth,  d.  con 
diatesseron.  An  octave  with  the 
fourth — an  eleventh.  2.  Range. 

3.  Absolute    pitch,    as    d.    normal, 
international     pitch,     vide     A     (i). 

4.  In  the  organ,  the  sonorous  chief 
foundation-stops,  one  of  8  and  one 
of  1 6-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 
major  yth.  d.  col  semidito'no.  A 
minor  7th.  d.  cum  semito'nio.  A 
minor  6th.  d.  cum  tono.  A  major 
6th. 

.diapentisa'rey  Mediaeval  L.  i.  To  dis- 
cant  at  the  interval  of  a  5th.  2.  To 
proceed  by  $ths.  3.  To  tune  by 
5ths.  4.  In  Irench  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 
SCHISMA  and  ELLIS  (B-  D.). 

dias'tema,  Gr.     An  interval. 

diastolic(s),  Gr.  Diastolik  (16k7),  G. 
Art  of  phrasing. 

diates'seron,  Gr.     Interval  of  a  fourth. 

diatonic,  E.,  diato'nico,  /.,  diatonique 
(d€-3,-t6n-ek),  P.,  diatonisch  (de-a- 
tSn'-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  re- 
lated key.  2.  One  of  the  three 


genera  in  Greek  music.     Vide  MOI>ES. 

diauTos,  Gr.  A  double  flute  with  2 
tubes,  i  mouthpiece. 

diazeux'is,  Gr.  The  separation  of  two 
tetrachords  by  a  tone;  the  tone  sep- 
arating them;  hence  the  adjective 
diazeuc'tic.  Vide  MODES. 

di'chprd.  An  instrument  (a)  with  2 
strings;  (b)  with  2  strings  to  each 
note. 

dicta'tion,  dictee  musicale  (dek-ta 
mii-zl-kal),  P.  The  performance  of 
musical  phrases  to  be  written  on 
paper  by  the  listener (s). 

die  (de),  G.     The. 

die,  JE.  A  steel  punch  for  engraving 
music. 

diecetto  (de-a-chSt'ta),  I.  A  compo- 
sition for  10  instruments. 

diesare  (de-a-sa/-^),  I.,  diSser  (d€-a- 
z§L),  F.  To  sharpen  a  tone  or  note. 

diese  or  dieze  (de-Sz),  F.     Sharp  (S). 

Di'es  i'rae,  L.  "Day  of  wrath,"  sec- 
ond movement  of  the  Requiem. 

diesis  (ds-a'-slfe),  Gr.  and  I.,  diesis  (dl- 
a'seO,  -F.  i.  The  sharp  <$).  2.  The 
enharmonic  d.  is  the  difference  be- 
tween a  diatonic  and  a  chromatic 
semitone  (ratio  128  :  125),  or  be- 
tween 3  major  thirds  and  one  octave. 
3.  A  quarter  tone,  the  unit  of  tone- 
division  in  Aristotle's  system.  4. 
The  Pythagorean  semitone  or  limma. 

diezeug'menon,    Gr.     Disjunct*     Vide 

MODES. 

difference    tones.     Vide    RESULTANT 

TONES. 

difreren'tiale  or  distinct/io  tonorum,  L. 
Differenzen  (Sn'-tsen},  G.  The  dif- 
ferent cadences  available  for  the 
saeculorum  amen  of  each  psalm- 
tone, 

difficile  (dff-fe-'-che-la),  J.  (dif-f I-sSl),  F. 
Difiicult, 

digital.  A  key  to  be  pressed  by  a 
finger  (as  opposed  to  pedal  =  foot- 
key). 

digito'rium.  A  dumb  instr.  with  five 
keys  for  exercising  the  fingers. 

dignitH  (d5n-yX-taO,  dignita'de,  dig- 
nitate  (t8/-tS),  /.  Dignity, 

digressio'ne,  I.     Deviation. 

dilettant(e)  (de-16t-tan(t)  ),  /.  An  am- 
ateur. 

dilettosamen'te,  I.     Pleasantly. 

dilicato  (de-l!-ka/-t5),  dilicatamen'te, 
I.  Delicate(ly).  dilicatezza  (tSd7- 
za).  Delicateness.  dilicatis'sinio. 
Most  delicate. 

diligenza  (de-lI-jSn/-1^)*  /.  Diligence, 
care. 


586 


DICTIONARY  OF  TERMS 


.     Am  interlude- 
diluendo     (de4ac*-ea'dQ),     I.     Finding 

away. 

dim.,,  dtmrn.  Abbr.  of  dintin&end&~ 
diminished.  r~  Used  of  internals  which 
are  a  semitone  smaller  than  the 
minor  intervals;  used  also  o£  chords 
containing  such,  intervals.  Fourths^ 
fifths  and  octaves,  however,,  being 
called  "perfect"  instead  of  "majcar," 
axe,  when  contracted  a  STemitoney 
said  to*  fce^  not  *f minor,'"  but  dimin- 
ished*. When  inverted,  d.  internals 
become  augmented  aiaxi  vice  versa. 
A  d.  triad  contains  a  minor  $d  andi 
an.  imperfect  (or  diminished)  fiftfex 
The  chord  of  the  d.  seventh  is  the  7th 
cfeoord  built  on  the  leading  tone  of  a 
minor  key.  d.  vmitatian,  sulfject-  or 
theme,  isr  i*sed  wben  the  answer  re- 
in notes*  of  lessened  time- 


I- 


iue, 
diminuendo 

Diminishing  gradually  in  loudness. 
d.  molto.     With  extreme  diminution 
^  of  power. 

^jyf|t^itt^|;Qy    yOjj^mS—UU™ 5/«   Ff       JfcO"  OuHQUDL— 

isiu     diminufe    (dl-m€n-u-a).     Di- 

TT^\y\jjjHn.fit^T       en   ^•tttm^]|'^'pifyTir    QCJaiUCQUp. 

Diroi'nuenda  motto. 

diminu'tion,  .&„  (in  F.  de-me-Etfis<-y6n), 
fl  1 1  )fl  t^T^7t}QTi  ^  t{Hi°s»Tn  T"-T^o(V"'tiST— o  —nejtj  jT. 
In  cpt.,  the  repetitioii  or  imitation 
of  a  theine^  in  notes  of  shorter  dura- 
tion; opposed  to  augmentation- 

diox/ia>  Gr*     Diapente, 

dip.  The  extent  to  which  a  key  or 
pedai  may  be  depressed. 

difdiQp'iiiuni.     A.  vcrcal  duet* 

direct7.  £.  A  mark  placed  at  the  end 
of  a  staff  (a)  to  indicate  the  position 
of  the  note  next  following  (M7); 
(b)  =  &c.  2.*  Vide  TURN.  3^  Tbf 
conduct,  d.  motion.  Similar  or 
pazallei  motion. 

directeur  (dX-rSk-tarX  P.,  diretto're, 
7.  Director;  conductor. 

diriger  (de-re-zshas),  P.,  dirigiren  (dS- 
rS-je'-reas)',  G.  To-  conduct. 

dfri±'to(a)r  dritto,  /.  Direct,  alia  d. 
Straight  on. 

Dis  (des),  G.     The  note  D  sharp. 

disaccentato  (at-chSn-ta'-to),  /.,  Un- 
accented. 

disanno'nico,  J.  Discordant*  disar- 
monia  (nS'-a).  Discord. 

di secant,  jE.y  discant'us,  L.  *' Diverse 
song."  i.  The  early  form  of  cpt., 
the  addition,  usually  by  improvisa- 
tion, of  one  or  more  parts  to  a  given 
melody.  Contrary  motion  was  much 


used  and.  elaborate  rules-  made. 
Double,  triple,  quadruple  d.  refer  to 
the  number  of  pants.  2-.  The  high- 
eat  part,  voice  or  register;;  the  highest 
of  a  family  of  instrs*  d.  clei.  The 
sapcasLQ  cLef., 
discemdere  (dje-shan-'-dfc-re1),,  !„  To 

descend. 
diseaolto  (d^-sh^i'-ta),  /.     Skilful,  dex- 

terous. 

discord,    R^  discorde    (des-kArdX  ^-, 
discor'dia,    L^    discordanza    (dan'- 
tsa>^  /.     s.  Ugliness  of   sound;   an 
inharmonious  combination  of  tones. 
a.  Loosely     used     for    DISSONANCE 
Cq-v.>.      discordait'te,    discordante- 
men'te,  J.     Discordant (ly), 
discrete     (dfe-kES'-ta)^     I.     Discreet 
discrezione   (dia-kriL-tsi-S'ni&X     Dis 
^  cretion, 
disdiapa'son.     In   mediaeval  music,   a 

doiflJde  octave,  a  i5th. 
Dis-dis  (ciesr-des>y  G.     D  double,  sharp. 
Dis-dur    (dgs-doorX    GL     D    #    major. 
Disharmonie  (des-har-mQ-nS'),  G.    Dis- 
cord,    disharmo'nisch  (njfsk),     Di&- 
cordant, 

disinvorto,  disinvolturata  (vSl-too- 
ra'-ta)^  J.  Easy.  disinvoltura 
(too^ra).  Ease., 

Disis  (d5s-es),  G.     D  double  sharp, 
disjunct7.     Disjoined.     A  te'm,  appteed 
by  the  Greeks  to  tetrachords>  where 
the  Lawest  sound  of  the  upper  was. 
one  dfigjee  higher  thaa  tae  highest 
sptind  of  the  lowers     Vide  MODES. 
disjunct  succession.     A  succession  of 

skips. 

Distant      (des-kSatO,.  G.     Discant  i. 
and  2.     D,-sehliissel.     The  soprano 
clef.       D.-geigev       The  soprano  of 
the  slrings^  i.  e^,,  the  vioKn,    Diskan'- 
tist,  D.-sanger.     Treble  singer,     D.- 
register,        D.-stirome.    Half-stops. 
D.-saite.     The  highest  string. 
Dis-moll  (d5s-m61),  G.     Dfl  minor. 
dispar'te,  /.     Aside, 
dispera'to  (a'-tQ),  I.     Desperate,     dis- 
ixerazione     (dXs-pg-ra-tsI-o'-nS),     J. 
Despair. 

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 
an  organ. 

dissonance,  E.  (F.  dXs-so-n&ns) .  Dis- 
sonanz  (des-s5-nantsO,  G->  disso- 
nanza  (dls-so-nSn'-tsa),  J.  i.  Loose' 
ly  used  for  discord.  2.  In  acoustics 


DICTIONARY  OF  TERMS 


587 


used  of  combinations  producing 
beats.  3.  In  composition  used  of 
tones  or  combinations  (irrespective 
of  their  pleasantness  or  unpleasant- 
ness of  effect)  that  do  not  give  a 
sense  of  rest,  but  demand  motion  and 
resolution  in  some  other  tone  or 
chord. 

dis 'sonant,  E.  (F.  dfe-so-nan),  disso- 
nan'te,  7.  Dissonant. 

dissonare  (dls-so-na'-rS),  7.,  dissoner 
(dgs-so-nS),  F.,  dissoniren  (dls-s5- 
nS'-r&n),  G.  To  form  dissonance. 

distance.     Interval. 

distanza  (dgs~t2.n'-ts§.),  7.  Interval, 
distance,  in  d.  In  the  distance. 

distinct'io.  i.  Vide  PUTERENTIAIJE. 
2.  A  pause  in  Gregorian  vocal  music. 

distin'to,  distmtamen'te,  I.  Dis- 
tinct (ly). 

distonare  (t6-na'-re),  7.,  distonirea 
(des-tS-ne'-rSn),  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.  harp. 
A  chromatic  lute  with  a  dital  to  each 
of  its  12  to  1 8  strings;  inv.  by  Light, 
1778. 

diteggiatura  (dS-tSd-jfi-too'-ra),  I. 
Fingering. 

dith'yramb,  E.,  dithyrambe  (d5-tit- 
ranib),  F.,  Dithyrambe  (de-tX-ram'- 
be1),  G.,  drtirambo  (d5-t€-ram'-bo), 
I,  A  rhapsody  in  honour  of  Bacchus; 
a  wine-rapture. 

dito  (de'to),  7.  Finger,  d.  grosso. 
The  thumb. 

di'tone,  E.,  diton  (dS-t6n),  F.,  dito- 
no  (de-t6'-noO,  I.,  dito'nus,  L.  A 


comma  than  our  major  third. 

ditty.  '  A  naive  little  song. 

div.     Abbr.  of  divisi- 

diver'bia,  L.,  diver  T>io,  7.  A  musical 
dialogue. 

divertimen'to,  7.,  divertissement 
(dl-vSr'-tSs-man),  F.  i.  A  musical 
diversion;  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. 

divide.     Vide  DIVISION. 

divisi  (d€-v5'-z5),  7.  Divided.  When 
2  parts  are  written  on  one  stave,  to 
ensure  their  not  being  played  as 
double-stops  by  one  instr.  they  are 
marked  "divisi."  When  a  single 


note  is  to  be  played  by  two  instrs. 
the  sign  is  a  due,  separated. 

divisio  modi,  L.  A  point  formerly 
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  (dS-vez'-y6n),  F.  A  double 
bar. 

divo'to,  divotamen'te,  7.  Devout(ly). 
divozione  (dS-vo-tsf-o'-ne).  Devo- 
tion. 

dix&me  (dSz-ySm),  F.     A  tenth. 

d,  m.     Abbr.  of  dcstra  mono. 

D-moll  (da-m61),  G.     D  minor. 

do  (d<5),  7.  i.  A  syllable  applied  to- 
the  first  note  of  a  scale  in  solmisation. 
In  the  "fixed  do"  system,  the  name 
do  is  always  applied  to  C.  In  the 
"movable  do"  system,  do  is  alwavs 
the  tonic  or  key-note;  it  has  dis- 
placed the  original  syllable  uf.  Vide 
SOXJMISATION.  2.  In  France  and 
Italy,  the  name  for  C. 

Dock'e  (d6k'-e),  G.     A  wooden  jack. 

dodecaphonic,  "twelve- toned."  Atonal; 
i.e.,  written  according  to  the  princi- 
ples of  Arnold  Schonberg,  repeating  a 
"tone-row"  of  12  different  notes, 

dodechachorMon,  Gr.  T.  The  btssez. 
2.  Vide  GLARE  ANUS  in  the  B.  D. 

dodec'upla  di  cro'me,  7.  12-8  time. 
d.  di  semicrome.  12-16  time. 

dodec'uplet.  A  group  of  12  equal 
notes. 

dogKa  (dol'yS),  7.     Grief. 

doh  (d6) .     Vide  TONIC-SOL-FA. 

doigt  (dwa),  F.  Finger,  doigte"  {dwa- 
ta).  Fingered,  or  fingering,  doigter 
(dwa-ta).  To  finger;  t3ae  art  of  fin- 
gering any  instrument,  doigtes 
fotirchus  (dwa-ta  foor-shn).  Cross- 
fingerings. 

dol.     Abbr-  of  dolce. 

dolce  (doT-che),  7.  Sweet,  soft,  dol- 
cezza  (dSl-chSd'-zS.).  Sweetness. 
dolcemen'te.  Softly,  doldls'simo. 
i.  With  extreme  sweetness.  2.  A 
very  soft  flute-stop. 

Dolcian  (d61-ts*-2,nO,  G.,  dolciana 
(o)  (dol-chS-a'-na),  dolcino  (dol- 
ch5-no),  7.  i.  An  obsolete  small 
bassoon.  2.  A  reed-stop. 

dolciato  (dol-ch&'-t5),  7.     Softened. 


588 


DICTIONARY  OF  TERMS 


dolciss.     Abbr.  of  dolcissimo. 
dolemment    (d6-le*m-man),    F.     Dole- 

dolen^do,  dolente,  J.  Sad.  dolente- 
men'te.  Sadly. 

dolent  (do-Ian),  F.  Sorrowful,  mourn- 
ful. 

dolore  (do-15're),  /.  Grief,  sorrow, 
doloro'so,  dolorosamen'te.  Sor- 
rowful (ly;. 

DolzfLb'te  (ddlts'-fla-tS),  G.  i.  An 
obsolete  flute.  2.  A  flute-stop. 

Bora  (d6m)  or  Domkirche  (ker'-khe'), 
G.  A  cathedral.  Domchor  (kor). 
The  cathedral  choir. 

dominant,  E.,  dominante  (d6m-3t- 
nant),  F.,  Dominante  (da-mX-nan'-te'), 
G.  &  I.  i.  The  fifth  tone  of  a  scale, 
so  called  because  it  is  the  principal 
tone  after  the  tonic  and  its  chord  or 
harmony  indicates  the  key  and  de- 
mands resolution  in  the  tonic;  hence 
d.  chord,  the  triad  or  the  yth  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-established;  hence  the  dominant 
section.  3.  Vide  CHANT  (i)  a. 

Nomine,  salvum  fac,  L.  "Lord, 
make  him  hale,"  first  words  of  a 
Catholic  prayer  for  the  health  of  the 
sovereign. 

Domin'icali  Psalmi,  £.  Psalms  in  the 
Vespers. 

Do'na  no 'bis  pa'cem,  L.  "Grant  us 
Thy  peace."  Vide  MASS. 

donna,  7.  Lady,  prim  a  donna. 
Leading  lady  in  opera. 

do'po,  J.     After. 

doppel  (d6p'l),  G.  Double,  doppel- 
B  or  doppel-Be  (d6p"l-ba).  The 
double  flat  (bb).  D.-blatt.  Double 
reed.  D.-clxor.  Double  chorus.  D.- 
fagott.  Double  bassoon.  D.-flete. 

1.  Double  flute.    2.  A  stop-pipe  with 
two          mouths.     D.-fuge.     Double 
fugue.    D.-flugel.    i.  Vide  VIS-A-VIS. 

2.  Vide    PIANO    A    CLAVIERS     REN- 
VERSES.  .D.-gedeckt.  Double-stopped 
diapason.    D.-geige.    An  organ-stop. 
D.-griff.     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.-okta've.     Double 


octave.  D.-punkt.  Double  dot  after 
a  note.  D.-quintpommer.  A  large 
bombard.  D.-schlag.  A  double 
beat,  a  turn.  D.-schritt.  A  quick 
march.  D.-zunge.  Double  tongu- 
ing. 

doppelt     (d6p'plt),     G.     Doubled,     d. 
Trillerlauf.     Double  cadence, 


peltgestrichene  Note.     A  i6th  note. 

doppelte  EToten.     Double  notes. 
dop'pio  (or  a),  J*     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,   JS.,   dorien   (do-rl-an), 

F.     Vide  MODES. 
dossologia     (d6s-s6-l5-Ja),     7.     Doxol- 


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  to  indicate  that  it  is 
to  be  played  staccato;  if  slurred, 
mezzo-staccato.  3.  A  series  of  dots 
above  a  note  indicate  that  it  is  to  be 
divided  into  that  number  of  smaU 
notes.  4.  Vide  REPEAT. 

double.  As  a  noun.  i.  A  repetition. 
2.  A  variation.  3.  Any  1  6-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  ib.  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.  grand 
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.  demisemiquaver.  A  64th  note. 
double  flat.  A  symbol  of  two  flats 
(bb)  lowering  its  note  two  semitones, 
double  sharp.  A  symbol  (x)  raising 
a  note  two  semitones,  d.  note.  A 
breve,  d.  time,  fa)  2-4  time,  (b) 


DICTIONARY  OF  TERMS 


589 


In  the  army  a  running  step  or  ca- 
dence of  i So  to  the  minute,  d.  con- 
certo or  sonata.  A  concerto  or 
sonata  for  two  solo  instrs.,  as  violin 
and  piano,  d.  octave.  An  interval 
of  a  1 5th  or  2  octaves,  d.  quartet. 
Eight  singers.  d.  chorus*  Two 
choirs,  d.  afternote.  2  after-notes. 
d.  beat.  A  beat  repeated,  d.  shake 
or  trill.  Two  notes  (sds  or  6ths) 
shaken  together,  d.  backfall.  An 
old  grace,  d.  relish,  vide  EJEUSH. 
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  cleaving  the 
stave  to  show  the  end  of  a  major 
part,  or  of  the  whole  composition, 
"doubled"  is  used  of  notes  repeated 
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. 

4.  Deeper  by  an  octave,    d.  bassoon. 
An  instr.  an  octave  lower  than  the 
bassoon.     Its  compass  extends  from 
B7>  to  F.    d,  bourdon.    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.  double  counterpoint  and  d.  des- 
cant refer  to  parts  so  written  that 
they  may  be  inverted.     "Vide  COTTN- 
TERPOINT.     d.  fugue.     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    double    diapason    with    covered 
pipes,     double  tonguing  or  d.  tongu- 
ing.    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  break- 
down,    double    travale.     The    trill 
of   a  tambourine  m^.de  by  drawing 
the  wet  thumb  across  it.     d.  twelfth. 
A  stop  sounding  the  fifth  above  the 
foundation-stops.     The  double-bass 
got  its  name  from  an  obsolete  higher 
instr.,  the  bass  of  the  stringed  instrs., 
and  of  the  orchestra.     Its  compass 
\s  from  E,  or  G,  to  a,  its  3  strings 


being  tuned  by  the  Italian  and 
French  system,  Gy-D-A,  by  the 
English,  A,-D-G.  With  4  strings  it 
is  tuned  E^-Aj-D^G.  Its  music  is 
written  an  octave  higher  than  it 
sounds. 

double  (doo-bl),  JR.  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.-barre.  Double  bar.  IX-b&tooL 
Double  flat.  d.-corde.  (a)  Double 
stopping,  (b)  Playing  the  same  note 
on  2  strings  simultaneously,  d.  coup 
de  langue  (koo-du  Ifcng).  Double 
tonguing.  d.  croche.  A  i6th  note, 
d.  difcse.  Double  sharp,  d.  main. 
An  octave-coupler.  d*  octave. 
Double  octave,  d.  touche  (toosh). 
In  harmoniums,  etc.,  a  key-fall  ad- 
justable at  two  heights  to  regulate 
the  volume  of  tone.  d.  triple.  3-2 
time. 

double  (doo-bla),  F.  i.  A  turn.  2. 
Doubled. 

doublette'  (St),  F.  i.  A  2-ft.  stop.  2. 
A  stop  with  2  ranks  of  pipes.  Vide 

FIFTEENTH. 

doublophone.  A  combination  of 
euphonium  and  trombone  inv,  by 
Besson,  Paris,  1891. 

doubtful.     Vide  EQUIVOCAL. 

douleur  (doo-ltlr),  F.  Grief,  doulou- 
reux (doo-loo-ruO-  Sad.  doulou- 
reusement  (doo-loor-uz-man).  Sad- 
ly. 

doux  (doo),  douce  (doos),  F*  Soft, 
sweet,  doucement  (doos-man).  Soft- 
ly. 

douzieme  (dooas-y^m),  F*     A  twelfth. 

downbeat,  i.  The  fall  of  the  hand  in 
time-beating,  marking  the  major  ac- 
cent of  the  measure.  2.  The  accent 
itself,  or  thesis. 

downbow.     Vide  BOW. 

doxolo'gia,  Z.,  doxologie  (ddx-dl'5- 
zhe),  jP,,  doxol'ogy,  jE.  A  sacred 
hymn  of  praise;  strictly,^  the  Greater 
(or  major  or  magna)  D.  is  the  gloria 
in  excelsis.  The  Lessor  (or  minor 
or  paroa)  D.  is  the  gloria  PatrL 

drag.  i.  A  retardation.  2.  In  lute- 
music,  a  portamento  downward. 

Drahtsaite  (drat'-za-te),  G.  Wire 
string. 

dramma  lir'ico  or  per  musica  (moo - 
zl-ka),  /.  An  opera  or  musical 
drama. 

drammatlco,  J.  Dramatic,  dram- 
maticamen'te.  Dramatically. 


590 


DICTIONARY  OF  TERMS 


<drgHg/-€nt),  G*  Hunting, 
drowknob  or  drawstop.  In  the  organ 
a  krtob  which  when  pulled  admits 
the  wind  to  a  stop,  or  couples  certain 
shops,  d*  s.  action.  The  mecha- 
nism of  stops. 

Breher  (dr5/-er),  G.  An  obsolete  Aus- 
trian waltz  like  the  LEndler. 

Drehorgel  (dra/-6rg-el),  G.  Barrel- 
organ. 

Drehsessel  (dr£'-z£s-sel),  Drehstuhl 
(drS-shtool),  G.  A  mtisic-stool. 

drei  (drf),  G.  Three.  Dreiachtel- 
fakt  (dri-akht'-Sl-tSkt).  3-8  time. 
-Mndig  (h&i-dikh).  For  three  hands. 
-atctgel  (drf'-ang-el).  Triangle. 

-ckarig  (kar-Ikh).  Three-choired. 
Applied  to  (a)  pianos  having  three 
strings  to  each  note,  (b)  Compo- 
sitions for  three  choirs,  -gesang 
(drl'ge-zSng)..  Trio.  -gestrichen. 
3-JLoedf-  vide  PITCH,  -klang.  A 
triad,  -*nal  (drl'-mal).  Thrice. 
-spiel  (dri'shpel).  A  trio,  -stiniinig. 
Three-voiced,  Dreivierteltakt  (dri- 
fer't&-takt).  3-4  time.  Drei- 

zweiteltakt  (drl-tsvl'-tel-takt).  3-2 
time, 

dreist  (drisht),  G.  Brave,  confident. 
Dreistigkeit  (drfsh'tXkh-klt).  Bold- 
ness. 

dremla,  Pol.     A  Jew's  harp. 

dringend    (drlng'Snt),    G.     Hastening. 

Dritte  (drft'-tS),  G.     Third. 

drit'to,  I.  Right,  mano  d.  Right 
hand. 

dri'ving  note.     A  syncopated  note. 

droit  (dwa%  droite  (dwSt),.  F.  Right. 
main,  droite.  Right  hand. 

Drommete  (dr6m-m3/te),  G.  A  trum- 
pet. 

drone  or  drone-pipe.     Vide  BAGPIPE. 

drone-bass.*  A  form  of  monotonous 
pedal-point  suggesting  a  bagpipe. 

Vide  MTTSETTE. 

drtfnen  (dra/nfcn),  (7.     To  drone. 

Drucker  (drook'er),  G.  i.  A  tour-de- 
force in  performance.  2.  Sticker. 

Druckwerk  (v£rk),  G.  In  an  organ, 
an  action  exerted  through  stickers. 
Druckbalg  (drook-balkh).  A  con- 
cussion bellows. 

drum.  An  instr.  of  percussion,  of  great 
antiquity  and  variety;  it  consists  of 
one  or  two  membranes  stretched  taut 
over  the  ends  of  a  hollowed  chamber 
of  wood  or  metal.  The  tightness  of 
tins  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  rhythmic 


value;  besides  the  savage  forms,  there 
are  (a)  the  small,  shrill  side  drum 
(or  tenor-drum)  with  two  heads,  the 
upper  only  being  beaten  with  two 
wooden  sticks;  this  is  capable  of  a 
sharp  rattling  roll,  which  may  be 
emphasized  by  drawing  strings  (or 
snares)  of  gut  across  the  lower  head; 
the  drum  is  then  called  a  snare- 
drum;  (b)  the  tambourine;  (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. 
dlic'tus,   L.     Melodic  progression,     i. 
d.  rectus.     Ascending.     2.  d.  rever- 
s\is    or   revertens.     Descending;    or 
3.  d;  circumcurrens.    Ascending  and 
descending. 
Dudeler  (doo'dSl-er),  G.     A  wretched 

singer  or  player. 

Du'delkasten,  G.     Barrel-organ. 
Dudelsack     (doo'd'1-zak),     Dudelkas- 

tensack,  G.  A  bagpipe, 
due  (doo'-e*),  /.  Two;  in  two  parts. 
Vide  DIVISI.  d*  corde.  Vide  CORDA. 
d.  cori.  Two  choirs  or  choruses. 
d.  pedali,  /.  Both  pedals  to  be  used. 
due  volte.  Twice.  A  due,  vide 
Drvrsl. 

duet,  Duett  (doo-ef),  G.,  duet'to,  /. 
A  composition  for  two  singers,  or  in- 
strumentalists; a  2-hand  piece  for 
two  manuals  of  an  organ,  duettino 
(texno),  7.  A  short  duet. 
dulfffiina  (dool-sa-S'na),  Port.  A  beak 

flute.     Also  do  gain  a. 
dulcet.     A  stop. 
dulcian.        i.  Vide  DOLCIAN.        2.  An 

organ-stop. 

dulciana  stop,  dolcan,  dolcin,  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." 
The  czimbalom  is  a  very  familial 
form. 

dulzaina  (dool-tha-S'-na),  Sp.     A  small 
trumpet. 


DICTIONARY  OF  TERMS 


591 


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),  dump-fig  (doomp'- 
#tkk),  G.  Dull,  muffled.  Dtimp- 
figkeit  (kit).  Dulness. 

duo  -(tiDO^  '5),  7.  Two;  in  two  parts; 
A  ditet,  especially  of  2  voices  or  instrs. 
of  the  same  kind.  d.  concertante. 
A  duo  In  which  each  part  is  alternate- 
ly principal. 

duodecfcna  (doo-5-da'chX-ma),  I.  "The 
twelftk;  a  stop,  a  twelfth  above  the 
Tiaspasons.  d.  acuta,  L.  A  twelfth 
above,  d.  gravi,  L.  A  twelfth 
below. 

duodecimole,  I.  A  group  of  twdro 
eq«al  notes. 

duode'nal,  duodena'xium,  duodena'- 
Hon.  See  A.  J.  ELLIS  in  the  B.  D. 

dnodram^Qa,  I.  A  dramatic  piece  for 
2  actors  or  singers. 

<lum  <dsQ-5'e),  /.     Two, 

dmde,  G..     Vide  COUPLET. 

duolo  (doo-o"'l5),  /.     Sorrow,  griel. 

duomo  (doo-o'm5),  /.     A  caifiedral- 

dupia    (doo'-pla),    L.     Double.     Vide 

TfOXATION. 

duple  time*  Double  time;  2  beats  to 
£he  measure.  Vide  TIME. 

luplex  longa.     Vide  NOTATION. 

duplication.     Doubling. 

duplt)  (doo-pl5),  /.     Double. 

dux  (door),  G.     Major,  as  A-dur. 

dux  (diir),  F.  i.  Hard,  harsh  of  tone. 
a.  Major. 

duramen 'te  (doo-ra-m^n'-tfi),  7. 
Sternly. 

dtirchaus  (doorkh-ows),  G.  Tia?ough- 
out. 

durchdringend  (doorkh'-drfeag-SHt),  <?. 
Peru&tratimg,  shrill. 

Durch'fuhrung  (fur-oongfc),  G.  Devel- 
opment; working  out.  Vide  TOKM. 

Durchgang  (gang),  G.  Passage. 
Durch'gangston,  Passing  iwybe,  or 
changing  note,  called  9*egdm3ssig, 
when  on  a  weak  beat;  unrvgeli9t8f&ig, 
»n  a  strong  beat  (or  schwerer  Durck'- 
gang). 

durchgehend  (doprkh'g3,-Snt),  G.  i. 
Pasang,  transitional.  2.  Complete. 
d»  Stimmen.  Complete  organ-stops. 

duxch'komponert  (n5rt),  G.  "Com- 
posed through,"  used  of  a  song  whose 
every  stanza  has  individual  treat- 
ment. Through-composed. 


durchschlagende      (shlakh-&ft~£),      G, 

Free  (of  a  reed), 
durchstechen      (st€kh-Sn),     G.     Vide 

RUN  (2).    D.-stecher.     Notes  made 

by  running. 

dxir€e  (du-r^O,  F.     Length,  «€haratioR. 
durezza    (doo-r^d'-za),    I.    Uaasdaess, 

harshness. 
dusr-moU  Tonart  <door^-m^t«a'-art), 

G.      Major-minor-Daede.     1?3de  COM- 
BINATION MODE. 

duxo(a)  (dooro),  I.     Rtnie,  teffstu 
durus,  £.     i.  Major,  as 

Natural,  as  J.  durum. 
Dutch  concert. 
DStchen     (dut'-khSn^     G. 

cornet. 

duten  (doo'-ten),  <?.     To  f»0t- 
dux,    X.     ^Leader,    ^lide^-    tte 

ject  of  a  fugue  (q.v.) 
dy'ad.     A  concord  of  two  tonses- 
dynam'ics.     The  theory  «f  tiie 

ent  degrees  of  power  appfied  to  actees. 
Dygtonie  (des-to-iae/),  G.  andG-.     Bad 

intonation. 


E.  Pron.  ainG.;in  F.and  J.-caBedtm 
(me),  i.  A  musical  pit*,  two  full 
steps  above  C.  2.  All  Us  flctspws. 
3.  The  major  scale  iifevra^  fottr 
sharps;  the  minor  scale  relative  to 
G  major. 

c  <a),  J.    And;  written  erf  bef  OBC  vowels. 

ear.     i.  A  projecting  nrefcal  plate  on 
either  side  of  the  n»«th  -ctf  a 
pipes.     2.  A  musical  sense  isf 
interval,  etc.;  the  capafefflty 
tinguishing  between  -tone^Ma 

ebollizione  (5^61461-^8^^0^.,  ^  J, 
Ebullition,  overflow  J0f  emotion. 
ebollimen'to. 


€caxt  (a-kJlr),  F.     A  long  'sfcretodk  -0a  the 

piano- 
eclbole,    Gr.     The    fijiaipenr^g    otf    a 

tone. 
ecced«n*e      (€t-<iiS-d5n-te5,  JT.    Aug- 

mented. 
ecclesia      (Sk-kla'zl-a),      L.     «rad     /. 

Church,    ecclesias^cal  modes, 

MODES,     ecclesiastico,        J", 

siastic. 

ecco  (Skr-ko).     i.  Bdbold.     ^. 
echappement    (a-shap-mSnJ,    -F.    Re- 

lease.    double    i.     Rep^feo^-TOtKh- 

anism. 

echeggiare  (a-k€d-ja'-r€),  /.     To  edio. 
echei'on  (pi.   a),  Gr.     i.  A  tirtun  or 

gong.     2.  A   sound-screen.     3.  Res- 

onance-box of  a  lyre- 


592 


DICTIONARY  OF  TERMS 


Sdielette  (ash-let),  F.     Xylophone. 

£chelle  (a-shel),  F.  The  scale  or 
gamut. 

Echelon  (ash-16n),  F.     A  degree. 

ech'o  (in  F.  a-ko).  i.  An  imitation  of 
an  echo.  2.  An  echo-stop.  3.  A 
harpsichord-stop.  e.  cornet,  e. 
dulciana.  Organ-stops,  e.  organ* 
A  set  of  pipes  inside  a  box  or  at  a 
distance  giving  an  echo  effect. 

ech'ometer.  A  device  for  measuring 
the  power  of  an  echo. 

Sclisses  (a-klgs),  F.  Ribs  (of  a  violin, 
etc.). 

eclogue.     A  pastoral. 

eclysis,  Gr.     The  flattening  of  a  tone. 

eco  (a-ko),  I.     Echo. 

£cole  (a-kul),  F.     School,  method. 

£cossais  (a-kds-sa),  ecossaise  (a-kds- 
sez),  P.,  EcossSse  (a-k6s-sa'z€),  G. 
"Scotch."  i.  A  grave  old  dance,  in 
3-2  or  3-4  time.  2.  A  lively  country- 
dance  in  2-4  time. 

£cu  (a-ktt),  F.  A  shield  on  the  face  of 
mandolins,  etc. 

cd  (Sd).  I.     And. 

edel  (a;dl),  G.     Noble. 

E-dur  (a-door),  G.     E  major. 

Effekt',  G.,  effet  (Sf-fa),  F.9  effet'to, 
/.  Effect.  Effekt-piano,  G.  The 
effect  marked  "fp"  (forte  piano). 

effort  (Sf-fdr),  F.  A  guttural  vocal 
attack. 

£galement  (a-gal-mari),  .F.  Equally, 
evenly,  ^galitS  (a-gSl-I-ta),  F. 
Equality,  evenness. 

egloga  (al'y6-ga),  /.,  Sglogue  (ag- 
16g),  F.  A  pastoral. 

vguale  (a-goo-alS),  /.  i.  Equal,  even. 
2.  Applied  to  a  composition  for 
voices  or  instrs.  of  one  kind,  as  female 
voices  only,  egualezza  (ISd'za), 
egualanza  (an'-tsa).  Evenness, 
egualmen'te.  Evenly,  alike. 

ei'domusikon.     A  melograph. 

eifrig  (if'-rlkh),  G.     Ardent. 

eigentiich  (Ikh'-Snt-lXkh),  G.  Right, 
strict,  in  f  erf  ect  time.  e.  Fuge.  A 
strict  fu^ue.  e.  Kadenz.  Perfect 
cadence. 

Eigenton  (I'-khSn-tSn),  G.  The  tone 
natural  to  a  wind  or  other  instr.,  its 
^'own  tone." 

eight  or  8.  The  octave,  con  8va. 
With  the  octave  below  or  above. 
Vide  OTTAVA. 

eighteenth.  A  double  octave  plus  a 
fourth. 

eight-foot.     8-ft.         Vide  POOT. 

eighth,  i.  An  octave.  2.  An  eighth 
aote.  eighth  note.  A  quaver,  of  half 


the  value  of  a  quarter  note,  eighth 
rest.  A  rest  of  an  eighth-note  dura- 
tion. 

eilen    (I'lfin),    G.     To    hurry,     eilend 
(ISnt).     Accelerating,    eilig  (I'-lIkh) 
Swift. 

ein  (in),  eine  (i'ng),  eins  (ins),  G, 
One,  once,  einchorig  (ka'-rlkh). 
Used,  i.  Of  an  instr.  which  has  but 
one  string  to  each  note.  2.  Of  a 
comp.  for  one  choir,  eingestrichen 
(in-ghS-strlkh'-Sn) .  Once-accented. 
Vide  PITCH. 

einfach  (in-fakh),  G.  Simple,  plain, 
einfache  Kontraptmkt.  Simple 
counterpoint.  Einfalt.  Simplicity. 

Eingang  (in'-gang),  G.  Introduction" 
Eingang  der  Messe.  The  Introit. 
Eingang'schliisseL  Introductory 
key. 

eingreifen  (in'-gri-fgn),  G.  (a)  To 
strike  (of  strings),  (b)  To  interlace 
(of  the  fingers  in  piano-playing). 

Einheit  (in '-hit),  G.  Unity,  einhelfen. 
To  prompt.  Einhelfer.  Prompter* 
einige(n)  (I'nlkh-Sn).  Some,  any, 
Einigkeit  (kit).  Unity,  harmony. 
Einklang  (in'klang).  Unison.  Ein- 
lage  (ln-lakh-6).  A  short  inter- 
polation. Einleitung  (in'li-toongk). 
Introduction.  Einleitungssatz  (zats) 
or  spiel.  Overture,  prelude,  einmal 

fln-mal).  Once.  Einmtithigkeit 
In-mtit'-ikh-kit).  Unanimity.  Ein- 
saiter  (2a'-ter).  The  monochord. 
Einsang.  A  solo.  Einsatz.  (a)  At- 
tack, (b)  Entrance.  Einsatzstffck. 
Crook.  Einsatzzeichen  (In'zatz- 
takh'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.  ein- 
schlafend.  Dying  away.  ein- 
schmeichelnd  (shmikh-glnt).  In- 
sinuating.  Einschnitt  (shn3Ct).  A 
phrase,  einsetzen.  To  enter,  at- 
tack, einsetzender  Hornist.  A 
horn-player,  whose  thick  lips  must 
surround,  instead  of  press  the 
mouthpiece,  einsingen.  (a)  To  learn 
singing  by  practice,  (b)  To  lull  to 
sleep,  einspielen.  (a)  To  get  an 
instr.  in  good  working  order,  (b)  To 
attain  command  of  a  piece,  ein- 
stimmen.  To  tune,  einstimmi 
For  one  part. 
Literally,  one-voiced-ness. 
Monotonous.  Eintracht.  Accord, 
eintrachtig  (trSkh-tlkh).  Concord- 
ant, eintretend  (tra-t6nt).  Enter- 


DICTIONARY  OF  TERMS 


593 


ing.  Eintritt.  Entrance,  entry, 
beginning.  EinverstSndniss  (fer- 
sht&nt-nls).  Agreement. 

Els  (a'-6s),  G.  E  sharp.  Elsis.  E 
double  sharp. 

Eisenvioline  (r-zSn),  G.     A  nail-fiddle. 

Eisteddfod  (es'-tSd-f6d),  Welsh.  An 
assemblage  of  Welsh  bards  and  mu- 
sicians; first  held  in  1078. 

Eklog(u)e    (ak'-ldkh-g),    G.     Eclogue. 

61a.  Name  of  the  highest  tone  in  the 
Aretinian  scale;  e'  '. 

electric  organ.  One  having  electric 
connections  in  place  of  trackers. 

electric  piano.  A  piano  inv.  1851,  and 
unsuccessf ully  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 
effects. 

eleganunent  (§l-&-gS.m-man),  F.,  ele- 
gantemen'te,  I.  Elegantly,  grace- 
fully, elegante  (al-S-gan'tS),  I.  Ele- 
gant, eleganza  (Sl-S-gan'tsa),  J. 
Elegance,  grace. 

elegia  (a-la-je'-a),  /.,  elSgie  (£-15- 
zhe),  F.,  Elegie  (Sl-a-j5')>  G.,  elegy, 
J£.  A  mournful  composition  or  dirge, 
elegiaco  Qtt'-a),  j.,  glggiaque 
(S-la-zh2.k),  F.  elegiac. 

€r€ment   (a-la-man),   F.     One  of  the 
series  of  tones  in  a  scale.     €« 
trique.     A  measure-note. 

elevamen'to,    elevatezza    (Sl- 

za),  Z.,  elevazione  (va-tsX-5'ne1).  Ele- 
vation, elevate  (va'to).  Elevated, 
exalted,  sublime. 

eleva'tio,  £.,  elevation,  i.  The  up- 
beat. 2.  The  rising  of  a  melody 
beyond  the  compass  of  a  mode. 

t.  A  motet  or  other  comp.  performed 
uring  the  elevation  of  the  Host. 

eleventh.     An  octave  plus  a  fourth. 

Elfte  (elf 'te),  G.     Eleventh. 

EUeniange  (SllSn-lSng-e),  G.  An  ell 
(in  pipe-measuring). 

EUis's  system.  See  A.  j.  ELLIS  in 
the  B.  D. 

embellir  (an-b81-ler),  F.  To  embellish. 
embellissement  (IBs-man),  F.  Em- 
b  ellishmen  t . 

embellishment.  Ornament,  decora- 
tion. Vide  GRACE. 

embouchure  (an-boo-shiir),  F.  i.  The 
mouthpiece  of  a  wind  instr.  2.  The 
position  the  mouth  assumes  in  play- 
ing the  instrument. 

E-moll  (a-m61),  G.     E  minor. 

emmelei'a,  Gr.  i.  Consonance.  2.  A 
tragic  dance. 


emozione  (a-m5-ts*-o'-ne*),  7.  Emotion. 

empiter  les  sons  (an-pa-ta  la  son),  F. 
To  produce  a  legato,  execution  or 
voix  empatee.  A  blurred  style. 

Empfindung  (gmp-flnt'-oongk),  G. 
Feeling,  emotion,  e.  svoll.  Full  of 
feeling. 

Emphase  ^(G.  Sm-fa'-zS,  F,  Sn-faz). 
Emphasis.  emphasis.  Stress  or 
accent. 

emphatique  (an-f3.-t6k),  F.  emplia- 
tiscli  (Sm-fa'-tlsh),  G.  Emphatic, 
emphatiquement  (t€k-man),  F. 
Emphatically. 

empito  (gm'-pe-to),  I.  Impetuosity, 
empituosamen'te.  Impetuously. 

emporte  (an-p6r-ta),  F.  Passionate, 
hurried,  emportement  (p6rt-man). 
Passion,  transport. 

empresse  (an-pr5s-sa),  F.  Hurried, 
empressement  (pr€s-man),  F.  Zeal. 

en  (an),  F.  In;  often  used  with  the 
participle,  as  en  descendant,  descend- 
ing; en  badinant  scherzando. 

enarmo'nico,  /.     Enharmonic. 

enclavure  du  manche  (an-klS,-vur  du 
mansh).  Space  for  the  insertion  of 
the  neck  (of  a  violin)  into  the  belly. 

encore  (an-k6r),  F.  Again;  a  recall. 
Used  by  the  English  to  demand  a 
repetition;  the  French  use  "bis.," 

Ende  (Snt'e1),  G.     End,  conclusion. 

end-man.  One  of  the  chief  negro  min- 
strels who  sits  at  either  end  of  their 
semicircle. 

energia  (Sn-Sr-jS'a),  J.,  energie  (en- 
Sr-zhe),  F.  Energy,  energico  (Sn- 
ar^jl-ko),  energicamen'te,  I.  En- 
ergetic (ally),  energique  (&n-&>zh5k), 
P.,  energisch  (Sn-a,r7zhlsh),  G.  En- 
ergetic, energiquement  (zhgk-man), 
F.  Energetically. 

enfasi  (6n-fa7ze),  I.     Emphasis. 

enfat'ico,  enfaticamen'te,  J.  Emu 
phatic(ally). 

enfiatamente  (Sn-fS-a'-ta-m&i'-tS),  /, 
Proudly. 

enfler  (S.n-fla),  F.     To  swell,  increase. 

eng  (Sngk),  G.  Close,  compressed;  ap- 
plied, (a)  to  the  stretto  in  fugue,  (b) 
to  narrow  straight  organ-pipes,  enge 
Harmonie  (or  Lage).  Close  har- 
mony, 

Engelstimme  (Sng'61-shtXm-mS),  G* 
"Angel  voice."  Angelica;  a  stop. 

Engfuhnmg  (^ng'-fur-oongk),  G. 
Stretto. 

englisca  (gngltsh),  G.  English,  e. 
Horn.  English  horn.  e.  Mechanik, 
in  pianos,  the  English  action,  e. 
Tanz.  Vide  ANGLAISE.  e*  Vioflet 


DICTIONARY  OF  TERMS 


(a)  An  old  way  of  tuning 
tfie  Tiafin — g-a-e'-a'.  (b>  An  obsolete 
9&te  tftunore  with  14  sympathetic 
strings  beneath  the  others. 

.  fingering.     Same  as  American 


horn.     A    species     of     oboe 


enguicfaure  (Sft-gS-shtir),  F.  Embou- 
chure. 

enftanrumic,  enharmQn'icus,  £.,  en- 
£armonique  (Sn-ar-m6n-5k),  F.,  en- 
harrnonisch  (e*n-har-m6'-nish),  G.  i. 
Differing  in  name  or  notation,  but 
not  In  sound,  as  c  sharp  and  d  flat. 
TLfjtif'lEi  KTR  aiffeajl  y  and  actually  c  %  and 
<f  f>  difer  by  an  appreciable  inter- 
val, but  for  convenience  sake  and 
in  tbe  fiame  of  temperament  (q.v.) 
tsley  are  the  same  tone  on  the  key- 
Board  Instruments  and,  by  contagion, 
have  become  so  in  singing  and  the 
pfaymgr  of  stringed  and  wind  iDstru- 
mentsv  Tones  that  are  identical  in 

>  our  present  artificial  scale,  but  not  in 
actuality  or  acoustics,  are  called  en- 
harmonic;, hence  chords  and  inter- 
vals written  differently  and  sound- 
ing alike  are  called  enharmonic,  and 
thi  c&ange,  of  the  key  by  such  chords 
is  caEed  enharmonic  modulation; 
the  writing,  of  the  same  chord'  in  2 
notations  is  e»  change.  Instruments 
Brave  Been  frequently  invented  mak- 
ing, a.  distinction  between  such  tones 
as  e  stiarp  and  d  flat,  and  giving  them 
separate  digitals.  These  instrs.  are 
called  enharmonic.  The  e.  scale 
*s,  strictly  a*  scale  with  more  than 
the  twelve,  semitones  of  our  usual 
scale;  t&e  term  is  loosely  applied  to 
-scales  as  c  sharp  and  d  flat,  having 
Jie  same  sound.  2.  Vide  MODES. 
3.  VTde  DIESIS. 

enigmatical*    Vide  CANON. 

foon^er  (§;-n6n-sa),  p.  To  enunciate. 
iL  (a-n6n-siSs-y6n).  Enun- 


§n     Spartan  war-music. 

e«iseiaMej(|La-san/'bl),jpl.  i.  Together; 
tlie  wfeotfe;  aft  the  factors  considered 
as  a  unit.  2.  The  quality  of  their 
coi-operation,.  morceau  d'e.  A  num- 
bee  Eequiiing  more  than  one  per- 
former 

cntgegen  (Snt-ga/kh6n),  e.-gesetzt,  G. 
Co-atiafry,  opposite. 

CBrfi^aetei  (ani-trakt),  F,  Music  played 
between  tike  acts,  or  of  such  charac- 
ter. 


entran'te,  entrata  (Sn-traA-ta),  I.v  en- 
trada  (Sn-tra'-dha),  Sp.9  entree  (an- 
tra),  F.  i.  Entrance;  introduction, 
or  music  of  such  character,  as  in  a 
ballet.  2.  An  old  polonaise-like 
(lance  in  4-4  time. 

entre-chats  (ant-rii-sha),  F.  The  enter- 
ing bounds  of  a  dancer. 

entremese  (gn-trfi-ma'-sa),  Sp*.  A  bur- 
lesque interlude. 

entremets  (ant-ru-m2),  F.  Slight  in- 
terlude. 

entry  (obs.).     An  act. 

Entscheddung  (Snt'-shi-doongk),,  G. 
Decision-  entschieden  C^nt-shg'- 
dSn),  G.  Decided. 

entschlafen  (Snt-shla'fSn)r  G.  To-  die 
away  (lit.  to  fall  asleep)- 

Errtschliessung  (Snt'-shles-soongk), 
G.  Resolution. 

entschlossen  (Snt-shl6s'sSn),  G.  Res- 
olute. EntscMuss:  (Snt'-shloas)r  G, 
Resolution. 

Ekltwurf  (Snt'-voorf),  G.  Sketch,  out- 
line. 

enunciato  (a-noon-chi-a'-tQ),  J.,  Enun- 
ciated^ enunciazione  (a^tsI-^-HsfiX 
I.  Enunciation* 

en'tfcy*  Postscript,  or  ending,  of  a 
ballad. 

Eolia   (€-6lI-a),  Eolian   (e-e5' 
VMe  ^BOLIAISS. 

epicede  (Sp-i-sSd),  F.f  epicedicr 

cha'dI-6),    1^    epice'dittrn,    X.     An 
efegy^  dirge,  f  uneral-songy  or  adser* 

epigo'nion,  6^-,  epigo'nium^  L*  An 
anxaenst  Greek  Ipnre,  with  40  strings, 
named  from  Epignon. 

epile'nia,  Gr.     Vineyard  sotogs- 

epinio'ion,  Gr.  i.  A  triumphal  sotng. 
21-  The  Triumphal  Sanctus  ra  the 
Greek  Church. 

epio'dion,  Gr.     A  dirge. 

episode,  episode  (a-pe-s6d),  P.,  epi- 
so'dio,  /.  All  incidental  portions  of 
composition.  Vide  FTTGTJE..  episo- 
disch  (6p-I-z5-dIsh),  G.  Episodic. 

epistle  side.  Th«  left  or  soutk  side 
of  the  altar;  the  right  or  north  is  the 
gospel  side. 

epis'trophe^  Gr.     A  refrain, 

epitalamio  (gp-X-ta-la'ml-S),  /.^  epi- 
th'alme  (6p-r-taim),  F.>  epithar 
lami'on,  Gr.,  epithalamium,  epi- 
thal'amy,  L.  and  E.  Wedding-ode. 

epit'asis,  Gr.     Vide  ANESIS. 

epito'nion,  Gr.  r.  A  pitch-pipe.  2. 
A  tuning-wrench. 

ep7ode,  Gr.  After-song,  i.  A  refrain. 
2.  The  conclusion  of  an  ode.  3,  A 
retraction. 


DICTIONARY  OF  TERMS 


S9S 


ep'tacorde  (ep-ta-kc-rd),  F.9  eptacor'- 
do,  /.  i.  A  heptachord.  2.  A 
seventh.  3.  A  scale  of  seven  notes*. 

equabile  (a-kwa'bi-la),  /.  Equal,  alike. 
equabilmen/te.  Smoothly. 

equal,  i.  Of  counterpoint,  consisting 
of  notes  of  equal  duration.  2.  Vide 
TEMPERAMENT.^  3.  Of  voices,  alike 
(all  male,  for  instance);  not  mixed. 

e'quisonance,  equisonnance  (a-ke- 
sun-na"ns),  F.  Unison,  as  of  octaves, 
e'quisonant.  Of  like  sound;  in  uni- 
son. In  guitar  music  used  of  differ- 
ent ways  of  stopping  the  same  note, 
equiso'no  {a-kw€'s6-nQ),  /.  In  the 
unison  or  octave. 

eqtiiv'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  (er-froi'-llkh),  G.     Joyous. 

ergrif  'f en,  G.  Stirred,  affected.  E-heit 
(hit).  Agitation. 

erhaben  (er-ha'-ben),  G.  Exalted,  sub- 
lime. Erhabenheit  (hit).  Sublimity. 

erheben  (Sr-ha-'be'n),  G.  To  raise,  to 
elevate:  as  the  hand,  in  beating£ime. 

erhBhen  (fcr-ha'Sn),  G.  To  raise.  Er- 
itolrang  (Sr-ha'oongk),  G.  Raising, 
sharpening.  E.-szeichen.  Sharps, 
double  sharps,  or  naturals  following 
fiats. 

ermattet  (Sr-mat'-te't),  G.     Exhausted. 

Erniedrigung  (Sr-nS'-drlkh-oongk),  G, 
Depression  by  paeans  of  a  flat  or 
natural.  E.-szeichen.  A  sign  for 
lowering  a  note, 

ernst  (Srnsht),  ernsthaft  (Srasfhaft), 
G.  Earnest.  Ernsthaftigkeit 

(ernst'haf-tlkh-klt),  Ernstiichkeit 
(IXkh-kit) .  Earnestness. 

Eratelied  (ern'tS-tet),  G.  Harvest- 
song. 

ErSffnting  (gr-Sf'noongk),  G.  Open- 
ing, beginning.  E.-sstfick.  Over- 
ture. 

eroico  (a-ro'l-k5  or  -a),  J.  Heroic. 
"Sinfonia  eroica,"  Beethoven's  3d 
symphony. 

erot'ico,  /.,  6rotique  (a-rd-tgk),  F., 
erot'ic.  i.  Amorous.  2.  An  am- 
orous composition. 

erst  (ersht),  G.  First,  erste  MaL 
First  time.  . 

ersterben,  G.     To  die  away. 

ertb'nen  (gr-ta'-n^n),  G.     To  sound. 

Erweckung  (Sr-vSk'oongk),  G.  An- 
imation. 

erweitera  (Sr-vi'-t^rn),  G.  To  develop, 
expand,  erweitert,  Expanded,  as 


erweiterte  Harmonie.  Open  fear- 
mony.  erweiterter  Satz.  A  move- 
ment fully  developed  theznatically. 
Erweiterung.  The  widening  of  an 
interval  in  a  fugal  theme. 

Erzilhler  (Sr-tsaler),  £?.  The  narra- 
tor in  Passion  music. 

Erzlaute  (Srts'-low-tS),  G.  The  ard*- 
lute. 

Es  (es),  G.     The  note  E  flat. 

esacordo  (a-sa-kdrMo),  J.  i.  EDexa- 
chord.  2.  A  sixth. 

esat'to,  I.     Exact,  strict. 

Es-dur  (€s-door),  G.     E  flat  major. 

esecuzione  (as-e^koot-sl-6'n^),  /.  Ex- 
ecution, esecuto're.  Performer, 

eseguire  (a-sa-goo-a'-rS).     To  execute. 

esem'pio,  I.     Example. 

esercizio  (a-ser-chS'tsI-nS)  (pi.  i),  /- 
An  exercise. 

Es-es  (es-€s),  G.     E  double  flat. 

esitamento  (a-se-ta-mSH'tS),  emta- 
zione  (a-sS-ta-tsX-o'nS),  I.  Hesita- 
tion. 

Es-mol  (5s-m61),  G.     E  flat  minor. 

espace  (us-p^s),  F.  A  space  in  tie 
staff. 

espagnol  (Ss-pan-y61)y  F.,  espagnti- 
olo  (Ss-pan-yoo-SlS),  I.  "Spanish"; 
in  Spanish  style. 

esper'to,  J.     Expert. 

espiran'do,  /.     Dying. 

espr.,  espress.     Abbr.  of  J&prtssSve* 

espressione  (si-5'nS),  /.  ixpiressitm, 
feeling,  espressivo  (sefvo%  /.  Ex- 
pressive. 

espringale  (es-pria-gaMe^),  J.  Spjiqg- 
dance. 

essem'pio,  /.     Example, 

essen^-dal.  (a)  Of  harnwnies,  the  three 
chief  harmonies  in  any  key,  viz.,  the 
tonic,  dominant,  and  subdominant. 
(b)  Of  notes,  those  that  make  up  a 
chord,  in  distinction  from  ornfameu- 
tal,  and  other  foreign  notes,  fc  ts^r- 
enth.  (a)  The  leading  note,  (b)  The 
yth  chord  in  the  dominant. 

estemporale  (rSlS),  estemporatiec 
(ra'-nS-O),  J.  Extemporaaeoos. 

estinguendo  (es-tin-go®-fe*#5>J,  /. 
Dying  away. 

estinto  (es-tgn'-toO  (or  a),  J.  SaAi^ 
guished,  almost  inaudible. 

estravaganza  (es-tra-va-^K7^!},  J. 
Extravaganza. 

estremarnente  (es-trS-ma^Baen^**^  J. 
Extremely. 

estriMho  (fe-trl-bSl'-yC)-  A  familiar 
Portuguese  air. 

estrmciendo       (g 
"Claying  incisively 


596 


JDICTIONARY  OF  TERMS 


Very 


estriniendo  («s-tren-yan'do),  7. 
legato. 

es'tro,  /.     Poetic  fire. 

.et,  L.     And. 

et  (a),  F.     And. 

Stalon  (a-ta-16n),  F.     Vide  SCALE  3. 

Steinte  (a-tant),  F.     Almost  inaudible. 

Stendre  (a-tandr),  F.  To  extend, 
spread.  6tendue  (a-tan-du).  Com- 
pass. 

Et  Incarna'tus,  L.  "And  He  was 
born,"  etc.  Part  of  the  Credo. 

Stoffe  (a-tdf-fa),  F.  Having  "body," 
as  a  voice. 

gtouffer  (a-toof-fa),  F.  To  deaden  the 
tone.  Stoufte  (a-toof-fa).  Stifled, 
muffled;  in  harp-playing  a  deadening 
of  the  tones  by  touching  the  strings. 
etouffoir  (a-toof-war) .  Damper. 

etre  en  repetition  (St'rSn  ra-pa-tes- 
y6n),  F.  To  be  in  rehearsal. 

Et  Res'ttrrexit,  L.  "And  rose  again." 
A  part  of  the  Credo. 

-et'to  (or  a),  /.  Little;  an  Italian 
suffix,  as  trombetta*  A  little  trumpet. 

et'tacordo,  J.     Instr.  with  7  strings. 

fitude  (a-tiid),  F.  A  study.  A  comp. 
outwardly  intended  for  practice  and 
facility  in  some  special  difficulty  of 
technic;  often  marked  with  much 
art,  and  in  the  £.  de  concert  (du- 
k6n-sar),  concert-study,  intended  for 
public  display,  erudier  (a-tttd-ya). 
To  study,  to  practise.  Vide  STUDY. 

Et  Vi'tam,  L.  "And  life  everlasting." 
Part  of  the  Credo. 

etwas  (St'vas),  S.  Some,  somewhat. 
e.  langsamer.  A  little  slower. 

eufonia  (a-oo-fQ-n5'a),  I.  Euphony, 
eufo'nico.  Harmonious. 

enharmonic  (u).  Producing  harmony 
or  concordant  sounds.  Well-har- 
monied,  not  tempered,  e.  organ. 
An  instr.  of  American  origin,  iav.  by 
H.  W.  Poole,  1848,  and  containing 
the  untempered  intervals.  Vide 

ENHAJUVIONTC. 

euouae.  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.). 

Euphon  (yoo-fSn).  A  glass  harmonica 
(compass  from  c  to  f '  '  ')  inv.  by 
Chladni,  about  1790;  the  tone  pro- 
duced 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. 

eupho'nious.     Harmonious. 

eupho'nium.  A  bass  brass  instr.  used 
in  military  bands.  It  has  two  tubes, 
played  from  a  single  mouthpiece. 

Euter'pe,  G.  The  seventh  muse, 
patroness  of  flute-music  and  song. 

evacua'tio,  L.  In  old  notation,  the 
reduction  by  one-half  of  a  solid  note's 
value  by  writing  only  its  outline. 

Evakuant  (a-vak-oo-antO,  G.  The 
exhaust-pallet;  also  evacuant,  E. 

eveillS  (a-va-ya),  F.     Gay,   sprightly. 

evening,  or  even,  song.  Evening 
service  in  the  Anglican  Church. 

ever'sio,  L.     In  cpt.,  inversion. 

evirato  (a-ve-ra'-to),  /.  A  eunucb 
with  a  soprano  or  alto  voice. 

evolu'tio,  L.     In  cpt.,  inversion. 

evovae.    Vide  EUOTJAE. 

executant  (Sx-a-kii-tan),  F.  A  per- 
former. 

exe'quiae,  L.,  Exequien  (^x-a'kwl- 
6n),  G.  Obsequies;  requiems. 

exercice  (6x-Sr-s6s),  F.,  Exercit'ium 
(Sx-Sr-tsS'tsX-oom),  G.,  exercise.  A 
practice  piece;  a  problem  in  compo- 
sition, or  technic. 

exhaust  pallet  or  valve.  A  stop  open- 
ing a  valve  which  exhausts  the 
bellows  of  an  organ. 

exposition.  Development;  the  work- 
ing out  of  a  theme.  Vide  FORM  and 
PTJGUE. 

expressif  (ex-priis-ef),  F.      Expressive. 

expression  (in  F.  Sx-prtis-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. 

expressive-organ,  Expressivorgel  (sef- 
6r-khel),  G.,  orgue  expressif,  F. 
The  harmonium. 

extemporaneous.  Without  premed- 
itation, extern 'pore,  L.  Impro- 
vised; off-hand,  extemporize.  To 
improvise,  extemporizing  machine. 
A  melograph  for  "recording  extem- 
porization. 

extended,  i.  Dispersed,  as  a  chord. 
2.  Enlarged,  as  a  development,  e 


DICTIONARY  OF  TERMS 


597 


phrase.  One  with  three  measures 
instead  of  the  usual  two,  etc.  e.  sec- 
tion. One  containing  from  5  to  8 
measures. 

extension  (Sz-tans-ydn),  F.  Stretch, 
or  compass  on  the  violin;  the  exten- 
sion of  the  forefinger  or  little  finger 
of  the  left  hand,  extension  pedal. 
Loud  pedal. 

extra 'neons.  Foreign  to  the  key.  e. 
modulation.  Transition  to  an  un- 
related key. 

extravaganza  (Sx-tra-va-gan'tsa),  /. 
i.  An  ornament  in  bad  taste.  2.  A 
musical  burlesque,  usually  spectac- 
ular. 

extreme,  extreme  (Sx-trSm),  F.  i.  The 
highest  and  lowest  parts.  2.  Aug- 
mented, chord  of  the  e.  sixth. 
An  altered  chord.  (Vide  ALTERED.) 


*.  R.  and  G.;  in  F.  and  J.  called  fa  (fa), 
i.  A  musical  pitch,  a  perfect  fourth 
above  C  in  aU  its  octaves.  2.  The 
major  key  having  one  flat;  the  minor 
key  relative  to  A  flat  major.  F  clef, 
P  Schliissel,  G.  The  bass  clef  grip- 
ping the  line  F.  f.  holes  (in  G. 
F.  Locher  (Sf-lSkh-er) ;  in  F.  les  F. 
(la-zSf).  The  f-shaped  sound-holes 
in  the  belly  of  violins,  etc.  f,  ff,  fff, 
etc.  Abbr.  of  forte  and  fortissimo. 

ta  (fa),  I.  i.  The  fourth  of  the  sylla- 
bles of  solmisation  (q.v.).  2.  Name 
of  F.  in  France  and  Italy,  fa-feint 
(fan),  F.,  fa  fint'o,  /.,  fa  ict'um,  L. 
Obsolete  term  for  any  flatted  note, 
fa  mi.  Formerly  the  descent  of  half 
a  tone  from  F  to  E;  now  any  such 
descent,  fa  b£mol,  F  flat,  fa  diese. 
F  sharp,  faburden*  i.  A  counter- 
point of  thirds  and  sixths  added  by 
ear  to  a  cantusfirmus.  2.  Later  any 
improvised  accompaniment.  3,  A 
burden.  4.  A  drone-bass.  5.  In- 
tonation of  the  Psalms. 

fabliau  (f&b-tt-5),  F.  An  old  narrative 
poem,  fablier  (11-a).  A  trouvSre. 

faces  d'un  accord  (fas  d'un  S,k-k6r), 
F.  The  positions  of  a  chord;  a  triad 
has  3,  a  seventh  4,  etc. 

fach  (fakh),  G.  (lit.  -fold).  Ranked; 
as  dreif ach.  Three-ranked  (of  pipes) . 

facherfSrxniges  Pedal  (f$kh'-Sr-fer- 
mlkh-e's  pa-dal),  G.  A  fan-shaped 
pedal-board. 

facile  (f&-sel),  P.,  facile  (fa'-ch5-lS). 
Light,  easy.  faciHtH  (fa-che'-ll-ta'), 
r.,  facility  Cfa-s€l-i~taX  F-  i.  Facil- 


ity. 2.  An  easier  arrangement  of  a 
piece  or  passage,  facilement  (fa-sel- 
man),  F.9  facfimente  (fa-chel-m€n'- 
ta),  /.  Easily. 

Fackeltanz  (fak'gl-tants),  G.  Dance 
with  flambeaux  in  a  minuet  form, 
4-4  time. 

facture  (fak-tiir),  F.,  Fafctur  (fak- 
tpor'),  G.  i.  Scheme  or  construc- 
tion, workmanship.  2.  The  scale  of 

-fSdig  "  (fa-dlkh),  G.  Threaded  (of 
violin-strings),  as  vierfadig.  4- 
threaded. 

fading  (fad'-Ing),  Irish.  A  dance;  a 
refrain. 

fag.     Abbr.  of  fagotti. 

fag'ot,  E.,  Fagott  (fa-g6f)»  C?.,  fagot'- 
to,  I.  i.  A  bassoon.  2.  A  reed- 
stop  (also  Fagottzug).  fagottino 
(te'no),  /.  A  small  bassoon.  Fagot- 
tist  (fa-g6t-test'),  G.  fagottista 
(tes'-ta),  /.  A  performer  on  the 
bassoon,  fagottp  contro,  J.  A  bas- 
soon, an  octave,  a  fifth,  or  a  fourth 
lower,  fagotto 'ne.  A  large  obs. 
bassoon,  an  octave  lower. 

fah.     Fa  in  Tonic  sol-fa. 

F3hnenmarsch  (fa'-nSn-marsh),  G. 
The  march  played  when  the  colours 
are  lodged. 

F.     Weak,     temps     f. 


faible    (fSbl) 
Weak-beat. 

faire  (fSr),  F. 
fredons.     A 


To  do,  make.  f.  des 
trill,  faites  bien  sen- 
tir  la  mSlodie  (f§t-bl-an-san-t6r  la 
ma-lo-d€),  F.  Keep  the  melody  very 
distinct. 

fa-la,  i.  An  old  refrain.  2.  A  song 
with  such  refrain  or  a  dance,  falal- 
ella,  I.  A  nonsense  song. 

fall.     i.  A  cadence.     2.  Vide  K.Y. 

falo'tico,  I.     Fantastic. 

falsa  (fal'-sa)  (or  o),  7.  false,  E., 
falsch  (falsh),  G.  False,  wrong,  out 
of  tune,  false  accent.  Accent  re- 
moved from  the  first  to  the  second  or 
fourth  beat.  f.  bordone.  (a)  Fa- 
burden,  (b)  The  reciting-notes.  f. 
cadence.  An  imperfect  or  inter- 
rupted cadence,  f.  fifth.  An  im 
perfect  fifth,  f.  relation,  (a)  The 
appearance  simultaneously  or  con- 
secutively in  different  voices  of  the 
same  notes  chromatically  altered, 
as  C  sharp  and  C  flat,  implying  a 
disagreement  or  incompatibility, 
(b)  The  appearance  of  the  tritone 
(q.v.)  in  different  voices.  Though 
strictly  forbidden  in  the  text-books, 
late  composers  ignore  the  rule 


598 


DICTIONARY  OF  TERMS 


altogether,  f.  string.  An  ill-made 
string  giving  a  bad  tone.  f.  triad. 
The  diminished  triad  having  a  false 
fifth. 

Falsett  (f&-z£t'),  G.,  falset'to,  I. 
x.  The  top  or  artificial  register  of  the 
voice,  having  an  unnatural  or  effem- 
inate sound.  2.  One  who  uses  this 
register. 

fan'cy.  i.  A  slight  tune,  3,  A  fan- 
tasy. 

fandango,  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.  fan-f&r), 
fanfara  (fan-fa'-ra),  7,  i.  A 
trumpet-nourish.  2.  A  brass-band, 
fantaisie  (fan-tS-zS),  F.,  fantasia  (fan- 
ta-zg'a),  7.,  Fantasie  (fan-ta-zS'),  G. 
i.  Fantasy,  caprice,  a  composition 
free  in  spirit  and  form.  2.  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,  7.  Fan- 
tastic, fantasiren  <z5'ren),  G.  To 
improvise. 

fantas'tico,       fantasticamente,        /., 
fantastique  (fan-tas-tek),  F.,  fantas- 
tiscn  (fam-taV-fcfeh),  G.     Capricious, 
faran'dola,  /,.  farandole  (far-an-d61), 
farandpule  (f  ar-an-doolj).,  F.    A  crude 
dance  in  6-8  tiaae. 
faraeticamen'te,  7.     Deliriously. 
farsa    in   musica   <moo'zi-kaX    7.     A 

burletta. 

farsia     (far's*-a),     7.     A    canticle    in 
Italian  and  Latin  sung  a<t  Catholic 
festivals. 
fascia    (fs'-sha),    7.     i.  A    tie.     2.  A 

rib. 
fasto'so,       fastosamenfte,      7.     Pom- 

pous(ly). 

fattuca  (fat-^too7-^,  I.     Vide  FACIUIRE. 
faucette  <£5-sfet),   fausset   (f5-^a),   F., 

Falsetto. 

faux  <f o)  or  lausse  '(*«s),  -F.  False, 
out  jof  tusDie,  i.  accord  i(f<5  -zak-kdr). 
A  dissonance,  f.  bourdon  (f o-boor- 
d6n).  Vide  jpA&*mjxEN.  i.  quinte. 
Imperfect  fifth. 

F.  clef.    The  bass-clef.     Vide  CLEF, 
F-dur  (gf-door),  G.     F  major, 
feathering.     The     bowing     of     swift 

staccato. 

Federkfcwiet  (te^dSr-kla-f€r'),  G. 
Spinet* 


feeders.  Small  bellows  to  supply- 
large. 

Feier  (fl^r),  G.  Festival,  celebration. 
F.-gesang.  Anthem  f  eierlich.  Fes- 
tive, solemn.  F.-keit.  Solemnity. 

feigned  voice.     Falsetto  voice. 

feilen  (fMSn),  G.     To  poHsh. 

fein  (fin),  G.     Fine,  refined. 

feint.     In  drum  music,  a  figure. 

feinte  (fSnt),  F.  Old  name  for  semi- 
tone, accidental. 

Feld  (fSlt),  G.  Field.  F.  flSte.  A 
peasant  flute.  F.  Ktinstpfeifer 
(koonst'pfi-f^r).  A  military  mu- 
sician. Feldmuslk  (f€lt-moo-z€k')- 
MiHtary  music.  Feldrohr  (r5r),  G. 
A  rural  pipe.  F.-stiick.  A  cavalry 
call.  F.-ton.  The  key-note  of  a 
military  wind  instr.  F.-trompete* 
Military  trumpet. 

fe'rial.     Non-festal,  secular. 

fer'ma,  7.  Firm,  fermamen'te,  7. 
Firmly. 

fermare    il    tuono.     Vide    MESSA    DJ 

VOCE. 

fer'mate,  E.  (in  G.  f&r-ma'-te),  fer- 
mata  (fSr-ma'-ta),  7.  i.  A  symbol 
"^  or  o  above  or  below  a  note,  rest 
or  bar  indicating  a  long  pause  upon 
it;  /.  ad  tibitumy  often  occurring 
before  a  cadenza.  2.  A  stop,  on  the 
violin. 

fermato  (ma'-to),  7.  Firmly,  fer- 
mezza  (f^r-m^d'-jja).  Firmness. 
fermo  (fSr'rno).  Firm.  \^decANTTJS 

PIRMTJS. 

fermement  (fgrm-man),  F.     Firmly. 

Ferne  (fSr'nfi),  G.  Distance,  wie 
aus  der  F.  <ve-ows-d^r).  As  if  froro 
the  -distance.  Fern-fi5te.  A  covered 
8-ft,  stop.  Fern-werk.  Echo-organ. 

feroce  (fa-r57-ch€),  ferocemen'te,  7. 
Fiercely),  ferocita  (fa-x5-chl-ta). 
Fierceness. 

fertig  (fer-tikh),  G.  Ready,  nimble. 
F.-keit  (kit).  Dexterity. 

fervemment  (f&r-vv^-man),  F.  Fer- 
vently. 

ferven'te,  fer'vido,  7.  Fervent,  fer- 
ventemen'te,  fervidam«n'te.  Ve- 
hemently. 

Fes  (fgs),  G.  The  note  F>.  Feses 
(fSs'6s).  F  double  flat. 

Fest  (fSsht),  G.  i.  Feast,  festival.  2. 
Firm,  steady,  Festigkeit  (f€s- 
tXkh-krt).  Firmness,  steadiness,  fest- 
Hch  (fSst-lIkh).  Festive,  solemn 
Festlichkeit.  Solemnity.  Fest* 
lied.  A  festive-song.  Festouver- 
ture.  A  brilliant  overture.  Fest- 
zeit  (tsit).  Festival-time. 


DICTIONARY  OF  TERMS 


festive    (f&*-t£'v5),    festivamente,    I. 

Gay(ly).       festiviU      (fSs-te-vfc-ta). 

Festivity  r  gayety, 
festo'so,  I,     Merry,  cheerful,  gay. 
Feuer  (foi'Sr),.  G.     Firer  ardour,  pas- 

sion-   feurig    (rlkh).     Ardent,    pas- 

sionate^ 

fff.     Abtw.  of  Fortissimo. 
F  holes.     Vide  p. 
fiacco  (flrak'ko),  I.    Feeble,  langtiisk- 


A  failure;  not  so 


fiasco  (fX-as'-ko% 
used  in  Italy. 


ftato  (f*-£'-to),.  /.     Breath;  voice. 

fictus(a)-(um),  L.  "Feigned."  i. 
Vide  FA.  2.  musica  ficta.  Former 
name  for  mmslc  transposed. 

fiddle.  Violin,  iron  f.  An  arrange- 
ment of  naBs  or  rods  played  with  a 
bowr  in**..  by  Jn.  Wilde,  iSth  cent. 
fiddler*  Violinist,  commonly  a  poor 
player,  fiddlestick.  Violin-bow* 

Fidel  (f5'-del)r  G.     Violin. 

fi/des,  L.  i.  A  string.  2.  A  stringed 
instr-  fH'icen.  One  who  plays-  a 
stringed  instr-  fidicina.  A  woman- 
player. 

fidf  c/ula,  L.     A  small  lute. 

ftcfcid*    (fi-dw'-chS),    7.     Confidence. 

Fiedel  (fe  *-dl),  G*  A  violin.  Stroh- 
fidek  Xylophone.  F.^bogen  (bCkh'- 
Sn),  A  violin-bow.  F.-t>rett  (br&tV 
A  squeaky  violin.  Fiedler  (f€t'-4er). 
A  fiddle*- 

fiel.     An  old  name  for  violin. 

field-music.     Martial  music, 

fier  (fe-as),  fiere  (fl-ar),  .P.  Proud, 
lofty,  fierce,  fierement  (fl-&r-man). 
Fiercely.  fifcrtS  (f  y&r-tS')-  Fierce- 
ness. 

fiero  (f  e^a/-r$>y  fieramen'te,  J.  Fiearoe- 
(ly/^  fierezza  (rSd'-za).  Fierceness. 

fifie;  x~  A,  6-holed  octave  cross-flute, 
usually  in  the  key  of  F  or  Bb,  chiefly 
used  in  military  music,  differing  from 
the  piccolo  inr  lacking  keys;  compass 
d'-d"".  2,  A  2-foot  stop. 

fif  'faro,  /.     Fife. 

fifre  (fefr),  F.  x.  A  fife.  2V  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  included. 
as  C-G  (the  ratio  being  2:3).  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 


599 


tone  a  half-step  results  in  an 
augmented  (or  superfluous,  extreme, 
sk&rp  ox  pfaperfecfy  fcfth*  as  c-g#,  or 
cb-g;  to  narrow  tie  interval  a  semi- 
tone by  raising  the  lower  or  lowering 
the  upper  toete  a.  half-step  results 
in  a  diminished  (or  imperfect,  false, 
flat,  minor  or  defectveey  fifth.  Two 
parts  or  voices  according  to  the  rules 
may  not  progress  by  perfect  fifths 
either  in  consecutive  or  parallel  man* 
Her**  whether  the  fifths  are  open  ox 
(cohered  y  concealed}  hidden  (q-v.). 
Though  this  rule  is  the  veuy  ABC 
of  harmonic  law,  it  is  not  justified  by 
science,  by  history,  or  by  latest  prac- 
tice. Circle  of  fifths.  Vide  TBIC- 
PERAMENT.  fiftky.  With  the  second 
partial  (a  fifth)  noticeably  marked. 

Figur  (S€-goor/)>  G.  A  figure,  or  nu- 
meral. 

figura  Cfg-gpo/-ra),  L.  and  J-  Vide 
FIGURE-  f.  liga'ta.  A  ligature,  f. 
muta  (moo-ta).  A  rest,  f  .  ebli'tjua. 
In  old  music,  an  oblique,  symbol  in- 
dicating: that  two  s*perimf>osed  notes 
(as  g-b)  were  to  be  sung  obKquely 
(thus  g-b-b-g)  « 

figural,  E.     (fax   G.   fg-goo-ralO- 
urate,    F.-gesaag-     Cantus 
tiis,  counterpomt. 

figaraiioai*     x.  The  use   of  figures  or 
osfeamented  passages  in;  the  variation 
of  a  thane-     2.  The  writing  or  the 
filling:  out    of    figured    bass.     3.  In 
ti*e    Bitecpoiatk>n    oi    figures, 
notes^.  etc* 

fifetttato'  (fe-gooHtra'-td>,  /.,  figure"  (fg- 
ga-^a),  F.  figurate>  or  figured,  i. 
Gn&amented  wifth  figures*  hence 
fioridyfree-  2.  Provided  with  numer- 
als, as  figured  bass.  Vide  BASS  6, 
and  CHOKD, 

figure,  JS.  (in  F.  pron.  fl-gur).  i.  A 
pattern  or  design  in  grouped  notes 
winch  may  be  repeated  variously. 
2.  A  numeral,  f  .  of  diminution.  A 
number  diminishing  the  duration  of  a 


fil  (f5l)r  F.     Thread  (of  a  string). 
fit»r   il   tuono    or    la   voce    (fe-lar    el 

too-5'-no  or  111  vo'-chS),  /.,  filer  un 

son  or  la  voix  (fe4a  run  s6n  or  la 

vwa),  F.     To  draw  the  tone  out  to  a 

thread  of  sound. 
filarmo'nieo,  7.     Music-loving. 
filet   de   voix    (fe-la   dii   vwa),   F.     A 

mere  thread  of  tone. 
filling-up.     i.  Of  parts,  those  of  har- 

monic but  not  melodic  use.     2.  Of 

stops,  mutation. 


600 


DICTIONARY  OF  TERMS 


filo   (fe'-l5),    7.     Thread,    f-   di  voce. 

Softest  possible  tone, 
filpen  (fel -pen),  G.     Vide  FISTXTLKREN. 
filum,  L.     Stem,  of  a  note. 
fin  (fan),  F.     The  end;  fine.     f.  a  qui 
•     (fa  na  kg).     End  here. 
fL'nal.     The   note   of   rest  in   church- 
modes  corresponding  to  our  Tonic; 
in  authentic  modes  the  F.  is  on  the 
first  degree;  in  plagal,  on  the  4th. 
These     are     called     regular    finals. 
Others  occur  frequently  and  are  ir- 
regular   or    confinals.     Vide    MODES. 
f.  close.     A  finishing  cadence. 
finale  (fe-na'-l£,   I.;  in  F.  fX-nal).     i. 
The    conclusion,    usually   elaborate, 
as  the  closing  chorus  of  an  act  in 
opera;   in   sonatas,    symphonies,    an 
independent  movement.     2.  A  final, 
final  Is,   L~     Vide  ACCENTUS   ECCXESI- 

ASTICI. 

fine  (fS'-ne"),  7.  The  end;  it  may  ap- 
pear sometimes  before  a  da  capo 
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.  flng'-ger;  in  G.  ftng'- 
e*r).  Finger.  F.-bfidner,  finger-de- 
veloper. A  device  for  keeping  the 
last  joint  of  the  fingers  up;  inv. 
by  Seeber.  F*-brett.  Finger-board, 
F,-fertigkeit.  Agility.  F.-leiter 
(Ht'-er).  The  chiroplast.  F.-satz, 
F.-setzung.  Fingering.  Enger  or 
gedennter,  Fingersatz.  Close  (or 
stretched)  fingering.  F.-wechsel 
(vSkhsl).  Change  of  fingers,  finger- 
board* In  a  stringed  instr.  the  neck 
on  which  the  strings  are  stopped, 
finger-cymbals.  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.  lie  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,  or  Amer- 
ican F.  the  thumb  is  marked  with  a 
cross,  the  fingers,  i,  2,  3,  4. 
finire  il  tuono,  7.  Vide  MESSA  DI 

VOCE. 

fi'nite.  Of  a  canon,  not  repeated,  end- 
ing with  the  finish  of  the  theme;  not 
"infinite." 

finrto(a)  (fX-n6'-to),  I.     Finished. 

fino  (fe-'-no-),  7.     To,  as  far  as,  till. 

fintofa)     (fSn'-to),     7.     Feigned,     ca- 


denza f.    Vide  CADENCE  (f).    fafinto, 
Vide  FA. 

fioco(a)    (ft-6'-kQ),    7.     Hoarse,   faint, 
fiochetto.     Rather  hoarse,     fiochez- 
za  (fe-S-kSd'-za).     Hoarseness. 
fiore    (fi-5'-rS),    7.     Flower,     a   f.    di 

labbre.     Lightly  on  the  lip. 
fioreggiare       (fe-Q-rSd-ja'-re*),    7.     To 

add  figures  to. 

fioret'to,  7.     A  little  ornament. 
fioriscente  (fe-o-rX-sheV-tS),  7.,  fiorito 
(fe-6-re'-to).         Florid.         fioritezza 
(f e-S-rf-tSd'-za) .     EmbeUishment. 
fioritura    (fg-S-rl-too'ra)     (pi.     e),    7. 

Florid  ornament. 

jSrst.  i.  The  highest  voice-part  or 
string;  the  lowest  line  or  space.  2, 
A  unison  or  prime. 

Fis   (fes),  G.     The  note  F#.     Fis-dur 

(f6s-door).     F#  major.    Fis-fis.    The 

note  F  double  sharp.     Fis-moll.     F# 

•minor. 

Fistel  (flsh-tel),  G.     Falsetto  (also  F.- 

stimme). 

Fistola  (fgs'-tQ-la),  7.,  fis'tula,  L. 
A  reed,  a  pipe,  f .  dulcis.  The  fl&te 
a  bee.  f.  germanica.  German  flute. 
f.  panis  or  f.  pastoralis.  The  Pan- 
dean pipes,  f .  pastorica.  An  oaten 
pipe  used  in  Roman  theatres  to  ex- 
press disapprobation,  fistulator,  L.f 
fistulato^e,  7.  A  piper,  fistuli- 
ren  (fls-too-le'ren),  G.  i.  To  sing 
falsetto.  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. 
Flachfl6te  (flakh'fla-te),  G.     i.  Flage- 
olet.    2.  An  organ-stop. 
flag.     i.  Abbr.  for  flageolet ,   or  flage- 
olet tones.     2.  A  hook. 
flageolet7.    E.    (F.    flazh-6-la),    Flage- 
olett     (fla-iS-a-leV),    G.,    flagiolerta 
(fla-Jo-leVta),    7.     i.  A    smaU  flute 
played  at  the  end,  compass  g'-b'"  flat. 
double  f .     An  instr.  with  2  different- 
sized     flageolets     meeting     in     one 
mouthpiece,     inv.     by     Bainbridge, 
1800.     2.  flageolet  or  flageolet-tones 
or    To'ne.     Vide   HARMONICS.     3.  A 
i-  or  2-ft.  stop. 

flam.  In  drum  music  a  grace  note, 
close  /.,  as  short  as  possible;  open  /., 
with  a  brief  interval. 


DICTIONARY  OF  TERMS 


601 


Fla'minenorgel,  6?.     Pyrophone. 

Flaschinett  (flash'l-neV),  G.  The 
flageolet. 

flat.  i.  A  symbol  (t>)  lowering  the  note 
before  which  it  is  placed  one  semi- 
tone; placed  in  the  signature  it  affects 
every  note  occurring  on  its  line  or 
space.  The  double  fiat  Ob),  formerly 
a  great  fiat,  lowers  the  note  two  semi- 
tones, fiat  fifth.  Vide  FIFTH,  fiat 
tuning.  Of  a  lute  tuned  to  the  former 
lower  French  pitch.  2.  As  a  verb,  to 
lower  a  note  a  semitone;  preferably 
to  flatten. 

flatter  la  corde  (flat-ta  la'  k6rd),  F. 
To  flatter  or  caress  the  string. 

flautando  (fla-oo-tan'do),  flautato 
(ta'to),  I.  i.  Drawing  the  bow 
gently  across  the  strings  near  the 
bridge,  producing  a  "fluty"  tone. 
2.  Producing  harmonics. 

flauto  (fla'oo-to),  J.  Flute,  flautis'- 
ta.  Performer  on  the  flute,  fiau- 
tino  (t5'-no).  i.  A  small  octave- 
fiUite.  2.  A  piccolo.  3.  Same  as 
flautando.  f.  piccolo.  The  shrill 
octave-flute,  f.  a  bec'co.  Beak- 
flute,  f .  alto.  A  tenor-flute  used  in 
bands,  f.  amabfle.  An  organ-stop, 
f.  amoroso.  A  4-foot  organ-stop. 
f.  dolce.  i.  A  beak-flute.  2.  An 
organ-stop,  flauto  'ne.  A  large  bass- 
flute,  f.  tedesco,  transverse,  tra- 
verso.  i.  The  German  or  transverse 
flute.  2.  An  organ-stop. 

flebile  (fla'-M-lS),  flebilmen'te,  /. 
Sad(ly),  doleful(ly). 

fiessibile  (fl€s-se'-bX-la),  I.  Flexible, 
flessibilita  (11-taO,  I.  Flexibility. 

Flick'opera,  G.  An  opera  with  new 
words  to  old  tunes. 

fling.  A  Scotch  Highland  dance  in 
4-4  time. 

F-L5cher,  G.     F  holes.     Vide  r. 

flon-flon  (fl6n-fl6n),  F.  A  refrain  to 
old  vaudevilles;  hence,  trash. 

florid.     Ornamental,  embellished. 

Flb'te  (fla'te1),  G.  Flute,  fldtchen  (fleV- 
khSn).  A  little  flute.  F.-bass.  A 
bass-flute.  floten.  To  play  the 
flute.  F.-spieler.  A  flute-player. 
F.-stimme,  F.-zug.  A  flute-stop. 
Fiatenwerk.  A  small  organ  with 
only  flue-pipes.  F*  traverse,  i. 
The  transverse  flute.  2.  An  organ- 
stop.  FIStist  (fla'-tSst).  A  flute- 

flour'ish.     i.  A     trumpet-fanfare.     2. 

An  embellishment. 
fliichtig     (flukh'tfkh),     G.     Light(ly). 

Flttcntigkeit  Qslt).     Fleetness. 


fiue-pipe-stop-work.     Vide  PIPE. 

Fliigel  (flu'-gel),  G.  <<Wing,"  hence, 
i.  A  wing-shaped  instr.;  or  the 
modern  grand  piano.  2.  The  ear  of 
a  pipe.  F.-harfe.  A  small  table- 
harp  with  upright  sound-board.  F.- 
horn.  i.  A  bugle.  2.  A  keyed  bugle 
or  other  keyed  brass  instrument. 

flute,  E.,  flu'ta,  L.,  flute  (flat),  F.  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  larger 
end  closed.  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,  pure,  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);  its  modern  form  owes 
much  to  the  improvements  of  Boehm, 
and  controls  with  its  keys  fourteen 
orifices,  with  an  extreme  range  of 
b-c""#.  It  is  made  in  six  sizes 
(including  the  piccolo,  or  octave-fiute) 
and  sounds  as  written,  is  non-trans- 
posing. The  normal  flute  is  the  C; 
there  are  two  others  in  D  flat  and  E 
flat.  The  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}  fluta 
sounds  a  fourth  higher  than  the  nor- 
mal flute.  2.  An  organ-stop,  flute- 
work.  "Vide  STOP,  harmonic  f.  or 
f.  armonique.  An  organ-stop,  oc- 
tave-f.  The  piccolo,  pastoral  or 
shepherd's  f.  A  short  beak-flute, 
f.  a  bee  (a  bSk),  F-,  Schnabel- 
flote  (shna-bSl),  G.  Beak-flute,  f. 
allemande  (al-mand),  F.  The  cross- 
flute,  f.  conique  (k6n-€k),  F.  i. 
Conical  flute.  2.  An  organ-stop, 
f.  d* amour  (da'-moor).  i.  An  ob- 
solete flute  in  A  or  in  B  flat.  2. 
A  4-  or  8-ft,  stop.  f.  d'Angleterre 
(dan-glii-tar).  The  flageolet,  f.  du 
Poitou  (d(i  pwa-too).  The  bag- 
pipe, f.  douce  (doos).  The  beak- 
flute,  f.  minor  (m5-n6r).  A  2-  01 
4-foot  stop.  f.  octaviante  (6k-ta- 
vX-ant).  Octave-flute;  an  organ- 
stop,  f.  ouverte  (oo-vart).  An  open 


602 


DICTIONARY  OF  TERMS 


stop,     f ,  traversieTe   (tra-ver-sl-£r). 
The  cross-flute. 

flute,  jP.  As  a  direction — "use  har- 
monics." fiute*e  (ta).  Fluty. 

fly.     The  lid  covering  a  key-board. 

F-moll  (£f-m61),  G.     F  minor. 

fo'co,  /.  Fire,  passion,  focosamen'- 
te.  Ardently,  focosis'simo.  Very 
ardent,  focoso.  Passionate. 

fogHetto  (fsl-yet'-to),  /.  A  part  which 
contains  all  the  obbligato  passages, 
used  often  by  conductors  instead  of  a 
score. 

foire  des  enfants  (fwar-da-zan-fan),  F. 
"Children's  fair/'  Toy  syiaap-hony. 

fois     <fwa),     F.     Time     premiere     f. 
(prttm^yar).     The  first  time,     deu- 
ieme  f.  (>difcz-ye'm).    The  second  *nne. 
f.    <dft-fwa).     Twice,     derni- 
Th&  last  time, 

(&5-le'-a),  -S^.,  follia(«)  di  spagna 
(sp£a-ya),  /.,  foJies  fd^espagne 
(f6-K*-des-spln),  F.  i.  Ask>w  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  pojraiar 
song  that  has  become  a  tradition. 
(See  article,  page  731,) 

folk-tone.  The  folk-song  manner  or 
spirit  (cf.  V^lkstom). 

fondam*satal(e),  (fon-da-man-tal)  F., 
fondamentale  (ta"l£),  /.  Funda- 
mental, son  £.  Root,  basse,  or  bas- 
so, f .  Vide  BASS  6. 

fondaraen'to,  /.     Fundamental  bass. 

fonds  d'oigue  <fon  d6rg),  -F.  The 
foundation-stops. 

foot.  T.  The  imit  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  &T©ne^>ass.  4.  A  unit  for  the  desig- 
nation of  the  pitch  of  pipes  andinstrs. 
arrived  at  as  follows.  Sofrnad  travels 
1056  feet  per  second,  tlhe'tone  C^  &as 
33  vibrations  a  second;  1056  ^-  33  = 
32  -feet,  the  length  of  one  sosoaid- 
"wave;  a  32-foot  pipe  will  therefore 
sound  C/y.  The  pipe  giving  C  (two 
octaves  below  middle  C)  is  about  8 
feet  long.  This  is  taken  as  the  nor- 
mal length,  and  while  the  pipes  that 
make  up  a  so-called  S-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 
8-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-measwre,  or 
foot-tone;  an  instr.  sounding  as  writ- 
ten (e.  g.,  the  flute)  is  called  an  8-ioot 
instr.,  one  sounding  an  octave  kigher 
(e.  g.,  the  piccolo-flute)  is  called  a 
4-fejot  instr.  Furthermore,  this  desig- 
nation is  lased  *>f  octaves;  the  iettoers 
in  the  great  octave  (vide  -PITCH)  -are 
known  as  :8-foot  (as  £-f t.  C,  D,  tftc.), 
those  in  the  small  octave,  as  4^ft.  c,  d, 
etc.;  those  in  the  once-accemfced  as  2- 
foot,  -and  those  in  the  ±wice-acceMced 
as  i-foot.  The  word /<wtf  is  sometimes 
abbreviated  by  an  v)  as  8y,  16', 
The  metrical  system  has  >heen  ap- 
plied -with  much  inaccuracy™,  S-feet 

=  —metre;  4-feet  =  —  m.;  2rjfeet  = 
2  4 

-ft,  -=  10  m.; 

J_..,/2  I  2  I  ,2 

Quinte  (ro  -    5  -    2  -    i   -   and  - 
^^         2         "i  5 

o->         o»         o>          &t  o 

f  eeO  =  —  -  |  —  and  —  -metrjes  re- 

.       3,  3j  6,  12  24 

spectively. 

Tierce  (6  -  3  -    i  -   and  ^  feet)  = 
5j       5)       5t  t5 

y  (or  2),  I  (or  i),  ^  (J),  and  ^  <J) 

metres  respectively. 

foot-key.     Pedal-key. 

forbidden.  Contrary  to  musical  gram- 
mar. Vide  HABMONY. 

foreign.  Alien  to  the  given  key,  or 
tonality. 

forlana  (for-la'-na),  I.,  fprlane  <i6r- 
12.n),  F.  A  lively  Venetian  dance  in 
•6-S  or  6-4  time. 

form.     See  article,  page  733. 

formare    il    tuono.     Vide    M^SSA    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 
group  of  movements — both  for  the 
part  and  the  whole;  by  speaking  xsf 
the  dual-theme  movement  as  written 


|  m.;  ac«t.  =  5  m.; 


DICTIONARY  OF  TERMS 


603 


in  the  sonata  formula  and  the  group 
of  formulae,  largo,  rondo,  etc.,  as  in 
the  sonata-/0rw  much  ambiguity  will 
be  avoided. 

fort,  G.     Off  (of  an  organ-stop). 

fort  (f6r),  forte  (fort),  F.  i.  Loud. 
2.  Temps  f.  Strong  beat* 

fortbien  (f6rb-yan),  F*  A  modification 
of  the  old  f  ortepiano,  by  Friederici, 
I7S8. 

forte  (f6r'-t£),  I.  i.  Loud-  (abbr.  f.) 
f.  possibile.  As  loud  as  possible. 
piu  f.  Louder,  poco  f.  Rather 
loud,  f .  piano.  (Abbr.  fp.)  Loud, 
then  immediately  soft*  f ortamen'te. 
Loudly.- 

fortement  (fort-man),  F.     Loudly. 

forte-piano.  i.  Vide  PIANOFORTE. 

2.  Loud!  then  soft! 

fortezza  (f6r'-tSd'-za).     Force. 

fortiss.     Abbr.  of  fortissimo. 

fortissimo  (f6r-tes'-sl-mo),  J.  Very 
loud,  fortissis'simo.  Double  super- 
lative of  forte,  f .  quanto  possibile 
(kwiin'-to  p6s-sg'-bMS).  As  loud  as 
possible. 

Fortrucken  (f6rt'-rOken),  G.  The  ad- 
vance of  the  hand  (as  in  ascending 
figuration)  with  the  same  fingering. 

Fortschreitung  (fort'-shrl-toongk),  G. 
Progression.  F.  einer  Dissonanz. 
Resolution.  fortschreiten.  To 
progress. 

Fortsetzung  (fdrt'zSt-zoongk),  G. 
Continuation,  development. 

forza  (for'-tsa),  /.  Force,  power. 
forzan'do,  forzato  (fdr-tsa'-to). 
Forced,  sharply  emphasized  (marked 
V  A  »•  forzare  (for-tsa'-rS).  To 
strengthen,  f.  la  voce  (la  v6'ch£). 
To  force  the  voice. 

foundation-stop.     Vide  STOP. 

fourchette  tonique  (foor-shSt  t6n-Sk), 
F.  Tuning-fork. 

•fourniture  (foor-nl-tur),  F.  A  mixture- 
stop. 

ifour-part.     Written  for  four  parts. 

Jourth,  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  minor.  An  aug- 
mented (superfluous,  extreme,  sharp 
•or  pluperfect)  fourth  is  one  whose 
upper  tone  has  been  raised  a  ^half- 
step,  or  its  lower  lowered.  A  dimin- 
*ished  (imperfect,  false,  minor  or 
^defective)  fourth  one  whose  upper  tone 
has  been  lowered  half  a  step  or  its 
Hower  raised  (cf.  PZFTH).  Chord  of 


the  second  and  fourth,  chord  of 
the  3d,  4th,  and  6th,  chord  of  the 
4th  and  6th.  Vide  CHOILD.  four- 
three,  four-two.  Vide  CHORD,  f. 
flute,  f.  shift.  Vide  IXUTE  and 

SHIKT. 

fp.     Abbr-     Vide  :FO*TE  (2). 

fran£ais  (fran-sg7)*  frangaise  (fran-sez), 

F.  i.  French,     a.  A  country-dance 
in  3-4  time. 

francamen'te,  J.     Frankly,  boldly. 

franchezza  (frEn-kSd'-za),  /.,  franchise 
(fran-shSz),  F.  Boldness^  frankness. 

franzese  (fran-ts^'-zS),  /.,  franzo^isch 
(fran-tsa-zXsh),  G.  "French";  in 
French  style.  Franzton  (f  rantst5n), 

G.  French  pitch. 

frappe  (frap),  F.  A  manner  of  beating 
time  with  force,  frappe  (f rap-pa). 
The  down-beat. 

frapper  (frap-pa),  F.  To  strike;  to 
beat  time. 

frase  (f ra'-ze)  (pi.  i),  I.  A  phrase,  fr. 
larga.  With  broad  phrasing,  fra- 
seggiare  (fra-z€d-jar'r6).  To  phrase. 

Frauenstimme  (frow'-en-ihtlrn'me),  G. 
Female  voice. 

freddo  (frSd'-dS),  freddamen'te,  J. 
Cold(ly).  freddezza  (frSd-dSd'za). 
Coldness. 

fredon  (frtt-dAn),  F.  A  trill,  or  other 
ornament,  fredonnement  (frtt-dun- 
man).  Humming,  trilling,  fredon- 
ner  (frti-dtin-na).  To  tnH,  also  to 
hum. 

free.  Unrestrained,  not  according  to 
strict  rule,  as  /.  composition,  or  style. 
f.  fugue.  Vide  PUGTTE.  ^f.  reed. 
Vide  REED.  f.  part.  An  independ- 
ent part  added  to  fill  up  the  har- 
mony of  canon  or  fugue,  f.  chant. 
A  form  of  reciting  the  Psalms  or  Can- 
ticles using  a  group  of  two  chords  for 
each  hemistich.  Vide  TRET-FREE. 

freemen's  songs.  Little  compositions 
for  three  or  four  voices,  in  use  about 
1600. 

fregiare  (fr£-ja're),  J.  To  adorn, 
fregiatura  (too'ra).  An  ornament. 

frei  (fri),  G.  Free.  Freiheit  (frf-hlt}. 
License,  f.  Schreibart  (shrlp'-art). 
Free  composition. 

French  horn.  Vide  HORN.  French 
sixth.  Vide  ALTERED. 

French  treble  clef.  The  G  on  the 
lowest  line  of  the  staff. 

fresco  (frSs'-ko),  J.,  frescamen'te. 
Fresh(ly). 

fret.  One  of  the  thin  projecting  ridges 
across  the  neck  of  stringed  instrs. 
to  divide  the  strings  into  different 


604 


DICTIONARY  OF  TERMS 


lengths,  thus  producing  different 
pitches,  on  pressure,  fretted  and 
fret-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 
bundfrei,  or  ungebunden  or  free  or 
fret-free. 

freteau,  fretian,  frestel,  fretel  (frti-tel), 
fretele,  fretetel.  A  Pan's  pipe* 

fret'ta,  /.     Haste. 

Freude  (froi'-de1),  G.  Joy,^  rejoicing. 
Freudengesang.  Song  of  joy.  freu- 
dig  (froi'dikh).  JoyfuUy.  Freudig- 
keit  (kit).  Joyfulness. 

fricassee  (fre-kas-sa),  -P.  A  dance  with 
pantomime  in  the  i8th  cent.  In  the 
1 6th  cent,  a  part-song,  each  part  hav- 
ing different  words. 

Fries  (fres),  G.  The  ornamented  inlay 
on  the  border  of  a  violin. 

friscii  (frlsh),  G.     Fresh,  lively. 

fris'ka  (frlsh'-ka).  The  quick  move- 
ment in  the  Czardas,  and  the  Hun- 
garian Rhapsody. 

frivolo  (fr6'v5-lo),  /.     Trifling,  trashy. 

frShlich  (fra-llkh),  G.  Joyous,  gay. 
F.-keit  (kit).  Gayety.  Frohgesang 
(fro-kh£-z&ng).  Song  of  joy. 

Firohnamt  (fron'amt),  G.     High  Mass. 

Froscn  (frdsh),  G.     Nut  (of  a  bow). 

frottola  (fr6t'-tS-la),  /.  A  i6th  cen- 
tury ballad. 

FrflhliTigslied  (framings-let),  G.  Spring- 
song. 

Frtilimesse  (frii'mgs-se'),  Friihstiick 
(tni'shtak),  G.  Matins. 

F-Schliissel  (Sf-shliis'el),  G.  The  F- 
clef. 

fuga  (foo'-ga),  L.  and  /.  "A  flight." 
Vide  FUGUE,  f.  ad  quintan?,  (octav- 
am).  Fugue  (also  canon)  at  the  5th 
(octave),  f.  aequalis  motus  (or 
recta).  In  similar  motion,  the  an- 
swer conforming  to  the  ascent  and 
descent  of  the  subject,  f.  al  con- 
trario  (or  riverso  or  roves 'cio)  or 
fuga  contraria  (or  per  motum  con- 
trarium).  One  whose  answer  is  the 
subject  inverted,  f.  authentica.  A 
fugue  with  an  ascending  subject. 
f.  canonica  (or  inconseguenza  or  per- 
petua  or  totalis).  A  canon,  f .  com- 
posita  (or  inaequalis).  One  whose 
subject  moves  by  degrees,  not  by 
leaps,  as  does  f.  inco*nposita.  f.  del 


tuono,  7.  A  tonal  fugue,  oppost<i 
to  f.  reale,  a  real  fugue,  f.  doppia, 
7.  A  double  fugue,  f.liomopho'na. 
One  whose  answer  is  at  the  unison. 
f.  impro'pxia  (or  irregularis  or  sciolta 
o.  soluta).  An  irregular  free  fugue. 
f.  in  contrario  tempo  (or  per  ar'sui 
et  the 'sin).  One  in  which  the  ac- 
cented 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,  f.  libera. 
One  with  free  episodes,  opposed  to 
f.  ligata  (or  obbligata),  whose  epi- 
sodes are  entirely  derived,  f .  mixta. 
One  whose  answer  is  varied  by 
augmentation,  etc.  f.  partialis  (or 
periodica).  One  without  full  and 
perpetual  canonic  imitation,  the 
usual  f  ugue.^  f .  per  augmentationem 
(or  diminutionem).  One  whose  an- 
swer is  by  augmentation  (diminu- 
tion), f.  per  imitationem  interrup- 
tatn.  One  whose  answer  is  broken 
by  rests,  etc.  f .  plagalis.  One  with 
subjects  descending  below  the  key- 
note, f.  propria  (orregularis).  One 
in  regular  form,  f .  reddita  or  redita. 
One  in  which  canonic  progression 
occurs  at  the  middle  or  end.  f. 
retrograda.  One  whose  answer  is 
in  retrograde  progression,  f.  retro- 
grada per  motum  contrarium.  One 
whose  answer  is  in  contrary  motion 
as  well  as  retrograde  progression,  f . 
ricercata  (ret-chSr-ka'-ta).  A  fugue 
of  the  highest  development. 

fugara  (foo-ga'-ra),  /.  A  4-  or  8-ft. 
organ-stop. 

fugato  (foo-gS'-to),  J.  i.  Freely  in 
the  manner  of  fugue.  2,  A  passage 
in  such  manner. 

Fuge  (foo'-khe'),  G.  Fugue.  F.  ga- 
lante  (ga-lan'tS),  G.  A  free  fugue  in 
chamber-music  style. 

fuggire  la  cadenza  (f°od-J5-rS),  /.  To 
write  a  deceptive  cadence. 

fughetta  (foo'gSt'-ta),  /.  A  short 
fugue. 

fugirt  (foo-gertO,  G.  In  fugue  style; 
also  used  of  the  ranks  of  a  mixture- 
stop. 

fugue  (E.  fug,  in  F.  fug) .  See  page  736. 
counter  f .  One  whose  subjects  move 
in  contrary  directions,  double  f .  A 
fugue  on  two  subjects,  f .  renversee 
(rSn-vfir-sa),  F.  An  inverted  fugue. 
strict  f.  One  in  which  the  fugal 
form  and  its  laws  are  strictlv  ob~ 


DICTIONARY  OF  TERMS 


served,  perpetual  f.  A  canon,  f. 
simple,  F.  A  fugue  containing  but 
a  single  subject,  fugued  (fugd)  or 
fuguing.  In  fugue  form,  or  loosely 
in  fugue  manner,  fuguist.  A  com- 
poser or  performer  of  fugues.  Also 
see  ETTGA;  and  article,  page  736. 

Fiihrer  (fu-rSr),  G.  i.  Conductor.  2. 
Subject  of  a  fugue. 

Full-  (fll),  G.  Filling.  F.-£U$te.  "Fill- 
ing flute,"  a  4-ft.  stop.  F.-pfeife 
(pfl'fS).  A  dummy  pipe.  F.-quinte. 
A  shrill  quint-stop  useful  only  in 
combination.  F.-stelle.  Padding. 
F.-stirnme.  i.  A  part  used  to  fill 
out  harmony.  2.  A  mutation-stop 
a  3d  or  $th  above  normal  pitch. 
3.  A  part  doubling  another  in  the 
octave  or  unison. 

full.  For  the  voices  or  instrs.  com- 
plete, f.  anthem.  Vide  ANTHEM. 
f.  band.  A  complete  band  or  or- 
chescra.  f.  cadence  or  close.  Vide 
CADENCE,  f.  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)  or- 
gan." full  organ.  "Draw  all  the 
stops  and  couplers."  f.  service. 

1.  One  for  the  whole  choir.     2.  An 
office  using  music  as  far  as  permissi- 
ble,    f.    orchestra.     One    in    which 
all  the  instrs.  are  employed. 

fundamental,     i.  The  root  of  a  chord. 

2.  The  generator  of  a  series  of  par- 
tials.     f.    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-mSn-tal'- 
bas),  G.  Vide  BASE.  F,-ton.  Fun- 
damental tone. 

funSbre  (fu-nSbr),  F*,  funebre  (foo-na- 
br£),  /.,  funerale  (foo-nS-ra'-lfe),  7., 
funereo  (foo-na'-rS-Q),  7.  Funereal; 
mournful.  marcia  /.  Funeral 
march. 

fiinf  (flnf),  G.  Five,  f.-fach.  Five- 
fold, in  five  ranks,  of  pipes,  f  ,-stim- 
rnig.  For  five  voices,  f.-stufige. 
Pentatonic.  Funfte  (fmf '-te1).  Fifth. 
Funfzehnte  (flnf'tsan-tS).  Fif- 
teenth. 

funzioni  (foon-tsl-o'ne1),  I,  (pi.)  Masses, 
and  other  sacred  music  in  the  R.  C. 
Church. 


fuoco  (fo-6'kS),  /.  Fire,  energy,  pas- 
sion, fuoco'so.  Fiery. 

fur  (fiir),  G.,  preposition.     For. 

fureur  (fu-riir),  P.,  furia  (foo'-r*-a),  7. 
Fury,  passion.  Furiant  (foo'rf-ant), 
(?.,  furie  (foo-re),  F.  A  quick  Bo- 
hemian dance  with  irregular  rhythm 
and  accent,  furibon'do,  furioso,  /. 
Furious,  mad.  furieusement  (fiir- 
yiiz-man),  jP.,  furiosamen'te,  I. 
Furiously,  maclly, 

furlando  (foor-lan'-do),  furlano  (foor- 
la'-n6),  /.  Forlana. 

furniture  stop.     Vide  STOP. 

furore  (foo-rS'-rS),  /.  Rage;  a  great 
success. 

fu'sa,  L.,  fuse  (fiiz),  F.,  Fusel  (foo- 
zSl'),  G.  An  eighth  note. 

fusee  (fii-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.  Fusse  (ffe-se),  G. 
Foot  (q.v.).  Fussklayier.  The 
pedals  of  an  organ,  fiissig  (ftis-sikh), 
G.  Foot,  as  B-fiissigy  8-foot.  Fuss- 
ton  (foos-ton).  Foot-tone,  as  Ackt- 
fusston,  8-foot  tone. 

fut  (fttt),  F.     Barrel  (of  a  drum). 

Fattening  (fiit'-tSr-oongk),  G.    Linings. 

Future,     music     of     the.     Vide     zu- 

ETTNFTSMUSIK. 

fz.     Abbr.  of  Forzando. 


G.  Prpn.  in  G.  ga;  in  F.  and  7.  sol 
(sul  in  F.,  s6l  in  /.)•  J-  A  musical 
pitch,  a  perfect  fifth  above  C;  all 
its  octaves.  2.  The  major  key  hav- 
ing one  sharp;  the  minor  key  relative 
to  B  fiat  major.  G  clef.  The  treble 
clef. 

g.  Abbr.  for  main  gauche,  left  hand, 
or  grand  orgue,  full,  or  great-organ. 

Gabel  (ga'bSl),  G.  A  fork.  G.-ton. 
The  fork-tone,  a'  used  for  tuning. 
G.-grif'fe.  Cross-fingering.  Stinrm- 
g.  Tuning-fork.  G.-Mavier  (ga/- 
b'1-kla-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-yar'da),  /.,  Gagliarde 
(gal-var'-dS),  G.  A  galliard. 

gagliardo  (gal-yar'-do),  gagliardam  en '- 
te,  7.  Gayly. 

gaillarde  (gl-yard),  F.     i.  Merry.     2. 
A  galliard.     gaillar dement  (gl-y£rd- 
Merrily. 


606 


DICTIONARY  OF  TERMS 


gaio  (ga'I-o),  J.     Gay.  m 

gaita  (ga-e-taO,  Sp.  x.  Bagpipe.  2. 
A  flageolet,  gaitero  (ga-e*-ta'-ro). 
A  player  on  the  street-organ. 

gajo  (ga'-yo),  7.  Gay.  gajamen'te. 
Gayly. 

gala  (gala),  7.     Gala,     di  g.     Gayly. 

galamment  (gal-a-man),  F.,  galante- 
mente  (te-men-tS),  7.  Graciously. 

galant(e)  (ga-lan(t)  ),  F.,  galante  (ga- 
lan'-tS),  7.  Graceful,  gallant,  ga- 
lantemen'te,  7.  Gallantly,  galan- 
tria  (ga-lan-tre'-a),  7.  GaUantry. 

galant  (ga-lanf),  G.  Free.  G.  Stil  (or 
Schreibart).  The  free  (as  opp.  to 
the  gebundener  or  strictly  contrapun- 
tal) style  of  harpsichord  composition 
in  the  i8th  century.  Galanterien 
(ga-lan-tare'-en).  Ornaments  in  old 
harpsichord  music.  Galanteriestiick 
(ga-lan-te-rS'stuk).  A  piece  in  the 
ornamental  style. 

galHard  (gal-yard),  E.  An  old  dance 
similar  to  the  Pavan. 

gal'op,  E.  (in  F.  gal-6),  galopade  (gal- 
S-pad),  F.,  Galopp  (ga-16pO,  £•, 
galop 'po,  7.  A  hopping  round- 
dance  in  2-4  time. 

galoube  (ga-loo-ba),  galoubet  (ga-loo- 
ba'),  F.  A  small  fife  with  three 
holes  and  range  of  17  notes,  found 
in  Provence, 

Xamba  (gam'-ba),  7.,  gambe  (gamb),  F., 
Gambe  (gam '-be),  G.  i.  Leg;  hence, 
viol  di  g.  Vide  VIOLA.  2.  An  organ- 
stop  j  the  whole  family  of  stops  named 
after  stringed  instrs.  Gambenstim- 
me.  A  gamba-stop.  Gambenwerk. 
A  piano-violin.  Gambabass.  A 1 6- 
ft.  stop  on  the  pedals.  G.  major. 
A  i6-ft.  stop.  Gambette  (gam- 
beV-teO,  G.  An  octave  gamba-stop. 
Cambist'.  A  player  on  the  G. 
Gambviole  (gamp-fg-ole),  G,  Viol 
di  gamba. 

gambeta  (gam-ba'-ta),  Sp.  An  an- 
cient dance,  a  caper. 

gam/ma,  Gr.,  gamine  (g 
Greek  G.  (f5).  i.  Tt 
(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.  g.  chromatique 
(descendante,  montante).  Chro- 
matic (descending,  ascending)  scale, 
gamines  (gS.m).  Scale-exercises. 

Gamma  ut  or  F  ut,  G,  in  the  old  sol- 
misation. 

gamttt.  (From  gamma  ut.)  i.  The 
scale  of  any  key.  a.  The  staff. 


m),  F.     The 

tie  lowest  note 


3.  In  old  English  church-music,  the 
key  of  G.  gamut  G.  The  G  on  the 
first  line  of  the  bass  staff.  Guido'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  F  (gamma)  (the  lowest  tone) 
A,  B  to  G,  in  the  second  g-g;  and  in 
the  upper  sixth  gg-dd. 

ganascione  (ga-na-shQ'nS),  7.     A  lute. 

Gang  (gang),  G.  i.  Rate  oi  move- 
ment. 2.  A  passage. 

ganz  (gants),  G.  Whole,  all,  very. 
Ganzinstrumente.  Those  brass  in- 
strs. of  such  width  that  they  speak 
the  lowest  sound  natural  to  the  tube4. 
i.  e.,  they  reach  the  depth  of  an  open 
organ-pipe  of  equal  length.  Nar- 
rower instrs.  speak  only  the  octave 
above  this  natural  tone  and  are 
called  Halbinstrumente.  ganz  lang- 
sam.  Very  slowly,  ganze  Note 
(gan'tse1  no'tS).  A  whole  note. 
ganzer  Ton  (gan'-tser-tCn).  Ganz- 
ton.  A  whole  tone.  Vide  SECOND. 
ganzes  Werk.  The  full  organ. 
Ganzschluss.  Final  cadence,  ganz- 
verhallend  (ffcr-hal'lent).  Dying 
away  entirely, 

garbo  (gar '-bo),  7.  Grace,  elegance. 
garbato  (ba'-to),  gar  bat  am  en  7te» 
Graceful(ly). 

garibo  (gar-xS'-bS),  7.     Dance,  ball. 

gariglione  (gS-rel-y5yn^),  7.     Chime. 

garnir  (gS,r-ngr),  F.     To  string  a  \--'- 

garrire  (gar-rS'rS),  7.     To  chirp, 
ble. 

Gassenhauer  (gUs'-seii-how^r),  G. 
Street-song,  trash.  Gassenhauer- 
lin  (ISn).  Popular  songs  of  the  i6tb 
century. 

Gastrollen  (gllst'r5l-lSn),  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  (gosh),  F.  Left,  main  g. 
(man) .  The  left  hand. 

gaudente  (ga-oo-de'n'-te'),  gaudio'so, 
gaudentemen'te,  7.  Joyful(ly). 

Gaumenton  (gow'-mSn-tOn),  G.  Gut- 
tural tone. 

gavot',  E.,  gavot'ta,  7.,  gavotte  (ga- 
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  tie 
weak  half  of  a  measure  and  ends  on 
the  accented;  no  notes  smaller  than 
eighth  notes  occur. 


violiut. 
war- 


DICTIONARY  OF  TERMS 


607 


A  piece  with  a  brief  constant 
refrain, 

gazzarra  (gad-zar'-ra),  If  A  fete  with 
music  and  cannon- 

Gr  clef.     The  treble  dei. 

G-dur  (ga-door),  G.     G  major., 

GebUise  (gS-bla'Hzse},  £•     Bellows. 

gebrochen  (gfi-brd'-kh&a),  G.    Broken. 

gebunden  (gg-boon'd^n),  G.  i.,  Tied, 
g.  Dissonanz,  A  prepared  (and 
tied)  dissonance,  g.  Spiel.  Legato- 
playing.  gfc  StiL  Strict,  connected 
style,  a.  Vide  FRETTED. 

Geburtslied  (gg-boorts'let),  6?,  Birth- 
day-song. 

gedackt  (gSrdakt'X  gedeckt  (ge-d5kt')* 
G.  Stopped*  of  pipes.  Gedackt- 
slim  men.  Stops  with  covered  pipes. 
G.-fl<5te.  Stopped  fiutey  iin  an  organu 

gedSmpft  (gS-d&mpft),  G.  Muffled, 
muted. 

gedehnt  (ge-dSntQ,  G.  Lengthened* 
slow. 

GefShrte  (gjSrf&r'-tfi),  G..  Answer  (in 
fugue). 

Gefallea  (gg-f  align).  Pleasure,  nach 
G.  Ad  libitum. 

gefifflig  (g^-faiaikh),  G.  PleasingCLy),, 
agreeably. 

Gefiedel  (gS-f5Adel),  G.     Fiddling. 

Geffflil  fee-fill'),  G.  Feeling,  expres- 
sion, urit  G^  or  gefiihlvolL  \\lth 
feeling. 

gegen  (ga'-khSn)',  G.  Against,  con- 
trary, contrasted  with.  G.-bewe- 
gung  (be-v2Lkh*-oongk).  Contrary 
motion.  G.-fi^ge.  A  fugue  whose 
answer  is  an  inversion  of  the  subject. 
G.-gesang.  Antrphony.  G.-hall, 
G.-schall.  Resonance,  echo.  G.- 
harmonie.  Counter-subject  in  fugue. 
Gegenpunkt  (poonkt).  Counter- 
point. Gw-satz.  i.  Contrast.  2.  A 
movement.  G.-stimme.  i»  Counter- 
tenor or  alto.  2.  Counter-subject. 
3.  Any  contrapuntal  part,  g.- 
stunmig.  Dissonant.  G.-subjekt. 
Comiter-subject,  in  a  fugue. 
;it'tertes  B.  B.  cancellatum,  vide  B. 

!  (ga*-€nt),,G.     Andante. 
Brtettre  (gg-har'-la-rg),  G.     Acous- 
tics.    gehSrspielen.     To  play  by  ear. 

Geige  (gi'-khe)  (pi.  en),  G.  Violin, 
geigen  (gT'-khen).  To  play  on  the 
violin.  G.-blatt.  Finger-board  of  a 
violin.  G.-bogen  (bo'khn).  Bow. 
G.-davicymbel  or  G.-Mavier.  Bow- 
piano.  G.-futter  (foot^ter).  Case 
for  a  violin.  G.-hals.  The  neck  of 
a  violin.  G.-harz  (harts).  Resin. 
G.-holz  (h61ts),  G.  Wood  used  in 


making  violins,     G.-macher 

Sr).     A  violin-maker.     G.-principal. 

A  diapason  stop.     G.-saite.     Violin- 

string.     G.-sattel,    G.-steg    (stakh). 

Bridge   oi   a  vioiin.     G.-schule.     A 

violin    method.     G.-strich    (strlkh). 

A  stroke  of  the  bow.     G.-stSck.     A 

comp.     for     the     violin.     G.-werfc. 

x.  Piano-violin.     2.  A    4-ft.    organ- 

stop.         G*-wirbel    (vSr'-bel).         A 

violin-peg.     G.-zettel    (ts€t'-t€l). 

The    violin-maker's    label.     G.-zug. 

A    violin-stop.    Geiger    (gl'khe'r). 

VioMn-player. 

Geist  (glst)y  Gr.  Spirit,  soul,  mind, 
ius.  g^-reich  (rikh),  g.-voll  (f61). 
ritual.  Geisterharfe.  ^Eolian 

harpu.     gelstlieh.     Ecclesiastical,    sa- 

cred.    G.-gesSnge.     Psalms,  hymns. 
Geklingel  Cgfi-kling'Sl),  G.     Tinkling. 
gekneipt  (gS-tnlpt'X  G.     Pizzicato. 
gel  as  sen     (g^-la&'-senX    G.     Calm, 

quietly.         G.-heit    (hit).         Tran- 

quilMty. 
geiaufig   (g^Ii'fikh),  G.     Easy,  rapid, 

G.-keit  (kit).     Fluency,  ease. 
GoUtat  (g£-Ht),  G.     A  peal. 
geffnde,  (gS-l^'-de),  G.     Soft,   gentle. 

GeUndigkert.     Sweetness. 
getten  (gSlO^nX  G.     To  sound  loudly. 

G.-fl8te,.  G.     Clarinet. 
Ge&ttQg  (gSl'^toongk),  G.     Value,  pro- 

portion (of  a  note). 
gem£c&£ch   (gig-mgkhMlkh 

sam  (gS-^makh'zam),  G. 

calm,  flow. 


gemach- 
QuietOy), 


(gS-mallkh),  G.     GraduaUy, 

gemSssigt  (g6-m€s-sfldit),  G.  Mod- 
erato.  gemes^sen.  Measured, 
moderate. 

Gemisch  (g^rnXshO,  ^-  Mixture  (of 
stops). 

Gemshorn  (gSms'-hArn)^  G.  i.  A  pipe 
made  of  a  chamois  horn.  2.  A  stop 
with  taperaig  pipes,  2,  4,  8-ft.  on 
the  raanuals,  i6-ft.  on  the  pedals. 
G.-quinte.  A  quint-stop  of  this 
class. 

Gemut(h)  (gS-mtit),  G.  Mind,  soul. 
gemiitiich  (likh).  Expressive. 

genera,  plural  of  genus  (q.v.). 

general  (g5-n€-ra!0,  G.  General.  G,* 
bass  (ga-nS-ral'-bas).  Thorough- 
bass. G.-b.-schrift.  Thorough-bas^ 
notation.  G.-pause  (pow-ze).  A 
rest  or  pause  for  all  the  instrs.  G.- 
probe.  A  general  rehearsal. 

gen'erator,  .E.,  g6n€ratettr  (zha-na-ra- 
tiir),  F.  Root,  fundamental. 

genere  (j$,'-n&-T€)9  J.  i.  A  mode  or 
key.  2.  A  genus. 


608 


DICTIONARY  OF  TERMS 


genero'so  G^-nS-rS'so),  /•     Noble,  dig- 
nified. 

genial'ia,  L.     Cymbals. 
genie  (zha-ne),  F.,  Genie  (ga'-n5),  G., 
genio  (ja'-ni-6),  7.     Genius,  talent, 
spirit. 

genouillere    (zhtin-wl-yar),    F.     Knee- 
lever. 

genre    (zhanr),    F.     i.  Style,     g.    ex- 
pressif.     The    expressive    style.     2. 
Genus,   as  g.   chromatique,   g.   dia- 
tonique,  g.  enharmonique. 
gentil(le)  (zhan-te(l)  ),  F.,  gentile  (j£n- 
te'-lS),  /.     Graceful,  elegant,     genti- 
lezza    (ISd'-za),    I.     Refinement    of 
style,     gentilmen'te.     Gracefully. 
ge'nus,  pi.  genera,  L.     i.  Greek  classi- 
fication of  tetrachords.     Vide  MODES. 
2.  A   scale  or   mode.     3.   Class,     g. 
inflatile.     Wind  instrs.     g.  percussi- 
bile.     Instrs.  of  percussion,     g.  ten- 
sile*    Stringed  instruments. 
gerade   (gS-ra'-d£),  G.     Straight,   reg- 
ular.    G.-bewegting  (be-va'khoong). 
Similar   motion.     G.-taktart   or  ge- 
rader  Takt.     Common  time. 
German.    Vide  FINGERING,  PLUTE.  G. 
pedals.     Pedal  key-board.     G.  scale. 
A,   H,   C,   D,   E,   F,    G.     (Vide  H.) 
G.    sixth.     Vide    ALTERED  CHORDS. 
G.  soprano  clef.     Vide  CLEF. 
Ges  fee's),  G.     The  note  G  flat.     Geses 

(gSs'-gs).     G  double  flat. 
Gesang       (gg-zangO,      pi.       GesSnge 
(zSng'S),  G.     Song,  melody,  air.     G.- 
buch    (bookh).       Song-book.       G.- 
kunst.     Art  of  song.     G.-(s)m&ssig 
(mSs-slkh).     Adapted    for    or    con- 
genial    to     the     voice.     G.-sgruppe 
(groop-pe).     Song-group;  the  second 
subject  of  a  sonata  formula,  which 
should    be    lyrical    in    nature,     g.- 
sweise  (vi-ze).     In  the  style  of  song. 
G.-verein  (fSr-m).     A  choral  society. 
Geschlecht  (gS-shlgkhf),  G.     Genus. 
geschleift  (gS-shlift7)-  G.     Slurred,  le- 
gato. 
Geschmack     (g£-shraak),     G.     Taste. 

g.-voU.     Tasteful. 
geschwSnzte  Noten  (gg-shvSnts'tS  no'- 

t^n),  G.     Notes  with  tails. 
geschwind     (g£-shvlnt'),     G.      Quick, 
rapid.     G.-igkeit     (kit).     Rapidity. 
Geschwindmarsch.     A  quick-step, 
Ges-dur  (g6s-door),  Gb  Major.    Geses 

(gSs-e-s),  G.     G  double  flat. 
Gesicht    (ge-zlkht7),    G.     Face,    front 
(of  an  organ).     G.-spfeifen.     Front 
pipes. 

Gesinge   (gS-sing'S),  G.     Bad  singing, 
sing-song. 


gesponnen  (gS-shp6n'-nSn),  G.  Spun, 
gesponnene  saite.  Covered  string, 
gesponnener  Ton.  A  tone  drawn 
out  to  a  mere  thread. 

gesteigert  (gS-shtl'-kh&rtX  G.  Cre- 
scendo. 

gestossen  (gS-shtds'sSn),  G.  Sepa- 
rated, detached. 

gestrichen  (gg-strlkh'gn).  G.  i.  Hav- 
ing hooks  (as  notes).  2.  Having 
lines  or  accents.  Oktave,  one-lined 
octave.  Vide  PITCH.  3,  Crossed,  as 
a  numeral,  raising  the  interval  a 
half-tone.  Vide  CHORD.  4.  Cut,  as 
a  movement  or  scene. 

get'ern,  get'ron.     The  cittern. 

get(h)eilt  (gfi-tllt'),  G.  Divided.  Vide 
DIVISI.  g.  StimTnen.  Partial  stops. 

GetSn  (gS-tan),  G.     Clamour. 

getragen  (gS-tra'kh^n),  G.     Sustained. 

getrpst  (g^-tr6stO,  G.     Confident. 

gewichtig  (ge-vlkh'-t3fkh),  G.     Heavy. 

gewidmet  (gS-vet'-mSt,  G.     Dedicated. 

Gewirbel  (g6-vgr7bel),  G.  Roll  of 
drums. 

gewiss  (gS-vXs'),  G.  Firm,  sure.  G.- 
heit  (hit).  Firmness. 

geworfener  Strich  (gS-vdrf'-Sn-er 
strfkh),  G.  A  springing  bow-stroke. 
Vide  BOW. 

geziert  (gg-tsertO,  G.     Affected,  prim. 

geyta'rah.     Eastern  guitar. 

ghazer,  Arab.  A  piece  with  simple 
recurrent  theme. 

ghiribizzi  (ge-rl-bgd'-zX),  /.  Unex- 
pected intervals,  fantastic  passages. 
ghiribizzo  'so.  Fantastic. 

ghironda  (gg-ron'-da),  I.  Hurdy- 
gurdy. 

ghit'tern.     Old  name  for  cittern. 


Old 
gighardo  (jg-gar'-do), 

/.     A  jig. 

gigelira  (je-gS-li'ra),  /.     Xylophone, 
ginglarus,   ging'ras,   or  gingri'na.     A 

small  Phoenician  flute. 
gioco  (jo'-ko),  /.     A  joke,  merriment. 

giocoso,  giocosamen'te.     Jocose (ly). 

giochevole    O^-kaVo-lS).    Merry. 

giocolarmen'te.     Merrily. 
giocondo  (js-k6n'-do),  f^iocondanien'te, 

/.     Cheerful(ly). 
gioja  (jo'-ya),  7.     Joy.     giojan'te,  gio- 

jo'so,  giojosamen'te.     Joyful(ly). 
gioviale    (jo-vl-aa€),    /.     Jovial,     gio- 

vialita  (I-ta).     Gayety. 
giraffe  (jl-raf ').     An  upright  spinet, 
giro  (je'-ro),  /.     A  turn. 


DICTIONARY  OF  TERMS 


609 


Gis  (ggs),  G.  G  sharp.  Gisis  (g€s-5s). 
G  double  sharp.  Gis-moll,  G-sharp 
minor. 

gitana  (he-ta'-na),  Sp.     A  gipsy. 

gittana  G*t-ta'-na),  /.  A  Spanish 
dance. 

git 'tern,  git'teron,  git 'iron.     Cittern. 

gitteth  (jlt'tSth),  Heb.  An  instr.  of 
the  harp  kind. 

giubilazione  (joo-bl-la-tsl-o'ne*),  giu- 
bilio  G*oo-bHe'-6),  giubilo  (joo'M-15), 
J.  Jubilation,  giubbilo'so.  Jubi- 
lant. 

giucante  (joo-kSn'-te*),  giuchevole  (joo- 
kH'-vo-le'),  I,  Merry,  joyful. 

giulivo  Goo-le'v5),  giulivamen'te,  /. 
Joyful  (ly). 

giuoco  (joo-6'ko),  7.  i.  A  joke,  sport. 
2.  A  stop,  giuoco 'so,  giuocan'te. 
Playful. 

giusto  (j°os/t°)>  !•  Exact,  precise, 
proper,  tempo  g.  Strict  time,  alle- 
gro g-  Rather  fast,  giustamen'te. 
Strictly. 

given  bass.     A  figured  bass. 

glais  (glS),  F.  The  passing-bell,  g. 
funebre.  A  knell. 

glSnzend  (glen'-tsSnt),  G.     Brilliant. 

glapissant  (gia-pls-san),  F.     ShrUl. 

Glas'harmonika,  G.     Vide  HARMONICA. 

glasses,  musical.  Goblets  tuned  by 
partial  filling  with  water  and  played 
by  rubbing  their  edges  evenly  with  a 
wet  finger. 

glatt  (glat),  G.  Smooth,  even.  Giatte 
(glSt 'tg) .  Smoothness. 

glee.  An  unaccompanied  secular  comp. 
for  three  or  more  voices;  its  mood 
may  be  grave  or  gay,  its  counterpoint 
is  not  usually  elaborate. 

gleich  (glikh),  G.  Equal,  alike  conso- 
nant, gleichef  IClang.  Consonance, 
unison,  gleicher  Kontrapunkt. 
Equal  cpt.  gleichschwebende  Tem- 
peratur  (shva'-bSn-dS).  Equal  tem- 
perament, gleiche  Stimmen.  Voices 
of  the  same  sort,  as  male,  gleich- 
stimmig  (shtfrn-mlkh).  Harmoni- 
ous. 

gleiten  (gll'tSn),  G.  To  glide  the  fin- 
gers. 

gli  (le),  /-     PI-     The. 

fclicibarifona  (gle-ch5-ba-r*-fQ'-na),  /. 
A  wind-instr.  inv.  by  Catterini,  1827; 
a  small  expressive  organ. 

glide.     Portamento;  glissando. 

GUed  (gist),  G.     Link. 

glissade  (glls-s&d),  F.,  gkssan'do, 
gUssato  (glls-sa'to),  glissican'do,  glis- 
sicato  (ka'to),  /.,  gHssement  (glSs- 
manX  F.  GHding,  i.  e.,  bv  sliding 


the  finger  quickly  along  the  keys  or 
the  strings;  in  piano-playing  it  is 
done  with  the  finger-nail  usually. 
glisser  (glls-sa),  F.}  glitschen  (gltt/- 
shgn),  G.  i.  To  glide.  2.  An  em- 
bellishment executed  by  glissando. 
glissez  la  pouce  (gHs-sa  la-poos),  F. 
Slide  the  thumb. 

Glocke  (g!6k'£),  G.  A  bell.  Glocken- 
geiaute  (gl6'k€n-gS-li-t6).  The  ring- 
ing or  chiming  of  bells.  Glock'enist, 
Bell-ringer.  G.-klang.  The  sound 
of  bells.  G.-spiel.  i.  Chimes.  2. 
A  stop  imitating  bells,  or  causing 
them  to  tinkle.  3.  An  orchestral 
instr.  of  bells  or  tuned  steel  rods 
struck  with  a  hammer.  Glockchen 
(glSk'khSn),  A  little  bell.  glSck- 
eln  (glSk'-Sln).  To  ring  little  bells. 
Glockner  (gldk'ner).  Bell-ringer. 
Glockleinton  (gldk'-lln-t5n).  An 
organ-stop  of  very  small  scale  and 
wide  measure. 

Glo'ria  or  Gloria  in  excel'sis  Deo,  L. 
"  Glory  to  God  in  the  highest."  Vide 
MASS  and  DOXOLOGY. 

Glo'ria  Pa'tri,  L.  "Glory  to  the 
Father."  Vide  DOXOLOGY* 

glotte  (g!6t),  F.  The  glottis,  coup  de 
g.  (koo  dti).  A  short  snappy  attack 
sought  by  some  vocal  teachers,  but 
generally  believed  to  be  pernicious. 

glottis  (glat'tis).  i.  The  upper  part 
of  the  wind-pip0,  an  aperture  in  the 
larynx  controlling  vocal  production. 
2.  A  reed  used  by  ancient  "flutists. 

gluhend  (glu'Snt).  G.     Ardent,  glowing. 

G-moll  (ga-m61).     G  minor. 

gnaccare  (nak-ka'-ra),  /.     Castanets. 

gnacchera  (nak-ka'ra),  /.  A  tambou- 
rine, kettle-drum. 

gnomo  (no '-mo).  In  neumatic  nota- 
tion, a  long  bar  used  to  indicate  a 
sustained  note. 

goathorn.     Vide  GEMSHORN, 

gola  (g6la),  /.  i-  Throat.  2.  A  gut- 
tural voice. 

goll  trompo.  Trumpet  used  by  Danes, 
Normans,  etc, 

Gondellied  (gdn'dSl-let),  G.,  gondo- 
liera  (gdn-dol-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  positions. 


DICTIONARY  OF  TERMS 


gong.  A  Chinese  instr.,  a  circular 
plate  of  metal  struck  with  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-g6d-ja'-r£),  /.  To 
trill,  shake,  gorgheggiamen'to 
Trilling;  the  art  of  florid  song.  *goT- 
.gheggio  (g£d'j5).  A  trill,  a  shake, 
gorgheggi.  Rapid  vocalises. 

gos'ba.     An  Arabian  flute. 

gospel  side.     Vide  -EPISTLE  SIDE. 

go'to-.     Japanese  dudcimer.. 

Gottesdienst  (g6t't£s-denst),  £.  .Di- 
vine ,-sservioe. 

gmrt  (goo),  F.     Taste,  .Judgment. 

governing  key.     Principal  <key. 

IxecL  (let). 'Or.    -.iJtirge. 

grace.    .See  aartfcle,  page  737. 

Grad'^grat),  G.     Step,  degree. 

gradare  (da/re),  7.  To  descend  by  De- 
grees. 

grada'tioxL.  A  -series  of  -diatonic  chords 
ascending  or  descending. 

gradation  (gra-d£s-y£n),  'F.,  gradazlone 
/gr^-da-ts'I-5/inS),  tZ".  A  gradual  in- 
1 -rease  or  diminution  -of  speed  or 
volume. 

^radevole  (gra-dS/-vo-le'X  .gradevole- 
xnen'te,  /.  Graceful  (ly).  gradita- 
men'te,,  graditis  'simo.  Very  sweetly. 

gradke  K-grfi-.dS'-rfe"),  /.  To  ascend  by 
xiegrees. 

Gradleiter  (gralt'-li-lrSr),  G.     A  scale. 

grade  (gr£'-*10),  I.  A  degree,  single 
step.  g.  ascendente  (or  descen- 
dant e).  Ascending  (or  descending) 
degree,  di  grado.  Moving  ^>y  step, 
opposed  to  di  salto,  moving  by  sHp. 

gradual,  £.,  graduale,  L.  -i.  Part  of 
the  R.  "C.  'service  sung  between  the 
Epistle  and  Gospel,  anciently  sung  on 
the  altar-steps.  2.  A  book  contain- 
ing 4xhe  gradual  and  'other  -an'tiphons. 
The  Roman  G  or  Graduale  Roma- 
num. ,  A  celebrated  ancieBft  vdlmme 
of  ritual  music  of  the  i6th  'century. 
3.  gradual  modulation.  That  'in 
which  the  principal  modulating  chord 
is  reached  by  others. 

gradualmen'te,  graduatamezf'te,  I., 
graduellement  (grad-1i-Sl-man),  !F. 
By  degrees. 

graduare  (gra-doo-a7r^),  /.  To  divide 
into  degrees,  gradtiazione,  /.  Vide 
GRADAZIONE.  gradweise  (grat-vi- 
ze),  G.  Gradually,  by  degrees. 

gra/dus  ad  Parna&'sum,  L.  "The ^roacd 
to  Parnassus."  Name  applied  ^by 


Fux  to  his  text-book  »in  counterpoint; 
by  dementi  to  his  bonk  -of  Studes; 
hence,  any  text-book. 

graha  (gra'-ha),  Hindu.  The  opemng 
tone  of  a  song. 

grail  (gral).  Early  E.  The  Roman 
gradual. 

graillement  (grS-yii-mlin) ,  F.  A  hoarse 
sound. 

grammar.     Rules  of  composition. 

grammatical  accent.     Vide  ACCENT. 

gramophone.  See  phonograph  music, 
page  794. 

gran  (gr&n),  /.  Great,  grand.  £.  icassa 
or  tambtaro.  The  grfeat,  jor  tess- 
drum.  g,  prova.  Final  rehearsal. 

grand.  Abbr.  of  Grand  fiiano.  Vide 
a$MNO.  g.  action.  The  -acJtion  *of  u 
graaid  piano,  grand  opera.  Serious 
opera  in  which  there  is  no  <spfldken 
'diaitogue.  g.  stave.  Vifte  saso*» 
g*  «bofo  Union  of  afla  Jthe  r  eednftops. 
g.  tornfet.  i6-$t.  reB&-Step.  .g.  <so- 
nata.  An  extended  sonata. 

grand(e)  (grt6('d5  ),  #.,  grange  Cgito1^ 
dS),  f.    -Grand,  great,     g.  barre, 
Vide  BAKR£.     g.  bottrdon.     A 
stop     cm.     the    ^yedal.     g. 
(shairtr).       Porecent&r.       f 
(kiir).     FuU    organ,    aU  'the   stops, 
g.  Jorgue  (gran-dorg).     T.  ^Gre&t  t3*- 
gan.    Q..  Full  organ,    g.  jeu.    i. 
organ.     2.  A  stop  !b ringing   aQi 
stops   of  an  harmonium 

f.  messe.  High  Mass.  g.  mesmre 
deux  tempg.  Duple  »fime.  /g. 
orchestre  (gran-d6r-kfetri).  ^ull^Di?- 
ch'estra. 

grandeur  (gran-d£Lr),,  F.  i.  :Grande«r. 
2.  Width  (of 'intervals). 

grandezza  (gran-ded'-za),  I.  Gran- 
deur. 

grandio'so,  J.  Noble,  grandison- 
an'te.  Sonorous. 

grandsire.     Changes  on  5  ^bdls.     Vi&e 

DOUBLE  (4). 

granidato  (gra-noo-la'-to),  •/.  Sligh^y 
-staccato. 

grappa  (grap'pa),  /.     Brace. 

grasseyer  '(grSs-sii-ya:),  F.  Xo  'pro- 
nounce the  r  or  I  thickly;  hcSioe, 
grasseyement  (gras-ytt-man),  such 
pronunciation. 

Gra'fias  ag'imtis,  L.  "We  give  thanks 
to  Thee."  Vide  MASS. 

gratioso  (gra-tsi-o'so),  I.     Gracious. 

grave  (gra'vS  in  I/;  in  F.  gf&v). 
i.  Grave,  deep,  slow.  2.  A  stew 
movement,  grave  harmonics. 
Combinational  tones,  gr  a v  em  ent 
(gr&v-man),  F.  gravemente 


DICTIONARY  OF  TERMS 


611 


gravicembalo  , 

gravicem'bolo,  /.,  gravecem'baltim, 
.L.  Harpsichord. 

gra'vis,    £.     Heaw.     Vide   ACCENTUS 

ECCLESIASTICI. 

gravisonan'te,  /.     Loud-sounding. 

gravita  (gra-vl-ta')>  /.,  Gravitat  (grS- 
fg-tat/),  G.,  gravitg  (gr^-vjr-ta),  F. 
i.  Solemnity.  2.  Relative  depth  of 
a  tone. 

grayle  (gral).  Early  E.  The  "Ro- 
man gradual." 

grazia  (grats'-ya),  /.,  grazie  (grats-ya), 
G.  Grace,  elegance,  grazios  (gra- 
tsl-as),  G.,  grazio'so,  7.  Graceful, 
graziosamen'te.  Gracefully. 

greater.  Major  (of  a  scale,  sixth,  or 
third). 

great  octave.  Vide  PITCH,  great  or- 
gan. Vide  ORGAN,  great  sixth.  A 
6-5  chord  with  perfect  sth  and  major 
6th. 

grec  (grSk),  F.  Greek.  Chorus  d  la 
G.  A  chorus  at  the  end  of  an  act,  as 
in  Greek  tragedy. 

Greek  Modes  and  Music.  See  page  762. 

Grego'rian,  gregorianisch  (gr£-go-rl- 
an'-feh),  G.,  grSgori'ano  (gra-go-r*- 
2/no),  /.,  grSgorien  (gra-gS-ri-an),  F. 
Introduced  or  regulated  by  Pope 
Gregory  I.  in  the  sixth  century  (vide 
his  name  in  the  B.  D.).  Chiefly 
used  as  a  synonym  for  plain-chant. 
Geyaert  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  metre;  and 
keeping  to  the  Church  modes.  Of 
Gregorian  chant,  modes,  tones,  etc. 
Vide"  PLAIN-CHANT,  and  MODES. 

greifen  (gri'-fSn),  G.  To  take,  to  fin- 
ger, to  play;  to  stop  (of  violin- 
playing);  to  stretch. 

grel  (grel),  G.  Shrill.  G.-heit  (hit). 
Sharpness. 

grelot  (gru-16),  F.     A  small  bell. 

Griff  (grif),  G.  Touch,  manipulation, 
fingering,  stretch.  G.-brett.  Finger- 
board. G.-loch  (l£kh).  Hole  (as 
of  a  flute).  G.-saite  (zl-te).  A 


stopped,  or  melody,  string  as  opposed 
to  a  sympathetic  string. 

grillig  (grfl'-llkh),  G.     Capricious. 

gringotter  (gran-g6-ta),  F.     To  hum. 

grisoller  (gre-s6-la),  F.     To  warble. 

grob  (gr6p),  G.  Coarse,  deep,  broad 
As  a  prefix  (of  organ-pipes) ;  "of  broad 
scale."  G.-gedackt.  A  stopped 
diapason  of  full,  rough  tone, 

grop7po,  groppet'to.     Vide  GROTPO, 

GRTOPETTO. 

Great,     g.    tambour. 


The  old  square  nota- 


gros    (gro),    F. 
Great  drum. 

gros-fa  (gr5-fa). 
tion. 

gross  (grds),  G.,  grosse  (gr6s),  F. 
Great,  major,  grosse  caisse  (gr6s 
kes),  F.  The  great  drum.  Grosse- 
nazard,  G.  A  stop  a  fifth  above 
the  diapasons,  grosse  Oktave.  The 
great  octave.  Vide  PITCH,  grosse 
Quinte,  grosses  Quintenbass.  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,  grosse  Tierce.  Stop  pro- 
ducing the  third  or  tenth  above  the 
foundation-stops,  grosse  Trommel. 
The  great  drum,  grossgedackt  (ge*- 
dakt).  Double-stopped  i6-ft.  dia- 
pason. 

grosso  (grds'-sO),  /.    Full,  great,  grand. 

Grossvatertanz  (grds'fa-tSr-tants),  G. 
"Grandfather's  dance";  an  old- 
fashioned  dance. 

grottes'co,  I.     Grotesque. 

ground  bass.     Vide  BASS  (8). 

group,  i.  A  series  of  short  notes  tied, 
or  sung  to  one  syllable.  2.  A  divi- 
sion or  run.  3.  A  set  of  instruments, 
as  the  brass.  4.  The  arrangement  of 
parts  in  score. 

Grund  (groont),  G.  Ground,  founda- 
tion. G.-akkord.  An  uninverted 
chord.  G.-bass.  Fundamental  bass. 
G .  - 1  a  g  e .  Fundamental  position. 
G.-ton.  Root;  tonic.  Fundamen- 
tal of  a  compound  tone. 
The  prevailing  key. 
The  bass  part. 

gruppo   (groop'po),   J.     A 


G.-tonart. 
G.-sttnune. 


group,  for- 
grup- 
2.  A 


..       ^'oopF 

merly  a  trill,  shake,  or  turn. 
pet'to.     i.  A     small     group, 
turn. 

G-Schliissel  (ga'-shlus-sel),  G.  The 
G  clef.  Vide  CXEF. 

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- 


612 


DICTIONARY  OF  TERMS 


A  small 


guaranita  (gwS-rS-ne'-ta1),  Sp. 
guitar. 

Guarnerius.     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-Sr-rl-a'-rS),  7.  Mar- 
tial. 

guet  (g£),  F.     A  trumpet  flourish. 

guia  (gS'-£),  Sp.  Fugue;  conductor; 
leader. 

guida  (goo-e'-da),  /.  (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  (man).  A  chiroplast,  inv.  t>y 
Kalkbrenner. 

guidon  (g5-d6n),  F.     A  direct- 

Guido  nian.  Relating  to  Guido 
d'Arezzo.  (Vide  B.  D.)  G.  hand. 
A  diagram  on  an  outstretched  left 
hand  of  the  Aretenian  syllables. 
Vide  SOLMISATION. 

guil'tern  (gn'-tern).     Cither. 

guimbard,  guimbarde  (g&n-b£r(d)  ),  F. 
A  Jew's  harp. 

guion  (ge'on),  Sp.     A  repeat  sign. 

guitar,  E.,  guitar e  (gl-tar),  P.,  guitarra 
(g5-t£r'ra),  Sp.,  Guitarre  (gl-t&r'rS). 
G.  A  modern  form  of  the  lute,  long- 
necked  with  frets;  six-stringed;  com- 
pass E-a"  (plus  an  octave  of  har- 
monics). The  accordature  is  E-A- 
d-g-b-e'  (or  E-B-e-g-b-e')-  Its  music 
is  written  an  octave  higher  than  it 
sounds,  g.  d'amoux.  Vide  AEJPEG- 
GIONE.  g.  lyre.  A  French  six- 
stringed  instr.  of  lyre-shape. 

guiterne  (gg-t&rn),  F.     Ancient  guitar. 

gu'nibry.     A  2-stringed  guitar. 

Gunst  (goonst),  G.     Grace,  tenderness. 

guracho  (goo-r£'-ch6),  Sp.  Vide  GTJA- 
RACHA. 

gusla  (goosh'-la).  Servian  i-stringed 
instr.  with  skin  sound-board. 

gusli,  gussel.     A  Russian  zither. 

gusto  (goos-to),  7.  Taste,  expression. 
gran  g.  The  grand  manner,  gus- 
to so  (goos-to 'so),  gustos  am  ente 
Tastefully). 

G-ut.     Vide  GAMMA  TIT. 

gut.     Strings  made  of  entrails  of  sheep. 

gut  (goot).  G.  Good,  gutdiinken 
fdtink'Sn).  At  pleasure,  guter  Tak- 
teil.  Strong  beat. 


gutturale  (goot-too-ralS),  guttural- 
men 'te,  /.  Gutteral(ly). 

gyta'rah.  Nubian  guitar,  g.  bar- 
barych.  The  Berber  guitar. 


H  (In  G.  pron.  ha).  German  name  for 
JB-natural;  B  being  reserved  for  B 
flat. 

h.     Abbr.  for  horn,  heel.  hand. 

Habanera  (a-ba-na'-ra),  Sp.  A  dance 
popular  in  Havana;  it  is  in  2-4  time 
with  the  first  eighth  note  dotted; 
syncopation  and  caprice  play  a  large 
part.  Vide  DANCE-RHYTHMS. 

Haberrohr  (ha'-b£r-tor),  G.  Shep- 
herd's flute. 

Hackbrett  (hak'-brSt),  G.     Dulcimer. 

halb  (halp),  G.  Half,  lesser,  halbe 
Applikatur.  Half-shift.  Halb-bass, 
-cello,  or  violine.  A  small  double- 
bass,  'cello  or  violin.  H.-violon.  A 
small  double-bass,  halbgedackt  (gg- 
dakt).  Half  covered  (of  stops), 
H.-instrumente.  Vide  GANZINSTKU- 
MENTE.  H.-kadenz  or  -schluss. 
Half-cadence.  H.-mond.  Crescent. 
H.-note.  Half -note,  or  H.-taktnote. 
Hand-note;  in  horn-playing,  a  stopped 
note,  H.-orgel,  or  -werk.  An  or- 
gan with  no  stops  lower  than  8-fl 
pitch.  H.-prinzipal.  An  obsolete 
4-ft.  stop.  H.-rudenhorn.  Vide 
HIEFHORN.  h.-stark.  Mezzoforte 
H.-stimme.  A  half  or  partial  stop. 
H.-ton,  or  halber  Ton.  Semitone 
half-cadence  or  half-close.  Vide 
CADENCE.  half -note.  A  minim, 
half-note  rest.  A  pause  equal  to  a 
half -note,  half-shift.  Vide  SHIFT 
half -step.  The  smallest  interval 
used,  half-stop.  Vide  STOP. 

hal'iL     Vide  KHALIL. 

Hall  (hal),  G.  Sound,  clang,  hallen 
(haTlfin).  To  sound,  to  clang. 
Hall-drommete  (dr6m-ma-te)  or 
-trompete.  A  powerful  trumpet. 

hallelujah  (hal-le-loo'ya),  Heb.  Al- 
leluia. 

hailing.     Norwegian  country-da'hce. 

Halmpfeife  (pfl'fe),  G.  Shepherd's 
pipe. 

Hals  (hals),  G.  i.  Neck  (of  a  violin, 
et'-.)-  2.  Throat.  3.  Stem. 

Halt  (halt),  G.     A  pause,  a  hold. 

Hammer  (pron.  in  G  Mrn'mer).  T 
That  part  of  the  mechanism  of  a 
piano  which  strikes  the  strings  and 
produces  the  tone.  2.  Mallet  for 
playing  the  dulcimer.  3,  The  striker 


DICTIONARY  OF  TERMS 


613 


of  a  bell,  timing  h.  An  instr.  for 
tightening  the  pegs  of  a  piano  or 
harp.  Hammerklavier  (kla-fSrO,  G. 
The  modern  piano. 

hanacca  (ha-nak'-ka),  I.,  hanaise 
(a-nez),  F.,  Hanakisch  (ha-na'-klsh), 
G.  A  rapid  polonaise-like  Moravian 
dance  in  3-4  time. 

Hand,  harmonic.  Vide  GTJIDONIAN. 
hand-guide.  Chiroplast.  h..-har- 
monic.  Accordeon.  h.-horn.  One 
without  valves  or  pistons.  h.-organ. 
A  portable  barrel  organ  (q.v.).  n.- 
note.  In  horn-playing,  a  stopped  note. 

Hand  (hant),  pi.  Hande  (hent'e*),  G. 
Hand.  H.-bassl.  An  obsolete  instr. 
between  viola  and  'cello.  H.-bildner 
(or  -letter).  A  chiroplast.  H.-lage. 
Position  of  the  hand.  H,-stiicke. 
Finger-exercises.  H. -trommel. 
Tambourine. 

handle-piano.     Vide  BARREL  ORGAN  2. 

Harfe  (har'-fe1),  G.  A  harp.  Harfen 
bass  (har'f  en-bass).  A  bass  of 
broken  chords.  Harfensaite.  Harp- 
string.  Harfenspieler.  Harpist. 
Harf enett.  Vide  SPITZHARPE.  Har- 
f eninstrumente.  Instrs.  whose 
strings  are  plucked.  H--laute,  Vide 
DITAL. 

Harke  (har'-ke),  G.  Fork  for  ruling 
staves. 

Harmo'nia,  L.  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 
melody)  and  to  the  theory  of  music. 
h.  chord.  A  generator  and  its  har- 
monics. (Vide  below.)  h.  curve. 
The  figure  described  by  a  string 
in  vibration,  h.  figuration.  Broken 
chords,  often  with  passing  notes. 
h.  hand.  Vide  GUTDONTAN.  h.  mark. 
A  small  circle  over  a  note  to  be 
played  as  an  harmonic,  h.  note, 
tone,  vide  the  noun  HARMONIC,  h. 
scale.  The  series  of  partials  (vide 
ACOUSTICS,  page  718).  h-  stop.  A 
flute  or  reed  stop  having  its  pipes 
pierced  midway,  so  that  the  har- 
monics predominate  over  the  funda- 
mental tone,  hence  h.  flute  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,  sd,  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  i2th,  i5th 
or  i  yth,  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- 
ural; from  a  stopped  string,  artificial. 
Harmonics  are  called  for  by  the  word 
flageolet  or  its  abbr.  fl.-9  or  the  words 
flawtando,  flattiato,  or  fltite,  or  by  a 
small  circle  (o)  called  the  harmonic- 
mark  over  the  note  to  be  touched, 
or  by  writing  a  black  note  indicating 
the  open  string,  a  diamond-headed 
note  above  it  showing  where  the 
string  is  to  be  touched,  and  a  small 
note  above  to  indicate  the  actual 
sound.  Grave  Harmonics.  Com- 
binational tones.  "Properly  speak- 
ing, 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. 

(See  article  Harmonic  Warnings  For 
Composers,  page  748.) 

Harmonica,  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  armonica, 
2.  The  mouth-harmonica  or  har- 
monicon  is  a  reed  mouth-instr.  pro- 
ducing different  tones  when  the 
breath  is  inJialed  and  exhaled.  3.  A 
delicate  stop.  Harmonica-atherisch. 
(a'-tSr-Ish),  G.  A  delicate  mixture- 
stop,  narmonichord.  Vide  PIANO- 
VIOLIN. 

harmonicello  (cheT-lo).  A  'cello-like 
instr.  with  15  strings  (5  of  them  wire) 
inv.  by  J.  K.  Bischoff,  Niirnberg, 
1 8th  century. 

harmonici.    Vide  CANONICI. 

harmon'icon.  i.  yide  HARMONICA. 
2.  A  keyed  harmonica  with  flue-stop, 
inv.  by  W.  C.  Muller.  3-  An  or- 
chestrion. 

harmoni-cor,  F.  A  wind-instr.  with 
harmonium-like  reeds  in  a  clarinet- 
like  tube.  inv.  by  Jaulin,  Paris. 


614 


DICTIONARY  OF  TERMS 


harmo'nicum.  An  improved  bando- 
nion;  virtually  an  accordeon  worked 
with  treadles,  inv.  by  Brendl  and 
KLosser,  Saxony,  1893. 

Hannonie  (har-mo-ne'X  G.  i.  Har- 
mony. 2.  A  chord.  3.  (a)  The 
wind-instruments  collectively,  or  (b) 
music  for  them,  h.-eigen,  Chordal; 
appropriate  or  native  to  the  har- 
mony; opposed  to  h.-fremd,  foreign. 
H.-lehre  (la-rS).  Theory  of  music. 
H.-musik.  Vide  HARMONTE  3.  H.- 
trompete.  A  trumpet  employing 
stopped  tones  with  success.  H.- 
verstandiger  (f&r-shtSn'-dikh'-r),  A 
harmonist,  harmoniren  (har-mo- 
ne'-rSn).  To  harmonise,  harmo'- 
nisch.  Harmonious. 

harmonist.  One  versed  in  the  laws 
of  music. 

harmonic  (Sr-mo-ne),  F.  i.  Har- 
mony. 2.  Harmonics,  hannonieux 
(ar-mon-yii').  Harmonious.  har- 
monieusement  (yuz-man).  Har- 
moniously. 

Harmo'nika,  G.  i.  Accordeon.  2. 
Concertina.  H.-tone,  Vide  HAR- 
MONICS. 

Harmo'niker,  G.     Harmonici. 

harmoniphon.  An  instr.  with  key- 
board, inv.  1837,  by  Panis,  of  Paris, 
to  supply  the  place  of  oboes  in  or- 
chestras. The  sounds  are  produced 
from  reeds  acted  upon  by  currents  of 
air. 

harmonique  (&r-m5-nSk),  F.  Har- 
monic, applied  to  pipes  of  double 
length. 

harmoniquement  (&r-mo^n5k-in£n),  F. 
Harmonically. 

harmo'nium.     Vide  REED-ORGAN. 

har'monise.  To  combine  two  or  more 
parts  in  accordance  with  the  laws  of 
music;  to  add  accompanying  chords 
to  a  melody. 

harmonom'eter.     A  monochord. 

harmony,  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  ex- 
tended h.  compound  h.  That  in 
which  some  of  the  tones  are  doubled; 
opposed  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  or  more  notes  are 
suspended,  pure  h.  (as  of  a  string- 
quintet).  Opposed  to  tempered  h., 
as  of  a  piano.  Vide  TEMPERAMENT. 
strict  h.  That  which  is  rigidly 
obedient  to  the  rules;  opposed  to 
free  h.  Two-part  (etc.)  h.  That 
in  which  two  (or  more)  parts  appear. 
(See  articles  Harmony  In  Practice, 
page  744>  and  Modern  Harmony,  page 
758.) 

harp,  E.r  harpe  (arp),  F,  A  stringed 
triangular  instr.  of  great  antiquity 
and  variety.  The  gut-strings  which 
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  modern  harp  in 
fairly  quick  succession,  by  the  mani- 
pulation of  seven  pedals  each  raising 
a  string  and  all  its  octaves  a  half 
or  a  whole  tone.  Thus  by  sharpen- 
ing or  flattening  the  proper  tones, 
any  key  may  be  obtained*  The 
natural  scale  is  O,  and  the  more 
sharps  in  the  key  the  less  the  sonor- 
ity; double  flats  and  sharps  are  im- 
possible, and  remote  modulation 
difficult.  There  are  46  (or  47) 
strings,  compass  C'  flat-f '  '  '  '  (or 
g' '  '  '  flat),  double  h.  One  with 
2  rows  of  differently  tuned  strings, 
triple  lu  (such  as  the  Welsh).  One 
with  3  rows.  ^Bolian  h.,  h.  £olienne. 
Vide  JEOLIAN.  couched  h.  The 
spinet,  pointed  h.  Vide  SPITZ- 
HARFE.  chromatic  h.  Inv.  by 
Pf ranger;  it  has,  however,  too  many 
strings.  Jew's  harp*  A  small  instr. 
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.  instruments.  Those 
whose  strings  are  not  bowed. 

harpechorde  (krp-k6rd),  F.,  harpicordo 
(ar-pl-k6r'-do),  /.  Thejbarpsichord. 

harpeggiren  (har-pSd-je'rSn),  G.     V2de 

ARPEGGIATE. 

harpe-lute.  Vide  DITAL.  harp-pedal. 
The  soft  pedal  of  a,  piano. 


DICTIONARY  OF  TERMS 


615 


harpo-lyre.  A  3-necked,  ai-stringed 
guitar,  inv.  by  Salomon,  1829. 

harp'seco!.     Vide  HARPSICHORD. 

tLazp'sichord.  A  precursor  of  the  mod- 
ern piano,  whose  strings  were  set  in 
vibration  by  jacks  carrying  quills  or 
ints  of  hard  leather  (instead  of  tan- 
gents, as  in  the  clavichord).  Same- 
times  it  had  more  than  one  key-board 
as  in  the  vis-a-vis  (v5-za-vS),  which 
had  a  key-board  at  each  end.  The 
double  h.  had  2  unison  strings  and 
an  octave  for  each  tone;  and  stops 
for  varying  the  use  of  these.  The 
harmonica  h.  is  an  harmonica  with 
key4>oa*d. 

harp-style.     Arpeggio  style. 

harp-way  tuning.  Early  English  ac- 
corxiatures  of  the  viol  da  gainba  €a- 
<c$Kta4ing  arpeggios. 

harsur  or  hasur  (ha'-zopr),  Heb.  A 
Hebrew  faastr.  of  10  strings. 

hart,  G.  Major;  hard;  unprepared, 
h.  verminderter  Dreiklang.  A  triad 
with  major  3d  and  diminished  $th. 
haitkMngend.  Harsh-sounding. 

h£te  (at).  F.     Haste,  speed. 

hambois  <o-bwa),  F.     An  oboe. 

Haupt  (howpt),  G.  Head,  principal. 
H.-accent.  Principal  accent.  H.- 
akkord.  Fundamental  triad.  H.- 
gesang,  H. -melodic.  Principal 
melody.  H.-kadenz.  Full  cadence. 
H.-kirche.  Cathedral.  H.-mantial. 
The  great  manual;  the  great  organ. 
H.-aete.  i.  The  principal  note  in  a 
shake,  turn  or  trill.  2.  The  chord- 
note.  3.  Accented  note.  4.  MdLotiy- 
note.  M.-periode.  Principal  period. 
H.-probe.  The  final  rehearsal.  H.- 
satz.  Principal  theme,  subject  or 
idea.  IL-schhiss.  Final  cadence. 
H.-septime.  Dominant  yth.  H.- 
stimme.  Principal  part.  H.-thenwu 
Principal  theme.  H.-ton.  j.  FTJU- 
damental  or  principal  tone.  2.  The 
tonic.  3.  The  $th  in  a  minor  triad. 
H.-tonart.  The  principal  key.  £L- 
werk.  Great  organ. 

hausse  (6s),  F.     Nut  of  a  bew. 

hausser  (os-sS),  F.     To  raise  the  pitch. 

haut  (6),  haute  (Ste),  F.  Acute,  shrSl, 
fiigh.  li ail te-contre  (Qt-k6ntr). 
High  tenor,  -haute-dessus  (&t- 
dSs-sii).  High  treble,  soprano. 
hautement  («t-man).  HaughtHy. 
haute-taiDe  (ot-ta-e).  High  tenor, 

hautb.     Abbr.  of  Hautboy. 

hautbots  (®-bwa),  F.,  hautboy  (ho'~ 
boy),  E.  i.  The  oboe.  2.  An  8-ft. 
reed-stop,  "hu-d'amottr.  An  organ- 


stop.     Vide  OBOE,    hautboy-clarion* 

Vide  OCTAVE  HAUTBOY. 
H.-bes    (hS-bSs),    G.     B    double    flat. 

H.-dur  (ha-door),     B  major. 
head.     i.  The  part  of  the  note  which 

marks    its    position    on    the    s*taff. 

2.  Point  of  a  bow.     3.  Membrane  of 

a  drum.     4.  The  part  above  the  neck 

of  vioHns,  etc.,  containing  the  pegs. 

head  voice.     The  upper  or  highest 

register  of  the  voice. 
heel.     The  wooden  brace  fasteiaing  the 

neck  of  vioHns,  etc.,  to  the  body. 
Heerhom  (h&r'-hdxn),  G.     A  military 

trumpet.    Heerpauke  (har'pow-ke), 

<?.    Old  kettle-drum,  tymfoaL    Heer- 

pauker.     Kettle-drummer. 
heftig  (hgf  ^Xtt),  G.     Boist«Pons,  pas- 

sionate.     Heragkeit    (kit).      Vehe- 


heimlich    <feimMlkhX    <?*   Secret* 

stealthy,  mysterious. 
heiss  (his),  G.     Hot,  ardent. 
heiter  (hi'tSr),  <?.     Serene,  glad. 
Heldealied     {hel  Men-let),     G.     Hero- 

song.  heldenmuthig    (mii-tlkh). 

Heroic.      Heldentenor.       Dramatic 

tenor. 
herifxm,  E.9  Hel'ikoii,  G.     i.  A  mil- 

itary bass  brass  wind-instr.,  carried 

over  the  shoulder;  scales,  F,  E  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  <h&),  G.    Clear,  bright. 
helper.     An  octave-pipe  set  beside  one 

of  S-ft-  pitch  to  add  to  its  brilliance. 
hem'i,    £,     Half,  hemidemisemt- 

-quaver   <-j?est).     A   -64th    note    {or 

rest),     hemidiapen/te.     Diminished 

£fth.       hemidit'onos,    Gr.       Minor 

third. 
hejaio'la,  hemio/lia,  Gr.     i.  The  ratio 

3:a,     2.  Quintuple    time.     3.  Inter- 

val of  a  $th.     4.  A  triplet.     5.  Vide 

NOTATION  (COLOTTR). 
hemiope,  Gr-     An  ancieat  three-holed 

flute. 

hemiphrase.     One  bar  of  a  phrase. 
hemito'nitim,  O.     A  semitone  in  Xireek 

music  <ratio  256:243). 
heptachord,     i.  Interval  of  a  seventh. 

2.  A   7-st  ringed    inst.     3.  A    Greek 

series  of  7  tones  with  half-tone  step 

between  the  3d  and  4th. 
heptade  (hSp'-t£d),  hep'tadechord,  E. 

Vide  EIXIS. 
hep  tarn  'eris,  Gr.     A  seventh  part  of  a 

meris. 


616 


DICTIONARY  OF  TERMS 


Herab strict     (har'-2p'strfkh),    G. 

Down-bow.    Heraufstrich  (har'-owf- 

strikh).     Up-bow. 
heraufgelien    (har-owf'ga£n),    G.     To 

ascend. 
hero'ic,   E.,  heroisch  (har'-o-*sh),  G., 

h&rolque  (a-ro-ek),  F.     Bold,  brave. 

Vide  EROICA. 
Herstrich  (hSr-strikh),  G.     Down-bow 

(on  'cello  and  double-bass).     Herun- 

terstrich,    G.     Down-bow     (on    the 

violin,  etc.)- 
hervorgehoben  (har-fdr'ghS-ho'ben), 

hervorhebend  (ha'b&at),  hervortre- 

tend  (tra-tSnt),  G.     With  emphasis. 
Herz  (h&rts),  G.     "Heart."     Vide  TAS- 

SEAI7. 

herzig  (h£rts-ikh),  herzlich  (IXkh),  G. 
Tender. 

Hes  (hSs),  G.  B  flat  when  directly 
derived  from  B  natural  (or  H). 
Heses,  B  double  flat. 

beulen  (hoi'-lSn),  G.    To  cipher. 

hexachord,  Gr.,  hexachorde  (8x-a- 
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. 

hey  de  guise  (6-dtt-geze),  F.  A 
country-dance. 

hia'tus.     A  gap. 

hidden,  i.  Obscured,  covered,  yet 
implied;  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  dj  that  is,  a  perfect 
fifth,  the  progression  becomes  a  hid- 
den  or  implied  fifth,  and  is  put  under 

1  the  same  ban  by  stricter  theorists, 
though  sanctioned  by  free  practice. 
Similarly  a  progression,  as  of  g— b' 
to  c-c'  contains  hidden  octaves. 
2.  h.  canon.  Close  canon. 

Hief  (hef),  Hiefstoss  (shtdss),  G. 
Sound  of  the  hunting-horn.  Hief- 
horn.  Hifthorn  (htft),  Hflfthorn 
(hJft).  A  wooden  hunt-horn  with 
2  or  3  notes,  and  in  3  pitches:  H.- 
zinke  (tsInk-kS).  High.  Rfiden- 
horn  (riid'-n).  Low.  Halb-rttden- 
horn.  Medium. 

hierophon  (her'-o-fon),  Gr.  Singer  of 
hymns. 

higgai'on  selah,    Heb.     A  term*  oer- 


haps  calllag  for  stringed  instr.  and 
trumpets. 

high.  i.  Acute  in  pitch.  2.  Upper, 
or  first,  as  h.  soprano,  high  bass. 
A  barytone.  higher  rhythm.  A 
rhythm  composed  of  smaller  ones. 
High  mass.  Vide  MASS.  h.  tenor. 
Counter-tenor,  h.  treble  clef.  The 
G  clef  on  the  first  line. 

hilfs-.     Same  as  hiilf s-. 

Hinaufstrich  (hln-owf 'strlkh),  G.  Up- 
bow  on  the  violin,  etc.  Hinstrich 
(htn'strlkh),  G.  Up-bow  on  'cello 
and  double-bass. 

Hintersatz,  G.  An  old  mixture-stop, 
re-enforcing  the  open  diapason. 

HirtenfUJte  (hirt/-Sn-fla'-te'),  G.  Shep- 
herd's flute.  Hirtengedicht  (g£- 
d'ikht).  Pastoral  poem.  H.-lied 
H€t).  Pastoral  song.  H.-pfeife 
(pfi-fe).  Pastoral  pipe.  hirtKch 
(hlrt'-llkh).  Pastoral,  rural. 

His  (Ms),  G.  B#.  hisis  (Ms'Is),  G.  B 
double  sharp. 

H.-moll  (ha'mdl),  G.     B  minor. 

Hoboe  (ho-bO'-S),  Hoboy  (he-bo's),  G. 
Oboe.  Hobo'ist,  G.  Oboist. 

hoch  (h6kh),  G.  High,  sharp,  very 
Hochamt  (hdkh'arnt).  High  Mass, 
h.  feierlich  (fl'-Sr-likh).  Very  sol- 
emn. H.-gesang,  H.-lied  (let) 
Ode,  hymn.  H.-horn.  Oboe.  H.- 
mutn  (moot).  Elevation,  pride, 
Hochzeitsgedicht  (tats),  Hochzeits- 
lied.  Wedding-song.  Hochzeits- 
marsch.  Wedding-march.  h6chsten 
(hgkh'-shtSn),  G.  Highest. 

hock'et,  hocqu'etus.  i.  An  abrupt 
rest.  2.  Old  English  part-music  full 
of  rests  and  abruptness. 

Hof  (h6f),  G.  Court;  hence,  H.-kapelle 
(Konzert).  Court  orchestra  (con- 
cert). H.-musikant  (moo-zi-kant). 
Court  musician.  H. -organist 
Court  organist. 

hSflich  (hSf r13tkH),  G.  Graceful.  H6f- 
Uchkeit  (kit).  Grace. 

H8he  (ha'S),  G.  Height,  acuteness; 
upper  register  of;  as  Oboen-hb'he. 

hoheit  (hS'hit),  G.     Dignity,  loftiness. 

HohlfU>te  (hol'fla-te),  G.  "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  (holt7),  G.     Pleasing,  sweet. 

hold.  Thefermate.  holding-note.  A 
note  sustained  while  others  are  in 
motion. 

hold 'ing.     Old  E.     Burden. 


DICTIONARY  OF  TERMS 


617 


Solzblaser  (halts 'bla-zSr),  G.  Play- 
er (s)  on  Holz'blasinstnunente,  or 
wood- wind  instruments. 

hblzernes  Gelachter  (helts'-Sr-nSs  gS- 
ISkh'-ter),  G.  Xylophone, 

HolzfLSte  (h61ts'fla-tS),  G.  "Wood- 
flute";  a  stop. 

HolzTiarmonika,  G.     Xylophone, 

hom'ophone.  A  letter  or  character  de- 
noting the  same  sound  as  another; 
thus  aft  and  bb  are  homophones. 
homophon'ic,  homoph'onous.  i. 
Noncontrapuntal,  lyric,  marked  by 
one  melody  in  predominance.  Vide 
POLYPHONIC.  2.  In  unison.  Vide 
ANTIPHONIC.  homoph'ony,  E. 
homophonie  (6m-6f-6n-e),  F.  Music 
that  is  homophonie  r  or  2. 

hook.  The  stroke  added  to  the  stem  of 
notes  smaller  than  J  notes. 

hop 'per.  In  piano  action,  the  escape- 
ment-lever. 

Hop'ser,  Hops-tanz  (tants),  G.  Coun- 
try-dance. Hopswalzer  (h6ps'  val- 
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*  Sun- 
rise, prime.  First  hour  (6  a.  m.). 
tierce  (or  terce).  3d  (9  a.  m.). 
Sext.  6th  (noon),  nones.  9th  (3 
p.  m.).  vespers.  Evening,  com- 
pline. Final.  Services  during  the 
night  are  called  nocturns;  the  word 
matins  includes  both  nocturns  and 
lauds,  horae  regulares.  Chant 
sung  at  regular  hours. 

fcorn  (G.  pi.  HSrner)  (hSm'Sr),  £.  &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  natural 
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  crook),  and  insert- 
ing a  section  longer  or  shorter,  thus 
lowering  or  raising  ^the  key.  The 
tone  series  was  thus  incomplete,  and 
the  stopped  tones  were  inaccurate. 
The  natural  tones  deoend  on  the 


amount  of  wind-pressure  (or  in  F, 
embouchure,    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  provided  with  valves  (or  auxiliary 
tubes),  which  practically  lengthen  or 
shorten    the    tube    instantaneously. 
The  tone  is  produced  by  embouchure 
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  sign  +,  by  the  word  "stopped," 
or  by  "son  Ixmche""  (s6n  boo-sha), 
and  are  weirdly  tragic  or  romantic. 
The  range  of  the  horn  depends  upon 
its  key,  the  scale  of  each  consisting 
of  a  fundamental  tone,  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,  c,  g-cf  ', 
from  g  to  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  fiat,  G,  F,  E, 
E  flat,  D.  C  basso,  B  flat  basso.     The 
keys  F#  (G  flat),  Qf  (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  octave  lower   than   they   sound. 
For  convenience  of  embouchure,  the 
notes  are  written  as  if  the  horn  were 
always  "n  C,  and  the  player  so  plays 
it;  but  the  crook  used  governs  the 
tone,  and  a  C  on  the  staff  sounds  as 
the  F  below  on  an  F  horn,  as  A  flat 
on  the  A  flat  horn,  etc,     Alpine  h. 
A  wooden  horn  8  ft.  long,     basset  h. 
Vide  BASSET.    hunting-Ill    The  prim- 
itive natural  or  French  horn,     horn- 
band.     A   band    of    trumpeters.     A 
Russian  H-B.  is  one  in  which  each 
hunting-horn    plays    but    one    note, 
horning.'     Vide    SHTVAREE.      Horn- 
musik',    G.     Music    for    the    brass. 
Hornquinten,  G.     The  hidden  fifths 
prevalent  in   music  for   two   horns. 
Hornsordln',  G.     A  conical  or  pear- 
shaped  mute  inserted  in  the  bell. 


618 


DICTIONARY  OF  TERMS 


hornpipe.  An  old  E*  shawm  with  a 
bell  of  horn;,  hence,  as  old  K.  dance 
of  great  vivacity,  ia  3-4  or  4-4  time. 

Hosan'na*  Hosian'na,  He6.  "Save,  I 
pray,"  an  ktteirjection  ia  player, 
hence  part  of  the  Sanctms.  Vide 
MASS. 

Hose  (h&'-ze%  Cr.     Boot  of  a  pipe. 

houl  (howl)-..    A  Persian,  military  drum. 

hours.     Vide  HO:ELE. 

hreol  (wra'61>-  A  Danish  peasant- 
dance. 

H.  S.     Abbs-  for  Hauttsatz, 

huehuetl,  huehuitl  (w&-wat '-'!>.  An 
Aztec  drumt  3  feet  high  with  a  mem- 
brane that  could  be  tightened  at  will, 
changing  the  pitch  and-  furnishing  an 
harmonic  bass. 

Hufthom  (hift-h6rn),  G.     Bugle-horn. 

hug'gab*  Heb.  i.  An  organ.  2.  Pan's 
pipes. 

Imitpied  (wSt-|rf-a),  F*  Eight  feet  (of 
stops>.  huitpieds.  An  osgan  with 
no-  stops  larger  than  &  ft, 

Huldigungsmarsch  (hool-dX-goongks- 
m&rsh),  G.  A  solemn  march  for  re- 
views* 

HiUfs-  (hflfs),  G.  Auxiliary.  Hfilfs- 
linien  (le'-nX-Sn).  Leger-lines.  H.- 
note.  H.-ton.  Auxiliary,  accessory 
note.  H.-stimme  (shtlrn'me').  A 
mutation-stop  - 

Hummel  (hoom'mel),  Hummelchen 
(him'mSl-khSn),  G.  i.  A  bagpipe, 
a-  In  organs  the  thorough-bass  drone. 
3.  The  Balalaika,  because  it  had  a 
sympathetic  or  drone-string.  4.  The 
drones  in  a  hurdy-gurdy. 

hummen  (hoom/mSn),  G.     To  hum. 

Humor  (hoo'-mor),  G.  Humour,  whim. 
Humoreske  (hoo'mo-rSs'ke),  G*,  hu- 
moresque  (ii-m6r-^sk),  F.  A  humor- 
ous or  whimsical  composition. 

hunting-horn.  A  bugle  or  French 
horn,  hunting-song.  Song  in  praise 
of  the  chase,  htuit's-up.  A  boister- 
ous morning-song. 

hurdy-gurdy.  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  g-g'  '. 

hurry.  Premonitory  roll  of  drum  or 
tremolo  of  strings  in  stage-music. 

faurtig  (hoor'tSkh),  G.  Quick,  allegro. 
H.-keit  (kit).  Agility. 

hydrau!7icon,  hydraulic  organ.  An 
instr.  older  than  the  wind-organ,  inv. 
1 80  B,C.,  by  Ktesibios  of  Alexandria, 
the  wind-pressure  being  regulated  by 
water- 


hymn,  F.,  hyrane  (Smn),  F.>  Hymne 
(hSm/ne1),  G.  A  sacred  or  patriotic 
song.  h.  vesper.  A  hymn  sung  hi 
the  R.  C.  Vesper  service,  hymnal, 
hymn-book.  A  collection  of  hymns. 
hymnolegy,  hymnologie  (em-n61-6- 
zne).  See  page  749. 

hyrnnus,  L.  A  hymn.  h.  Ambro- 
sianus.  The  Ambrosian  chant. 

hy'pate,  GV.  The  uppermost  lyre- 
string  but  the  lowest  in  tone,  hypa- 
ton.  Lowest  tetrachord.  See  page 

hypatho'ides.  The  lower  tones  in  the 
Greek  scale. 

hyper  (hi '-per),  Gr.  Over*  above*  of  UK 
tervals>  "super,"  or  "upper"  (as 
hyperdiapa'son,  the  octave  above; 
h.-diapen'te,  the  5th  above;  h.- 
dito'nos,  the  3d  above,  etc.);  of  the 
Greek  transposition  scales  and  eccle- 
siastical octave  species,  ""a  fourth 
higher";  the  Greek  octave  species 
"a  fifth  higher,"  or  "a  fourth  lower." 
Vide  MODES  for  such  words  as  hyper- 
seolian,  etc. 

hypo,  Gr.  Below,  under;  of  intervals, 
"sub/'  or  "lower."  hypo diapa 'son. 
The  lower  octave,  h-diapen'te 
The  fifth  below,  h-dito'nos.  The 
third  below.  For  the  names  of  the 
Greek  transposition  scales  and  eccle- 
siastical modes,  as  hypoaeo'lian,  etc., 
see  page  762. 

Hzbl.     Abbr.  of  Holzblaser  (q.  v,). 


I  (S)  I.,  pL  "The."  Also  the  letter  is 
used  by  Kirnberger,  to  indicate  2. 
major  seventh,  as  bt^  in  place  of 
bb  in  the  yth  chord  on  c.  Tartini 
used  u. 

las'tian,  Gr.     The  Ionian  mode. 

ic'tus,  Gr*     Stress,  accent,  emphasis. 

idea.  A  theme,  subject,  figure,  or  mo- 
tive. 

id§e  fixe  (g-da  fex),  F.  Berlioz's  name 
for  a  recurring  theme  or  motive. 

idyl,  idillio  (e-deJ'H-o),  /.,  idyUe  (S-d6- 
yh  in  F.,  in  G.  S-dnae").  A  pastoral. 

il  (61),  J.  The.  il  piu  (el  pS-oo/)- 
The  most,  e.  g.,  il  piti  forte  possibilc. 
As  loud  as  possible. 

ilarita  (e-la-rX-ta'),  /•     HHarity. 

imboccatura  (rm-bdk-ka-too'ra),  /,  i. 
Mouthpiece.  2.  Embouchure. 

imbroglio  (Im-br5l'y6),  7.  "Confu- 
sion," a  passage  of  complicated 
rhythms. 


DICTIONARY  OF  TERMS 


619 


!iiirtando  (frn-I-tSn'd6),  J.  Imitating, 
L  la  voce  (vo-chS).  Imitating  the 
voice. 

iawitation  (pron.  in  F,  *m-I-t£s-y6n), 
imitatio  (em-i-ta'ts*-o),  /.  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). 
K  this  repetition  be  exact,  interval 
for  interval,  note-value  for  note- 
value,  the  imitation  is  strict  or 
canonic,  vide  CANON;  otherwise  free. 
L  at  the  5th,  octave,  etc.  That  in 
which  the  answer  follows  the  subject 
at  the  interval  of  a  5th,  octave,  etc. 
L  augmented  or  i.  by  augmentation. 
That  in  which  the  answer  is  in  notes 
of  greater  value  than  those  of  the 
subject,  diminished  i.  or  L  by 
diminution.  A  style  of  imitation  in 
which  the  answer  is  given  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  dif- 
ferent divisions.  That  in  which  the 
subject  is  answered  in  a  different 
division  of  a  measure;  for  instance, 
"beginning  on  the  accented  is  an- 
3wered  on  the  unaccented.  L  in 
pfmflflr  motion.  That  in  which  the 
answer  retains  the  order  of  notes  of 
the  subject,  retrograde  i.  (or  i.  per 
recte  e  retro),  cancrizans,  or  cancri- 
zante.  That  in  which  the  subject  is 
taken  backwards  in  the  answer, 
reversed  retrograde  i.  That  in 
which  the  subject  is  taken  backwards 
and  also  in  contrary  motion  in  the 
answer,  strictly  inverted  L  That 
in  which  note-values  are  precisely 
answered  in  contrary  motion,  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* 

imitate  (Xm-I-ta/tS),  /.  Imitated, 
imitazione  (ta-tsl-5'ne1).  Imitation. 

im-mer  (Im/mSr),  G.  A  J  ways,  ever, 
constantly. 

immutab'ilis,  L.  Vide  ACCENTTTS  EC- 
CLESTASTICI. 

imparfait  (an-par-fSO,  &•     Imperfect. 

impaziente  ftm-oat-sl-Sn'-te1),  7.     Im- 


patient,    impazientemen'te.      Hur- 
riedly. 

imperfect.  Not  perfect  or  complete. 
Vide  CADENCE  and  INTERVAL,  i. 
concords,  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.  i.  triad* 
The  chord  of  the  third,  fifth  and 
eighth,  on  the  seventh  degree;  it 
consists  of  two  minor  thirds. 

imperfection,  i.  Vide  LIGATURE.  2. 
Vide  NOTATION, 

imperfet'to,  I.     Imperfect. 

imperioso  (frn-jja-rl-o'-so),  I.  Pom- 
pous, imperiosamen'te.  Imperi- 
ously. 

imperturbabile  (Xm-per-toor-ba'bl-lS), 
I.  Quiet. 

impeto  (im'-pS-tS).  impetuositl.  (im- 
pa-too-5-zI-ta')>  /-  Impetuosity,  ve- 
hemence, impetuo'so,  impetuosa- 
men/te.  Impetuous(ly). 

imponente  (nSn'te1),  /.     Imposingly. 

implied  discord.  A  concord  contained 
in  a  dissonant  chord  as  a  major  third 
in  an  augmented  $th  (as  f-a-c$). 

implied  interval.  One  not  specifically 
indicated  by  its  numeral  but  implied 
by  another  numeral.  Vide  HIDDEN. 

impresario  (Im-pr€-sa'-rl-o%  I.  Man- 
ager of  opera,  concerts,  etc. 

impromp/tu  (in  F.  2ja-pr6n-tu).  An 
extemporaneous  comp.,  or  one  hav- 
ing a  spirit  of  informality  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 
Graduale  Romanum. 

impropri'etas.     Vide  LIGATTOE. 

invprovise,  impro(v)visare  (za'rS),  I., 
improviser  (S.n-pr6-ve-za),  F.  To 
sing  or  play  without  premeditation. 

improvisateur  (S.n-prd-ve-zS.-titr'),  im- 
provisatrice  (tr5s),  P.,  LnprovisatoJ 
(Im-pr6-fi-z5/-t6r),  G.,  Jmprowisa- 
to're,  /.  An  improviser. 

improvisation.  Extemporaneous  per- 
formance. Improvisier  mas  chine 
(Im-pro-fl-zSr'  mS-shS'-ne1),  G.  A 
melograph.  improwisata  (za'ta|,  I- 
An  extempore  composition,  im- 
prowiso  (Im-pr6v-ve'-z6),  improv- 
visamen'te,  J.  Extemporaneously). 

in  fen),  /,.  G.  ard  L.     In,  into,  in  the. 


620 


DICTIONARY  OP  TERMS 


inacutire  (in-a-koo-te'-re"),  7.  To 
sharpen. 

inTjetont,  G.     With  medial  emphasis. 

Inbrunst  (In'broonst),  G.  Fervour, 
inbriinstig  (In-brXn'shtlkh).  Ar- 
dent, 

incalzando  (In-kal-tsan'do),  I.  Has- 
tening. 

Incarna'tus,  L.  "Was  born"  (of  the 
Virgin  Mary).  Part  of  the  Credo. 
Vide  MASS. 

inch  (of  -wind).  In  an  organ,  wind- 
pressure  is  gauged  by  a  graduated  U 
tube  in  which  water  rises,  the  mean 
pressure  being  3  inches. 

"nchoa'tio,  L.     Vide  CHANT. 

incisore  (In-chl-sOl-rS),  /.  Engraver 
of  music. 

inconsola'to  (la'-t5),  7.     Mournful. 

incordare  (da '-re),  I.     To  string. 

incrociamen'to  (kro-cha),  /.     Crossing. 

indeciso  (in-d^chS'-zo),  7.  Undecided 
(implying  slight  changes  of  time,  a 
somewhat  capricious  tempo). 

indegnato  (In-dan-ya'-to),  indegnata- 
men'te,  I.  Wrathful(ly). 

independent.  Used  of  non-dissonant 
harmony  requiring  no  resolution. 

index,     i.  A  direct.     2.  Forefinger. 

indifference  (r&a'-te),  indifferente- 
men'te,  7.  Indifferently).  in- 
differenza  (rSn'-tsa),  7.  Indiffer- 
ence. 

infantile  (in-fan-telS),  I.  Child-like 
(of  the  quality  of  upper  notes  of  some 
voices) . 

infe'rior,  L.     Lower. 

infernale  (In-fgr-nale),  7.     Infernal. 

infervorato  (ra'-tO),  7.     Fervent. 

t-nfiflfn-mfltfl"1""^"  '+&)  7.     Ardently. 

in'finite,  E.,  infinite  (In-ft-ne'-t6),  7. 
Used  of  canon  which  can  be  contin- 
ued indefinitely  unless  given  a  special 
cadence. 

infiatil'ia,  L.  Instrs.  of  inflation;  wind- 
instruments. 

inflection,  i.  Modification  in  the  pitch 
of  the  voice.  2.  In  chanting  a 
change  from  the  monotone. 

in'fra,  L.  Beneath.  Infrabass,  G. 
Sub-bass. 

infuriante  (Xn-foo-rf-an'te*),  infuiiato 
(a '-to),  7.  Furious. 

ingannp  (In-gan'no),  7.  "Deception"; 
applied  to  a  deceptive  cadence;  also 
to  unexpected  resolutions  or  modula- 
tions, d'inganno.  Unexpected. 

insemination.  Old  tern*  for  repeti- 
tio  i  of  words. 

ingressa.     Vide  INTROIT. 

Tnnalt  Hn'halt).  G.     Contents;  i 


inharmonic  relation.     Vide  IATSE  RE^ 

NATION. 

inner,  i.  Used  of  the  alto  or  tenoi 
part  as  distinguished  from  the  basa 
and  soprano.  2.  Used  of  a  pedal 
point  on  an  inner  part. 

innig,  inniglich  (Xn'-nXkh-lIkh),  G, 
Sincere,  tender,  heartfelt.  Innigkeit 
(kit).  Deep  feeling. 

inno  (In'-nS),  7.  A  hymn,  canticle, 
ode. 

innocente  (3Cn-no-chSn'tfe),  innocent- 
emen'te,  7.  Innocent  CLy),  artless 
(ly).  innocenza  (In-no-chSn'-tsa). 
Innocence. 

inqideto  (In-kwX-a'-to),  7.     Restless. 

insensible  (In-sSn-se'bX-lS),  insensi* 
bilmen'te,  2.  Imperceptibly,  b3 
small  degrees. 

insisten'do,  7.  Urgent.  insistenza 
(tSn  '-tsa) .  Insistence . 

instSndig  (ln-sht€n'dikh),  G.  Urgent, 
pressing. 

instante  (In-stan'tS),  instantemen'te* 
7.  Vehement(ly),  urgently) . 

in'strument  (in  F.  an-strii-mSn).  A 
sonorous  body  constructed  for  the 
production  of  musical  sounds,  i.  & 
cordes  (S-k6rd).  A  stringed  instr. 
i.  a,  1'archet  (a-ia,r-sha) .  Instr.  played 
with  a  bow.  i.  a  percussion  (a  par- 
kus-y6n).  Instr.  of  percussion,  i.  & 
vent  (a  van).  Wind-instrument. 

instrumental,  E.,  instrumental e  (rn- 
stroo-mSn-talS),  7.  Of  music  for 
instrs.  as  opposed  to  vocal  music. 

instrumentare  (ta'rS),  7.  To  compose 
instrumental  music. 

in'struxnenta'tion  (in  F.  an-stni-man- 
tas'ydn),  instrumentazione  (ta-tsl- 
5'nS),  7.,  Instrumenti(e)rtmg  (In- 
stroo-mSn-te'-roongk),  G.  The  art 
or  act  of  writing  or  arranging  a  com- 
position 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- 
menten  m  acher  (makh'Sr),  G.  An 
instr.-maker. 

instrumen'to,  7.,  An  instrument,  i. 
d'arco  '(or  a  corda)  (dar'-k6).  A 
stringed  instrument,  i.  da  campa- 
nel'la.  Glockenspiel.  i.  da  fiato 
(fi-a'-to).  Wind-instr.  i.  dti  quilla. 
A  spinet. 

intavolare  (SCn-ta-vo-la'-rS),  7.  To 
write  out  or  copy  music,  intavola- 
tura  (l^-too'-ra).  i.  Notation.  9. 
Figured  bass.  3.  Tablature, 


DICTIONARY  OF  TERMS 


621 


integer  valor  (notarum),  L.  "The 
integral  value'"  (of  notes),  L  e.,  their 
average  duration  at  a  moderate 
movement.  Michael  Pretorius  set 
the  i.  v.  of  the  brevis  at  about  ^  of 
a  minute. 

Intendant  (£n-tan-dan),  P.,  inten- 
ded'te.  7.  Director,  conductor. 

intenzipnato  (In-tSn-tsI-5-na'-t6).  Em- 
phatic. 

interlude,  i.  A  piece,  usually  short, 
played  between  acts,  movements, 
stanzas,  or  portions  of  service.  2. 
A  short  operetta. 

interlu'dium,  L.,  intermSde  (in-tSr- 
mSd),  .F.,intennedio  (Xn-tSr-ma'dX-o), 
intermezzo  (In-tSr-mSd'-zo),  7.  An 
interlude. 

intenne'diate.  i.  Accidental.  2. 
Transitional. 

intermedietto  (In-ter-ma'dX-St-tS),  7. 
A  short  interlude. 

interrogati'vus.     Vide  ACCENTUS  ECCL. 

interrotto  (rdt'-tG),  /.     Interrupted. 

interrupted.     Vide  CADENCE. 

interruzione  (root-sI-S'nS),  7.  Inter- 
ruption. 

interval,  IntervaU  (fcx-tSr-fSlO,  G.,  in- 
tervale (£n-tSr-val),  P.,  intervallo 
(yal'lo),  7.,  intervalltiin,  L.  The 
distance,  or  difference  in  pitch,  be- 
tween tones,  reckoned  upwards  (un- 
less specially  stated).  The  intervals 
are,  the  first  or  prime  (which  is 
identity,  C  for  instance  being  its  own 
prime);  the  second  (as  c-d);  the  third 
or  tierce  (as  c-e) ;  the  fourth  or  quart 
(as  c-f);  the  fifth  or  quint  (as  c-g); 
the  sixth  or  sext  (as  c-a);  the  seventh 
or  sept  (as  c-b);  the  eighth  or  octave 
(as  c-c');  the  ninth  (as  c-d'),  etc. 
Those  within  the  octave  are  called 
simple;  those  over  the  octave,  com- 
pound, since  a  tenth  is  an  octave  plus 
a  third,  etc. 

Intervals  are  qualified  also  by  their 
mode;  those  in  the  major  key  of  their 
lower  tone  (as  a-c#)  being  called 
major,  those  a  semitone  greater  than 
major  are  augmented  or  extreme, 
superfluous,  redundant  or  sharp; 
those  a  semitone  less  than  major  are 
minor  (as  a-c);  those  a  semitone  less 
than  minor  are  diminished  or  flat  (as 
a-cb).  The  first,  fourth,  fifth  and 
octave  are  called  perfect  instead  of 
major,  because  they  do  not  change 
their  quality  as  do  the  others  on 
inversion  (q.v.).  Other  names  for 
intervals  are  chromatic,  containing  a 
note  foreign  to  the  key,  opposed  to 


diatonic,  dissonant,  needing  reso- 
lution; opposed  to  consonant,  en- 
harmonic (q.v.);  harmonic  when 
struck  simultaneously  instead  of 
separately,  hence  opposed  to  melodic- 
Forbidden.  Contrary  to  the  rules  of 
Harmony  (q.v.).  Consecutive  (q.v.). 
A  natural  interval  is  that  between 
two  tones  of  a  major  scale.  The 
ratios  of  the  vibrations  of  diatonic 
intervals  are  prime,  i  :  i  ;  second, 
8:9;  third,  4:5;  fourth,  3:4;  fifth, 
2:3;  sixth,  3:5;  seventh,  8  :  15  ; 
octave,  i  :  a. 

intervening.  Intermediate  (of  a  fugue 
subject). 

intimo  (In'-tt-md),  7.  Intimate,  ex- 
pressive, intimis'simo.  Most  ex- 
pressive. 

intonare    (Xn-tS-nS'rS),  7.     To  intone. 

intona'tion.  i.  The  production  of 
sound  by  voice  or  instr.,  as  regards 
quality  and  pitch,  false  i.  That 
which  is  untrue  to  the  key  or  pitch. 

2.  The  initial  phrase  of  the  antiphon. 

3.  Method    of    singing    plain-chant. 

4.  Vide  CHANT,    fixed  L    Vide  FIXED 

TONE. 

intonato  (*n-t6-n&'-t6),  7.  Tuned,  set 
to  music. 

in'tonator.     Monochord. 

intonatura  (fca-to-na-too'ra),  intona- 
zione  (Xn-to-nS-tsWne'),  7.  Intona- 
tion. 

intoni(e)ren  (fci-tS-nS'rSn),  G.  i.  To 
intone.  2.  To  voice,  as  pipes.  3. 
The  voicing. 

Intonireisen  (n5r/-I-z£n),  G.  A  knife 
used  in  trimming  and  tuning  pipes. 

Intrade  (In-tra'-dS),  G.  A  prelude  or 
entrance-music. 

intreccio  (In-trSt'-cho),  7.  "Intrigue." 
A  short  dramatic  work. 

intrepidezza  (fci-tra-pJ-d&d'-za),  7.  In- 
trepidity, intrepido  (ln-tra'-pS-d5), 
intrepidamen'te.  Bold(ly). 

introduc'tion,  E.,  introducimen'to 
(doo-chl),  introduzione  (doo-tst-o'- 
n£),  7.  The  preliminary  measures/ 
or  movement  preparatory  for  the 
main  subject. 

intro'it  (in  F.  an-trwa),  introito  (rn- 
tro-S'-tS),  7.,  intro'itus,  L.  "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 
ritual  called  Ingressa. 

intuonare  (in-too-d-na'-re'),  7.  To  in- 
tone. 


622 


DICTIONARY  OF  TERMS 


inven'tion  (in  F.  an-vans-v6n),,  in- 
venzione  (Xn-vSn-tsI-o'-nej,  7.  A 
abort  informal  contrapuntal  study 
with  one  theme. 

Inventions  (horn)  (In-vSn'tsI-ons),  F. 
A  Waldhorn  fitted  with  crooks  by 
Werner,  1760, 

inver'sio,     £.„     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,  e'fr-c',  we  lower 
cf  an  octave,  securing  c-e'b,  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 
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, 
retrograde    inversion,     or    inversio 
-cancrizans,    "crab-like."     (d)     Two 
parts  are  inverted  when  the  lower  is 
raised  by  an  octave  (inversio  in  oc- 
-tavam  acutam),  or  by  a  fifth,  tenth, 
twelfth,  etc.,  or  when  the  higher  is 
lowered  by  an  octave   (inversio  ia 
octavam    gravem,    or    inferiorem), 
a    fifth,    tenth,    twelfth,,    etc.    (vide 
COUNTERPOINT). 

•invert,  inverted.  Vide  INVERSION. 
A  pedal-point  in  any  part  other  than 
the  lowest  is  called  inverted.  A  t&rn 
commencing  with  the  lowest  note  is 
inverted. 

invi'tatory,  .E.,  invitato'rio,  Sp.,  in- 
vitato'rium,  L.  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  (ka-tsI-S'-nfc),  7.  Invoca- 
tion. 

lo'nian,  lon'ic.     See  page  762. 
ira    (e'-ra),    7.     Anger,    wrath,     irato 


(g-ra'-to),      iratamen'te.       Passion- 
ate(ly). 

Irish  harp.  i.  An  ancient  instr.  having 
more  strings  than  the  lyre.  2.  Trade 
name  for  "Jew's  harp." 
irlandais  (gr-lan-de''),  F.,  MSndisch 
(Sr'-lSnt-ishX  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  (e-ro'-nX-ko),   I.,  ironicamen'- 

te.     Ironical(ly). 

irregular,     J£.,     irregolare     (er-ra-gd- 
la'reO,    •?•     Not   according   to   strict 
rule  or  practice.     Vide  CADENCE. 
irresolute   (er-ra-zo-loo'-to),   7.     Irres- 
olute. 

isdegno  (es-dan'-yo),  7.     Indignation 
i'sochronal,    Gr^    isochronous.     Uni- 
form in  time. 
i'son.     In    Greek    Church   chant,   the 

movable  tonic. 

iso tonic.     Used  of  a  system  of  inter- 
vals in  which  aH  concords  are  tem- 
pered alike,  and  contain  twelve  equal 
semitones. 
istes'so,  7.    The  same,    il  tempo.    The 

same  time  (as  before), 
istrepito  (es-tra-p5'-t6),  7.    Noise,  blus- 
ter. 

istrionica    (e*s-trX-5'nX-ka),    7.     Histri- 
onic. 

istrumentale  (Ss-troo-me'n-ta'le'),  7- 
Instrumental,  istrumentazione  (ta- 
tsX-o'ne).  Instrumentation.  istru~ 
men'to^  An  instrument. 
Italian  mordent.  Shake  or  trill  of  a 
tone  with  the  next  above.  Italian 
sixth.  Vide  ALTERED  CHORDS. 
Italian  strings.  Catgut  strings 
largely  made  in  Rome. 
italiano  (e-ta-n-a'-no),.  7.,  italienisch 
(e-ta-l*-ax-nlsh),  G.,  italien(ne)  (e-tal- 
yan  [or  yen]),  F.  Italian. 
i'te,  mis'sa  est  (ecclesia),  L.  "De- 
part, the  congregation  is  dismissed." 
Vide  MASS;  from  the  word  missa  the 
word  mass  is  derived. 


Jack,  7.  i.  An  upright  slip  of  wood 
on  the  back  end  of  a  key-lever, 
carrying  a  crow-quill  or  piece  of 
hard  leather  which  projected  at 
right  angles  (in  the  harpsichord),  or 
a  metal  tangent  (in  the  clavichord), 
and  which  struck  and  set  in  motion 
a  string.  The  quill  or  the  leathe- 


DICTIONARY  OF  TERMS 


623 


served  as  a  plectrum. 

per." 
J<agd(yakht),G.  Hunt,  hunting-  Jagd- 

horn,  Jagdzink  (ts&ik).       Hunting- 

horn,    bugle-horn.     Jagdraf    (roof*. 

Sound    of    the    horn.     J-Ued    (tetj. 

Hunting-song.         J-sinfonie    (sXn-f6- 

n5')-     A  symphony  of  the  tottnt.     J- 

stttck.     A  hunting-piece. 
Jftgerchor    G'a-'-khSr-kto),    G.     Cliorus 

of     hunters,     jagerhorn.     Hunting- 

horn. 
jailtage    (y§T-taj).     The   sole   nrasxcal 

instr.  of  Tartary,  a  slender  box  of  fir* 

about  4  ft.  long,  over  whidh.  six  wire 

strings  are  stretched.     It  is  played 

with  both  hands. 
jaleo  (M-la'-6),'  Sp.     A  Spanish  dance 

in  3-8  time,  moderate,  for  one  per- 

son. 
JalousieschweHer        {ySl-oo-ze'-filivfcl- 

ler),  G.     "Venetian-blind"  swell. 
Janitscharenmusik         (ya-nlt-sha/ren- 

moo-zgk'),  G.,  jan'izary  music.     Mil- 

itary  music  for  cymbals,  triangles, 

etc. 

Janko.     Vide  KEY-BOARD. 
jazz.     See  history  of,  page  750. 
jeu  (zhu)  pi.  jeux  (zhu),  P.      i.  Play; 

style  of  playtag  on  an  instr.     A.  A 

stop  on  the  organ,  harmonium,  etc. 

3.  The    organ-power,    as    grand    j. 

Cgr'an),  or  plain  j,  (pl£n).    Full  oi^an. 

demi-j.     Half  -power,    j.  &  bouche 

boash;.     Flue-stop,    j.  celeste 

ISst),     Vide    CEIJESXE.      j. 

(dansh).        Reed-stop.       j.  d'anges 
Vox  angelica,    j.  d'ecfcos 
Echo-stop,     j,    de   jliltes 
Flute-stop,    j.  de  mutation 
Mutation,  or  a  mix- 

ture-stop.    j,    de    timbres    (t&nbr). 

Glockenspiel,     j.   de  viotes  \vg-ol). 

Consort    of   viols,     j.    de   voix  hit- 

maine  (vwa  ii-mSn).     Vox  humana. 

j.    d'argues       (d6r^»     Re^ster,    or 

*ow  o|  pipes.    S6113^^0^8  ff^1")-     Loud 

stops. 
Jew's     liarp      or      jewstrump.     Vide 


2.  like  **kop-  ter.    Jo&fci  (yo'deln).     To  sing  in 

such  style. 

jongleur  (zhon-glur),  JP.  A  hired  or 
stroking  musician.  Vide  TROTTBA- 
fvomt. 


. 
jig.     A  light,  brisk  dance  in  -6-8  or  12-8 

time.     Vide  SUITE. 
jingles.     The  disks  of  metai  on  a  tam- 

ibotuine. 
jobel      (yo'-bel),    Beb.     Trumpets  or 

horns. 

joc'itotor.     A  Jongleur. 
Jodler  <y5tM^r),  G.     A  style  of  sing- 

ing affected  by  the  Tyrolese,  falsetto 

alternating  rapidly  with  chest-regis- 


jota (h6-ta;),  Sp.     A  Spanish  dance  in 

rapid  3-8  time. 
jotter    de    (zhoo-a-dti),    F.     To    play 

upon  (as  an  instr.). 
Jour  (zhoor),  F.     "Day."     corde  i  j. 

Open  string, 
JaTaa.     Part  of  the  breakdown  dance 

of  the  American  negro. 
Jubal  (yoo'-bal),  G.     A  ?-  or  4-ft.  stop. 
JubelSSte  (yoo-bel-na'-te),  G.     A  stop. 

Jubelgesang,  Jubeffied  <l6t).     Song 

of  jubilee.  JubeHiora.  Key-bu^le. 
jubeliiid  (yoo'-belnt),  G.  Rejoicing. 
Jabfia'te,  L.  "Be  joyM.^  The  name 

for  the  loth  Psalm  in  the  Anglican 

Church. 
jubila'tio,  L.     The  cadence  on  tie  last 

syllable  of  "Alleluia**  in  R.  C.  music. 
jubiloso  (yoo-bl-lo'-sS),  JT.     JubHant. 
ju^Sus,  L.     i.  An  elaborate  passage 

sung  to  one  vowel.     2.  JubHatio. 
Judeaharf e  (yoo'-dSn),  G.     JeVs  harp. 
Jala  (yooMa),  G.     An  old  5  i-ft.  stop, 
jtrmp.     i.  A  progression  by  a  skip.     2. 

Vide  DUMP. 
Jungfernregal   -(yoonk-farn-ra'-gal)    or 

J-stimme,  G.     Vox  angelica. 
Japiter     symphony.     Mozart's     49^h, 

fii  C  major, 
just.     Used    of    txmsonant    intervals, 

voices,  strings,  pipes,  etc.,  that  speak 

or  sound  with  exactness, 
juste  fehiist),  F.     Accurate,  perfect  {of 

intervals),    justess^  (zfcus-tSs7)-    Ex- 
actness of  intonation. 


[NOTE. — Many  German  words  are 
spelt  either  with  "C"  or  "  K,"  prefer- 
ably the  latter-] 

Kabaro  (ka-ba'-ro).  A  small  Egyptian 
drum. 

Kadenz  (ka-dentsO,  G.  i.  Cadence 
(q.v.).  2.  Cadenza. 

ir^iflrrmilrfl  <kS.l-a-ma7-ka) .  A  lively 
Hungarian  dance  in  2-4  time. 

Kalkant  (kal-kantO,  G.  Bellows-tread- 
er.  K.-glocker.  Signal-bell  to  the 
blower. 

Kammer  (kSm'-mSr),  G.  Chamber 
(q.v.).  K.-kantate  (k'an-ta'-tS). 
Chamber-cantata.  K.  komponist. 
Court-composer.  K.  konzert.  Cham- 
ber-concert, or  concerto.  K.  duet. 


624 


DICTIONARY  OF  TERMS 


C.  duet.  K.  musik,  K.  spiel  (shpel). 
Chamber-music.  K.  musikus  (moo'- 
zl-koos).  Member  of  a  prince's  pri- 
vate band.  K.  stoger  (zeng-er). 
Court-singer.  K.  stil  (shtel).  Style  of 
chamber-music.  K.  suiten.  Cham- 
ber-suites. Vide  SUITE.  K.  ton. 
International  pitch.  K.  virtuosen. 
Court- virtuoso . 
kampoul  (kam-pool').  A  Malay 

gong. 

kandele  (kan-da'-lS).     i.  Ancient  Fin- 
nish harp.     2.  A  dulcimer. 
Kanon  (ka'-n5n),  G.     "A  rule."     i.  A 
canon.     2.  A  monpchord  with  mov- 
able bridge;  sometimes  it  had  a  sec- 
ond string  in  unison,    kanonik  (ka- 
no'-nek).     Canonic, 
kanoon',  kanun'.        Turkish  instr.  of 

the  dulcimer  variety;  the  canun. 
Kantate  (kan-ta'-tS),  G.     Cantata. 
Kan'tor,  G.     Cantor. 
Kanzelle  (kan-tsgl'-le*),  G.     Groove  in 

a  wind-chest. 
Kanzellied     (1st),     G.     Hymn     before 

the  sermon. 

Kanzone    (kan-tso'-ne1).   G.     Canzone. 
Kapelle  (ka-pST-lS),  G.     A  chapel,     i. 
A  musical  establishment,  a  choir  or 
a  band  connected  with  a  church  or 
court.     2.  Any    orchestra.     Kapell- 
knabe(n)  (kna'-bS(n).    Choir-boy (s). 
Kapellmeister  (ka-p&'-mish-ter),  G. 
i.  Conductor.         2.  Chapel-master. 
KapeUmeister-mtisik.         Music  full 
of  such  strains  as  must  sound  reminis- 
cent to  the  conductor.     K.  stil  (ka- 
pST-shtel),  G.     Same  as  A  cappella, 
i.  e.,  unaccompanied. 
Kapodas'ter,  G.     Capotasto. 
Karfreitag     (kar-fri'-takh),     G.     Good 

Friday. 

Kassation   (kas-sa'-tsl-6n),  G.     Cassa- 
tion. 
Kastagnetten      (kas-tan-ySt'-tSn),      G. 

Castanets. 

Kat'zenmusik    (moo-zek'),    G.     "Cat- 
music."     Charivari. 
Kavatine  (kav-a-tg'-nS),  G.     Cavatina. 
kazoo7.     A  tube  with  a  vibrating  string 
which   gives   the   voice  an   amusing 
quality  when  spoken  or  sung  through. 
keck    (kek),   G.     Fresh,    bold.     Keck- 

heit  (kSk'-hit).     Boldness,  vigour, 
keen'ers.     Irish  paid  mourners. 
Kehle    (ka7-lS),    G.     The    voice,    the 
throat.     K.-fertigkeit    (fSr-tikh-kit). 
Vocal  agility.      K.-kopf.       Larynx. 
,  K.-schlag  (shlakh).     Coup  de  glotte. 
K.-laut    (lowt).     A   guttural    sound. 
Kehrab  (kar'-ap),  Kehraus   Cows)-  G. 


Colloquial  term  for  the  final  dance  of 
a  ball. 

kemangeh  (fc^-man-gShO-  A  Turkish 
stringed  instrument. 

kenet  (kSn'-St).     Abyssinian  trumpet. 

Ken'ner,  G.  A  connoisseur,  "one 
who  knows/* 

Kent  bugle  (G.,  Kenthorn).  Vide 
BUGUE.  So  named  in  honour  of  the 
Duke  of  Kent. 

kerana  (kg-ra'-na).  A  Persian  horn 
sounded  at  sunset  and  midnight. 

ker'anim.     Vide  KEREN. 

ke'ras,  Gr.     A  horn. 

Keraulophon  (k6-row7-16-fon),  G.  An 
8-ft.  stop,  a  small  round  hole  bored 
in  the  pipe  near  the  top  promoting 
the  overtones;  inv.  •  by  Gray  and 
Davidson. 

keren  (kgr'-Sn),  pi.  keranim,  Heb.  A 
horn,  keren- Jebel  (ya-bel).  Jubi- 
lee horn. 

Kern  (karn),  G.  The  languid  (q.v.). 
K.  stunmen.  The  fundamental 
stops. 

kerrena  (k^r-ra'-na).     The  kerana. 

Kes'sel,  G.  Cup  (of  a  mouthpiece). 
Kesselpauke  (pow-kS).  Kettle- 
drum. 

ketch.     Old  name  for  catch. 

Ket'tentrffler,  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 
braces.  Kettledrums  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  related  minor  key,  the  tonic 
of  which  is  a  minor  third  below. 
The  key  of  C  has  neither  sharps  nor 
flats,  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  F#  and  Gb 
are  enharmonic  keys  traversing  the 


DICTIONARY  OF  TERMS 


625 


same  tones.  The  following  ingenious 
chart  from  Riemann's  Dictionary 
tabulates  the  keys  and  their  signa- 
tures concisely,  the  flats  and  sharps 


with  piano-key  action,  inv.  by  Dietz 
and  Second,  1819. 

key-note,  key-tone.     The  tonic,     key- 
ship.     Tonality. 


IU-LGS    i*u.u>\«xo&i.jr  ,     U-LC    jjicbLa    etJULU.    oJLLctlJJD  QJJUL^l*         J.  OUxLUiy . 

appearing  in  the  same  order  on  the      key-trumpet.     One  with  keys  or  valves. 

oTrrti  o  I-IIT^C    oc    n**t*<a*  lfVtat'51  TT^kl^wAnv    AII  +  A    nt*    sil-ixin 


signatures  as  here: 


Flats. 


Major 


khal'il.     Hebrew  flute  or  oboe. 


Sharps. 


76      5     43 
Cb  Gb  DI>  At>  El> 
76 


10     1234567 

F  C   GDAEBF#C#G#D#A# 

432101234567 


Flats. 


Minor  Keys. 


Sharps. 


attendant,  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, 
a.  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. 
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  Janko  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  the  hand  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-bugle.     Vide  BTCTGLB. 

key-chord.     The  triad  on  the  tonic. 

keyed.  Furnished  with  keys,  as  a 
flute,  or  piano,  keyed  violin.  Piano 
violin. 

key-stop  violin.  One  having  a  finger- 
board fitted  with  thirty-three  keys 
acting  as  stops  perpendicularly  upon 
the  strings. 

key-harp*  An  adjustment  of  tuning- 
forks  over  cavities  of  sonorous  metal,  > 


khasan  (kha'zan),  Eeb.  Chief  singer 
in  a  synagogue. 

Kicks,  G.     Vide  GOOSE. 

Kielfliigel  (kel'-flii-khel),  G.  Wing- 
shaped  harpsichord. 

kin  chi  (km  che).  A  Chinese  dulcimer 
with  5  to  25  silk  strings. 

Kinderscenen  (klnt'-Sr-za-ne'n),  G. 
Childhood  scenes.  Enderstuck 
(shtiik).  An  easy  piece. 
Tig  chi  (king  che).  A  Chinese  instr. 
with  sixteen  pendent  stones  gradu- 
ated and  struck  with  a  hammer. 

kinnor  (kln'-n6r),  Eeb.  A  small  harp, 
or  lyre. 

kin/tal.     Small  Indian  cymbals. 

Kirche  (ker'-khe'),  G.  (in  compounds 
Kirchen).  Church.  K,  kantate 
(kan-ta'-tS).  A  cantata  for  church 
service.  K.  komponist'.  Composer 
of  church  music.  K.  dienst  (dSnst). 
Church  service.  K.  fest  (fSsht). 
Church  festival.  K.  gesang  (gg- 
zang) ,  K.  lied  (1st) .  Canticle,  psalm, 
or  hymn.  K.  musik  (moo-zekO« 
Church  music.  K.  schluss  (shloos). 
Plagal  cadence.  K,  stil  (sht6l). 
"Church  style";  in  an  ecclesiastical 
mode.  K.  tone  (tan '-£).  The  church 
modes. 

kis'sar.     5-st ringed  Nubian  lyre. 

kit.  A  small  pocket  violin,  with  3 
strings,  c'-g'-d"* 

kitra  (ki-trar).  A  guitar-like  instr.  of 
the  Arabs. 

Mtha'ra,  Gr.     Greek  lyre. 

Klage  (kla'-khe"),  G.  Lamentation. 
K.-gedicht  (g£-dXkht),  K.-lied  (1st). 
Elegy.  K--ton(tSn).  Plaintive  tune, 
or  melody.  Jdagend  (kla'-khSnt). 
Plaintive. 

Klang  (klang),  pi.  KUtnge  (klSng'-S), 
G.  i.  Sound,  ringing.  2,  Vide 
CLANG.  K.-boden.  Sound-board. 
K.-far/-be*  Sound-colour,  clang-tint, 
K.-geschlecht  (gS-shlSkht) .  A  genus, 


626 


DICTIONARY  OF  TERMS 


or  mode.  K.-lekre  (IS-rfc).  Acous- 
tics. K.-folge  (f6l-khe).  A  chord- 
progression  in  point  of  tonality. 
K.-figuren  (fl-goo'-rfca).  Nodal 

figures  K.-leitei?  (li-ter>,  A  scale. 
K.-saal  (zal)-  Concert-room.  E** 
schliissel,  K.-vertretung.  Vide 
KXANG-KEY.  klanglos  (klang'los), 
G.  Soundless. 

Eappe  (klap'pe1),  G.  Valve  (of  a  wind- 
instr.)  .  KlappeBflftgeHiora  (flu'-gel)  ? 
G.  Keyed  bugle.  Klappenhorm. 
Keyed  horn.  K3apptrompete*  A 
keyed  trumpet. 

War  (klar),  G.  Clear,  bright.  Klar- 
heit  ^klar'-hlt).  Clearness,,  plaimaess, 
Warlich  (kler-llkh),  G,  Clearly,  dis- 
tinctly. 

Kteinette  QdBrf-nftt'-te),  G.    Clarinet. 

klassisch  (klas'slsh),  G.     Classical. 

Klausel  (klow'-zSl),  G.  A  cadence* 
BassklauseL  The  progression  ®f  the 
bass  in  a  final  cadence  from  dominant 
to-  tonic, 

Klaviatur  (kla-fl-a-toor'),  G.  Key- 
board* K*  harfe  (or  Klavier-harfe}. 
A  harp  inv.  by  Lutz,  Vienna,  1893, 
in  which-  the  stringy  are  plucked  by 
plectra  manipulated  by  a  key-board. 
The  same  man  in  the  same  year  inv. 
the  K.^zither,  a  small  piano  with 
single  strings,  plucked  by  naeaaa  of  a 
key-board. 

Klavier  (kla-^er').  i-  Key-board*  2. 
Key-board  iastr.,  especially  the  clav- 
ichord (fo«mer]|y  the  piano).  Klavi- 
erauszug  (ows-tzoakh).  Arrange- 
ment for  piano.  K.-harfe,  Vide 


An  harmonium  shaped  like  a  grand 
ia^v.  by  Woroniecki^  1893. 
The  harmoniphon.  K.- 
(mSs-sJkh).  Suitable  for,  in 
the  style  of  the  piano.  K.-satz. 
Piano-music,  or  manner.  K.-sonate 
(kla-f  gr  '-so-na-tS)  .  Piano-sonata. 
K.-spiel«r  (shpSM^r),  G.  Piano- 
player.  K.-violoncello.  A  'cello  in 
a  frame  with  a  key-board  arrange- 
ment for  the  left  hand,  of  special 
advantages;  inv,  by  de  VLaminek, 
Brussels,  1893.  K.-viola.  A  viola 
with  key-board  attachment. 
klein  (klon),  G.  Small,  minor,  K.- 
(knn-bas),  K.-bassgeige  (gi7- 
G.  Violoncello.  Kleinege- 
dacht.  A  flute-stop.  kleinlaut 
(lowt),  G.  Small  or  low  in  tone  of 
voice. 

klingbar     (klltng'-bar),     G*     Resonant. 
Klingel  (kllng^l).    A  bell,    klingeln 


Stimme. 


Tp  jingle.      kHngend 
Ringing.        klingende 
Speaking   (aa  opposed  to 

duonmy'  pipes.     T£1fn  fr 

klang)^     Tinkling^  bad 
Kutter  (kloot'-t^r)^  G.     A 
Knabenstimme      (kna'-b^n-shtlm-me), 

G.      "Boy's  voice,"  counter-tenor. 
knee-stop.     A    lever    worked    by    the 

knee,  and   (a)   controlling  the  wind, 

(b>  opening  the  swell-bosc,  (c)  draw- 

ing aU  the  stops. 
kaeil.     The.  tolling  of  a  bell. 
Knie    (kne,    not   n6).     Knee.     K.-gui- 

tarre.      Guitarre      d'amour.     K.-zug 

(tscwpfeh).         K.mee-stop.         K,-geige 

(kne-p'-kh^,    G.     Viol    da    gam?a. 

K.-rohre  (roVre1),.  G.     A  mitred  p^pe. 
Knopfregal  (kndpf-ra'-gM),  &.    An  obs. 

reed-stop. 
Knoiee  (kHS'-tft),  G.     N^dev     K.-ptmkt 

Nodil  point, 
kobsa  (kdb'-sha),  R<us.     A  crtR^  l^te- 

like  iistm-ment, 
KoHectivzng     (k61-Iek-t^r-tsookh->,    or 

Kombinationspedale         (k6ni-b£na- 

ts3P-6ns-pe-da'46>,   G.       Coaiifcifiatioii 

pecJal. 

KoUo  (kdl'-lC),  Jap.     A  Japanese  tarp 
Jcollern,  6?.     To  sing  in  a  thin  reedv 

voice. 

Itolophon'.     Resin. 
Kombinationstone  (k6m-br-na-tsl-  $ns'  - 

ta-nS).     Resultant  tones.     Vid6  also 


Komiker  (k6'-m5t-k^r>,  G..  A  writer  of 
burlettas;  comic  performer. 

konrisch  (kQ'-mish;,  G.     Comical. 

KpTnma  (k6mr-ma)^  G*     Conama. 

komponi(e)ren  (k6na-po-n6A-r6nJ^  G. 
To  compose.,  komponi(e)rt.  Com- 
posed, Komponist^  A  composer. 

Composition  (kdm-pS-zS'-tsI-on)^  G. 
A  composition.  Kompositionslehre 
(la-r$).  The  art  of  composition. 

Konservatorium  (to^-rl-oom),  G.  A 
conservatory. 

kon'tra^  G.  Contra,  .Kontrabass. 
Double-bass.  K.-fagott.  Double- 
bassoon.  K.-oktave.  Contra-octave. 
K.-punkt.  Counterpoint.  K.-subjekt. 
Counter-subject.  K.-tone  (ta-n£). 
The  deepest  tones  of  a  bass  voice. 

Konzert  (k6n-tsartO  .  Concert;  con- 
certo. K.-meister  (mi-shtSr).  First 
violin;  leader.  K.-oper.  Concert 
opera.  K.-stflck  (shtuk),  A  free 
concerto  in  one  movement,  or  any 
short  concert"Solo. 

koous.     A  Persian  brass  drum. 


DICTIONARY  OF  TERMS 


627 


Kopfstimme  (k&pf'-sht&n-inS),  G.  Fal- 
setto. 

Koppel  (k6p'-pel),  G.  Coupler,  coup- 
ling-stop. K.  ab(oran),  "Coupler 
off  (or  on) ." 

Kornett  (k6r-n£t')y  G.     Cornet. 

koryphse'us,  Gr.  Chief,  or  leader  of 
the  dances. 

kos  (k6z),   Han.     A  Hungarian  dance. 

Kosake  (ko-sa'-kS) .  A  national  dance 
of  the  Cossacks  in  2-4  time. 

ko'to.  Japanese  zither  with  13  sflk 
strings,  compass  2  octaves. 

Kraft  (kraf t),  G.  Power,  energy.  kraf- 
tig  (kr£f'-tlkh).  Powerful,  vigorous. 

Kragen  (kra'-khfcn),  G.     Lute  peg-box. 

Krausel  (kroi'-zel),  G.     Mordent. 

Krakoviak  (krE-k5'-vl-ak),  Krafco- 
vienne  (krS-kS-vl-Sn),  F.  The  cra- 
covienne. 

krebsgSngig  (kraps'-geng-lkh),  G. 
"Crab-going";  retrograde  imitation. 
Krebskanon.  Canon  cancrizans. 

kreischend  (krl'-shSnt),  G.     Shrieking. 

Rreisfuge  (krfs'-foo-khfc),  G.     A  canon. 

Kreisleriana  (knsMa-rf-a'-na),  G.  A 
series  of  piano  pieces  by  Schumann, 
named  after  an  eccentric  conductor 
called  Kreislerj  in  one  of  Hoffman's 
novels. 

Kreistanz  (krls'-tSnts),  G.  Dance  in  a 
circle. 

fcreol  (krlL'-ol).     A  Danish  reel. 

JCreuz  (kroits),  G.  A  sharp,  dop- 
pelt  K*  A  double  sharp.  K.-saitig 
(si-tXkh).  Overstrung.  K.-tonart. 
Sharp  key. 

JMegsffesang(krekhs'-g£--zang)  ,Kxiegs- 
lied  (Jet),  G.  A  war-song.  K.-spieIer 
(shp€'-ler).  A  military  musician. 

kriegerisch  (kre^khSr-feh)-        Martial. 

Krome  (kr^'-mS),  G.     Vide  CHROMA. 

kro 'talon,  Gr.     Crotalum. 

krumm  (kroom),  G.  Crooked,  curved, 
bent.  K.-bogen  (bS'-kh^n).  A  crook. 
K.-horn*  Crooked  horn.  i.  Anobs. 
wind-ins tr-  resembling  a  small  comet; 
it  had  a  range  of  nine  notes,  and  was 
made  in  several  sizes;  its  plaintive 
tone  has  led  to  its  imitation  in  (*) 
an  organ-stop  of  4  and  8  ft.  pitch 
(and  in  the  KMinmhorn-bass,  of 
1 6  ft.).  Same  as  cromhorn. 

krustische  Instrumente  (kroos'-tfeh-e1), 
G.  Instr.  of  percussion. 

kuhn  (koon),  G,     Bold,  decided. 

Kuhhorn  (koo-h6rn),  G.  Swiss  "cow- 
horn." 

Kuh-kuk  (koo'-kook),  G.  The  cuckoo 
used  in  toy  symphonies. 


Knhreigen.  (kooy-n-kh«n),  G.  "Cow- 
round-up."  Vide  RANZ  DES  VACHES. 

kuit'-ra.     Kitra. 

Kunst  (koonst),  G.  Art,  skill.  K.- 
fuge  (foo-khe),  fuga  ricercata  Vide 
FUGTJE.  Kiinstler  (klnst'-lr).  Ar- 
tist. El-lied  (let).  An  art  (as  opp. 
to  a  folk)  song.  K.-pfeifer  (pfl'^r). 
Street  musician.  Kunstwerk  der 
Ztikunft  (koonsty-vark  der  tsoo7- 
koonft).  "Art  work  of  the  future/" 
A  term  given  by  Richard  Wagner  to 
his  theory  of  music. 

ku/rum.  Curved  trumpet  of  the  West- 
ern Nile. 

kurz  (koorts),  G.  Short,  detached, 
staccato.  kurzen.  To  abridge, 
kurzer  Mordent.  Short  mordent, 
kurze  Oktave.  Short-octave,  kur- 
zer  Singesatz.  Cavatina,  Kiir- 
zung  (kur'-tsoongk).  Abbreviation. 
Kiirzungszeichen  (t^'-khen).  Sign 
of  abbreviation. 

kussir  (kus-ser),  F.  Turkish  instru- 
ment. 

Klyrie  ^leison  (ke'-rl-a  ^-^-S-son),  Gr. 
"Lord,  have  mercy  (upoa  us),"  Vide 

MASS. 

kyriefle  (ke-i^el),  F.     Litany, 
kyr'riole.     Old  E.  for  CaroL 


L.  Afcba:.  fox  Left  <£.,  Links)*  L  h., 
left  hand.  1%  abbr.  for  le  or  l&,  "the." 

la.  i.  Vide  soumsATiosr-  2.  The  note 
A  CF.  and  /).  la  bemol,  or  bemolle, 
al?;  la  diese  (1&  dX-ez),  F-,  aft. 

la  (&),  I-  and  F.     The. 

labecedisa'tion.     Vide  SOLMISATION. 

labial.  Lipped  (of  flue-pipes).  La- 
bialstimme  (la-bl-ar-shtlm-mS),  or 
pfeife  (pfi'-ig),  G.  Flue-stops. 

labisa'tion.     Vide  SOLMISATION. 

Labien  (la'-b*-£a),  pL,  G.     Pipes. 

Labium  (la'-bfc-oom),  L.  and  G.  Tfee 
lip  of  a  pipe. 

lacrimando  (la-kri-man'-d©),  lacri- 
mo'so,  /.  Mournful. 

Lacrimosa  (la-krl-mo'-sa),  L.  "Weep- 
ing." An  occasional  part  of  the 
Requiem. 

Lade  (lS/-de%  G.  Wind-chest  of  an 
organ. 

Lage  (la'-khe),  G.  Position,  i.  Of 
a  chord.  2.  Of  the  hand  in  violin 
shifts,  eng'e  L,  Close  harmony, 
opposed  to  weite  (vf'-tS),  open. 

Lagenwechsel  (v£khs-el),  G.     Shifting. 

lamoso  (Ian-y5'-s6),  I.  Plaintive,  dole- 
ful. 


628 


DICTIONARY  OF  TERMS 


lagrimando  (la-gr!-mSn'-d6),  lagri- 
mo 'so,  J.  Weeping. 

lah.     Vide  TONIC  SOL-FA. 

lai  (16),  F.    Lay,  ditty. 

lament'.  Old  name  for  harp  music  or 
songs  of  pathos. 

lamentabile  (la-mSn-ta'-bX-lS),  lamen- 
tabilmen'te,  I.  MournfulQy).  la- 
mentan'do,  lamentevole  (la-mSn- 
ta'-vQ-le*),  lamento'so.  Plaintive. 

Lamenta'tions.  Words  from  Jere- 
miah sung  at  Vespers  in  Passion 
week. 

lampon  (Ian-p6n),  F.     Drinking-song. 

lan'cers,  JS.,  landers  (lans-ya),  F.  A 
set  of  quadrilles. 

Landerer  (len'-de-rer),  LSndler  (!&}t'- 
Igr),  G.  Slow  German  or  Austrian 
waltz  in  3-4  or  3-8  time,  the  last  notes 
of  each  measure  a  dotted  8th  and  a 
1 6th  note. 

landerisch  O&i'-dfiMsh),  G.  In  the 
Landler  style. 

landlich  (lent'-llkh),  G.     Rural. 

Landlied  (lant'-let),  G.     Rustic-song. 

landu  (lan'-doo),  Port.  A  Portuguese 
dance  in  duple  time. 

landums  (iSn '-dooms),  Port.  Portu- 
guese music  of  sentimental  tone. 

lang  Gang),  G.     Long. 

langsam  (lang'-zam),  G.  Slow(lyJ, 
largo.  langsam  er  (iSng'-zam-Sr;. 
Slower. 

language,  languid.  In  a  flue-pipe  a 
horizontal  strip  of  metal  or  wood  just 
inside  the  mouth. 

languendo  Oan'-gwSn-ds),  languen'- 
te,  languido  (l§,n-gwS'-dS),  /.  Lan- 
guishing, languemen'te.  Languish- 
ingly. 

languette  (lan-gSt),  F.  i.  The  tongue 
of  reed-pipes.  2.  Pallet.  3.  Key  on 
a  wind-instr.  4.  Tongue  carrying 
the  quill  of  a  jack. 

lan'guid.     Vide  LANGUAGE. 

Ian/turn.  A  large  hurdygurdy  with 
rotary  bellows  and  reeds  played  by 
buttons. 

lapid 'eon.  A  scale  of  flint-stones  played 
with  hammers;  inv.  by  Baudry. 

largamente  (la"r-ga-me'n  '-te1).  Broadly, 
nobly.  Vide  LARGO. 

largando  (lar-gan'-do),  I.  Broadening 
becoming  largo  (q.v.). 

large.  The  longest  note  in  ancient 
music  equal  to  four  breves  (eight  of 
our  whole  notes).  Vide  NOTATION. 

large  (la,rzh);  F.  Broad,  largo,  large- 
ment  (l&rzh-man).  Broadly. 

larghetto  (lar-g£t'-tS),  /.  Not  quite 
so  slow  as  largo. 


larghezza  (lar-g«d/-zS),  /.  Breadth, 
slowness,  larghissimo  lar-gls'-sl- 
mo).  Very  slow. 

largo  (lar'-go),  J.  Slow,  noble,  broad, 
usually  taken  as  slower  than  lento. 
1.  assai  (as-sa'-6),  L  di  molto  (dS- 
m6l'-to).  Very  slow.  L  ma  non 
troppo.  Slow,  but  not  too  slow.  L 
un  poco  (oon  p6'-ko).  Rather  slow. 

larigot  (l^r-^go),  F.  i.  Shepherd's 
pipe.  2.  A  very  shrill  if  -ft.  stop. 

lannge  (la-r6n'-jS),  /.     Larynx. 

larmoyant  (larm-wa-yan)  ,  F.     Weeping. 

lar'jrnx.  Upper  part  of  the  trachea  or 
wind-pipe;  a  human  reed-pipe  vary- 
ing at  will  the  tones  of  the  voice. 

laud  (la-oodh),  Sp.     Lute. 

laud,  lauda  (la'-oo-da),  /.  and  L.,  7.  pi. 
laude,  L.  pi.  laudes.  i.  Hymn(s)  of 
praise.  2.  Vide  HORA. 

Lau'da  Si  'on,  Salvato'rem.  "Zion, 
praise  the  Saviour";  a  sequence  sung 
at  the  High  Mass  of  Corpus  Christi. 

laudis'ti,  L.     Psalm-singers. 

Lauda'mus  Te,  L.  "We  praise  Thee." 
Part  of  the  Gloria.  Vide  MASS. 

Lauf  (lowf),  G.  i.  Peg-box.  2.  A 
run,  a  trill.  Lauftanz  (lowf'-tants). 
A  running  dance,  corante.  Laufe 
'-.  Rapid  divisions.  '-. 


fSr).     A  run,  trill,  or  shake. 

Launensttick  (lowy-nSn-shtiik),  G.  A 
voluntary. 

launig  (low'-nlkh).     Humorous. 

laureate  (1^-rS-at),  JP.  A  winner  oi 
the  Grand  Prix  de  Rome  (q.v.). 

laut  (lowt),  G.  i.  Loud.  2.  A  sound. 
lautlos  (lowt-lSs).  Soundless,  mute. 

Laute  (lowt'-S),  G.  The  lute.  Laut- 
enist7,  Lautenschlager  (shla'-kh^r), 
or  spieler  (shpe-lSr),  G.  Lutenist. 

Lautenfutter  (foot-ter),  lautenkas- 
ten.  Lute-case.  Lauteninstrumente, 
Instrs.  whose  strings  are  plucked, 
L.-geige.  Viol.  L.-zug.  Lute  com- 
pass. L.-maclier  (ma'-khgr).  Lute- 
maker. 

lauten  Oi'-tSn).     To  toU,  to  sound. 

lavol'ta.     Old  Italian  waltz. 

lay.     Song. 

le(ltt]  }  F    le(laX/.,pl.    The. 

lead  (led),  i.  The  announcement  by 
one  part  of  a  theme  to  reappear  ha 
others.  2.  A  sign  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 
function  as  conductor.  2.  The  first 


DICTIONARY/j 

cornet  (in  bands).  3.  The  first  so- 
prano (in  chorus). 

leading,  r.  As  a  noun.  A  melodic 
progression  or  tendency.  2.  As  an 
adjective.  Guiding,  compelling,  char- 
acteristic, predominant.  1,-chord. 
The  dominant.  L-tone,  or  note. 
The  7th  degree  of  a  scale  (because  it 
leads  in  and  demands  lie  tonic), 
l.-melody.  The  chief  melody. 

leading-motive.  A  musical  phrase  or 
figure  (as  those  in  Wagner's  operas), 
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  appear 
or  is  remembered.  (See  article,  page 
75<5.) 

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'-bSn),  G.  Life,  vivacity,  le- 
bendig  (la'-bSn-dXkh),  lebhaft  (lap'- 
haft).  Lively.  Lebhaftigkeit  (kit). 
Vivacity. 

lecon  (Iti-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.  L  1.  are 
counted  away  from  the  staff,  the 
nearest  being  the  first,  ledger  space. 
The  space  between  two  1.  1. 

teere  Saiten  (la-rS  zl'-ten),  G.  Open 
strings. 

legabile  (le-ga'-bHe),  legan'do,  7. 
Legato. 

legare  (le-ga-re).     To  bind,  or  tie. 

legato  (IS-ga'-tS),  7.  "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'simo. 
Exceedingly  legato. 

legatura  (la-ga-too'-ra),  7.  i.  A  slur. 
2.  Syncopation.  L  di  voce.  Vide 

LIGATURE  (2). 

legend,  legende  (la-zhand),  p.,  Le- 
gende  (la-gen  7-dS),  G.  A  composi- 
tion in  romantic  or  narrative  style, 
im  Le'gendenton,  G.  In  the  ro- 
mance manner. 

leger.     Vide  LEDGER. 

leger  (la-zha),  legere  (la-zhar),  F. 
Light,  nimble,  legerement  (man). 
Lightly,  legerete  (la-zhar-ta).  Agil- 
ity. 


629 

^Sn'-da),   7.     A  legend. 
U-Sd-jer-S-meV-te),  leg- 
JT.     Lightly,     leggeran- 
r-tsa).    leggerezza  (ISd- 

"tness. 

ro),       leggiadra- 
Gracefully). 
L-ja'-rS),     leggiero, 

leggiennen  'te, 

"erezza 


Rather  ] 


of 


light. 

7.     Wood.     col.     L 
,yed  with  the  back  or  wood 


Lehrer  (la'-rfir),  feminine  Lehrerin,  G. 
Teacher*  master. 

Leich  (^kh),  G.     A  lay.     A  funeral. 

Leichenmtisik  (Ii'-kh6n-moo-zek0,  G. 
Funeral-music*  Leichenton  (t6n). 
A  lugubrious  sound. 

leicht  (likht),  G.  Light,  easy,  facfle. 
L.  bewegt  (bS-vakht),  (a)  delicately 
swift.  (b)  agitatedly.  Leichtheit 
(hit),  Leichtigkeit  (^kh'-tlkh-kit). 
Lightness,  facility,  leichtfertig  (fSr- 
tlkh).  Light(ly),  careless(ly). 

Leidenschaft  (li'-dfin-shaft),  G.  Pas- 
sion, leidenschaftlich  (likh).  Pas- 
sionate. 

Leier  (li'-er),  G.  A  lyre.  L.-kasten 
(kast'en).  A  hurdygurdy.  Leier- 
madchen  (mat'-khSn),  A  girl  who 
plays  on  a  hurdygurdy.  Leiermann 
(man).  A  male  player  of  a  hurdy- 
gurdy.  Leierorgel  (H'-Sr-drkh-el). 
Hand-organ.  Leierspieler  (shp5-lSr). 
One  who  plays  on  a  lyre. 

Leine  (li'-nft),  G.     A  Une  on  the  staff. 

leise  (H'-ze"),  G.  Low,  soft,  gentle.  L 
wie  fur  sick  (ve  fur  zikh).  Softly,  as 
if  to  one's  self. 

Leitakkord  (hVrak-kdrd),  G.  A  har- 
mony progressing  naturally  to  an- 
other, as  the  dominant.  Leitmotiv 
(Ht'-mo-tSf).  Leading-motive  (q.v.). 
Leitton  (llt'-ton).  The  leading  note. 

Leiter  (H'-ter),  G.  x.  Leader.  2. 
"Ladder,"  the  scale  of  any  key. 

leitereigen  (ll-t£r-lkh/-n)..  Proper  and 
peculiar  to  a  key,  opposed  to  foreign 
notes  which  are  l.-fremd  (frSmt). 

lene.  Old  term  for  a  note  sustained, 
while  other  parts  move. 

leno  (la'-no),  J.  Weak,  feeble,  faint, 
lenezza  (la-nSd'-za).  Gentleness. 

lent  (Ian),  F.  Slow,  lentement  (lant- 
man),  F.  Slowly,  lenteur  (lan- 
tttrO-  Slowness,  delay. 

lentando  (!Sn-tanr-d5),  7.     Retarding. 

lento  (ISn'-to),  /.     Slow;  usually 


630 


DICTIONARY  OF  TERMS 


sidered  between  andante  and  largo. 
L  assai,  1.  di  molto  (de  mol'-ta),  I. 
lento.  Very  slow.  lentis'simo. 
Extremely  slow,  lejitamen'te,  len- 
temen'te.  Slowly.  lentezza  (le*n- 
tSd'-za).  Slowness. 

lesser.  Minor,  as  the  1.  third.  1. 
appoggiatura.  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  (leV-tp),  /.  Lively,  lestissimo. 
Very  quick,  lestezza  (ISs-tfed'-zaX 
7.  Agility. 

letterale  (Igt-tS-rSL'-le'),  letteralmen'- 
te,  7.  Literal (ly).  Exactly  as  written. 

letter-name.  A  letter  designating  a 
tone,  key,  etc.,  as  a,  b,  c.  Letter- 
notation  is  old  as  the  Greeks. 

leuto  (la-oo^tO),  7.     Lute. 

leva  (la'-va),  7.  Lift,  release,  si  leva 
U  sordino,  "lift  the  mute";  si  levano 
i  sordini,  ^release  the  dampers/' 

leve*  (Itt-vS/),  F.     Up-beat. 

levet.     A  blast  of  a  trumpet;  reveille. 

levezza  (IS-vgd'-za),  7.     Lightness, 

levier  pneumatique  {leV-i-§/-nu-ma- 
tek')j  F~  The  pneumatic  lever. 

leziosamen'te  (la-ts3t-6),  I.    Affectedly. 

lezzioni  (ISd-zS-S'-neO,  7.,  pi.     Lessons. 

Xeyer  (U'-Sr),  <?.     Lyre. 

L.  H.     Abbr.  for  "left  hand." 

liaison  (le-£z'-6n),  F.  j.  A  bind  or 
tie.  2.  Vide  LIGATURE,  2.  3.  1.  d*har- 
monie  (dar-m6-n6).  Syncopation. 
1.  de  chant  (dti-shan).  Sostenuto 


libero     (te'-bS-rS),     liberamen'te,     7. 

Free  (ly) ,  unrestrainedly) . 

libitum,  X.  Pleasure,  will,  ad  libitum. 
At  the  pleasure  of  the  performer, 
who  may  decide  tempo,  expression, 
etc.,  or  even  omit  the  section  so 
marked. 

Jibrement  (l6br-m£n),  F.     Freely. 

libret'to.  The  text  of  an  opera.,  ora- 
torio, etc.  libret'tist.  A  writer  of 
such  texts. 

licence  (in  F.  le-sans),  Hcenza  (le- 
chen'-tsa),  I.  A  deviation  from  the 
rules,  con7  alcuna  (Sl-koo'-na)  li- 
cenza.  With  some  freedom. 

liceo  (Ig-cha'-o),  /.    Lyceum;  academy. 

-lich-  (llkh),  G.  Suffix,  equivalent  to 
"-like,"  or  "-ly." 

lich'anos,  Gr.     Vide  LYRE. 

lie  (IS-aO,  F.  Smooth(ly),  legato.  116 
coulant  (koo-lan).  Slurred  but  flow- 
inc. 


Liebeslied  (le'-bSs-lSt).  Love-song. 
Liebestod.  Love's  death.  Liebes- 
fl8te.  A  flute-stop.  Liebhaber 
flgp'-ha-ber).  Amateur.  lieblich 
(lep'-llkh).  Lovely,  charming. 

Lieblichgedaoht  (g£-dakht).  A 

stopped-diapasoai  organ  register. 

Lied  (1st),  pi.  tieder  (le'-d^r),  G. 
Looselv,  any  song;  technically,  a 
song  (as  opposed  to  the  ballad  or 
StrophenHed),  in  which  the  text 
predominates  over  merely  melodic 
rights,  and  the  music  interprets, 
rather  than  disregards,  the  words. 
Such  a  somg  in  which  each  stanza  has 
special  music  is  often  called  durch- 
komponi(e)rtes  (doorkh-k6m-po- 
ner'-tSs),  or  one  "composed  all 
through."  LIED  (or  UEDER)  ohne 


Worte  (o'-nS  vor'-tS),  G.  Song  <or 
songs)  without  wo*ds.  Lied  form 
(f6rm)._  The  form,  or  theme  of  a 


song.  Liedchen  (let'-khSn),  A  short 
song.  Liederbuch<bookh;.  A  song 
or  hymn-book.  L.-btmd  (boont). 
A  society  of  singers.  L--cyclus  (ts6'- 
kloos).  A  cycle  of  songs.  L.-dichter 
fdlkh'-t^r).  A  song-writer.  L.-kranz 
(krants).  Glee-club.  L.-kreis  (kxis). 
A  **wreathj'  of  songs.  L.-sammlung 
(zSm^loongk).  Collection  of  songs. 
L.-sanger  (zeaag'-Sr).  A  ballad- 
singer.  L.-spiel  (shp€l).  An  oper- 
J&tta.  I*.-sprache  <spra'-kh6).  Words 
adapted  to  songs.  L.-tafel  (ta^fSl). 
^Song^-table";  a  glee-dub  of  male 
voices.  L.-tHfler  (tSf'-ler).  Glee- 
singers.  L.-tanz  (tants).  A  dance 
with  songs, 
ligare  (ll-g^^rS),  Hgato  fe-ga^to). 

Vide  LEGARE,  LEGATO. 

Ligatur  (16-ga-toor'),  G.,  ligatura 
ag-ga-too'-ra),  7.,  Kg'ature,  E. 
(pron.  in  F.  lg-gS,-tiir').  1.  A  suc- 
cession of  notes  sung  to  one  syllable 
or  in  one  breath,  or  played  with  one 
stroke  of  the  bow.  2.  A  tie.  3.  A 
syncopation.  4.  In  old  music  a 
succession  of  notes  sung  to  one 
syllable.  Vide  NOTATION. 

ligne  (len'-yu),  f.  A  line.  1.  addition- 
nelle  (£d-des-ytt-nel),  or  ajoutS 
(a-zhoo-ta'),  or  postiche  (p6s-tgsh), 
or  supplementaire  (sup-pla-man- 
tar7)-  A  ledger  line. 

lig'neum  psalte'rinm,  L.     Xylophone. 

limite  Oe'-mi-t^),  7.     Limit. 

lim'ma,  Gr.  An  interval  in  Greek 
music,  less  by  a  comma  than  a  major 
semitone. 

linea  (Ig'-ne'-a),  7.     A  line  of  the  staff. 


DICTIONARY  OF  TERMS 


631 


line.     One  of  the  five  lines  making  up 

ike  staff   (q.v.)-     addedy  or  ledger 

line*     Vide  LEDGER. 
lingua    (Hn'-gwa),    /.     i.  The   tongue 

in  a  reed.     2,  The  teed  itself. 
Lingualpfeife     (teu-goo-al'-pfl-fS),     G. 

A  reed-pipe. 
lin'gnla,  L.     Glottis, 
Linie  pe'-ne),  pi.  Linien,  G.     Linefe). 


Lobge 


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. 
linke  Hand  (hant).  The  left  hand. 

U'noSjGr.    i-  A  rustic  air.    2.  A  dirge. 

lip,>  E^  Lippe  (Hp'-p£>»  G.  i.  The  flat 
surface  above  or  below  the  mouth  of 
a  flue-pipe.  2.  Vide  EMBQUCHTTRE. 
Lippenpfeife.  A  flue-pipe. 

lira  (ie'-ra),,  I.  r.  The  Greek  lyre,  2. 
In  i6th-x8th  cent,  a  viol,  hence,  1. 
barberi'na.  A  small  viol  inv.  by 
Dbni  in  17  century.  1.  da  braccio 
(da  brSt'-sh<5).  Obsolete  instr.  like 
the  teauor  violv  with  seven  strings. 
L  da  gam'ba.  Aa  instc.  held  be- 
tween the  knees  and  having  12  to  16 
strings.  1*  dop'pia.  Double  lyre. 
L  grande  (graft  -d$).  A  viol  with  six 
strings,  formerly  used  itt  Germany. 
L  pagana  (p£-ga/-na),  1.  rustica 
Croos'-tl-ka),  L  tedesca  (ta-dSs'~ka). 
A  hurdygurdiy. 

lire  (ler),  F.     To  read. 

liressa  Qg-rgs'-sa).     A  bad  lyre. 

lirico  (l5'-rX-k5),  I.     Lyric. 

lirone  Qg-ro'-nS),  I,  The  large  bass 
viol  with  24  strings. 

iiscio  (le'-shO),  I.     Smooth. 

lispelnd  (lls'-p£lnt).  G.     Lisping. 

1'istesso  (les-tgs'-so),  I.     The  same. 

iitaneTa,  Gr.,  Htania  fls-ta-ne'-a),  L. 
and  /.,  litanie  (ll-ta-n€0,  F-,  Litanei 
(16-ta-niO,  G.,  lit'any,  £.  A  solemn 
form  of  supplication,  the  minister 
offering  prayers,  to  which  the  congre- 
gation add  "Lord  have  mercy." 
kyrie  deison  is  the  lesser  1. 

lit'terae  significa'tivae,  L.  Letters 
of  doubtful  meaning,  used  in  neu- 
matic  notation. 

lit'uus,  L.     A  kind  of  trumpet. 

liuto  (Ig-oo'-tQ),  7.     A  lute. 

livre  (levr),  F.  A  book;  a  1'  ouvert 
(oo-var).  At  first  sight. 

fivret  (le'-vrS),  F.     A  Hbretto 

lo  05),  /      The. 


Loblied 

,  G+     A  hymn  of  praise. 
Loch  G6kh)  in  der  Stiinrae,  G.     "Hole 
in  the  voice,"  used  of  that  part  of-  a! 
register  where  certain  tones  are  weak 
oar  wanting. 

loco  (lo'-ks),  I.  "Place."  i.  A  word 
nullifying  Bva  or  all  ott<w&t  and  mean- 
ing that  the  notes  are  to  be  plajred 
as  written,  not  an  octave  higher 
or  lower  as  before.  2.  A  sign  i  or  » 
violinist  to  return  to  his  original 
position,  form  or  shift. 

Locrian  (lo'-krX-an),  lokrisch  (lo'- 
krfsch)*  G.  See  MODES,  page  762, 

lo'geum,  L.     i.  A  stage.     2-  A  motet. 

Logier'ian  system.  The  system  of  in- 
struction of  John  Bernard  Logier* 
including  class-wprk,  harmony,  etc.* 
and  use  of  the  chiroplast^ 

lombar'do.     A  dance  of  Lombardy- 

long,  longa,  L.  An  obsolete  note  half 
the  length  of  the  large^  or  equal  to 
four  of  our  whole  notes,  long  double. 
An  old  character  equal  to  f  omt  breves.< 
As  an  adjective,  long  appoggiataca* 
An  accented  app.  of  a  single  note 
forming  part  of  the  theme,,  and 
borrowing  half  the  length  of  the 
next  note.  L  drum.  The  bass- 
drum  of  military  bands.  L  mordent. 
of  four  notes.  1.  roll.  A  drumbeat 
to  arms.  1.  spiel.  An  ancient  long 
and  narrow  Icelandic  bow  instrument. 

tongue  pause  (long'-poz),  F.  A  long 
pause. 

lontano  (16n-ta7-n5),  I.  Distant,  re- 
mote. da  L  At  a  distance.  Ion- 
tananza  (Idn-ta-nan'-tsi).  Distance. 

loop.  i.  The  vibrating  part  between  2 
nodes.  2.  The  chord  binding  the 
tail-pieces  of  violins,  etc.,  to  the 
button. 

Losung,  fortschreitende  (f6rt-shri-tfin- 
dS-la/'ZOongk),  G.  Resolution. 

loud  pedal.     Vide  DAMPER. 

lourde  (loord),  F.  Heavy,  lourdement 
(man).  Heavily. 

loure  (loor),  F.  i.  An  old  F.  bagpipe. 
thence;  2.  A  slow  dance  in  6-4  time. 
strongly  accented. 

loure  (loo-ra'),  F.     Smooth(ly),  legato. 

louvre  (loovr),  F.  Applied  to  an  air, 
called  "LJ  Amiable  Vainqueur,"  a 
favourite  of  Louis  XIV.;  thence  a 
dance. 

lu'dus,  L.  Play.  ludi  moderator. 
Organist,  ludi  spiritual!.  Miracle- 
plays. 

lugubre  (loo-goo  '-br6),  J.  Lugubrious, 
pad. 


632 


DICTIONARY  OF  TERMS 


fainig,     A  plaintive  song  of  the  Heb- 
rides sung  by  the  women  at  work. 
lullaby.     A  cradle-song. 
hi-lti.     The    Chinese    official    laws    of 

music* 
llindu  (loon'-doo),  Port.     A  Portuguese 

dance  in  duple  time. 
hmga  (loon'-ga),  pi.  lunghe  (loon-ge). 

/.     Long,  prolonged. 
foogo    (loo-6-go),    I.     Same   as    LOCO. 
lor  (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. 
losing.     An  abbr.  of  lusingato. 
lusingando      (Ioo-s€n~gan'-d5),     lusin- 
gan'te,    lusingato     (ga'-to),     lusin- 
ghevole   (ga^-vo-lS),  .  /.,  lusinghiere 
or  o  (gl-S'-rS).    Coaxing  lusingnevol- 
men'te.    Insinuatingly,  persuasively. 
fastig  (loos'-tlkh),  G.     Merry,  cheerful. 
Lustlied  (loo  st '-let).  G.     A  gay  song. 
tote    tot,   not  loot),    E.,   lut   or   luth 
$ut),  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, 
luters,    lutanists,    lutenists,    or    lu- 
tinists.     A  lute-maker  was  a  luthier 
(lut-ya),    a   name   also   given    then, 
and    now,    to    violin-makers.     The 
trade  and  its  product  are  called  lu- 
therie     (Itit-reO.     lutina.     A     small 
lute,  or  mandolin. 
luttuoso    (loot-too-o'-so),    luttuosa- 

men'te,  I.     Mournful(ly). 
Lyd'ian,  E.,  lydisch  (let'-Ish),  G.     Vide 
MODES,    p.    762.    Lydian    chant.     A 
chant    of    a    sorrowful,    melancholy 
style. 

Lyon  catlins.     Thick  bass-strings. 

lyre  (lir  -in  JE.;  in  F.  ler),  lyra  (l6'-ra), 

Z.,   /.,   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,  beginning  nearest  the 
bodv:  hy'pate  (hi'-pa-te*)  (the  low- 
est in  tone),  parhy'pate,  Uch'anos, 
me'se,  par'amese,  trite  (tre'-te), 
paranete,  nete  (na'-tS).  The  largest 
lyre  was  the  cithara,  the  treble  was 
the  chelys.  A  large  2o-stringed 
instr.  on  which  octaves  were  played 
was  the  magadls.  2.  The  modern 
lyra  is  a  rebec,  and  various  bow- 
instrs.  have  been  called  lyres,  or  lyre- 
viols,  since  the  i4th  cent.;  some 
have  a  double  neck  or  bijuga  like 
the  theorbo  (Vide  LUTE),  including 
the  lyra  di  braccio  (bzrat'-cho)  or 
arm-viol  and  archeviole  di  1.,  or  L 
dpppia.  The  L  di  gamba  is  a  leg- 
viol.  1.  barbarina.  An  old  instr. 
resembling  the  guitar,  but  played 
with  the  bow.  1.  hex'achordis,  Gr. 
A  six-stringed  lyre.  1.  mendico'rum, 
L.  "Beggar's  lyre,"  a  hurdygurdy. 
Lyra-sMnger  (z5ng7-Sr),  or  -spieler 
(shpe'-le'r),  G.  Performer  on  the 
lyre.  3.  The  modern  Stahlspiel. 
lyric,  lyr'ical,  lyrisch  (Ifcr'-feh),  Gf 
"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.  L  comedy.  Comic 
opera.  1.  opera.  A  ballad  opera. 

M 

M«  Abbr.  of  Mezzo,  Metronome,  Mano, 
Main;  m.  f.,  for  Mezzo-forte,  m.  p., 
Mezzo-piano;  m.  v.,  Mezzo-voce. 

M.  M.  Abbr.  for  Maelzel's  Metro- 
nome (q.v.). 

ma  (ma),  /.  But;  as  allegro  ma  non 
froppo,  quick,  but  not  too  much  so. 

machalath  (ma'-ka-lath),  Heb.  A 
term  employed  in  the  Psalms,  sup- 
posed by  some  to  mean  a  flute,  but 
by  others  to  indicate  familiar  tunes. 

machete  (ma-shS'-tS).  Port.  A  small 
guitar  with  4  strings,  tuned  d'-gr- 
V-e". 

mach-icotage  (m2.sh-I-k6-tazh),  F., 
macicota'ticum,  L.  Embellishment 
added  to  the  cantus  firmus  of  plain- 
chant,  customary  in  France  in  the 
1 8th  cent.  The  clergy  alcne  sang 
the  embellished  or  machicotee  • 
(m&sh-I-kS-ta)  plain-song,  and  were 


DICTIONARY  OF  TERMS 


633 


called  machicots  (m&sh-I-ko)  or  ma- 
cicico'nicL  The  choir  sang  the 
cantus  firmus  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  -kpl),    Heb.     Instr.    sup- 
posed to  be  either  string  or  pulsatile. 
Madre,  alia  (al'-la  mad'-rg).     "To  the 
Mother."     Used   of   hymns   to   the 
Virgin. 
madriale  (ma-drf-a'-le1),  7.     Madrigal. 

madrialet' to.  A  short  madrigal, 
madrigal  (in  F.  m&d-rX-gal;  in  G.  ma- 
drl-hal'),  madrigale  (mad-rX-gal'-S), 
J.  i.  Loosely,  a  short  amorous  or 
pastoral  lyric.  2.  Strictly  an  un- 
accompanied chorus  in  from  2  to  8 
parts,  based  on  a  cantus  firmus,  and 
written  with  elaborate  counterpoint. 
Beginning  in  Italy  in  the  isth  dent, 
it  spread  all  over  Europe,  madrigal- 
es'co,  7.  Pertaining  to  the  madrigal* 
maesta  (ma-as-ta'),  maestade  (ma- 
as-ta'-d£),  maSstate  (ta'-t),  7. 
Majesty,  grandeur.  maestevole 
(ta'-vo-le"),  maestevolmen'te,  ma- 
esto'so.  maestosamen'te.  Majes- 
tic (ally),  noble  (nobly), 
magstria  (ma-as-tre'-a;,  7.  Mastery, 

skill. 

maestro  (ma-as'-tro),  fern.,  maestra 
(ma-as'-tra),  7.  Master.  m.  al 
cembale.  A  conductor,  since  he 
formerly  sat  at  the  harpsichord. 
m.  al  piano.  Pianist  of  an  orches- 
tra, m.  del  coro.  Master  of  the 
choir,  m.  di  camera.  Conductor 
of  chamber-music,  m.  di  canto. 
A  singing-master,  m.  di  cappella 
(de  kap-p&'-la).  i.  Chapel-master. 
2.  Conductor. 
mag'adis,  Gr.  x.  Vide  LYRE.  2.  i6th 

cent,  name  for  monochord. 
magadizing.     A  vocal  performance  in 

octaves, 
mag'as,    Gr.     i.  Bridge.     2.  Fret.     3. 

Vide  MAGADIS,  2. 
Magazinbalg  (makh-S-ts5n'-balkh),  G. 

Reservoir-bellows. 
maggiolata  (mad-j5-la'-ta),  7.     A  song 

in  praise  of  May. 
maggiore  (mad-jo'-re),  7.     "Greater," 

major. 

maggot.     An  impromptu  fantasy, 
magistrale      (ma-j*s-tra'-lS),   7.     Vide 

MAESTRA£E. 

Magnificat,  £.  A  part  of  the  Vespers 
from  "Magnificat  anima  mea  Domi- 
"num,"  My  soul  magnifies  the  Lord. 


main  (man),  F.     The  hand.    m.  droite 
(drwat).     Right  hand.    m.  gauche 
(gOsh) .     Left  hand.    m.  harmonique 
(ma-nar-mttn-gk).     Harmonic  hand, 
xnaltre  (mStr),  F.    A  master,  a  director, 
m.  de  chappelle  (shS,-pel).     Chapel- 
master;    conductor;    director    of    a 
choir,     m.  de  musique  (dti  mti-z€k'). 
Musical  director,  or  teacher. 
maitrise  (m^t-r6z),  F.     A  music-school 

connected  with  a  cathedral, 
majesta  (ma-yas-ta7),  7.,  majest^  (ma- 
zh£s-ta),  F.  Majesty,  majestuetix 
(ma-zhSst-yu').  Majestic,  majesta- 
tisch  (ma-y^s-ta'-tish),  G.  Majestic, 
ma'jor,  £.,  majeur  (ma-zhttc),  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  sth. 
m.  cadence.  One  ending  on  a  m. 
triad. , 
Mai  (mal),  G.  Time,  as  zum  ersten 

M.,  for  the  first  time, 
malaguena    (ma-ia-gan'-ya),    S£.      A 

fandango. 

malanconia  (ma-lan-ko-ne'-a),  malin- 
coni'a,  7.  Melancholy,  malenco7- 
nico,  malincorico,  malinco'nico, 
malinconio'soy  malincono'so,  ma- 
linconicamen'te,  7.  In  a  melan- 
choly style. 
TTiflrna  (ma '-ma),  7.  In  drum-music 

the  right  hand,. 

manca  (man'-ka),  7.     The  left, 
mancando    (man-kan'-do),    7.          De- 
creasing and  retarding, 
manche  (mSnsh),  F.     Neck  (of  a  vio- 

lin,  etc.). 

mandolin (e)  (man'-do-lln),  £.,  mando- 
lino  (man-dS-le'-nS),  7.  A  small  lute 
with  fretted  neck,  and  paired  strings 
played  with  a  plectrum.  The  com- 
pass g-g'  '  '.  The  Neapolitan  (man- 
flrolino  napolita' no)  has  4  pairs  tuned 
g-d'-a'-e";  the  Milanese  (m.  lom- 
bardo)  has  five  or  six  pairs  tuned 
g-c'-a'-d^-e",  or  g-b-e'-a'-d"  - 
e/7.  mandolinata  (a'-ta).  To  be 
played  with  mandolin-like  effect, 
mandola,  mando'ra,  mando're.  A 
large  mandolin. 
mangeot  (man-zh5),  F.  A  piano  d 

claviers  renversS. 

manico  (ma'ni-ko),  7.     Neck  (of  vio- 
lin, etc.). 


634 


DICTIONARY  OF  TERMS 


manlehord,  E.,  manichord'ium,  L., 
manichord'on,  Gr.  An  old  term  for 
various  string  instrs.  Manichor- 
diendraht  (drat),  G.  Wire  for  the 
manichord. 

maniera  (m£-nl-a'-ra),  /.,  manidre 
(m£n-yar),  F.  Manner,  style,  m. 
affettata  (af-fet-ta'-ta),  /.  Affected 
delivery,  m.  languida  (lam'gwl-da), 
7.  A  langtiid  -style. 

Manier  (ma-n5r'),  pi.  Manieren  (ma> 
ne'-ren),  G.  Grace(s),  embellish- 
ment^). 

man  'if  old  fugue.  One  with  two  or 
•more  subjects. 

Itfgnnerclior  (m&n-n£r-kor),  G.  Male 
chorus.  MSnnergesangverein  (gS- 
zang'-f&>in).  A  male  choral  society. 
Mam'nerstimmen.  Male  voices. 

mano  (inS/-n3),  /.  The  hand.  m. 
destra  (das'-tra),  m.  dritta  <d*-r*t'- 
ta),  or  dritta  (drJt'^ta).  The  right 
hand.  in.  sinistra  (sl-nSs'-tra).  The 
left  hand. 

atan'ual,  M.,  Manual  (mS-noo-al'),  G., 
manual  e  (ma-noo-a  '-le1),  7.  and  L. 

1.  Key-board    of    an    organ.     2,  A 
digital,       especially       man'ual-key. 
manual  '-it  er.     Without  pedals,  "on 
the     manuals     alone."     M.-koppel, 
G.     A  coupler  connecting  one  manual 
with  another,    m.-mente  (ma-noo-al- 
ra&n'-te'),  I.     Manually.     M.-uater- 
satz  <oon-t&vz£ts),  G.     A  33~ft.  sibop. 

j&anubrio  (ma-no  ox-brJ-5),  /,,  Ma- 
nubrien  (ma-noo  '-brl-Sn)  ,  pL  ,  G.  The 
feajxdle<s)  by  which  a  stop  is  cLrawa*. 
M.  koppel.  A  draw-stop  collar. 

marcan'do,  marcato  {mS-r-ka'-to),  /- 
Marked,  accented,  marcatis'simo. 
Very  strongly  marked. 

march.  A  composition  to  accompany 
marching.  There  are  two  kinds,  the 
quick  *#,  or  quickstep,  and  the  solemn 
processional,  funeral  or  dead  tn. 
Usually  in  4-4  time,  the  m.  may  be  in 
2-4,  3-4  or  6-8  time.  Ttue  march 
usually  includes  a  second  part,  or 
trio,  and  a  repetition  of  the  first  sub- 
ject. The  second  part  is  often  lyrical 
rather  than  rhythmic.  The  cadence 
for  the  quickstep  in  the  American 
array  is  120  to  the  minute. 

marche     (m2,rsh),     F.     *.  A     march. 

2.  A  progression,  as  m.  harmonique 


marcia  (mar'-cha),  J.  A  march,  m. 
ftmebre  (f  oo-na'-brS)  .  Funerai- 
march.  marciale,  or  marziale  (mar- 
tsl-a  '-!€),  or  alia  m.  In  march-style. 
marciata  (mar-cha'-ta).  A  march. 


marked.     Accented. 

mark.  A  sign,  cadence-m.  Vide 
CHANT,  harmonic-m.  Vide  HAR- 
MONIC, metronomio-m.  Vide  MET- 
RONOME, expression**)!*  Vide  EX- 
PRESSION, tempo-m.  Vide  TEHPO. 

markiren  (mar-ke'-ren),  G~,  marq.uei 
(mar-ka),  F.  To  mark,  emphasise, 
maririrt  (mar-k€rt'),  G.,  marque 
(marka/),  F.  WeU  marked,  matr- 
quez  tin  peu  la  melodie  (mar-ka'zun 
pii  UL  ma'-ld-de'),  F.  "Emphasise 
the  melody  slightly." 

Marsch  <marsh),  pi.  marsche  (mar'- 
shS),  G,  March(es).  niarschartig 
(marsh '-Sr-tlkh).  In  the  style  of  a 
march. 

Marseillaise,  la  (la  mar-s£-yez),  F. 
The  French  nationai  anthem,  written 
and  composed  by  Capt.  Rouget  de 
lisle,  April  24,  1792,  and  called  by 
him  ^  Chant  de  guerre  de  Tarrja-ee  du 
Ulian/*  btrt  first  popularised  tby,  and 
Always  named  after,  the  soldiers  from 
Marseilles. 

marteau  (mar^t®),  F.  i.  Hammer,  in 
piano-action.  2.  Tuning-key. 

martelS  <mS,r-tti-la'),  F,,  martellato 
<niar-tgl4aVt5),  martellan'do,  1. 
Strongly  marking  the  notes,  as  if 
hammering. 

martellement     (m&r-tSl-man),     j* .     i 
Played  with  the  acciaccatura.     2.  In 
old  music  a  mordent. 

marziale  (mar-ts^a'46),  /.  Vide  MAR- 
CIA. 

mascherata  (ma-sk£-ra/-ta).  Masque- 
rade. 

maschera  (naa'-ska-ra),  /.     A  mask. 

Maschinen  (ma-shS'-n^n),  G.  Pistons. 
Vide  VALV®.  M.-pauken.  Kettle- 
drums -with  a  mechanical  adjuster  of 
pitch. 

mask,  E.,  masque  (mask),  F.,  Masken- 
spiel  (mas^k&a-shpel),  G.  A  spec- 
tacular entertainment  usually  alle- 
gorical and  dramatic,  with  music. 
Very  elaborately  done  in  Elizabethan 
times. 

mass.  In  the  R.  C.  service,  that  por- 
tion accompanying  the  consecration 
of  the  Host.  Before  this  service, 
those  not  permitted  to  take  part  are 
dismissed  with  the  words,  "Lte 
missa  est"  (vide  HE) — 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  faithftt!" 
(Missa  fidelum).  A  mass  without 
music  is  low  m.;  with  music  high 


DICTIONARY  OF  TERMS 


665 


BU    The"  musical  service  is  as  fol- 
lows: i.  Thekyrie*  (a)  Kyrie  Eleison, 

(b)  Cliriste  Eleison,  (c)  Kyrie  Elei- 
son,    2.  The    gloria,    or    doxology, 
(a)    Gratias  agimus,   (b)   Qui  toHis, 

(c)  Quondam,,  (d)  Cum  sancto  spuitu. 
*.  The    credo,    (a)    Et    incarnatus, 
(b>    Crucifixus,    (c)    Et    resurrexit. 
4.  The     sanctus.     Benedictus     and 
Hosanna.     5,  The    agnus    dei>   and 
Dona    Nobls.     These    divisions   are 
named  from  the  first  words  of  tmeir 
text  (which  will  be  found  translated 
under  the  separate  heads). 

The  Short  m.  is  that  of  the  Protes- 
tant Church,  which  uses  only  the 
kyrie  or  the  gloria. 
Masses  have  been  written  in  aU  elab- 
orations from  simple  unison  to  fullest 
counterpoint  and  to  choral  works  in 
from  &  to  32  parts  with  orchestral  ac- 
companiment. (Vide  PALESTEINA  in 
the  B.  D.) 

Mass  (mas),  G.     Measure,  time. 

m&ssig  (mSs'-sikh),  GL  i.  Moderate^ 
mo  derate  (ly).  2.  As  a  suffix,  "ap- 
propriate to,"  as  klavierm&ssig,  etc. 

massima  (mas'-sl-ma),  /.  The  "great- 
est." i.  A  whole  note.  2.  Aug- 
mented intervals.  3.  A  maxim. 
Vide  NOTATION. 

master  chord.  The  dominant,  m. 
fugue.  An  elaborate  fuga  ricercata. 
m.  note.  The  leading-tone,  m.- 
singer.  Vide  MEISTERSINGER. 

Masure  (ma-zoo '-re"),  G.,  Masure(c)k 
(ma-zoo'-rSk),  Pol.,  Masurka  (ma- 
zoor'-ka),  G.  See  MAzotnsK. 

matachin  (ma-ta-ch5nO»  $P*  A  gro- 
tesque Merry  Andrew  dance. 

*nat'alan.     A  small  Indian  flute. 

matassins  (m3,-tas-s£n),  F.  r.  Mata- 
chin. 2-  The  dancers  of  it. 

matelotte  (m2Lt-16t),  F.  Sailor's  horn- 
pipe. 

matinare  (ma-tl-na'-rS),  J.  To  sing 
matins. 

matinata  (ma-tl-na'-ta),  /.  Morning 
serenade. 

mat'ins.  The  first  morning  service  in 
the  R.  C.  Church.  Vide  HORJE. 

Maultrommel  (mowl'-tr6m-mel),  G. 
A  Jew's  harp.  M.-t.-klavier.  Me- 
lodicon. 

max/im(a)9  L.     Vide  NOTATION. 

Mazourk  (ma-tsoork')-  Maz(o)tirka 
(ma-tsoor'-ka),  mazur  (ma-tsoorO, 
Mazur'ca,  Mazurek  (ma-tsoo'-rSk), 
Mazurka  (ma-tsoor'-ka;  pi.  Mazurke, 
ma-tsoor'-k6),  G.  mazurka,  E.  (ma- 
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  d  or  a  strings  (of  a 
violin),  mean  clef.  Tenor  clef, 
mean-tone  system.  Vide  TEMPERA- 
MENT, 

measurable.    Vide  MENSURABLE. 

meas'nre.  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. 

mecanisme  (m§,-k3,n-ezm),  F.    Technic. 

Mechanik  (m£-ka/-nSk),  G.  i.  Action. 
2.  Machine-head.  3.  The  mecha- 
nism of  fingering  and  wrist-action. 
4.  Technic. 

mech'anism.  i.  Action.  2.  Finger 
and  wrist  action. 

medesimo  (m£-ds/~sl-m3),  medes'rao, 
J.  The  same.  m.  tempo.  The 
same  time,  as  before. 

me 'dial*  i.  Concerning  the  Mediant. 
2.  Intermediate  or  secondary  (of  ac- 
cent). Vide  CAPENCE. 

nie'diant,  mediante  (m5'-dX-&nt),  F.> 
mediante  (ma-di-an'-tS),  G.  and  /. 

1.  The    third    note    of    the    scale. 

2.  One  of  the  3  pivotal  tone's  of  a 
mode,    midway    between    final    and 
dominant. 

mediation.     Vide  CHANT. 

medius.     Vide  ACCBNTUS  ECCE. 

medley.  A  conglomerate  of  unrelated 
and  usually  familiar  tunes. 

Meertrompete  (mar-tr6m-pa  '-tS) , 
Meerhom,  G.  Sea-trumpet. 

mehr  (mar),  G.  More.  m.  chorig 
(ka-rikh).  For  several  choruses. 
mehrfach  (mar-fakh).  Manifold,  of 
an  interval^  a  canon,  or  a  compound 
stop,  mehrstimmig  (shtlm'-mlkh). 
FOOT  several  voices.  Mehrstimmig- 
keit  dtirch  Brechung  (kit-doorkh- 
br^kh-oongk).  Poljrphony  that  con- 
sists only  of  broken  chords. 

Meister  (ml'-ster),  G.  Master.  M. 
fuge  (foo'-ge).  A  ricercata  fugue. 
M.-gesang  (gS-zSng')-  Minstrel- 
song.  M.-sSnger  (z6ng-€r),  or  singer 
(zXng-e'r).  A  member  of  the  singing 
guild  founded  at  Mainz  in  the  i4th 


636 


DICTIONARY  OF  TERMS 


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.")  Meisterstflck 
(shtiik).  Masterpiece. 

melancolia  (ma-lan-ko-le'-a),  /.,  m6- 
lancolie  (ma-lSn-ka-le")>  *•  Melan- 
choly. 

melange  (ma-lanzh),  F.     A  medley. 

melis'ma,  Gr.  i.  A  vocal  embellish- 
ment or  run.  2.  melismat'ic  song. 
That  in  which  one  syllable  is  sung 
to  many  notes,  opposed  to  syllabic 
song. 

melode  (ma-ls'-de1),  or  melodia  (ma- 
lG-dg'-a),  7.  i.  Melody.  2.  A  stop 
much  like  the  clarabella. 

melo'deon.     Vide  AMERICAN  ORGAN. 

melodic  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  (maJb'-dl-kS).     Cantando. 

melod'icon.  A  key-board  instr.,  inv. 
by  RifTel,  in  Copenhagen,  the  tones 
produced  from  tuning-forks. 

melodies.     Theory  of  melody. 

mSlodie  (ma-16-de),  F.  Melody,  air. 
m.  bien  sentie  (bl-an  s£n-te').  The 
melody  well  accented. 

mSlodieuse  (ma-lSd-yttz).  Melodious. 
m£lodi*eusement  (man).  Melodi- 
ously. 

Melodik  (mS-l5'-dSk),  G.    Vide  MELO- 

DICS. 

melo  'diograph.     Melograph. 

melo'dion.  A  key-board  instr.  with 
range  of  6  octaves  inv.  by  Dietz,  of 
Emmerich,  the  tone  produced  by 
tuned  steel  bars  pressed  by  a  rotating 

.    cylinder. 

melodio'so  (m£-l5-dI-5'-so),  I.,  melo- 
dise* (mS-lc'-dfeh),  G.  Melodious. 

melodista  (ma-l5-d5s'-ta),  7.,  melo- 
diste  (ma-lo"-dest),  F.  Melodist. 

Melodistik  (mfi-l6-d6s'-t5k),  G.  Melo- 
dies. 

melo'ditun.  i.  American  organ.  2. 
Alexandra  organ. 

merodrama,  JE.,  Melodram  (ma Mo- 
dram),  G..  m£lodrame  (ma-lo-dram), 
F.,  melodramma  (ma-lo-dram'-ma), 
7.  i.  Originally  opera.  2.  Spoken 
drama  accompanied  with  instr.  mu- 
sic, 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  of  simultaneous 
tones.  3.  The  leading  part,  lead- 
ing m.  A  principal  melody, 
melograph.  A  piano  inv.  1827,  which 
recorded  what  was  improvised. 
Many  attempts  of  this  sort  have  been 
made,  the  most  successful  an  electric 
m.,  the  Phonaut'o graph,  by  Fenby,  of 
England,  recording  after  the  manner 
of  telegraphy.  This  record  cut  into 
cardboard  is  run  through  a  key-board 
attachment,  the  melotrope,  to  repro- 
duce the  music. 

merologue.     Recitative  and  music. 
meroman,    Gr.,    melomane     (ma'-lS- 
man),  P.,  Mel6mfiniac,  E.     A  pas- 
sionate lover  of  music,     melomanie 
(ma-lo-ma-ne),  F.,  mel'omany.    Mu- 
sic mania, 
melopea    (ma-lo-pa'-a),    /.,    mSlopee 

(ma-16-pa),  F.     The  art  of  melody. 
merophare.    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. 

mel'oplaste  (m&'-6-piast).  Pierre  Gal- 
ius's  simplified  method  of  teaching 
the  rudiments  by  singing  popular 
airs  and  pointing  the  place  of  the 
notes  on  the  staff,  and  by  using  two 
metronomes  for  beats  and  measures. 
melopoea  (mfc-lo-pS'-a),  Gr.  Art  of 

Composition. 

Melos   (ma'-lSs).     Melody.    Used  by 
Wagner  for  the  melody,  also  the  en- 
tire implied  harmony,   the  musical 
idea.     Vide  RECITAITVE. 
merotrope.    Vide  MELOGRAPH. 
m&ne  (mSm),  F.     The  same,     a  la  m. 

tempo.     In  the  original  tempo, 
men  (man),  /.     Abbr.  of  meno  before 
a  vowel,     men  allegro.     Less  quick. 
menSstrel  (mtt-nas-trelO,  F.    Minstrel. 

Vide  TROI7BADOXJR. 

men6'trier  (imVna-trf-a),  F.  A  min- 
strel or  rustic  musician.  Vide  TROU- 
BADOUR. 

meno  (ma'-n6),  7.    Less;  not  so  fast. 

.    m.  mosso.    Less  speed. 

Mensur  (m5n-zoorO,  G.  Measure,  of 
time,  intervals,  scale  of  pipes,  and 
sizes  of  instr.  strings,  etc. 

men 'sura,  L.    Measure,  time. 


DICTIONARY  OF  TERMS 


637 


men 'sura  ble,  .E.,  mensural  (mSn-zoo- 
ral')>  G*  The  original  plain-chant 
was  in  notes  of  equal  duration;  in 
tiie  1 2th  cent,  the  old  square  notes 
were  modified  and  given  a  "measur- 
able" value.  The  first  mensurable 
notes  were  the  maxima,  longa,  brews 
and  semibrevis;  in  1300,  the  minima 
and  semiminima  were  added.  In  the 
1 5th  cent,  white  notes  displaced  the 
black,  which  were  chiefly  used  for 
smaller  values.  The  music  so  writ- 
ten, or  mensurable  music,  was 
governed  by  many  complicated  laws. 
Vide  NOTATION. 

mente  (mSn'-te1).  Mind,  alia  in.  Im- 
provised. 

menuet  (mtl-noo-aO,  F.,  Menuett 
(mSn-oo-St'),  G.,  menuetto  (ma-noo- 
St'-to),  I.  Minuet. 

mer'ula,  L.  A  set  of  pipes  in  water 
producing  a  warbling  tone. 

me'ris,  Gr.     The  6th  part  of  an  octave. 

mesau'lion,  Gr.     Symphony,  ritornello. 

mes'cal.  A  Turkish  instr.  of  twenty- 
three  cane  pipes,  each  giving  three 
different  sounds. 

•nescolanza  (mSs-kS-lS-n'-tsa),  /.  A 
medley. 

me'se,  me 'son,  Gr.     Vide   CHART   or 

GREEK  MODES,  p.  764,  and  LYRE. 

me'sotonic.         i.  Mean-tone.         Vide 

TEMPERAMENT.       2.    Vide  LYRE. 

mes'sa.  7.     A  mass. 

messa  di  voce  (mfcs'-sa  dl  vS'-chS),  7. 
The  gradual  swelling  and  dTir^"" i  gh  tug 
of  a  tone;  to  attack  and  swell  is  for- 
mare  il  tuono  (fto-ma'-re1  €l  too-5'- 
no);  to  sustain  loudly  is  fennare  il 
t.  (fSr-mS/-re*);  to  diminish  is  finire 
(fe-ne'-rS)  il  t. 

messanza  (m£s-san'-tsa),  7.  Quodli- 
bet  (q.v.). 

messe  fine's),  F.,  Messe  (mSs'-sS),  G. 
A  mass. 

mes'sel,  Arab.  "Measure."  The 
Arabian  method  of  reckoning  inter- 
vals, the  lower  notes  receiving  greater 
values  than  the  higher  because  the 
vibrating  portion  of  the  string  which 
produces  them  is  longer. 

mesto  (m&s'-to),  7.  Melancholy, 
mesto'so.  Sad. 

mesure  (mtL-ziir'),  F.  Measure,  a  la 
m.  In  time.  m.  a  deux  temps  (du 
tan).  Common  time.  m.  a.  trois 
temps  (trwa  tan).  Triple  time.  m. 
demi  (d-'mS").  Half  measure. 

met.     Abbr-  of  Metronome. 

metal  (m&-t810,  Sp.  Strength,  com- 
pass of  the  voict 


metallico  (mS-taT-tf-kS),  7.  (Of  a 
voice)  "metallic"  in  a  good  sense, 
clear,  ringing,  hence  ^etal'lo, 
"metal." 

metamor'phoses.     Variations. 

meter,  or  metre,  E.,  metre  (m£tr),  F. 
In  music  as  in  verse,  the  arrangement 
of  rhythmic  units,  or  measures.  The 
m.  of  hymns  is  classified  by  the 
number  of  syllables  to  a  line,  the 
metrical  foot  and  the  number  of 
lines  to  a  stanza.  In  Iambic  m.  or 
common  m*  (C.  M.),  4  lines  alter- 
nately 8  and  6  syllables  ^  long; 
common  particular,  or  hallelujah  m* 
(C.  P.  M.),  886886;  long  m.  (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  sixes  (7676),  tens  (four  iojs), 
hallelujah  (666688,  or  66664444)- 
In  trochaic  m.  are  sixes  (four  6's), 
sixes  and  fives  (6565),  sevens  (four 
7*s),  eights  and  sevens  (8787).  In 
Dactylic  m.  are  eights,  eights,  sevens 
and  fours,  etc.;  elevens  (four  n's), 
and  elevens  and  tens  (n,  10,  n,  10), 
etc.  Classic  and  French  metres  de- 
pend on  quantity  or  length  of  sylla- 
bles, instead  of  on  their  stress  or 
accentuation  as  with  us.  Vide  TOOT. 

method,  JE.,  mSthode  (ma-t6d),  F.9 
metodo  (m&'-to-d6),  7.  A  course  of 
instruction;  classification;  system. 

Metrik  (mat/-r5k),  G.  Metrical  art 
metrisch  (mSt'-rlsh).  Metrical. 

metro  (m§/-tro),  7.  and  Sp.     Metre. 

Metrometer  (mS-tro-ma'-t6r),  G.,  me- 
trometre  (ina-tr6-m€tr),  F.,  metro- 
metro  (ma-tro-ma/-tro),  7.  Metro- 
nome. 

met'ronome,  JS.,  Metronom  (ma-trS- 
n6m'),  G.,  metronome  (ma-tr6-mlm), 
F.,  metronome  (ma-tro-nO'-mo"),  7. 
A  pendulum  worked  by  clock-work, 
and  weighted  below;  provided  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  min- 
ute, etc.  It  moves  with  an  audible 
click;  the  bell-metronome  has  also  a 
be]i  which  rings  every  third  or  fourth, 
etc.,  beat.  Perfected  by  Winkel  it 
was  put  on  the  market  by  Maelzel 
(vide  B.  D.),  and  is  called  Maelzel's 
metronome  (abbr.  M.  M.).  It  is 


638 


DICTIONARY  OF  TERMS 


useful  as  a  composer's  indication  of 
the  standard  time  of  a  composition; 
hence  the  metronome-mark,  thus 
M.  M.  J  -90,  means  a  rate  for  quarter 
notes  equal  to  90  per  minute,  as  in- 
dicated by  the  slider  set  at  90.  It 
is  used  also  to  beat  time  for  students. 
It  is  made  also  in  watch-form  as  a 
pocket  m. 

met'rum,  L.     Metre. 

Mette  (mSt'-tS),  G.     Matins. 

metter  la  voce,  /.  Same  as  messa  di 
voce. 

mettere  in  musica  (m£t'-tS-rS  In  moo'- 
zl-ka).  /.  To  set  to  music. 

mettez  (mSt-ta),  F.     "Draw  (a  stop)." 

mettre  d'accord  (mStr  d£k-k6r),  F. 
To  tune.  m.  en  musique  (an-mu- 
z5k).  To  set  to  music,  m.  en  repe"- 
tition  (ra-pa-tes'-ydn).  To  put  in 
rehearsal. 

met'zilloth,  metzilltheim,  Heb.  -Cym- 
bals. 

mez.     Abbr.  of  Mezzo, 

mezzo  (mSd'-zo),  /,  Medium,  half. 
in.  aria.  Vide  ARIA  PARLANTE.  m. 
bravura.  Moderate  difficulty,  m. 
forza  <f6r'-tsa).  Moderately  loud. 
m.  manica  (ma'-nl-ka).  The  half- 
shift.  mezzana  (m€d-zS/-na).  Mid- 
dle string  of  a  lute.  m.  orchestra. 
Half  the  string-band,  m.  voce  (v5'- 
che1),  /.  Half  the  voice,  with  moder- 
ate tone,  m.  forte  06r-££).  Mod- 


erately loud.  m.  piano  --,, 
J.  Rather  soft.  m.  soprano.  A 
voice  lower  than  soprano,  higher  than 
contralto,  mezzo  soprano  clef-  The 
C  clef  on  the  second  line,  in  old 
church-music  or  madrigals.  The 
treble,  or  soprano,  clef  now  supplies 
its  place,  m.  staccato.  A  little  de- 
tached. m.  teno're.  A  low  tenor 
voice,  nearly  barytone,  m.  tuono 
(too-6'-no),  7.  A  semi-tone. 

m.  f  .     Afobr.  of  mezzo  forte. 

m.  g.  Abbr,  of  main  gauche  {left 
hand). 

mi  (mS),  /.  and  F.  i.  The  note  E. 
mi  bemol  (ba'-m61).  E  flat,  mi 
diese  (d*-£z).  The  note  E  sharp. 
2.  Vide  SOLMISATION.  3.  The  ad 
of  the  scale,  mi  contra  fa  est  diabo- 
lus  in  musica,  "mi  against  fa  is  the 
devil  in  music,"  was  the  mediaeval 
objurgation  against  the  tritone  (q. 
v.),  mi  being  B  natural  in  the  hard 
hexachord,  fa  being  F  in  the  natural 
hexachord.  mi-ce-ut.  Vidje  OC- 
TAVE. 


mi'crophone.     An  instr.  for  the  magni- 

fying 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. 
xnignon   (nuen-ydn),   F.     i.  Favourite, 

pet.     2.  Delicate. 
militaire  (mtt-I-tar),  F.,  militare  (mE- 

lI-ta/Hre*),    /.,    militairement    (mfl-l- 

tar'-man),     F.,     militarmen'te,     I. 

Martial(ly). 
MiHtarmusik        (m6-H-tar  '-moo-z6kO  . 

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. 
inilote     (me-lo'-tS),     Sp.     An    Indian 

dance. 
mi'modrama,  E.9  mimodrame  (mg-m6- 

drtaxO,  F.     Pantomime. 
minacciando    (me-nat-chan'-do),   min- 

accievole    (cha'-vo-l^),   minaccio'so, 

minaccieVolmente,         minaccio'sa- 

mente*     Threatening(ly). 


---, 

Heb.  A  table  over  which  was 
stretched  an  iron  chain  and  a  hempen 
cord  through  balls  of  wood  or  brass; 
striking  against  the  table  they  mad© 
a  ringing  sound. 

minder  (mint  '-&•),  G.     Minor,  less. 

mineur  (m^-nftrQ,  F.     Minor. 

rnin'im,  -mini-iinfi  {mS'-ni-ma},  /.,  mi- 
nime  (min-SmO,  F.  A  half  -note. 
Vide  NOTATION. 

Minnedichter  (min'-ng-dlkh'-ter).  M.- 
sanger  (z6ng-Sr),  M.-singer  (zing- 
Sr),  G.  From  the  i2th  to  the  i4tb 
century  a  German  troubadour  of 
not>le  birth  celebrating  pure  love  in 
song  (Minne-gesang).  The  singers 
wrote  both  words  and  music,  singing 
and  playing  on  the  arpanetta  or  the 
viol.  Their  festivals  of  contest  are 
reproduced  in  Wagner's  "Tannh&u- 
ser."  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,  J5.,  minore  (ma-no  '-rS),  7. 
''Smaller,"  of  intervals,  etc.,  as  op- 
posed to  major.  Vide  INTERVAL, 

MAJOR,       MODE,       SCALE.        m.       tone. 

The    lesser    whole    tone,    10:9.     m. 


JDICTIONARY  OF  TERMS 


639 


triad.  One  with  minor  3d  and  per- 
fect 5th* 

mm'strels.  Singers,  usually  of  a  ser- 
vile or  vagabond  class,  sometimes 
acting  as  attendants  on  the  trouveres 
and  troubadours  (q.v-)>  and  gener- 
ally playing  the  rebec,  negro  m. 
One  who  gives  an  imitation  (usually 
remote)  of  the  songs,  dances,  etc., 
of  the  American  negro. 

xninue  (m5-noo-a/),  5j>-     A  minuet, 

rakittet  (mfca-u-et'),  R.>  tnmuetto  (me- 
noo-et*~to),  I.  A  stately  and  delib- 
erate dance  (originating  probably  in 
Poitou  in  the  i7th  century)  in  triple 
time,  with  gallant  and  amorous 
spirit*  As  one  of  the  most  important 
music-forms,  it  contains  usually  a 
principal  subject  and  a  trie*  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  substitut- 
ing' for  it  the  Scherzo,  and  Tchaikov1- 
sky,  in  one  case,  a  Viennese  waltz. 
minuettiDLa  (te'-na),  /.  A  little 
minuet. 

miracle,  miracle-play.     Vide  MYSTERY. 

mi-re-ut.     Vide  OCTAVE. 

tniscel'la,  L.     Mixture-stop. 

mise    de    voix     (mgz-dii-vwa).     Vide 

MESSA  DI  VOCE. 

miserere  (me"-zS-ra/-r€)r  L.  First  word 
of  Psalm  LI.  beginning  miserere  mei, 
domine,  "Pity  me,  Lord."  Hence 
a  setting  of  this  Psalm  sung  in  the 
R.  C.  service  for  the  dead,  and  dur- 
ing Holy  Week. 

misericordia  (mS'-za-rl-kdr'-d^S),  L. 
A  miserere. 

xaisk'itu     A  little  bagpipe. 

mis'sa,  L.  and  I.  A  mass  (q.v.). 
mu  fcrevis.  Short  mass,  m*  cam'on- 
ica.  A  canonical  mass.  m.  canta'ta. 
Chanted  mass.  m.  pro  defune'tis. 
"Mass  for  the  dead."  Requiem, 
m.  solen'nis.  High  mass. 

mis 'sal,  E>,  missa'le,  £.,  Missel  (mfe*- 
sel),  G.  The  mass-book  containing 
the  forms  of  the  year. 

missMllig,  or  missh«Uig  (mfe-hel'- 
llkh),  G.  Discordant.  Misshallig- 
keit  (kit)*  Dissonance.  Missklang 
(klang).  Discord.  missklingen 
(mis'-klXng-fcn),  misslauten  (low- 
tSn).  To  be  discordant.  Misslaut 
(lowt).  Discordant  sound.  Miss- 
lautend  (low-i£nt).  Dissonant,  dis- 
cordant, misstimmen  (shtlm'-mSn). 
To  put  out  of  tune. 


niisterio  (m3ts-ta'-ri-o),  mistero  (mls- 
tS'-ro),  /.  Mystery,  misterio'so, 
misteriosamen'te.  Mysterious(ly). 

mistichajiza  (mes-tl-kan'-tsa),  /. 
Quodlibet  (q.v-)- 

mis'to,  Gr.     Mixed.     Vide  MODES. 

roisura  (m5-soo'-ra),  /.  Measure, 
mistirato  (m5-soo-rar-to),  /.  In 
strict  time. 

mit  (mXt),  G.     With,  by. 

Mitklang  (mit  '-klang),  G.  Resonance. 
mitklingende  T6ae  (mlt'-kllag-Snt-S 
tfi'-nS),  Overtones. 

Mitlaut  (m^Mowt),  G.,  Mitlauter 
(mlt'4ow-ter);  Concord,  conso- 
nance. mitlauten.  To  sound  with. 
(mXt'-Uts-f61),  G.  Com- 


passionate^ 

Mittel  (mXt'-tel),  G.  Middle,  half. 
mirtel  c.  (tsSt).  Middle  C.  Mittel- 
fcadenr  (ka-d&ats')  ,  A  half  -cadence. 
Vide  CADENCE.  Mittel-laut  (lowt). 
Middle  sound,  mittelnmssig.  la- 
different.  M.-stimme  (shtlm'-me), 
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.     See  MODES,  p.  764. 

mixture,  .E.,  mixtu'ra,  L.,  Miztur 
(m€x-toorO,  G,  A  compound  flue- 
sftop  consisting  of  2  to  6  ranks  df 
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-stops.  Ancient  m.'s  had 
from  8  t©  24  ranks,  the  result  doubt- 
less being  atrocious  discord. 

mobile  (mS-bMS),  7.  Facile,  impul- 
sive, fickle. 

moderate  (m5-d£-ra'-t5),  J.  Moder- 
ate, in  time,  moderatis'simo,  or  in. 
assai  (Ss-sa'-S).  In  very  moderate 
time,  moderamen'te.  Moderately. 
moderanza  (ran'-tsa),  moderazione 
(ra-ts!-5'-nS)  .  Moderation. 

moderna,  alia  (al'-la  m5-d£r'-na),  J. 
Im  the  modern  style. 

modesto  (mo-das  '-to),  modestamentec 
ModestQy). 

mod'ification.     Temperament  (q.v.). 

modificazioni  (m5-d5-fX-ka-tsi-6'-n6), 
/.,  pi.  Slight  alterations. 

modinha  (m5-den'-a),  Port.  A  short 
song. 

mod.     Abbr.  of  Moderate. 

modo  (mc^-do),  J.  and  Sp.  Mode, 
scale,  style.  (See  article,  page  762.) 

modto.     Abbr.  of  Moderato. 


640 


DICTIONARY  OF  TERMS 


modolare      (mS-do-la'-re*),      modtilare 
(mo-doo-la're'),     7.     To      modulate. 
modolan'te.     Modulating. 
mediate,  E.,  moduler  (m6d-u-la),  F. 

To  effect  a  modulation. 
modula'tion.  i.  Change  of  key,  to- 
nality, or  mode  (usually  to  a  related 
key  by  means  of  chords  on  the 
dominant  of  the  new  major,  or  on 
the  leading-tone  of  the  new  minor 
key).  The  xn.  may  be  transient, 
transitory,  or  passing,  when  it  leads 
to  still  a  third  key  or  back  to  the  first; 
it  may  be  final  when  it  establishes  a 
new  tonality,  enharmonic  m.  is 
that  by  means  of  enharmonic  (q.v.) 
changes  of  notation.  2.  Obsolete. 
Melodic,  or  rhythmic  measurement, 
inflection. 

modula'tor.     Vide  TONIC-SOL-FA. 

modulatore  (mo-doo-la-ts'-re*),  7.  i. 
Singer,  2.  Tuner. 

modulazione  (mS-doo-la-ts X-6  '-ne") ,  7. 
Modulation. 

moduliren  (md-doo-l5'-rSn),  G.  To 
modulate. 

mo'dus,  L.     Key,  mode,  scale. 

mSglich  (makh'-llkh),  G.  Possible, 
so  rasch  wie  m.  (zo-r&sh-ve) .  As 
fast  as  possible. 

mohinda  (m5-en'-da).  A  short  Portu- 
guese love-song. 

Mohrentanz  (mo-r&n-tants),  G.  Mo- 
risco. 

moins  (mwSn),  F.     Less. 

moll  (m61),  G.  Minor.  Mollakkord, 
or  Molldreiklang.  Minor  chord  or 
triad,  etc. 

molla  (m61'-la),  7.  A  key  (of  the 
flute),  etc. 

molle,  L.  Soft.  i.  Vide  "B."  2. 
Used  of  the  hexachord  f-d  in  which 
b  flat  was  substituted  for  the  older 
b  natural.  3.  Minor. 

molle  (m61),  F.     Soft,  delicate. 

mollemente  (m61-18-m£n/te>),  7. 
Softly,  gently. 

moriis,  L.     Vide  MOIXE. 

MoUtonart  (mdl '-ton-art),  G.  Minor 
key.  Molltonleiter  (3i-tSr).  Minor 
scale. 

moltisonante  (mol-tg-so-nan'-tS),  7. 
Resounding,  very  sonorous. 

molto  (m6l'-t5),  7.  Much,  very,  di 
m.  Extremely,  m.  adagio.  Very- 
slow,  m.  allegro.  Very  quick,  etc. 

momen'tulum,  L.     A  i6th  rest. 

momen'tum,  L.     An  8th  rest. 

monaulos,  Gr.     An  ancient  beak-flute. 

monocordo  (mS'-nS-kdr'-dS),  7.,  mon'- 
<jc5iord,  E.j  monochorde  (mdn-o- 


kdrd),  F.  i.  An  instr.  of  one  string 
with  a  movable  bridge,  for  determin- 
ing intervals  and  pitch.  2.  Marint 
trumpet.  3.  A  clavichord.  4.  A 
German  i -stringed  zither  with  fretted 
finger-board  and  resonance-box.  5 
a  monocordo  =  "on  one  string,'1 

1,  e.,  with  the  soft   (or  monochord) 
pedal  down. 

monferina  (mdn-fS-rg'-na),   7.     Lively 

dance  in  6-8  time. 
monodia    (m6-n5-de'-a),    7.     Monodie 

(m6n-o-de'),  f-  and  G.     Monody. 
monod/ic.     For  one  voice;  or  with  one 

voice  predominant. 
monodra'ma,  monodrame   (dram).     A 

musical  drama  with  only  one  actor. 
mon'ody.     Homophony. 
monophon'ic.     Homophonic. 
monoph'onous.     Producing     but     one 

tone,  as  the  drum, 
mon'otone.     i.  Uniformity   of    sound. 

2.  Recitation  on  one  tone. 
Monotonie  (mo-nd-to-ng7)?  G.     Monot- 
ony. 

monotonous.  Monophonous;  lacking 
variety. 

montant  (m6n-tan),  F.     Ascending. 

monter  (m6n-ta),  F.  i.  To  string. 
2.  To  tune.  3.  To  put  an  instr. 
together.  4.  To  ascend. 

montre  (m6ntr),  F.  The  pipes  (usu- 
ally the  diapason)  erected  and 
"shown"  at  the  front  uf  the  organ. 

Moorish  drum.     A  tambourine. 

Moralitaten  (moral-*-ta'-tSn),  G.,  mo- 
ralit^s  (mb-rai-i-taO,  F.,  moralities, 
JS.  Allegorical  moral  plays  of  the 
middle  ages,  a  later  form  of  the  mys* 
teries. 

morbidezza  (m6r-bX-d€d'-za),  7.  Lux- 
urious delicacy. 

morceau  (m6r-s5),  F.  A  "piece.** 
i.  A  short  composition.  2.  A  phrase. 
m.  d' ensemble  (dan-sanbl).  A  piece 
harmonised  for  voices,  m.  de  genre 
(dii  zhanr).  Characteristic  piece. 

mordant  (m6r-dan),  F.  A  trilled  grace 
(q.v.). 

mor'dent,  E.,  Mordent',  G.,  mordent* 
(m6r-den'-tS),  7.  A  grace  (q.v.), 
long,  short,  or  inverted. 

moren'do,  moriente  (mS-rl-gn'-te1),  7. 
Dying  away;  diminishing  in  volume 
and  speed. 

moresca  (m6-rSs'-ka),  7.,  moresque 
(m6-rSsk),  F.  Moorish  dance  with 
jingling  anklets  and  clashing  swords. 

Morgengesang  (m6r'gen-g€-zang),  M.- 
lied  (let),  G  Morning  song.  M.- 


DICTIONARY  OF  TERMS 


641 


st&ndchen  (shtgnt'-khgn).     Morning 
serenade. 
norisco     (m5-r5s'-ko),     /.     Moorish. 

Vide  MORESCA. 
no 'risk.     Morris-dance, 
normoramen'to,  /.    A  murmur,    mor- 
morando     (ran '-do),     mormorevole 
(ra'-vS-le1),    mormoro'so.         Gently 
murmuring. 

norrice-dance,  morris-dance,  morriske- 
dance.  An  English  country-dance 
of  supposedly  Moorish  origin  in  4-4 
time,  the  dancers  wearing  ankle- 
bells  and  grotesque  costumes. 
nort  (in  F.  mdr).  A  tune  at  "the 

death"  of  the  game. 
caosso  (m6s'-s5),  /.     "Moved,"  rapid, 
molto    m.     Very    fast,     meno     m. 
Less  fast,  etc. 

mostra  (mSs'-tra),  J.     A  direct, 
mot  (m6),  F.     A  note  or  strain  on  the 

bugle. 

<notet(t),  E.,  Motette  (mo-tSt'-tfc),  G., 
motet  (m6-ta),  F.,  motet 'to,  /. 
i.  An  almost  always  unaccompanied 
vocal  composition  contrapuntally 
developed,  and  using  biblical  text; 
a  sacred  madrigal.  2.  Loosely,  an 
anthem. 

mote'tus,  L.  i.  A  motet.  2.  An  ob- 
scure mediaeval  term.  - 
motif  (mO-tef),  F,  Motive,  subject. 
motion.  Progression,  i.  Of  a  single 
part  by  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  stationary 
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  di- 
rection by  unequal  intervals  (the 
latter  terms  are  loosely  used  as 
synonymous);  mixed,  if,  in  the  case 
of  several  parts,  two  of  the  above 
motions  occur  simultaneously  be- 
tween different  parts.  3.  perpetual 
m.  Vide  PERPETUAL.  4,  pulse- 
motion.  That  in  which  the  prevail- 
ing tone-length  is  that  of  the  standard 
note  of  the  measure,  as  J  notes  pre- 
dominating in  3-2  time;  half-pulse, 
that  in  which  the  prevailing  motion 
is  in  notes  of  half  the  pulse-value,  as 
i  notes  in  3-2  time,  etc.  5.  eighth- 
note  motion.  That  in  which  the 
prevailing  entrances  of  tones  fall 
uniformly  on  eighth  notes* 
motive,  £.,  Motiv  (m6-tef  0,  G.,  motivo 
(mG-te'-vo),  /.  i.  Theme,  subject, 


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),  Z-  i.  Motion  (q.v.). 
2.  Speed,  con  moto.  With  mo- 
tion, rather  fast.  m.  contrario  (k6n- 
tra'-rl-o).  Contrary  motion,  m. 
mis 'to.  Mixed  motion,  m.  obliquo 
(6b-l5'-kw6).  Oblique  motion,  m. 
ret 'to.  Parallel  motion,  m.  per- 
pet'uo.  Vide  PERPETUAL,  m.  pre- 
cidente  (pra-chl-dSn'-te1).  The  same 
time  as  the  preceding  movement. 
m.  primo  (prS'mo).  The  same  time 
as  the  first. 

motteggiando  (m6t-t£d-j2n'-d6),  /. 
Mocking(ly),  jocose(ly). 

mottetto  (m6t-t£t'-t6),  /.     Motet. 

mo'tus,  L.  i.  Motion  (q.  v.).  2. 
Movement,  m.  contrarius.  Con- 
trary motion,  m.  obliquus.  Oblique 
motion. 

mouth.  The  opening  in  the  front  of  a 
pipe,  m.-harmonica,  or  m.  organ, 
i.  Vide  HARMONICA.  2.  Pan's  pipes. 

mouth 'piece.  The  part  of  a  wind- 
instr.  applied  to  the  lips. 

mouvement  (moov-man),  F.,  movi- 
men'to,  /.  i.  Motion.  2.  Move- 
ment, m.  de  Parchet  (dtt-lar'-sha), 
F.  Bowing.  bien  mouvement6 
(b'yan  moov-man-tS).  Rhythmi- 
cally elegant;  well  regulated. 

movement.  i.  Rate  of  speed.  2. 
Style  of  rhythm,  as  woZte-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. 

m.  p.     Abbr.  of  Mezzo-piano. 

m.  s.  Abbr.  of  Mano  Sinistra  (left 
hand). 

mn  a  nee  (mii-ans),  F.  A  change  or 
variation  of  note.  Vide  MUTATION 
(2). 

mue  (mil),  F.     See  MUTATION. 

muet  (mu-a),  F.     Mute. 

Mund  (moont),  G.  Mouth.  M.  har- 
mo'oika.  Mouth-harmonica.  Vide 
HARMONICA.  M.-loch  (16kh).  Mouth 
of  a  pipe.  M.  stttck  (shtuk). 
Mouthpiece. 

muneira  (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 
castanet-rhythm . 

nrunter  (moon'-te'r),  G.  Lively, 
sprightly.  Munterkeit  (kit).  Vi- 
vacity, 

mtirk'y.     Used  of  a  harpsichord  comp« 


642 


DICTIONARY  OF  TERMS 


having    a    bass    in    broken    octaves 
(caMed  murky-bass). 

mtinaeln  {moor'-m€ln),  G.  To  mur- 
mur, murmelnd  (moor'-melnt). 
Murmuring. 

Mtis.  Bac.  Abbr.  of  Bachelor  (q.v.) 
of  Music. 

Mus.  l>oc.  Abbr.  of  I>octor  (q.v.)  -of 
Music. 

muse  (muz),  x.  One  of  the  nine  god- 
desses of  art.  2.  The  muzzle  or  t?ube 
of  a  bagpipe. 

musetta  fmoo-zSt'-ta),  /.,  musette  <in 
E.  mG-zet',  in  F.  mti-z£t).  I.  A 
small,  imperfect  oboe.  2.  A  bag- 
pipe with  bellows.  3.  Hence,  a  short 
pastoral  dance-ttrae  (often  psart  «€ 
the  Gavotte)  in  duple  or  triple  time 
with  a  drone-bass.  4.  A  reed-stop. 

rnusica  <mcKj*-zI-ka),  £.  ajnd  /.  Music, 
m.  da  camera  (da  kS'-Ho£-r&). 
Cham'ber-mu&ic.  m.  da  teatro  <ta- 
a'-tro").  Dramatic  music.  «a.  di 
gat'tL  "CatHsnusfcc."  ^  Vide  CHARS- 
VARI.  m.  plana.  Plain-chant, 

tnusicale  <njoo-z*-ka '-!£),  musical- 
men  rte,  I.  Musicai(ly), 

musicale  (mu'-zfc-kal).  An  '"at  hoB*e" 
concert. 

music-box.  A  b<we  •containing  an  auto- 
matic aaausicai  instr.  The  Swiss  m. 
b*  has  a  steel  comb  of  graduated 
teeth  set  in  vobaration  foy  small  pegs 
in  a  revolving  cylinder. 

music-drama.     An  opera 

of  the  Wagiaerian  sciiool)  m. 
the  text  and  the  action  deteraaaiae 
the  music,  and  are  not  interrupted  by 
set  arias,  duets,  etc. 

musicien  (n*a-2>€sy-y&n),  F.     Musician. 

musicista  (iDaoo-zl^dhS'-sta),  J.  Mtisi* 
clan. 

musico  (aaaoo'-zl-ks),  /.  x.  Musician. 
2.  A  male  soprano,  particularly  a 
eunuch. 

musicone  (moo-zl-ko'-nfe),  /.  A  great 
musician, 

music-pen,  i.  A  5-pointed  pen  for 
ruKng  the  staff.  2.  A  feroad-podnted 
pen  for  writing  music. 

musjc-recorder,     A  aaaelograph. 

music-timekeeper.  An  English  instr. 
enabling  a  performer  to  keep  tame. 

Mtisik  (moo-zSk'),  G.  Music.  MusSi- 
ker  (moo'-zi-k^r).  Musikus  (koos''). 
A  musician.  Musikalien  (kal'-I-en). 
Trade  name  of  compositions.  Mu- 
sikant  (moo-zl-kant0-  A  vagabond 
musician.  M.-^fest.  A  musical  fes- 
tival. Musik'bande,  or  Musikan- 
tenbande  (ban-de).  A  band  of 


strolling  musicians.  Musik'diktat 
(dsk-tat).  Vide  DICTATION.  M.- 
direktor.  Conductor.  M.-lehrer. 
(la'-rer).  Music-teacher.  M.- 
meister  (mi-sht6r).  Bandmaster. 
M*-probe  (pro'-bS).  Rehearsal. 
M.-verein  (fg-rln).  A  musical  so- 
ciety. M,-zeSttmg  <tsl-toongk).  A 
musical  periodical. 

mtisique  (mii-z^k"),  F,y  Music,  m. 
d'^glise  (da-^l6z).  Church-music. 

rmusiquette  (mii-zl-k^t).  i.  A  short 
composition,  2.  Light  music. 

muta  Cmoov-ta>.  wChaiige37>  A  direc- 
tion i<n  scores  to  ciiange  the  crooks 
or  tuning  of  an  iastr.  in  preparation 
lor  a  change  of  key. 

mata'iiaom,  E.  <in  F-  maHtas" 
mutazione  (moo-ta-tsl-a'/-n6),  /,  i. 
The  transformation  off  the  male  voice 
at  puberty  <isa  F.  mue  <mu)  ). 
2.  Vide  SOLMISATION.  3.  Shafting. 
4.  As  prefix,  used  of  aM  tierce,  -quint, 
etc.,  stops  not  producing  the  unison 
or  octave  of  the  iowtndatkKDHstiDp. 

mtrte.  A  device  for  muffling  tone;  in 
string-iastrs.  a  clamp  of  brass,  wood 
or  ivory  placed  oja  t'he  bridge  and 
deadening  the  resonance;  in  'wind- 
instrs.  a  pear-shaped  leather  pad,  a 
cylinder  of  peitfpsated  wood  ior  a 
pasteboard  <:ome  introdtcced  into  t 
beii. 

muit  Qi)ig  <moo'-43kh)  ,  G. 
spirited. 

muthwaiMg   <moot/-wH-Hk§i),   G. 


Mmtenmg  (nnoo'/-tS-awofflgfc>),  G.  Moa- 
tation,  x. 

mysteres  (anls-t&a:).,  -P.,  Mysterien 
CmS-sta'-rfngn),  G.,  mysteraes,  Jg. 
Mediaeval  sacred  dramas  dealing 
with  tite  Last  Judgment  and  -other 
mysteries,  as  the  moralities  dealt 
with  allegorical  virtues  and  vices, 
and  miracle-plays  with  the  miracles 
of  Christ.  The  idea  persists  in  the 
Passion  Hay  deaMng  -with  Christ's 
sufferings.  In  these  dramas,  often 
accompanied  with  music,  oratorio 
had  its  beginning. 

jsr 

Nabla  (na'-bla),  Heb.     The  nebel. 
nacaire   (na-kar),   F.,  nacara  <na-ka'- 

ra),  /.     An  obs.  kettledrum. 
naccara   (nak-kar-ra),   nacchera   (nak- 

ka'-ra)T  7.     Kettledrum. 
nach  {nftkih),  G.     After;  according  to. 

Nach'ahmung    (a-moongk).     Imita- 


DICTIONARY  OF  TERMS 


643 


tfon.  nachBelieben  (bg-leb'n).  Ad 
libitum.  Nachdruck  (drook).  Em- 
phasis, accent,  nachdriicklich  (druk- 
llkh),  nachdrucksvoll  (drooks'fdl). 
Emphatic.  nachgi(e)biger  (g5-' 
blkh-Sr).  More  slow  and  sustained. 
Nachhall  (hal),  Nachklang  (klang). 
Resonance,  echo.  nachklingen 

(klmg-en),  nachlassend  (las'-sfcnt). 
Slackening  in  time,  nachlassig  (16s- 
slkh).  Carelessly.  Nachruf  (roof). 
A  farewell.  Kachsatz  (zats).  The 
second  part  of  a  period,  following 
the  Vordersatz.  Nachslag  (shlakh). 
-  (a)  An  after-note,  an  appoggiatura 
following  its  principal  note  (the 
opposite  of  Vorscklag).  (b)  An 
auxiliary  note  at  the  end  of  a  shake, 
also  Nachschliefe  (shlS-fe).  Nach- 
spiel  (shpel).  Postlude.  nach  und 
nach  (oont).  By  degrees.  Nach- 
taiiz  (tants),  F.  Second  movement 
of  a  dance. 

nachtsverwandte  TSne  (nSkhst'fer- 
vant'-tS-ta'-nS) ,  G.  The  nearest  rel- 
ative keys. 

Nacht  (nakht).  Night.  N.-horn, 
N.-schall.  An  8-ft.  flue-stop.  N.- 
hornbass.  The  same  stop  on  the 
pedal.  N.-musikstandchen,  N.- 

stuck  (shtiik).     Nocturne,  serenade. 
Kachtschlager    (nakht '-shlakher), 
Nachtigall  (nakht '-1-gal),  G.     Night- 
ingale; an  imitative  instrument. 
jiae'nia,  Gr.     A  dirge. 
nafie  (na'-fg).     A  Persian  trumpet. 
nanri  (na-fe'-re).     An  Indian  trumpet. 
naglrah    (na-ga'-ra),    nagaret',    naga- 

reet'.     Oriental  kettledrums. 
nag'uar.     An  Indian  drum. 
JNagelgeige       (nakh'gl-^-khS),       nail- 
fiddle.     Vide  FIDDLE  (Iron), 
naif  (na-ef),  P.,  fern,  naive  (na-5v),  F. 
nalv    (na-ef),    G.     Artless,    natural, 
naivement  (na-5v-m3.n).     Naturally. 
naiveti  (na-gv-ta).    Artlessness>  sim- 
plicity. 

naked.     Of    intervals,    as    fourths    or 
fifths  lacking  the  third  or  other  ac- 
companiment. 
oa'ker,  nakeres.     Old  E.     Small  metal 

drum(s). 
nakokus     (na-ko'-kus),     Egypt.     Two 

brass  plates  suspended  and  struck. 
nan'ga.     Negro  harp. 
Nanien  (na-nt-Sn),  G.     Dirges, 
oarrante  (nar-ran'-tS),  /.     In  narrative 

style. 

narra'tor.     The  chief  performer  in  an 
oratorio  or  Passion  Play. 


Narrentanz  (nar  '-r5n-tants) ,  G.     Fool's 

dance. 

nasard  (nS-zSr),  F.,  Nas(s)at'  (nas- 
zat')-  G.,  nazardr.  An  old  name  *or 
a  stop  tuned  a  twelfth  above  the 
diapasons,  nasar'do,  J.  and  $p.t 
nasarde  (na-zS,rd),  F.,  nassart  (nas'- 
sart),  na'-sillard.  A  af-foot  stop. 
The  Grosnasard  (gro-n&-za,r),  F.,  or 
Grossnasat  (gros-na-zat7),  &.,  is  a 
quint-stop  on  manual  or  pedal, 
petit-nasard  (p'te),  or  larigot,  is  a- 
xf-ft.  stop. 

na'son,     A  4-ft.  flute-stop. 
Kationallied  (na-tsl-o-nallet),  G.     Na- 
tional song. 

Natur  (na-toor'),  G.  Nature.  JX. 
horn.  A  valveless  Waldhorn.  N.- 
scala.  Natural  scale.  N.-tone. 
Vide  NATTJRAI.  TONE.  N.  trompete. 
Valveless  trumpet,  natiirliche  (na- 
tur^lIkh-S).  Natural.  NaturaUst'. 
A  self-taught  singer,  naturalistisdh, 
(ist'-Jsh).  Untrained. 

nat'-ural.  i.  The  sign  %  nullifying  a 
sharp  or  fl?c.  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,  key, 
or  scale.  That  of  C  major,  u, 
pitch.  That  of  a  pipe  not  over- 
blown, n.  tones.  Those  producible 
on  a  wind-instr.,  as  the  horn,  with- 
out altering  the  length  of  the  tube 
with  valves,  keys,  etc.,  hence  natural 
horn,  etc.,  one  producing  tones 
without  valves  or  keys. 

naturale  (na-too-raMS),  J.  Natural. 
naturali  suoni  (soo-o'-ne1).  Sounds 
in  the  compass  of  the  voice,  natural- 
men'te.  Naturally. 

natural'is,  L,  Natural;  Cantus  n., 
music  in  the  hexachordum  N.  (the 
hexachord  based  on  C) . 

naturel(le)  (nat-u-rel),  F.     Natural. 

naubhun  (nd'-bloom),  Heb.  Vide  NE- 
BEL. 

nay  (na).     A  Turkish  flute. 

Neapolitan    sixth.  Vide    ALTERED 

CHORDS. 

nebel  (naVbel),  nebel  nassor  (nS-bel- 
nas'-s6r),  Heb.  Ten-stringed  harp. 

neben   (na'-b£n),   G.     Accessory.     N.- 
dominant.     The    dominant    of    the 
dominant.      N.-dreiklang.      Second 
ary  triad.     N.-gedanke.     Subsidiary 
theme,   or   idea.     N.-klang.     Acces 
sory  tone.    N".-note.    Auxiliary  note 
N.-register,  KVziige  (dsii-khS)-     Ac* 


644 


DICTIONARY  OF  TERMS 


cessoiy  stops.  N.-septirnenakkorde. 
Secondary  sevenths.  W.-stimme. 
Subordinate  voice  or  part.  N.-werk. 
Choir-organ. 

necessario  (na-chSs-sa'-r!-6),  7.  Nec- 
essary. 

flechiloth  (nSk'-I-16t),  negpi)inoth  (ne'- 
gi-ndt),  Heb.  A  wind-instrument. 

neck.  That  part  of  an  instr.  which 
carries  the  finger-board. 

ne'fer.     Egyptian  guitar. 

negligente  (nal-ye-jSn'-te*),  negligente- 
men'te,  7.  Negligently).  negli- 
genza  (jgn'-tsa).  Carelessness. 

negli  (nal'-ye-),  nei  (na'-e),  /.,  pi.  In 
the. 

nei  (na'-e^j  Tur.     A  flute  made  of  cane. 

nekeb  (na'-kSb),  Heb.  A  wind-instr. 
formed  of  a  single  tube. 

nei,  nella,  nelle,  nello,  nelF,  J.  In 
the,  at  the. 

nenia.     Vide  NAENIA. 

neo-German.  Used  of  the  program- 
matic school. 

nero  (na'-ro),  /.  "Black/'  A  quarter 
note. 

nete  (na'-te1),  G>  Vide  LYM  and 
MODE. 

net  (ngt)  r,ette  (ne*t),  F.,  nett  (nSt), 
G  tjet'to,  /.  Neat,  clear.  nettete* 
(nSt  ttt-ta),  F.  Nettheit  (nfct-hlt), 
Nettigkeit  (nSt'-tlkh-kit),  G.  Neat- 
ness, distinctness,  nettaxnen'te,  /. 
Crisply. 

neu  (noi),  G.  New.  n.-deutsche 
Scliule  (doit-shS  shool'-e*).  Vide 

NEO-GERMAN  SCHOOL. 

neu 'ma,  neume  (num).  i.  One  of  the 
characters  in  the  early  notation  by 
points,  commas,  hook's,  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 
modern  shorthand  and  served  some- 
what the  same  function.  The  earlier 
forms  before  lines  are  quite  indeciph- 
erable. A  single  note  was  called 
Virga,  virgtda,  punctus,  or  punctum; 
a  rising  inflection  sign,  pes,  or  poda- 
tus;  a  falling  inflection,  clinis  orjlexa; 
various  nuances  of  performance  and 
special  note  values  were  the  ancus^ 
bivirga,  cephalic^  distropha.  epi- 
phonus,  gnomOy  oriscus,  plica  (turn), 
quilisma  (shake),  semivocalis,  sinuosa, 
strophicus,  tramea,  tremida,  trivirga, 
etc, 

fc<eun  (noin),  G.  Nine.  Neunachtel- 
takt  (akh'-tel-tSkt),  G.  Nine-eighth 


time.     Netinte  (noin'-tS).     A  ninth. 
Neunzehnte   (tsan-tfi).     Nineteenth, 

neuvi^me  (mlv-ygm')>  F-     A  ninth. 

nex'us,  L.     A  binding  together. 

nicht  (nikht),  G.     Not. 

nicolo  (nS^ko-lo).  A  zyth  cent,  bom- 
bardon. 

nieder  (ne'dSr).  G.  Down.  W.* 
schlag.  Down-beat,  or  accented 
part.  N.-strich.  The  down  bow. 

niedrig  (ne'-drlkh),  G.     Deep,  in  voice. 

nina  (ng'na),  /.  Lxillaby  (or,  ninna- 
nanna).  ninnare  (nln-na'-rS).  To 
sing  a  lullaby. 

nine-eighth.     Vide  TIME, 

nineteenth.  ±.  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  (no'-bX-le1),  nobilmente,  /.,  noble 
(n6bl),  noblement  (n6-blu-man),  F. 
Noble  (nobly),  nobilita  (no-be-lT- 
ta'),  /•  Nobility. 

noch  (n6kh),  G.  Still,  yet;  as  noch 
schneUer  (shn£L'-ler).  Still  quicker, 

nocturn(e),  JE.,  nocturne  (n6k-tiirn), 
F.j  notttirno  (n6t-toorr-n6),  /,  i. 
Term  first  used  by  John  Field  for  a 
composition  of  dreamy,  night-like 
mood.  2.  Vide  HOILSE  CANONIC-SB. 

node,  nodalpoint,  no 'do,  /.  One  of 
the  axis-like  points  or  lines  in  a  vi 
brating  body,  where  there  is  no 
vibration  (cf.  LOOP),  nodal  figures. 
The  chart  of  vibration  produced  by 
sand  strewn  upon  a  flat  vibrating 
plate;  discovered  by  Chladni. 

no'dus,  L.  "A  knot,"  an  enigmatical 
canon. 

noel  (nS-el'),  F.  A  Christmas  carol, 
Vide  NOWEIX. 

noeud  (nu),  F.     i.  A  turn.     2.  A  node. 

no'fer.     Vide  NEPER. 

noire  (nw&r),  F.  "Black,"  a  quarter 
note. 

noise.  Early  £.  i.  Music.  2.  A 
band. 

no'lae,  L.     Tintinnabulae. 

nomes  (nomz),  Gr.  i.  Airs  anciently 
sung  to  Cybele,  Pan,  and  other  divin- 
ities. 2.  Compositions  regulated  by 
inviolable  rules,  as  canon.  3.  A 
canon.  Vide  NOMOS. 

nomine,  in  (in  n5'-ml-na),  L.  i.  "In 
the  name"  (of  the  Lord).  A  motet. 
2.  Vide  I-UGA. 

no'mos,  pi.  nomoi,  Gr.  Law(s).  Greek 
songs  fulfilling  all  the  rules. 

non  (nOn),  /.     Not,  no. 


DICTIONARY  OF  TERMS 


jatma  (n6'-n§,),  I.,  None  (no'-ne1),  G.  A 
ninth  (interval).  Nonachord'-o,  /., 
No'nenakkord,  G.  A  ninth.  Vide 

CHORD. 

nones.     Vide  HORJE  CANONIC^. 
aonet(t)',    E.,    Nonett',   G.,    nonet'to, 

1.  Music  for  9  parts. 
Non'nengeige         (gi-khe1).         "Nun's- 

fiddle."     Vide  MARINE  TRUMPET. 

Nonole  (no-nS'-lS),  G.     Nomiplet. 

aonny  hey  nonny.     An  old  E.  refrain. 

aon'uplet.  A  group  of  nine  equal 
notes. 

aor'mal  (in  G.  nflr-mal')-  Normal, 
standard.  Normalton  (tQn),  G.  The 
tone  A.  Normaltonleiter  Oi-tSr), 
G.  The  natural  scale  (of  C). 

aota  (n5'-ta),  /.  and  L.  Note.  n. 
bianca.  "White"  or  half-note,  etc. 
n.  buona  (boo-o'-na).  Accented 
note.  n.  cambiata  (kam-bl-a'-ta), 
or  cam'bita,  I.  i.  A  changing  note. 

2.  Resolution  by  skip.     n.  caratte- 
ris'tica.     Leading-note,     n.     cattiva 
(kat-te'-va).     Unaccented  note,    no- 
ta    contra    notam.     "Note    against 
note."       Vide    COUNTERPOINT.       n. 
corona'ta.     A  note  marked  with  a 
hold.    n.   d'abbellimen'tp.     A  note 
of   embellishment,    n.  di  passaggio 
(de    pas-sad '-jo).     A    passing    note. 
n.  di  piacere  (de-pI-a-cha'-rS).     An 
optional    embellishment,     n.    falsa. 
A     changing     note.     n.     principale 
(pren-chl-paMg).         Principal   note, 
n.    quadra'ta.     A    plain-song    note. 
n.  roma'na.     A  neume.     n.   sciolta 
(shsl'-ta).     Staccato,     n.     sensibile 
(sen-sS'-bJ-le1),     /.,     sensi'bilis,     L. 
The   leading-note,     n.    digna'ta,    L. 
A    note    marked    with    a    sign.     n. 
sostenuta    (sos-t£-noo'-ta).     A    sus- 
tained note. 

/lota'tion  (in  F.  na-t&s'-y6n),  notazione 
(no-ta'-tsi-o-neO,  I.  Notation.  (See 
article,  page  767,) 

<lote,  A  character  representing  a  musi- 
cal tone;  .by  its  shape  indicating  the 
duration,  by  its  positi6n  on  the  staff, 
the  pitch,  of  the  tone,  connecting 
note.  A  note  common  to  two  chords. 

note  (n6t),  F  Note.  n.  d'agr§ment 
(d'a-gra-man).  Ornamental  note, 
n.  de  passage  (dti  pas-sazh).  Pass- 
ing note.  n.  di£se"e  (dX-S-za),  F. 
Note  marked  with  a  sharp,  notes 
coulees  (koo-la).  Slurred  notes,  n. 
<ie  gout  (dti-goo).  Note  of  em- 
bellishment, n.  sensible  (san-s€blO- 
Leading  note.  n.  surabondantes 
^«5UT-a-b6n-dant).  Such  incommen- 


surate groups  as  triplets,  quintoles, 
etc.  n.  Ii6e  (15-a).  Tied  note.  n. 
syncopees  (san-k6-pa).  Syncopated 
notes. 

Noten  (n6'-tgn).  G.,  pi.  Notes.  Wo- 
tenblatt  (blat).  A  sheet  of  music- 
N.-buch  (bookh).  Music-book.  N.- 
fresser.  "Note-gobbler,"  one  who 
has  facility  but  no  taste.  IT.-scbrift 
(shrfft).  Musical  manuscript.  N.- 
system  (zSs-tam).  The  staff. 

noter  (no-ta)  ,  F.     To  write  out  a  tune. 

no'tograph.     Melograph. 

notturno  (n6t-toor'-n5),  /.  A  noc- 
turne, 

no 'tula,  L.     Note  used  in  ligature. 

nourrir  le  son  (noor-rer  lu  s6n),  F. 
To  attack  a  note  forcibly,  and  sus- 
tain it.  un  son  nourri  (noor-rg).  A 
sustained  tone. 

nourrisson  (noor-rgs-s6n),  F.     Bard. 

nour'singh.    A  straight  Indian  trumpet. 

no'va,  /.     A  small  flute. 

Novelette  (n6f-S-!St'),  G.  From  F.,  a 
short  musical  romance.  Name  first 
given  by  Schumann  to  pieces  con- 
taining considerable  freedom  of  form, 
treatment,  and  idea. 

novemole  (nS-vS-md'-le1),  /.  A  group 
of  nine  equal  notes. 

no'well.  Old  E.  "Good  news."  i, 
A-refrain  of  Christmas  carols,  hence 
t'2.  Carol.  Cf.  NOEL. 

nuances  (nii-ans),  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. 

numerical  notation.  A  scheme  intro- 
duced by  Rousseau,  to  substitute 
numerals  as  names  of  tones.  A  simi- 
3  lar  notation  in  Massachusetts  was 
called  Day's  &  BeaPs  "One-line  sys- 
tem." 

nu'merus,  L.    i.  Number.    2.  Rhythm. 

Nunc  diinit'tis,  L.  "Now  dismiss 
(us)."  The  text,  Luke  II.  10-12, 
often  used  as  a  final  number. 

nun's-fiddle.     Marine  trumpet^ 

nuovo  (noo-S'-vo),  I.  New.  di  nuovo- 
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. 


646 


DICTIONARY  OF  TERMS 


O.     A  small  circle,  or  cipher,   means: 
i.  An    open     string.     2.  Harmonic. 
3.  Diminished  fifth  (or  a  chord  con- 
taining one).     4.  Tasto  solo.     5.  To 
be  played  with  the  thumb.     6.  Tem- 
pus  perfectum.     Vide  NOTATION.     7. 
Harmonium-stops  are   marked    with 
a  numeral  in  a  circle*     8.  In  neume- 
notation,  the  fourth  church  mode. 
O  (6),  od  (6d),  /      Or,  as,  either. 
O     (o),     L.     Exclamation,     les    O    de 
Noel     (la-zo     du     no-el),     F.     The 
Christmas  antiphons  to  the  Magni- 
ficat, all  beginning  with  "O!" 
oaten-pipe.     A    simple    straw    cut    to 

form  a  reed-pipe. 
ob.     Abbr.  for  oboe(s). 
obbligato     (6b-bH-ga'-to),     /.,     oblige 
(6b-ll-zha),   P.,   Obligat   (6p-H-gatO, 
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 
frequently  omitted. 
ob(b)liquo  (6b-ble'-kwo),  /.     Oblique. 

Vide  MOTION. 

ober  (o'-bSr),  G.  Upper,  higher.  O.- 
dominao.te.  Dominant.  O.-labium. 
Upper  lip  (of  a  pipe).  O. -manual. 
The  upper  manual.  O.-stinrme. 
Upper  part.  O.-taste  (tas'-te1). 

Black    key.       O.-theil     (Hi).       The 
upper    part.       O.-ton.       Harmonic. 
pnoniscner  O.-ton.     The   i5th  par- 
tial.    Q.-werk.     In    an    organ   with 
2  manuals,  the  choir-organ;  with  3, 
the  swell;  with  4,  the  solo, 
oblique,  obli'quus,  L,     Vide  MOTION. 
oblique  pf.     An   upright  pf.   with   di- 
agonal strings. 

oboe  (6'bO;  in  <?.  o-bo'-S),  oboS 
(5-bS-a'),  /-  Plurals:  oboes,  E., 
Oboen,  G.,  oboi  (o-bo'-e),  7.  i.  A 
double-reed  instr.  with  conical 
wooden  tube,  and  9  to  14  keys; 
extreme  compass  &b— f"7.  It  is 
r> on- transposing  (except  in  the  case 
of  the  Bb  and  Eb  oboes  for  military 
bands),  and  is  fingered  somewhat 
like  a  flute.  Its  tone  is  reedy  and 
quaint,  almost  homely;  it  gives  a 
pastoral  atmosphere,  or  is  capable 
of  great  melancholy,  but  rarely  of 
much  floridity. 

The  alto  pf  the  oboe  is  the  so-called 
cor  anglais  (k6r  an-gle1'),  P.,  -corno 
inglese  (k6r-nC~€n-gla'~zeO,  /.,  eng- 


lisches  Horn  (e'ng'llsh-e's  not  Sng- 
glish-Ss),  G.,  or  English  horn.  An 
oboe  with  a  double  long  tube,  and  a 
pitch  a  fifth  lower,  extreme  compass 
g\>-b."  This  is  now  written  as  an 
instr.  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  oboe  da 
caccia  (da  kat'-sha),  in  F.  or  Eb 
written  in  the  alto  clef.  The  o.  d'a- 
more  (da-mo '-re*),  o.  basso,  and  o. 
lunge  (loon '-go)  were  lower  by  a 
minor  third  than  the  modern  treble 
oboe,  which  was  formerly  called  o. 
piccolo.  2.  A  reed-stop  of  4  and  8 
ft.  pitch,  also  called  orchestral  oboe, 
obois'ta,  7.  Oboist. 
Obw.  Abbr.  for  Oberwerk. 
ocarina  (6-ka-re'-na).  A  terra-cotta 

bird-shaped  instr.  of  fluty  tone. 
occhiali  (6k-kX-a'-le).     i.  White  notes. 

2.  Brillenbasse. 
occhetto  (o'k-ket'-to),  /.,  oche'tus,  L. 

Hocket. 
oct'achord.     i.  An     8-stringed     instr. 

2.  A  series  of  8  tones. 
oct'aphonic.  Eight-voiced. 
oc'tave  (in  F.  6k-tav,  in  G.  6k-ta/-f6) 
i.  A  consecutive  series  of  eight  dia- 
tonic tones  as  from  c'-c".  2.  The 
interval  of  an  eighth.  3.  A  tone  an 
8th  above  (or  below)  another. 
4.  large  octave,  once-marked  or 
lined  o.,  etc.  Vide  PITCH.  5.  The 
diapason  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-flute  (also  used 
for  the  piccolo  (q.v.).  consecutive 
covered,  broken,  etc.,  octaves,  vide 
the  adjectives,  rule  of  the  o.  A 
1 7th  century  system  of  harmonising 
the  scale  giving  a  bass  scale  with  the 
normal  chords  and  inversions  to 
accompany  it.  short  o.  The  lowest 
octave  in  an  organ,  where  the  scale 
is  incomplete  or  compressed,  also- 
called  mi-re-ut.  o.-scale.  Vide 
MODES,  o.-coupler.  Vide  COUPLER 
o. -staff.  A  notation  introduced  by 
Adams,  of  New  Jersey,  three  groups 
of  lines  combined  in  three  octaves, 
dispensing  with  the  flats  and  sharps^ 
and  giving  each  tone  its  own  place 
octave  stop.  i.  A  4-ft.  stop.  2. 
The  position  of  fingers  stopping  an 
octave  on  the  finger-board.  3.  A 


DICTIONARY  OF  TERMS 


647 


mechanical     stop     in     reed-organs, 
coupling  the  octave  above. 

actaviana  (6k-ta-v!-a'-na),  octavina 
(6k-ta-v5'-na),  I.,  octavin  (6k-ta- 
v&n),  F.  i.  An  octave-spinet. 
2.  The  piccolo.  3.  A  harpsichord 
octave-stop.  4.  A  2-ft.  organ-stop. 

Octavin  (6k-ta-fen'),  G.  A  single  reed, 
conical  wood-wind  instr.  fingered 
like  the  oboe;  compass  c'-e"", 
keys  Bb  and  C.  Inv.  by  O.  Adler. 

octa'vo  attachment.  Vide  PEDAL  (oc- 
tave). 

octet(t)',  octet'to,  7.  A  composition 
for  eight  parts. 

octipho'nmm,  L.     Octet. 

oc'tobass,  E.,  octobasse  (bas),  F.  A 
double-bass  of  huge  size,  about  i2-ft. 
high.  Inv.  by  Vuillaume.  The  3 
strings  are  stopped  by  means  of  key? 
and  pedals. 

oc'tochord,  L.     8-stringed  lute. 

Octole  (6k-tS'-le),  G.     Octuplet. 

oc'tuplet.  A  group  of  eight  equal 
notes. 

octuor  (6k-tw6r),  F.     Octet. 

od  (6d),  I.     Or. 

orte  (o"d).  An  elaborate  lyric,  almost 
a  cantata,  odische  (s'-dlsh-e)  Mu- 
sik,  G.  Music  for  an  ode. 

Odem  (6'-dam),  G.     Breath. 

Odeon  (5-dS/-6n),  Gr.9  ode'tim,  L.  A 
public  building  for  music. 

Oder  (o'-der),  G.     Or,  or  else. 

ode-symphonic  (6d-s&n-f5-ne),  F.  A 
symphony  with  chorus. 

<Seuvre    (uvr),  F.  ^  Work,  composition. 

off.  i.  A  direction  to  push  in  an 
organ-stop  or  coupler.  2.  False. 

offen  (6f  '-fSn),  G.,  of'fenbar.  i.  Open. 
2.  Parallel.  Offenflo'te  (fla'-te).  An 
open  flute-stop. 

offertoire  (6f'-ffir-twar),  F.,  offerto'rio, 
/.  and  Sp.,  offerto'rium,  L.t  offer- 
tory. The  part  of  the  Mass  or  serv- 
ice, the  motet  or  instrumental  piece, 
performed  during  the  taking  of  the 
collection. 

offic'ium,  L.  A  service,  o.  defunc- 
to'rum.  Funeral  service,  o.  dittr'- 
num.  Daily  s.  o.  matuti'num  (noc- 
turn'um)  morning  (evening)  s.  o. 
vesperti'num.  Vespers. 

oficleida  (5-fI-kla'-X-da),  pi.  e.,  /. 
Ophicleide. 

ohne  (O'-nS),  G.     Without. 

oioueae.  The  vowels  of  "World  with- 
out end,  Amen."  Cf .  EVOVAE. 

Oktave  (6k-ta'-fS),  G.  Octave  (q.v.). 
okta'y)fe)ren  (fe'-rSn).  To  produce 
the  octave  by  overblowing.  Ok- 


tavchen  (6k-taf'-khgn),  Oktavfldte 
(fla'-te*),  or  -fLStlein  (Hn).  Piccolo. 
Oktavengattungen  (gat-toong-Sn) . 
Octave-scales.  Oktav-folgen  (f61- 
khSn),  or  -parallelen,  or  Oktaven- 
verdoppelttngen  (fSr-d6p-p^l-oong- 
€n).  Parallel,  or  consecutive  oc- 
taves. 

Oktavwaldhorn.  A  Waldhorn  inv.  by 
Eichborn  &  Heidrich. 

Oktavin,  G.     Vide  OCTAVIN. 

ole,  el  (£1  5M6),  Sp.  Slow  3-4  dance 
with  castanets. 

oriphant.     A  horn  made  of  a  tusk. 

olio.     A  miscellany. 

olivettes  (6-H-v£t),  F.  Provencal 

dance  after  the  olives  are  gathered. 

Dlla  podrida  (61x-la  po-dre'-dha) .    Med- 

om'bi.     An  African  harp. 

om'bra,  L.     Shade;  nuance. 

om'nes,  omnia,  L.     All.     Vide  TUTTI. 

om'nitonic,  omnitonique  (6m-nl-t6- 
nek),  F,  Having  all  the  tones  of 
the  chromatic  scale,  as  a  horn. 

once-accented,  or  once-marked  octave. 
Vide  PITCH. 

ondeggiamen  7to  (6n-d£d-  ja-mSn  '-to) . 
Undiilation.  ondeggian'te,  I.  on- 
du!6  (6n-du-la),  F.  Waving, 

undulating,  trembling.  onduliren 
(6n-doo-l6-rSn),  G.  To  make  a 
tremulous  tone. 

one-lined.     Vide  PITCH. 

ongarese  (6n-ga-ra'-ze),  ongherese  (6n- 
g^-ra'-zS),  /.  Hungarian. 

onzieme  (6nz-y6m),  F.     Eleventh. 

op.     Abbr.  of  Opus. 

open.     i.  Of  pipes,   open  at  the  top. 

2,  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  (6'-per),  G.,  op'era,  E.  (in  J. 
O'-pS-ra),  /.,  opera  (o-pa-ra),  F. 
Drama  set  to  music,  o.-bouffe 
(boof),  or  buffon  (buf-f6n),  F.,  o,- 
buffa  (boof '-fa),  I.  Farcical,  or  low- 
comedy  opera,  what  we  call  comic 
opera,  opera  comique  (k5-m5k),  F. 
Literally  "comic  opera,"  but  gener- 
ally used  only  to  indicate  that  the 
dialogue  is  spoken,  not  sung.  The 
plot  may  be  as  serious  as  grand 
opera,  opera  seria  (sa'-rl-a),  /., 
opera  serieux  (sa-ri-ii),  F.,  in  which 
all  dialogue  is  in  recitative  and  the 
ensemble?  are  more  elaborate,  o.  di 


648 


DICTIONARY  OF  TERMS 


camera  (ka'-me'-ra).  Opera  for  a 
small  auditorium,  o.  lyrique  (le- 
r5k),  ballad-opera.  One  in  which 
lyricism  has  the  preference  over 
dramatic  action,  o.-draromat'ica,  /. 
Romantic  opera.  O.-haus  (hows). 
Opera-house.  O.-sSnger.  Operatic 
singer.  (See  article,  page  769.  Also 
Opera  synopses,  page  819  to  page 
865.) 

operet'ta,  I.,  Operette  (op-e-reV-tS), 
G.  A  small  light  opera,  cf.  SING- 
SPIELE.  Op'erist.  An  operatic 
singer. 

Operndichter  (o'-pam-dlkh-ter),  G. 
Libretto  writer. 

ophicleide  (df'-i-klid).  i.  An  obsoles- 
cent brass  instr.  the  bass  of  the  key- 
bugle  family.  The  bass  o.  in  C,  Bb 
and  Ab  (compass  Ab-a'bj)  the  alto 
o.  in  F  and  Eb  (compass  2^  octaves) ; 
the  contrabass  o.  same  compass  as 
the  alt.  o.  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  oppure. 

opposite.     Contrary  (of  motion,  q.  v.). 

oppure  (6p-poo'-r£),  /.     Or,  or  else. 

opus  (6 '-poos),  L.  Work,  composition; 
as,  Op.  10,  the  icth  composition,  or, 
more  commonly,  the  loth  publication 
of  a  composer,  opus'culum.  A  lit- 
tle work,  opus  posfhumum.  A 
work  published  after  the  death  of 
the  composer, 

orage  (o-razh),  F.  "Storm."  i.  An 
imitative  composition.  2.  A  stop. 

O'ra  pro  no 'bis,  L.     "Pray  for  us  I"     A 


to'-rt-oom).  A  sacred  work  con- 
structed like  an  opera,  but  performed 
now  without  action,  costume,  or 
scenery.  (See  article,  page  776.) 

orchesographie  (Sr-ka'-zO-gra-fe),  F. 
The  science  and  explanation  of  danc- 
ing, orchesiinue  (tek),  F.  Relat- 
ing to  dancing  Orchestik  (6r-kSs- 
tek'),  G.  Art  of  dandng. 

or'chestra,  E.  (in  2.  or-k£s-tra),  Or- 
chester  (6r-keV-ter),  G.,  orchestre 
(6r-k£str),  F.  Literally  "dandng- 
place,"  that  used  in  front  of  the  stage 
in  Greek  tragedy  for  the  chorub;  the 
name  was  given  by  the  first  opera- 
writers  (see  PERI,  B.  D.)  to  the 
place  occupied  by  the  musicians, 
thence  to  the  musicians  themselves. 
The  word  now  means  the  place  and 


its  occupants,  £jsd  the  instrs.  in 
general.  The  modern  o.  may  be 
7a}  large>  full,  grand,  symphony; 
(b)  small.  Parts  of  the  orchestra 
may  be  designated,  as  string  orches- 
tra, etc.  Orchesterverein  (fer-in). 
An  orchestral  society.  O-stimmen. 
Orchestral  parts,  orchestral  flute 
or  oboe.  A  stop,  or'chestra'tion. 
The  art  or  act  of  arranging  music  f  01 
orchestra,  or'chestrate,  E.,  orches- 
trare  (or-ke's-tra'-re'),  /.,  orches- 
tri(e)ren  (trg'-rSn),  G.,  orchestrer 
(6r-keVtra),  F.  To  write  for  or- 
chestra. (See  the  Story  of  Orchestra 
and  Band  Instruments,  page  8n; 
Orchestras  In  America,  page  787; 
Orchestration  of  Theatre  and  Dance 
Music,  page  780,  and  The  Orchestra 
and  Orchestration,  page  778.) 
orchestrina  (tre'-na;,  di  ca/mera,  1. 
A  small  free-reed  key-board  instr., 
imitating  some  orchestral  instr 
Inv.  by  W.  E.  Evans,  1860. 
orchestrino  (tre'-no),  JT.  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. 

ordinario  (6r-dX-na'-rX-6),  7.     Ordinary, 
usual,  common,     tempo  o.     i.  The 
usual  time.     2.  4-4  time. 
ordre  (6rdr),  F.     A  suite. 
orecchio  (6-rSk'-kX-S),  /.     Ear.     orec- 
chiante  (o-rSk-kX-an'-te").    Singing  by 
ear. 

oreille  (5-ra'-yu),  F.     Ear. 
organ,  E.,  organo  (6r-ga'-no),  /.,  or- 
gane  (6r-g2Ln),  F.     (See  article,  page 
728.) 

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.  tablature. 
Vide  TABLATXTRE.  o.  point.  Vide 
PEDAL  POINT,  o.  tone.  A  tone  sus- 
tained with  uniform  power,  buffet 
o.  Very  small  organ,  enharmonic, 
enharmonic  organ.  An  American 
instr.  giving  three  or  four  times  the 
usual  sounds  within  an  octave,  fur- 
nishing the  precise  intervals  for 
every  key,  the  scale  of  each  key 
being  produced  by  pressing  a  pedal. 
full  organ.  All  the  power  of  the 
organ,  hand-organ  or  barrel-o.  A 
cylinder  turned  bv  hand  and  acting 


DICTIONARY  OF  TERMS 


649 


on  keys  to  produce  set  tunes,  har- 
monium o.  A  reed  instr.  voiced  to 
imitate  organ-stops,  organet'to,  /. 
A  small  organ,  organier  (6r-gan- 

S),  F.  Organ-builder,  organique 
r-gan-ek),  F.  Relating  to  the  or- 
gan, organista  (6r-gS,-nes'-t3,),  /. 
and  Sp.  i.  An  organ-player.  2. 
Formerly  a  composer.  See  p.  728. 

organic.     Old  term  for  instrumental. 

orga'nicen,  L.     Organ-player. 

organis'trum,  L.  A  hurdygurdy  of 
about  1 1 oo  A.  D. 

organo  (6r-ga'-no),  7.  Organ  (q.v.). 
o.  di  campan'a.  Organ  with  bells. 
o.  di  legno  (lan-yo).  Xylophone. 
o.pieno  (pl-a'-no),  orpleno  (pla'-no). 
Full  organ,  o.  portatile  (pdr-ta-t6'- 
1S).  Portable  organ,  organ!  vocali 
(dr-ga'-ne-vo-ka'-lS),  /.,  pi.  The 
vocal  organs. 

organo,  in,  L.     Vide  ORGANTJM:. 

orga'nochor'diuin.  A  combination  of 
pf.  and  pipe-organ  inv.  by  Abb 6 
Vogler. 

organophon'ic.  Name  adopted  by  a 
band  of  Polish  performers  imitating 
various  instrs.  vocally. 

organographie  (grS,-fg),  F.  The  de- 
scription of  an  organ,  organologie 
(zhe).  The  science  of  building  and 
playing  the  organ. 

organum,  L.,  or'ganon,  Gr.  i.  Any 
instrument,  thence  the  organ.  2. 
The  earliest  polyphonic  music,  a  con- 
tinual progression  of  two  parts  in 
fourths  or  fifths  (also  called  dia- 
phony)',  later  it  developed  into  3 
parts  (tripho'nia),  the  third  part 
called  triplum,  hence  our  term 
treble;  then  into  4  parts  (tetrapho'- 
nia).  3.  The  part  *dded  to  another 
in  2  part  organum.  in  organo. 
Old  term  for  in  more  than  two  parts. 
o.  hydraullcum.  Hydraulic  o.  o. 
pneumaticum.  The  ordinary  wind 
o.  o.  simplex,  L.  A  mediaeval 
term  probably  meaning  the  unisonal 
accompaniment  of  a  single  voice. 

Qrgell  (6V-gel),  G.  An  organ.  O.- 
baige  (bfclkh-e1).  Organ-bellows. 
O.-bank  (bank).  Organist's  seat. 
O.-bauer  (bow-er).  Organ-builder. 
O.-buhne  (bii-ne1),  or  -chor  (kor),  or 
-platz  (plats).  Organ-loft.  O.- 
gehause  (gS-hi'-zS).  Organ-case. 
O.-kasten  (kas'ten).  i.  Cabinet  or- 
gan. 2.  Organ-case.  O.-Mang. 
Tone  of  an  organ.  O.-kunst 
<koonst).  The  art  of  playing,  or 
constructing  an  organ.  O.-metall 


(ma-talO.  Organ-metal.  O.-pfeife 
(pfl'-fe').  Organ-pipe.  O.-punkt 
(poonkt).  Pedal-point.  O.-register 
(rS-ges'-tSr).  Organ-stop.  O.- 
schule  (shoo'le).  Organ-school  or 
method.  O.-spiel  (shpel).  Playing 
the  organ;  or  the  piece  played. 
O. -spieler  (shpe-lfir).  Organ-player. 
O.-stein  (shtin).  Pan's  pipes.  O.- 
stimmen  (shtimmgn) .  Row  of 

organ-pipes.  O.-stiicke  (shtii'-kS). 
Organ-pieces.  O.-treter  (tra/-ter). 
Organ-treader,  bellows-blower.  O-- 
virtuose  (f  er-too-o  '-ze1) .  Organ- 

virtuoso.  O.-wolf  (v61f).  Cipher- 
ing. O.-zug  (tsookh).  Organ-stop 
or  row  of  pipes. 

orgeln  (6r'-g61n).  To  play  on  the 
organ. 

orgue  (6rg),  F.  Organ,  o.  de  salon 
(dtL  sa-16n),  orgue  expressif.  (a) 
The  harmonium,  (b)  The  swell 
organ,  p.  hydraulique  (e-dro-lSk). 
Hydraulic  organ,  o.  &  percussion 
(pSr-kiis'-ybn).  A  reed  o.  made  by 
De  Provins  &  Alexandre,  Paris,  o. 
plein  (plan).  Full  organ,  o.  por- 
tatif  (p6r-ta-tef).  A  portable  organ. 
o.  de  barbaric  (dti  bar-ba-re).  A 
barrel-organ,  hurdygurdy.  o.  posi- 
tif  (p6-zl-tsf).  i.  The  choir-organ. 
2.  A  small  fixed  organ. 

orguinette  (6r-gi-nSt),  F.  A  small 
reed-organ  played  with  a  crank,  the 
music  being  perforated  to  admit  air 
to  the  reeds. 

orificcio  (6r-I-f  It'-cho),  7.     Orifice  (of  a 

oris'cus.     Vide  NEUME. 

or'nament,  £.,  ornamen'to,  /,,  orne- 
ment  (6rn-man),  F.  An  embellish- 
ment, as  the  turn  grace  (q.v.),  etc. 
ornamental  note.  An  accessory  note. 

ornato  (dr-na'-to),  ornatamen'te,  I. 
Ornate(ly). 

orpha'rion,  orph€or(e)on  (6r-fa-6-r6n), 

F.  A  kind  of  cither. 

Orpheon  (6r-fa-6n).  i.  A  piano-violin. 
2.  A  popular  male  singing  society  pf 
enormous  proportions  in  France  (in 
1 88 1  it  had  60,000  members),  or- 
ph6oniste  (nest).  A  member  of  such 
society. 

Orpheus  (6rf7-yus,  or  6r'-fS-us).  Fa- 
bled Greek  lyre-player  and  singer  of 
supernatural  power.  O.-harmo'nika, 

G.  Pan  harmonikon. 
orthog'raphy.     Spelling  and  grammar 

are  as  necessary  in  music  as  in  any 
other  written  language.  Bad  spell- 
ing occurs  in  music  where,  for  in- 


650 


DICTIONARY  OF  TERMS 


stance,  a  chord  is  written  in  sharps 
when  the  key-relationship  shows  it 
to  belong  in  the  enharmonic  flat 
notes.  Sometimes,  however,  a  note 
is  mis-written  intentionally  for  the 
sake  of  easier  reading. 

oscillation,  E.  Oszillation  (6s-tsfl-la- 
tsl-on'),  G.  Beating,  vibration. 

osia  (o'-se-a),  ossia  (6s'-sl-a),  7.  Or, 
otherwise,  or  else.  o.  piti  facile 
(pl-oo'  fa'-chl-le1).  Or  else  this  more 
easy  way. 

osservanza  (van'-tsa),  7.  Observa- 
tion, strictness,  osservato  (va'-tQ). 
Strict,  exact. 

ostinato  (6s-tl-na'-t6),  I.  i.  Obsti- 
nate, continuous.  2.  A  ground-bass, 
sometimes  basso  o. 

otez  (o-ta),  F.     "Off!"  (of  a  stop). 

ottava  (6t-ta'-va),  7.  Octave,  eighth. 
o.  alta  (al'-ta).  The  octave  above; 
an  octave  higher  (abbreviated  Sva); 
o.  bassa  (bas'-sa).  The  octave  be- 
low (abbreviated  Sva.  bassa).  o. 
supra  (soo'-pra).  The  octave  above, 
coll'  o.  To  be  played  with  the  oc- 
tave added. 

ottavino  (6t-ta-ve'-no),  7.  The  pic- 
colo. 

ottemole  (6t-tS-m6r-lS).  A  group  of 
eight  equal  notes. 

ottet'to,  7.     Octet. 

ou  (oo),  F.     Or,  or  else. 

ougab  (oo'-gab),  Heb.  Ancient  reed- 
instrument. 

ottfe  (oo-e),  F.     Soundhole. 

outer  voices.  The  highest  and  lowest 
voices. 

ouvert  (oo-var'),  F-  Open.  Vide 
IXVRE. 

ouverture  (oo-var-tiir),  F.,  Ouverture 
(oo'-fejr-tu-rS),  G.,  overturn  (5-ver- 
too'-ra),  7.,  overture  (o'-ver-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  (de  bal'-lo),  7.  An  overture  intro- 
ducing dance  melodies.  Also  sin- 
fonia,  suite,  or  prelude  to  suite. 

overblow,  i.  To  blow  with  enough 
force  to  produce  harmonics  on  a 
wind-instr.  Vide  ACOUSTICS  and 
HORN.  This  feat  is  constantly  neces- 
sary in  playing  many  wind-instrs. 
2.  Of  defective  pipes,  to  sound  a  par- 
tial instead  of  the  fundamental. 

overchord.     Vide  PHONE. 


overspun.     Used  of  covered  strings. 

overstrung.  Of  a  piano  in  which  the 
strings  of  two  or  more  of  the  lowest 
octaves  are  stretched  diagonally  un- 
der other  strings,  the  object  being  to 
economise  space. 

owero  (6v-va'-ro),  7. 

O.  W.     Abbr.  for  Oberwerk. 

oxypyc'ni.     Church     modes     with 
pyknon  high  in  the  tetrachord. 


Or. 


P.  Abbr.  of  pedale;  piano;  pid,  as  pi& 
forte  (pf.);  poco,  as  p.  a.  p.,  poco  a 
poco;  parte  (as  colla  p.);  pointe,  F. 
(toe);  and  positif  (choir-organ). 

pad.     Vide  PIANOFORTE. 

padiglione  (pa-del-yo'  -n£),  7.  The  bell 
(of  a  wind-instr.). 

Padovano  (pa-do-v2/-n5),  Padava'ne> 
or,  Paduane  (pa-doo-a'-ne1),  7. 
"From  Padua."  An  Italian  dance 
in  ternary  rhythm.  Perhaps  the 
same  as  Pavan. 

paean  (pe'-an),  Gr.  Hymn  of  invoca- 
tion, usually  to  Apollo. 

pair  of  organs.  An  organ  with  a  com- 
plete set  of  pipes. 

paired  notes.  Thirds,  sixths,  etc.,  in 
pf.-playing. 

paisana  (pa-X-za'-na),  Sp.  A  coontry- 
dance. 

palalaika.     Vide  BALALAIKA. 

palco  (pal'-ko),  7.  Stage  of  a  theatre; 
box. 

Palestrinastil  (shtel),  G.  The  style  of 
Palestrina  (vide  B.  D.),  i.  e.,  a  cap- 
pella. 

palettes  (pal-StO,  F.     The  white  keys. 

pallet.  A  spring  valve  in  the  wind 
chest  of  an  organ. 

palmadilla  (pal-ma-del '-ya),  Sp.  A 
•dance. 

pam'be.     Small  Indian  drum. 

panathe'nsea,  Gr.  An  Athenian  festi- 
val at  which  musical  contests  were 
held. 

Pan'dean  pipes,  Pan's  pipes.  A  primi- 
tive group  of  reeds  or  tubes  of  differ- 
ent lengths,  fastened  together  and 
tuned,  named  for  the  god  Pan. 

pando'ran,  Gr.,  Pandore  (pan-do'-re), 
G.,  pando'ra,  pandoura,  pandura 
(pan-doo'-ra),  7.,  pandure  (pandiir), 
F.  Vide  BANDORA. 

Panflote  (pan'-fla'-tS),  G.  Pandean 
pipes. 

panharmo'nicon.  A  kind  of  orches- 
trion inv.  by  Maelzel. 

panmelo'deon.     A  key-board  instr.  of 


DICTIONARY  OF  TERMS 


651 


wheels  impinging  on  metal  rods,  inv. 
1 8 10,  by  Leppich. 

panorgue  (6rg),  F.  A  little  reed-organ 
to  be  attached  to  a  pf.  inv.  by  J. 
Jaulin. 

pan'sympho'nikon.  An  orchestrion 
inv.  by  Peter  Singer,  1839. 

pantaleone  (pan-ta-lS-Q'-ne1),  pantalon. 
An  instr.  inv.  by  Pantaleon  Heben- 
streit,  in  the  iSth  century.  It  was 
9  ft.  long,  4  ft.  wide,  and  had  186 
gut  strings,  played  on  with  two  small 
sticks.  P.-zug,  G.  A  harpsichord- 
stop. 

pantalon  (pan-tS-16n),  F.  First  move- 
ment of  the  quadrille. 

PapagenoflSte  (pa'-pa-ga-nO-fla'-te'),  G. 
Pan's  pipes,  from  Mozart's  Papageno 
(vide  "M agic  Flute"  in  Stories  of  the 
Operas). 

papillons  (pap-S-y6n),  F.  "Butter- 
flies." A  frail  and  flitting  composi- 
tion. 

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 
(pa-ral-l&'-lSn),  G.  i.  Sliders.  2. 

.  Consecutives.  Parallelbewegung 
(bS-vakh'-oongk),  G.  Similar  or 
parallel  motion.  Parallel-tonarten 
(tdn-ar-tSn),  G.  Related  keys. 

parame'se,  parane'te.     Vide  LYRE. 

paraphrase.  Free  or  florid  transcrip- 
tion. 

parfait  (par-fe*'),  F-  Perfect  (of  inter- 
vals), etc. 

parlan'do,  parlante  (par-Ian  '-tg),  7. 
"Speaking,"  in  a  recitative  manner. 

parhy'pate.     Vide  LYRE. 

Parnas'sus.  A  mountain  in  Greece, 
sacred  to  Apollo,  the  Muses,  and  in- 
spiration generally.  Gradus  ad  Par- 
nas'sum.  Vide  METHOD. 

parole(s)  (pS,-r61'),  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  (par'-tfc),  pi.  i,  7.  Part(s).  colla 
p.  With  the  part,  i.  e  ,  adopting  the 
tempo  of  the  singer  or  soloist,  p. 
cantan'te.  The  vocal  part,  the  lead- 
ing voice,  parti  di  ripieno 


a'-no").  Supplementary  parts,  a  p. 
equale.  With  more  than  one  voice 
of  leading  importance. 

partial,  i.  An  harmonic.  Vide  ACOUS- 
TICS. 2.  Vide  STOP.  3.  Vide  TURN. 

participating.  Accessory,  participa'- 
tum  syste'ma,  L.  Eaual  tempera- 
ment. 

Partie  (par-t5'),  G.  i.  Variations.  2, 
Vide  SUITE. 

partie(s)  (par-te),  F.  Parts,  p.  de 
remplissage  (dti.  ran-plI-sSzh),  F. 
Accessory  parts. 

partimen'to,  /.  i.  An  exercise.  2. 
Figured  bass. 

partita  (par-t€'-ta),  I.  i.  Variations. 
2.  Vide  SUITE. 

partitino  (te'-no).  A  small  supple- 
mentary score. 

partition,  E.  (in  F.  p3,r-tes-y6n),  Par- 
titur  (par-ti-toorO,  G.,  partitura 
(par-tl-too'-ra),  partizione  (par-te- 
tsI-p'-nS),  7-  A  full  score  for  voices 
or  instrs.  p.  canceUa'ta.  A  set  of 
staves  with  vertical  lines  for  the  bass. 
Partiturspiel  (toor'-shpgl),  G.  Play- 
ing from  the  score. 

partito  (par-t5'-t6),  /.  Scored,  di- 
vided. 

pas  (pa),  F.  i.  Step,  dance,  p.  ordi- 
naire (pa-z6r-d J-nar) .  March  time, 
p.  de  charge  (dii  sh^rzh).  Double 
time.  p.  seul  (siil).  A  dance  for 
one  performer;  p.  de  deux  (du  du). 
For  two,  etc.  p.  redouble^  (pa-ru- 
doo-bla').  A  quick-step.  2.  Not, 
as  pas  trop  vite  (pa  tr6  vet).  Net 
too  fast. 

paspie1  (pas'-pl-a),  Sp.  A  kind  of 
dance. 

pas'py.     Vide  PASSEPIED. 

passacaglia  (pas-sa-kal'-ya) ,  /.,  passa- 
caiUe  (pas-sa-ki'-yu),  F.,  passacol'le, 
Sp.,  passagall'o,  7.  A  chaconne 
with  a  ground-bass  in  3-4  time, 
always  in  minor. 

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. 

passaggio  (pas-sad'-jQ),  7.  i.  A  pas- 
sage. 2.  Modulation. 

passamezzo  (pas-sa-mSd'-zo).  A  slow 
Italian  dance,  in  2-4  time,  resembling 
the  Pavan. 

passant  (p&s-san),  F.     Slide  (of  a  bow). 

passepied  (pSLs-pi-a),  F.  A  lively  old 
French  dance  in  3-4,  3-8,  or  6-8  time, 
a  quick  minuet  with  three  or  more 
reprises,  the  first  of  eight  bars. 


652 


DICTIONARY  OF  TERMS 


passe-rue  (p£s-ru).     Passacaglio. 

passing.  Unessential,  as  a  passing 
modulation.  A  transient  modula- 
tion, passing  tone,  or  note,  a  brief 
dissonance  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-sl-o-na'-ta),  pas- 
sionatamen'te,  7.  Passionately). 

passione  (pas-sl-o'-ne1).  i.  Passion, 
feeling.  2.  Vide  PASSION. 

Passionsmusik  (pas-sI-6ns-moo-zSk'), 
G.  Vide  PASSION. 

pas 'so,  I.     Step. 

pas'sy-measure.    Old  E.    Passamezzo. 

Pastete  (pas-ta'-te1),  G.     Pasticcio.  - 

pasticcio  (pas-te'-cho),  7.,  pastiche 
(p&s-t€sh),  F+  i.  An  opera,  or  other 
work  in  which  old  airs  are  used  to 
new  words.  2.  A  medley. 

pas 't  oral,  pastorale  (pas-to-rS'-le*  in 
/.;  in  F.  pas-tO-rSl').  An  opera, 
cantata,  song  or  instrumental  com- 
position of  rustic  nature  or  subject. 
p.  flute.  Shepherd's  pipe.  p.  organ 
point.  Vide  PEDAL-POINT.  pasto 
rel'la,  I.,  pastorelle  (rel),  F,  A  little 
pastoral. 

pastorita  (e'-ta).     i.  A  shepherd's  pipe. 

2.  A  stop,  the  Nachthorn. 
pastourelle  (pS-s-too-rel),  F.     i.  A  6-8 

movement  of  a  quadrille.  2,  A 
troubadour  lyric. 

patetica  or  -o  (pa-ta'-tl-ka),  7.,  pathe- 
tique  (pa-ta-tek),  F.,  pathetisch  (pa- 
ta'-tish),  G.  Pathetic;  a  piano  so- 
nata in  C  minor  by  Beethoven  is 
so-called;  and  a  symphony  by 
Tchaikovski.  pateticamen'te,  7. 
Pathetically. 

patimen'to,  /.     Grief,  suffering. 

patouille  (pat-oo-e'-yu),  F.  Xylo- 
phone. 

patte  (pat),  F.  i.  A  special  clarinet 
key.  2.  A  music-pen. 

Pauke(n)  (pow'-kS(n)  ),  G.  Kettle- 
drum(s). 

pause,  E.,  pausa  (pa'-oo-za),  7.,  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  (dS-mg'-poz),  F.     A  half-rest. 


pavan',  E.,  pavana  (pa-va'~na),  7.,  pa- 
vane  (pa-v&n'),  F.  A  grave  stately 
dance  in  3-4  time,  generally  in  three 
strains,  each  repeated;  once  supposed 
to  be  derived  from  pavo,  peacock, 
now  from  Paduna  (q.v.). 
paventato  (pa-vSn-ta'-to),  pavento'so, 

7.     Fearful,  timid. 

pavilion  (pa-ve'-y6n),  F.  The  bell  of  a 
wind-instr.  p.  en  Pair  (an  lar). 
"The  bell  upwards"  (direction  to 
horn-players),  flute  &  p.  A  stop 
with  flaring  pipes,  p.  chinois  (sh5n- 
wa).  Chinese  hat,  crescent. 
peal.  i.  A  chime.  2.  A  change,  of 

bells. 

pean.     A  paean. 

pearly  (of  runs,  etc.).  Bright,  distinct. 
ped,  Abbr.  of  Pedal. 
ped^,  E.  (in  G.  pa-dal'),  pedale  (pa- 
dal),  F.,  pedale  (pa-da'-le1),  2 
i.  Abbr.  of  Pedal-point  (q.v.).  2.  A 
foot  lever  of  various  musical  uses. 
The  piano  has  usually  two  pedals: 
(a)  The  damper  (openol  oud,  01 
extension)  pedal,  which  raises  all 
the  dampers  from  the  strings,  allow- 
ing the  tones  struck  to  be  sustained 
and  broadened  by  sympathetic  (q.v.) 
vibration.  The  use  of  the  damper- 
pedal  is  indicated  by  Ped.,  and  its  ces- 


sation by  the  mark  %  or 


Wm. 


H.  Sherwood  (vide  B.  D.)  has  intro- 
duced a  more  accurate  system  of  con- 
tinuous lines  r*-J  to  indicate  just  when 
this  pedal  is  to  be  pressed,  how  long 
held  and  when  released,  (b)  The 
soft  pedal  (petite  (pa-tet),  pedale) 
in  some  cases  merely  lets  a  cloth  fall 
over  the  strings,  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  nna  corda  (oo'-na  k6r'- 
da,  one  string),  or  Verschiebung 
(f&r-shS'-boongk),  and  its  discon- 
tinuance by  "tre  corde"  (tra  k6r'-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  pro- 
longation pedal.  A  damper-pedal 
holding  the  dampers  from  only  those 
strings  struck  at  the  moment,  until 
the  pedal  is  released,  thus  permitting 
the  sustention  of  a  chord  or  tone 
while  the  hands  are  busy  elsewhere. 
(d)  A.  B.  Chase  has  inv.  an  octave- 
pedal,  or  octavo-attachment,  sound- 
ing also  the  higher  octave.  Both 


DICTIONARY  OF  TERMS 


653 


pedals  (a  and  b)  may  be  pressed 
together;  this  is  indicated  by  pedal e 
doppio,  or  doppelte. 
The  harp  (q.v.)  has  8  pedals,  one 
opening  or  closing  a  panel  in  the 
sounding-cas«5  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, 
Pedalklaviatur  (pa-daT-kla-fi-a- 
toorO,  or  Pedalklavier,  G.,  clavier 
des  pSdales  (da  pa-daT),  F.,  peda- 
liera,  /.,  with  a  compass  of  C-f,  or, 
counting  stops,  from  €„  up.  This 
is  played  by  the  feet  (V  over  a  note 
indicating  the  right  toe;  under  it,  the 
left:  Q  similarly  marking  the  heel). 
To  this  part  of  the  organ,  called  the 
pedal-organ,  many  stops  are  often 
allotted:  hence  pedal-pipe,  stop- 
soundboard,  etc.;  it  is  locked  from 
sounding  by  a  pedal-check  (worked 
by  a  stop-knob),  a  bar  running  'be- 
neath 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  (pe- 
dales  de  combinaison),  which  if 
single-acting  draw  out  certain  new, 
or  push  in  certain  old,  stops;  if 
double-acting  produce  certain  com- 
binations regardless  of  the  previous 
registration.  The  forte-pedal  draws 
out  ail  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  sfor- 
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. 

PedalfLugel  (flu'-ghel),  G.     Pedalier. 

Pedalharfe  (p£-dal'-harf£),  G.,  pedal- 
harp.  A  double-action  harp. 

pedalier  (pSd-a-ler'),  E.,  pSdalier  (pa- 
dal-ya'),  F.,  pedal'ion.  A  pedal 
key-board  attachable  to  a  piano  and 
playing  the  bass-strings. 

pedal-note,  or  tone.  A  tone  sustained 
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  synonymous  with 

,  pedal-note,  but  is  now  used  rather 
of  the  phrase  in  which  the  pedal-note 
occurs.  It  is  displacing  the  word 
organ-point,  derived  not  from  organ, 
but  from  organum  (q.v.)  and  refer- 
ring to  the  long  notes  of  the  cantus 
firmus  against  which  the  other  voices 
moved,  these  notes  being  called 
organici  puncti,  or  organum  notes. 
Pedal-point  is  then  a  phrase  in  which 
one  tone  is  sustained  through  inde- 
pendent harmonies.  The  tonic  or 
the  dominant  is  usually  the  tone  sus- 
tained. If  both  are  used  at  once  it 
is  called  pastoral.  If  the  pedal-pi. 
occurs  in  other  voices  than  the  bass 
it  is  inverted.  It  is  sometimes  ex- 
terior, or  interior.  It  may  be  figur- 
ated,  trilled,  or  florid. 

peg.  A  tuning-pin;  in  the  violin,  etc., 
it  is  set  in  the  head,  in  a  space  called 
the  peg-box. 

pegli  (pal-ye),   7.     For  the  (from  per 


'tis,  Gr.     A  Greek  lute. 

pel,  pello,  /.  For  the  (from  per  41, 
per  lo). 

penillion.  A  Welsh  improvisation  of 
verses. 

pennant.     Hook. 

pennata  (pSn-na'-tS),  /.  Quilled  (of 
the  spinet^  etc.). 

penorcon  (p£L-n6r'-s6fi),  F.,  from  pe- 
nor'kon,  Gr.  An  ancient  guitar. 

pensieroso  (p€n-se-5,-r5'-s5),  penso'so, 
J.  Pensive,  thoughtful. 

pentachium,  Gr.  A  composition  in  5 
parts. 

pen'tachord.  i.  A  series  of  5  diatonic 
tones.  2.  An  instr.  with  5  strings. 

pep/tatone,  J£.,  pen'taton,  Gr.  i.  An 
interval  of  5  whole  tones,  an  aug- 
mented sixth,  pentaton'ic.  Having 
five  whole  tones,  pentatonic  scale. 
A  five-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  penta- 
tonic scale. 

per,  L.  and  /.  For,  by,  through,  in, 
from. 

percus'sion,  £.,  percussione  (per- 
koos-s£-5'-ne'),  /.  i.  The  actual 
sounding  of  a  tone  or  chord  (as  op- 
posed to  its  preparation  or  resolu- 
tion). 2.  Instrs.  of  percussion  are 
those  in  which  the  tone  is  secured 


054 


DICTIONARY  OF  TERMS 


by  striking,  particularly  the  drums, 
cymbals,  and  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, 
percussive.  An  instr.  of  percussion. 

perden'do,  perden'dosi,  /.  Dying 
away  in  both  speed  and  power. 

perdu'na.     Bourdon. 

perfect,  JE.,  perfet'to,  Z.  i.  Vide  IN- 
TERVAL, CADENCE,  CHORD.  2.  An 

obsolete  name  for  triple  time,  per- 
fection. Vide  NOTATION  and  LIGA- 
TURE. 

Perigourdine  (pa-rl-goor-dSn),  F. 
Cheerful  old  French  dance,  in  triple 
time,  so  called  from  the  province  of 
Perigord. 

period,  pgriode  (pa-rl-6d),  F.,  periodo 
(pa-rl-o'-do),  I.  A  passage  contain- 
ing two  or  more  sections  and  some 
form  of  cadence.  Vide  FORM.  Pe- 
riodenbau  (pa'-rJ-od-en-bow),  G. 
The  building  of  periods,  or  composi- 
tion. 

perpetual,  perpetuo  (p&r-pS'-too-o),  7. 
i.  Vide  CANON.  2.  Perpetual  mo- 
tion, or  perpet'uum  mo'Dile,  L.  A 
piece  of  great  rapidity  and  no  pause 
till  the  end. 

r»es,  L.  Foot.  A  ground-bass  to  a 
round. 

pesante  (pa-sSn'-te1),  pesantemen'te,  7. 
Heavy  (ly),  impressive  (ly),  forcibly. 

peso,  di  (de  p&'-s6),  7.     At  once. 

petit  (pti-t€'),  petite  (pii-tgt),  F. 
Small.  choeur  p.  A  three-part 
chorus,  p.  flute.  Piccolo,  p.  me- 
sure  a  deux  temps.  2-4  time, 
petits  notes  (pti-te'  n6t).  Grace 
notes,  p.  pedale.  Soft  pedal. 

pet'to,  I.  The  chest,  voce  de  p. 
Chest  voice,  di  p.  From  the  chest. 

peu  (pu),  F.  Little,  tin  p.  A  little. 
p.  a  p.  Little  by  little. 

pezzo  (p&T-zS),  pi.  i,  7.  A  piece  ,  or 
number,  pezzi  concertanti.  Con- 
certed numbers. 

pf.  Abbr.  of,  i.  Pianoforte.  2.  Poco 
forte. 

Pfeife  (pfi'-fe*),  G.  i.  A  fife.  2.  A 
pipe,  as  of  an  organ.  Pfeifendeckel, 
The  covering  of  a  pipe.  P.-werk. 
The  pipe-work.  Pfei'fer.  A  fif er. 

Phantasie  (fan-ta-ze'),  G.  Fantasy, 
or  fantasia.  P.-bilder,  P.-stucke. 
Fanciful  pieces  of  no  strict  form. 
phantasieren  (z5'-r£n).  To  impro- 
vise. Pliantasier'-mascliine.  A 
naelograph.  phantasi(e)rte  (zer'-te1). 
Improvised. 


philliannon'ic.     Music-loving. 

philomele  (fg-lo-mai).     Vide  ZITHER. 

phonas'cus,  L.y  from  Gr.  Singing- 
teacher. 

phisharmon'xca.  An  (octagonal  ac- 
cordeon. 

phonaut'ograph.  i.  A  name  given  first 
to  a  melograph,  inv.  by  Abb 6  Moig- 
no,  a  pencil  fitted  to  a  vibrating 
membrane.  2.  An  electric  melo- 
graph for  key-board  instrs.  inv.  by 
Fenby.  (See  article,  page  794.) 

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,  pho'nics.  The  science  of 
sounds. 

pho'nikon.  A  metal  wind-instr.  with 
globular  bell  inv.  by  Czerveny,  1848. 

phonometer,  E.,  phonometre  (f6n- 
e-me'tr),  F.  A  device  for  measuring 
vibration. 

ph  or 'minx,  Gr.  An  ancient  lyre-like 
instrument. 

pho'tinx,  Gr.    An  ancient  crooked  flute. 

phrase,  E.  (in  F.  fraz,  in  G.  frS'-zS). 

1.  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/-r6n),6!.    To 
phrase.     phrasS  (fr2l-za),  F.,  phras- 
ing, E.,  Phrasierung  (zg'-roongk),  G. 
(a)  The  act  or  art  of  delivering  music 
with  due  regard  to  its  melodic  and 
rhythmic  punctuation,  relation  and 
contrast,     (b)  Signs  for  such  phras- 
ing. 

Phrygian  (frf'-jan),  E.,  from  Gr.  phry- 
gfsche  (frg'-jlsh-g),  G.  Vide  MODES. 

physharmo'nica.  i.  A  small  reed  and 
bellows  attachment  to  a  piano  key- 
board for  sustaining  and  colouring 
tones;  inv.  by  Hackel,  Vienna,  1818; 
the  forerunner  of  the  harmonium. 
2.  A  free-reed-stop. 

piacere,  a  (a  pX-a-cha'-re),  a  piaci- 
men'to,  /.  At  pleasure,  piacevole 
(pl-S-cha'-va-le"),  piacevolmen'te. 
Pleasant(ly).  piacevolezza  (l€d'-za). 
Suavity. 

piagendo  (p*-a-jen'-d5).  /.     Plaintive. 

piagnevole  (pl-an-ya  '-\5-lS),  /.  Sad, 
mournful. 

pianar'tist,  G.  A  mechanical  attach- 
ment for  playing  the  piano. 

pianente  (pl-a-nSn'-tg),  7.  Gently, 
softly,  pianet'to.  Very  soft. 


DICTIONARY  OF  TERMS 


655 


pianette  (nSt')-     A  small  piano. 

piangevole  p*-an-ja'-v6-l£),  piange- 
volmen'te,  I.  Doleful(ly). 

pianino  (ne'-no),  7.     An  upright  piano. 

pianis'simo,  I.  Very  soft,  pianis- 
sis'simo.  Extremely  soft. 

pianist  (pl-an'-ist,  not  p5'-3,n-*st),  E. 
A  piano-player. 

pianista  (nS'-sta),  I.  i.  A  pianist. 
2.  A  mechanical  piano. 

pianiste  (pl-an-gsf),  F.  Pianist  of 
either  sex. 

$iano  (p*-S/-n6),  J.  i.  Soft,  softly, 
abbr.  (p),  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 'lour 
grand  or  piano  &  queue  (a-ku')? 
the  semi-grand  or  boudoir  or  p.  i 
queue  6courte*e  (a-koor-ta),  or  baby- 
grand.  Smaller  form.  The  square 
or  carre"  (c&r-ra);  p.  a\  tavolins;  the 
-upright  or  cabinet,  or  p.  £  secretaire 
(sa-krti-t&r),  or  droit  (drwa),  oblique, 
or  3.  pilastres,  or  vertical,  and  still 
smaller  sizes  such  as  the  cottage,  or 
the  piccolo,  inv.  by  Wornum,  of 
London,  1829.  For  practice  there 
are  the  dumb  p.,  or  p.  muet  (mti), 
and  the  Virgil  practice-clavier,  etc. 
electric  p.  One  employing  electro- 
magnets in  place  of  hammers,  p- 
quatuor,  or  p.  &  archet  (a,  ar-sha). 
Vide  PIANO-VIOLIN,  p,  £olien.  Vide 
AMEMO-CHORD.  The  p.  harmon'icorde. 
A  combination  with  an  harmonium, 
inv.  by  Debain.  the  p.  &  claviers 
renvers6s  (a-kl£v-ya  ran-vSr-sa). 
One  with  2  key-boards,  one  above 
the  other,  the  scale  of  the  upper 
ascending  from  right  to  left.  p. 
mechanique  (ma-kSL-nek).  A  me- 
chanical or  automatic  piano,  p.  or- 
ganis  §  (6r-g&-nl-za) .  One  with  phys- 
harmonica  attached.  (See  p.  800.) 

pianoforte  (pl-a'-no-fdr-te",  or  common- 
ly pI-§/-n5-fort),  JE.  and  I.  piano- 
forte (f6r-ta),  F. 

piano  score.  An  arrangement  of  vocal 
or  orchestral  music  for  piano. 

pian'ograph.     A    melograph,    inv.    by . 
Gu6rin. 

pianoharp.     Vide  KLAVIER  HARPE. 

pianola.  A  detachable  pneumatic  at- 
tachment by  which  a  piano  may  be 
played  mechanically,  the  performer 
controlling  the  speed,  the  force,  and, 
it/  a  remarkable  degree,  also  the  ex- 


pression; inv.  by  E.  S.  Votey  of  New 
York,  in  1897.  It  has  65  felt-covered 
fingers  brought  into  play  by  air- 
power  forced  through  perforated 
music  by  treadle  action. 

piano-organ.     Vide  BARREL-ORGAN  (2). 

piano  'tist.  A  mechanical  attachment 
for  playing  the  piano. 

piano  quatuor  (kat-ii-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  Niirn- 
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  Hohlfeld 
inv.  the  Bogenfltigel  or  Bogen- 
klavier,  with  a  horse-hair  bow;  von 
Meyer  in  1794  provided  each  string 
with  a  bow.  In  1800  Htibner  devised 
the  clavecin  harmonique,  which 
Ppuleau  developed  into  the  orches- 
trin.  Other  instrs.  of  the  same  gen- 
eral idea  were  the  gambe-clavier,  inv. 
by  Le  Voirs,  Paris,  1741;  the  Bo- 
genklavier  of  Garbrecht,  Konigsberg, 
1710;  the  Xanorphika  of  Rollig, 
Vienna,  1797;  the  Bogenhammer- 
klavier  of  Karl  Greiner,  1779;  the 
harmonichord  of  Kaufman,  1785; 
the  piano-violino,  1837.  The  most 
successful  is  the  piano-quatuor  or 
piano-violin,  inv.  1865  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-an7  p  1-2, '-no),  1.  Very 
softly. 

piatti  (pl-at'-te),  /.,  pi.     Cymbals. 

pib  (peb),  pibcorn.     A  Welsh  pipe. 

pibroch  (pe'-br^kh),  Scotch.  A  war- 
like composition  for  the  bagpipes, 
consisting  of  three  or  four  variations 
on  a  theme  called  the  urlar;  thev  are 


656 


DICTIONARY  OF  TERMS 


of  increasing  speed  and  close  with  a 
quick  movement  called  the  crean- 
luidh. 

piccanteria  (plk-kan-ter-g'-a),  I.  Pi- 
quancy. 

picchetta'to,  or  picchiettato  (plk-kl- 
St-ta'-tS),  J.  Staccato,  in  violin 
playing  made  with  a  bounding  bow, 
and  indicated  by  slur  over  dots. 

picciolo  (plt-chs'-ls),  7.     Small. 

piccolo  (pik'-ks-ls),  J.  i.  Small.  Vide 
PIANO.  2.  The  octave  flute  (q.v.). 
3.  A  a-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  bril- 
liancy, securing  a  compass  of  3 
octaves. 

pick.  i.  A  plectrum.  2.  To  pluck 
(of  strings). 

PicOselflb'te,  G.     The  octave  flute. 

piece,  i.  A  composition.  2.  An  in- 
strument (generally  used  in  pi.). 

piece  (pJ-eV),  F.  i.  A  piece;  a  compo- 
sition. 2.  An  opera,  or  dramatic 
work,  suite  de  pieces  (swSt  dti  pi- 
&s).  A  set  of  pieces. 

pieno  (pX-a'-nd),  L  Full.  p.  coro,  or 
p.  organo.  Full  chorus,  or  full  organ, 
pienamen'te.  Fully. 

pied  (pi-a/),  F.  Foot,  avec  les  pieds 
(la  pX-a).  With  the  feet  (on  an 
organ). 

pieta.  (pML-taO,  7.  Pity,  pieto'so, 
pietosamen'te.  Tender(ly). 

pierced  gamba.     Eleraulophon. 

pifara  (pl-fa'-ra),  I.     A  fife. 

pifferare  (ra'-rS),  7.  To  play  the  fife. 
pif'fero.  i.  A  fife.  2.  A  primitive 
oboe.  3.  A  stop,  the  bifara.  pif- 
fera'ro.  A  player  on  the  fife. 

pikieren  (pi-ke'-ren),  G.     Vide  PIQTTER. 

pilea'ta,  L.     "Capped"  (of  a  covered 


pipe). 
ince*    (pan-s5). 


or   pincement    (pans- 


pmce 

man)7    F.    '"PincEed."     i.  Plucked 
(as        strings).     2.  Pizzicato.     3,  A 
mordent,     p.  etouffe.    Acciaccatura. 
p.      renverse".       Inverted  mordent. 
instruments      a      cordes      pincees. 
Instrs.  to  be  plucked,  as  guitar,  etc., 
'    hence    pincer     (pan-s£).     To     play 
such  an  instrument,     pince  bemolise 
(or   difese*).     Trill  with    a  flattened 
^  (or  sharpened)  note. 
pipe.     A  tone-producing  tube  of  reed, 
'  wood     or     metal,     i.  One     of     the 
•     earliest     musical-ins  trs.,     a     simple 
1    -straw.     2.  The  tone-producing  tubes 


of  an  organ,     (a)  flue-pipe,  or  lip- 
pipe.     One  in  which  the  column  of 
air  produces   tone   by  being  forced 
through  a  small  opening  with  a  sharp 
edge.     The   lip-pipe    may    be    com- 
pared 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  lip  is  bevelled  to  an  edge 
called    the   leaf.     An    ear    projects 
on  each  side  of  the  mouth;  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  against 
the  leaf,  which,  vibrating,  produces 
a  tone  from  the  air  column  that  fills 
the  upper  part  or  body  of  lie  pipe, 
flue-pipes  may  be  open  at  the  top, 
or  covered  (stopped  or  plugged),  the 
stopped-p.  sounding  an  octave  lower 
than  the  same  pipe  open,     flue-pipes 
are  tuned,  or  voiced,  if  metal,  by 
naps   at   the   top    called  tuners;   u 
wood,   by  small   adjustable  boards, 
(b)  reed-pipe.     One  depending  upon 
a  reed  for  its  tone,  the  body  govern- 
ing  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 
tuning-wire,    the    other    a   reed,   or 
conical  tube  (called  a  shallot)  with 
an  opening  giving  play  to  a  vibrating 
tongue.     3.  bent-pipe.     A  rectangu- 
lar bent  tube  connecting  the  bellows 
with  the  wind-trunk;  also  a  second- 
ary 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- 
pipes  are  made,  usually  an  alloy  of 
lead  and  tin. 

pipe-organ.    Vide  ORGAN. 

pique  (pek),  F.     Peg  of  a  'cello. 

piqtiS  (pe-ka'),  F.  Same  as  picchie- 
tato.  piquer  (pe"-ka),  F.9  piquiren 
(pe-ke'-rSn),  G.  To  play  in  such  a 
manner. 

pirolino  (pS-rS-le^-nS),  /.     Button. 

piston (s).  Vide  VALVE  and  CORNET- 4 
PISTONS,  piston-solo,  G,  Solo  for 
cornet-a-pistons. 

pitch.  The  height  or  depth  of  a  tone 
relatively  to  others,  or  its  absolute  po- 


DICTIONARY  OF  TERMS 


657 


sition  on  the  complete  scale  adopted 
es  the  standard  and  divided  into 
octaves  definitely  named  (see  the 
CHART  or  PITCH).  The  vibration- 
number  of  a  tone  also  gives  it  an 
absolute  pitch  according  to  the 
particular  pitch  accepted  as  the 
standard.  The  opinion  of  the  civil- 
ised races,  with  the  chief  exception  of 
England,  has  settled  on  the  Inter- 
national (low  or  French)  pitch  adopted 
in  France  in  1859,  and  at  the  Vienna 
Congress,  in  1887.  This  gives  the 
tone  af  435  vibrations  a  second  and 
c"  522  vibrations.  An  older  pitch 
was  the  classical  or  mean  pitch,  in 
which  a'  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  congress  of  physicists 
adopted  in  1834  the  Stuttgart  Pitch 
with  a'  at  440.  The  high  or  concert 
or  English  pitch  gives  a'  about  450, 
which  is  a  severe  and  needless  strain 
and  distortion.  For  convenience 
of  calculation  a  theoretical  middle  c' 
has  been  given  256  vibrations,  the 
number  being  a  high  power  of  2;  this 
so-called  philosophical  pitch  gives  a' 
about  427  vibrations. 
The  subject  of  Pitch-relationships 
is  too  abstruse  for  explanation  here — 
though  important  in  the  tuning  and 
temperament  of  instruments.  The 
old  Pythagorean  theorists  did  not 
consider  the  third  (as  c  to  e)  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. 
Starting  from  c'  any  tone  may  be 
reached  by  quint  or  tierce  steps  up  or 
down.  Every  tierce  step  up  is  f  J 
less  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,  required  to  reach  it. 


These  lines  therefore  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. 

pi&  (pg-oo')j  /•  More;  as  p.  mosso. 
More  speed;  pill  tosto.  Rather,  as 
p.  t.  allegro.  Rather  faster. 

piva  (pg'-ya),  /.  i.  A  bag-pipe.  2.  A 
composition  in  bag-pipe  manner. 

pizzican'do,  pizzicato  (p*d-zi-ka'-t5), 
7.  "Pinched,"  indicating  that  the 
strings  are  not  to  be  bowed,  but 
plucked  with  the  fingers. 

placido  (pla'-che-do),  placidamen'te, 
/.  Placid(ly). 

placito  (pla'-chg-to),  /.  Pleasure.  A 
bene  p.  At  pleasure,  same  as  ad 
libitum. 

pla'gal,  E.,  pla'galis,  £.,  plagalisch 
(pla-gS'-ttsh),  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, 

plagiau'los,  Gr.     Cross-flute. 

plain-chant  (in  French  pron.  plan- 
shan),  plain-song.  The  old  Gre- 
gorian Church-music,  so-called  from 
its  smooth  progress  in  notes  of  equal 
length.  It  employs  8  modes  (q.v.), 
and  is  written  on  four-line  staves, 
employing  3  notes,  the  long,  the 
breve  and  semibreve,  and  two  clefs. 
It  is  still  employed  in  the  R.  C. 
cantillation  of  priests  at  the  altar, 
and  is  the  basis  of  the  Episcopal 
Church  service. 

plainte  (pl&nt),  F.  A  lament,  plain- 
tif  (p&n-tef).  Plaintive. 

plaisant  (plSz-&n),  F.     Pleasant. 

plaisanterie  (pl£z-an-tu-re),  F.,  pleas '- 
anterie.  A  cheerful  harpsichord 
piece. 

plana  (pla'-na),  L.  and  I.  Plain. 
musica  P.  plain  =  chant. 

planchette  (plan-she1 1),  F.  i.  A  me- 
chanical piano.  2.  A  part  of  its 
mechanism,  a  board  fitted  with  pegs, 

planta'tion.  The  manner  in  which 
the  pipes  of  a  stop  are  arranged  on 
the  sound-board. 


658 


DICTIONARY  OF  TERMS 


planx'ry.  Literally,  "lament,"  though 
sometimes  applied  to  lively  melodies 
used  by  Welsh  harpers. 

plaquS  (pla-ka),  F.  Played  simulta- 
neously (as  a  chord);  opposed  to 
"broken." 

play-house  tune.  Old  name  for 
entr'act  music. 

plec'toral,  plec'tron,  plec'trum.  A 
small  bit  of  ivory,  metal  or  shell  f or 
plucking  the  strings  of  mandolins, 
etc, 

plec'traphone.  A  piano  attachment 
imitating  the  mandolin. 

plein-jeu  (plan-zhu),  F.  i.  Full-organ. 
2.  A  mixture-stop. 

pje'no  orga'no,  L.     Full-organ. 

plet'tro,  7.     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. 

phi/res  ex  u'na,  L.  "Many  from 
one."  Old  name  for  canon. 

plus  (plii),  F.     More. 

pneuma  (nu'-ma),  Gr.  "Breath."  x. 
Neume.  2.  The  exhausting  vocal- 
isation of  the  closing  syllable  of  the 
early  Christian  Alleluia.  3.  A  jubi- 
lation. 

pneumatic,  i.  Used  of  all  wind- 
ins  trs.  2.  p.  action,  or  lever.  A 
bellows  attachment  for  lightening  the 
touch  of  an  organ,  inv.  1832,  by  Bar- 
ker. 3.  p.  organ.  The  modern  wind- 
organ,  so  called  originally  in  distinc- 
tion to  the  hydraulic. 

pocetta  (po-chet'-ta),  7.,  poche  (p6sh), 
pochette  (pS-shSt),  F.  Pocket- 
fiddle. 

pochessimo  (po-keV-s*-mo),  7.  As 
little  as  possible,  pochettino  (pd- 
kSt-te'-no),  pochet'to,  pochino  (pS- 
ke'-no),  I.  Just  a  little. 

poco  (p5'-ko),  7.  A  little;  rather; 
somewhat.  poco  a  poco.  Little 
by  little. 

poggiato  (p<5d-ja'-t6),  7.  "Leant"  on, 
dwelt  upon. 

poi  (po'-e),  7.  Then,  afterwards,  as 
piano  poi  forte.  Soft  then  loud. 
poi  segue,  then  follows;  poi  a  poi. 
By  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 
VEDAI.-POINT.  8.  Vide  SIGNS.  (In 


French  pronounced  pwan.)  A  dot. 
p.  detache"  (da-ta-sha).  Staccato- 
mark,  p.  sur  te*te  (stir-te't).  Dot 
above  or  below  a  note.  p.  d'airSt 
(dar-re1'),  or  p.  de  repos  (dd.  rtt-p6). 
A  hold.  p.  d* augmentation  (dog- 
man-tas-y6n) .  A  dot  of  augmenta- 
tion, p.  final  (fl-nal')-  Final  pause. 
p.  d'orgue  (d6rg).  i.  A  hold,  hence 
also  a  cadenza  or  flourish.  2.  Pedal- 
point. 

pointe  (pwant),  jF.  i.  Toe,  in  organ- 
playing. 

pointe*  (pwan-ta),  F.  Dotted,  from 
pointer  (pw2,n-ta).  To  dot,  or  play 
staccato. 

polacca  (po-lak'-ka),  7.  Polonaise. 
alia  p.  In  the  style  of  a  polonaise. 

polichinelle  (poi  -  3C  -  shX  -  nel'),  F. 
"Punch."  A  clown-dance. 

pollsa.  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  first  beat 

polonaise  (p61-6-nez'),  F.f  Polonase 
(pdl-o-na'-ze*),  G.  A  Polish  dance  in 
moderate  3-4  time;  strictly  a  march- 
past.  Its  rhythm  resembles  t'xat  of 
the  bolero;  it  begins  with  a  snarplj 
accented  8th  note  followed  by  two 
1 6th  notes,  and  four  8th  notes;  its 
closing  measure  is  an  8th  and  two 
1 6th  notes;  a  sharply  accented  quar- 
ter note,  an  8th  note,  and  an  8th  rest. 
Also  spelt  polonoise  (p61-6n-waz). 

Vide  CHART  OF  DANCE  RHYTHMS. 

polska  (pdls'ka),  Swedish.  A  dance 
in  3-4  time,  usually  in  the  minor. 

poly-.  A  Greek  prefix,  meaning 
"many."  polychord.  An  instr.  inv. 
by  Fr.  Hillmer,  of  Berlin,  resembling 
a  double-bass  with  10  gut-strings  and 
movable  finger-board.  polymor- 
phous. Used  of  counterpoint,  with 
a  widely  varied  theme,  polyphonic, 
or  polyph'onous.  i.  Used  of  com- 
positions 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 
(p6l-I-fo'-n*  or  po-m'-o-ni).  The 
treatment  of  simultaneous  parts  each 
independently,  i.  e.,  counterpoint. 
polytonality.  A  qualit}?-  possessed  by 


DICTIONARY  OF  TERMS 


659 


music  the  parts  of  which,  are  written 
in  several  keys  simultaneously- 

Pommer  (pbm'-me'r),  G.  Vide  BOM- 
BARD. 

pompos  (pdm'-pas),  G.,  pompo'so, 
pomposamen'te,  7.  Pompous(ly). 
Majestic(ally), 

ponctuation  (p6nkt-u-as-v6n),  F. 
Phrasing,  from  ponctuer  (p6nk-tti-Sl). 
To  phrase. 

pondero'so,  I.  Ponderous,  heavily 
marked. 

ponticeUo  (p6n-t*-ch£l'-lo),  7.  i. 
Bridge,  sul.  p.  A  direction  for  bow 
instrs.,  "play  near  the  bridge." 
(Abbr.  s.  pont.)  2.  The  break  in  the 
voice. 

pont-neuf  (p6n-nuf),  F.  A  bridge  in 
Paris,  hence  a  street  ballad. 

poo'gye.     Hindoo  nose-flute. 

popolare    (p5-po-la'-r£),     7.     Popular. 

porrec'tus.       Gnomo.       Vide  NEUME. 

port  (p6r),  F.    i.  Portamento.    2.  Vide 

CHTTTE. 

portamen'to.  The  passage  across  an 
interval  by  means  of  gliding  with 
imperceptible  gradations  through  all 
the  intermediate  tones  in  one  con- 
tinuous 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  portamento. 

portan'do,  /.  Carrying  across,  i.  e., 
producing  the  portamento  effect;  from 
portare  (p6r-ta'-r£).  To  carry. 

portar  (p6r-tar'),  7.  Carry  I  p.  la  bat- 
tuta.  Follow  the  beat.  p.  la  voce. 
Sustain  the  tone.  PL  portate. 

portata  (p6r-ta'-ta),  7.     Staff. 

portatif,  F.,  portativ,  G.  (p6r-ta-t5f), 
por'tative.  A  portable  organ. 

portato  (pdr-ta'-t5),  7.     Sustained. 

portSe  (p6r-taO,  F.     Staff. 

porter  (p6r-ta),  F.  To  carry,  p.  la 
voix.  Produce  the  portamento. 

por'tunal  flute.  A  flue-stop  with  wide- 
top  pipes. 

Portunen  (p6r-too'-nSn),  G.     Bourdon. 

Pos.     Abbr.  for  Posaune. 

posato  (po-za/-t5),  7.     Sedate. 

Posaune  (po-zow'-ne1),  pi.  -en,  G.  i. 
Trombone.  2.  A  trumpet.  Hence, 
Posauner.  A  trombonist,  3.  A  reed- 
stop.  Posaunzug  (tsookh).  Sack- 
but. 

Poschette  (pC-shSt'-tS)..  G.  Pocket- 
violin. 

posS'ment  (po-za-man),   F.     Sedately. 

poser  (po-za),  F.  To  poise,  p.  la 
voix.  To  attack  a  tone  exactly. 


positif,  F.,  positiy,-  G.  (p5-z6-t€fO» 
positive.  Stationary  organ;  in 
French  choir-organ. 

posi'tion,  E.  (pron.  in  F.  p5-z€sr-y6n), 
posizione  (pO-zS-tsi-O'-nS),  7.  i. 
VidecHORB.  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  (pbs-se'-bMS),  7.  Possible, 
as  presto  p.,  as  fast  as  possible. 

posthorn.  i.  A  straight  valveleste 
bugle.  2.  A  piece  or  passage  imi- 
tating a  postman's  call. 

posta,  di  (de  pos'-ta),  7      At  once. 

posthume  (p6s-tiim),  -F.  Posthumous, 
pub.  after  the  composer's  death. 

postlu'deuin,  L.  A  concluding  phrase, 
composition,  or  church  voluntary. 

potenza  (po-tSn'-tsa),  7.  i.  Old  name 
for  musical  note  or  sign.  2.  The 
sound  any  instr.  produces. 

pot-pourri    (pS-poor'-re),    F.     Medley. 

pouce  (poos;,  F.  Thumb.  In  guitar 
music  a  direction  to  sweep  the  strings 
with  the  thumb. 

poule,  la  (la  pool),  F.  "The  hen."  A 
quadrille  figure;  the  third. 

pour  (poor),  F.  For,  in  order  to,  as  p. 
finir,  in  order  to  close. 

pousse"  (poos-sa'),  F-  "Pushed."  The 
up~bow. 

pp.     Abbr.  of  pianissimo. 

prftchtig  (prSkh'-tikh),  G.  Pompous. 
Prachtvoll  (prakht'-f6l),  G.  Full  of 
grandeur. 

pracis  (pra-tsesO,  G.     Precise. 

praecen'tor,  L.     Choir-leader. 

praeajn'bulum,  Z.     Prelude. 

praefa'tio,  L.  The  prayers  said  or  sung 
in  the  Mass  before  the  Transub- 
stantiation. 

praefec'tus  cho'ri,    L.     Chorus-leader. 

Prall'triller,  G.  Inverted  mordent 
Vide  GRACE. 

praludiren  (pra-loo-d6'-r£n),  G.  To 
preludise. 


660 


DICTIONARY  OF  TERMS 


Prastant  (pra'-shtant),  G.  Principal 
4-ft.  stop. 

precent'or.  Choir-director  in  the  An- 
glican Church. 

prechantre  (pra-shantr),  F.  Choir- 
director. 

precipitare  (pra-che-pSt-ta'-re1),  I.  To 
hurry  precipitately,  hence  precipitate 
(ta'-to) .  Precipitan'do,  precipito  'so. 
Hurried,  precipitarnen/te.  Hurriedly. 
precipitazione  (ta-tsl-o'-ne1).  Haste. 

precisions  (pra-che-zI-S'-ne1),  7.  Pre- 
cision, precise  (pra-che'-sO).  Exact. 

preghiera  (pra-gl-a'-ra),  7.     Prayer. 

prelude  (pre'-lud  or  prel'-ad),  E.,  pre- 
lude (pra-liid).  F.,  prehidio  0ra- 
loo'-dI-6),  7.  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  (prum-ya),  premiere  (prum- 
yar),  F.  First,  as  premier  dessus 
(de's-sii).  First  treble  or  soprano. 
premiere  fois  (fwa).  First  time. 
a  premiere  vue  (vii).  At  first  sight. 
As  a  noun,  premiere  is  used  of  a  first 
production. 

preparation,  preparation  (prS-pa- 
•  ras-y6n),  F.,  preparazione  (pra-pa- 
ra-tsl-o'-ne'),  7.  A  musical  device 
for  softening  a  discord  by  preparing 
the  mind  for  it  through  the  introduc- 
tion of  the  dissonant  note  in  a  previ- 
ous 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.y.).  2.  Used  of 
a  shake  or  trill  which  had  two  or 
more  introductory  notes. 

pres  de  (pre*  du),  F.     Near. 

presa'(pra'-sa),  7.     Vide  LEAD  (2). 

pressant  (pres-san),  F.,  pressante 
(prSs-sant),  F.,  pressan'ao,  7.,  pres- 
sirend  (pres-sS'-r&xt),  G.  "Pressing/* 
accelerating. 

pressez  (prSs-sa),  F.     Accelerate. 

pressure  note  or  tone.     One  marked 

-«=: 

thus  (*=%  and  to  be  attacked  softly  and 

suddenly  increased  in  volume, 
prestamen'te,  7.  Very  rapidly. 
prestant  (pru-stan),  F.  Principal,  4- 

ft.  open 


prestezza,  (prSs-tgd'-za),  7.     Rapidity. 

presto  (prSs'-tQ),  7.  i.  Fast,  faster 
than  allegro,  the  fastest  rate  in  music 
except  its  own  superlatives  as 
prestis'simo  and  prestis'sameiite. 
2.  A  movement  in  very  rapid  time. 

prick,  i.  As  a  noun,  the  head  of  a 
note,  hence  2.  as  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. 

priere  (prl-ar7)?  F.     Prayer. 

prima  (prg'-mS),  7.  First,  principal. 
da  p.  From  the  beginning,  p.  buffa. 
Leading  woman  in  comic  opera 
prima  donna.  "Leading  lady"  u* 
opera,  chief  soprano,  p.  vista.  First 
sight,  p.  volta.  The  first  time  (abbr. 
Ima.  Volta),  and  used  to  mark 
measures  to  be  played  before  a 
repetition,  and  to  be  skipped  after 
that  repetition  for  the  measures 
marked  seconda  volta  (2da.  volta). 

pri'mary.  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  toniq  dominant, 
and  the  sub  dominant. 

prime  (prim),  E.  (ir>  G.  and  F.  prSm) 

1.  The  first  tone  of  a  scale,  the  tonic. 

2.  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  HORJB. 

Primgeiger  (prem'-gi-gSr),  G.  First 
violin,  leader, 

primo  (pre'-me),  7.  First,  principal, 
tempo  p.  At  the  original  tempo,  p. 
buffo.  Leading  man  in  a  comic 
opera,  p.  uomo  (oo-o'-mo).  Old 
term  for  first  male  soprano  or  tenor, 
primo  as  a  noun,  is  used  of  the  lead- 
ing part  of  a  duet. 

PrimtSne  (prSm'-ta-nS),  G.  Funda- 
mental tones.  Primzither.  Treble 
zither. 

primice'rio  (pre'-ml-cha'-rl-o),  7. 
primicerius,  L.  Cantor. 

ptin'cipal,  E. '  (pron.  in  G.  pran-tsl- 
pal',  in  F.  pr&n-sl-pal').  i.  In 
France  and  Germany  used  of  the 
open  diapason;  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. 


DICTIONARY  OF  TERMS 


661 


As  an  adjective.  i.  Vide  PIOMARY. 
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  diapason 
quality.  Vide  STOP. 
principale  (pren-chl-p a '-!€),  J.  i.  Dia- 
pason-stop. 2.  Principal  or  leading, 
as  an  adjective.  3.  Old  name  for 
the  trumpet.  principalino.  8-ft. 
stop. 

principio    (prln-che'-pX-Q),    7.     Begin- 
ning. 
prise,  or  p.  da  sujet  (prez  dti  su-zhsL), 

F.     Entry  of  the  subject. 
Probe  (pre'-bS),  G.     Rehearsal.     Gen- 

eralprobe.     Final  rehearsal. 
proce"der  (pro-sS-da),  F.     To  progress. 
procella  (pr6-chel'~la),  /.     Storm. 
pro  'em.     Ancient  heroic  song  with  cith- 

ara  accompaniment. 
programme,  F.,  program  (pr5'-gram' 
not  pro'-grum),  E.,  program/ma,  /., 
Programm  (pro-gram/)?  G.  A  list  of 
compositions  to  be  performed,  pro- 
gram -  music,  Programm  -  musik 
(pro" -gram'  moo-z5kO,  G.  Music 
with  a  programme,  i.  e.,  with  a  more 
or  less  definite  description  of  events 
of  moods.  It  usually  aims  to  pre- 
sent a  suggestion  (rarely  in  decent 
music  an  imitation)  of  some  music 
of  nature  as  a  brook,  bird-improvi- 
sations, forest-sounds,  or  of  some 
narrative,  though  its  main  effort  is 
to  deploy  the  emotions  arising 'from 
such  scenes  and  thoughts.  Bee- 
thoven's ideal  is  expressed  in  his 
famous  characterisation  of  his 
Pastoral  Symphony  as  mehr  Aus- 
druck  als  Malerei,  "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- 
music  has  most  ancient  and  venerable 
authority,  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. 
progres  (pro-gre1),  F.  Progression. 


progres'sion,  E.,  progressione  (sl- 
o'-ne"),  /.  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 
processes,  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  in  the  text- books  entirely 
on  tradition,  history,  conservatism, 
fashion,  or  a  sense  of  being  rendered 
artificial  by  long  pedantry.  The 
science  of  progressions  constitutes  the 
greater  part  of  the  Theory  of  Music, 
and  of  harmony  and  counterpoint 
(q.v.). 

progres 'sio  hanno'nica,  I.  A  mixture- 
stop. 

Progressions-schweller  (pro*  -grSs-si- 
Sns'-shvel-le'r),  G.  A  device  inv.  by 
Abb 6  Vogler,  for  gradually  calling  in 
play,  then  gradually  closing  off,  the 
stops  of  an  organ,  to  produce  a  cre- 
scendo, then  a  diminuendo. 

progressive,  i.  Of  a  stop  in  which  the 
number  of  ranks  increases  with  the 
pitch.  2.  Through-composed. 

prola'tion,  E.y  prola'tio,  L.,  prolazi- 
one  (prS-la-tsI-O'-ne1),  /.  i.  The 
classification  of  the  relative  value  of 
the  notes  in  mensurable  (q.v.)  music, 
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. 
minor,  indicating  two  minims.  Vide 

NOTATION. 

prolongement  (pro-16nzh-man)  F.  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 
sustaining  pedal. 

promptement  (pr6nt-man),  F.,  pron- 
tamen'te,  /.  Promptly,  quickly. 
pron'to,  7.  Prompt,  quick. 

pronunziato  (pro-noon-tsl-a'-to),  I. 
Enunciated,  marked. 

proper-chant.  Old  name  for  the  key 
of  C  major. 

propor'tio,  L.,  proportion,  E.  i.  The 
determination  of  time  in  mensurable 
music  by  means  of  fractions.  Vide 
NOTATION.  2.  The  second  pa,rt  of 
1 6th  cent,  dance-tunes.  Vide  SA*- 

TARELLA. 


662 


DICTIONARY  OF  TERMS 


piopos'ta,  I.     Subject  of  a  fugue. 
prosa'rium,  L.     A  book  of  prosae,  the 
prosa    being    the    Sequence     (q.v.), 
sung   between   the   gradual   and   the 
Gospel  in  the  R.  C.  Service. 
propri'etas,  L.     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. 
Prospekt',  G.     Organ  front,  hence  P.- 

pfeife(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. 

pro'va,  /.  Proof,  rehearsal,  p.  gen- 
erale  (jan-a-ra'-lS),  or  p.  grande. 
Final  rehearsal. 

Proven^ales  (pros- van-sal7) .  Trouba- 
dours from  Provence. 
prycke.  In  Merbecke's  notation  of 
1550  a  minim.  Vide  PRICK. 
"lette  (sSl-lSt),  F.  A  maitrise. 
psalm  (in  E.  sam,  in  G.  psal-'m), 
psaume  (pson),  F.  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 
(let).  Psalm.  P.-sanger,  G.  Psalm- 
singer,  psalm'ody,  JE.,  psalmo- 
die  (psS-l-mo-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'-ter,  in  G.  psal'-ter),  psau- 
tier  (psot-ya),  F.     A  book  of  psalms. 
Psalter          (psal'-ter),     G.,     psalt6rion 
(psS,l-ta'-rI-6n),   F.,  psalte'rium,   L., 
psaltery  (sal'-tS-rl),   E.     An  ancient 
stringed  instr.   with   a   sound-board, 
the  strings   being  plucked  with  the 
fingers  or  a  plectrum, 
psalte'riae,     £.     Women    who    played 

and  sang  during  a  feast. 
psaume.     Vide  PSALM. 
pulcha    (pool'-cha),    Rus.,   pul'ka,    Bo- 
hemian.    Polka. 

pulpit'ium.      i.  A  stage.      2.  Motet, 
pul'satile.     Used  of  instrs.   of  percus- 
sion. 


punct'us,  L.  i.  A  note,  hence  punc- 
tus  contra  punctum.  "Note  against 
note,"  i.  e.,  counterpoint.  2.  A  dot. 
Punkt  (poonkt),  G.,  punto  (poon'-to) 
/.  Dot,  punktiert  (terf),  G.,  pun- 
tato  (ta'-to),  /.  Dotted,  staccato. 

punta  (poon'-ta)  I.  Point  (of  a  bow). 
p.  d'organo  (ddr-ga'-no).  Pedal- 
point,  p.  per  p.  Note  for  note.  p. 
coronato.  Fermate. 

pupitre  (pti-petr),^.  Music-desk,  p.- 
improvisateur  (pti-pgt'-rdn-prS-ve'- 
za-ttir')*  A  melograph  inv.  by  F.  A. 
E.  Keller,  1835. 

purf'ling.  The  ornamental  border  of 
violins,  etc. 

put'ti  (poot'-tS),  I.      Choir-boys. 

pyk'na,  Gr.  i.  Half  and  quarter  tone 
progressions,  in  Greek  music.  2. 
Close  notes  (q.v.).  3.  A  semitone. 

pyramldon.  A  16  or  32  ft.  stop,  with 
top  4.  times  as  wide  as  the  mouth. 

py'rophon,  Gr.  "Organ  of  flames.'" 
An  instr.  inv.  by  Fr.  Kastner,  1875. 
A  key-board  with  electric  attach- 
ment, producing  gas  flames  in  tubes 
tuned  to  the  compass  C-cx/. 

Pyr'rhic,  Pyrrich'ius.     A  Greek  dance. 

Pyth'ian.  Games  in  honour  of  Apollo, 
including  musical  contests. 

Pythagore>an.  i.  Used  of  the  math- 
ematical investigations  in  music 
made  by  Pythagoras.  2.  Used  of  a 
lyre,  said  to  have  been  inv.  by  him. 


Q.  This  letter  inverted  in  'cello  music 
indicates  that  the  thumb  is  to  be  laid 
across  the  strings  as  a  nut. 

Quadrat  (kva-dratQ,  G.,  quad 'rate, 
E.9  quadra 'turn,  L.  "A  square," 
i.  A  natural  sign  (fcj),  in  L.  B.  quad- 
ratum.  2.  In  mensurable  music  a 
breve,  hence  Quadramusik  (moo-- 
zek'),  G.  Old  music  in  square  notes. 

quad'rible.     Quatrible. 

quadricin'iuin,  L.  A  4- voiced  compo- 
sition. 

quadriglio  (kwa-dreT-yo),  /.,  quadriUe 
(in  jE.  kwa-dru7,  in  F.  k&d-rg'-yii). 
A  square  dance  in  6-8  and  2-4  time, 
in  five  different  figures:  le  pantalon. 
"Pantaloon."  1'Ste  (la-ta).  "Sum- 
mer." lapoule.  "The  hen."  lapas- 


pvilsa'tor      organo'rum,      L. 
player* 


Organ- 


' . 

quadripar'tite-  A  four-voices  compo- 
sition, 

quad'ro,  /.,  quad 'rum,  L.  i.  A  natural 
sign  (b|).  2.  Tableau. 

quad'ruple.  Four-fold.  i.  Vide 


DICTIONARY  OF  TERMS 


663 


COUNTERPOINT.    2.  Used  of  a  quaver 
with  four  tails,  a  64th  note.     3.  Of 
rhythm,  that  with  four  beats  to  the 
measure 
quad'ruplet.     A   group    of   four   equal 

notes. 

quad'riplum,  L.     Vide  TRIPLUM. 
quan'tity.     The  duration  of  a  note  or 

syllable. 

quart  (in  E.  kwart,  in  F.  k&r),  quar'ta, 
L.  and  7.  i.  The  interval  of  a 
fourth.  2.  A  fourth.  quart  de 
mesure.  A  quarter  rest,  quart  de 
soupir  (soo-per ').  A  sixteenth  rest. 
quart  de  son,  or  ton.  A  quarter 
tone,  quarta  modi,  or  toni.  The 
sub  dominant. 

quart-  (kvart),  G.  A  prefix  indicat- 
ing that  an  inst.  is  a  fourth  higher 
(as  Quart-flo'te,  -geige,  etc.),  or 
a  fourth  lower  (as  Q.-fagott,  or 
-posaune,  etc.),  than  the  normal 
instr. 
Quartsext'akkord,  G.  A  6-4  chord. 

Vide  CHORD. 

Quarte  (in  F.  kart,  in  G.  kvar'-teX 
The  interval  of  a  fourth.  q.  de 
nazard  (du  na-zar'),  F.  A  i5th, 
ilso  a  2-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  E  flat  on  the 
violin. 

quartet',  Quartett',  G.,  quartet'to,  7. 
i.  A  composition  for  4  voices  or 
instrs.  2.  A  4-part  composition  in 
sonata  form,  as  a  string-quartet. 

quar'to,  7.  Fourth,  q.  d'aspet'to. 
A  1 6th  rest.  q.  di  tuono  (too-6'-n5). 
Quarter  tone. 

quasi  (kwa'-se"),  L.  and  7.  As  if;  al- 
most; somewhat  like,  andante  q. 
lento  =  andante,  nearly  lento,  q, 
sonata.  Almost  (but  not  strictly-) 
in  sonata  form. 

qtiatre  (katr),  F.     Four. 

quatorziSme  (kS,-t6rz'~ySm),  F.  A 
fourteenth. 

quat'rible.  In  old  music  a  progression 
in  parallel  fourths,  a  quinible,  being 
in  parallel  fifths. 

quatricinlum.  Four-part  composi- 
tion. 

quattricro'ma,  7.     64th  note. 

quat'tro,  7.     Four 


quatuor  (k3,t-ii-6r),  F.     Quartet* 

qua'ver.     An  8th  note 

quer-  (kvar),  G.  Prefix  meaning  cross 
or  transverse,  as  Q.-£Lb'te.  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. 

1.  Ledger  line.     2.  The  single  thick 
tail  for  a  group  of  notes. 

questo  or  -a   (kw&s'-to),   7.     This;  or 

that. 
queue    (ku),    F,     Tail.     i.  Of    notes. 

2.  Tail-piece  of  vlns.,  and  so  forth, 
piano  &  q.     Grand  piano. 

quick-step.     A  rapid  march. 

quieto  (kwe-a'-to).  quietamen'te,  7. 
Calm(ly),  serene  (ly). 

qtdlis'ma.     Vide  NEUME. 

quindecima  (k wen-da  '-che-ma),  7.  A 
1 5th.  i.  Interval.  2.  Organ-stop. 
a  la  q.,  or  isma.  =  2  octaves  higher 
or  lower. 

Qtdndezime  (kven-da'-tse-me1),  G.  A 
1 5th. 

quin/ible.     Vide  QTTATRIBLE. 

quin'quegrade.     Pen  ta  tonic. 

quint  (in  E.  kwlnt;  in  G.  kv£nt).  i.  A 
5th.  2.  A  5j-ft,  stop,  sounding  a 
fifth  higher  than  the  normal.  3.  The 
e  string  of  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.-stirnme,  G.  Same 
as  2.  Q.-bass,  G.  A  stop  on  the 
pedal  sounding  a  fifth  above  the 
double  diapason.  Q.-fuge  (foo'-g£). 
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 
gamba. 

qtdn'ta,  L.  and  7.  A  fifth;  vide  also 
QtnNTUS.  q.  decima.  Quindecima. 
q.  ed  una  or  quintadena.  Vide  QUIN- 
TATON.  q.  falsa.  The  diminished 
fifth  formerly  prohibited,  q.  modi 
or  toni.  The  dominant,  alia  q.  At 
the  fifth. 

Quintaton  (kven'-ta-ton),  G.  A  cov- 
ered 8-,  1 6-,  or  3  2-ft.  flue-stop  sound- 
ing the  1 2th  as  well  as  the  funda- 
mental. 

quinte  (in  F.  kant,  in  G.  kven'-tS). 
Vide  QUINT  i,  2,  3.  q.  octaviante 
(6k-tav-i-£nt),  F.  The  1 2th.  Quint- 
en-folgen,  or  -parallelen,  tr.  Par- 
allel fifths.  Quinten-zirkel  (tser'- 


664 


DICTIONARY  OF  TERMS 


k&),  G.  Circle  of  fifths.  Vide  TEM- 
PERAMENT, quinten-rein  (rin),  G. 
"Pure  in  fifths,"  used  of  bow  instrs. 

quinter  (k&n-ta),  F.  To  sing  in  qui- 
nible. 

quinter  'na,  7.,  qtdn'terne,  E.  Old 
Italian  lute  with  3  or  5  pairs  of  gut- 
strings,  sometimes  also  2  single 
strings  covered  with  wire. 

quinti(e)ren  (kvgn-te'-rfin),  G.  To 
overblow  and  sound  the  twelfth. 

quintoier,  or  quintoyer  (kwen-twa-ya), 
F.  i.  To  sing  in  quinible.  2.  To 
overblow  and  sound  the  i2th. 

quintet7,  E.,  Quintett',  (?.,  quin- 
tette (kwen-tSt),  F.,  quinta'to,  /.  A 
five-part  composition. 

Quintole  (in  E.  quln'-tol;  in  G.  kvSn- 
to'-lS).  Quintuplet. 

quinton  (kw6n-t6n),  F.  i.  The  5- 
stringed  treble  viol.  2.  The  tenor 
viol. 

quintuor  (kwen-tii-6r),  F.     Quintet. 

quintu'plum,  L.     Vide  TRTPI.TJM. 

quin'tuple.     Five-fold. 

quin'tuplet.  A  group  of  five  equal 
notes. 

quin'tus,  L.,  or  quin'ta.  A  fifth  part 
in  compositions;  as  it  occasionally 
wandered  from  one  voice  to  another 
it  was  called  q.  vagans. 

quinzieme   (ka,nz-y£m),   F.     Fifteenth. 

quire.      Choir,      qui'rister.      Chorister. 

Qui  tollis,  L.  "Who  takest  away  (the 
sins  of  the  world)."  Vide  GLORIA. 

quitter  (klt-ta),  F.     To  leave. 

quodlibet,  or  quotlibet,  L.  "What 
(or  "as  many  as")  you  please."  i. 
A  comic  medley,  without  connecting 
links.  2.  A  charivari. 

Quo'niaxn  tu  solus,  L.  "For  Thou 
only  (art  Holy)."  Part  of  the  Gloria. 


R.  Abbr.  for  i.  Right,  as  r.  h.,  right 
hand.  2.  Responsorium  (r.  g.  —r. 
Graduale)  in  Catholic  music.  3. 
Ripieno.  4.  Clavier  de  r&cit  (swell- 
manual).  In  organ  music. 

raban',  raban'na.     Hindu  tambourine. 

rabbia  (rab-be'-a).     Mad  rage,  fury. 

rab£  (ra-ba'),  rabel',  Sp.     Rebec. 

raccontan'do,  7.  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. 
fagott  by  Denner.  2.  A  reed-stop, 
obsolete. 


raccourcir  (r&k-koor-se"r'),  F.  To 
abridge. 

racier  (ra-kla/),  F.  To  saw,  and 
scratch,  hence  racleur  (r£-kliir).  A 
bad  fiddler. 

raddolcen'do,  raddolcente  (rad-d61- 
chSn'-te*).  Growing  softer  and  sweet- 
er, raddolcito  (che'-to).  Pacified. 

raddoppiamen'to,  /.  i.  Doubling,  as 
the  notes  of  a  chord.  2.  Multiplying 
copies.  raddoppiato  (pl-a'-to). 

Doubled. 

Radel  (ra'-del),  G.     A  solo  with  chorus. 

radia'ting.  Used  of  a  fan-shaped 
pedal  key-board. 

radical.    Fundamental.     See  CADENCE. 

radio.     See  article,  page  802. 

Radleier  (r&t'-H-Sr),  G.     Hurdygurdy. 

Radlmaschine  (ratl-ma-she'-nS).  Valve 
mechanism . 

rag.  The  clog  dance  of  the  American 
negro,  perhaps  related  to  the  Spanish 
verb  raer,  to  scrape.  The  music  has 
some  resemblance  to  the  Abanera 
in  spirit  and  syncopation,  but  is  in 
4-4  time  and  of  an  hilarious  char 
acter,  hence  the  verb  to  rag,  ana 
rag-time  music  in  this  style. 

raggione  (rad-jo'-nS),  /.     Proportion. 

rago'ke.     Small  Russian  horn. 

rake.  A  s-pointed  device  for  ruling 
off  staves. 

rail.     Abbr.  of  rallentando. 

rallentare  (ta'-re*).  To  become  slower, 
hence rallentan 'do  (abbr.  rait).  With 
gradually  reduced  speed,  rallenta- 
men'to.  Retardation.  rallentato 
(ta'-to).  Retarded.  raUenta'te.  Re- 
tard 1 

rang  (ran),  F.     Rank. 

range.     Compass,  as  of  a  voice. 

rank.  A  row  of  pipes  belonging  to  one 
stop. 

rant.     An  old  country- dance;  a  reel. 

ranz  des  vaches  (ran-da-vash),  F. 
"Calling  of  the  cows."  A  Swiss  tune 
sung  or  played  on  long  horns  by 
herdsmen. 

rapido  (ra'-pg-do),  rapidamen'te,  /. 
Rapid(ly).  rapidita  (ra-pS-dl-ta7)- 
Rapidity. 

rapsodie  (ra,p-s6-de),  F.     Rhapsody. 

rappel',  F.     A  military  call. 

rasch  (rash),  G.   Fast,  rascher.   Faster. 

rasend  (ra'-zSnt),  G.  Raging,  hence 
Rasegesang,  and  Raselied  (ra'-zS- 
l€t).  Dithyramb. 

rasgado  (ras-g^-dliS) ,  Sp^  "Scrap- 
ing," hence  in  guitar  playing,  sweep- 
ing the  strings  with  the  thumb  to 
produce  an  arpeggio. 


DICTIONARY  OF  TERMS 


665 


rast'ral,  ras'trum.     Vide  RAKE. 

Rathselkanon      (rat'-zgl-ka-n6n),      G. 

Vide  CANON. 

ra'tio.  Used  of  tlie  relative  value  of 
vibration-numbers. 

rattenen'do,  rattenuto  (noo'-to),  J. 
Restraining,  or  restrained,  i.  e.,  re- 
tarded. 

rattezza  (rat-t€d'-za),  I.     Speed. 

rauco  (ra'-oo-ks),  /.,  rauh  (rtfw),  G., 
rauque  (rok),  F.  Harsh,  hoarse, 
rough,  raucedine  (ra-oo-chg-de'-nS), 
I.  Harshness. 

Rauscher  (row'-shSr),  G.  The  rapid 
repetition  of  a  note. 

rausch-  (rowsh),  G.  Prefix  denoting  a 
stop  of  2  ranks  sounding  the  twelfth 
and  fifteenth,  or  fifteenth  and  octave 
twelfth;  hence  Rauschflb'te,  -pfeife, 
-quinte,  -werk;  and  also  Ruszpipe 
(roos'-p5-p5). 

ravanas'tron.  A  primitive  violin  with 
one  or  two  strings,  claimed  by  the 
Ceylonese  as  the  invention  of  a  king 
who  reigned  about  5000  B.  c.  It  is 
still  used  by  the  Buddhists. 

rav(v)ivare  (va'-rS),  /.  To  accelerate, 
hence,  ravivan'do.  Accelerating. 
ravivato  (va'-to).  Accelerated. 

ray.     Name  for  re,  in  the  Tonic-Sol-fa. 

re  (ra),  J.,  re"  (ra),  F.  i.  Vide  SOLMI- 
SATION.  2.  In  France  and  Italy, 
the  note  D. 

rebab,  Arab.     Rebec. 

reT>ec(k),  rebec'ca,  re^et,  rebed,  re- 
bibe,  re/bible.  Old  E.  An  early 
violin- with  3  gut-strings.  Its  origin 
has  been  credited  to  the  Moors,  who 
•are  said  to  have  brought  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  PTTGUE. 

recension  (ra-s3,ns-y6n),  F.  An  ana- 
lytical editing. 

rechange  (ru-shanzh).  "Change." 
Hence,  corps  (k6r)  or  tons  (tdn)  de 
r.  Crooks. 

re  cheat'.     A  hunting  recall. 

recht(e)  (rSkht(e')),  G.  Right,  as  r. 
Hand. 

r6cit  (ra-s5),  F.  i.  Recitative.  2.  A 
solo  part.  3.  The  chief  of  several 
parts,  clavier  de  r.  (kl&v-ya  du). 
Swell  manual  on  the  organ. 

recitado  (ra-th6-ta'-dho),  Sp.  Recita- 
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. 

recitan'do,  recitan'te,  recitato  (ra- 
ch€-ta'-t6).  In  recitative  style. 

r£citant  (ra>se-tan),  Recitante  (ra'- 
tsS-tant),  F.  A  man  (or  woman) 
soloist. 

recitative  (r5s-X-ta-teV),  E.,  recitatif 
(ra-se-ta-tef),  F.,  Recitativ  (ra-tsg- 
ta-t6fO,  G.,  recitative  (ra-che-ta- 
tS'-v5),  /.  Musical  declamation  or 
recitation,  as  opposed  to  strict  melo- 
dy. It  usually  aims  to  be  a  sort  of 
musical  colloquialism.  In  modern 
form  it  began  in  the  first  operatic 
works  of  Peri  (vide  B.  D.),  and  the 
others;  it  was  more  or  less  a  sing- 
song declamation  with  an  accompani- 
ment consisting  of  occasional  chords 
to  keep  the  singer  on  the  key;  it  was 
well-called  "dry,"  or  recitative  sec- 
co,  or  parlante,  and  the  accompani- 
ment was  indicated  merely  by  figured 
bass.  This  accompaniment  was  grad- 
ually elaborated  into  the  recitativo 
stromentato.  "Instrumented,"  or 
accompagnato,  or  con  accompa- 
gnamento  or  obbligato  (in  F.  ac- 
compagne,  or  oblige).  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-sg-ta),  F.  To  perform  a 
r£cit,  or  solo. 

reci'ting  note.  That  tone  of  a  church- 
mode  on  which  most  of  the  chanting 
is  done,  usually  the  dominant. 

rec'ord.  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". 

recorded  music.  See  PHONOGRAPH 
MUSIC,  page  794- 

recreation,  recreation  (ra-kra-as-y6n), 
F.  A  light  composition. 

rec'te  et  re'tro,  L.  Forward  and 
backward.  Vide  CANON, 

rec'tus,  L.     Similar  (of  motion). 

reddi'ta,  redita  (ra-ds'-ta),  /.,  redite 
(rii-dSt),  F.  A  repeat. 

redondilla  (ra-d6n-del'-ya),  Sp.  Roun- 
delay. 

redoubled.  Compound  (of  an  inter- 
val). 

redoublement  (ru>doob-lu-man),  P-, 
Doubling. 


666 


DICTIONARY  OF  TERMS 


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-ll-ka'-to),  /.  Re- 
doubled. 

reduciren,  reduzieren  (ra-doo-tse'-rSn), 
G.,  reduire  (ra-dwer),  F.  To  ar- 
range or  transcribe  a  composition  in 
a  smaller  form.  Hence,  such  con- 
densation is  called  reduction,  E., 
reduction  (ra-duks-y6n),  F.,  Re- 
duktion  (rS-dook'-tsX-6n),  G.,  ridu- 
zione  (re-doo-tsI-o'-nS),  I. 

reduc'tio,  L.  Reduction  (of  a  mode 
to  its  original  key). 

red-note.     See  article,  p.  767. 

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 
strike  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  mecha- 
nism, particularly  the  oboe  and  clari- 
net 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  Bib  el-re  gall 
(be"-b£l-ra'-gal)],  employed  beating 
reeds,  in  the  pipes.  In  1810  GrSnie" 
inv.  what  he  called  the  orgue  ex- 
pressif,  because  he  could  swell  and 


diminish  the  tone.  In  1843, 
developed  the  Harmonium,  which 
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 
Vocalion  returns  to  the  harmoniura 
style  with  elaborate  improvements. 
There  are  many  other  instrs.  which 
differ  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  Amer- 
ica is  danced  by  2  long  facing  lines, 
the  men  on  one  side,  and  the  women 
on  the  other. 

refrain'.  A  burden,  or  stanza,  re- 
peated at  the  end  of  each  new  stanza 
of  a  song. 

Re'gal  (in  G.  ra'-gal),  regale  (ra-gal), 
F.  i.  Vide  REED-ORGAN.  2.  An 
old  suffix  indicating  a  reed-stop.  3. 
An  obsolete  xylophone. 

Regel  (ra'-gel),  G.     Rule. 

re'genschori,  L.     Choirmaster. 

Regi'na  cce'li,  L.  "Queen  of  Heaven." 
A  hymn  to  the  Virgin. 

Register  (rej'-Is-tfcr  in  E.;  in  G.  ra- 
jes'-tSr).  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),  G. 
Draw-knob.  R.-stange  (shtS-ng-e1). 
Stop-lever.  R.-zug  (tsookh).  The 
mechanism  of  the  draw-stop.  Speak- 
ing stops  (R.-stimmen,  or  tonende 
R.)  are  distinguished  from  mechanical 
stops,  sturnme  (shtpom'-me1)  R.  3. 
A  frame  through  which  trackers  run* 
4.  A  distinct  section  of  the  tone- 
quality  of  a  voice  or  instr.  Vide 
VOICE. 

registre  (rii-zhe"st'r),  F.,  registro  (r2L- 
j5s'-tro),  /.  i.  A  stop-knob.  2. 
Vide  REGISTER  (4). 

registri(e)ren  (ra-jes-trS'-ren),  G. 
To  register.  Registri(e)ung  (tr£'- 
roongkj.  Registration. 

regie  (regl),  F.,  regola  (ra'-go-la),  /, 
Rule. 

reg'ula,  L.     i.  Register.     2.  Rule. 


DICTIONARY  OF  TERMS 


667 


reg'ular.  i.  Strict  (of  fugue).  2.  Sim- 
ilar (of  motion). 

regula'tion.     Adjustment  of  touch. 

Reigen  (ri'-gen),  or  Reihen  (ri'en), 
G.  A  circular  dance. 

rein  (rln),  G.  Pure,  perfect  (of  inter- 
vals), exact,  hence  reingreifen  (grl- 
ffcn).  To  play  accurately. 

Reiselied  (rJx-z6-l5t),  G.  Traveller's 
or  pilgrim's  song. 

Reitertrompete  (ri'-t&vfartm-pa'-te'), 
G.  A  clarion,  obsolete  straight 
trumpet  30  inches  long. 

rcla'ted.     Vide  RELATION. 

rela'tion  (in  F.  ru-las-y6n),  rela'tio,  L., 
relazione  (ra-lats-I-o'-nS),  I.  The 
affinity  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  (at  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. 

rel'ative  key,  E.,  mode-relatif  (m6d- 
rul-a-t5f'),  P.,  tono  relativo  (te"-vo), 
/.  i.  The  relative  key  to  a  major  is 
the  minor  key  whose  tonic  is  a  minor 
third  below.  The  relative  major  of  a 
minor  key  has  its  tonic  a  minor  third 
above.  Vide  RELATION, 

religio'so  (ra-le-jI-5'-s5),  /.,  religi- 
osamen'te.  Solemn(ly),  devout(ly). 

rel'ish.     An  old  grace  (q.v.). 

remote'.     Unrelated.     Vide  RELATION. 

remo'tus,-a,  L.  Remote;  open  (as 
harmony). 

templissage  (ran-ptts-sazh),  F.  i. 
"Filling,"  as  the  inner  parts  of  a  har- 
mony. 2.  Padding.  3.  Cadenzas, 
and  bravura  passages. 

Centre"  e  (ran-trS),  F.  Re-entrance  (of 
a,  part). 


renverser  (ran-vSr-sa),  F.  To  invert, 
hence  renverse*  (r£n-v&r-s&) .  In- 
verted, renversement  (v£rs-man) 
Inversion. 

renyoi  (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  bi-,  di-,  or  tri.  2.  In  Gregorian 
music,  the  principal  note  of  a  mode. 
repercus'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. 

repeti(e)ren  (ra-pa-ts'-re'n),  G.  i.  Vide 
to  BREAK  (3).  Hence  repeti(e)ren- 
de  Stimme.  A  mixture-stop  with  a 
break.  2.  To  repeat. 

Repetition  (in  G.  ra-paV-te'-tsl-Qn) . 
i.  The  rapid  repeating  of  a  note  or 
chord.  2.  (In  G.  Repetions'me- 
cha'nik).  Vide  REPEATING  (i).  3. 
Vide  BREAK  (3). 

repetition  (ra-pa-t5s-y6n),  F.  i.  Re- 
hearsal. 2.  Repetition. 

re*petiteur  (ra'-pS'-te-tttr'),  F.,  repet- 
itore  (ra-pS-te'-to'-re'),  /.  Trainer  of 
an  opera  chorus;  the  rehearser. 

repetizione  (ra-pa-te'-tsI-5/-ne'),  re- 
petimen'to,  /.  Repetition. 

replica  (ra'~pl5-ka),  7.  A  repeat;  rep- 
etition, hence  replicato  (ka/-ts).  Re- 
peated; doubled. 

rep'licate.     The  octave  of  a  tone. 

Replik  (ra-plSk7),  G.  Complementary 
interval. 

rSplique  (ra-pl5k),  F.  i.  The  octave 
of  a  tone.  2.  The  answer  of  a 
fugue.  3.  Complementary  interval. 
4.  Cue. 

reply.     Answer  (of  a  fugue). 

repons  (ra-p6n),  F.     Response  (i). 

r£ponse  (ra-pons),  F,     Answer. 

report.     Answer. 

repos  (ru-po),  F.  Point  of  repose,  fol- 
lowing a  cadence. 


668 


DICTIONARY  OF  TERMS 


reprise  (r€-pnz'),  E.  The  reappear- 
ance of  the  first  theme  of  a  sonata  or 
symphony  after  the  development. 

reprise  (rG-prez),  F.  i.  Repetition. 
2,  Vide  REPRISE.  3.  Reappearance 
of  a  theme.  4.  Vide  BREAK  (3). 
5.  Revival  of  a  work. 

reprendre   (rti-prandr),  F.     To  resume. 

Requiem  (ra'-kwI-Sm),  L.  The  first 
word  and  title  of  the  Mass  for  the 
Dead  (miss a  pro  defunctis).  Begin- 
ning "Requiem  aternam  dona  eis, 
domine"  "rest  eternal-,  grant  them, 
Lord."  The  requiem  is  divided  into 
the  introit,  kyrie,  gradual  (with 
tractus,  "Absolve,"  and  sequence 
"dies  ira").  Offertory,  "Domine 
Jesu  Christe"',  Sanctus,  and  Bene- 
dictus;  Agnus  Dei;  and  Communion 
"Lux  aterna." 

research'.  An  improvisation  used  as 
a  prelude  to  a  composition  and  made 
up  of  its  chief  theme. 

res'ervoir.  The  portion  of  a  bellows 
in  which  wind  is  stored. 

resin  (rSz'-Xn).  A  refined  gum  applied 
to  the  hair  of  the  bow  to  improve  its 
grip  on  the  strings. 

resolution,  resolution  (ra-zo-ltis-y6n), 
F.,  resolu'tio,  L.,  resoluzione  (ra- 
za-loo-tsI-6'-n&),  I.  i.  Firmness,  de- 
termination. 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'onance,  J5.,  Resonanz  (r&-zO- 
nants'),  G.  The  sympathetic  re- 
sponse of  a  vibrating  body  to  its  own 
particular  tone  or  tones,  under  the 
impulsion  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 
nature  will  also  reply;  furthermore 
•each  partial  tone  will  be  affected 
similarly.  ^  This  acoustic  fact  is  used 
for  the  reinforcing  of  tones;  as  cavi- 
ties of  air  and  sheets  of  wood  have 
this  same  property  of  resonance  to 
all  the  tones  and  partials  which  they 
themselves  contain.  The  violin,  etc., 
employ  a  hollow  space  called  the 
resonance  box,  or  Resonanzkasten, 


G.  Certain  old  instrs.  used  a  sympa- 
thetic string  or  Resonanzsaite,  G. 
The  piano,  etc.,  use  a  resonance 
board,  or  sound-board,  Resonanz'- 
boden,  G. 

respiro  (rS-spe'-r6),  7.  "A  breath"; 
a  sixteenth  rest. 

respond'.  A  psalm  (or  part  of  one) 
sung  between  lessons  at  canonical 
hours. 

response7,  E.,  respon'sum,  £.,  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'sory,  jE.,  responso'rium,  L.  i, 
The  psalm  or  portion  of  one  sung 
between  Missal  lessons.  2.  The 
graduate.  3.  A  respond. 

responsivo  (ra-spdn-sS'-vS),  7.  Re- 
sponsive (ly). 

resserrement  (rus-se'r-man),  F.  Stret- 
to. 

ressort  (rus-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  i.6th  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 
measure,  as  the  four-measure  rest. 
See  SIGNS  AND  SYMBOLS,  large-rest, 
long-rest.  See  p.  767. 

restric'tio,  L.     Stretto. 

result 'ant.  Used  of  secondary  tones 
formed  by  the  combined  vibration 
of  two  independent  tones.  Vide 
ACOtrsTics.  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,  L.  "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  retarda'tion,  retarda'tio,  L.  i. 
A  suspension  resolving  upwards. 
2.  A  decrease  in  velocity. 

retraite  (rti-treV),  F.     Retreat,  tattoo. 

ret'ro,    L.     Backwards.     Vide    CANON. 


DICTIONARY  OF  TERMS 


669 


ret'rograde,  retrogra'dus,  £.,  retro- 
grade (ra-tr5-gra'-ds),  /.  Vide  IMI- 
TATION. 

ret 'to,  7.  Direct,  similar.  Vide  MO- 
TION. 

reyeil  (ra-ve'),  7\,  reveille  (rti-va'-yu, 
in  E.  re'-vel'-ye'.  In  the  American 
army  rey-£-le',  in  G.  r§L-fll'-lg). 
"Awakening,"  the  first  morning  mili- 
tary signal.  In  old  E.  revett',  or 
revel  'ly. 

rev'erie.  A  contemplative  composi- 
tion. 

reversed.  Contrary  (of  motion),  re- 
ver'sion.  Retrograde  imitation. 

revoice.     To  tune  an  organ-pipe. 

rf .,  rfz.     Abbr.  for  Rinforzando. 

r.  h.     Abbr.  for  right  hand. 

rhapsodic  (rap-so-de'),  F.  and  G., 
rhap'sody,  E.  "A  song  of  patches." 
In  ancient  music  a  fragment  of  an 
epic  poem,  sung  by  a  minstrel  or 
rhapsode,  or  rhapsodist.  In  modern 
music  a  brilliant  composition  which 
combines  the  idea  of  a  medley  with 
the  acquired  idea  of  great  joy  or 
ecstasy. 

rhythm,  J£.,  rhyth'mus,  L.  (in  G. 
r5t'-moos),  rhythme  (rSdhm),  F. 
The  "flow"  and  undulation  of  pro- 
gression, 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  move- 
ment or  composition.  Rhythm  might 
be  called  the  melody  of  monotone. 
It  is  distinct  from  melodic  or  har- 
monic progression,  and  can  be  vividly 
shown  on  such  an  instr.  as  the  drum, 
and  it  can  be  written  on  a  single  line 
without  reference  to  pitch.  The 
rhythm  sometimes  is  so  complicated 
that  it  is  not  cpmpleted  in  less  than  a 
musical  period,  vide  FORM;  but  it  is 
usually  based  upon  a  fundamental 
series  of  pulsations  that  can  be  ex- 
pressed within  the  limits  of  three  or 
lour  or  nine  beats.  These  are  ac- 
cordingly taken  as  a  unit  and  grouped 
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. 


ing."     The  slow  beginning  of  a  trill. 

ribe'ba,  ribeca  (r6-bS'-ka),  /.  Rebeck, 
ribbechino  (kS'-n6).  Small  Rebeck. 

ribs.  The  sides  connecting  back  and 
belly  of  violins,  etc. 

ricerca're,  ricercata  (rS-chSr-ka'-tS), 
7.,  ricercar  (rS-tser-kar'),  G. 
"Searched  out,"  cf.  rtcherche.  Used 
of  compositions  or  passages,  usually 
of  fugal  form,  and  employing  all  the 
resources  and  learning  of  the  com- 
poser. Vide  FUGUE. 

richiamare  (re-kJ-a-ma'-re1),  7.  To 
imitate  the  Richia'mo  or  bird-call. 

ricordanza  (re-k6r-dan'-tsa),  /.  Rec- 
ollection. 

riddo'ne,  7.     A  roundelay. 

ridevolmente  (re'-da'-vol-meV-tS),  7. 
Laughingly. 

ridicolosamen'te,  7.     Ridiculously. 

riddle-canon.     Vide  CANON. 

ridot'to,  7.  i.  Reduced  (cf.  reduciren). 
2.  A  reduction. 

riduzione  (re-doo-ts*-5/-net),  7.  Ar- 
rangement, reduction. 

Riesenharfe  (re'-zSn-har-fe'),  G.  &o- 
lian  harp. 

rifiormento  (r5-n-6r-m£n'-tQ),  I.  Or- 
nament. 

riga  (rg'-ga),  7.     Staff. 

rigabel'lo,  7.,  rigabel'lum,  L.     Regal. 

rigadoon',  E.,  rigaudon,  rigodon  (rS- 
gS-d6n),  F.  A  lively  and  humorous 
dance  of  Provencal  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)s.     Regals. 

rigore  (r6-go'-rS),  7.  Rigour,  exact- 
ness of  tempo,  rigoro'so.  Exact. 

rilasciando  (rg-la-shan'-do),  7.  Re- 
laxing the  speed,  rilascian'te. 
With  reduced  speed. 

rikk.     Egyptian  tambourine. 

rilch  (rush),  ril'ka.     Russian  lute. 

rimett.  Abbr.  for  rimettendo,  7.  Re- 
tarding. 

rinforzare  (r5tn-f6r-tsa/-rS),  7.  To  re- 
inforce, emphasise,  rinforzamen'to, 
rinforzo  (f6r'-ts5).  Reinforcement. 
rinforzarj/do,  -axto.  Suddenly  em- 
phasised and  accented. 

Ringelpauke  (rfaig'-el-pow-ke"),  G.  A 
rattle  with  rings  on  bars. 

Ringeltanz  (rrng'-el-tants),  G.  Circu- 
lar dance. 

ripercussio'ne,  7.     Repercussion. 


670 

xipetizione  (r6-pa-tg-tsi-6'-ne),  ripet- 
itura  (too'-ra),  I.  i.  Repetition. 
2.  Refrain. 

ripieno,  pi.  -i  (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  concertante.  2.  Used  in 
scores  to  indicate  the  entrance  pf^  the 
full  band.  One  who  plays  a  ripieno 
(in  G.  Ripienstimme,  re-pl-an- 
shtlm-mS)  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  (ng'-no).     4-ft.  stop. 

ripigUare  (rS-pel-ya'-reO,  ripren'dere 
(prSn'-de'-re1),  /.  To  resume,  hence, 
ripiglan'do,  riprenden'do.  Resum- 
ing, ripiglio  (rg-pel'-y5).  Reprise. 

ripo'so,  /.  Repose,  hence  riposa'to 
(za'-to),  reposatamen'te.  Repose- 
ful(ly). 

ripresa  (rg-pra'-za),  /.  i.  Reprise. 
2.  Repeat.  3.  The  repeat  mark. 

risentito  (re-sen-te'-to),  I.  With  en- 
ergetic expression. 

risoluzione  (re-zo-loo-tsI-o'-nS),  I, 
Resolution,  i  and  2.  risoluto  (loo7- 
to),  risolutamen'te.  Decided(ly), 
energetic  (ally). 

-isonanza,  risuonanza  (rg-soo-o-nan'- 
tsa),  I.  Resonance. 

risposta  (res-sp6'-sta),  /.  i.  Conse- 
quent. 2.  Answer  in  fugue. 

Riss,  G.     "Gap,"  between  registers. 

ristret'to,  /.     Stretto. 

risvegliato  (rgs-val-ya'-to),  /.  Ani- 
mated. 

rit,  ritard.  Abbr.  for  ritardando  (rg- 
tar-dan'-do).  Retarding  gradually. 
ritardato  (da '-to).  Retarded,  ri- 
tar'do,  -azio'ne.  Retardation. 

riten.  Abbr.  for  ritenuto  (rg-ta-noo'- 
to),  I.  Immediately  slower,  to  be 
distinguished  from  ritardando  and 
rallentando  as  well  as  from  ritenen- 
do,  and  ritenen'te,  which  refer  to 
gradual  retardation. 

ritmo  (rSt'-mo),  /.  Rhythm,  r.  di 
due  (tre)  battute  (dS  doo-a-bat-too'- 
ta).  Rhythm  in  2  (or  3)  measures  to 
the  beat,  not  in  duple  or  triple  time, 
which  means  2  (or  3)  beats  to  the 
measure,  ritmico.  Rhythmic. 

ritornare  (rg-t6r-na'-rg),  /.  To  return. 
ritornan/do.  Returning,  ritornato 
(a/-t6).  Reverted. 

ritornel',  ritornello,  /.,  ritouraelle 
(re-toor-n^r),  ritornelle,  F.  i.  A 
burden  or  repeated  portion,  such 


DICTIONARY  OF  TERMS 


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'so,  riverscio  (re-  v&r'-sho),  I. 
i.  Reversed.  2.  Retrograde. 

rivoglimento  (re-vol-yl-mSn'-to),  L 
Inversion  or  transposition,  in  coun- 
terpoint, rivoltato  (re-vdl-ta'-to), 
rivolto  (re-v^r-to).  Inversion. 

robusto  (rS-boos'-ta),  /.  Robust.  Vide 
TENOR,  robustamen'te.  Firmly. 

roccocp,  rococo  (ro-ks'-ko),  /.  Old 
fashioned,  eccentric. 

rock-harmon'icon.  A  graduated  series 
of  rock  crystals  played  with  ham- 
mers. 

Roger  de  Coverley.     Vide  SIR  R.  DE  c. 

Rohr  (r6r),  pi.  Rblure  (ra'-rg),  G.  i. 
Tube.  2.  Reed,  usually  R.-blatt, 
reed  of  oboe,  bassoon  and  clarinet. 
R.-fl5te.  "Reed-flute"  a  half-cov* 
ered  4,  8  or  16  ft.  flue-stop.  R.* 
schelle  (sh€l-lS).  The  same  stop  in 
i  or  2  ft.  pitch.  Doppelrohrflfite. 
One  with  double  mouth.  R.-quint 
One  sounding  a  fifth  above.  Rohr- 
werk.  The  reed-stops. 

roll  (r6l),  E.>  rolio  (r6l?-l6),  /.  i.  The 
trill  on  drum  or  tambourine,  pro- 
duced 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)  Swift  arpeggio  on  the 
organ,  rollan'do.  Rolling. 

Rolle  (r6r-16),  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,  t.  Used  of  the  school  of 
Rome  from  Goudimel  and  Palestrina 
to  the  igth  century.  2.  Of  strings 
made  in  Italy. 

romance  (in  F.  rO-mans),  romanza 
(rO-man'-tsa),  /.,  Romanze  (rS- 
man'-tsj*),  G.,  romaunt,  Old  E.  i.  A 
composition  of  romantic  character, 
as  r.  sans  paroles,  a  story  without 
words.  2.  In  F.  a  love-song. 

romanesca  (rC-ma-nas'-ka),  /.,  roman- 
esque  (r5-man-€skO-  The  galliard. 

reman 'tic,  romantique  (r^-man-tSk), 
romanzesco  (tsas'-k6).  A  term  much 
Bought  for  and  much  evaded.  In 


DICTIONARY  OF  TERMS 


671 


general,  it  means  the  striving  after 
individuality,  novelty,  and  person- 
ality 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  school- 
men and  conservatives,  the  word 
really  means  little  more  than  "mod- 
ern." 

Rome,  prix  de  (pre  du  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  grand  prix  (gran  pre"), 
the  second  (sti-k6n)  being  a  gold 
medal.  2,  Stipend  awarded  every 
other  year  by  the  Brussels  Cons. 

romera  (rS-ma'-ra).     A  Turkish  dance. 

Romanusbuchstaben  (r6-ma'-noos- 
bookh'-shta-bSn),  G.  "Letters  of 
Romanus."  Vide  UCTTER^E  SIGNIFI- 
CATJB. 

ro'mischer  Gesang',  G.  "Roman" 
Catholic  plain-song. 

ron'da,  7.     Round. 

ronde  (r6nd),  F.     A  whole  note. 

rondeau  (r6n-do),  F.,  ron'do  (r6n'-do), 
7.  and  E.  i.  A  form  originally  based 
on  a  dance  with  alternating  solos 
(couplets),  and  chorus  (rondeaux); 
the  form  is  characterised  by  a  cheer- 
ful humour.  2.  In  classic  music  a 
principal  subject  preceding  and 
interweaving  two  episodes,  with  much 
variation  of  key  and  many  bridge- 
passages.  3.  The  more  modern  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  in 
the  tonic,  giving  the  Rondo  a  close 
relation  with  the  sonata  formula. 
Vide  PORM.  A  small  or  easy  rondo 
is  called  variously,  r.  mignon  (mSn- 
y6n),  F.,  rondilet'ta,  rondinet'to, 
rondino  (r6n-de'-no),  rondolet'to. 

condel'lus.  An  early  form  of  strict 
imitation. 

rondena  (r6n-dan'-ya),  Sp.    Fandango. 

root.     Fundamental  tone  of  a  chord. 

rosalia  (r6-za'-H-a),  Rosalie  (ro-za-lS'), 
G.  i.  A  sequence  (q.v.)  advancing 
a  whole  tone  each  time.  2.  Music 
consisting  of  cheap  and  trite  se- 
quences and  harmonies. 

rose  (in  G.  ro'-ze*),  rosa  (ro'-za),  7., 
rosette  (ro-zeV),  F.  The  orna- 


mental border  of  the  sound-hole  of 
guitars,  etc. 

rosin  (raz'-in).     Resin. 

Rostral  (r6s'-tral),  G.     A  music-pen. 

rote,  jE.,  ro'ta,  rot'ta,  7.,  Rot'te,  G. 
"Wheel."  i.  Canon,  round.  2. 
Rondeau.  3.  Hurdy£iirdy. 

rotondo  (ro-t6n'-do),  7.     Round,  full. 

rot'to,  7.     Broken,  interrupted. 

ro'tula.     A  small  round  or  carol. 

roulade  (roo-l&d),  F.  A  florid  passage, 
division,  a  grace. 

roulement  (rool-man),  F.     A  roll. 

round,  i.  Popular  form  of  canon  in 
the  unison  or  octave,  without  coda, 
and  with  a  frequent  harmonic  sup- 
port or  pe$.  2.  A  circle-dance, 
round  o.  A  rondo. 

round'el,  roun'delay.  A  ballad  of  the 
fourteenth  century  with  a  recurrent 
refrain.  Also  a  ring-dance, 

roveciamento  (rQ-va-sha-mSn'-to),  /., 
i.  Reversion.  2.  Inversion. 

rovescio  (ro-va'-sho),  7.  i.  Retro- 
grade. 2.  Inverted.  Hence,  al  r. 
In  inversion. 

rua'na.     Hindu  violin. 

rubato  (roo-ba'-tQ),  7.  "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 
depart  so  far  from  the  tempo  as  to 
destroy  the  sense  of  rhythm. 

Ruckfall  (riik'-fal),  G.  Back-falL 
Ruck-positiv'.  Vide  POSITIVE. 

Ruck 'gang.  Return  of  the  leading 
theme. 

Rucfcung  (ruk'-oongk),  G.  i.  Synco- 
pation. 2.  Change. 

Rudenhorn  (rii'-d£n-h6rn) .     Vide  HIEP- 

HORN. 

Ruhepunkt  (roor-S-poonkt),  G.  Rest. 
R.  steele,  -zeichen.  A  pause,  a 
rest. 

ruhig  (roo'-Xkh),  G.     Calm,  gentle. 

Runrtrommel  (riir'-).  An  old-fashioned 
drum. 

Riihrung  (rii'-roongk),  G.     Emotion. 

rule.  i.  Old  name  for  line.  2.  In 
music,  as  in  science,  not  an  edict  by 
an  authority,  but  a  recorded  observa- 
tion by  more  or  less  qualified  judges 
of  what  has  happened  with  some 
regularity  before.  It  need  not  neces- 
sarily happen  always  again.  Vide 
OCTAVE. 

rullan'do,  rullante  (rool-lan'-te1),  7. 
Rolling,  tamburo  r.  Side-drum. 

run.  i.  A  rapid  flight  of  notes  usually 
in  scales,  used  in  singing  on  one  syl- 


672 


DICTIONARY  OF  TERMS 


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. 
Rundgedicht  (roont'-gS-dlkht),  G.     i. 

Rondo.     2.  Solo  with  chorus.     Also 

R.-gesang. 
russe  (rfis),  F.     Russian,     a  la  r.     In 

Russian  style. 
Russpfeife,    Ruszpfeife    (roos'-pfi-fS), 

G.,     ruispipe     (rois'-pg-pS),     Dutch. 

Vide  RAUSCHQUINTE. 
Rus'sian      bassoon.     A       deep-toned 

military  instrument. 
Russian    horn   "band.     One   in    which 

each  horn  plays  but  one  tone, 
rustico  (roos -tl-ko),  /.     Rural,  rustic. 
Rutscher  (root'-shSr),  G.     A  galop. 
ruvido    (roo'-vl-do),  ruvidamSn'te,   /. 

Rough(ly). 

ry'mour.     Old  E.     Minstrel, 
rythme,  rythmS,  F.    Same  as  rhythm(€) . 

S 

S.  Abbr.  (dal)  segno;  senza  (pedale); 
sinistra;  solo;  sordino;  (volti)  subito. 

sab(b)'eca.     Hebrew  harp. 

sabot  (sa'-bo),  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  (sa,k-kS,d),  F.  A  firm  pressure 
of  ^  the  bow  against  two  or  more 
strings. 

sacklmt,  sagTmt.  i.  An  old  instr. 
resembling  the  trombone.  2.  Trans- 
lation of  sabeca. 

Sackpfeife  (sak'-pft-fe"),  G.  A  bag- 
pipe. 

sacque-boute  (sS-k-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'-tS),pl.  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 
diminuendo  device,  inv.  by  Stein, 
1788.  S.-orgel.  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  control  this  part  of  the  instr., 
which  may  serve  as  piano,  or  organ, 
or    both,    or    part    of    either.     This 
instr.  was  inv.  by  a  Prussian,  Karl 
Gumbel,    1890.     S.-klang,    or    -ton. 
The  sound  of  a  string.     S.-spieler. 
Player   on   a   stringed  instr.     saitie 
(zl'-tlkh).     Stringed, 
saint's  bell.     Vide  SACRING-BELL. 
saTamie.     Oriental  flute. 
salcional  (s&l-sl-o-nal).      salicet  (sa-H- 
sa).     sali'cionell,    salicional    (sa-ls'- 
sl-o-nal),  F.     A  reed-stop  of  stringy 
tone. 
Salm  (salm),  G.,  salmo  (sal'-mo),  pi.  i, 

I.     A  psalm. 

salmi  (sal '-me),  F.     Quodlibet. 
Salon'fltigel,  G.     Parlour  grand  piano. 
Salonmusik   or    -stiick.     Music   for 
the  drawing-room. 
saTpinx.     Ancient  Greek  trumpet. 
saltando  (sal-tan'-d6),  /.     i.  Proceed- 
ing   by    skips.     2.  With    bounding 
bow. 

saltareUa  or  (o)  (sal-ta-rel'-l6),  J.  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'peltanz  (tants).  Nach- 
tanz,  G.,  froportio,  L,,  tourdion,  F. 
3.  A  jack.  4.  A  cantus  firmus  with 
accompaniment  of  sextuple ts. 
saltato  (sal-ta'-to),  /.  Springing.  Vide 

SALTANDO. 

salteret'to,  /.  i.  A  rhjrthmic  figure  in 
6-8  time,  the  first  and  fourth  quavers 
dotted. 

salter(i)'o  (sal-ta-rl-o),  I.,  Salteire 
(zal-ti'-rS),  Saltirsanch  (zal-ters'- 
ankh),  G.  i.  Psaltery,  s.  tedesco. 
Dulcimer. 

salto  (sal'-tS),  I.  i.  Leap,  skip,  2. 
Dance,  di  s.  By  skip. 

salvar7(e)  (sal-va'-re1),  7.     To  resolve. 

salvation  (sSl-vas-y6n),  F,  Resolu- 
tion. 

SalVe  Regi'na,  L.  "Hail  Queen"; 
R.  C.  hymn  to  the  Virgin  Mary. 

sambuca  (sam-boo'-ka),  /.,  Sambat', 
Saxnbiut  (zSm'-bl-oot),  G.  Word 
used  variously  and  ambiguously  for 
various  mediaeval  instrs.,  bagpipe, 
hurdygurdy,  etc.  sambucis  tria. 
One  who  plays  such  an  instrument. 

Sammlting  (zSm'-loongk),  G.  Collec- 
tion. 

sampogna  (sam-pon'-ya),  sampo^nia, 
sampu'nia,  /.  i,  A  flageolet.  2 
Sambuca. 

san'cho.     A  Negro  guitar. 


DICTIONARY  OF  TERMS 


673 


of 


Holy."         i. 
tlie     Mass.      2. 


Fourth 
Vide 


. 

smoothness, 

(zenf'-tikh), 

gentle.         S.- 

(mu-tlkh-kit). 


Sanct'us,    L. 

movement 
SACKING. 

sanft   (zanft),   G.     Soft,    mild.     S.-ge- 
dackt.     A   soft-toned   stopped   pipe. 
S.-heit.          Softness, 
gentleness.         sanftig 
sanft'-miitig.         Soft, 
mut,      S.-miitigkeit 
Softness. 

Sang  (zang),  G.     Song. 

Sanger  (zeng'-er),  G.  Singer  (s).  S.- 
bund  (boont).  A  society  or  conven- 
tion of  singers.  S.-verein  (fSr-In). 
Singers*  union. 

sanglot  (san-gl6),  F.  "Sob."  An  old 
grace  in  oinging,  an  interjection. 

sans  (san),  F.     Without. 

san  't  oral,  Sp.      Choir-book. 

santur'.     A  Turkish  instr.,  the  psaltery. 

saquebute  (sak-but),  F.     Sackbut. 

saraband  (sar'-a-band),  E.t  sarabanda 
(sar-a-ban'-da),  7.,  sarabande  (s&r-a- 
band  in  F.\  in  G.  za-ra-ban'-dS).  A 
stately  Spanish  dance,  perhaps  de- 
rived 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  beats  of  the  measure. 

sarrus'ophone.  A  double-reed  instr., 
inv,  by  Sarrus,  Paris,  1863.  It  is 
made  in  6  sizes  besides  a  sopranino 
and  a  contra-bass  in  Eb,  and  re- 
sembles a  bassoon  in  appearance,  a 
trombone  in  tone. 

sartarella  (or  -o),  7.  A  tarantella- 
like  dance  in  6-8  time. 

Sattel  (zat'-t'l),  G.  Nut.  S.-macnen. 
To  use  the  thumb  as  a  nut  for  pro- 
ducing harmonics  on  the  'cello.  S.- 
lage.  Half-position. 

Satz  (zats),  G.  i.  Theme  or  subject, 
2.  Phrase,  half  a  period,  the  former 
half  being  the  Vordersatz,  the  sec- 
ond, the  Nachsatz.  3.  Section  of 
a  movement.  4.  Movement.  5.  A 
composition.  6.  Style,  school,  as 
reiner  S.  Pure,  strict  style. 

satin.     Burmese  harp. 

saut  (s6),  F.  Skip,  sauter  (so-ta). 
To  overblow,  sautereau  (s6-t6-rO). 
Jack,  sau'terie,  Old  E.  Psaltery. 

sautiUe"  (sS-te'-ya),  F.      Springing  bow. 

sauver  (so-va).  To  resolve,  sauve- 
ment  (sov-man).  Resolution. 

saw  'try.     Psaltery. 

Sax  (zax)  .  A  prefix  for  the  numerous  in- 
ventions or  improvements  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 
in  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  d  Pistons:  i.  Sopranino  sax- 
horn (petit  saxhorn,  petit  bugle  a  pis- 
tons, piccolo  in  Es.  or  eb  [range 
a-b"  flat]).  2.  Soprano  saxhorn 
(contralto  saxhorn,  bugle-tenor, 
Flugelhorn  in  B  or  B  flat)  [g-b"  flat]. 

3.  Alto  saxhorn  (Althorn  in  Es.)   E 
flat        [A-e"].     4.  Tenor        saxhorn 
(baryton    en    sib,    Tenorhorn   in    JB, 
Bassfliigelhorn),  in  B  flat  [E-b7  flat]. 
Tubas   or  bombardons:    i.  Bass    sax- 
horn   (tuba-basse   en   sib,    Basstuba, 
Euphonium,   Baryton,   Tenor  bass  in 
B)  in  B  flat  [G/-b'  flat],  also  made 
in   C.     2.  Low   bass   saxhorn   (bom- 
bardon en  mi}>)  in  E  flat  [G,  flat-e7 
flat],  also  made  in  F..     3.   Contrabass 
saxhorn    (bombardon    en   sib    grave, 
Kontrabasstuba)    in   B    flat  [E  flat- 
fa  flat],  also  in   C.     sax'ophone.     A 
keyed  brass  instr.  single-reeded  and 
mouthed  like  a  clarinet  and  combin- 
ing in  its  tone  that  of  the  'cello,  cor 
anglais  and  clarinet.     It  is  a  trans- 
posing instr.  written  in  the   G  clef, 
made  in  six  sizes  with  two  keys  to 
each,  the  compass  being  nearl>  three 
octaves:   i.   Sopranino  or  piccolo   or 
aigu  in  F  and  Eb.     2.  Soprano  in  C 
and  B\>.     3.   Contralto  in  F  and  J2t>. 

4.  Tenor  in  C  and  B\>~     5.   Barytone 
in  F  and  Eb.     6.   Bass  in  C  and  J5j>. 
Also     saxofo'nia,     /.     sax'otromba. 
An    instr.    in    seven    sizes    standing 
iii  tone  between  the  key-bugles,  or 
saxhorns,  and  the  horn*-.,     sax-tuba. 
Vide  SAXHORNS  (Tubas). 

saynete  (sa-S-nS/.-te1),  Sp.9  saynete 
(sS-net),  jP.  Comedietta  for  two 
singers. 

sbalzo  (sbal'-ts6),  7.  Skip,  sbalzato 
(tsa'-to).  Bashing. 

sbar'ra,  J.   Bar.  s.  doppia.   Double-bar. 

scagnello   (skan-ySl'-ld),   7.      Bridge. 

scala  (ska '-la),  7.     Scale,  gamut. 

scald.     Scandinavian  poet-musician. 

scale.  From  the  Latin  scala,  "a  lad- 
der," applied  to  the  Aretinian  syl- 
lables, ut,  rej  mi.  fa,  sol,  la.  Ic 


674 


DICTIONARY  OF  TERMS 


modern  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,  e,  f,  g,  a, 
b,  and  c,  those  passing  notes  being 
chosen  which  lead  most  inevitably 
to  the  next  chord-note,  chromatic, 
diatonic,  enharmonic,  major,  minor, 
pentatpnic,  etc.,  scales,  vide  the 
adjectives.  See  page  762.  The  so- 
called  German  s.  is  a-h-c-d-e-f-g; 
*'b,"  being  reserved  for  b[?.  Vide 
H.  natural  or  normals.  That  of  the 
key  of  C,  which  has  no  chromatics. 
2.  A  series  of  semitones  in  successive 
order.  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  broad  s.  giv- 
ing a  broad,  smooth  tone,  a  narrow 
s.  giving  a  thin,  sharp  lone, 
scannet'to,  scanel'la  (ska-nST-la),  7. 

Bridge. 

scemando  (shS-man'-d6),  /.  Diminish- 
ing. 

scena  (sha'-na),  /.,  scene  (sfcn),  F., 
scene  (sgn),  E.  The  portion  be- 
tween the  entrances  of  different 
actors,  hence  a  dramatic  recitative 
usually  followed  by  an  aria,  often 
s.  d'entrata  or  d'entree  (dan-tr&). 
Entry-song.  scenic  music.  Dra- 
matic music. 

Schablonen  (shap-lo'-nen),  G.  Stencil- 
patterns,  hence  S.-musik.  Trite  and 
formal  music.  S.-haft  (haft).  Aca- 
demic. 

Schafer  (sha'-fer),  G.     Shepherd.     S.- 

lied  (let).     Pastoral  song.     S.-pfeife. 

Shepherd's     pipe.     S.-tanz.     Rustic 

dance. 

schalkhaft  (shalk'-haft),  G.     Sportive, 

roguish. 

Schall  (shal),  G.  Sound,  ringing,  res- 
onance. S.-becher,  S.-horn,  S.- 
stiick,  or  S.-trichtfer.  Bell  (of  an 
instr.).  S.-becken,  G.  Cymbals. 
S.-loch.  Sound-hole,  f.-hole.  S.- 
stab  (shtap).  Triangle. 
Schalmay,  Schalmei  (shal '-mi),  G.  i. 
Shawm.  2.  Chalumeau.  3.  A  reed- 
stop. 

Schanzune  (shan-tsoo'-ne1),  G.  Chan- 
son. 

scharf  (sharf),  G.  i.  Sharp.  2.  Acute, 
of  a  stop. 


schaurig  (show'-rlkh),  G.  Weird, 
ghastly. 

Schauspiel  (show'-shpel),  G.  Dramatic 
piece.  Schauspieler.  Actor. 

Scheitholt  (shit-h6lt),.  £.  Marine 
trumpet. 

ScheUen  (sh&'-lSn),  G.  Bells,  jingles. 
S.-baum  (bowm).  "Jingle-tree"' 
Crescent.  ' 

Scherz  (sh&rts),  pi.  en,  G.,  scherzo 
(skSr'-tso),  pi.  i,  /.  "Jest."  i.  A 
style  of  instrumental  composition  in 
which  humour  prevails  (though  those 
of  Chopin  are  merely  moody  and 
whimsical).  Those  of  Beethoven, 
the  greatest  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  the  sonata  (q.v.)  or  sym- 
Ehony.  The  structure  varies  greatly, 
ut  the  time  is  usually  triple,  scher- 
zan'do,  scherzan'te,  scherzevole 
(tsS-vd-le1),  scherzo 'so,  /.,  scherz- 
haft  (shSrts'-haft),  G.  Sportive, 
mirthful.  scherzosamen'te,  /. 

Gaily. 

schietto  (sk3C-St7-to),  schiettamen'te, 
/.  Simp(ly).  schietezza  (t6d'-za), 
neatness. 

schisma  (skiz'-ma'),  Gr.  A  minute  dif- 
ference between  intervals.  In  an- 
cient music,  equal  to  the  half  of  a 
comma,  or  the  iSth  of  a  tone;  in 
modern  acoustics,  the  nth  of  a 
syntonic  comma  (the  difference  be- 
tween the  3d  tierce  of  the  8th  quint 
and  the  octave  of  a  given  tone). 
Vide  TEMPERAMENT,  QUINT,  and 

TIERCE. 

Schlachtgesang  (shlakht'-g£-zang),  G. 
War-song. 

Schlag  (shlakh),  G.  i.  Stroke,  blow, 
2.  Beat,  impulse.  schlagen.  To 
beat.  Schlagfeder  (fa'-dSr).  Plec- 
trum. S.-instrument.  Instr.  of  per- 
cussion. S.-mani(e)/ren.  The 
strokes  in  down-beating.  S.-zither. 
The  common  zither  as  opposed  to 
the  bow-zither. 

SchlSgel  (shla'-khel),  G.  Drumstick; 
hammer. 

schlecht  (shl^kht),  G.  Faulty,  weak. 
Schlechter  taktt(h)eil  (shlSkh-ter- 
takt-tfl),  G.  The  unaccented  part 
of  a  measure. 

schleifen  (shli'-f'n),  G.  To  sHde, 
slur,  Schleifbogen  (bo-gSn).  Slur. 
Schleifer  (shli'-fer).  i.  Slurred  note. 


DICTIONARY  OF  TERMS 


675 


2.  Slow  waltz.  Schleifzeichen. 
Slur. 

schleppen  (shlgp'-pSn),  G.  To  drag, 
schleppend.  Dragging. 

Schlummer-lied  (std-com'-mSr-let),  G. 
Slumber-song, 

Schluss  (shloos),  G,  i.  The  end. 
2.  Cadence,  also  S.-fall,  S.-kadenz 
(or  note).  Final  cadence  or  note. 
S.-satz.  A  closing  passage  or  move- 
ment. S.-striche.  Double  bar.  S.- 
zeichen.  i.  A  firmate.  2.  Double 
bar.  S.-reim  (rim).  Refrain. 

Schttssel  (shlfis'-sel),  G.  A  clef.  S.- 
fiedel.  Nail-fiddle.  S.  G.  The 
note  gf  occupied  by  the  G  clef. 

schmachtend  (shmakh'-tSnt),  G.  Lan- 
guishing. 

schmeichelnd  (shmi'-khSlnt),  G. 
Coaxing,  caressing. 

schmelzend  (shm&'-tsSnt),  G.  Melt- 
ing. 

Schmerz  (shmSrts),  G.  Grief,  sorrow, 
s.-haft,  s.-lich.  Sorrowful. 

Schnabel  (shnS/-bel),  G.  "Beak," 
mouthpiece.  S.-fl5te.  Vide  FLUTE. 

schnarr  (shnar),  G.  Rattle.  S.- 
pfeifen,  or  -werk.  i.  Reed-pipes, 
reed-work.  2.  Regal.  S.-tone.  A 
series  of  rough  under-tones  exactly 
paralleling  and  drowning  the  over- 
tones as  in  a  tuning-fork  vibrating 
loosely  on  a  box. 

Schnecke  (shnfck'-S),  G.  "Snail," 
scroll. 

schnell  (shnfil),  G.  Quick,  rapidly. 
Schnelle,  Schnelligkeit  (shn&'-llkh- 
kit).  Rapidity.  schneller,  G. 
r.  Quicker.  2.  Inverted  mordent. 
SchnelTwalzer.  Quick  waltz. 

Schollrohr  (sh61'-ror),  G.  Brass  wind- 
instrument. 

Schottisch  (sh6t'-tfsh),  G.,  schottische 
(E.  and  F.,  shSt'-tlsh).  "Scottish," 
rather  slow  2-4  time  round  dance. 

schrSg  (shrakh),  G.     Oblique. 

Schreibart  (shrip'-art),  G.  Style. 

Schreiber.  Music  copyist. 

schreiend  (shri'-Snt),  G.  Screaming, 
acute.  Schreiwerk.  Acute  (mixture- 
stop). 

Schrei'erpfeife.  A  sharp  3 -rank 

mixture-stop  in  octaves. 

schrittmas'sig  (shrlt'-mfcs-slkh),  G. 
Andante. 

Schryari  (shr€'-a-r5),  G.  r.  An  obso- 
lete wind-instr.  2.  Schreierpfeife. 

schub  (shoop),  G.     Slide  (of  a  bow). 

Schuh  (shooh),  G.  "Shoe";  bridge  of 
a  marine  trumpet.  S.-plattltanz. 
An  Austrian  clog-dance. 


schuiftrommpet  (shwif'-trdm-pSt), 
Dutch.  Sackbut. 

Schule  (shoo'-lS),  G.  A  school  or 
method,  schulgerecht  (gh£-rSkht). 
Academic. 

Schtatergeige  (shool-t^r-gi'-khe),  G. 
Shoulder- violin. 

Schusterfleck  (shoos '-t^r-flSk) ,  G.  Ro- 
salia. 

schwacn  (shvakh),  G.  Weak,  schwach- 
er  Taktten.  Weak  beat,  schwacher 
(shvS'-khSr).  Softer. 

Schwarmer  (shwer'-mSrXG.  Rauscher, 

Schwebung  (shva'-boongk),  G.  Wav- 
ing, i.  Tremulant.  2.  Beat  (of  vi- 
bration). 

Schwegel  (shvS'-khel).  i.  A  wind- 
instr.  2.  A  flue-pipe.  S.-pfeife. 
A  4  or  8  ft.  stop  with  tapering  pipes. 

SchWeige  (shvl'-khe'),  G.  A  rest.  S.- 
zeichen.  Rest-mark. 

Schweinskopf  (shvins'-kdpf),  G.  "Pig's 
head."  f  Used  of  the  profile  of  a 
grand  piano. 

Schweizerflote  (shvT-tsSr-fla-tS). 
"Swiss  flute."  i.  Fife.  2.  8-ft. 
metal  flue-stop.  S.-bass.  The  i6-ft. 
stop  on  the  pedal.  Schweizerpf eife. 
i.  4-ft.  stop.  2.  Old  name  of  cross 
flute. 

schwellen  (shvSl'-lSn),  G.  To  swell, 
increase.  Schweller.  The  swell. 
Schwellwerk.  Swell-organ. 
Schwellton.  Messa  di  voce. 

schwer  (shvar),  G.  i.  Heavy,  ponder- 
ous. 2.  Difficult.  S.-mutig.  Mel- 
ancholy. 

Schwiegel  (shv6'-g61),  G.  See  SCHWEGEL. 

Schwindend  (shvln'-dSnt) .  Dying 

away. 

Schwingung  (shvlng'-oongk),  G.  Vi- 
bration. 

scialumo  (shal-oo-m6'),  I-  Chalu- 
meau. 

scintillant(e)  (san-te-yan(t)  in  F.; 
shen-tn-lan'-tS  in  /.).  Brilliant. 

scioltezza  (sh<5l-t£d'-za),  7.  Ease, 
sciolto  (shal'-to).  i.  Light.  2.  Free 
(of  fugue).  scioJtamen'te.  Easily. 

scivolando  (shS'-vo-lan-dS),  /.  Glis- 
sando.  ^ 

scoUa  (sk6'-tt-a),  Gr.     Festive  lyrics. 

scordato  (sk6r-da/-to),  I.  i.  Out  of 
tune.  2.  Tuned  in  an  unmusical 
accordature. 

scordatura  (too'-ra),  /.,  scord'ature, 
E.  The  unusual  tuning  of  an  instr. 
for  special  effects,  as  a  violin  b-d'-a'- 
e"  (Paganini). 

score,  i .  An  arrangement  of  the  parts 
of  a  composition  with  bars  drawn  (o> 


676 


DICTIONARY  OF  TERMS 


"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.  (6.)  An  abridged 
score  or  sketch,  piano  s.  A  com- 
pression of  score  to  two  staves  for  the 
instruments  with  two  additional 
staves  for  the  voice,  also  vocal  s. 
The  organ  s.  has  a  3d  stave  for  the 
pedal.  supplementary  s.  Staves 
pasted  on  when  the  parts  are  too 
numerous  for  the  page.  2.  As  a 
verb,  to  arrange  for  instrs.,  hence 
scoring  is  instrumentation;  score- 
reading  or  playing,  the  mental  trans- 
position of  the  different  keys  and 
clefs  of  a  full  score  into  one  key. 

*corren'do,  scorrevole  (ra'-vo-le1),  7. 
Gliding,  flowing. 

Scotch  scale.     Vide  PENTATONIC. 

Scotch  catch,  or  snap.  A  rhythmic 
peculiarity  in  tunes;  as  the  placing 
of  an  accented  i6th  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  (skdd-za'-sS),  7.  Scotch, 
alia  s.  In  Scotch  style. 

scriva  (skre'-vS,),  7.  Written,  si  s. 
As  written. 

scroll.     The  curved  head  of  violins,  etc. 

sdegno  (sdan'-yo),  7.  Disdain,  wrath. 
sdegnan'te.  Angry.  sdegno 'so. 
Disdainful. 

sdrucciolare  (sdroot-ch5-la'-rS),  7.  To 
slide  the  fingers  along  the  strings  or 
the  keys  of  an  instr.,  hence  the  noun 
sdrucciolamen'to,  and  the  adjective, 
sdrucciolado  (a'-t6). 

se  (sa),  J.  If,  as,  etc.  se  bisogna 
(be-son'-y?\  If  necessary,  se  place 
(pl-a'-chS) .  If  it  please  (you) . 

sea-trumpet.     Marine  trumpet. 

sec  (sfik),  F.,  secco  (sSk'-ko),  7.  Dry, 
unornamented,  cold,  sharp.  Vide 
RECITATIVO.  a  table  sec  (a  tab'l 
s£k).  Without  accornpaniment. 

seccarara  (s£k-ka-ra/-ra),  7.  Neapoli- 
tan dance. 

sechs  (zSkhs).  Six.  S.-achteltakt. 
6-8  time.  S.-vierteltakt.  6-4  time. 

Sechs'er,  sechstaMger  (tak-tlkh-er), 
Satz,  G.  A  passage  or  period  in  6 
measures.  sechstheilig  (tl'-llkh). 
Six-fold,  e.  g.,  in  6  parts. 

sechszehn  (z£khs'-ts£n),  G.  Sixteen. 
S--teL  1 6th  note.  S.-telrause 


(pow-zS).  1 6th  rest.  S.-fiissig 
(fus-slkh).  i6-ft.  pipe, 
second(e)  (in  F.  sti-k6n(d)  ),  seconda 
or  o  (sa-k6n'-da),  7.,  Secunde  (za- 
koon'-dS),  G.  i.  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  (Second 'akkord). 
6-4-2  chord.  2.  As  an  adjective. 

(a)  Lower   in   pitch,    as    26.   string. 

(b)  Of  lower  rank  or  importance,  as 
2d  violin,     seconde  dessus.     2d  so- 
prano,   secon'da    don'na,    etc.     (c) 
Higher,  as  the  26.  space  of  a  stave 
(d)  Second  in  order,  as  seconde  fois, 
subject,  etc.       secondan'do.       Fol- 
lowing. 

secondaire,  temps  (tan-su-k6n-d&r'),  F. 
Weak  beat. 

secondary*  Subordinate  (of  chords 
or  themes),  related  (of  keys). 

sec'tio  can'onis,  L.  "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.  See  FORM,  p.  733. 

sec'ular  music.  Music  that  is  not 
sacred. 

Secun'de,  G.     Vide  SECOND. 

secun'dum  ar'tem,  L.  According  to 
art  or  rule. 

sedecima  (aa-da'-che-ma),  7.  and  L. 
Sixteenth,  i.  Interval.  2.  Stop. 

Seele  (z&'-l£),  G.  i.  Soul,  feeling. 
2.  Souud-post.  Seelenamt  (sS'-lSn- 
amt)  or  -mes'se.  Requiem. 

seer.     Bard  or  rhapsodist. 

segno  (san'-yS),  7.  A  sign  :S:.  al  s. 
(return),  "to  the  sign."  dal  s.  (re- 
peat) "from  the  sign,"  to  the  I"we. 

segue  (sa'-gwSX  7.  i.  Follows,  now 
follows,  as  5.  la  finale. — The  finale 
now  follows.  2,  In  a  simile  "man- 
ner, to  that  which  precedes.  3.  Go 
on;  s.  senza  rit,  go  on  witho  it  retard- 
ing. 

seguendo  (s£-gw£n'-d6),  se«guen'te,  7. 
Following  next.  seftienza  (sa- 

gwfin'-tsa).  A  sequence. 

seguidilla  (sa-gwg-del'-ya) ,  Sp.  Span- 
ish dance  in  3-4  time,  usually  slow 
and  in  minor,  with  vocal  and  casta- 
net  or  guitar  eccompaniment. 

seguite  (sS-gwg'-tS),  7.  Plural  of 
segne. 


DICTIONARY  OF  TERMS 


677 


seguito  (sS-gwe'-to),  I.  Followed,  imi- 
tated. 

sehnlich  (zan'-likh),  G.     Longing(ly). 

Sehnsucht  (zan'-zookht),  G.  Desire, 
longing,  s.-svoll.  Full  of  longing, 
sehnsuchtig  (zan'-zukh-tikh).  Long- 
ingly. 

sehr  (zar),  G.     Very  much. 

sei  (sa'e),  7.     Six. 

Seitenbewegung  (zeit'-Sn-bS-va'- 
goongk),  G.  "Side-wise,"  i.  e., 
oblique  motion  (q.v.).  Seitensatz 
(zats).  A  "side-piece";  episode,  or 
second  subject. 

seizieme  (sSz-ySm),  F.     Sixteenth. 

Sekunde  (zg-koon'-de1),  G.  Second. 
sekundi(e)ren  (d5'-r£n).  To  play  a 
second  part. 

selah  (sa'-la),  Heb.  A  term  used  per- 
haps to  mark  a  pause  or  a  place  for 
the  priests  to  blow  the  trumpets. 

sem(e)iog'jraphy.  Notation  by  signs 
or  notes. 

semeiomelodicon  (za-mi '-5-mS-l5d  '-X- 
k6n).  A  device  inv.  by  Fruh,  1820, 
for  aiding  beginners;  it  consists  of  a 
series  of  note-heads  which  the  finger 
presses,  producing  the  corresponding 
tone 

semi  (sSm'-I),  L.  and  7.  Half.  s.  bis- 
croma.  326.  note,  semibreve  rest. 
Whole  rest.  s.  chorus.  A  chorus 
to  be  sung  by  half  of  the  voices, 
s.  cro'ma.  A  i6th  note,  semi- 
dexnisemiquaver  (rest).  64th  note 
(or  rest),  s.  diapa'son,  diapen'te, 
diates'seron,  di'tonus  (or  di'tone). 
Diminished  or  minor  octave,  fifth, 
fourth,  third,  semidi'tas.  The  di- 
minution due  to  a  stroke  through  the 
time-signature,  semidi'tone,  semi- 
fusa,  or  semiquaver.  i6th  note, 
semigrand.  Small  grand  piano,  s. 
minim  (a).  Quarter  note.  semi- 
pausa(pa'-ooza').  Whole  rest,  semi- 
serio  (sa'-r£-o).  Serio-comic.  s. 
sus'pirium.  Quarter  rest.  s.  trillo. 
Inverted  mordent. 

semitone,  E.,  semito'nium,  L.,  semi- 
tuono  (sS-mI-tpo-5'-n6),  7.     A  half- 
tone, smallest  interval  written. 
senu'tonique  (t6-n5k7),  -P.     Chromatic. 
semito'nium  mo'di.     The  leading  note, 
s.  fie 'turn  (naturale).     A  chromatic 
(diatonic)  half-tone. 
semplice     (sSm'-plI-chS),     /.     Simple. 
semplicita     (sSm-plS-chl-taO.     Sim- 
plicity,     semplicemen'te.      Plainly, 
without  ornament,      semplicis'simo. 
With  utmost  simplicity. 


sempre  (sSm'-pre1),  7.  Always,  con- 
tinually, throughout. 

sen 'net.  Old  E.  Repeating  a  note 
seven,  times. 

sensibile  (sSn-se'-M-le1),  7.  Sensitive, 
expressive,  nota  s.  Leading  note, 
sensibilita  (bg-11-taO-  Feeling, 

sensibilmen'te.     Expressively. 

sensible  (in  F.  sSn-sebl).  Leading 
note,  usually  note  s. 

sentence,  i.  An  interlude  strain  in 
the  Anglican  Church  service.  2. 
Short  anthem.  3.  Passage,  or 

phrase. 

sentimen'to,  7.     Feeling,  sentiment. 

senza  (s^n'-tsa),  7.  Without,  some- 
times followed  by  the  infinitive  with 
or  without  di,  as  s.  (di)  rallentare> 
without  retarding. 

separa'tion.  i.  A  device  for  keeping 
the  great  organ-stops  from  speaking. 
2.  A  passing  note  in  a  tierce. 

sept-chord.     Chord  of  the  7th. 

Septdezime  (zSpt-da'-tse-me1),  G.  A 
1 7th. 

septet  (sSp-tSf),  -E.,  septet'to,  7., 
Septett  (z6p-t6tO,  G.  Composition 
for  seven  voices  or  instruments. 

septi£me  (s£t-ygm),  F.,  Septime  (zSp7- 
tg-me1),  G.  Interval  of  a  seventh. 
Sep'timenakkord.  Chord  of  the 
seventh. 

septimole  (mo7-!^),  septiole,  septole, 
sep'tuplet,  L.  and  7.  A  group  of 

.   seven  equal  notes. 

septuor  (s€p-tii-6r),  F.     Septet. 

sequence  (in  F.  sa-kans),  Sequenz  (za- 
kvgnts'),  G?.,  sequenza  (s6-kwSn'-tsa), 
7.  i.  The  repetition  at  least  three 
times  in  succession  of  a  musical 
pattern,  a  melodic  or  harmonic  design, 
it  may  proceed  chromatically  or  by 
whole  tones.  Vide  ROSALIA.  2.  A 
R.  C.  Church  poem  (Pro'sa)  of  the 
pth  century  adopted  to  the  long  coda 
(or  sequentia)  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  SaJva- 
torem;  Stabat  Mater;  Dies  irae. 
These  are  still  in  use  (vide  also  the 
separate  titles). 

ser'aphine  (or  -a).  An  early  harmo- 
nium. 

serenade,  E.,  serenade  (sa-ra-nad),  F*, 
serenata  (sa-rS-na'-ta),  7.  "Eve- 
ning music."  i.  An  open-air  concert 
under  the  window  of  the  person 
addressed.  2.  An  instrumental 

piece  of  like  character.     3.    A  dra- 


678 


DICTIONARY  OF  TERMS 


matic  cantata  of  tlie  iSth  cent.  4.  A 
composition  in  chamber-style  of 
several  movements. 

sereno  (sS-ra'-no),  7.     Serene. 

serieusement  (sa-rl-iiz'-man),  F.  Seri- 
ously. 

serinette  (siir-X-nSt'),.^1-  A  bird-organ 
used  for  training  birds  to  sing  tunes. 

seiinghi  (sS-ren'-ge"),  Hin.  Hindu  vio- 
lin. 

serio  (-a)  (s&'-ri-o),  serio'so,  /.  Seri- 
ous, grave. 

ser'pent,  serpente  (sSr-pSn'-te1),  ser- 
pento'no,  /.  i.  Long  curved  wood- 
instr.  of  coarse  tone  and  compass  of 
2  octaves.  It  is  practically  obsolete, 
having  yielded  to  the  tuba.  The 
serpentcleide  is  wooden  but  much 
like  the  ophicleide.  The  contra- 
serpent,  descended  to  Eb-  2.  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  venit, 
Gloria  magnificat,  Cantate  Domino, 
Nunc  dimittis,  Deus  misereatur  (vide 
the  separate  titles). 

sesqui  (sSs'-kwi),  L.  Latin  prefix  "a 
whole,  and  a  half"  joined  with  al'te- 
ra,  ter'tia,  quar'ta,  etc.,  it  expresses 
a  kind  of  ratio,  sesquialtera  (s£s- 
kwX-al'-tS-ra).  i.  The  ratio  of  a 
perfect  fifth  which  includes  one  and 
a  half  to  one  (3:2).  2.  A  2  to  5  rank 
mixture-stop  producing  the  3d,  4th, 
and  5th  partials.  sesquino'na. 

Lesser,  whole  tone  (ratio  9:10). 
s.-octaVa.  Greater  whole  tone 

(8:9).  s.-ter 'tia.  Perfect  4th  (3 14) . 
s.-quar'ta.  Major  3d  (4:5). 


sesto 

sestet 
tet. 

sestina  (sSs-tS'-na),  sesto  la,  /.  A 
sextole. 

sette  (sSt'-te),  /.     Seven. 

settimo  (sSt'-ti-mO),  /.  Interval  of  a 
seventh,  settimo  la.  A  septimole. 

Setzart  (z£ts'-art),  G.  Style  of  compo- 
sition. Setzkunst  (koonst).  Art  of 
composition.  Setzstuck.  Crook. 

seul(e)  (sul),  F.     "Alone,"  solo. 

seventeenth',  i.  Two  octaves  plus  a 
tierce.  '  2.  A  tierce-stop. 

sev'enth.     Vide  INTERVAL,  CHORD. 


severamente  (sS-var-a-mSn'-te*),  /, 
Strictly.  severita  (sS-va-rX-ta'). 

Exactness,  strictness. 

sext.  T.  Interval  of  a  6th.  2.  Vide 
HORAE.  3.  A  compound  stop  with  2 
ranks  a  6th  apart. 

sex'ta,  L.     Sixth;  interval  of  a  6th. 

Sexte  (zeV-tS),  G.  i.  Sixth.  2.  A 
stop  with  two  ranks. 

sexquiaTtera.     Vide  SESQUI. 

sextet',  E.,  Sextett',  G.,  sextuot 
(s^x-tu-6r),  F.  A  composition  for 
six  voice-parts,  or  instrs.  Usually  a 
composition  in  sonata  form  for  six 
instruments. 

sext'ole,  sex'tolet,  sexrtuplet,  L.  A 
group  of  six  equal  notes.  The  false 
s.  is  a  double  triplet. 

sex'tuple  measure.  Compound  double 
measure. 

sex'tus,  L.     Sixth. 

sf.     Abbr.  of  Sforzando. 

sfogato  (sfo-ga'-to),  /.  "Exhaled.'' 
A  lightly  executed  note,  soprano  s. 
A  high  voice. 

sforza  (sf6r/-tsa),  /.  Force,  sfor- 
zan'do,  sforzato  (a7-t5).  "Forced," 
of  a  particular  chord  or  note  to  b<* 
struck  with  immediate  emphasis.  It 
followed  by  a  softer  tone,  it  is  sfpM 
or  fzp.  sforzare  la  voce.  To  over- 
strain the  voice,  sforzatamen'te. 
Energetically. 

sfuggito  (sfood-je'-tS),  /.  Avoided. 
Vide  CADENCE. 

sfumato  (sfoo-ma'-to),  /.  Exhausted 
(of  breath). 

sgallinacciare  (sgal-H-na-cha'-rS),  7. 
To  sing  like  a  rooster  (galinaccio). 

shade,  i.  To  place  anything  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  shaTre  preceded  by  introduc- 
tory notes,  shaked  graces.  The 
beat,  backfall,  cadent,  elevation,  and 
double  Relish.  See  GRACE,  p.  737. 

fall  film .     Shawm. 

sharp,  i.  A  character  (ft)  raising  the 
following  note  a  half -tone;  if  in  the 
signature,  raising  every  note  en  the 
line  or  space  it  occupies.  The 
double  s.  (X)  marks  an  elevation 
of  two  half -steps.  2.  As  an  adj. 
(a)  Too  high  in  pitch,  (bj  Aug- 

.  :mented    or     major     (of    intervals). 

(c)  With  sharps  in  the  key-signature. 

(d)  Shrill   (of  stops),     (e)   A  black 


DICTIONARY  OF  TERMS 


679 


piano-digital;  also  any  white  digital 
regarded  as  a  semitone  above  an- 
other, to  sharpen,  or  sharp.  To 
raise  the  pitch  a  semitone. 

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 
uagpipe.  3.  Vide  CHAILUMEATT. 

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.  Any  position  except 
the  first,  hence  "on  the  shift"  and 
shifting. 

shiv'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  ridicule. 
Philip  Hale  quotes  from  Gabriel 
Peignot's  "Histoire  morale,  civile, 
politique,  et  Mtte'raire  sur  Charivari, 
depuis  son  origine  vers  le  ive  siecle," 
the  exact  make-up  of  such  an  or- 
chestra for  a  town  of  15,000  or 
20,000  inhabitants;  "12  copper  ket- 
tles, 10  saucepans,  4  big  boilers, 
3  dripping-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  handbells  and  mule  bells,  4  strings 
of  bells,  2  tambourines,  i  gong,  i  or  2 
empty  casks,  3  cornets-aVbouquins, 

3  big  hunting  horns,  3  little  trumpets, 

4  clarinets   (badly  keyed),   2  oboes, 
ditto,     2    whistles     (these    will    be 
enough),     i     musette,     4    wretched 
violins    to    scrape,    2    hurdygurdies, 
t   marine-trumpet  (if  you  can  find 
one),  4  rattles,  10  screeching  voices, 
8  howling  voices,  3  sucking  pigs,  4 
dogs  to  be  well  whipped.     This  is  all 
that  is  necessary.     I  can  assure  you 
that  when  all  this  is  vigorously  set 
a-going  at  the  same  time,  the  ear 
wfll  experience  all  desirable  joy." 

sho'far.     A  Heb.  trumpet. 

short.     Vide  METER,  MORDENT,  APPOG- 

GIATTJRA,  SCORE,  STTATTTT.,  OCTAVE. 

shut'ter.  One  of  the  blinds  of  a  swell- 
box.  Vide  ORGAN. 

si  (sS),  F.  and  /.  i.  The  note  or  key 
of  B.  2.  Vide  SOLMISATION.  3.  One 


(cf.    French    on),    almost    equal    to 

5ou,"  as  si  leva.  One  lifts,  you 
:.  si  piace.  One  pleases,  if  you 
please,  etc. 

sib'ilus,  L.     A  little  flute. 

Siciliana  (se-che-H-a'-na),  or  -o,  /., 
Sicilienne  (se-sel-ySn),  F.  A  Sicilian 
peasant  dance  of  slow  pastoral  na- 
ture in  6-8  or  12-8  time,  alia  s. 
In  Siciliana  style. 

side-drum.     Vide  DRUM. 

side-beards.     Vide  BEARD. 

Sieb  (zep),  G.     Sound-board. 

sieben  (zS  '-b£n) ,  G.  Seven.  S.-pf eif e. 
Pan's  pipes.  S.-klang,  Heptachord. 
Siebente  (ze'-bSn'-te*).  Seventh, 
Siebenzehnte  (ze'-bfcn-ts&n-te1),  G. 
Seventeenth. 

Siegesgesang  (zekh'-Ss-ge'-zSng),  or 
Siegeslied  (let),  G.  Triumphal  song. 
Sieges  marsch.  A  triumphal  march. 

si(e)ffl<5te  (zef'-fla-tS),  G.  A  i  or  2  ft. 
stop  of  the  Hohlflote  species. 

sifner  (sff-fla),  F.  To  whistle,  sifflet 
(sff-fla).  i.  A  whistle,  s.  de  pan. 
(pan).  Pan's  pipes,  s.  diapa'son. 
i.  Pitchpipe.  2.  A  cat-call. 

Signalhorn  (zekh-nal'-hdrn),  G.  A 
bugle.  Signalist  (lest).  Trumpeter. 

sign,  musical.  One  of  the  numerous 
devices  for  expressing  music  visually. 
Vide  chart,  SIGNS  AND  SYMBOLS. 

signatur  (zekh'-na-toor),  pi.  -en,  G., 
sig 'nature,  E.  i.  The  tabulation  at 
the  beginning  of  a  composition  sec- 
tion or  stave,  showing  (a)  the  key  of 
the  piece  (key-signature),  with  such 
tones  as  are  to  be  sharpened  or  flat- 
tened unless  otherwise  marked,  (b) 
The  governing  time  or  rhythm  (time- 
signature).  2.  In  Germany  a  figured 
bass  sign. 

signe  (sSn'-yu),  F .  Sign,  as  s.  acci- 
dental. An  accidental,  s.  de  si- 
lence (du  s6-Ians).  i.  A  rest.  2. 
Vide  SEGNO. 

sig'net.     Sennet. 

sig'num,  L.     Sign. 

siguidilla  (s6-gwe-del'-ya),  Sp.  Segui- 
dilla. 

Silbendehnung  (zel'-bSn-da-noongk),  G. 
Singing  a  syllable  to  more  than  one 
note. 

silence  (se-lans),  F.,  silenzio  (sS-lSn'- 
tsX-5),  7.  A  rest. 

sillet  (se-ya),  F.  Nut.  petit  s.  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. 


680 


DICTIONARY  OF  TERMS 


SIGNS    AND    SYMBOLS 

(See  also  GRACES  and  NOTATION,) 

NUMERALS    AND    ACCENTS. 


i,  2,  3,  etc.  See  CHORD,  METRONOME, 

FINGERING,  TEMPO  and  REST. 

8,  8va.    See  OTTAVA. 
2',  4',  8',  16'.    See  FOOT. 

HARMONIUM- 


§,  §,  etc.  See  TEMPO. 


4-tette,  5-tette,  etc.  Quartette,  Qdn* 

tette,  etc. 

i-ma,  2-da,  etc.  Prima  (Seconda,  etc.) 
volta. 


Man.  i.    The  Great  Organ. 
Man.  2.    The  Choir  Organ. 


or 


**  I  See  TRIPLET,  QUARTOLE. 

I     etc. 


a',  A',  b",  B",  etc. 
or_ 

Cs,  etc. 


a1  J>»,  a«, 
a,  a,  etc. 


See  PITCH. 


O.  i.  Open  string,  2.  See  HARMONIC. 
3*  Tasto  solo.  4.  The  heel,  in  organ* 
playing.  See  below. 


\   I 


DOTS,    COMMAS,    CURVES,    LINES,    ETC. 

See  DOT  and  NOTATION. 
Staccato. 

T"    Slightly  staccato. 
^^-    Slightly  staccato  and  marcato. 
Very  staccato.     Martellato. 


m  -    Forte  tenuto. 

Placed  under  notes  sung  to  one 
or  syllable  ;  in  Tonic  Sol-fa,  placed 

•  '  .....    under  the  letters. 

s    Fermate. 

-  or  //    Abbreviation  indicating  a  repe- 

tition of  the  figure  preceding, 
or  of  the  previous  measure(s)  or  part 
of  a  measure. 


:&• 


Presa. 
Segno. 


Repeat. 


x  or  -I-     Thumb  (pfte. -music). 

> 
I  £  tj    Sharp,  Flat,  Natural, 


X     Double-sharp. 

*  or  //  //  or  w    Breathing-place. 

—    Tenuto.     Pesante. 

_<TT>_    Mezzo  legato. 

* — ^    Bind.     Slur.     Tie. 

iESE:    Sign  of  a  measure  where  no  bat 

**~  ,     is  required. 
=^  A  v  ^    i.  Forte-piano  (fp).  2.  Rin- 

forzando,     3.  Sforzato  (sf). 

A  v  or  o  A  or  ^  v  Heel  and  toe ;  in 
organ-playing  placed  above  the  noted 
for  the  right  foot ;  below,  for  the  left. 

A  *-*  A     Slide  the  toe  to  the  next  note* 
V  —  A    Change  toes  on  the  same  note, 
v  v    i.  Up-bow.     2.  Breathing  place. 
A     Down-bow  in  'cello  music. 
LJ    n     Down-bow  on  the  violin. 

I I     i.  In  organ  music,  alter* 

nately  heel  and  toe    f  the  same  foot. 
Bind. 


DICTIONARY  OF  TERMS 


681 


C  Notes  thus  connected  are  to  be 
played  with  the  same  finger  or  hand; 
or  to  be  sung  divisi. 

d3     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.)  Or  Of  ALL*  OTTAVA  (q.  V.). 

{    Arpeggio.    A  chord  preceded  by  this 
\    mark  is  to  be  played  broken. 


**  or  y    Direct* 

Inverted  Mordent. 
Mordent. 

r  +J"  etc.     TrilL 
*    Turn. 

<£•  4-     Release  damper-pedal. 

— — "I  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 


Rest. 


WHOLE. 
Note.    Rest. 


HALF-  QUARTER- 

Note.    Rest.    Note.    Rest,  or    or 


Below  the       Above  or  upon          Turns  to 
4th  line.  the  $rd  line.  the  right. 


EIGHTH. 

Note.    Rest. 


SIXTEENTH.  THIRTY-SECOND. 
Note.    Rest.     Note.    Rest.    Two. 


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  signatures.  White  notes  indicate  the  tonics  of  Major 
keys ;  black  notes,  the  tonics  of  Minor  keys. 

'A..     -    I  **%  ft    *    I  fl*%  JL    -*  ^H 


DAB 
b  f  sharp       c  sharp 


B          F  sharp       C  sharp 
g  sharp      d  sharp      a  sharp 


F 
d 


Bflat 
g: 


Eflat 
c 


Aflat 
£ 


Dflat 

bflat 


Gflat 
eflat 


Cflat 
aflat 


682 


DICTIONARY  OF  TERMS 


sim'ilar.     Vide  MOTION. 

simile  (s5m'X-16),  /.,  simil'iter,  L. 
Similarly.  An  indication  that  a  cer- 
tain manner  of  pedalling  or  playing 
is  to  be  continued  till  otherwise 
indicated. 

simp  la,  low,  L.     Quarter  note. 

simple,  E.  (in  F.  san-pl).  i.  Not  com- 
pound (of  intervals).  Vide  COUNTER- 
POINT, IMITATION,  RHYTHM,  etc. 

2.  Plain,  easy.  3.  Without  valves. 
simplement  (san-plii-man) .  Simply. 

sin  (sin),  /.  As  far  as.  Vide  SINO, 
sin  al.  As  far  as  the. 

sincopa  (sin'-ko-pa),  or  -e,  J.  Synco- 
pation. 

sinfonia  (sln-f5-n6'-a),  I.,  Sinfonie  (in 
G.  zen-fo-ne';  in  F.  s3,n-fo-ne). 
i.  Symphony.  2.  In  early  operas, 
overture,  s.  pittor'ica.  Descriptive 
symphony,  s.  concertan'te,  con- 
certa'ta,  concertate  (ta'-te1).  Con- 
certo for  many  instrs.,  a  concerto 
symphony,  s.  da  cam'era.  Cham- 
ber quartet. 

singen  (zlng'-£n),  G.  To  sing,  to 
chant.  Singakademie  (a-ka-dg-mS'), 
-anstalt  or  -verein.  Vocal  society. 

Singart  (zing'-art).  Vocal  art.  S. 
chor.  •  Choir. 

singbar  (zing '-bar).  Singable,  sing- 
end  (zJng'-Snt).  Cantabile.  Sing 
(e)-tanz  (tants).  Dance-song.  Sing- 
fuge.  Vocal  fugue.  Singmarchen 
(mar'-khSn).  A  baUad.  Singma- 
ni(e)ren  (ma-ne'-rSn).  Vocal  em- 
bellishment. Singschauspiel  (show- 
shpel).  Drama  with  songs.  Sing- 
schule  (shoo-le1).  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.)  Singstiinme. 
Voice,  vocal  part.  Singstiick,  Sing- 
weise.  Air,  melody. 

singhiozzando  (sln-gl-6d-zan'-ds),  I. 
Sobbing. 

sm/gle-action.     Vide  HARP. 

single-chant.  A  simple  melody  to  one 
verse  of  a  psalm. 

siniestra  (se-nl-as'-tra),  Sp.,  sinistra 
(sln'-is-tra),  L.  (in  I.  s5-n5s'-tra}. 
Left  (hand),  colla  sinistra  (mano). 
With  the  left  hand,  sinis'trae,  Z. 
Vide  TIBIA. 

sink'apace.     A  five-step   dance.     Cin- 

^  quepace. 

sino  (se'-n6"),  /.  To,  as  far  as;  usually 
sin'al. 


si'ren,  £.,  Sirene  (ze-ra'-nS),  G.,  sirene 
(se-rSnO,  F.  *  •  A  mythological  be- 
ing whose  vocal  powers  captivated 
the  human  beings  on  whom  shet 
preyed;  hence,  a  prima  donna. 
2.  An  instr.  for  counting  vibrations. 

Sir  Roger  de  Coverley.  An  imaginary 
gentleman  of  the  old  school  de- 
scribed by  Addison;  hence  an  English 
country-dance  in  9-4  time. 

sirventes  (sgr-vant),  F.  Troubadour 
songs  of  homage. 

sistenm  (ses-ta'-ma),  /.     Staff. 

Sister  (z§s-ter),  G.  Old  7-stringed 
guitar. 

sis'trum,  L.  An  ancient  instr.,  con- 
sisting of  an  iron  frame  with  a  num- 
ber of  movable  rings;  when  shaken 
or  struck  it  sounded. 

sit'ar.     Hindu  guitar. 

sitole.     Citole. 

Sitz  fzXts),  G.     Position,  place. 

six  (in  F.  sSs).  Six.  Vide  METER, 
6-8  time,  that  in  which  there  are  six- 
eighth  notes,  the  accent  resting  on 
the  first  and  fourth,  six  pour  quatre 
(poor  katr).  Sextuplet. 

sixte  (sSkst),  sixieme  (sez-ySm),  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  (q.v.)5 
chord  of  the  added  s.  (de  la  s. 
ajoutee).  Subdominant  triad,  with 
sixth  added  as  f-a-c-d.  Vide  AL- 
TERED, little  sharp  s.  The  2d  in- 
version of  the  seventh  on  the  second 
degree,  extreme  s.  Vide  EXTREME 
and  ALTERED,  six-four,  six-five,  etc. 
Vide  CHORD. 

sixtine  (sgx-tSn7),  F.     Sextuplet. 

sixty-fourth  (note).  A  henudemisemi- 
quaver.  s.  rest.  A  pause  of  equal 
duration. 

Skalde  (skal'-de),  G.    Vide  SCALD. 

skim'mington.  A  shivaree  described 
in  Hardy's  novel  "The  Mayor  of 
Casterbridge." 

skip.  A  progression  exceeding  a  whole 
step. 

Skizze  (skfts'-zS),  G.  Sketch,  a  short 
piece. 

slancio  (slan'-cho),  /.     Vehemence. 

slargando  (slar-gan'-do),  slargando'si. 
I.  Enlarging,  gradually  slower. 

slentap'do,  I.     Becoming  slower. 

slide,  i.  A  movable  tube  in  the  shape 
of  a  U,  used  in  the  slide-trumpet, 


DICTIONARY  OF  TERMS 


683 


slide-horn,  and  the  trombone  (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, sliding-relish.  6.  An  old 
grace,  a  slide  (2). 

slo'gan.  Highland  war-cry  or  rallying 
word. 

shir.  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  (smS-nl-an'-te1),  smaniato 
(a. '-to),  smanio'so,  J.  Frantic. 

sminuendo  (sme-noo-Sn'-do).  Dimin- 
ishing, sminuito  (sme-noo-S'-to). 
Softer. 

smoran'do,  7.     Dying  away. 

smorfioso  (sm6r-fi-o'-z6),  J.     Affected. 

emorz.  Abbr.  of  smorzando  (sm6r- 
tsan'-dQ),  /.  Dying  away.  Extin- 
guished. 

snap.     Vide  SCOTCH. 

snai  e-drum.     Side-drum.     Vide  DRUM. 

snuff-box,  i.  A  musical  box  com- 
bined with  a  snuff-box.  2.  A  fa- 
mous waltz  written  for  it. 

soave  (s5-a'-ve%  soavemen'te,  J. 
Suavely),  sweet (ly). 

sobb.     Damping  (on  the  lute). 

sock'et.  The  round  joint  which  holds 
the  mouthpiece  of  a  clarinet, 

soggetto  (s6d-jSt'-t5),  /.  Subject, 
theme,  motive,  s.  invariato  (a '-to). 
The  invariable  subject,  s.  variato 
(va-ri-a'-t5),  /.  Variable  subject  of 
a  counterpoint. 

sognando   (s5n-yan'-dS),   /.     Dreamy. 

soh.     Tonic  Sol-fa,  for  SoL 

sol  (sol),  i.  Vide  SOLMISATION.  2. 
The  note  G  in  France  and  Italy. 

sola  (sQ'-la),  I.     Alone,  solo. 

solem'nis,  L.     Solemn, 

solenne  (s6-lSn'-nS),  solennemen'te,  J. 
Solemn(ly).  solennita  (I-ta').  So- 
lemnity. 

solfa  (sol-fa'),  I-  I-  Gamut;  scale. 
2.  A  b&ton.  3.  Time,  a  bat'tere  la 
s.,  to  beat  time. 

solfa,  E.  i.  Solmisation  (q.  v.).  2. 
Solfeggio.  3.  To  sing  in  solmisation 
or  solfeggio.  4.  Vide  TONIC  SOL-PA. 

solfege  (stil-fSzh),  F,,  solfeggio  (s6l- 
f€df'-j6\),  I.  Exercise  for  the  voice  in 
solmisation  or  on  one  syllable,  sol- 
feggiare  (s61-fSd-ja'-rS),  /.,  solfeg- 


gi(e)ren  (z6l-fSd-je'-r&i),  G.,  soffier 
(siil-fl-a),  F.  To  sing  a  solfeggio. 

soli  (so-le),  7.  i.  Plural  of  solo.  2.  A 
passage  played  by  one  performer  to 
each  part. 

sol'id.     Of  a  chord  not  broken  (q.v.). 

so 'list.     Soloist,  solo-player. 

solito  (sC-le'-to),  /.  Usual,  al  s.  As 
usual. 

sollecito  (s61-l5/-che'-to),  /.  Careful, 
exact. 

solmisation.  "The  singing  of  the  syl- 
lables do,  ret  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  scale  into  groups  of 
four  consecutive  degrees  or  tetra- 
chords.  Guido  or  a  disciple  divided  it 
into  groups  of  six  degrees,  or  hexa- 
chords.  It  happened  that  the  initial 
syllables  of  the  six  phrases  of  a  cer- 
tain familiar  hymn  to  St.  John 
formed  the  ascending  scale  of  one  of 
these  hexachords  (the  one  called 
naturale).  The  device  was  hit  upon 
(as  an  aid  for  weak  memories)  of 
using  these  syllables  as  names  of  the 
notes;  hence  the  notes  of  this  hexa- 
chord  began  to  be  called  ut,  re,  mi, 
fa,  sol,  la.  (The  hymn  ran  as  fol- 
lows: "  Ut  queant  laxis,  Jfosonare 
fibris  Mira.  gestorum  Famuli  tuorum 
S0/ve  polluti  Labi!  reatum,  Sancte 
Johannes.")  It  was  later  found 
convenient  to  use  these  syllables  for 
other  hexachords,  the  ut  being 
movable.  A  crude  form  of  modula- 
tion was  developed  called  mutation. 
When  the  modern  scale  came  into 
play  early  in  the  iyth  cent,  it 
brought  into  use  the  heptachord  or 
scale  of  seven  degrees.  A  new 
syllable  si  was  therefore  devised 
and  the  so-called  Aretinian  syllables, 
used  for  singing  in  all  the  keys;  ut, 
being  always  the  tonic,  sol,  the  dom- 
inant, etc.  The  syllables  have  per- 
sisted for  primary  use  and  for  vocal 
exercises  ever  since.  In  many  coun- 
tries they  have  been  since  used  as  the 
definite  names  of  the  notes  of  the 
scale  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 


684 


DICTIONARY  OF  TERMS 


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 
ni  for  si),  and  the  bebisation,  or  labe- 
cidation  (la,  be,  ce,  de,  me,  fe,  ge) — 
satirically  called  labisation — of  Hitz- 
ler  in  1628.  The  damenisation  (da, 
me,  ni,  po,  tu,  la,  be)  of  Graun,  i75?> 
was  not  for  solmisation  but  for  use  in 
place  of  words  in  vocalising. 

solo  (s6'lo),  /.  r.  As  adjective, 
"alone."  2.  A  passage  or  compo- 
sition for  a  single  voice  or  instr. 
violino  solo  may  mean  either  ."violin 
only";  01  the  solo  (i.  e.,  leading)  vln. 
solo-organ.  A  manual  of  the  organ 
(q.v.}.  solo  pitch.  A  scordature 
(q.v.)  used  by  a  soloist,  solo  quar- 
tet. A  group  of  four  soloists;  a  com- 
position 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-sSnger,  G.  Solo-singer,  etc. 

solomanie  (so-lo-ma-ne*')-  A  Turkish 
flute,  without  reed. 

sombrer  (s6n-bra),  F.  To  give  a  som- 
bre, veiled  tone. 

somma  (sdm'ma),  /.  Greatest,  high- 
est, extreme. 

Sommer'ophone.  A  bombardon-like 
instr.  inv.  by  Sommer  of  Weimar, 
1843  (also  called  euphonion,  euphonic 
horn), 

son  (s6n),  F.,  son  (s6n),  Sp.  Sound. 
s.  harmonique  (so-n£r-mS-n€k), 
Harmonic. 

sonabile  (s6-na'-bl-l£),  sonante  (nan'- 
tS),  I.  Sounding,  sonorous. 

sonare  (so-na'-rS),  /.  To  sound;  to 
ring;  to  play.  s.  alia  mente.  To 
improvise. 

sonata  (so-na'-t&),  7.,  Sonate  (in  F. 
s5-nat,  in  G,  zo-na'-te1).  Music 
"sounded  or  played"  as  opposed  to 
music  sung  (cantata).  Originally 
any  instrumental  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  rhythms.  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  hu- 
man Haydn  added  a  lyric  interest 
as  contrast  in  the  form  both  of 
counter-themes  to  the  principal 


theme  and  of  separate  movements 
of  melodious  character.  Mozari 
made  no  formal  change  but  added 
more  human  interest  and  warmth. 
The  sonata  now  consisted  of  3  or  4 
movements;  first  an  allegro  written 
on  what  is  confusedly  called  the 
sonata-form  (the  editor  suggests 
"sonata-formula"  (q.v.)  as  a  sub- 
stitute term  for  describing  the 
structure  of  this  one  movement,  re- 
taining the  word  "sonata- form"  for 
the  entire  group  of  movements); 
second,  a  slow  movement;  third  a 

.  minuet;  fourth,  a  rondo,  or  finale 
on  the  same  formula  as  the  first 
movement.  Beethoven  substituted 
for  the  minuet  a  light  and  witty 
scherzo  (q.v.);  other  composers  have 
made  other  substitutions.  This  gen- 
eral group  of  varied  movements  and 
moods  is  applied  to  many  form:, 
notably  the  symphony,  the  clas^&ic 

*  overture,  the  concerto,  the  string 
quartet,  and  chamber-music  gener- 
ally, which  are  hence  said  to  be  "in 
sonata-form."  The  sonata-formula, 
sonata-piece,  or  Sonatasatz  (z£ts), 
the  structure  of  the  first  movement, 
marks  the  highest  period  of  classic 
formalism.  See  article  on  FOKM,  p. 
733.  The  word  is  qualified  in  many 
ways  as  grand,  a  highly  elaborate 
form,  double,  for  two  solo  instr  s.  A 
short  easy  composition  with  few 
movements  and  little  development  is 
called  sonatina  (son-a-t€-na).  sona- 
tina, /.,  Sonatine  (zo-na-tg-nS),  G. 

senator  e  (tO'-rS),  feminine  sonatrice 
(tre'-chej,  /,  A  man  (or  woman) 
instrumentalist. 

sonevole  (sO-na'-vo-le*),  /-   Resounding, 

sonetto  (so-nSt'-tS),  /.  A  composition 
based  on  a  poetic  sonnet. 

song.  i.  A  melody  for  voice.  2. 
Lyric  piece  for  any  instr. 

song-form.  A  structure  of  3  chief 
sections,  (a)  a  first  theme,  (b)  a  con- 
trasting second  theme,  (c)  a  return 
of  the  first  theme.  In  poems  of 
many  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 
composers  for  a  treatment  in  which 
each  stanza  is  individually  set 
to  music  with  intelligent  defer- 
ence to  its  meaning.  This  is 
the  through-composed  or  durchkom- 
poni(e)rt  (doorkh-kdm-p6-nert')  style. 


DICTIONARY  OF  TERMS 


685 


song  without  words.  A  lyric  instru- 
mental piece. 

sonnante  (sdn-nant),  F.  A  scale  of 
hanging  steel  bars  struck  with  a 
hammer. 

sonner  (sfin-na),  F.  To  sound,  s.  le 
tambour  (lu  tan-boor).  To  sound 
the  drum,  used  of  a  jarring  G  string 
in  the  'cello. 

sonnerie  (stin-re),  F.  i.  Chime.  2. 
Military  call. 

sono  (so-nd"'),  /.     Sound,  tone, 

sonometre  (so-no-me'tr),  F.,  sonome'- 
ter.  i.  A  monochord  inv.  by  Loulis 
to  aid  piano-tuners.  2.  A  sounding- 
board  with  two  strings  for  acoustic 
experiments. 

sonore  (sS-n6r),  P.,  sonoro  (sQ-nS'-rS}, 
/.,  sonoraxnen'te.  Sonorous(ly). 
sonoridad  (s5-no-rf-dadh'),  Sp>,  so- 
norita  (sQ-nd-rl-ta'),  /.,  sonorit6 
(s6-n5-rX-ta),  F.  Sonority. 

sonor'ophone.     A  form  of  bombardon. 

sonorous  (s5-n6'-rous).  Capable  of 
musical  sound;  sounding. 

so'nus,  L.     Sound,  tone. 

so'pra,  I.  Over,  above,  upon,  before, 
com'e  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*  quinta. 
Upper  dominant,  s.  to'nica.  Su- 
pertonic. 

soprano  (sS-pra'-no),  /.  (pi.  -i),  Sopran 
(zo-pran'),  G.  i.  The  highest  kind 
of  human  voice,  differing  from  the 
alto  in  lying  chiefly  in  the  "head- 
register";  this  voice  is  typically  a 
woman's  voice,  but  is  also  found  in 
boys.  It  occurs  naturally  in  some 
men  (called  falsetti,  alti  naturali,  or 
tenorini),  but  was  obtained  artifi- 
cially in  others  (called  evirati,  cas- 
trati),  particularly  in  the  last  century 
when  the  eunuch  "artificial"  sopranos 
achieved  marvellous  power  and 
agility.  The  soprano  voice  has  an 
average  range  from  c7— 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 
unusual.  A  voice  that  reaches  f '  '  ' 
or  gA '  '  is  phenomenal  (Agujari 
sang  "c'  '  '  '  three  octaves  above 
mid-C).  (Vide  also  MEZZO-SOPRANO.) 
Soprano  voices  are  divided  into  the 
more  powerful  or  dramatic  (dram- 
mat' ico),  and  the  flexible,  and  light 
or  lyric  (leggiero)  (ISd-ja'-ro)  or  ttgicr 
2.  The  part  sung  by  the 


highest  voice  or  the  highest  instru- 
ment. 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  (k6r-d&).  The  E 
string  of  a  violin,  sopran'ist.  A 
male  soprano,  soprano  clef.  The 
C  clef  on  the  first  line  of  the  staff; 
sometimes  used  of  the  G  clef. 

sordo  (s6r'-do),  /.  Muffled,  veiled 
tone,  sordamen'te.  Soft(ly). 

sordellina  (le'-na),  /.  A  small  4-piped 
bagpipe. 

sor'dine,  JS.,  Sordino  (sdr-de^no",  pi. 
-i,  German  pi.  -en),  /.  i.  A  small 
tone-softening  device,  damper  or 
mute  to  set  against  piano-strings,  in 
che  mouth  of  a  trumpet,  or  on  the 
bridge  of  a  violin.  2.  A  kit.  con 
s.  In  piano-playing  "use  the  soft 
pedal";  in  playing  violin,  horn,  etc., 
"use  the  mute."  senza  (sSn -tsa), 
s.  or  s.  levato  (IS-va'-to).  "Remove 
the  mute  or  damper." 

sordo 'no,  /.,  sordone  (s6r-diin),  F., 
Sordun  (z6r-dponO?  &•  i-  Obs. 
bombard  of  5  sizes,  and  12  ventages. 
2.  An  old  stop.  3.  In  G.  a  trumpet- 
mute. 

sorgfaltig    (z6rkh/-f€l-tikh),   G.     Care- 

fui(iy). 

sortita  (sdr-tS'-ta),  /.  i.  Entrance 
aria.  2.  Voluntary  for  close  of 
service. 

sospensione  (sX-o'-ne'),  /.  Suspension. 
sospensivamen'te.  Doubtfully. 

sospiran'do,  sospirante  (ran  -tS),  sos- 
pirevole  (ra'-vo-lfi),  sospiro'so,  /. 
i.  Sighing,  doleful.  2.  A  sobbing 
catch  in  the  breath. 

sostenen'do,  sostenen'te,  I.  Sustain- 
ing the  tone. 

sostenuto  (sos-tS-noo'-to),  /.  i.  Sus- 
tained, prolonged,  retarded.  2 
Gradually  retarded.  3.  Andante. 

sostinen'te,  7.  Used  of  instrs.  with 
special  device  for  sustaining  tones. 

sotto  (s6t'-t5),  J.  Under,  below,  s 
voce  (v5x-chfi).  In  an  undertone. 
s,  dominance.  Sub-dominant. 

soubass  (soo-bas),  F.     Sub-bass. 

souf'farah.  Oriental  reedless  wind- 
instrs.  in  general. 

soum.     Burmese  harp. 

soufflerie  (soof-fi6-re),  F.  The  bellows 
action.  soufHet  (soof-fla) .  Bellows. 
souffler  (soof-fla).  To  blow,  souf- 
fLeur  (flur),  fern.  soufSieuse  (fluz). 
T.  Organ-blower.  2.  Prompter. 

sound,     vide  ACOUSTICS, 


686 


DICTIONARY  OF  TERMS 


sound-board,  sounding-board.        i.  A 

thin  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,  sound-body  or 
box,  a  resonance  box;  s.  bow,  the 
rim  of  a  bell;  s.  hole,  a  hole  in  the 
resonance  box  to  give  communication 
from  the  resonance  chamber  to  the 
air.  s.  post.  Vide  viortN.  s.  reg- 
ister* A  sound-recorder  inv.  in 
Paris,  1858.  s.  waves.  The  ^alter- 
nate condensation  and  rarefaction  of 
air  in  vibration  (q.v.). 

soupape  (soo-p&p),  F.     Valve. 

soupir  (soo-per),  F.  A  quarter  rest, 
demi-s.  8th  rest.  quart  de  s. 
1 6th  rest,  huiti^me  (or  demi  quart) 
de  s.  sad  rest,  seizidme.  64th 
rest. 

sourdeline  (soor-dS-lgn),  F.  Sordel- 
lina. 

sourdement  (soord-man),  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  (shantr).  Subcantor.  s.- 
dominante.  Sub-dominant,  s.-medi- 
ante.  Sub-mediante.  s.-tonique. 
Leading  note. 

soutenir  (soo-tS-ner),  F.     To  sustain. 

souvenir  (soo-v£-ner),  F.  Reminis- 
cence. 

Sp.     Abbr.  of  Spitz. 

space.  The  interval  between  2  lines 
of  the  staff,  or  between  2  ledger  lines. 

spagnuola  (span-yoo-6'-la),  7.  The 
guitar. 

spalla  (spal'-la),  7.     Vide  VIOL. 

spanisch.  (span-lsh),  G.9  spagnolesco 
(span-yo-lSs'-ko),  I.  Spanish. 

spanisch  er  Reiter  (ri'-ter),  G.  Tones 
made  by  running,  spanisches  EZreuz 
(kroits),  G.  Double  sharp. 

spar 't  a,  spartita  (spar-te'-ta),  or  -o,  /., 
Sparte  (spar'-te1),  G.  Parti tura. 

Spartire  (te'-re1),  7.  To  score;  partic- 
ularly to  rescore  an  old  work. 

spassapensiero  (pSn-sI-a'-ro*),  7.  Jew's 
harp. 

spasshaft  (spass'-haft),  G.  Spor- 

tive(ly).  S.-tigkeit  (tlkh-kit). 

Sportiveness,  playfulness. 

spa'tium,  £.,  spazio  (spa'-tsI-5),  I. 
A  space. 

spe'cies.     Kind.  ,-Videco-trNTERlpoiNT. 


Sperrventil,  G.     Vide  VLNTIL  2. 

spezzato  (sp£d-zS/-t6),  7.     Divided. 

spianato  (spl-a-na'-to).  i.  Legato, 
2.  Calm. 

spiccato  (spik-ka'-t6),  7.  Separated. 
Pointed.  Vide  BOW. 

Spiel  (shpel),  G.  Playing;  style  of 
playing.  S.-art.  i.  Style  of  per 
formance.  2.  Touch.  s.-bar. 

Playable.  S.-leute  (loi-t$).  i.  The 
drummer  and  fifers  of  a  band. 
2.  Strolling  players.  S.-manieren 
(ma-ne'-rSn).  Ornaments,  graces. 
S.-oper.  Light  opera.  S.-tenor, 
etc.  Light  opera  tenor,  etc. 

SpillfLb'te,  G.     Spitzflote. 

spina  (spe'na),  L.  "Thorn,"  jack; 
quill  of  a  spinet  (q.v.). 

Spin'delfLSte,  G.     Spitznote. 

spinet  (spIn'-St  or  sp*-nSt'),  7S.,  Spinett 
(spI-nSf),  G.,  spinet'ta,  7.  Obsolete 
and  small  square  form  of  harpsi- 
chord, originally  called  the  couched 
harp,  later  called  spinet,  from  its 
quills,  or  spinae. 

spirito  (spe'-rl-tp),  7.  Spirit,  energy. 
spirituo'so,  spirito 'so,  spiritosamen'- 
te.  Spiritedly). 

spirituale  (spe-ri-toc-a'-le'),  7.,  spiritue) 
(spJr-X-too-el')  ,}F.  Spiritual. 

spis'si  gravis'simi,  X.  Hypatoides — 
the  deep  sounds  of  the  Greek  system. 

spis'sus,  X.  "Thick";  full  (of  inter- 
vals). 

Spitz  (shplts),  G.  Point  (of  bow);  toe 
(of  foot).  S.-fl6te  (fla-tS).  A  soft 
stop  with  pointed  pipes.  S.-quint 
Its  quint.  S.-harfe  (har'-fg). 

Pointed  harp.  A  small  harp  witJh» 
strings  on  each  side  of  its  sounding- 
board. 

spondau'lium.     Greek  hymn  with  flute. 

spread.     Open. 

spressione  (I-o'-nS),  7.     Expression. 

springing  bow.     Vide  BOW. 

Sprung  (sproongk),  G.  A  skip.  s_ 
weise  (vi-zS).  By  skip. 

square.  Vide  ORGAN,  square  B.  Vide 
B.  square  piano.  Vide  PIANO. 

squilla,  7.  A  little  beU.  squillan'te, 
Tinkling. 

srou'tis.  The  22  degrees  of  the  Hindu 
scale. 

sta  (sta),  7.  "Let  it  stand";  i.  e.,  to- 
be  played  just  as  it  stands. 

Stab 'at  Ma'ter  Bo'loro'sa,  L.  "The 
grieving  Mother  stood,"  a  hymn  on_ 
the  Crucifixion,  written  by  Jacopo- 
nus,  i4th  cent.  Vide  SEQUENCE. 

stabile  (sta'-b*-lS),  7.     Firm. 


DICTIONARY  OF  TERMS 


687 


stac.     Abbr.  of  Staccato. 

staccare  (stak-ka'-re),  7.  To  play 
staccato. 

staccato  (stak-ka'-to),  I.  "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  modified  by  a  slur  over  the  dots, 
or  emphasised  by  small  wedge-like 
dots,  staccatis'simo.  As  staccato 
as  possible. 

Stadt  (shtat),  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 
below  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  clef)  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 
n-line  or  great  s.  s.  notation  is 
opp.  to  alphabetical  notation.  The 
Gregorian  s.  had  4  lines. 

Stahlharmo'nika  (shtal),  G.  Steel  bars 
played  (a)  with  a  bow,  inv.  by  Nobe, 
1796,  (b)  with  a  hammer;  more 
commonly  Stahlspiel  (shtal-shpSl). 

Stamentienpfeife  (shta-mSn'-tX-gn-pii'- 
fg),  G.  Vide  SCHWEGEL. 

Stamm  (shtam),  G.  Stem,  trunk.  S.- 
akkord.  A  chord  in  root  position, 
unaltered  and  unin verted.  S.-ton. 
Natural  tone.  S.-tonleiter.  Key  of 
C  major. 

stampita  (stam-pe'-ta),,  7.     A  song. 

StSndchen  (shtfcnt'-khSn),  G.  Sere- 
nade. 

Standhaftigkeit  (shtant'-haf-tlkh-klt), 
G.  Firmness. 

stanghetta  (stan-g£t'-ta),  7.     A  bar. 

sta'ple.  The  tube  which  holds  the 
oboe's  reed. 

stark  (shtark),  G.  Strong,  loud,  star- 
ker (shtSr'-ker).  Louder. 

stave.     Staff. 

steam-organ.     Calliope. 

stec'ca,  7.  A  choked  and  strained 
tone-production. 

Stecher  (st£kh'-er),  G.     Sticker.     Vide 

ORGAN. 

Steg  (stakh),  G.     Bridge. 
Stellung  (sht£L'-loongk),  G.     Position, 
stem.     The  thin  stroke  attached  to  the 
head  of  a  note. 


stentan'do,  7.  Retarding.  stentato 
(ta'-to).  Slow  and  forced. 

step.  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  (shtSr'-bSnt),  G.  Dying 
away.  Sterbelied  (shter'-b$-l5t). 
Death-song. 

steso     (sta'-s6),     7.     Extended,     pro 
longed,  slow. 

stes'so,  7.  The  same.  s.  tempo. 
Same  time. 

sthenocire  (sta-no-s6r),  F.  A  finger- 
strengthener. 

stibbacchiato  (stlb-bak-kl-a'-t6),  7. 
Retarded. 

sticca'do,  sticcato  (stlk-ka'-to1),  7. 
Xylophone. 

stick 'er.     Vide  ORGAN. 

Stiefel  (shte'-fel),  G.     Boot  (of  a  pipe), 

Stiel  (sht€l),  G.     i.  Stem.     2.  Neck. 

Stift  (shtlft),  G.     Jack  (of  violin). 

Stil  (shtel),  G.,  stile  (stg'-l^),  stilo 
(ste'-lo),  7.,  stilus,  L.  Style,  s. 
rigoro'so,  or  osservato  (va'-ts). 
Strict  style,  s.  rappresentativo  (te7- 
vo).  See  OPERA. 

stfll  (shtll),  G.  Calm,  quietly.  S.- 
gedackt.  A  stopped  diapason. 

Stimrne  (shtim'-me;,  pi.  -en,  G.  i. 
The  voice.  2.  Part.  mit  der  S. 
Colla  parte.  3.  Organ-stop.  4. 
Sound-post.  Stim'menssatz.  Vo- 
cal attack.  Stimm  Bander  (bSnt- 
6r).  Vocal  cords.  S.-bildung. 
Voice-building.  S.-bruch  (brookhj. 
Change  of  voice.  Vide  MUTATION. 
S.-buch.  Part-book.  Streamer. 
Tuner;  drone,  stimmen.  To  tune, 
or  voice.  Stirnnaflote,  or  -pfeife. 
Pitch-pipe.  S.-fuhrer.  Chorus- 
leader.  S.-mittel.  Vocal  capacity. 
S.-ritze  (rlt-zS).  Glottis.  S.-holz 
(h61ts),  or  -holzchen  (hSlts'-khSn), 
or  -stock.  Sound-post;  wrestplank. 
S.-werkzeuge  (vSrk'-tsoi-khS).  .  Vo- 
cal organs.  S.-fuhrtmg  (fu-roongk). 
Part-progression.  S.-gabel  (ga-bSl). 
Tuning-fork.  S.-hammer  (ham- 
mSr) .  Tuning-hammer.  S.-horn. 
Tuning-cone.  S.-keil.  Tuning- 
wedge.  S.-krttcke.  Tuning-wire. 
S.-zange.  Tuning-tongs.  S.- 
timfang,  S.-weite  (vi-t6).  Compass. 

Stimmung  (shtlm^moongk),  G.  i. 
Tune.  2.  Accordature.  3.  Pitch. 
4,  Mood.  S.  halten.  To  keep  the 
key.  S.-bild.  Tone-picture. 


688 


DICTIONARY  OF  TERMS 


stinguendo  (stJn-gwSn'-do),  7.  Dying 
away. 

stiracchiato  (stg-r2.k-kX-2/-t6),  stirato 
(ste-ra'-to),  /.  Retarded. 

sti'va,  £.     See  NEUMA. 

Stock  (sht6k),  G.  Bundle  of  30 
strings.  S.-fagott.  Rackett.  S.- 
fiote.  i.  Bamboo  flute.  2.  A  flute 
in  a  walking-stick.  Stfckchen 

(shtSk'-khSn).  Heel  (of  violin,  etc.). 
(See  article  on  musical  instruments, 
page  8 1 1.) 

stolz  (ahtdlts),  G.     Proud. 

stonante  (nan'-t^),  /.     Dissonant. 

stone-harmonica.     See  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-signal,  a 
tremulant,  etc.  Strictly,  the  sound- 
ing, or  speaking  stop  is  a  complete 
graduated  series  of  organ-pipes  of 
uniform  quality.  It  is  this  guality 
which  gives  the  stop  its  individual 
name  (as  didciana,  cremona,  etc.). 
Stops  are  divided  into  two  chief 
classes,  (a)  those  with  flue-pipes, 
fine-work,  or  flue-stops,  and  (b) 
those  with  reed-pipes  (q-v.),  reed- 
work,  or  reed-stops,  fine-work  is 
again  divided,  according  to  the  char- 
acter 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),  gedackt- 
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),  fifth 
(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  complete;  otherwise  it  is  an  im- 
perfect,  incomplete,  partial  or  half- 
stop. 

Some  stops  are  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  pres- 
sure of  the  finger  at  a  nodal  point 
of  a  string,  double  stop.  The 
stopping,  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  quality.  Such  a  tone  is  said 
to  be  stopped,  as  opposed  to  open  or 
natural. 

stop'fen,  G.  To  stop  (of  trumpet,  etc.). 
stopfteSne  (sht6pf'-ta-ne').  Stopped 
tones. 

stop-knob.     Vide  STOP. 

stor'ta,  /.  A  serpent,  stortina  (t€'- 
na).  A  small  serpent. 

Stosszeichen  (shtds'-tsl-kh€n),  G. 
Staccato  mark. 

str.     Abbr.  for  String(s). 

straccicalando  (strat-ch*-ka-lan'-d6),  /. 
Prattling. 

straccinato  (stra-ch*-nS/-tQ),  /.  Re- 
tarded. 

Strad.,  Stradivari,  Stradivarius,  etc. 
A  violin  made  by  Stradivari  (vide  B. 
D.),  A.  D.  1650. 

strain.     Section,  motive,  theme,  air. 

strascicando  (stra-shl-kan'-do),  stras- 
cinan'do,  /.  Dragging,  playing 
slowly,  s.  1'arco.  Keeping  the  bow 
of  the  violin  close  to  the  strings  to 
slur  the  notes,  strascinato  (ay-t5). 
Slow,  strascino  (stra-shg'-nQ).  A 
drag,  a  slurring  race,  in  slow  vocal 
music. 

strath'spey.  A  lively  Scotch  dance, 
in  common  time,  employing  the 
Scotch  snap  freely. 

stravagante  (g&n'-te'),  7.  Extravagant, 
odd.  stravaganza  (gSn'-tsa),  J.  Ec- 
centricity. 

straw-riddle.  Xylophone,  because  its 
bars  are  often  laid  on  straw  cords. 

straziante  (stra-tsl-an'-te'),  /.  Mock- 
ing. 


DICTIONARY  OF  TERMS 


689 


street-organ.    Hand-organ. 

Streich  (strikh),  G.  Stroke  (as  of 
a  bow),  hence  S.-instrumente. 
Stringed  instrs.  S.-quartett.  String 
quartet.  S.-orchester.  The  strings 
of  the  orch.  S.-zither.  Bow-zither. 
streichen.  i.  To  draw  the  bow. 
2.  To  cut  (as  a  scene),  streichend. 
"Stringy"  (of  the  violin  quality  of 
certain  stops).  Stretcher.  Bow- 
instr.  players. 

strene.     A  breve. 

streng  (shtrSng) ,  G.   Fir  m(ly) ,  strict (ly) . 

strepito  (stra'-pl-to),  I.  Noise,  stre- 
pito'so,  strepitosamen'te.  Boister- 
ous(ly). 

stretch.  The  interval  covered  by  the 
fingers  of  one  hand. 

stretta  (strSt'-ta),  /.  A  concluding 
passage,  or  finale,  in  an  opera,  taken 
in  quicker  time  to  enhance  the  effect. 

stret'to,  sometimes  stretta,  /.,  strette 
(strSt),  F.  i.  "Compressed."  In 
fugue  a  closing  treatment  in  which 
subject  and  answer  are  so  compressed 
as  to  overlap,  s.  maestrale,  or  ma- 
jestrale.  A  strictly  canonic  stretto. 
alia  s.  In  stretto-style.  andante  s. 
A  slow  agitato.  2.  "Hastened."  A 
closing  movement  at  increased  speed. 

Strich  (strikh),  G.  Stroke,  i.  A  dash. 
2.  A  cut.  Strich'art.  Manner  of 
bowing. 

strict.  Used  of  a  composition  following 
the  most  rigid  and  severe  rules. 
Vide  CANON,  FUGUE,  etc. 

strident  (strg-dan),  F.,  striden'te, 
stridevole  (da'-v$-lS),  J.  Sharp, 
shrill. 

striking  reed.     Vide  REED. 

string.  A  sonorous  cord  made  of  vari- 
ous 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  covered 
(wound  round  with  silver  or  other 
wire) ;  piano  strings  are  of  drawn  cast 
steel.  Strings  are  measured  in  thick- 
ness by  a  string-gauge.  "The 
strings"  is  a  general  term  for  the 
stringed  instruments  of  an  orchestra 
(also  string-band,  etc.,  or  string  or- 
chestra), s.  pendulum.  A  Weber 
chronometer.  s.  quartet.  i.  A 
group  of  four  instrs.  of  the  violin 
species,  ist  and  2d  violin,  a  viola, 
and  'cello.  2.  All  the  instrs.  of 
these  kinds  in  the  orchestra.  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  so- 
prano 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'-do),  /.     Accelerating. 

Stroh-  (shtrO),  G.  Straw.  S.-bass. 
The  husky  lower  tones  of  a  bass 
voice.  S.-fiedel  (fe-del).  Xylo- 
phone. 

stroke,  i.  Vide  SIGNS.  2.  The  rise 
and  fall  of  a  pedal. 

strombazzata  (str6m-bad-za/-ta) , 
strombettata  (bSt-ta'-ta),  7.  Sound 
of  a  trumpet,  strombettare  (ta'-re1). 
To  play  on  the  trumpet,  strombet- 
tiere  (ti~a'-rS).  Trumpeter. 

stromentato  (ta'-tQ),  /.  Instrumented. 
Vide  RECITATIVE. 

stromen'to,  stnimen'to  (pi.  -i),  /.  In- 
strument (s).  s.  da  fiato  (da  fl-a'-t6), 
or  s.  di  ven'to.  Wind-instr.  s. 
d'arco  (dar'-kd).  Bow-instr.  s.  da 
cor'da.  String-instr.  s.  da  tasto, 
Key-board  instr.  s.  di  legno  (di 
metallo).  Wooden  (metal)  instr. 
s.  di  rinforzo  (fdr'-tso).  An  instr. 
used  to  support  or  strengthen  an 
effect. 

Stuben-orgel  (shtoo'-bSn-dr-gel),  G. 
Chamber-organ. 

Stack  (shtuk),  pi.  Stttcke  (shtiik-fc*),  G. 
Piece.  S.-chen  (khSn) .  Little  tune. 

Studie  (stoo'-de),  pi.  -ien  (I-en),  G., 
studio  (stoo'-di-o),  /.,  stu'dium,  L., 
stud'y,  E.  Vide  £TUDE  and  PIANO 

STUDIES . 

Stufe  (stoo'-fe1),  pi.  en,  G.  Step,  de- 
gree, stufenweise  (vi-zS).  By  de- 
grees. 

stumm  (shtoom),  G.  Dumb.  S.- 
regis'ter.  Mechanical  stop. 

stiirmisch    (shtlir'-mlsh),    G.     Stormy. 

Sturze  (shtur'-tsS),  G.  Bell  (of  horns, 
etc.).  S.  in  der  H<5he  (ha'-e1). 
"The  bell  turned  upwards." 

Stutt'gart  pitch.     Vide  PITCH. 

StuzflugeUshtoots'-nu-gel),^.  "Baby" 
grand  piano. 

Styl  (shtel),  G.     Style. 

su  (soo),  7.  Above,  upon,  arco  in 
su.  Up-bow. 


690 


DICTIONARY  OF  TERMS 


suabe-flute.     A  soft  stop. 

suave  (soo-a'-ve1),  7.,  suave  (swav),  F. 
Suave,  suavita  (soo-a-vl-ta'),  7. 
Suavity. 

sub,  L.     Under,  below,  beneath. 

Subbass  (soop'-bas),  G.,  subbour'don. 
A  double-stopped  16  or  32  ft.  stop. 

subcan'tor.     Assistant  cantor. 

subdiapen'te.     The  5th  below. 

subdom'inant.  The  fourth  tone  of  a 
scale  or  key. 

Subflote.  G.     Sifflote. 

subito  (soo-bl-to),  7.,  subitamen'te. 
Sudden(ly),  immediate (ly).  volti  s. 
Turn  quickly,  piano  subito.  A  soft 
touch  immediately  after  a  loud. 

subject,  E.,  Subjekt  (soop'-ySkht),  G. 
A  motive  or  theme  for  development 
usually  followed  by  an  answer,  or 
second  (secondary  or  subsidiary) 
subject,  or  counter-subject.  See  ar- 
ticle, page  733. 

subme'diant.  The  sixth  tone  of  a 
scale  or  key. 

suboct'ave.  i.  The  octave  below.  2. 
Coupler  producing  the  octave  below. 

subordinate.  Not  principal  or  funda- 
mental, used  of  chords  on  the  ad, 
3d,  6th,  and  7th  degrees  of  a  scale, 
and  of  all  7th  chords  except  that  on 
the  5th  degree. 

subprin'cipal.  Below  the  pedal  dia- 
pason, a  double  open  bass  32-ft.  stop. 

subsemifu'sa.  L.     A  323  note. 

subs  em 'it  one,  subsemito  'nitun  mo'di, 
L.  Leading  note. 

substitution.  The  resolution  of  a  dis- 
sonance in  some  other  part  an  octave 
removed. 

substitution  (sub-sti-tus-y6n),  F. 
Change  of  fingers. 

subton'ic.     Leading  note. 

succen'tor,  L.  i.  Subcantor.  2.  Bass- 
singer. 

succes'sion.  i.  Sequence.  2.  Pro- 
gression. 

Sufflb'te  (soof-fla-te1),  G.     Sifflote. 

sudden  modulation.  Modulation  to  a 
remote  key  without  intermediate 
harmony. 

suffocate  (soof-fo-ka'-t5),  7.  "Suffo- 
cated/' muffled. 

sugli    (sool-yg),    sui    (soo-e),    7.     Vide 

SUL. 

suite  (swet),  F.,  or  suite  de  pieces 
(dti  pI-eV).  A  set  or  series  of  pieces. 
Originally  a  group  of  dances,  the  s. 
has  followed  the  fine  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: 
allemande,  courante,  sarabandej 
bourse,  gigue,  gavotte,  minuet,  pas- 
sepied,  loure,  anglaise,  polonaise, 
pavane.  The  allemande  is  usually 
first,  the  gigue  last;  the  first  dances 
named  were  the  regular  constituents, 
the  others  being  called  intermezzi. 
The  modern  suite  aims  chiefly  at 
lightness  even  when  extended  to  the 
orchestra,  and  great  liberty  is  nov 
taken  with  keys  and  forms. 

suivez  (swe-va),  F.  "Follow"  (the 
soloist) ;  continue  similarly. 

sujet  (su-zha),  F.     Subject. 

sul  (sool),  sulP,  sulla  (sool'-la),  7.  On 
the,  near  the,  as  sul  a.  On  the  a 
string,  sulla  tastiera.  Near  the 
finger-board  (of  bowing),  sul  ponti- 
cel'lo.  Near  the  bridge. 

suma'ra.     A  two-piped  Turkish  flute. 

summa'tional  tones.    Vide  RESULTANT. 

sumpun'jah,  Heb.     Sambuca. 

sumsen  (zoom'-zSn),  G.     To  hum. 

suonare  (soo-o-na'-rS),  7.  To  play, 
sound,  ring,  supnata  (soo-o-na -ta). 
Sonata,  suonatina  (tS'-na).  Sona- 
tina. 

suono  (soo-Q'-nS),  7.  Sound,  suo'ni 
armonichi  (ar-mo'-nl-ke').  Harmo- 
nics. 

su'per,  L.     Over,  above. 

superano  (soo-pSr-a'-no),  Sp.    Soprano. 

superdom/inant.  The  6th  tone  in  the 
scale. 

super 'fluous,  £.,  superflu  (su-pSr-nti), 
F.  Augmented. 

supe'rius,  L.  Higher,  i.  e.,  the  high- 
est part. 

superoc'tave.  i.  The  octave  above. 
2.  A  stop  two  octaves  above  the  dia- 
pasons. 3.  Coupler  producing  the 
octave  above. 

superton'ic,  E.,  supertonique  (sii-per- 
t6n-ekO,  F.  The  second  tone  of  a 
scale. 

supplican'do,  supplichevole  (soop-pH- 
ka'-v6-16),  supplichevolmen'te,  7. 
Pleading(ly),  appealing (ly). 

support'.  Accompaniment,  reinforce- 
ment. 

supposed  bass.  The  lowest  note  of 
an  inverted  chord  (q.v.). 

sur  (soor),  7.,  sur  (stir),  F.  On,  upon, 
over,  sur  une  corde.  On  one  string. 

surabondant(es)  (sur-a,-b6n-dan(t)  ),  F. 
Used  of  triplets,  quintoles,  etc. 

suraigu  (sur-S-gii),  F.     Over-acute. 

surdelina  (soor-da-le'-na),  7.  SmaU 
bagpipe. 


DICTIONARY  OF  TERMS 


691 


butprise.  i.  Vide  CADENCE.  2.  Name 
of  Haydn's  6th  symphony  with  an 
unexpected  crash  breaking  in  on  a 
long,  soft  movement. 

susdoroinante  (sti-),  F.  Superdomi- 
nant. 

suspended  cadence,  i.  Vide  CADENCE. 
2.  Vide  SUSPENSION. 

suspension,  i.  The  holding  back  of 
one  note  of  a  chord  with  the  result 
that  it  causes,  with  the  following 
chord,  a  clash  that  earnestly  de- 
mands 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  oc- 
curring in  more  than  one  note  of  a 
group  at  once. 

suspir'ium,  L.  i.  A  quarter  rest. 
2.  More  anciently,  a  half -rest. 

suss  (ziis),  G.  Sweet(ly).  SussflBte. 
A  soft  flute-stop. 

su  (s)  surrando  (soo(s)-soo-ran'-do), 
su(s)surrante  (ran'-tS),  7,  Whisper- 
ing, murmur,  susurra'tion,  E.  A 
soft  murmur. 

sustain.  To  hold  a  note  during  its 
full  time-value;  to  perform  in  legato 
manner,  vide  also  PEDAL-POINT. 
Vide  PEDAL. 

svegliato  (sval-ya'-t8),  /.     Lively. 

svelto  (svel'-td1),  J.     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  organ,  hence  swell- 
organ,  and  swell  key-board.  Part 
of  an  organ  (the  swell-organ)  is 
surrounded  by  a  swell-box,  the  front 
of  which  is  filled  with  Venetian  swell- 
blinds  (Jalousie,  £.),  opened  or 
closed  by  a  lever  worked  by  a 
swell-pedal.  In  old  organs,  there 
was  but  one  shutter  (nag's-head 
swell);  in  harpsichords  the  cover 
moved. 

Swing.     See  article,  page  818. 

Sylbe  (zel'-bS),  G.     Syllable. 

syllab'ic,  E.,  syllabisch  (zgl-lap'-Jsh), 
G.,  syllabique  (sel-lab-Sk),  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. 

symphonic,  E.,  symphpnique  (san-f6- 
n§k),  F.,  symphonisch  (zem-fo'- 
nlsh),  G.  Pertaining  to  or  relating  to 
the  symphony,  symphonic  poem, 
poeme  s.  (pS-Sin'  san-f6-nek), 
F.,  sympho'nische  Dichtung  (dlkh- 
toongk),  G.  A  composition  of  sym- 
phonic demands  on  orchestra  and 
intelligence,  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  (san-fo-nS  in  F.9  in  G.  z5m- 
fS-ne1').  i.  Symphony.  2.  Con- 
cord. 3.  Instrumental  accompani- 
ment. 4.  String-band.  5.  Orches- 
tra. Symphonie-Ode  (6-'dS),  G. 
Choral  symphony. 

sympho'nion.  i.  A  combination  ot 
flute-stop  with  piano,  inv.  by  K.auf- 
maun,  2.  A  music-box  with  inter- 
changeable disk  in  place  of  a  cylinder, 

sym'phonist,  symphoniste  (san^fo- 
nesf),  F;  Sympho'niker,  sympho- 
nienseser  (zgm-fo'-nl-Sn-za'-zSr),  G, 
A  composer  of  symphonies;  in  F. 
also  a  church-composer,  or  member 
of  an  orchestra. 

sympho  'nious.     Harmonious . 

symphony,  Symphonie  (in  F.  san-fo- 
n5  ,  in  G.  zem-fo-nSO-  i-  A  sonata 
for  orchestra  with  all  the  elaboration 
and  extension  permitted  by  the 
larger  resources.  Beethoven  (and 
followers  of  him)  even  added  a 
chorus,  hence  choral  symphony.  His- 
torically founded  on  the  overture. 
Haydn,  the  father  of  the  sonata 
(q.v.),  established  the  form,  which 
has  survived  with  minor  substitu- 
tions (as  in  the  sonata)  till  now. 
2.  In  E.  and  elsewhere  the  instru- 
mental pre-,  inter-,  and  post-ludes, 
of  vocal  composition.  3.  Old  name 
for  hurdygurdy,  etc. 

symposia.     Convivial  compositions. 

syn'copate.     To  perform  syncopation. 

syncopato  (sXn-k6"-pa/-to),  /.,  Synco- 
pated. 

syn'copation,  E.,  syncopa'tio,  L.,  syn- 
cope (san-k6p  in  P.,  in  G.  zgn'-ko-pe"). 
A  pleasantly  confusing  rhythmic 
"intersection"  caused  by  suppressing 


692 


DICTIONARY  OF  TERMS 


a  natural  accent  or  strong-beat,  or 
moving  it  from  its  natural  place  to 
a  weak  beat,  usually  by  means  of 
tying  over  a  note  on  a  weak  beat 
across  the  time  belonging  to  a  strong 
beat.  The  note  so  prolonged  is  said  to 
be  syncopated.  In  piano-music,  only 
one  hand  usually  has  the  syncopation. 

Synkope  (zen'-ko-pe1),  G.  Syncopa- 
tion. synkopi(e)ren  (pe'-rfcn).  To 
syncopate. 

synneni/menon.  (See  article,  page  762.) 

synonyme  (se-no-ngm),  F.  Homo- 
phone, 

syntonlc.     Vide  COMMA. 

syntonolyd'ian.     Hypolydian. 

sy'ren.     Siren. 

syr'inx,  Gr.,  syringe  (se-r3,nzh),  F. 
i.  Pandean  pipes.  2.  A  portion  of  a 
"hymn  to  ApoUo  sung  by  candidates 
for  Pythian  prizes. 

sys'tem  (in  G.  zEs'-tam).  i.  A  group 
of  staves.  2.  In  G.  a  staff. 

syste'rua,  Gr.  i.  A  tetrachord,  or 
other  interval.  2.  In  L.  Staff.  3. 
Hexachord  series.  (See  MODES,  p. 
762.) 

systeme  (sSs-t&n),  F.  i.  All  musical 
tones.  2.  Compass. 

syzygi'a,  Gr.  and  L.  A  chord,  s.  per- 
fecta,  or  simplex.  Triad,  s.  com- 
posite. Triad  with  a  tone  doubled. 
s.  propin'qua  (remo'ta).  Close  (open) 
chord. 

szopelka  (sh5-p€l'-ka).  Russian  oboe 
with  brass  mouthpiece. 


T.  Abbr.  of  Talon,  Tasto,  Tempo,  Tenor, 
Toe,  Tre,  Tutti. 

tabal'lo,  I.     A  kettle-drum. 

tabar  (ta-bar'),  /.,  tab'arde,  tab'arte, 
Old  E.  A  tabor. 

tabl.     Egyptian  drum. 

tablatura  (tab-la-too'-ra),  /.,  tablature 
(ta-bla-tiir'),  F.9  tablature  (tab'-la- 
tur),  E.,  Tabulatur  (ta-boo-la-toor'), 
G.  i.  The  Tonic  Sol-fa  notation. 
2.  The  rules  of  poetic  and  musical 
composition  established  by  the  Meis- 
tersinger.  Vide  "  Stories  of  the 
Operas."  3.  An  early  form  of  no- 
tation from  which  our  present  sys- 
tem got  its  vertical  character,  the 
bar  and  the  tails  of  its  notes.  Old 
tablature  had  many  forms.  In  lute- 
tablature  the  French  and  English 
used  letters,  the  Italians,  numerals, 
designating  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;  be- 
neath were  stems  with  tails,  indicat- 
ing the  time- value  of  the  notes;  these 
tails  represent  our  modern  values 
except  that  our  whole  note  (their 
semibreve)  had  a  stem  like  that  of 
our  half -note;  our  half -note  (their 
minima)  had  the  tail  of  an  eighth 
note;  our  i  note  (sermminima)  a 
double-hooked-stem,  our  £  note 
(fusa)  three  hooks,  our  ^  note 
(semifusa)  the  tail  of  a  64th  note. 
The  hooks  of  consecutive  notes  were 
often  run  together  in  thick  lines  as 
in  our  music,  organ  (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  (tabl  dax-m5-n€),  F. 

1.  A  table  of  chords,  intervals,  etc. 

2.  Sound-board. 

table  d'instrument  (tabl  dln-stru-man), 
F.  Belly. 

ta'ble-music.  i.  Part-songs.  2.  Mu- 
sic printed  so  that  singers  at  opposite 
sides  of  a  table  could  read  it, 

tatror,  taboret',  E.9  tabourin  (ta-boo- 
ran),  F.,  tab 'ret.  A  small  drum;  a 
tambourine  without  jingles. 

ta'cet,  pi.  ta'cent,   Z,.,  tace   (ta'-chS) 
pi.  taci  (ta'-chg),  taciasi  (ta-chi-a'- 
sl),  /.     "Be  silent  1"  as  oboe  tacet,  let 
the  oboe  be  silent. 

tac'tus,  L.  The  stroke  of  the  hand  or 
b&ton  in  conducting. 

Tafel  (ta'-fel),  G.  Table.  T.-f6rmiges 
(fSr-mflch-Ss),  klavier,  or  T.-klavier. 
Square  piano,  T.-musik  (moo-zek')- 
i.  Music  sung  at  a  banquet.  2.  Vide 
TAB:LE-MUSIC. 

tail.  Stem,  tail-piece.  The  wooden 
brace  which  holds  the  strings  of 
violins  etc.,  below  the  bridge. 

taiUe  (ti'-yu),  F.  i.  Tenor.  2.  Viola, 
also  t.  de  violin,  t.  de  basson.  Oboe 
da  caccia. 

takigo'to.     i.  Japanese  dulcimer. 

Takt  (takt),  G.  i.  Time.  2.  Measure. 
3.  Beat,  im  T.  In  time,  ein  T. 
wie  vorher  zweL  Double  the  former 
time.  T.-accent.  Primary  accent, 
T.-art.  Species  of  time,  as  duple 
or  triple.  T.-erstickung  (£r-shtlk- 
oongk).  Syncopation.  T.-fach 
(f&kh).  Space.  T.-fest.  Steady 
in  keeping  time.  T.-glied  (gl€t). 
Measure-note.  T.-fiihrer  (fu'-r^r). 
Conductor:  leader.  TT-halten.  To 


DICTIONARY  OF  TERMS 


693 


keep  time.  takti(e)ren  (tak-ter'-Sn) 
or  t.-schlagen.  To  beat  time.  T.- 
linie(lIn'-g),T.-strich(strikh).  Bar- 
line.  t.-mSssig  (mSs-sikh).  In  time. 
T.-messer.  Metronome.  T.-note. 
Whole  note.  T.-pause.  Whole  rest. 
T.-stock.  Baton.  guter  T.-teil. 
Strong  beat.  schlechter  T.-teil. 
Weak  beat.  T.-vorzeichnung,  or 
Taktzeichen  (tsi-khSn).  Signature, 

talabalac'cp,  /.     Moorish  drum. 

ta'lan.     Hindu  cymbals. 

talon  (ta-16n),  F.  Heel.  i.  Of  a  bow. 
2.  Of  the  foot. 

tambour  (tan-boor),  F.  i.  Drum.  2. 
Drummer,  t.  de  basque  (dti  ba.sk). 
Tambourine,  t.  chromatique.  Tim- 
balarion.  t.  roulante  (roo-lant). 
Long  drum.  t.  major  (ma-zh6r). 
Drum-major. 

tamb(o)u'ra.  An  ancient  instr.,  used 
in  the  East,  like  a  guitar,  struck  with 
a  plectrum. 

tambouret  (tan-boo-ra),  P.,  tambourine 
(tam'-boo-ren),  E.,  Tambourin  (t&m- 
boo-ren'),  G.  i.  A  small  drum, 
with  little  bells  (called  jingles) 
pivoted  in  the  rim.  Notes  with 
waved  stems  indicate  a  roll;  notes 
with  vertical  lines  above,  call  for  the 
jingles.  ^  tambourineur  (nur'),  F. 
Tambourine-player. 

tambourin  (tan-boo-rS.n),  F.  i.  A 
tambourine  without  jingles.  2.  A 
lively  dance  in  2-4  time  with  t. 
accompaniment. 

tamburaccia  (tSm-boo-r^t'-cho),  /.  A 
large  drum,  tamburel'lo,  tambu- 
ret'to,  7.  i.  Tabor.  2.  Drummer. 

tamburino  (tam-boo-re'-no),  7.  i. 
Drummer.  2.  Tambourine. 

tamburo  (tarn-boo '-ro),  7.     Side-drum. 

tamburone  (tam-boo-ro'-ne),  7.  The 
great  drum. 

tamis  (ta-me'),  F.     Pipe-rack. 

tarn 'tarn',     i.  Indian  drum.     2.  Gong. 

Tanbur  (tan-boor 0,  G.     Tamburo. 

tfindelnd  (tSn'-delnt),  G.  Playful,  tri- 
fling. 

tan 'gent,  E.,  Tangente  (tan-jen'-tSj,  G. 
Vide  CLAVICHORD.  Tangentenfiugel. 
A  "wing-shaped"  clavichord. 

tantino  (tan-te7-no),  7.     A  little. 

tanto  (tan '-to),  7.  So  much;  as  much; 
but  allegro  non  t.  Not  too  quick, 
allegro  t.  possibile.  As  fast  as 
possible. 

Tan'tum  er'go,  L.  "So  much  there- 
fore." A  hymn  sung  at  the  Benedic- 
tion in  the  R.  C.  service. 


Tanz  (tants),  G.}  pi.  Tanze  (ten'-tsS). 
A  dance.  Ttozer  (t6n7-tsfir).  A 
dancer.  Tgnzerin  (tgn'-ts^-rm).  A 
female  danrer.  T.-lied  (let).  Dance- 
song.  T.-musik,  or  T.-stiick  (shtiik). 
Dance- tune. 

tap.  A  single  Dote  on  the  drum.  taps. 
The  last  military  signal  at  night. 
It  is  also  used  at  the  funeral  of  a 
soldier. 

tapada  (ta-padh'-a),  Sp.  Stop,  tap- 
adiUo  (dheT-yo).  BaxonciUo. 

ta'rabouk.  Instr.  used  by  Turks,  a 
parchment  over  the  bottom  of  a  large 
earthen  vessel. 

tarantella  (t£-ran-tST-la),  tarentelle 
(i&r-an-t&O,  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 
effects  of  the  poison  find  an  antidote 
in  violent  exercise.  The  dance  is  a 
wild  presto  in  3-8  or  6-8  time,  with 
increasing  frenzy  and  alternatingly 
major  and  minor. 

tarau,  theyau  thro.  Burmese  violin 
with  3  silk  strings. 

tar'do,  tardato  (tar-da'-to),  tardan'-do, 
tardamen'te,  7.  Slow(ly). 

Tartini's  tones.  Resultant  tones,  first 
observed  by  Tartini.  (Vide  B.  D.). 

Taschengeige  (tash'-gn-gl-kh£),  G. 
Kit. 

tasseau  (tas-so),  F.  The  mould  on 
which  violins  are  built. 

tastame  (tas-ta'-mg),  7.,  Tastatur  (tas- 
ta-toor'),  G.,  tastatura  (tas-ta-too'- 
ra),  7.,  tastiera  (tas-tl-a'-ra),  7. 
Key-board;  finger-board,  stilla  tas- 
tiera.  Near  the  finger-board  (of  a 
vln.). 

Taste  (tas'-tfi),  G.  The  touch,  hence 
a  key.  Tas'tenbreit.  Key-board. 
Tastenstabchen  (stgp-khSn).  Fret. 
Tastenschwanz  (shvants).  Extrem- 
ity of  key-board.  Tastenwerk.  A 
keyed  instrument. 

tasto  (tas^to),  7.  i.  Touch.  2.  Key. 
3.  Fret.  4.  Finger-board.  sul  t. 
"Near  the  finger-board."  t.  solo. 
"One  key  alone,"  a  note  to  be  played 
without  other  harmony  than  the 
octaves. 

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. 


DICTIONARY  OF  TERMS 


694 

te.  Tonic  Sol-fa  name  for  the  7th  tone 
si. 

te  (ta).  F.     C  sharp.  «,     .     ., 

tecnnic(s)  (tek'-nlk(s)  ),  E.,  Techmk 
(tSkh-nek'),  G.,  technique  (tSk-nek), 
F.  The  mechanical  side  of  musical 
performance,  including  dexterity, 
velocity,  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,  inv.  by  J.  Brotherhood,  1889. 

tech'niphone.  First  name  of  the  Virgil 
Practice- Clavier. 

technisch  (t£kh'-n*sh),  G.  t  Technical, 
used  to  indicate  proficiency. 

tedesco  (-a)  (te-dSs'-ko),  /.  German, 
alia  t.  In  the  German  style,  in 
waltz-rhythm,  lira  t.  Hurdygurdy. 

Cc  De'um  Lauda'mus,  L.  "Thee, 
Lord,  we  praise,"  a  hymn  attributed 
to  St.  Ambrosius.  Vide  MASS. 

Teil  (til),  G.     Vide  THEH,. 

•^el'eplione-harp.  An  instr.  for  trans- 
mitting music  by  telephone. 

tell 'tale.  An  indicator  of  wind- 
pressure. 

tema  (ta'-ma),  I.  Theme;  subject; 
melody. 

temperament,  E.,  temperament 
(tan-pa-rS-man),  F.,  temperaxnen'- 
to,  I.  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  instr s.  the 
tones  c%  and  <2b,  for  example,  are 
identical,  and  are  given  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 
unequal  temperament,  the  key  of 
C  major  being  tuned  true,  and  the 


other  tones  forced  to  conform.  In 
the  twelve-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 
intervals;  this  system  produced  much 
discord  called  the  wolf,  equal  tem- 
perament is  now  generally  employed; 
it  is  the  practice  of  tuning  by  fifths. 
A  series  of  twelve  fifths  beginning 
with  c  lacks  only  74/73  of  forming 
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  Gb)- 
Db-Ab-Eb-Bb  F-  C  (B#);  in  minor 
a-e-b-f#-c#-g^d#  (or  eb)-bb-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  great  convenience  and  simplicity 
of  Equal  Temperament  that  has 
prevented  thus  far  the  acceptance 
of  any  of  the  many  instruments  in- 
vented with  the  rival  method  of  just 
intonation.  Nevertheless  the  music 
we  know  and  enjoy  has  no  perfect 
intervals  except  the  octave;  the  fifths 
are  a  i2th  of  a  comma  flat;  tie  fourths 
a  1 2th  of  a  comma  sharp;  the  major 
thirds  ith  of  a  comma  sharp,  etc. 

Temperatur  (tam-pS-ra-toorQ,  G. 
Temperament. 

tempesto'so,  tempestosamen'te.  Tem- 
pestuous (ly),  furious  (ly). 

tempSte  (tan-pSt),  F.  "Tempest." 
A  boisterous  quadrille  in  2-4  time. 

tem'po,  /.  "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 
retardation),  t.  prirno  (or  imo),  or 
primiero.  Original  speed.  t.  alia 
breve  (bra'-vS).  Vide  BREVE.  "V.  a. 
piacere,  or  senza  t.  The  time  at 
pleasure.  t.  bina'rio  (terna'rio). 
Duple  (triple)  time.  t.  como'do. 
Convenient,  moderate  time.  t.  de- 
bole  (da'-bo-lS).  Weak  beat.  t.  di 
bal'lo.  Dance-time,  t.  di  bole'ro, 
gavot'ta,  mar'cia,  etc.  In  the  time 
of  a  bolero,  gavotte,  inarch,  etc.  t. 
di  cappel'la.  In  the  Church-time. 


DICTIONARY  OF  TERMS 


695 


Vide  BREVE,  t.  di  pri'ma  par'te. 
In  the  same  time  as  the  first  part. 
t.  for'te.  Strong  beat.  t.  giusto 
Goos'-to).  In  strict  time.  1'istesso 
(or  lo  stesso),  t.  Continue  at  "the 
same  speed."  t.  maggiore  (mad- 
ja'-re1).  Vide  BREVE,  t.  mino're, 
or  t.  ordina'rio.  i.  Common  time, 
4  beats  to  the  measure.  2.  The 
original  time  of  the  piece,  t.  perdu 'to. 
"Lost,"  unsteady  time.  t.  reggiato 
(rSd-ja'-to),  same  as  colla  parte. 
t.  rubato.  Vide  RUBATO.  T.  wie 
vorher  (v€  fdr-har),  G.  Same  time 
as  before. 

tempo-mark,  Tempo-Bezeichnting  (bS- 
tsikh'-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  (tan-p6r-3C-za),  F.  In  an 
accompaniment,  to  follow  the  soloist's 
time. 

temps  (tan),  F.  i.  Time.  2.  Beat, 
t.  faible  (fe*bl),  or  leve*  (lti-va). 
Weak  beat.  t.  fort  (f6r),  frappe 
(f  rap-pa').  Strong  beat. 

tern 'pus,  L.  Time,  i.  e.,  of  the  breve. 
t.  p  erf  ec 'turn  (marked  O).  That  in 
which  the  breve  equalled  3  semi- 
breves  t.  im'perfecttun  (marked 
(  ).  That  in  which  it  equalled  2 
semibreves.  t.  bina'rittm.  (or  terna'- 
rium).  Duple  or  triple  time.  Vide 
NOTATION. 

tenete  (tS-na'-tg),  I.     Hold. 

Ten'ebrse,  L.  "Shadows,  Darkness"; 
R.  C.  Evening  Service,  during  Holy 
Week,  in  commemoration  of  the 
Crucifixion,  the  candles  being  extin- 
guished one  by  one. 

tenen'do,  /.  Sustaining  (as  the  mel- 
ody). 

tenero  (ta'-nS-rS),  tenero'so,  tenera- 
men'te,  J.  Tender  (ly).  tenerezza 
(ta-nS-rSd'-za) .  Tenderness. 

teneur  (tii-niir),  F.  Cantus  firmus  of 
a  hymn. 

tenor  (in  G.  ta-n6r'),  tenor  (ta-ndr),  F. 
tenore  (ta-no^'-re1),  /.  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  carattere  (de  mSd'-zo  ka- 
rat'-ta-rS),  or  di  forza  (de  f6r'-tsa). 
Compass  c-b'  (b).  The  more  light 
and  flexile  tenor  is  called  lyric, 
lyrischer  (ler-Ish-e'r).  Tenore  leg- 


giero  (ISd-ja-ro),  Iggier  (la-zha),  or  di 
grazia  (de  grats'-ya).  Compass 
d-c",  sometimes  higher.  2.  The 
part  corresponding  to  the  tenor  voice 
in  compass.  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  (Tenor posaune),  etc.  6- 
tenor  C  is  an  octave  below  mid-c. 
7.  tenor-clef,  Tenor-schlussel  or 
-zeichen,  the  C  clef  on  the  fourth 
line.  8.  The  lowest  string  of  the 
viola.  9.  In  Gregorian  music,  the 
principal  melody  taken  by  a  medium 
male  voice,  above  which  sang  the 
counter-  or  contra-tenor,  or  the 
altus  or  alto.  10.  In  mediaeval  music, 
(a)  f  ermate,  (b)  ambitus,  (c)  tone  of  a 
mode  of  the  evovae.  tenorino  (ta-n6- 
rS'-no),  /.  Falsetto  or  castrato  tenor. 
Tenorist  (tSn-o-resf),  G.,  tenorista 
(tan-o-res'-ta),  /.,  tenoriste  (ta-no- 
rSst'),  F.  A  tenor-singer. 

tenoroon'.  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)  (ttL-nii),  -P.,  tenuto  (ta-noo'-t6), 
J.  "Held."  i.  Sustained.  2.  A 
sustained  note  or  pedal-point.  3. 
Legato.  4.  Constantly,  as  forte  t. 
PL  tenute  (note). 

teorbe  (ta-drb),  F.     Theorbo. 

teoretico  (ta-o-ra'-tl-ko),  I.  Theoret- 
ical. 

teoria  (ta-o-re'-a),  /.     Theory. 

tepidita  (ta-pe-dl-ta/),  J.  Indifference, 
lukewarmth.  tepidamen7te.  Calmly. 

teponaz'tli.  An  Aztec  drum  still  used 
in  Central  America;  a  log  about  a 
yard  long,  hollowed  from  below,  then 
cut  through  till  two  tongues  of  wood 
are  left.  These  sound  an  interval 
when  struck  with  padded  sticks. 

ter  (t£r),  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,"  of 
the  Te  Deum. 

terce.  i.  Tierce.  2.  Vide  HOXUE 
CANONIC^. 

tercet  (ter-sa),  F.     Triplet. 

ternaire  (t&>nar),  F.,  ternario  (ter- 
na'-rl-o),  /.,  ter'nary,  E.  Triple, 
three-fold*  ternary  form*  Rondo- 


696 


DICTIONARY  OF  TERMS 


form.  ternary  measure.  Triple 
time. 

terpo'dion.  i.  An  instr.  inv.  1816  by 
Buschmann,  resembling  the  harmo- 
nium, the  tone  being  produced  from 
sticks  of  wood.  2.  An  8-ft.  stop. 

Terpsichore  (terp-sik'-o-re*).  The  muse 
of  dance  and  song. 

ter'tia,  L.,  Terzia  (teV-ts*-a),  G.  i. 
Third,  tierce,  tertia  modi.  The 
3d  degree.  2.  A  stop  sounding  a 
third  or  tenth  above. 

tertian  Zweifach  (ter-tsi-an  tsvi'-fakh), 
G.  A  stop  combining  tierce  and 
larigot. 

Terz  (terts)  (pi.  en),  G.,  terzo(-a)  (ter'- 
ts6),  J.  i.  Third,  (a)  the  interval, 
(b)  in  number.  2.  Tierce,  terzo 
mano.  Octave-coupler,  terzadec- 
ima,  Terzde'zime.  A  isth.  Terz- 
quart'akkord,  or  Terzquartsext'- 
akkord,  6-4-3  chord.  (Vide  CHORD.) 
Terzquintsext'akkord,  6-5-3  chord. 
(Vide  CHORD.)  TerztSne.  Tierce- 
tones.  .Terzflo*te.  i.  Small  flute, 
a  minor  third  above.  2.  A  stop. 

Terzdecimole  (da-tsI-mS'-le").  A  group 
of  thirteen  equal  notes. 

Terzett  (ter-tseV),  G.,  terzetto  (ter- 
tsSt'-to),  /.  A  trio. 

terzina  (te"r-tse'-na),  I.     A  triplet. 

tessitura  (tes-sl-too'-ra),  /.,  tessiture 
(teV-si-tur),  E.  "The  web."  The 
general  "lie"  of  a  song  or  phrase — 
its  average  pitch,  whether  high  or 
low. 

tes'ta,  I.  Head,  di  t.  In  the  head 
as  the  voice. 

testo  (teV-t6),  7.  "Text."  i.  Subject, 
or  theme.  2.  The  words  of  a  song. 

testu'do,     L.     "Tortoise."     The    lyre. 

tfcte  (tet  not  tat),  F.  Head,  of  a  note; 
of  a  vln.,  etc. 

tet'rachord,  E..  tetrachorde  (tet-ra- 
k6rd),  F.,  tetracor'do,  I.  i.  A  4- 
stringed  instr.  2.  The  interval  of  a 
fourth.  3.  The  4  diatonic  tones  of 
a  perfect  fourth.  (Vide  MODES.) 
tetrachordal  system.  Original  form 
of  Tonic  Sol-fa. 

tetrachor'don,  Gr.  A  small  piano-like 
instr.  with  a  rubber  cylinder,  imping- 
ing on  strings. 

tet'rad.     Chord  of  the  seventh. 

tet/radiapa/son.     Interval  of  4  octaves. 

tet'raphone.     Tetratone. 

tetrapho'nia.     Organum  in  4  parts. 

tetrato'non,  Gr.,  tet'ratone.  An  in- 
terval of  four  whole  tones. 

T(h)eil  (til),  G.  Part.  T.-ton.  Partial 
tone. 


the'ma,  Gr.,  Thema  (ta'-ma),  G., 
theme  (t€m),  F.,  theme,  jB.  Loosely, 
the  general  idea  of  a  composition. 
Strictly,  the  structural  molecule,  ot 
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, themat'ic  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  (tg-dr'-bS),  G.,  theorbe  (ta- 
6rb),  F.,  theorbo  (th6-6r'-b<5),  E. 
A  large  bass  lute  with  two  necks, 
the  longer  carrying  a  set  of  bass 
strings. 

Theoretiker  (t£-5-ra'-tX-ker),  G., 
theoricien  (ta-o-res-yan),  JP.  A 
theorist. 

theoria,  Gr.  and  L.,  theorie  (ta-6-rg), 
F.,  theory  (the'o-r2),  E.  The 
science  of  music,  particularly  of  its 
composition. 

the 'sis,  Gr.  The  accented  downbeat. 
Vide  ARSIS. 

Theur'gic  hymns.  Songs  performed 
in  Greek  mysteries. 

theyatu     Vide  TARATT. 

thin.  Used  of  chords  and  harmonies 
that  lack  support  and  fulness. 

thior'bo.     Theorbo. 

third,  i.  Vide  INTERVAL.  2.  The  medi- 
ant, third-flute.  Vide  -.CERZIXOIE. 
third-tones.  Vide  QUINT-TONES. 

thirteenth.     An  octave  and  a  sixth. 

thirty-second  note.  A  demisemi- 
quaver.  32d  rest.  A  rest  of  equal 
duration. 

thorough-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. 

thumb-position.  On  the  'cello,  a  high 
position  where  the  thumb  quits  the 
neck. 

thumb-string.     Banjo    melody-string. 

Thurmer  (tUr'-mSr),  -G.  Town-mu- 
sician. 


DICTIONARY  OF  TERMS 


697 


tibia  (pi.  tibiae),  L.  "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,  L.,  pi.  Two 
flutes  of  the  same  length,  t.  impares. 
Unequal  flutes,  one  for  the  right  hand 
and  the  other  for  the  left,  winch  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. 
utric'ularis.  The  bagpipe. 

tib'icen  (pi.  tibic'ines,  feminine  tibi- 
ci'na),  L.  Flute-player,  tibicin'ium. 
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. 

tfef  (t5f),  G.  Deep,  low.  tiefer  (ts'- 
f&r).  Lower.  8va  tiefer.  Octave 
below.  tieftanend  (tef-ta'-n&at). 
Deep-toned. 

cier  (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  HOR-as  CANONIC.*:. 

tierce  (tl-Srs'),  F.  i.  A  third,  a.  Vide 
HOKJE  CANONICJE.  t.  de  Picardie 
(dtt  p5-k£r-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 
grace  in  thirds.  Vide  GRACE. 

timbala'rion.  A  series  of  8  drums 
chromatically  tuned  and  fitted  with 
pedals. 

timbale  (t£n-bal),  F.,  timballo,  7.  A 
kettle-drum,  timbalier  (tS.n-b31-ya), 
F.  A  kettle-drummer. 

timbre  (tan-br),  F.,  tim/bro,  7.  i. 
Quality  and  colour  of  tone.  2.  A  ball 
struck  with  a  hammer,  jeux  de 
timbres  (zhu-du-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  inter- 
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, langsam,  etc.,  or  by  the  met- 
ronome 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 
equivalents. 

With  the  exception  of  such  rare 
rhythms  as  the  5-8  time,  all  musical 
time-patterns  are  divisible  by  2  or  3, 
and  are  called  duple  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),  7.  Timid,  tixni- 
dezza  (te-mi-d&i'-za).  Timidity. 

timoro'so,  tunorosatnen/te,  7.  Tim- 
id(ly).  timore  (tl-mo'-re1).  Fear. 

timpano  (tim'-psl-no)  (PI.  -i),  7.  Ket- 
tle-drum. t.  coper  'to.  Muffled 
drum,  timpanis'to.  Drummer. 

tin'termell.     An  old  dance. 

tintinnab'ulum,  L.,  tintinnabolo,  JL. 
(tln-tln-na'-bS-lo),  tintinna'bulo 
(boo-16).  i.  A  little  bell.  2.  A 
small  rattle  of  bells. 

tiTitinniQ  (n5'-o), 


tintin'no,  7.     Tinkling. 
tin'to,  7.     Shading. 
tiorba  (te-6r'-ba),  7.     Theorbo. 
tipping.     Vide  DOUBLE-TONGTJTNG. 
tirade  (tg-r£d),  F.     A  slide  across,  an 

interval. 
tiran'na,    Sp.     A    national    air    with 

guitar. 
tirant  (te-ran),  F.       Stop-knob.       t.  a 

coupler     (a'-koo-pla).       r.  Coupler. 

2.  Button.     3.  Drum-cord. 
tirarsi,  da  (d£  te-raV-se),  7.     "With  a 

slide,"  as  tromba  da  t. 
tirasse  (t!-r&s),  F.     i.  A  pedal-coupler* 

2.  A  pedal  key-board  acting  only  on 

the  manual  pipes. 
tirata  (te-ra/-ta),.7.     A  group  of  equal 

notes,  moving  in  joint  degrees. 


CHART  OP  TIMES  AND  RHYTHMS 


1.    Duple,  or  Common  Time,    (mesures  a  deux  ou  quatre  temps,  F. 
gerader  Takt,  G.    tempi  pari,  I.) 

A.     Simple,     (binaire,  P.     einfacher,  G.    semplic*.  /.) 

Sigoa- 
tujres 

No.  of 
beats  to 
a  meas. 

English 

French 

German 

Italian 

(4  orl 

2 

Two-two  (alia 

Deux-deux. 

Zweizweitdtakt. 

A  cappeUa  (alia  breve). 

breve). 

& 

2 

Two-four. 

Deux-quatre. 

Zweivier 

Due-quarti  (quarttro-due). 

a 

2 

Two^eight. 

Deux-huit. 

Zweiach 

Due-ottavi  (otto-due). 

4 

4 

Four-two. 

Quatre-deux. 

Vierzwei 

Quattro-mezzi  (due-quattro). 

Cor| 

4 

Four-four, 
(common). 

Quatre-quatre. 

Viervier 

Quattro-quarti  (quattro-quattro,  bi- 
nario,  ordinano). 

| 

4          j 

Four-eiglit. 

Quatre-huit. 

Viverach 

Quattro-ottavi  (otto-quattro). 

4 

Four-sixteen. 

Quatre-seize. 

Viersechzehn 

Quattro-sedicesimi  (sedici-quattro). 

8 

Eight-eight. 

Huit-huit. 

Achtach 

Otto-ottavi  (otto-otto). 

B.     Compound,     (ternaire,  F.    zusair»menge«etzer,  G.     composti,  /.) 


Signa- 
tures 

No,  of 
beats  to 
a  meas. 

English 

French 

German 

Italian 

f 

2 

Six-two. 

Six-deux. 

Sechszweiteltakt. 

Sei-mezzi  (due-sei). 

2 

Six-four. 

Six-quatre. 

Sechsvier          " 

Sei-quarti  (quattro-sei). 

2             ' 

Six-eight. 

Six-huit. 

Sechsach 

Sei-ottavi  (otto-sei). 

2 

Six-sixteen. 

Six-seize. 

Sechssechzehn  " 

Sei-sedicesimi  (sedici-sei). 

4 

Twelve-four. 

Douze-quatre. 

ZwSlfvier          " 

Dodici-quarti  (quattro-dodici). 

V- 

4 

Twelve-eight. 

Douze-huit. 

Zwalfach 

Dodici-ottavi  (otto-dodici). 

ft 

4 

Twelve-six- 
teen. 

Douze-seize. 

Zwolfsechzehn  " 

Dodici-sedicesimi  (sed^ci-dodici). 

ft 

8 

Twenty-four- 
sixteen. 

^ngt-quatre- 
seize. 

Vierundzwan- 
zigsechzehn  ** 

Ventiquattro-sedicL 

Triple  time,    (mestires  a  trois    temps,    F.    ungerader,    or    Tripel    Takt,   G. 

tempi  dispari,  /.) 

A.     Simple. 


Signa- 
tures 

No.  of 

beats  to 

English 

French 

German 

Italian 

a  meas. 

Mesure 

3  or  f 

3 

Three-one. 

&  trois-un. 

Dreieinteltakt. 

Uno-tre. 

» 

3 

Three-two. 

i  trois-deux. 

Dreizwei     " 

Tre-mezzi  (due-tre). 

i 

3 

Three-four. 

i  trois-quatre. 

Dreivier      " 

Tre-quarti  (quattro-tre). 

1 

3 

Three-eight. 

a  trois-huit. 

Dreiach       " 

Tre-ottavi  (otto-tre). 

B.     Compound. 


Signa- 
tures 

No.  of 
beats  to 
a  meas. 

English 

French 

German 

Italian 

} 

3 
3 
3 

5 
S 

Nine-four. 
Nine-eight. 
Nine-sixteen. 
Five-four. 
Five-eight. 

a  neuf-quatre. 
&  neuf-huit. 
a  neuf  -seize. 
a  cinq-quatre. 
a  cinq-huit. 

Neunvierteltakt. 
Neunach          " 
Neunsechzehn  " 
Ftinfvier           " 
FUnfach            " 

Nove-quarti  (quattro-nove). 
Nove-ottavi  (otto-nove). 
Nove-sedicesimi  (sedici-nove), 
Cmque-quarti  (quattro-cinque). 
Cinque-ottavi  (otto-cinqu«). 

"MOTE. — Some  English  writers  classify  times  also  as  quadruple  and  octuple,  and  indicate  compound  times 
by  the  signatures  of  the  corresponding  simple  times  with  a  dot  added  after  the  denominator. 

698 


DICTIONARY  OF  TERMS 


699 


tirato  (te-ra'-to),  /.  i.  Down-bow. 
2.  Pedal-coupler. 

tira  tutto  (te-ra  toot'-to),  7.  A  pedal 
mechanism  controlling  the  full  power 
of  an  organ. 

tire  (te-ra),  F.  Drawn,  pulled;  a 
down-bow,  tirez  (t6-rS).  "Use  the 
down-bow." 

Tischharfe  (t*sh'-har-feO,  G.  "Dish 
harp,"  an  autoharp. 

tit'ty.     Hindu  bagpipe. 

tiroHenne.     Tyrofienne. 

tiap  'anhuehue'tl.     Huehuetl. 

toccata  (t6k-ka'-ta),  /.  From  toe- 
care,  to  touch,  to  play.  In  its  i6th 
century  form,  a  prelude  made  up  of 
runs  and  arpeggios.  The  modern 
toccata  develops  with  great  thematic 
hilarity  and  contrapuntal  informality 
a  brilliant,  swift  and  showy  improvi- 
sation, toccatina  (t5'-na),  tocca- 
tel'la.  Short  toccata. 

toccato  (t6k-ka'-t6),  /.  A  fourth- 
trumpet  part  in  place  of  kettle-drums. 

toc'sin.     An  alarm-bell. 

To(d)tesgesang  (tot '-Ss-gS-zang) . 
To(d)teslied  (1st),  G.  A  dirge, 
To(d)tenglockchen  (glSk'-khSn). 
Funeral-bell.  To  ( d)  t enmarsch 
(marsh).  Funeral  ("dead")  march. 

tombeau  (t6n-b6),  F.  "Tomb."  Dra- 
matic elegy. 

tomb'estere.  Old  -E.  A  dancer  with 
tambourine. 

torn 'torn.     Hindu  drums. 

Ton  (t6n),  pi.  TSne  (ta'-nS),  G.  i. 
Tone.  T.-bestimmtmg,  or  -mes- 
sung.  Calculation  of  tones.  Ton- 
gattung  (gat'-toongk).  The  division 
of  the  octave.  The  selection  of  tones. 
Hence,  mode.  T.-rein.  True  in 
pitch.  T.-bildung.  Tone-produc- 
tion; voice- training.  T.-biihne. 
Orchestra.  T.-dichter.  Tone-poet, 
composer  (also  T.-setzer).  T.- 
dichttmg  (dlkh-toongk)  or  satz. 
Composition.  T.-farbe  (far-be). 
Tone-colour,  timbre.  T.-foIge.  Series 
of  tones.  T.-ftihrung.  Melodic 
progression,  modulation.  T.-fuss, 
T.-fall  (or  -schluss).  Cadence, 
T.-setzung,  or  -verhalt.  Rhythm, 
measure.  T.-gang.  Melody.  T.- 
gebung.  Intonation.  T.-kunde. 
Science  of  music.  T.-ktinst  (koonst), 
Music;  the  art  of  music.  Tonkunst- 
schule.  School  of  music.  Ton- 
lehre  (ton'-lfi-rS),  Acoustics.  Ton- 
leiter  (li-tSr).  Scale.  T.-loch. 
Ventage.  T.-inalerei.  "Tone- 
painting,"  .programme  music.  T.- 


messer.  Monochord,  siren,  sono- 
meter. Tonschlussel  (shliis'-s^l). 
Key-note.  T,-runge.  Fugue.  T.- 
setzku^ast.  Art  of  composition.  T.- 
sprache.  Music.  T.-stuck  or 
-werk.  Piece  of  music.  T.-schrift. 
Musical  notes.  T.-verwandschaft. 
Relation  of  tones.  T.-verziehting. 
Tempo  rubato.  T.-verSndemag. 
Modulation.  T.-werkzeug.  In- 
strument (including  the  voice).  T.- 
system,  or  wissenschaft.  Theory 
of  music.  T.-zeiclien.  Note  or 
other  musical  sign. 

2.  Pitch,     den    T.     angaben     (hal- 
ten).     To  give  (keep)  the  pitch.     T.- 
hohe.      Pitch.      T.-lage.      Register. 

3.  Key,  octave-scale,  mode,  usually 
Tonart  (tonr-art).       T.-anverwand- 
schaft  (fSr-vant '-shaft).       Key-rela- 
tionship. T.-geschlecht         (gS- 
shlSkhtO.        Mode   (i.   e.,   major   or 
minor).        Tonabstand   (ap-shtant). 
Interval.     T.-achtel.     Eighth    note. 
T.-stufe.         Degree.         T.-umfang. 
Compass. 

ton  (t6n),  F.  i.  Tone.  t.  bouche 
(boo-sha).  Stopped  tone  of  *.  horn. 
t.  entier  (an-tl-a).  Whole  tone.  t. 
-feint  (fan).  Old  term  for  flatted 
tone.  t.  ouvert  (oo-var).  Open  tone, 
of  a  wind-instr.  t.  g4n£rateur  (zha- 
na-ra-tiir).  Fundamental.  2.  Pitch, 
downer  le  t.  Give  the  pitch.  3.  Key, 
scale,  mode.  t.  majeur  (mineur). 
Major  (minor)  key.  t.  relatif.  Re- 
lated key.  t.  de  I'gglise  (du  la- 
glgz).  Church-mode.  4.  Crook  of  a 
horn.  t.  de  rechange,  or  du  cor. 
Tuning-fork. 

tonadica  (t6-na-d5'-ka),  tonadiUa 
(del'-ya),  Sp.  Cheerful  song  with 
guitar. 

to'nse  fic'ti,  L.  Transposed  church- 
modes. 

to'nal.  Relating  to  a  tone,  a  key. 
mode,  etc.  Vide  FUGUE,  and  IMITA- 
TION. 

Tonalitat  (tSn-al-I-taf),  G.,  tonalitS 
(t6n-ai-I-ta),  P.,  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  and  constant  relation- 
ship with  this  key,  the  composition 
has  not  overstepped  its  general 
tonality. 

ton 'do,  /.     Round,  full  (of  tone). 

tone.  i.  A  sound  of  musical  quality 
and  regular  vibration  as  opposed  t6 


700 


DICTIONARY  OF  TERMS 


noise.  2.  A  sound,  (a)  of  definite 
pitch,  (b)  of  a  definite  quality.  3.  A 
lull  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.  Of  fifth-tones, 
quint-tones,  third  tones.  Vide  QUINT- 
TONES,  bridge-tone.  Vide  TONIC 
SOL-PA,  tone-colour.  The  distinc- 
tive quality  or  timbre  of  a  tone, 
tone-painting.  Description  by  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  relation- 
ship; c  is  so  related  to  g,  f,  e,  ab,  a, 
and  eb,  etc. 
tfinen  (ta'-nSn),  G.  To  sound.  tS'nend. 

Sounding. 

tongue,  i.  Reed,  or  the  vibrating 
metal  slip  of  a  reed;  hence,  tongue- 
pipes.  2.  A  s  a  verb,  to  use  the 
tongue  in  playing  wind-instr.;  called 
tonguing.  Vide  DOUBLE-TONGUING. 
Triple-tonguing  is  the  rapid  iteration 
by  tongue-  thrust  with  the  consonants, 
t-k-t,  t-k-t,  etc. 

ton'ic,  E.,  tonica  (t5'-n£-ka),  /.,  To'- 
nika,  G.,  tonique  (tS-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. 
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 
modified  from  solmisation  (q.v.),  and 
consisting  of  doh  for  do,  ray  for  re, 
me  for  mi,  4ah  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 
accent  being  affixed  below  or  above 
the  letter  to  indicate  an  octave  lower 
or  higher  as  d'  r'.  Sharps  are  sung 
d€,  r5,  etc.,  flats  da%  ra,  etc.  In 


modulation,  bridge-tones  are  indi- 
cated by  the  new  key-value  of  the 
tone  large  with  its  old  key  value 
small  as  ad.  In  notation,  rhythm  is 
expressed  by  time-spaces,  the  num- 
ber varying  according  to  the  beats 
or  pulses  in  the  bar;  a  thick  bai 
before  a  letter  marks  a  strong  accent; 
a  colon  a  weak  accent;  a  dot  and  a 
comma  mark  half  and  quarter  beats, 
a  dash  indicates  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.  grav'is,  tris'tis,  mys'ticus, 
hatmon'icus,  laet'us,  devo'tus, 
angelicas,  perfect'us,  respectively 
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  (t6-ka).     touquet,  F.     Toccato 

toomour'ah.     Hindu  tambourine. 

too'rooree'.     Brahmin  trumpet, 

toph  (t6f),   Heb.     Hebrew  tambourine. 

torcelli  (t6r-chSl'-le),  /.     Organs. 

tosto  (t6s'-t6).  Quick,  rapid.  piu 
tosto.  Rather;  sooner. 

touch,  i.  Act  or  style  of  pressing  the 
keys  of  a  key-board  instr.  2.  The 
response  or  resistance  of.  the  action. 

touche  (toosh),  F.  i.  Touch.  2.  A 
digital.  3.  A  fret.  4.  A  finger- 
board. 

toucher  (too-sha),  F.  r.  As  a  noun, 
touch.  2.  As  a  verb,  to  touch,  play. 

touchette  (too-sheV),  F.     Fret. 

toujours  (too-zhoor),  F.    Always.    V?ae 

S1SMPKE. 

touquet  (too-ka),  F.     Toccato. 
tourdion    (toor-dl-6n),    F.    See   SATTA- 

KELLA   2. 

tourmente  (toor-man-ta),  F.  Over- 
elaborated. 

tourne-bpute  (toorn-boot),  F.  An 
instr.  like  a  flute. 

tour  de  force  (toor  dtt  f6rs),  F.  Bra- 
vura passage,  etc, 

tourniquet  (toor-nl-ka),  F.     Plug,  cap. 

touta'ri.     Hindu  bagpipe. 

tout  (too),  pi.  touts  (too),  or  toutes 
(toot),  F.  All.  t.  ensemble  (too- 
tan-san'-bl).  All;  the  whole  to- 
gether; the  general  effect. 

toy.  A  trivial  air  or  dance,  toy  sym- 
phony. A  comic  work,  particularly 
one  by  Haydn  employing  toy  cuckoo, 
trumpet,  etc. 

tp.     Abbr.  of  Timpani. 

tr.     Abbr.  for  trumpet  or  triD 


DICTIONARY  OF  TERMS 


701 


nraek'ers,  E.,  Tractur  (trak-toor'),  G. 

Vide  ORGAN. 

tract,  £.,  trac'tus,  L.  Solemn  melo- 
dies sung  from  the  Psalms  during 
Lent  in  the  Requiem  Mass.  The 
words  are  taken  from  the  Psalms. 

tradolce  (tra-dol'-che1),  /.     Very  sweet. 

tradotto  (tra-d6t'-t6),  7.  Translated, 
arranged. 

Tra 'gen'der  Stim'ine,  G.     Portamento. 

traine1  (tr£-na),  F.  i.  Slurred.  2-  A 
slow  waltz. 

trait  (trS),  P.  i.  Passage  as  t.  de 
chant.  Vocal  run.  2.  A  phrase, 
progression.  t.  d'harmonie.  Se- 
quence. 3.  Rule.  t.  d'octave. 
Rate  of  the  octave. 

traite  (trS-ta),  F.     A  creatise. 

Traktur  (trak-toor'),  G.  Trackers. 
Vide  ORGAN. 

tranquillezza  (tran-kwfl-l£d'-za),  tran- 
quillite  (tran-kwn-li-ta/),  /-  Tran- 
quillity, tranquil  lo,  tranquilla- 
men'te.  Calm(ly). 

transcription  (in  F.  tran-skr6ps-y6n). 
A  rearrangement  of  a  composition 
for  a  different  instr.  or  instrs.  t. 
unif  orme.  The  notation,  common  in 
French  bands,  of  writing  all  the 
transposing  instrs.  in  the  G  clef. 

transient.  Used  of  notes,  chords  and 
modulations  that  are  merely  passing 
and  secondary,  the  means,  not  the 
end. 

tran'sito,  L.,  transition  (in  F.  tran- 
ses-y6n).  i.  A  modulation  of  tran- 
sient value;  so  also  in  Tonic  Sol-fa. 

tran 'situs,  L.  A  passing  note  (usu- 
ally t.  re'gularis).  t.  •  irre'gularis. 
Changing  note. 

transponi(e)ren  (pQ-n5'-r&i),  G.  To 
transpose.  traasponi'rende  In'- 
strumente.  Transposing  instrs. 

transpose,  E.,  transposer  (tr3,n-sp6- 
za),  F.  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. 

transposing,  i.  Used  of  instruments, 
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  may  be  insured,  by 
keeping  the  fingering,  etc.,  the  same 
in  all  keys,  the  key  of  the  instr.  being 
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  Eb  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  (trans-p6-zX-turO>  F.  i. 
One  who  transposes.  2.  A  single- 
valve  inv.  by  Gautrot  as  a  substitute 
for  the  series  usually  used.  3.  A 
key-board  instr.,  piano  t.,  inv.  by  A. 
Wolff,  1873. 

transposition  (in  G.  trans-po-ze'-tsl- 
6n).  The  changing  of  the  key  of  a 
composition.  T.-skalen.  Trans- 
posing Scales.  Vide  MODES. 

transverse  flute.     Vide  FLUTE. 

traquenard  (tr&k-nar)7  F.  A  brisk 
dance. 

trascinando  (tra-sM-nan'-do),  7.  Drag- 
ging, retarding. 

trascrit'to,  /.     Copied,  transcribed. 

trasportato  (tra-sij6r-tS/-to),  7.  Trans- 
posed, chiavi  trasportati.  Vide 

CHIAVETTE. 

tratt.     Abbr.  of  trattenuto. 

trattato  (trat-ta'-t6),  /.     Treatise. 

trattenuto  (noo'-to),  /.     Retarded. 

Trauergesang  (trow'-Sr-gS-z&ag),  G. 
Dirge.  Trauermarsch  (marsh). 
Funeral-march.  trauervoll.  Sad. 
traurig  (trow'-rlkh).  Heavy,  sad. 

travaffler  (tra-vi-ya),  F.  To  work; 
to  lead,  play  solo  part.  travaillS 
(vi-ya).  Worked  up  elaborately. 

Travers'fl6te.  i.  A  cross-flute.  2.  A 
4-ft.  stop. 

traversiere  (tr£-vSrs-yar),  F.,  traverse 
(tra-v&r'-so).  Vide  FLUTE. 

tre  (tra),  /.  Three,  a  tre.  For  three 
voices  or  instrs.  tre  cor'de.  Loud- 
pedal.  Vide  PIANO,  tre  volte.  Three 
times. 

treble,  i.  The  highest  voice,  soprano 
(from  triplum,  q.v.).  2.  Highest 
part  of  a  comp.  3.  Highest  register. 
4.  The  highest  of  a  group  of  instrs. 
t.  clef.  The  G  clef.  t.  forte  stop. 
A  stop  for  cabinet  organs,  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'-me'),  G.  Thir- 
teenth. 

treibend  (tri'-bSnt),  G.  Hurrying,  ac- 
celerating. 

treizieme   (trSz-ySm),   F.     Thirteenth. 

tremblant  (tran-blan),  F.,  tremen'do, 
/.  Shaking.  trembler  (bla),  F. 
To  trill.  Vide  TREMULANT,  trem- 


702 


DICTIONARY  OF  TERMS 


blement  ttran-bl-man),  F.  A  trill, 
shake. 

tremolando  (tram-5-lan'-d5),  tremo- 
late  (la'-tS),  tremolo  (tr§/-mo-lS), 
tremulo  (tra'-mpo-lo),  /.  Trembling, 
trilling,  quivering,  reiterated  with 
great  rapidity. 

trem'olant,  trem/ulant.  A  stop  which 
gives  to  the  tone  a  waving  or  trem- 
bling effect. 

tremore  (tra-mo'-re"),  tremoro'so,  I. 
Tremor  (ous). 

tremuli(e)ren  (trS-moo-le'-rSn),  G.  To 
trill. 

trench. 'more.  An  old  English  dance  in 
triple  or  compound  duple  time. 

trenise   (tra-nez).  F.     Vide  QUADRILLE. 

trenodia  (tra-no'-dl-a),  /.  A  funeral- 
dirge. 

trfcs  (trS),  F.     Very. 

tres'ca,  trescone  (tr&s-kS'-ne"),  /.  A 
country-dance. 

Treter  (tra'-ter),  G.     Bellows  treader. 

tri'ad,  E.,  triade  (in  F.  tre-ad;  in  I. 
tre-a'-de").  A  chord  of  three  tones. 
Vide  CHORD,  harmonic  t.  Major 
triad. 

Wangle,  E,.  (in  F.  tre-Sngl),  Trian- 
gel  (tre'-ang-el),  G.,  triangolo  (trg- 
an'-g6-lo),  J.,  triangulo  (tre-an'-goo- 
16),  Sp.,  triang'tdus,  L.  A  small 
steel  rod  bent  into  a  triangle  and 
tapped  with  a  straight  rod,  for  em- 
phasising rhythm.  Triangular  harp. 
Vide  HAJUP, 

tri'as,  L.  Triad,  t.  defic'iens.  Im- 
perfect chord,  t.  harmo'nica.  Per- 
fect chord. 

tri'chord.  The  three-stringed  lyre.  t. 
piano.  One  with  three  strings  tuned 
in  unison  for  each  note,  trichord'- 
on.  3 -stringed  colachon. 

Trichter  (trXkh'-ter),  G.  i.  Tube  of  a 
reed-pipe.  2.  Bell  of  horn,  etc. 

tricin'ium,  L.     An  unaccompanied  trio. 

tricorde    (tre-k6r'-de"),    /.     3-stringed. 

tridiapa'son,  Gr.     A  triple  octave. 

tri'gon,  trigo'num.  A  3-stringed  lyre- 
like  instrument. 

trihenuto'nium,  Gr.     Minor  third. 

trill,  trille  (trg'-yii),  F.,  Triller  (trfl'- 
Igr),  G.,  trillo  (triT-lo),  I.  The  rapid 
alternation  of  a  principal  note  with 
an  auxiliary,  usually  the  major  or 
minor  second  above  (a  small  chro- 
matic sign  being  set  above  the  note 
when  its  auxiliary  is  not  to  be  dia- 
tonic). The  trill  begins  on  the 
auxiliary  note  only  when  the  aux- 
iliary is  written  as  a  grace  note  before 
the  principal,  in  this  case  the  trill 


ends  on  the  principal;  normally  it 
ends  on  the  auxiliary.  A  trill  is 
long  or  short  (trillette  (tre-y£t),  p 
trillet'ta,  trillet'to,  7.)  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,  chevrotement,  or  trillo 
caprino.  trillettino  (te'-no),  /.  A 
soft  trill,  imperfect  t.  One  with- 
out a  turn  at  the  close.  In  Caccini's 
Method,  1 60 1,  the  trillo  was  the 
reiteration  of  a  single  note,  our  trill 
being  called  gruppo.  trillando  (trel- 
lan'-dS),  J.  r.  Trilling.  2.  A  suc- 
cession, or  chain,  or  shakes  on  dif- 
ferent notes,  trillern  (trfl'-lSrn),  G 
To  trill.  Vide  GRACES  and  SIGNS. 

trine  (tren).  A  triad,  with  2  major 
thirds. 

Trinkgesang  (trhik'-gg-zang),  T.-lied 
(1st),  G.  Drinking-song. 

txino'na.     Open  8-ft.  stop. 

trio  (tre'-o"),  J.  i.  A  composition  for 
three  instrs.  or  voices,  often  in  sonata 
form,  pianoforte  trio,  pf .,  vln.,  and 
'cello,  string  trio  (vln.,  viola  (or  ad 
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-  Gaining  its 
name  from  being  once  written  in  3 
parts,  the  word  should  now  be  laid 
aside  as  meaningless  and  confusing, 
and  the  phrase  second  part,  or  second 
subject  used  instead. 

Triole  (trf-O'-lS),  G.,  triolet  (in  F.  tre- 
6-la).  A  triplet. 

triomphale  (tre-6n-fal),  F.,  trionfale 
(tre-6n-fa'-le"),  /-  Triumphal,  triom- 
phant  (tre-6n-fan),  F.,  trionfante 
(trg-dn-fan'te1),  /.  Triumphant. 

tripar'tite.     In  three  parts. 

tripel  (tre'-pel),  G.  Triple,  as  T. 
fuge,  triple  fugue.  T.-konzert. 
Triple  concerto.  T.-takt.  Triple 
time.  T,-zunge.  Triple-tonguing. 

triph/ony.  Three  sounds  heard  at 
once,  tripho'nia.  Organum  in  3 
parts,  triphonisch  (tre-fS'-nlsh),  G, 
Triphonic,  3-voiced. 

tripla  (tre'-pla),  /.  Triple  time.  t.  de 
min'ixDa.  i*  3-2  time.  2.  Triplet. 


DICTIONARY  OF  TERMS 


703 


triple  {in  F.  trSp'-l).     Threefold.     Vide 

TIME,  COTTNTEHPOINT,  etc.       t.-CTOCb-C 

(krdsh).     32d  note, 
triplet.     A  group  of  three  equal  notes. 

doublet.     A  sextole. 
triplum,  L.     The  third  part  in  organ- 
urn,  hence  the  highest;  in  4-part  next 
to  the  highest,  the  4th  being  called 
quadruplum;  if  there  is  a  sth  it  is 
called  quintuplum,  etc. 
tripola  (tre'-p6-la),  J.     Tripla. 
Trisa'gion,  Gr.,  Trisa'gium,  L.    "Thrice 

Holy,"  the  Sanctus. 
trisemito'nium,  L.     Minor  third. 
tristezza  (trls-tSd'-za),  7.     Sadness. 
tristro'pha,  Gr.     Triple  square  note  of 

the  greater  stress. 

tnton  (tre-t6n),  F.,  tritone  (trl'-t5n), 
£.,  tritono  (tre-to'-no),  /.,  tri'to- 
nus,  L.  (in  G.  tr€-to-noos')-  An  aug- 
mented fourth;  long  a  forbidden 
interval  in  strict  writing,  since  it  was 
augmented  and  was  said  to  be  hard 
to  sing,  mi  chord  of  the  t.  Third 
inversion  of  the  dominant  seventh, 
which  contains  the  tritone.  Vide  MI. 
tri'ton  a'vis,  L.  "3-toned  bird,"  a 
West-Indian  bird,  capable  of  singing 
B.  note,  and  its  twelfth  and  seven- 
teenth, all  at  the  same  time. 
Tritt  (trit),  G.  Treadle,  pedal.  Tritt'- 
schuh  (shoo).  Place  for  the  foot  on 
bellows.  Trittliarfe.  Pedal-harp. 
Tritt'bret  or  T.-holz.  The  board 
on  which  the  bellows-treader  steps, 
tri'tus,  L.  Lydian  Church-mode, 
triumphirend  (tre-oom-f§'-r£nt),  G. 
Triumphant.  Triumphlied  (let). 
Song  of  triumph. 

trois     (trwa),     F.     Three,     mesure     a 

trois-deux  (trwa  du).     3-2  time.     A 

trois-huit   (trwa   zw5t).         3-8   time. 

trois-quatre  (trwa  kS.tr) .     3-4  time. 

troll,     i.  Round    or    catch.     2.  As    a 

verb,  to  sing  a  catch. 
tromba  (tr6m'-ba),  /.  i.  A  trumpet. 
2.  8-ft.  reed-stop,  t.  croma'tica,  /. 
Valve  trumpet.  t.-bas'sa,  or  di 
bas'so,  or  spezzata  (sp6d-za-ta). 
The  bass  trumpet,  t.  da  tirar'si. 
Old  slide  trumpet,  perhaps  a  soprano 
trombone,  t.-marina  (ma~r€'-na),  /. 
Marine  trumpet,  spezzata  (spSd-za'- 
ta),  7.  An  obsolete  name  for  the 
bass  trombone,  t.  sor'da.  Muted 
trumpet,  tromb adore  (do'-re1),  trom- 
bacelloclyde.  A  Bb  ophicleide. 

tromb  et'ta,     tromb  ettino      (te'-no), 
trombettatto're    or    -iere     (I-a'-rS). 
i.  Trumpet.     2.  A    small    trumpet. 
trombone    (in    JK.    tram'-bQn;    in     /. 


trdm-bQ'-ne-;  in  F.  tr6n-biin),  /.,  pi. 
-i.     i.  A    trumpet-like    instr.    with 
valves;   or   more   anciently,    with   a 
tube    that    may    be    lengthened    or 
shortened  by  means  of  a  U-shaped 
portion  to  be  pushed  in  or  drawn  out. 
This  slide  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    being    obtained    by 
variations  of  pressure  (vide  EMBOU- 
CHTOE).     The    tone    of    the    instr., 
though  suffering  from  misuse  in  bad 
hands,    is    of    the    utmost    richness, 
dignity  and  humanity.     Berlioz  calls 
it   "epic."     It  is   a  non-transposing 
instr.  in  four  sizes,  the  tenor  being 
most  used;   the  tenor  and  alto  are 
written  on  the  C  clef,  the  bass  and 
contrabass  on  the  F  clef,  compasses, 
tenor,  chromatic  E-b'b   (with  pedal- 
tones     0,-B'b,    and    difficult    tones 
b'-d"),     alto,     A-e"t>;     bass     B,-f. 
2.  A  powerful  8,  1 6  or  32  ft.  stop. 
Trommel       (tr6m'-mel),       G.     Drum. 
gros'se  T.     Bass  drum.     MilitUr-t., 
or     Wirbel-t.     Side     drum.     Roll-t. 
Tenor  drum.     T.-bass.     A  bass  note 
thumped  drum- wise.    T.-boden  (bQ'- 
den).     Bottom  of  a  drum.     T.-kas'- 
ten.     The    body    of    a    drum.     T.- 
IdSpfel     (klSp-fel),     or     T.-schlSgel 
(shla-gel).      Drumsticks.      T.-schia- 
ger.      Drummer,      trom/meln.     To 
drum;  drumming. 
Trommelstiick    (trdm'-mSl-shtuk),    G. 

Tambourine,  tabor. 

trompe  (tr6np),  F.  i.  Hunt-horn.  2. 
Reed-stop,  t.  de  B6arn  (du  bS-S,rn). 
or  a  laquais  (a  l&k-SO-  Jew's  harp. 
Trompete  (tr6m-pa'-tS),  G.  i.  Trum- 
pet. 2.  A  reed-stop.  Trompeten- 
geige.  Marine  trumpet.  Trompe- 
tenzug  (tsookh).  Trumpet-stop. 
Trompeter  (tr6m-pa'-te>),  trompe- 
teur  (tr6n-pa-ttlr),  F.  Trumpeter, 
trompette  (tr6n-pSt),  F.  i.  A  trum- 
pet. 2.  Trumpeter.  3.  A  reed-stop, 
t.  &  coulisse  (a  koo-les).  Slide- 
trumpet,  t.  a  clefs  (a  kla).  The 
trumpet  with  keys.  t.  &  pistons  (a 
p5s-t6n).  Valve  trumpet,  t.  d'har- 
monie  (dar-mtl-ne).  Orchestral  t. 
t.  harmonieuse  (ar-mdn-yiiz).  Trom- 
bone, t.  marine.  Marine  trumpet. 
t.  harmonique  (ar-mttn-ek) .  A  reed- 
stop. 

troop,  i.  A  quick  march  for  trooping 
the  colours.  2.  The  2d  drum-beat  a« 
a  march-signaL 


704 


DICTIONARY  OF  TERMS 


trope,  tro'ptis.  i.  A  Gregorian  for- 
mula for  the  close  of  the  lesser  doxol- 
ogy,  2.  Mode. 

troppo  (tr6p'-p6),  7.  Too,  too  much, 
lento  ma  non  t.  Slow,  but  not  too 
slow. 

troubadour  (troo-ba-door),  F.,  trova- 
dor  (tro-va-dhdr),  Sp.,  trovatore 
(tro-va-tS'-re1),  J.  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  (m6- 
nestrels,  m6n6triers,  or  jongleurs)  in 
attendance  on  him.  trouvdres  (troo- 
var),  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. 

triib(e)  (triip  or  trii'-bS),  G.     Sad. 

Trug  (trookh),  G.  Deception.  T.- 
fortsdbireitung.  Progression  of  a 
dissonance,  not  to  its  resolution,  but 
to  another  dissonance.  T.-kadenz, 
or  -schluss.  Vide  CADENCE. 

Trumbscheit  (troomp'-shlt),  G.  Ma- 
rine trumpet. 

trump.      i.  Trumpet.      2.  Jew's  harp. 

trump '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. 
written  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,  tht  tone 
being  produced  by  embouchure  (q.v.) 
except  in  the  valve,  or  chromatic, 
trumpet;  which  is  displacing  the  older 
form.  Its  extreme  compass  is  d-b'V 
In  England  the  slide  trumpet  is  used, 
working  like  a  trombone  but  with 
shorter  slide.  Trumpets  of  the  same 
key  but  sounding  an  octave  apart  are 
caUed  alto  (high),  and  basso  (low). 
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  fiddle."  It  was  played  chiet- 
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. 

Trumscheit  (troom'-shit),  G.  Marine 
trumpet. 

t.  s.     Abbr.  of  Tasto  Solo. 

tscheng  (chSng).     Cheng. 

tschung  (choong).     Chinese  gong. 

tuba  (too'-ba),  /.  i.  The  lowest  of  tht 
saxhorns  (q.v.),  an  enormous  brass 
horn  with  four  pistons,  a  trombone- 
like  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  raade  of  3  sizes, 
the  bass  or  the  euphonium,  in  B  flat 
(compass  available  Bx[>— f ')>  or  in  E,b; 
the  bombardon,  a  fifth  lower;  and  the 
contrabass  tuba  (or  bombardon) 
in  Bb  an  octave  lower  than  the  eupho- 
nium. 2.  The  straight  Roman  trum- 
pet, or  t.  cornmunis;  the  t.  due'- 
tills,  being  curved.  3.  t.  curva.  A 
limited  natural  French  trumpet  of 
the  1 8th  Century.  4.  A  powerful 
8-ft.  reed-stop,  t-  major,  t.  mirab'ilis, 
t.  clarion.  A  4-ft.  stop. 

tu'bicen,  L.     A  trumpeter. 

tuck'et.     A  flourish  of  trumpets. 

tuiau  (twg-6),  F.     Tuyau. 

tumultuoso  (too-mool-too-S'-sQ),  I. 
Agitated. 

tun.     Ancient  Yucatan  drum. 

tune.  An  air  or  melody,  usually  short 
and  simple. 

tu'ner.  i.  One  who  tunes  instruments. 
2.  The  flap  or  cut  in  the  top  of  a 
pipe  by  which  it  is  tuned.  3.  Tun- 
ing-cone. 

tu'ning*  i.  The  correction  of  the  tone- 
production  of  an  instr.  2.  Accorda- 
ture.  t.-cone  or  horn.  A  cone  of 
horn  or  metal  which  can  be  inserted 
in  the  top  of  an  organ-pipe;  by 
"coning  put"  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.- 


DICTIONARY  OF  TERMS 


705 


crook.  Vide  CROOK.  t.-fork.  A 
small  steel  instr.  with  two  prongs 
which  upon  being  struck  sounds  a 
certain  fixed  tone.  t.-hammer  or 
key.  A  hand-wrench.  t.  slide. 
i.  An  English  instr.  for  producing 
thirteen  semitones.  2.  An  adjust- 
able U-shaped  portion  of  the  tube 
of  certain  brass  instr s.  t.  wire.  Vide 
REED  and  PIPE. 

tuono  (too-5'-no),  7.  i.  Mode,  as  t. 
ecclesias'tico.  Church-mode.  2. 
Tone. 

tuorbe  (tw6rb),  F.     Theorbo. 

tur'ba,  pi.  -»,  L.  "Crowd,  multi- 
tude." The  heathen  or  Jewish 
chorus  in  Passion  music. 

turbinoso  (toor-bl-no'-so),  I.  Tempes- 
tuous. 

turbo  (toor'  bo),  Gr.  A  seashell  trum- 
pet. 

turco  (toor'-ko),  /.  Turkish.  alia 
turca.  In  the  style  of  Turkish  music. 

turdion  (toor'-dX-On),  Sp.,  turchesco 
(toor-kS'-skS),  /.  An  old  dance. 

tfirkish  (tiir'-klsh),  G.  Turkish.  Turk- 
isch-muzik.  Janizary  music. 

turn.  An  embellishment  consisting  of 
a  principal  tone  (struck  twice)  and 
Dne  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  regular  turn 
usually  begins  on  the  upper  auxiliary; 
the  back  or  inverted  t.  begins  with 
the  lower;  the  rebounding  or  trilled 
t.  begins  with  a  passing  shake;  the 
double  t.  affects  two  notes  at  once. 
Vide  GRACES. 

turr.     3-stringed  Burmese  violin. 

Tusch  (toosh),  G.  A  triple  flourish  of 
trumpets  and  drums. 

Tute  (too'-tg),  G.     Cornet. 

tutta  (toot'-ta),  tutto,  pi.  tutte  (toof- 
te*),  or  turd  (toot'-tg),  /.  All;  the 
entire  band  or  chorus;  in  a  solo  or 
concerto  it  means  that  the  full  or- 

-  chestra  is  to  come  in.     tutte  corde 
(kdr'-dS).     "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.  a  anche.  Reed- 
pipe,  t.  a  bouche.  Flue-pipe. 

twelfth,  i.  An  interval  of  an  octave 
plus  a  fifth,  2.  A  stop  twelve  tones 
above  the  diapasons. 


twenty-second.     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  resembling 
the  waltz,  but  in  duple  accent. 

tymb'estere.     Vide  TOMBESTERE. 

tym'pan.  i.  Timbrel.  2.  Drum.  3. 
Irish  instr.,  perhaps  the  crowd, 
tympani  (tim'-pa-ne;),  /.,  pi.  Kettle- 
drums, tyrnpanis'ta.  Kettle- 
drummer. 

tympanischi'za.     Marine  trumpet. 

tympan'on  (tem-pa-n6n),  F.  i.  Dul- 
cimer. 2.  Kettle-drum. 

tympanum,  L.  i.  Ancient  drum 
resembling  the  kettle-drum.  2. 
Kettle-drum.  3.  The  water-wheel 
in  old  hydraulic  organs. 

ty'pophone.  A  piano-like  instr.,  with 
steel  wands  instead  of  strings,  com- 
pass c'-c'"". 

tyrolienne  (te-r6l-ySn),  F.  i.  Song,  or 
dance  peculiar  to  the  Tyrolese;  and 
characterised  by  the  jodel.  2.  Round 
dance  in  3-4  time. 

tzeltzelim,  Heb.     Cymbals. 

tzet'ze.     Abyssinian  guitar. 

tzi'ti.     Hindu  bagpipe. 


tJbeUdang      (u'-bel-klang)      or      -laut 

8owt),  G.  Discord,  flben  (ii'-ben), 
.  To  practise. 

iiber  (li'-ber),  G.  Over,  above.  U.- 
einstixnmung  (In  -sht  Jm-moongk) . 
Harmony.  fL-gefiihrt  (gS-furt).  Di- 
vided (of  stops).  u.-greifen  (grJ- 
fJSn).  (a)  To  cross  the  hands;  (b)  to 
lift  the  thumb  from  the  neck  of  a 
'cello,  ii.-greifendes  System  (zes'- 
tam).  Hauptmann's  plan  of  form- 
ing a  new  key-system  by  adding  to 
the  group  of  triads  of  one  key,  a 
triad  in  its  dominant  or  sub-dominant 

..key. 

u.-blasen  (bla^zSn).  Overblowing, 
to  overblow,  tl.-gang  (gang).  Tran- 
sition, modulation,  "u.-leitung 
(li-toongk).  Transition  passage,  ti.- 
mSssig  (m€s-sXkh).  Augmented,  u,- 
schlagen  (shla'-gSn).  (a)  To  cross 
over  Qthe  hands),  (b)  To  overblow, 
(c)  To  break,  ii.-setzen  (zeV-zSn) . 
To  pass  a  finger  over  the  thumb;  or 
one  foot  over  the  other,  u.-steigen 
(shti'-ghSn).  For  a  part  to  soar 
temporarily  higher  than  the  part 
normally  above  it. 


706 


DICTIONARY  OF  TERMS 


tJbung  (ti-boongk),  G,  (pi.  -en).  Ex- 
ercise; a  study.  Ubungsabend.  Pu- 
pils' concert. 

mgab  (oo'-gab),  Eeb.     An  organ. 
trguale    (oo-gwa'-le1),    /.     Equal,    like. 
ugualita  (U-tftO-     Equality,     ugual- 
men'te.     Equality,  alike. 
•am  an  a  (oo-ma  ~na),  /.     Human,     yo- 
ceu.  (vo'-chS).    i.  The  human  voice. 
2.  A  stop. 

Umfang  (oom'-fSng),  G.     Compass. 
umgekehrt       (oom-gg-kSrt'),    G.     Re- 
versed, inverted. 

Umkehrung  (oom-ka'-roongk),  G.  In- 
version. 

umore  (oo-mo'-rS),  7.     Humour. 
uxn   (oom),  G.     Prefix  about,  around, 
umschlagen   (sl2/-g£n).     i.  To   break, 
to    make    a   pronounced   change    of 
register.       2.  To  overblow.  ^    3.  To 
make     the     goose.       Um/stimmung 
(shtlm-moongk).      (a)  Change,      (b) 
Cordature,  pitch  or  key. 
tin.     Abbr.  of  Unison. 
tin   (tin),  F.,  tin  (oon),  tina  (oo'-na1), 

tino  (oo'-n6),  /.     A,  an,  one. 
unaccented.     Vide  PITCH. 
unaccompanied.      Without  instrumen- 
tal accompaniment, 
unacknowledged.         "Used   of   passing 

or  unessential  notes. 
un/ca,   L.        "Hooked";  quarter  note. 

bis  unca.     i6th  note. 
uncoupled.     With  coupler  released, 
und  (oont),  G.     And. 
un'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, 
undecima  (oon-da-ch5'-ma),  L.  and  /. 

An  eleventh. 
undecimole  (oon-da-ch*-mo'-lg),  I.     A 

group  of  eleven  equal  notes, 
underchord.     The  minor  triad, 
underpart.     That   beneath,    or   subor- 
dinate to  others. 
undersong.     A  burden. 
undertone.     A  lower  partial  sometimes 
produced  by  the  simultaneous  sound- 
ing    of     two    higher    tones.     (Vide 
ACOUSTICS.) 

Undezime  (oon-da'-tsS-mS),  G.  An 
eleventh.  Unde'zimo'le.  Undeci- 
mole. 

unduia'tion,     E.,    undulazione     (oon- 
doo-la-tsl-o'-nS),  7.       Vibrato  effect 
on  bow  instruments. 
une  (tin),  F.     A,  an,  one. 
unelgentliche  (oon-l'-gent-Hkh-e*).     Ir- 
Tegular  (of  fugue-}. 


unendlich(er)  (oon-SntMlkh-^r)  ),  G. 
Endless  (of  canon). 

unequal,  i.  Vide  TEMPERAMENT.  2. 
Of  voices  =  mixed. 

unessen'tial.  Used  of  passing  and 
grace  notes,  etc. 

unfret'ted.     Vide  FRETTED. 

ungar  (oon'-gar),  ungarisch  (oon-ga'- 
rlsh),  G.  Hungarian. 

ungebunden  (oon-gS-boont'-en),  G. 
i.  Vide  FEETTED.  2.  Unconstrained! 

ungeduldig  (oon-gg-door-d3fkh),  G. 
Impatient. 

ungerade  Takt  (oon-gg-ra'-dS  takt), 
G.  Triple  time. 

ungestrichen  (oon-gS-strikh'-6n).  Un- 
accented. Vide  PITCH. 

ungestfim  (oon'-gg-shtum),  G.  Impet- 
uous. 

ungezwungen  (oon-gS-tsvoong'-gn), 
G.  Easy. 

ungleich  (oon'-glikh).  Unequal.  Vide 
COUNTERPOINT.  ungleichschwe- 

bende    (shva-b€n-dS).       Unequal,  of 
temperament  (q.v.). 

unharmo'nischer  Querstand  (kw5rA- 
shtant)  or  umstand  (oom'-shtant). 
False  relation. 

u'nichord,  E.,  unichor'dum,  L.  i. 
Monochord.  2.  Marine  trumpet. 

union  (un-y6n),  F.  Union,  u.  des 
r£gistres  (da  ra-zh6str).  Blending 
of  registers. 

unipne  (oo-nI-6'-nS),  /.     Coupler. 

u'nison  (in  G.,  oo-nX-z6nO>  uniso'nus> 
L.,  unisono  (oo-ng-s5'-n6),  /.;  unis- 
son  (ii-nls-sdn,  .P.  i.  Identity  of 
pitch.  2.  Any  octave  of  a  pitch.  3. 
A  tone  of  the  same  or  octave  pitch. 
4.  A  prime,  hence  augmented  uni- 
son. 5.  A  group  of  2  or  3  strings 
tuned  in  the  piano  to  one  note,  afi* 
unisono,  a  1'unisson,  in  unison,  or 
progressing  in  the  unison  or  the 
octave. 

unis/onant,  unis'onous.  In  unison 
or  octave. 

unito  (oo-n5'-t6),  unitamen'te,  J. 
United(ly).  ttniti  cancels  divisi 
(q.v.). 

unmeasured.  Without  definite  meas- 
ure. 

uno   (oo'-no),  una   (oo'-na),   /.     One; 
A,    an.     uno  a  uno.     One  by  one; 
one  after  another, 
unrein  (oon'-rinO,  G.     Impure;  out  of 

tune. 
unruhig  (oon-roo'-Ikh),  G.       Restless; 

uneasy. 

unschuldig  (oon-shool'-dikh),  G.  In- 
nocent. 


DICTIONARY  OF  TERMS 


707 


unsingbar  (oon-zing'-bSr),  G.  Not 
singable. 

unstrung.  Of  strings  (a)  relaxed  in 
tension,  (b)  removed  entirely. 

later  (oon'-tSr),  G.  Under,  below, 
sub.  U.-bass  (bas).  Double  bass. 
UVbrechung  (brSkh'-oongk).  Inter- 
ruption. u.>-t)rochen  (brdkh-Sn).  In- 
terrupted. U.-dominante  (do-ml- 
nan'-te1).  Subdominant.  U.-halbton 
(halp-ton).  Half -step  below.  TJ.- 
haltungsstiick  (hal-toongs-shtuk) . 
.  Divertissement.  U.-leitton  (lit-ton). 
Dominant  seventh.  TJ.-tnediante 
(ma-dl-ant'-S).  Submediant.  U.- 
satz  (zats).  Supporter;  a  32-ft.  stop 
on  the  pedal,  u.-setzen  (zSt'-zSn). 
To  pass  the  thumb  under  a  finger;  or 
one  foot  under  another.  U.-stimme. 
Lowest  voice,  or  part.  U.-tasten 
(tas-tSn).  The  white  keys  of  the 
piano  or  organ.  TT.-tone  (t£-n£). 
UntertSnreihe  (rl-S).  Vide  UNDER- 
TONES. 

unverziert  (oon-f£r-ts5rt')>  G.  Unor- 
namented. 

unvolkommen  (oon'-f61-k6m-m£n),  G. 
Incomplete. 

uomo  (oo-o'-m5),  7.  A  man.  Vide 
PRIMO. 

up-beat,  i.  The  raising  of  the  hand 
or  baton,  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'-shSr  d5  too-Q'-n<5), 
7.  To  get  out  of  tune. 

u'sus,  L.  i.  The  rules  of  music.  2. 
Old  synonym  for  neumes  and  the 
neume  system. 

ttt  (tit  in  F.;  in  /.  and  L.  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  lax'is,  L.  Vide  SOLMISA- 
TION. 


V.  Abbr.  for  zwZe  =  see;  molin(s);  volti; 

voce. 
va    (va),    7.     Go    on.    va    crescendo 

(kr£-sh£n'-do),  7.     Go  on  increasing 

the  volume. 
vacilando        (vftt-chl-lan'-ds),       vaci- 


lante  (lan'-tS),  7.  Wavering,  irreg- 
ular. 

va'gans,  L.     Vague.     Vide  QUINTUS, 

vago  (va'-gd"),  7.     Vague,  rambling. 

valce  (val'-chS),  7.     Waltz. 

valeur  (v5.-lilr),  F.,  val'or,  L.,  valore 
(vS-lQ'-rS),  7.  Duration  (of  a  note). 

valse  (vais),  F.  Waltz;  used  in  E. 
rather  of  a  concert-piece  (v.  de  sa- 
lon), than  of  a  strict  dance-tune. 
v»  chante"e  (shan-ta),  vocal  waltz. 
v.  a  deux  temps  (dti  tan).  A  quick 
waltz,  with  two  steps  in  each  measure. 

value.     Duration  of  a  note  or  rest. 

valve,  valyola  (val'-vS-la),  7.  i.  The 
device  inv.  by  Claggett,  1790,  and 
Bliihmel,  1813,  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;  they 
are,  in  fact,  merely  stationary  crooks. 
The  pressure  of  a  certain  valve  acts 
as  an  instantaneous  change  of  crook 
by  shutting  off  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  lowering  the 
pitch  a  semitone,  the  second  a  tone, 
the  third  three  semitones,  thus  giving 
a  command  of  all  keys  (cf.  HARP), 
(a)  the  piston,  or  piston-valve,  is 
a  plunger  in  an  air-tight  cylinder;  by 
means  of  two  holes  the  plunger  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.  orgar*- 

-„,  valves    are    (a>    suction-valves*    or 


708 


DICTIONARY  OF  TERMS 


suckers,  which  admit  the  wind  to 
the  bellows  and  retain  it  there;  (b) 
joint-valves  which  regulate  the  air- 
density  in  the  wind  channels,  (c) 
key-valves  or  pallets,  which  are 
worked  by  a  draw-stop;  and  (d)  the 
waste-pallet  relieving  the  bellows 
of  surplus  air. 
valzer  (val-tsar),  J.  Waltz,  v.  a  due 

passi.     Two-step. 

vamp.  i.  To  improvise  an  accompani- 
ment or  prelude.  2.  Such  an  ac- 
companiment or  prelude. 
variamento  (vS,-ri-a-m£n'-t6),  J.  Va- 
riation, difference.  variamen'te. 
Varied,  freely. 

Varia'tion,  E.  (in  G.  fa-r*-a-ts*-5n',  pi. 
-en;  in  jF.  v5.r-X-2.s-y6n),  variazione 
(va-rl-S-tsW-ae,  pi.  -i),  I.  The 
manipulation  of  a  given  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  (character  variations) 
the  theme  is  subjected  to  as  much 
remodelling,  inversion,  change  of 
note-value,  etc.,  as  is  possible  with- 
out losing  entire  sight  of  its  original 
meaning;  sometimes  merely  the 
chord-relations  are  preserved,  va- 
riato  (va-ri-a'-te),  /.,  variS  (v&-r*-a), 
F.  Treated  with  variation. 

varsoviana  (3/-na),  /.,  varsovienne 
(vX-Sn),  F.  'Warsaw  dance."  Slow 
Polish  dance  in  3-4  time  with  an 
up-take  of  a  quarter  note,  and  an 
accented  down-beat  in  every  other 
measure. 

vaudeville  (v6d-vel),  F.  i.  A  country 
ballad  or  roundelay,  usually  satirical. 
2.  Operatic  or  musical  comedy. 

vc*,  vcello.     Abbr.  for  violoncello. 

veemente  (va-a-m£n'-t£),  7.  Vehe- 
ment, veemenza  (mfcn'-tsa).  Force. 

veiled,  velato  (va-la'-t6),  /.  Marked 
by  a  desirable  softening  of  the 
metallic  quality  of  a  tone;  usually 
squired  by  a  slight  escape  pf  breath. 

veUutato  (v£l-loo-ta'-t6),  /.  Velvety, 
smooth. 

veloce    (vS-to'-chS),    velocemen'te,    /. 
SwiftQy).    velocis'simo.     With    ex- 
treme   rapidity,     velocity    (ch5-ta'). 
*  Rapidity, 

veneziana  (vS-nS-tsi-a'-na),  I.  Ve- 
netian. 

vent 'age.  A  hole  in  flutes,  etc.,  to  be 
stopped  with  finger  or  key. 

Ventil    (in   G.  ffcaM;u),   ventile    (ven- 


t5'-l£),   /.     i.  Valve,   hence  Ventil- 
horn  or  -kornett.     2.  Organ- valve. 

venusto  (va-noos'-to),  I.  Beautiful, 
charming. 

v£pres  (vSpr),  F.     Vespers. 

VerSnderungen  (fer-Sn'-d&r-oong-gn). 
G.,  pi.  Variations. 

Verbindung  (fSr-blti'-doongk),  G. 
Binding,  combination.  V.-szeichen 
(tsI-khSn),  G.  Tie. 

verdeckt  (f^r-dSktO,  G.     Hidden. 

verdoppelt  (f^r-ddp'-pglt),  G.  Doubled. 
Verdop'pelung  (oongk).  Doubling. 

Verengung  (ffir-Sng'-oongk),  G.  Dimi- 
nution of  value  or  interval. 

vergellen  (fSr-gSr-lSn),  G.  To  di- 
minish* 

vergliedern  (fSr-glS'-d^rn),  G.  To  ar- 
ticulate. 

vergnugt  (fer-gnxikht),  G.     Cheerful. 

VergrSsserung  (fSr-grgs'-s^r-oongk),  G. 
Augmentation. 

Verhfiltniss  (f^r-hglt'-nls),  G.  Ratio 
or  proportion. 

verhallend  (fgr-hal'-lSnt),  G.  Dying 
away. 

verllay.     Vaudeville. 

Verkehrung  (f^r-ka'-roongk),  G.  Imi- 
tation in  contrary  motion. 

VerMeinerung  (fSr-kli'-nSr-oongk),  G. 
Diminution. 

Verkurzung  (fSr-kiir'-tsoongk),  G.  Di- 
minution of  value. 

Veriangerungszeichen  (f£r-l£ng'-er- 
oongs-tsi'-khSn),  G.  Dot  of  pro- 
longation. 

verlSschend  (fgr-lfish''-^!),  G.  Dying 
away. 

vermindert  (fSr-mln'-dSrt),  G.  Dimin- 
ished. 

Vennittelungssatz  (fer-mlt'-tSl-oongks- 
zats),  G.  Episode. 

verrillon    (vSr-6-y6fi),    F.  Mouth- 

harmonica. 

Verschiebung  (fSr-shS'-boongk),  G. 
"Shift,"  soft  pedal,  ohne  V.  With- 
out soft  pedal,  mit  V.  With  soft 
pedal. 

verschwindend     (fgr-shvXn'-d&it).,    G. 

Dying  away. 

verse,  i.  Portion  of  an  anthem  or 
service  to  be  sung  by  a  soloist  to  each 
part,  and  not  by  the  full  chorus; 
hence  Verse-anthem,  and  Verse- 
service  for  solo  voices.  2.  Line. 
3.  Stanza. 

verset'  (in  F.  v&r-sa),  versetto  (ver- 
sSt'-ts),  /.,  Versette  (fSr-stt'-tS), 
G.  i.  Short  piece  for  the  organ. 
2.  Versicle.  versetzen  (ffir-zfit'-sen), 
G,  To  transpose.  Verset  7zuJTg 


DICTIONARY  OF  TERMS 


709 


(zoongk).     Transposition.     Verset'- 
zungszeichen     (tsi'-khSn).  The 

sharp,  flat,  and  natural. 

ver'sicle,  E.,  Versikel  (fgr'-slk-el),  G. 
A  short  phrase  or  line,  combining 
with  the  response  to  form  one  sen- 
tence. 

versila're,  L.'    To  sing  antiphonally. 

verso  (vSr'-so),   /.     i.  Verse.     2.  Air. 

Verspatung  (ffcr-shpa'-toongk),  G.  Re- 
tardation. 

rerstSrkt  (f£r-sht£rkt')?  G.     Sforzando. 

verstimmt  (f£r-shtlmt'),  G.  i.  Out  of 
tune.  2.  Depressed. 

ver'tatur,  ver'te,  L.  Turn  over.  v. 
subito.  Turn  quickly. 

ver'tical.  Of  piano-strings,  in  one 
plane;  opposed  to  overstrung. 

vertSnen  (fgr-ta'-nSn),  G.  To  die 
away. 

verve  (vSrv),  F.     Spirit,  energy. 

verwandt  (fSr-vanf).  G.  Related,  rel- 
ative. V.-schaft  (shaft).  Relation- 
ship. 

Verwechselung  (f  Sr-vSkh'-sSl-oongk) , 
G.  Change,  mutation,  of  key,  etc. 

verweilend  (f&r-vi'-lSnt),  G.  Retard- 
ing. 

Verwerfung  (fSr-vSrf'-oongk),  G. 
Transposing. 

verzi(e)rt  (fSr-ts6rt'),  G.  EmbelHshed. 
Verzi(e)rung  (tsS'-roongk).  Orna- 
ment. VerzSgerung  (f&>ts5.kh'-£- 
roongk),  G.  Retardation. 

verzweiflungsvoll  (f&r-tsvi'-floongs-fol), 
G.  Full  of  despair. 

Vesper  (fSs'-pSr),  G.,  vespero  (veV- 
pS-r5),  vespro  (vSs'-pro),  /.,  ves'- 
perae,  L.  Vespers.  Vide  HOILSE. 

vesperti'ni  psaTmi,  /.,  pi.  Evening 
psalms. 

vezzoso  (vSd-z5'-sS),  /.,  vezzosamen'- 
te,  /.  Graceful(ly),  tender  (ly). 

vi.     Abbr.  for  violini. 

vibrante  (vS-bran'-te1),  I.  Vibrating, 
quivering. 

vibrato  (ve-bra'-t5),  J.  i.  Vibrating, 
resonant.  2.  A  strongly  tremulous 
tone  of  distinct  vibrations. 

vibra'tion  (in  F.  vS-br&s-y6n).  The 
regular  oscillation  of  an  elastic  body, 
as  a  string,  sounding-board,  etc., 
contributing  rapid  periodic  changes 
in  the  density  of  the  air,  which  con- 
veys the  motion  in  sound-waves  to 
the  ear  (without  the  air  the  vibra- 
tions are  not  conveyed  to  the  air 
as  sound;  in  a  vacuum,  a  bell, 
for  example,  is  not  audible).  The 
strength  of  the  tone  varies  according 
to  the  amplitude  or  breadth  of  vibra- 


tions (travelling-distance  of  the 
elastic  body  back  and  forth);  the 
pitch  of  the  tone  varies  directly  with 
the  rapidity  of  the  vibrations.  The 
vibration-numbers  of  sounds  vary 
in  inverse  ratio  with  the  length  of 
their  sound-wave.  A  single  vibra- 
tion is  from  the  rjoint  of  rest  to 
one  extreme  of  motion,  but  is  often 
calculated  from  one  extreme  to  the 
opposite.  A  double  vibration  is 
measured  from  one  extreme  to  the 
opposite  and  back  again,  sympa- 
thetic v.  is  that  which  is  set  up  in  an 
object  (as  a  string,  tuning-fork  or 
even  a  plate)  when  the  tone  to  which 
it  vibrates  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  similarly  heard. 
vic'ar-choraL  Lay  vicar  of  a  cathe- 
f  dral  choir. 

vicenda      (vS-chSn'-da),      J.     Change. 
vicendevole  (da'vS-16).     Vacillating. 
Vic'timae  pas'chali  lau'des,  L.     "Praise 
the    paschal     offering."     Vide     SE- 
QUENCE. 

vi'de,  vi'di,  L.     See.     vi-  is  often  put 
at  the  beginning  of  a  passage  to  be 
cut,  and  -de  at  the  end. 
vide    (v5d),    F.     "Empty";    open,    of 
strings,  as  corde  a  v.  opp.  to  corde 
a  jouer,  a  string  to  be  stopped. 
Videl  (fe-del),  G.     Fiddle. 
viel  (f5l),  G.     Much,  many,     v.-chorig 
(ka-rlkh).    For  several  choruses,    v.- 
facher    (fakh-Sr).         Polymorphous, 
v.-stimmig    (shtXm-mlkh) .          Poly- 
phonic. 

viSl(l)e  (vI-Sl),  F.,  viella  (vl-Sl'-la)^  7. 
i.  Hurdy-gurdy.  2.  Old  vioL  viel- 
leur  (vX-Sl-KLr),  F.  Player  of  the 
viol. 

vier  (fer),  G.  Four.  V.-achteltakt. 
4-8  time,  v.-doppelt.  Quadruple- 
v,-fach  (ffcr'-fakh).  With  four  ranks 
of  pipes,  etc.  v.-fussig  (fgr'-fiis- 
slkh).  Four-foot  (of  pipes).  V.- 
gesang.  4-part  song,  v.-gestrichene 
Note.  32d  note.  v.-gestrichene 
Ofctave.  Four-marked.  Vide  PITCH. 
v.-hBndig  (h&n-dXkh).  For  four 
hands.  V.-klang  (f€r'-klang). 

Chord  of  four  tones;  a  seventh  chord 
y.-massig    (f Sr-mfis-sikh) .     Contain- 
ing four  measures,     v.-saitig.     Four- 
stringed,    v.-stimrnig.    In  four-part!-. 


710 


DICTIONARY  OF  TERMS 


V.-stuck.  Quartet,  vierte  (fSr'-tfc). 
Fourth.  viertel  or  viertelnote. 

Quarter  note.  Viertelpause.  Quar- 
ter rest.  Viertelton.  Quarter  note. 
Vierundsechzigstel  (fer-oont-z$khs'- 
Ikh-shtel).  64th  note.  Vierviertel- 
takt  (fer-fSr'-tSl-takt).  4-4  time, 
vierzehn  (fer'-tsan).  Fourteen, 

vierzehnte.  Fourteenth.  Vier- 
zweiteltact  (fgr-zvi'-tgl-takt).  4-2 
time. 

vietato  (ve-a-ta'-to),  /.     Forbidden. 

vif  (v6f),  F.     Brisk,  quick. 

vigoroso  (ve-go-r6'-s5),  vigorosamen'- 
te,  /.  Bold(ly). 

viguela  (vS-goo-a'-la),  vihuela  (ve-hoo- 
a'-la),  Sp.  A  primitive  guitar, 

villageois  (v5-l&-zhwa),  villageoise 
(zhwaz),,  F,  Rustic. 

villancico  (vgl-yan'-the-k6),  villancio 
(vgl-yan'-thX-6),  Sp.  i.  A  church 
festival  anthem.  2.  A  beginning 
and  ending  with  chorus. 

villaneUa  (vel-la-n&'-la),  /.,  villaneUe 
(v§-ya-nel),  F.  "Village  song,"  i5th 
cent.  Italian  folk-song  of  rustic  tone 
and  artless  grace. 

villanesco  (nSs'-ko),  villareccio  (vel-la- 
r£t'-cho),  /.  Rustic. 

villot'to,  I.     Secular  song;  cf.  VIIXA- 

NELLA. 

vi'na.  Ancient  fretted  7-stringed  Hin- 
du instr.  with  body  of  bamboo,  and 
two  gourds  for  resonance. 

vinata  (ve-na'-ta),  /.  A  vintage-song, 
vinet'ta.  Little  vinata. 

vi'ol,  viola  (vg-o'-la),  /.,  viole  (in  F. 
y§'-61;  in  G.  f 5-5 '-IS),  i.  The  viola 
in  modern  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  richly  melancholy 
and  elegiac  indeed),  and  its  harmon- 
ics are  more  limited.  2.  The  proto- 
type of  the  violin.  A  fretted  bow- 
ins  tr.  with  6  strings  (sometimes  5  to 
8);  flat  and  tapering  back;  belly 
usually  flat;  sound-holes  circular; 
bridge  low  to  facilitate  chords;  tuned 
in  fourths  with  one  midway  third. 
In  4  sizes  treble  (alto),  alto  {alt  or 
tenor  e),  bass  (basso),  contrabass  (mo- 
lone).  The  bass-viol  still  persists  in 
England,  v.  di  bardone  (bar-dp  '- 
nS),  J.  A  barytone  viol,  of  the  size 
of  the  'cello,  with  6  or  7  gut  strings, 
and  a  number  of  wire  resonance 
strings  lying  along  the  belly  and 


tuned  diatonlcally.  v.  bastardy 
(bas-tar'-da),  /.  "Bastard  viol." 
Large  viol  da  gamba.  v.  da  braccio 
(da  brat'-chO).  "Arm-viol"  as  op- 
posed to  v.  da  gamba,  "Leg-viol." 
v.  da  spalla.  "Shoulder-viol,"  a 
larger  arm-viol,  viola  d'amore  (da- 
mS'-re1),  /.,  viole  d'amour  (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.  v.  pic'- 
cola  or  marina  (ma-rS7-na).  An 
instr.  resembling  lite  v.  d'amore. 
v.  pomposa  (p6m-po'-sa).  A  large 
viol  of  the  compass  of  the  'cello,  but 
with  a  fifth  string.  Inv.  by  t.  S. 
Bach,  viol  da  gamba  (da  ganV-ba), 
viol  di  (dg)  gamba.  "Leg-viol."  A 
small  obsolete  violoncello*  with  frets, 
and  five  or  six  strings,  viola  alta 
An  enlarged  viola  inv.  by  Hermann 
Ritter  of  Wismar,  Germany,  1,877. 

violento  (ve'-o-lSn'-to),  violentemente 
(ISn-tS-meV-tS),  /.  Violently,  vio- 
lenza  (Ign'-tsa).  Fury. 

vi'olin',  E.,  Violine  (fe-6-l5/-nS),  G., 
violino  (ve-o-lS'-no),  /.,  violon  (ve- 
6-16n),  F.  i.  "Small  viol."  A  uni- 
versally popular  4-stringed  bow-instr. 
Developed  possibly  from  the  Viol,  it 
has  also  been  traced  to  the  lira  da 
braccio;  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 
modern  orchestra):  the  violin  (or 
treble),  the  tenor  violin  or  viola,  tie 
violoncello  and  the  double  bass.  The 
violin  proper  has  four  gut  or  metal 
strings  with  the  accordature,  g-d'- 
a'-e".  Its  tone  is  capable  of  great 
variety,  sentiment  and  brilliance,  its 
range  extending  from  g  to  the  highest 
note  in  the  orchestra,  e"".  It  is 
rich  in  harmonics,  but  its  resources  in 
chords  are  limited  and  must  be  han- 
dled with  great  care  for  the  fingering. 
Instrs.  of  the  violin  family  consist 
of  a  curved  body,  or  resonance-box, 
whose  upper  surface  or  bfilly  is  joined 
to  a  vaulted  back  by  ribs;  the  body 
is  curved  in  at  the  waist,  the  incurv- 
ing being  accented  by  bouts,  whose 
corners  are  braced  with  triangular 
blocks;  the  belly  (on  which  the  bridge 
rests  between  slits  called  sound-holes, 


DICTTOMARY  OF  TERMS 


711 


or  from  tiheir  shape  f -holes)  is  braced 
with  a  thin  strip  (under  the  G  string) 
called  the  bass-bar.  A  .round  prop 
or  sound fost  'beneath  the  treble  loot 
of  the  bridge  connects  the  back  and 
the  belly.  The  fiwger-bvaxd  is  om  the 
neck,  which  termuaates  m  a  head 
ornamented  with  a  scroll  an/d  con- 
taining a  peg-box,  in  which  are  four 
movable  pegs  from  each  of  wtoich  -a 
string  passes  across  a  ridge  called  the 
nut,  along  the  finger-board  and  over 
the  bridge  to  the  flat  taU-piece  which 
is  fastened  by  a.  loop  of  cut  to  a 
button  in  -the  lower  end  of  the  body. 
2.  A  2,  4,  and  8  ft.  stop.  Vdoliiibo- 
gen  (£6-5-leV-b6-kheX>,  G.  A  vln.- 
how.  Violin-clef,  Vicdiasclilussei  or 
-zeichen,  G,  The  G  clef,  vaoikiier 
(l!n~*-a),  "vioKaaiste  .(nesft),  F^  vfoli- 
nista  (n€s'-ta),  /.,  Violinspieler,  G. 
A  violia-player.  violino  <alto,  /.  A 
small  tenor  viol,  violino  picciolo 
(plt'-da§-l6),  pic'colo,  pochetto  (beV- 
t5),  I.  A  small  vln.  tuned  a  fifth 
higher,  v.  pomp o  "so,  /.  A  «viola 
with  an  additional  higher  string. 
vioKn-principal.  A  4  or  8  ft.  stop. 
Violinsaite.  Violin-string.  Violln- 
steg  (stakh).  Violin-bridge.  Viottn- 
stimme.  Violin-part.  Violin-tenor. 
A  vln.  of  low  tone,  violon  de  fer 
(dttfer).  Iron  fiddle,  violinata.  A 
piece  for  violin,  or  in  violin  style. 
violinzoli.  8-ft.  stop  on  the  swell. 

Violon  <f5-6-lon'),  <?-  The  double- 
bass. 

violier  (vS-61-ya),  vioHste  {test'),  F. 
Viola-player. 

vlolonar  <Ve-6-l5-narO,  F.  Double- 
bass,  violonaro  (nar'-S).  Octo-bass. 

Violoncell  (fe-6-lon-ts^lO,  G.,  violon- 
celie  (vS-6-16n-s^l),  F.t  violoncello 
(v^-S-lSn-ch^r-lo),  7.  "Little  vio- 
lone."  Commonly  abbr.  'cello. 

Large  4-stringed  instr.  of  vln. -family 
(vide  VIOUN)  held  between  the  knees 
and  res^ng  on  a  standard  or  £eg. 
It  is  tuned  an  octave  below  the 
viola,  C,  G,  d,  -a.  Its  music  is 
written  chiefly  in  the  C  ddf,  save 
high  notes  in  the  G  clef,  'and  few  in 
the  F  clef  (formerly  it  was  -afl  written 
in  t*he  G  clef,  an  octave  higher  -than 
it  sounded).  Chords  and  Irarxnonics 
are  little  used,  except  in  solos.  The 
'cello  is  one  of  the  most  important  of 
orchestral  instrs.,  and  JMMB  -of  -*e 
-most  sexpressiv^  -e'spepaly  ^of  the 
jgraraer  or  'Eapre  yearning  .enwtians, 
its  gayety  being 


ViolOne     (ve-5-lo'-nS),     VAVI*V»J.V     \AV  -Junjy, 

/.     "Large    viol."     T.  Double-bass. 

^.  Pedal-stop. 
violot'ta.     A    large    viola    devised    by 

>Sfeel2?ner,  Dresden,  1895,  and  tuned 

G,  d,  a,  e'. 
sdr'ielay*     Vaudeville    (als®    from    the 

town  of  Vaux  de  Vire). 
vir'g^l,  X.     A  neume. 
¥iisgil  practice-clavier.     A  mechanical 

Eiano  inv.    by   A.    K.    Virgil,    1863, 
Dr  practice-poirposes,  the  heaviness 
of  touch  being  adjustable  in  6  grada- 
tions; a  click  answering  the  depres- 
sion of  a  key,  and  anatluer  <ilick  its 
^  release. 

•vir'ginal^j^)*     A  small  spindb-like  iixstr. 
popular  ia  tke  taaaae  tSf  Qiaeen 
%etih  and  plaoed  napon  a  tabJe. 
VirttaoB  "  " 


of 


TOBEScfeed    skill. 
&     Vintisos- 


F.     A  ^erforoaaer 

yirtuowitat 

ity.     Remarkable 

vis-a-iws  (vS-za^vS7)?  &•  *"F«ce  to 
face,"  A  large  double  p£aoa»  -witSfci  2 
opposite  key-boards. 

vista  (vSs'-ta),  /,  Sight,  -a  primta  v. 
At  (first)  sight. 

visto  (vSs'-ts),  vito  (y5'-t5),  vi(s)ta- 
men^e,  I.  Swift(ly). 

vite  (vet),  vitement  (v5t-man),  F. 
Quick<ly). 

vitessre  (vS-t^s),  ^    'Swiftness, 

vivace  (•v^^a'-che'),  J.  Lively, 
faster  tban  Ailegr*.  vivacemen'te. 
Briskly,  quickly,  vivacet^©  (cbeV- 
t6).  Rather  livery.  viwatcezza 
(ch&d'-zS),  vivacita  (vg-va-chl-^aO- 
Vivacity.  vivacis'simo.  Very  iast. 
"yivam/eate.  Briskly. 

vive  (vev),  F.     Brisk,  quick. 

37iven'.duni,  ad.,  L.  "To  »live"  i.  e.,  for 
permanenoe.  Written,  as  opposed 
to  improvised,  counterpoint. 

•vivente<^-v£n'-tS),  vivido  (v'e'-vi 
vw&  (ve'-TiQ),  f.  Animated. 
vezza  (we^vfed'-^a).  Liveliness. 

Tia.     Aibbr.  for  viola. 

vo'cal,  TOcale  <v5^ka<-l«  in  f.;  in 
v5-k£lO,  voca'Us,  jL.  R«elatiaag 
appropriate  to  the  faunaan  voice. 
vocal  «cih»i*ds.  The  two  membranes 
in  •the  larynx  wfoase  ibensity  as  icgu- 
lated  at  will  to  :pro<duce  desired 
I»tcbes.  Vide  GLOTTBBS.  zima  voca- 
lis.  The  opening  between  ithe  wocal 
.chtxnds, 

57*©oalezzo  .(yS-k^ftd'-zo),  7,     A  vorcal 


F. 
or 


Vide  REEB-ORGAN. 


712 


DICTIONARY  OF  TERMS 


vocali'ses  (in  F.  vo-ka-lez')-     Solfeggio 

exercises  for  the  voice, 
vocaliser  (v8-k§l-I-za),  F.,  vocalizzare 

(vo-ka-lid-z&'-rS),    /.,    vo'calize,    E. 

To  practise  exercises  for  the   voice 

without  words. 
vocalisa'tkm  (in  jP.   vo-k£-lS-z&s-y6n). 

1.  The  practice  of  exercises  for  the 
voice.     2.  Display  of  vocal  agility. 

vocalizzo  (l*d'-zo,  pi.  -i),  J.  Vocal 
exercise. 

voce  (vS-chS),  I.  Voice,  colla  v. 
"With  the  voice,"  i.  e.,  adopting  the 
tempo  of  the  solo  part.  v.  angelica 
(2in-ja  '-l*-ka) .  "Angel  voice."  Del- 
icate reed-stop,  v.  di  bianca  (de 
bl-an'-ka),  /.  "White  voice."  Ap- 
plied 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  gut- 
tural, throaty  voice,  v.  di  pet'to. 
The  chest  voice,  v.  di  tes'ta.  Head 
voice,  the  falsetto,  upper  register, 
v.  granita  (gra-nS-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,  y.  principale 
(pren-chJ-pa'-le').  Principal  voice, 
v.  rauca  (ra'-oo-ka).  A  hoarse, 
rough  voice,  v.  sola.  The  voice 
alone,  v.  spianata  (spS-a-nS/-ta). 
Drawn  out;  smooth,  sustained  voice, 
v.  spiccata  (spik-ka'-ta).  A  clear, 
distinct  voice;  well  articulated,  v. 
yrrmnq  (oo-ma'-na).  The  human 
voice.  Vide  vox  HUMANA,  vociac- 
cia  (vo-chl-at'-cha).  A  bad,  dis- 
agreeable voice,  vocina  (v6-chS'-na). 
Thin  little  voice. 

voces,  £.,  pi.  of  vox.  v.  aequa'les. 
Voices  of  the  same  kind. 

Vogar  (fo'-gar),  G,     Fugara. 

Vogel  (f<5'-gel),  G.  Bird.  V.-flote  or 
pfeife.  A  bird-whistle.  V.-gesang. 
"Singing  of  birds";  stop  in  old  Ger- 
man organs,  of  small  pipes  standing 
in  water,  through  which  the  wind 
passes;  a  merula. 

voglia  (vol'-ya),  /.     Ardour. 

voice,  r.  The  sound  produced  by  the 
larynx  of  human  beings  or  animals. 

2.  Part  (for  any  instr.),  often  voice- 
part.     3.  The   tuning   and   tone   of 
organ-pipes. 

Of  the  human  voice,  these  are  the 
following  divisions:  basso,  tenor, 
counter-tenor  y  contralto  or  alto,  mezzo- 
soprano,  soprano  (Vide  each  of  these 


words).  Each  voice  is  also  divided 
into  registers  (or  groups  of  tones  of  a 
uniform  quality),  the  transition  from 
one  to  another  register  bejng  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.). 

voicing.  The  adjustment  of  the  pitch 
and  quality  of  a  pipe. 

voil£e  (vwa-la),  F.     Veiled. 

voix  (vwa),  F.  i.  Voice(s).  2.  Part(s). 
v.  angelique  (vwa-zan-ja-l5k).  Vox 
angelica,  v.  celeste  (sa-lSst),  F. 
"Celestial  voice,"  a  stop  formed  of 
two  dulcianas,  one  slightly  sharp, 
thus  giving  a  vibrato,  v.  de  poitrine 
(dti  pwa-tren),  F.  Chest  voice,  v. 
de  t£te  (du  te*t).  Head  voice,  fal- 
setto voice,  v.  glapissante  (gla-pS- 
s3,nt).  A  shrill  voice,  v.  grele  (vw£ 
grSl).  A  sharp,  thin  voice,  v.  hu- 
maine  (ii-mSn).  Vox  humana. 

vokal  (fo-kalO,  G.  Vocal.  V.-stil 
(shtel).  Vocal  style. 

volante  (v5-lan7-tg),  I.  "Flying," 
light,  swift. 

volata  (vo-la'-ta),  /.,  Volate  (vo-la'-te), 
G.,  volatine  (vo-la-t5n),  F.  "FHght," 
run,  rapid  series  of  notes,  volatina 
(vO-la-te'-nS),  /.  A  little  volata. 

vole"e  (vQ-la),  F.     A  volata. 

Volk  (f61k),  G.  Folk;  of  the  common 
people.  V.  gesang  (fdlk'  gS-zang). 
V.  s-lied  (slet),  V.  stiickchen  (stttk'- 
kh'n),  V.sweise.  Folk-song  or  folk- 
music,  im  Volkston'  or  Volksweise. 
In  folk-tone  or  sty]  2.  volkst(h)iim- 
Hches  (tum-13Ckh-€s).  Lied.  Popu- 
lar folk-song. 

voll  (f61),  G.  i.  FuU;  mit  vollem  Werk, 
Chore,  Orchester,  with  the  full  org 
chorus  or  orchestra.  vSller 
ISr).  Fuller,  louder,  voiles  Werk 
(f61'-lSs  v2,rk).  FuU  organ.  Voll- 
Chorus.  vollgriffig  (grif- 
).  "FuU-handed,"  with  full 
chords.  vollkom'men.  Perfect, 
complete.  voUstimmig.  Full-toned, 
fuU-voiced.  VoUstimmigkeit.  FuU- 
ness  of  tone,  volltonend,  G.  Sonor- 
ous. 2.  As  a  sumx  =»  full,  as  ge- 
dankenvoll.  Thoughtful. 

volonte"  (vo-16n-ta),  F.  WiU,  pleasure. 
a  v.  At  wiU. 

volta  (v5l'-ta),  /.  i.  Time.  2.  A  kind 
of  galliarcL  pruna  v.  (prS'-ma). 
First  time,  tina  v.  One.  due  vol- 
te. Twice. 


DICTIONARY  OF  TERMS 


713 


voltare    (vol-ta'-re1),    I-     To    turn,    to 

turn  over. 

volte  (vSl'-tS,  /;  in  F.  volt),  i.  An 
obsolete  bounding  dance  in  3-4  time 
resembling  the  galliard.  2.  PL  of 
VOLTA. 

volteggiando       (vol-t&d-jan'-de),       /. 
Crossing     the     hands,     volteggiare. 
To  cross  hands. 
volti  (vSl'-te1),  I.     Turn  over.     v.  su- 

bito.     Turn  quickly. 
volubilita    (vS-loo-be-lI-ta'),  I-     Volu- 
bility,    volubilmsjn'te.     Fluently. 
vol'ume.     Quality  of  tone, 
vol'untary.     i.  An  introductory  organ- 
piece  often  extemporaneous.     2.  An 
introductory  a-nthem.     3.  A  species 
of  toccata  in   two   or   three   move- 
ments. 

volver  a  la  misma  cancion  (v6l-var  a 
la  mes'-ma  kan'-thl-Sn),  Sp.     To  re- 
turn to  the  same  (original)  air. 
vom  (f5m),  G.  =  von  dem*     From  the. 
vom  Anfang.     From  the  beginning. 
vom  Blatte    (blat'-tS).     "From   the 
page,"  i.  e.,  at  first  sight. 
von  (f5n),  G.     By,  of,  from,  on. 
vor  (f6r),  G.     Before,  pre-. 
Vorausnahme    (far-ows'-na-me'),    Vor- 
greifung    (for-gri'-foongk),    Vorgriff 
(f6r'-grlf),     G.     Anticipation.     Vor- 
bereitung  (for'-b£-ri-toongk).     Prep- 
aration.       Vorb  er  ei  'tungsunterricht 
(soon'-t&r-rikht).        Preparatory  in- 
struction. 

Vor'dersatz  (zats),  G.     First  subject. 
Vor'geiger  (gi-kher),  G.    First  violin, 

leader. 

Vorhalt  (f5r'-halt).  G.     i.  Suspension. 
Vorhaltslb'sung  (la-zoongk).     Its  res- 
olution.    2.  Syncopation. 
vorher    (fSr-har),    G,     Before,     tempo 

wie  vorher,  G.     The  time  as  before. 
vorig  (fa  '-rtkh) ,  G.     Former,  preceding, 
voriges  Zeitmass.     In   the   original 
tempo. 

Vorsang  (f5r'-zang),  G.     Act  of  b 
ning  a  song.     VorsSnger 
£r).     Precentor. 
Vorschlag  (fSr'-shlakh).     Accentuated, 

appoggiatura. 

Vorsetzzei'chen,  G.  Chromatic  sign. 
Vorspiel  (fSr'-shpel),  G.  Prelude;  over- 
ture. Vor 'spieler  (shpe-lSr).  Lead- 
er, principal  performer.  VortSnzer. 
Chief  dancer.  Vorsteller.  Per- 
former. 

Vcxrtrag  (for'-trftkh),  G.  Execution, 
interpretation.  Vortragsbezeich- 
nung  (b£-tslkh-noongk).  Expression 


niark.        vortragsstiick.        Concert- 
piece. 

vor  warts  (fOr'-varts),  <?.  "Forward," 
i.  e.,  faster. 

Vorzeichnung  (tsikh'-noongk).  i.  Sig- 
nature. 2.  Outline  of  a  composi- 
tion. 

vox  (vSx),  L.  Voice,  v.  acu'ta.  i. 
A  shrill  voice.  2.  In  ancient  music, 
the  highest  note  in  the  bisdiapason. 
v.  ange'lica,  L.  "Angelic  voice,"  a 
4-foot  stop  of  sweet  tone,  also  v. 
virgin'ea.  "Girlish  voice."  v. 
antece'dens.  The  antecedent.  v. 
con'sequens.  The  consequent,  v. 
grav'is.  Low  voice,  v.  huma'na. 
"Human  voice,"  8-foot  reed-stop 
usually  with  tremulous  effect,  v. 
retu'sa.  8-foot  stop.  Plural  vo'ces. 
v.  aequales.  Voices  of  the  same 
kind,  as  male  voices,  v.  areti'niae. 
Aretinian  syllables,  v.  be^gicse. 
The  syllables  of  bocedisation. 

v.  s.     Abbr.  of  Volti  subito. 

vue  (vii),  F.  Sight,  a  premier  v. 
(a  prfim-ya  vii).  At  first  sight. 

vulgans  (tibia),  L.     A  flute-stop. 

vuide  (vwed),  F.     Open  (of  a  string). 

vuoto  (voo-5'-t6),  I.  i.  Open  (of  a 
string).  2.  Empty  (of  a  stage). 

v,  v-     Abbr.  for  violini. 

W 

W.  i.  In  F.  —  v.  v.,  i.  e.,  Violins. 
2.  Vide  the  letter  i. 

Wachtel  (vakht'-el),  G.  "Quail."  A 
toy  pipe. 

wahnsuanig  (van'-zfci-nlkh),  G.  Fran- 
tic. 

waits,  £.  i.  Hautboys.  2.  Players 
on  the  hautboys.  3.  Night-watch- 
men. 4.  Christmas  carollers. 

Wald  (valt),  G.  Forest.  WaldflSte, 
G.,  or  -pfeife.  Forest-flute.  W.- 
quinte.  A  stop.  W.-flStenqtiinte. 
A  stop  a  fifth  higher.  Waldliorn 
(valt'-hdrn),  G.  <?Foresthorn";  a 
winding-horn.  (Vide  HORN.) 

walnika  (val-nS'-ka).  Russian  bag- 
pipe. 

wals  (wals),  Dutch.     A  waltz. 

waltz,  E.,  Walzer  (val'-ts^r),  G.  i.  A 
popular  modern  round  dance  in  3-4 
time,  perhaps  of  Bohemian  origin. 
The  speed  and  rhythm  vary,  the 
Landler,  or  German,  being  slow;  the 
Vienna,  or  Schleif-walzer  being 
quicker;  the  Zweittitt,  deux-temps, 
or  two-step,  having  but  two  steps 


DICTIONARY  OF  TERMS 


fc»  the  measure:  at  A  concert-piece 
in  triple  time,  usually  brilliant. 

wafryaka  (V&-len'-ka)»  Russian  bag- 
pipe. 

WaJze 


Wavering, 


wankend    (van'-kfcnt),    G. 
hesitating. 

war'ble.     A  bagpipe  grace. 

WSrme  (vgr'-meX  <SL     Warmth. 

Washington  Post.  In  England,  a  dance 
(sa  called  foronn,  JL  P.  Sousa's  march 
of  that  name)  in  which  the  man 
dances  behind  the  womarb. 

was 'sail.     A  convivial  song~ 

Wasserorgei.  (y&s'-sSr-dr-khel),,  G. 
Hydraulic  organ. 

waste^pattet..    Vide  VALVE. 

water  music.  Handel's  name  for  cer- 
tain airs,  performed  on  the  water,  lor 
the  Bang. 

water-organ.     Hyckaulic  organ. 

waygfctes..    Old  E.     Waits- 
Web 'er  cnronom'eter.        Metronome,, 
inv.  by  Weber,     A  cord  divided  into/ 
five  inch-s^axses,  with  a  weight  at  the 
lower  end.     AbJbr.  Web,  Chron. 

Weehaei  Cv£kh'-sel),  G.  Change.  W.- 
chor  (kdB).  Alternate  choir.  W.- 
gesang^  Amtiphonal  song.  W.-note 
(no'-tfi).  Changing  no-te. 

Wahmuth  (va'-moot),  G.  Sadness. 
wehmiithig  (va'-mii-tlkh).  Sad,  sor- 
rowful. 


A  female  voice. 

weich  (vSkfrX  G-     *~  Soft.     2.  Minor. 

weight  of  wind.     Vide  INCH. 

Weltaachtslied  (vi'-nakhts-Iet),,  G. 
Christmas  hymn. 

wemend  Cvi'-nSnt),,,  G*     Weeping. 

Weise  (vi'-z^),  G.  r.  Melody.  2. 
Manner;  as  a  sumx  =  -wise. 

weisse  Note  (vls'-sg  no'-tS),,  G. 
"White"  note;  half  or  whole  note. 

wert  (vrt),,  G.  Dispersed",  open  (of  har- 
mony)., 

Wefie  (vST-le"),  G.  RoH^r  of  an  organ. 
WeHatur  (toorO-  Roller-system. 
Wei  lenbrett.  Roller-board. 

wetf-tempered.  In  equal  tempera- 
ment, as  in  Bach's  "Well-tempered 
Clavichord,"  a  series  of  clavichord 
pieces  ranging  through  all  the  keys. 

Vide  TEMPERAMENT. 

Welsh-harp.     Vide  HARP. 

weltlich  (vfclt'-llkh),  G.     Secular. 

wenig  (va'-nlkh),  G.  Little,  ein  we- 
nig.  A  little,  rather. 

Werk  (v^rk),  G.  i.  Work.  2.  Move- 
ment. 3.  Action.  Vide  HAUPTWERK 


and  O-BERWERE.  4.  A*  atop.  5,  The. 
set  of  stops  belonging  to  one  kjey- 
boatrd. 

Wert  (by  (  vert)  9>  G.     Value^,  duration. 

wesaotlich  (va'-zSat-likh),,  G..  Essen- 
tial. wesentliche  Dissonanz.  A 
dissonant  chord-tone,  opposed  ta 
passingHQjote.  wesentliche  Septime. 
Dominant  seventh. 

Wetter-harJe  (v«t'-tsSr-har-ffi),  G. 
"Weather-harp."  ^EoMan  harp. 

Wettgesasng  (vSt'-g^-zang),  G.  A 
singing-match. 

wheel.     Refrain,  burden. 

whiffler.     A  fif  ex. 

whipping;  bow-  A  swift  aad  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  therNQUNS. 

wie  (ve>,  G.  As.  wie  aus  der  Feme. 
As.  foeon  a  diatancev  wie  oben. 
Again  as-  above,  wie  vorher  (for- 
har).  As  before. 

wieder  (v&'-d^^G.  Againv  W.-gab« 
(ga'-bfc).  Pierformance.  W.-hers- 
teilungszeichen  (t^-kb£n)'.  The 
natural  sign  (b;)<-  w.-aofangen.  To 
begin  again.  W.-holung  (hd-Loongk). 
Repetition.  W.-holtmgszeichen. 

Sign?    of    repetition.  W^-klang 

(klang),     W.-schall  (shal).     Echo. 

WiegenHed  (ve'-gSn-lSt),  G.  Cradle- 
songv 

Wild. 

To  blow,  as  a  horn. 
vXnt).  Air.  w.  band. 
of  wind-instrs*  2.  The 
instrs.  or  the  mnisic  for  thernv  wind- 
chest.  Vide  ORGAN,  w.  instru- 
ments. A  general  name  for  all 
instrs.  whose  tone  is  produced  by 
the  breath  or  by  bellows,  wind- 
trunk.  A  passage  conveying  air 
from  the  bellows  to  the  wind-chest. 
Windmesser  (m£s-se*r),  G.,  wind- 
gauge.  Vide  INCH.  W.-harfe,  G. 
^Eolian  harp.  Windlade  (la-d£),  G. 
Wind-chest.  Vide  ORGAN.  Wind- 
stock  (sht6k),  G.  Cover  of  organ- 
pipes.  Windiunge  (tsoong-6),  G. 
Tongue  of  a  pipe.  W.-harrno'nika, 
G.  ^Eolodion. 

winselig  (ym'-zS-lStkh),  G.  Plaintive. 
Winselstamme.  Plaintive  voice. 

Wirbel  (vSr'-b^l),  G.  i.  Peg  (of  a 
violin).  Wirbelkasten.  Peg-box, 
2.  Stopper  of  a  pipe.  3.  Drum- 


(velt>,  G. 
wind  (wind). 
Wind    Qn   G. 

A   band 


DICTIONARY  OF  TERMS 


715 


stick.  4.  Roll  (on  a  drum).  Wir- 
beltanz  (tSnts).  A  whirling  dance. 

wogend  (vo'-gSnt),  G.     Waving. 

wohl  (vol),  G.  Well.  Wx>hlklang 
(v5l'-klang),  Wohllaut  (lowt).  Har- 
mony. wohlkUngend.  Harmonious. 
wohltemperi(e)rt  (vdl-t&n-pg-rgrt'), 
G.  "Well-tempered"  (q.v..). 

Wolf  (in  G.  vdlf).  i.  The  disagreeable 
snarling  of  two  pipes  not  quite  in 
perfect  tune.  2.  Vide  TEMPE:RA- 
MENT.  3.  In  bow-instr.  the  rough- 
ness of  certain  tones  due  to  faulty 
workmanship.  4.  Vide  ORGKLWOLF. 
5.  The  1 2th  and  most  taroublesome 
of  the  circle  of  fif  ths.  Vi$e  DCEMPER- 
AMENT, 

wood-wind,  i.  The  whole  group  of 
wooden  instrs.  in  the  orchestra. 
2.  Organ-stops  of  wood. 

working-out.        Development.        Vide 

FORM. 

Wortklang  (v6rt'-klang),  G.  -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  CHTR.OPLAST. 

wuchfig  (vookh'tXkh).  Weighty,  em- 
phatic, 

Wiirde  (vtir'-dS),  G.  Dignity,  wur- 
devoll,  wflrdig  (vur'-dlkh).  Digni- 
fied. 

Wut(h)  (voot),  G.  Madness,  wuthend 
(vii'-tSnt),  wuthig  (tJkh).  Furious. 


Xaenorphika  (ksan'-6r-fi-ka),  G.  A 
piano-violin  with  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  1810  upon  his  aylo- 
siston,  inv.  1807;  a  euphonion  with 
wooden,  instead  of  glass,  rods. 

Xylorganon  (ksel-dr'-ga-non),  Gr. 
Xylophone. 

xylophone  (zflr-a-f6n).  A  graduated 
series  of  bars  of  wood  upon  bands  of 
straw  or  cord,  played  with  wooden 
mallets,  compass  2  octaves. 


Yabal  (ya'-bal),  Heb.     Trumpet  blast, 
yang  kin.     A    Chinese   dulcimer   with 
brass  strings. 


yo.    Indian  flute. 

yo'del,  yodler.     Vide  JODEI,,  JODLER, 
Chinese  guitar. 


Za  (za).  Formerly  applied  by  the 
Fuench  to  Bb  to  distinguish  it  from 
B\\  or  Si. 

zaMen    (tsS'-lSn),    G.  To    count. 

-zahle.       "Count I"      Zahlzeit  (tsit). 
A  count. 

zadeo  (tha-la'-6),  Sp.     Vide  JALEO. 

zampogna  (tsam-pSn'-yS),  zampugna 
(poon'-ya),  7.  i.  Ancient  bagpipe. 
2.  A  shawm.  Vide  CORNAMUSA  and 
CHALUMEATT.  zampognare  (p6n-yax- 
r^).  To  play  the  pipes,  zampo- 
gnato're.  A  piper,  zampognet'ta 
'Or  -ina  (pCn-ye^na).  A  small  bag- 
pipe. 

za7ner.     Egyptian  bassoon. 

zanze.     Vide  AMBIRA. 

zapateado  (tha-pa-ta'-a-dhs),  Sp.  A 
dance  whose  rhythm  is  emphasised 
by  stamping  the  heel. 

Zajtfenstreich  (tsa^pfgn-strikh),  G. 
The  tattoo. 

zarabanda  (tha-ra-ban'-dha),  5^.  Sar- 
aband. 

zarajneria  (tsa-ra-),  I.  Rustic  double- 
reed  pipe  with  bell-mouth. 

Zargen  (tsSr'-kh£n),  G.,  pi.  Sides  of 
violin,  etc. 

zart  (tsart),  G.,  zartUch  (tsart-likh). 
Tender,  delicate,  mit  zarten  Stim- 
men,  with  delicate  stops.  Zartflote. 
A  very  soft  4-foot  flute-stop. 

zarzuela  (thar-thoo-a'-la),  Sp.  A  2-act 
drama  with  music,  something  like  the 
vaudeville;  originating  in  the  i7th 
century  at  the  royal  castle  Zarzuela. 

Zauber  (tsow^ber),  G.  Magic.  Z.- 
lied  (1st).  Magic  song. 

zeffiro'so  (tsSf),  /.     Zephyr-like. 

zehn  (ts&n),  G.     Ten.     Zehnte 
t£).     Tenth. 

Zeichen  (tsi'-khSn),  G.     Sign(s). 

Zeit  (tsit),  G.  Time.  Z.-mass  (tsit'- 
mas),  G.  Tempo.  Zeitmes'ser, 
Metronome.  ^Z,-werth.  Time  value. 

zele  (zSl)/^.,  zelo  (tsaMo),  /.  Zeal, 
ardour.  zelo 'so,  zelosamen'te. 

Zealous  (ly). 

zeng  (ts£ng).     Persian  C3onbals. 

Zergliederung  (tsSr-glet'-Sr-oongk),  G, 
Dissection,  or  analysis  of  a  subject. 

zerstreut  (tsSr-stroitO,  G.     Dispersed. 

ze'ze.     An  African  guitar. 

Ziehharmo'nica  (ts5),  G.  The  accor- 
dion. 


716 


DICTIONARY  OF  TERMS 


Rather; 


ziemlicn    ^tsSm'-Hkh),    G. 

moderately, 
Zierathen  (tsg-ra'-tSn),  G.,  pi.     Orna- 

ments. 

zierlich  (ts£r-lJkh),  G.     Neat,  graceful. 
Ziffer    (tsff'-fer),    G.     Figure,    Arabic 

numeral. 
ziganka         (chX-gan'-ka),         Russian. 

Country-dance. 

Zigeunerartig  (tse-goin'-Sr-ar-tlkh),  G. 
In    gypsy    style.     Z.-musik     (moo- 
zek')-     Gipsy  music. 
zikrs.     Dances  of  Egyptian  dervishes. 
zillo  (ts*T-l6),  /.     Chirp,  chirping. 
zimbalon.     Vide  CZIMBALON. 
Zimbel   (tsem'-be1!),  G.     Cymbal.     Z.- 
stern.     A  star  hung  with  small  bells 
in  front  of  an  organ  and  sounded  by 
a  current  of  air. 
zingana    (chen-ga'-na).  Bohemian 

song. 

zingarese  (tsen-ga-ra'-ze"),  /.  Gipsy. 
zingaresca  (r£s'-ka).  In  the  style  of 
gipsies.  zingaro  (ts€n'-ga-r6), 

Gipsy. 

Zinke  (tsfcak'-e*),  pi.  -en,  G.  Cornetto, 
ancient  or  modern.  Zinkbiaser 
(tsfcak'-bla-zer),  G.  Cornet-player. 
zith'er  (in  G.  tslt'-er).  i.  The  modern 
(or  Schlagzither)  is  a  flat,  shallow 
resonance-box  without  a  neck,  with 
about  thirty-six  strings  of  various 
material  —  wire  and  gut  —  some  over- 
spun.  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  plectrum  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  (pre"m)  -z;  the  con- 
cert; and  elegie  £&L-S-je"')  (or  Alt  or 
Lieder)  -z,  which  is  tuned  a  fourth 
lower.  2.  bow-zither  or  Streich- 
zither  (strlkh),  G.  Was  originally 
heart-shaped,  but  the  philomele  now 
resembles  a  more  pointed  viola  with 
shallow  bouts  (the  viola-zither  hav- 
ing a  still  closer  resemblance).  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.-fcarfe.  A 


form  of  keyed  auto-harp.  Zither- 
spieler  (shpe"'-le*r),  Zitherschlager 
(shla-khSr),  G.  Guitar-player,  zit- 
tera  (tsIt'-tS-ra),  /.  Zither. 

zitternd  (tsrt'-tSrnt),  G.     Trembling. 

zittino  (tsft-te'-nO),  /.     Silence. 

zSgernd  (tsa'-g&rnt),  G.     Retarding. 

zolfa  (ts61-faO,  /•     Vide  SOLJFA. 

zoppa  (ts6p'-pa),  or  -o,  /.  Lame, 
limping,  alia  z.  Syncopated;  used 
also  of  a  jerky  Magyar  rhythm. 

zornig  (ts6r'-nikh),  G.     Angry. 

zoulou  (zoo-loo),  F.  "Zulu."  A  pia- 
nette. 

zour'na.     Oriental  oboe. 

zu  (tsoo),  G.     To,  at,  by,  in,  unto. 

Zufallig  (tsoo'-fSl-lIkh),  G.  Accidental 
(sharp,  flat,  or  natural). 

zufolo  (tsoo'-fo-lS),  /.  Flageolet,  small 
bird-flute.  ztifolone  (iQ'-ne*).  A 
large  whistle. 

Zug    (tsookh),    pi.    Zuge     (tsii'-khS). 

1.  Draw-stop  or  register.     2.   Slide. 
Zugtrompete  (tr6m-pa7-tS),  G.    Slide- 
trumpet;  the  trombone.     Zugwerke 
(v£r  '-k6) .     Tracker-mechanism. 

ZiigeglSckchen  (glSk-khSn),  G.  The 
passing  bell;  a  knell. 

Zuklang  (tsoo'-klang),  G.     Concord. 

Zukunftsmusik  (tsoo-koonfts'-raoo- 
zekO,  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. 

zum  (tsoom),  G.  —  zu  dem.     To  the. 

ztimma'rah.  An  Egyptian  reed  instr. 
like  a  bassoon. 

zunehmend  (tsoo-na/-m£nt),  G.  In- 
creasing. 

Zttnge  (tsoong'-g),  G.  i.  Tongue. 
Dop'pelzunge.  Vide  TONGUTNG. 

2.  Z.-pfeife.      Reed-pipe.      Z.-blatt. 
Clarinet  reed.      Z.-stimme.      Reed- 
stop.     Z.-werk.     The  reed-stops  col- 
lectively,    auf-  (or  durch-)  schlag- 
ende  Z.     Beating  (or  free)  reed. 

zur'na.     Turkish  oboe. 

zuriicfc  (tsoo-riik7),  G.  Back.  z.- 
gehend  (gS'-fcnt),  G.  Returning  to 
the  original  tempo,  z.-halten.  To 
retard.  z.-haltend.  Retarding. 
Z.-haltung  (hal-toongk).  Retarda- 
tion. z.-t6nen  (ta-nen)  or  z.-treiben 
(tri-bSn).  To  reverberate.  Z.- 
schlag.  Vide  RIBATTUTA. 

zusammen  (tsoo-zam'-mSn),  G.  To- 
gether, z.-gesetzt.  Combined, 
compound  (of  time).  Z.-klang,  Z.- 
laut  (lowt).  Harmony.  Z.-schlag* 


DICTIONARY  OF  TERMS 


717 


Vide  ACCIACCATTJRA.  z.-streichen. 
To  slur.  Z.-streichung  (stri- 
khoongk).  Slurring. 

zutraulich  (tsoo-trowT-15tkh),  G.  Con- 
fident(ly). 

Zuversicht  (tsoo'-f£r-zXkht),  G.  Con- 
fidence. 

zwanzig  (tsvan'-tslkh),  G.  Twenty. 
Zwanzigste  (tsvan'-ts*kh-stS). 
Twentieth. 

zwei  (tsvi),  G.  Two.  z.-ch5rig  (kha- 
r*kh).  Two-choired,  z.-fach.  (fakh), 
z.-fSltig  (fSl-tlkh).  i.  In  two  ranks 
(organ-pipes).  2.  Compound  (of  in- 
tervals). 3.  Double  (of  counter- 
point), z.-ftlssig.  Two-foot.  Vide 
PIPE  and  PITCH.  Z.-gesang.  A 
duet,  z.-gestricnen.  Twice-marked. 
Vide  PITCH.  Z.-gUed  (gl€t).  Se- 
quence of  two  chords.  Z.-halbertakt. 
2-2  time,  z.-handige  (h^nt'-ikh-e). 
For  two  hands.  Z.-klang.  A  chord 
of  two  tones,  z.-mal  (tsvi-mal). 
Twice,  z.-stianinig.  For  two  parts. 
Z.-spiel  (shpel).  A  duet.  Zweite 
(tsvr'-te).  Second.  Zweitel  (-note). 
Half-note.  Z.-tritt.  Vide  WALTZ. 


Z.-unddreissigstel  (oont-dri-zXkh- 
shtel).  32d  note.  Z.-viertelnote 
(fer'-tSl-no-tS).  Half-note.  Z.- 
viertelpause  (pow-z€).  A  half  rest. 
Z.-vierteltakt.  2-4  time.  Z.-zShlig- 
hertakt  (tsa-Wkh-Sr-takt).  Duple 
time.  Z«-zweiteltakt  (tsvi-tsvl-t€l- 
takt).  2-2  time. 

zwerchflLSte  (tsvSrkh-)  or  pfeife,  G. 
Transverse  flute. 

zwischen  (tsvIsh'-Sn),  G.  Between. 
Z.-akt.  Intermezzo.  Z.-gesang, 
Z.-handhing,  Z.-harmonie,  Z.-satz. 
The  episode  (in  fugue).  Z.-ratun 
(-rowm).  Space  between  the  lines. 
Z.-spiel.  Interlude.  Z.-stiUe 

(shtn'-lS).  Pause.  Z.-sthmne 

(shtlm-mS).  Middle  voice.  Z.-ton. 
Intermediate  tone. 

Zwitscherharfe    (tsvXtsh-6r),    G.     Vide 

SPITZHARPE. 

zwSlf  (tsvSlf),  G.  Twelve.  Z.-achtel- 
takt  (akh-t6l-takt).  12-8  time.  Z.- 
saiter  (zi-tSr) .  "  1 2-stringed"  bissex. 

zymbel  (tsem'-bel),  G.     Vide  CYMBAL. 

zzzjoanw  (shaw).  Maori,  i.  Drum. 
2.  Fife.  3.  Conclusion. 


SPECIAL  ARTICLES  ON 
PARTICULAR  PHASES  OF  MUSIC 


ACOUSTICS 

BY  J.  S.  SHEDLOCK 

TFFR  TERM  Acoustics  is  derived  from  a  Greek  verb  signifying  to  hear,  and  the 
science  of  acoustics  tells  us  about  the  production  and  propagation,  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  surround- 
ing air  into  successive  condensation  and  rarefaction,  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  be- 
comes what  is  called  sound;  but  by  what  wonderful  process  one  changes  into 
the  other  does  not  concern  us  here.     TfWhen  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  frequently  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  particles  of  an  elastic  body, 
and  of  this  motion  the  dock  pendulum  gives  a  dear  and  simple  idea.     The 
partides  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  off.     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 
sufficiently  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 
violinist,  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  become 
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  connection  between  the 
number  of  vibrations  produced  by  a  string,  and  the  length  of  that  string. 
IfVibration  can  be  felt  if  a  glass  jar  over  which  a  bow  has  been  drawn  is  touched 
lightly  with  the  finger.     Vibration  can  be  seen  when  the  string  of  a  piano  or 
violin  is  struck  by  a  hammer  or  bow.     Vibration  can  be  shown  by  attaching  a 
strip  of  sheet  copper  tapering  to  a  point  to  one  of  the  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  sw*»  ving  to  and  fro  of  the 


SPECIAL  ARTICLES  719 

fork.  IfStrings  such  as  are  used  in  the  pianoforte  and  violin  when  set  in  motion 
would  of  themselves  create  very  faint  sound-waves.  The  sound  has  to  be 
strengthened.  In  the  pianoforte  the  motion  is  not  communicated  directly  to 
the  air,  but  first  to  a  massive  sound-board.  In  a  violin  the  little  aeaamd-post 
plays  an  important  part  in  passing  on  the  vibrations  from  the  string  to  'due  back 
of  the  instrument.  The  strengthening  of  tone  by  such  means  is  apt  to  Ifoe  .over- 
looked. ^Tarticles  of  a*r  when  set  in  motion  by  a  vibrating  body  firstt  naaove 
from  their  point  of  rest  to  a  certain  -distance  and  then  back  through  tte  $>oint 
of  rest  to  a  similar  distance  in  an  opposite  direction;  the  distance  betiroBena.  -these 
extreme  points  is  the  extent,  or  as  it  is  named,  the  amplitude  of  -the  ^ateartioja. 
As  the  vibrating  body  returns  to  a  state  of  rest,  that  distance  gradaaadly-  -di- 
minishes 'and  finally  vanishes,  just  as  it  does  when,  the  chain  ^Lving  out,  the 
dock  pendulum  slows  down  and  finally  stops.  The  degree  of  loudness  'Or  .soft- 
ness of  a  sound  depends  on  tbe  extent  or  amplitude  of  the  vibraticm,  Ite  wider 
the  one  the  louder  the  other.  Sonad  travels  at  freezing  tempearajtuaae  •»£  the 
rate  of  zopo  ieet  per  second;  with  increase  of  temperature  there  is  iocrease  >of 
velocity,  for  the  air  thus  becomes  -more  .elastic.  -Sotuid  trarvsefe  faster  joo.  water 
than  in  air  because  the  former  is  more  -dlastic.  The  '.degree  aof  idDsenaess  ctf  tbe 
psartifdles  €»f  the  medium,  air,  -water,  gasesjof  different  kinds,  tteough  iw&adisouaaud 
travels  has  >also  an  influence  om  velocity.  'TfSound  diinirdstes  in  aaatensitjy 
according  to  the  distance.  Throw  a  stone  into  a  pond  and  see  how  the*eKpand- 
ing  wawes  become  feebler  and  feebler  in  proportion  as  they  axe  >distaj3t  ffirom  the 
spot  which  generated  them.  So  it  is  -with  sound-waves.  Intensity  varies 
inversely  as  the  square  of  the -distance,  i.e.,  if  a  sound  is  heard  twenty  feetjawary 
from  the  instrument  producing  it,  at  forty  feet,  *bwioe  the  dis.ftamiftt%  jtt  mil  only 
be  a  quarter  as  loud:  the  square  of  2  =  4,  and  the  relationship  of  the  two  sounds 
is  as  one  to  four,  or  J^.  This  is  of  course  theory;  in  practice  sound  is  mostly 
intensified  hi  various  ways  so  that  it  does  not  lose  its  strength  at  this  exact  rate. 
If  A  string  set  in  motion,  that  is  into  a  state  of  vibration,  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  vibrating, 
it  divides  into  two,  three,  four,  and  indeed  into  many  portions,  all  of  irchich 
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  tbe  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  produce  are  fainter.  The  halves  grve  a 
louder  sound  than  the  thirds,  tire  thirds  than  the  quarters  and  so  on.  ML  these 
sounds  miy  so  thoroughly  together  as  to  give  the  impression 
of  one  simple  sound,  and  it  is  upon  their  order  and  aaamber, 
which  differ  in  different  instruments,  that  quality  ictf  tone 
depends.  Here  are  the  first  eleven  notes  of  such  a 


sound — they  can  be  heard  and  analysed  by  pressing  the  "  loud  " 
pedal  of  a  pianoforte,  striking  the  low  c  indicated  aiwi  listening 
intently  and  long.     Out  of  ttue  overtones  which  are  repeated  we  eecunse  -easily 


3  the  simplest  of  all  chords  in  harmony.     H"If  the  key  of  fhe  low- 


720  SPECIAL  ARTICLES 


IP:  [ 

est  note  i>v          •  is  pressed  down  on  a  pianoforte  without  producing  any 

^5- 

sound,  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  produced  it  have  ceased  to  vibrate.  Por- 
tions of  the  string  of  the  lowest  note  have  been  set  swaying  to  and  fro,  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.  Hit  ^as  already  been  stated 
that  by  means  of  certain  instruments  the  numbers  of  vibrations  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  $  to  4,  and  a  minor  third  as  6 
to  5.  We  see  then  that  the  perfect  consonances,  the  8th,  5th,  and  4th,  have  the 
simplest  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  relationships  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  intervals  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.  (See  Dictionary  entry,  page  548^ 


ALTERED  CHORDS 

BY  CHARLES  W.  PEARCE 

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 
#,  b,  or  tj,  to  one  or  more  of  its  intervals.  A  chord  ceases  to  be  chromatic  when 
it  induces  modulation:  being  then  a  diatonic  chord  in  the  new  key.  In  modern 
harmony,  the  combinational  tendency  of  the  Diatonic  Scale  is  to  arrange  itself 
k_  ^  a  perpendicular  series  of  thirds  above  the  $th  degree  or 

dominant  of  the  scale,  according  to  this  formula:  TfReck- 
i^  jg^  oned  from  the  lower  note  (or  root)  the  intervals  are: 

FIG    i— Thesmall black      1-. Ma^or  3d>  2-  Perfect  5th;  3.  Minor  7th;  4.  Major  (or 

notes  indicate  those  in-     minor)  pth;  5.  Eleventh  (compound  4th);  6.  Major  (or 

iSSt^wM^Se3^^     Hilnor)  i3th  (compound  6th).     HThus  the  first  sign  of 

susceptible    ^of    cbro-     chromatic  alteration  is   the  interchangeability  of  the 

OIU  major  and  minor  3d  and  6th  of  the  scale.     The  harmonic 

formula  shown  in  Fig.  i  can  be  built  up  on  the  dominant  notes  of  the  two 

adjacent  keys  (viz.:  those  keys  having  one  sharp  or  one  flat  more  or  less  than 

the  signature  of  the  tonic  key).     And  as  these  additional  formulae  can  be  used 

in  the  tonic  key  without  modulation  to  either  of  its  adjacent  keys,  their  roots 

are  conveniently  called  supertonic  and  tonic  to  show  their  relationship  to  the 


SPECIAL  ARTICLES  721 

scale  of  the  tonic.     HThe  supertonic  root  is  dominant  of  the  next  sharp  key. 

TfThe  tonic  root  is  dominant  of  the  next  flat  key.     1fln  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  series)  is  a 

confirmation  of  No.  6  of  the  Dominant  formula  (Fig.  i) . 

The  interchangeability  of  the  major  and  minor  7th  of  the 

scale  (6  of  the  series)  is  the  characteristic  chromatic  alter- 
ation of  the  supertonic  formula.  Ifln  the  tonic  formula  the  necessary  minor 

7th  of  the  root  (3  of  the  series)  is  an  invariable  chromatic  alteration.  The 
interchangeability  of  the  major  and  minor  6th  of  the  scale 
(6  of  the  series)  is  a  confirmation  of  No.  4  of  the  Dominant 
formula  (Fig.  i).  The  interchangeability  of  the  major 
_  .  „  and  minor  2d  of  the  scale  (4  of  the  series)  is  the  character- 

FIG    3 — Tonic    Formula,.       .     .       •.  .  .  -    *  .      *  •,          ^r**-* 

istic  chromatic  alteration  of  the  tonic  formula.     iFrom 

the  harmonic  formulae  shown  in  Figs,  i,  2,  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.  IfWith  the  introduction  of  the 

FIG.  4— Signature  of  C  Major 


f<>j    b&     &    !}<? 


FIG.  5 — Signature  of  C  Minor 

chromatic  element  into  harmony,  the  absolute  distinction  of  major  and  minor 
disappears,  and  the  key  tonality  becomes  one.  IfTo  facilitate  the  notational 
convenience  of  the  chromatic  element  in  harmony,  the  enharmonic  equivalents 
of  several  degrees  of  the  chromatic  scale  are  freely  admitted.  1f Chromatic  al- 
teration is  chiefly  observable  in  triads  and  in  chords  of  the  seventh  with  their 
inversions.  1[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 


1O      11     12  13  14    15     16  17  13  3L9 


722 


SPECIAL  ARTICLES 


withotE«ra€OBSsitatiagm0dtila.tion  to  any  other  key.  HiOi  these  Nos^  r,  4, 18, 19, 
and  2$,  show  as  enharmonic  substitution  of  C  sharp  for  D  flat;  Nos.  4,  5,  n,  22, 
and  25  hasre  GL  sharp  instead  of  A  flat;  Nos.  ID,  21,  25,  and  34  have  D  sharp  for 
E  flat;  N0s.  a  aaid  *5  have  G  flat  for  F  sharp;  omiNa.  30  has  C  flat  for  B.  It 
may  also  tee^Femaacked  that  Nos,  30  and  15  are  the  only  triads  of  the  series  which 
have  all  three  of  tfoeir  notes  altered  from  the  notation  of  the  diatonic  scale  of  C; 
but  it  wIH  be  observed  that  in  No.  30  two  of  these  altered  notes  (A  flat  and  E 
flat)  are  the  notes  shown  in  Fig.  i  to  be  those  first  susceptible  of  chromatic  alter- 
ation in  t fee  key  oi  E;  and  in  No.  r5  two  of  the  altered  notes  belong  to  the  super- 
tonic  fonaaala  showa  in  Fig.  2,  A  glance  at  Fig.  7  is,  sufficient  to  show  that  "  en- 
harmonic substitution"  is  only  made  use  of  in  modern  music  in  order  to  throw 
the  altered  chords*  into  an  easily  recognisable  harmonic  shape  such  as  triads 
or  sevenths  (or  their  inversions).  ^Distinguishing  names  of  a  purely  fanciful 
character  have  been  given  to  the  first  inversions,  of  several  of  the  chords  in 
Fig.  7  (see  Fig.  8).  If  One  other  triad  containing  three  altered  notes  remains 


Neapolitan  Sixth,* 


Italian  Sixths* 


'i 


1st  inversion  of 
ifif.  r 


1st  inversion  of  1st  inversion  of  1st  inversion  of 
No~lXX,Eig.  Z         Kcu.&Q^.Fig.  2"         Ko  ,86.  Fig,7 

FIG.  8. 

to  be  shown — this  can  be  writfen  either  as-  the  major  triad  of  the  flattened 
dominant  or  its  enharmonic  equivalent,  the  sharpened  subdominant  of  the 
key,  as-,  m  Fig.  9.  IfFig.  9  exemplifies  also  the  ordinary  treatment  of  chro- 


FIG. 


matically  altered  triads,  viz.  :  they  are  usually  followed  by  some  form  of  domi- 
nant harmony.  TfThe  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.  1[A  chromatic  alteration  of  Fig.  10,,  I,  III,  V,  VII,  has  already 


II 


ill      rv 

FIG.  10 


vi    vi  r 


been  shown  in  Fig.  3  by  the  flattening  of  the  leading  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.  n).  1[Fig.  n  shows 


III 


V          VII 
FIG*  ti 


II 


IV 


SPECIAL  ARTICLES  723 

that  a  chord  of  the  seventh  may  consist  of  the  following  different  series  of 
intervals  from  the  bass:  fll,  and  II,  Major  3d:  Perfect  sth:  Minor  7th;  III, 
and  IV,  Minor  3d:  Dim.  5th:  Minor  7th;  V,  Minor  3d:  Perfect  5th:  Minor  7th; 
VII,  Major  3d:  Perfect  5th:  Major  7th.  If  A  further  reference  to  Figs,  i,  2,  and 
3,  shows  that  the  harmonic  superposition  of  three  minor  3-ds  «me  .above  the 
other — that  familiar  combination  of  notes  known  as  the  chord  of  the  Diminished 
7th — is  possible  over  every  note  of  the  unaltered  Diatonic  Scale  by  tihrosmatic 
or  enharmonic  alteration  without  necessitating  modulation,  ^Accordingly 

,        i  Enharmonic 


i      a    in     iv     v      vi  vn       i       ii     rv        v       vi 

FIG.  12 

each  note  of  the  Diatonic  Scale  may  bear  the  chromatic  alteration  of  its  own 
chord  of  the  7th  as  shown  in  Fig.  13.     flAnd  with  the  chromatic  alteration 


THSi    H7JE 


FIG.  13 

(Fig.  £4)  of  the  root  itself  tne  permutations  are  almost  endless,  flit  only 
remains  to  give  the  distinguishing  names  which  have  'been  fancifully  .applied 
to  one  or  two  of  the  chromatically  altered  chords  of  the  7  feh  in  an  inverted  sh^pe. 

French  Sixth.  German  Sixth  . 


CD  (2)  (3)  (*)  (5)  X6) 

FIG.  14 

flOf  these  (i)  is  the  second  inversion  of  VII  in  Fig.  10,  with  the  sixth*  of  its  bass 
chromatically  raised.  (2)  is  the  second  inversion  of  II  in  Fig.  1 1  with  its  ibass 
chromatically  lowered  (3)  is  the  second  inversion  of  V  in  Fig.  10,  with  its 
bass  chromatically  lowered.  (4)  is  the  first  inversion  of  II  in  Fig.  10  with  its 
root  chromatically  raised.  (5)  and  (6)  are  respectively  chromatic  alterations 
of  the  first  inversions  of  IV  in  Fig.  1 1 ,  and  VII  in  Fig.  12.  flit  will  be  observed 
that  the  distinguishing  feature  of  the  chords  in  Fig.  14  is  the  interval  *of  the 
Augmented  6th.  In  the  usual  resolution  of  such  chords,  care  should  be  taken  to 
let  the  two  notes  forming  the  Augmented  6th  proceed  outwardly,  each  by  step 
cf  a  semitone. 


THE  CONDUCTOR  AND  HIS  ART 

BY  DEEMS 


THE  SYMPHONY  CONDUCTOR,  as  we  know  him,  is  a  comparatively  modern  in- 
vention.    In  the  seventeenth  and  eighteenth  centuries  he  was  little  more  than 


724  SPECIAL  ARTICLES 

a  time-beater,  dividing  his  time  between  filling  in  the  harmony  at  the  narpsi- 
chord  and  keeping  the  players  together  by  waving  a  roll  of  music  or  a  violin 
bow,  or  pounding  on  the  floor  with  a  cane.    Even  as  late  as  Beethoven's  time 
he  did  little  more  than  indicate  entrances  and  mark  the  tempo.    A  contem- 
porary performance  of  a  Beethoven  symphony  must  have  been  distinguished 
by  the  almost  complete  absence  of  two  of  the  qualities  that  we  of  to-day  expect 
as  a  matter  of  course  to  find  in  a  satisfactory  orchestral  performance:  dynamics 
and  variations  in  instrumental  tone  colour.     ITEven  in  our  times  there  have 
been  serious  attempts  to  do  without  him.     Only  ten  years  ago  a  group  of  New 
York  instrumentalists  organised  an  orchestra,  rehearsed,  and  gave  a  concert 
without  any  conductor  at  all.     The  attitude  of  the  average  lay  listener  seems 
to  vacillate  between  worshipping  him  as  the  creator  and  sole  source  of  the 
music  and  regarding  him  tolerantly  as  a  more  or  less  superfluous  ornament, 
someone  placed  on  the  podium  to  entertain  the  audience  with  a  display  of 
caHsthenic  agility.     It  is,  therefore,  decidedly  worth  while  discussing  just 
what  his  functions  are.     He  certainly  did  not  write  the  music  that  the  or- 
chestra is  playing,  and  he  is  certainly  not  playing  it.    Just  what  does  he  do? 
What  qualities  must  he  possess,  what  are  his  duties,  and  what  are  his  respon- 
sibilities?   HThere  is  one  quality  that  he  must  possess,  first  of  all.    He  may 
possess  it  without  being  a  good  conductor,  but  he  will  never  be  a  good  con- 
ductor if  he  does  not  possess  it.    And  that  is  the  intangible  thing  that  we  call 
leadership,  the  faculty  of  being  able  to  impress  other  people  with  his  authority 
and  knowledge,  and  to  induce  their  minds  and  bodies  to  obey  his  will.    He 
must  not  only  know  his  business,  but  he  must  be  able  to  make  the  members 
of  the  orchestra  believe  that  he  does.     If  he  cannot  do  that,  no  orchestra  will 
ever  play  well  for  him.    For  on  his  relations  with  the  players  depend  the  morale, 
the  esprit  de  corps,  the  team-work  of  the  orchestra  as  a  whole.     ^fSecond,  he 
must  know  the  technique  of  conducting.     No  two  conductors  beat  time  exactly 
alike,  but  all  conductors  do  describe  certain  definite  patterns  in  the  air  with 
r  their  hands  or  batons,  do  make  certain  gestures  indicating  shades  of  expression 
or  entrance  cues.    These  patterns  and  gestures  must  be  sufiiciently  clear  that 
any  one  of  his  players,  reading  notes  with  one  eye  and  watching  the  conductor 
with  the  other,  knows  when  he  is  to  come  in,  when  a  bar  begins,  and  when  it 
ends.     These  signals  of  the  conductor's,  like  the  motions  one  makes  when  driv- 
ing a  car,  must  be  so  habitual  and  automatic  that  he  doesn't  have  to  think  about 
them,  and  can  leave  his  mind  fi.ee  to  concentrate  on  the  music.     ^Besides  con- 
ducting technique,  he  must  have  enormous  theoretical  technique.     He  must  be 
able  to  take  a  new  orchestral  score  that  he  has  never  heard  and  by  studying  it 
analyse  its  structure,  identify  its  themes  and  trace  their  development;  determine 
the  instrumental  balance  at  any  given  moment;  and  determine  the  important 
instrumental  entrances     ...     all  with  the  ease  and  surety  with  which  a 
skilled  architect  or  builder  reads  the  blue-prints  of  a  building  that  has  not  yet 
been  erected.     This  score-reading  must  be  done,  ot  course,  before  rehearsals 
begin;  for  the  players  come  in  the  expectation  that  he  will  tell  then?  what  to  do. 
1fHe  must  not  only  be  able  to  read  new  scores;  he  must  be  thoroughly  familiar 
with  the  old  ones.     Just  as  there  are  traditional  performances  of  the  classic 
rdles  in  the  drama,  so  there  are  traditional  interpretations  of  the  standard  works 
in  the  orchestral  repertoire.     Take,  for  example,  Beethoven's  Fifth  Symphony. 
During  the  130  years  that  have  elapsed  since  that  work  was  first  heard,  there 


SPECIAL  ARTICLES  725 

bas  grown  up  what  might  be  called  a  "standard"  performance  of  it.  Gener- 
ations of  conductors  have  agreed  that  the  various  movements  "should  be  played 
.at  a  certain  speed,  that  certain  passages  be  played  a  little  louder  or  a  little 
softer  than  they  are  marked,  that  certain  other  passages  be  hastened  or  retarded. 
Needless  to  say,  virtually  every  conductor  departs  at  times  from  that  traditional 
performance  (in  fact,  that  is  one  of  the  reasons  why  we  can  tell  them  apart) ;  but 
it  is  expected  of  any  first-rate  conductor  that  he  be  perfectly  familiar  with  the 
traditional  interpretation  before  he  ventures  to  try  out  any  different  ideas  of 
Ids  own.  The  Beethoven  Fifth  is  one  of  perhaps  a  hundred  works  with  whose 
traditions  he  is  expected  to  be  familiar.  H~Our  conductor  must  not  only  be  a 
leader.  He  must  be  prepared  to  follow,  as  well,  on  occasion.  ...  In  other 
words,  he  must  be  a  good  accompanist.  It  is  hard  work  to  make  an  orchestra 
accompany  any  soloist.  Only  a  player-piano  or  a  record  ever  gives  two  identical 
performances  of  the  same  piece,  and  no  matter  how  carefully  a  concerto  or  an 
aria  may  have  been  rehearsed,  at  the  actual  performance  the  conductor  must 
have  the  alertness  to  anticipate  the  slightest  variation  in  the  soloist's  playing 
or  singing,  and  the  skill  to  convey  that  variation  instantly  to  a  hundred  men, 
most  of  whom  can  neither  see  nor  hear  the  soloist.  1fHe  has  many  other  duties 
and  responsibilities.  For  one  thing  he  is  largely  responsible  for  making  up  the 
programmes  of  his  orchestra.  Not  only  must  the  conductor  determine  the  order 
of  events  on  any  musical  programme,  but  he  must  determine  the  balance  and 
proportion  of  his  series  as  a  whole.  He  must  see  to  it  that  the  season's  pro- 
grammes contain  a  sufficient  number  of  the  classics;  otherwise  half  his  audi- 
ence will  call  him  a  wild-eyed  radical:  he  must  also  play  enough  modern  music  to 
keep  the  other  half  from  calling  him  a  hide-bound  conservative;  and  he  must 
play  enough  new  music  to  keep  the  critics  from  calling  him  a  lazy-minded 
reactionary.  It  is  this  planning,  by  the  way,  that  keeps  conductors  from  having 
time  heavy  on  their  hands  during  the  summer  months.  1fln  the  actual  per- 
formance of  his  programmes  he  is  responsible  for  a  number  of  things  that  we 
take  for  granted.  He  is  at  least  one-half  responsible  for  the  quality  of  tone  that 
ids  players  produce.  Naturally,  if  he  has  poor  material  he  can  do  little  about 
it;  he  can't  make  men  play  better  than  they  can.  But  the  fact  that  he  has  a 
superb  body  of  instrumentalists  at  his  command  does  not  mean  that  they  will 
invariably  give  their  best  unless  he  knows  enough  to  ask  for  it.  A  wind  instru- 
ment may  play  a  fraction  of  a  tone  flat  or  sharp ;  and  the  player,  with  his  ears  full 
of  the  sound  of  the  other  instruments  beside  him,  may  be  totally  unconscious  of 
the  fact.  It  is  the  conductor  who  must  hear  the  sour  note  and  correct  it.  His 
•string  section  has  an  infinite  variety  of  tone  colour  at  its  command;  but  it  is  the 
conductor  who  must  decide  with  what  quality  of  string  tone  any  given  passage 
is  to  be  played.  IfAside  from  trying  to  make  his  orchestra  play  as  beautifully 
as  it  can,  the  conductor  has  certain  responsibilities  that  are  fairly  obvious  to 
anyone,  in  other  words,  for  the  details  of  performance  that  we  call  the  interpre- 
tation of  a  work.  He  must  determine  tempi  and  rhythms,  the  speed  at  which 
any  portion  of  the  work  is  to  be  taken,  and  the  degree  to  which  its  rhythms  are 
to  be  accentuated.  Incidentally,  it  is  in  speed  that  conductors  tend  to  vary 
most  widely.  Superficially  their  performances  may  sound  alike,  but  a  difference 
in  speed  amounting  to  only  a  small  fraction  of  a  second  in  any  one  measure  may 
assume  rather  impressive  proportions  in  a  work  that  is  four  or  five  hundred 
measures  long.  I  have  known  two  great  conductors  to  vary  as  much  as  six  or 


726  SPECIAL  ARTICLES 

seven  minutes  in  their  playing  of  the  same  .symphony.    Also,  I  have  neard  a 
semi-amateur  orchestra,  under  not  quite  so  great  a  conductor,  take  an  hour  and 
eight  minutes  to  play  Dvo?£k?s  "From  the  New  World9'  symphony,  the  regu- 
lation playing  time  of  which  is  some  forty-odd  minutes.     IfDynamics  are 
another  great  responsibility  of  the  conductor,  and  dynamics,  not  just  in  the 
simple  sense  of  playing  loudly  or  softly — thezjilayers  could  manage  that  by  them- 
selves fairly  well  if  they  watched  the  markings  on  the  music — but  in  the  sense  of 
how  loudly  and  how  softly  at  any  given  moment.     One  of  the  things  that  dis- 
tinguishes a  great  conductor  is  his -sense  of  climax,  his  power  of  leading  the  music 
up  to  one  high  peak  of  volume  and  then  .drawing  gradually  away  from  it.     Now 
in  his  performance  of  any  given  work  you  woitld  probably  find,  if  you  had  a 
machine  for  measuring  and  recording  volume  ^of  sound,  that  there  is  one  point  at 
which  -the  intensity  of  the  sound  of  the  orchestra  is  greater  than  at  any  other. 
There  is  a  legend  that  in  one  of  Schumann's  symphonies  there  is  a  passage 
marked  "forte  possibile"     .     .     .     "as  loudly  as  possible";  and  that  four  bars 
later  the  composer  has  written  "crescendo*"    ,.     .     .     "louder."     Now  Fve 
never  tracked  that  passage  down,  and  it  may  not  exist;  but  it  does  illustrate  a 
situation  in  which  any  conductor  may  find  himself  if  he  is  not  careful     .     .     . 
that  of  having  fired  off  all  his 'orchestral  ammunition  on  one  climax,  only  to  find 
that  another,  greater  climax,  is  expected  of . him  later  on.    Therefore,  in  general,, 
even  though  a  work  may  -contain  fivje  passages  ior  .full  orchestra,  all  labelled, 
"fortissimo"  the  skilful  conductor  generally  selects  one  fortissimo  to  be  louder 
than  any  of  the  others.     To  be  able  to  do  this  he  must  be  tremendously  sensitive 
to  slight  variations  in  tonal  volume.    He  mustcarry  in -his  mind  a  sound-picture,, 
so  to  speak,  of  the  clima.*  that  he  wants  .long  before  he  gets  to  it;  in  addition  he 
must  manage  to  get  the  orchesctara  to  give  him  plenty  -of  volume  in  the  lesser 
-climaxes,  and -still  keep  tteplayieos.frxDmL^getting  oveffenthusiastic  and  anticipat- 
ing his  effect.    The  same  problem,  naturally,  is  involved  in  the  playing  of  quiet 
passages.     It  all  .sounds  ^complicated,  aaad  it  w  complicated;  and  only  a.first-rate 
conductor  jean  do  it.     IfHaving  determined  art  least  some  of  .the  things  for  which 
a  conductor  must  be  responsible,  .1  ihave  still  to  answer  one  fundamental  ques- 
tion: Is  the  conductor  essential  at  an  jactual  performance?     He  is,  of  course. 
The  orchestra  may  have  mastered  £he  minutest  details  of  the  performance  at 
the  rehearsals.     Nevertheless/ wthen  they  come  out  on  the  platform,  the  players 
are  still  dependent  upon  the  ^conductor  in  many  ways.     To  begin  with,  some- 
body has  to  start.and  stop  them;  and  tfhetconductor  is  the  logical  man  to  do  that. 
•In  the^second  place,  they  depend  fon  him  for  the  important  entrance  cues.    The 
dirst  jobae^may  .be  perfectly  .capable,  theoretically,  x>f  counting  thirty-seven  bars' 
xest  and  then  coming  in,  on  the  precise  beat  >of  ihe  bar,  with  a  difficult  solo. 
But  it's  'one  thing  to  foe  able  ito  do  that,  rntassisted,  and  quite  another  to  have 
to  doit,  knowing  thataialse  entry  may  ruin  the  whole  performance.     It  makes 
a  very  neal  difference  in  the  quality  of  .any  player's  performance  to  know  that 
he  can  rely  upon  the  conductor  to  give  "H™  the  nod  or  gesture  that  will  bring 
him  in  at  the  proper  time,  leaving  his  mind  free  to  concentrate  on  his  playing, 
without  having  to  worry  about  bars.     Furthermore,  no  matter  how  great  the 
orchestra,  or  how  thoroughly  it  has  been  rehearsed,  it  is  impossible  for  the 
players  to  memorise  «very  detail  of  any  one  performance.     The  number  of 
concerts  m  .a  season  is  so  great,  the  orchestral  literature  is  so  enormous,  that 
the  instrumentalists  are  bound  to  forget  almost  a  s  speedily  as  they  learn     They 


SPECIAL  ARTICLES 


727 


must  be  reminded  of  what  they  kmo w.  The-  gestures  that  you  see  the  conductor 
make  when  he  stands,  on  the  platfoma  a#e  those,  that  he,  made  at  the  rehearsals; 
they  serve,  as  I  say*,  as  a  reminder  to  the  players  of  what  he  has  taught*  them. 
Without  him,  the  orchestra  might  plsty  the.  motes-;  Tasurt  it  would  fail  to  give  you 
a  thousand  subtleties  that  the  coeduefcoi,  and  the  conductor  alone,  cant  evoke. 
^Incidentally,  one  of  the  qualities  of  a,  conductor  to,  which  the  audience^ likely 
to  pay  great  attention  is  of  no  importance  at  all;  and  that  is  the  grace  er  awk- 
wardness of  his  gestures,  the  way  he  handles  Ms  body;  in  general,  what  are 
known  as  his  platform  mannerisms.  Only  the  audience  cares  about  those, 
All  the  orchestra  asks  is,  "Is  his  beat  clear,  and  does  he  know  how  to-  get  what 
he  wants?  "  Unfortunately,  this  being  something  less  than  a  perfect  world,  a 
certain  number  out  of  any  aud&ence  are  likely  to  watch  the  conductor  instead 
of  listening  to  him,  to  judge  a  ^eEfonnance  on  the  merits  of  the  conductor's  back 
instead  of  on  the  playing  of  his  men.  Aa  a  matter  of  fact,,  it  is  difficult  not  to  do 
so.  There  have  been  times  when  I>  too,  hav.e  been  fooled  by  an  authoritative 
pair  of  scapulae  I  (See  Dictionary?  0$  Terms  entry ,  page  577.) 


COUNTERPOINT 

BY  HOMER  A.  NORRXS 

THEE  ART  of  combining  melodies  is-  ealled  counterpoint.  When,  a  pianist 
u plays  'Old  Hundred'  in  one  hand,,  and  'Yankee  IXoodle'  in  the  ofcher"  he 
illustrates  the  contrapuntal  idea.  Weingartner's  arrangement  of  Weber's 


m 


irrurni- 


l^t-  r  -rJr=r=l 

IT  

1  if  — 

=|=q 

/V1 

<frr  f  JJTr£=J 

k  r  rrf  n 

fpefa 

r  rrlr^i 

•Ls  —  a 

[4-| 

-Ml 

inversion  of  above  example 


^t>      -        JJJJJ  j  ^ 

• 

J]lj-jjjp=^i 
'  r  i" 

lA  tr   j  n  J  <h  i  JT^^^ 

»• 

—  _^  —  .  

TO    .^  «  —  ^Jtfi*'       it^'*'*  a 

=^y 

—  * 

j.i  j  =°=^ 

r  r-  D  i  -  i 

728  SPECIAL  ARTICLES 

"Invitation  to  the  Dance"  represents  most  ingenious  counterpoint.  In  strict 
(plain,  simple)  counterpoint,  no  combination  of  notes  representing  more  than 
three  sounds  is  allowed;  no  dissonances  except  passing  notes;  no  chromatics. 
IfCounterpoint  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  counter- 
point may  be  so  written  as  to  invert  in  the  8th,  Qth,  isth,  or  any  other  interval. 
The  foregoing  is  an  example  of  double  counterpoint.  TfWithin  the  confines 
of  strict  counterpoint  ecclesiastical  music  reached  its  loftiest  expression  through 
Palestrina,  in  about  1600.  1fln  modern  harmony  chords  may  be  built  up 
of  three,  four,  five,  and  even  more  different  sounds.  When  the  contrapuntal 
idea  is  applied  to  modern  harmony,  the  result  is  called  free  counterpoint.  Free 
counterpoint  is  simply  a  contrapuntal  manipulation  of  modern  harmony,  as 
opposed  to  strict  counterpoint  which  is  limited  to  chords  of  three  sounds. 
Bach  re-established  the  counterpoint  of  Palestrina  on  the  modern  harmonic 
bass.  In  his  fugues  the  contrapuntal,  or  polyphonic,  idea  is  found  in  its  most 
perfect  form.  ^The  very  essence  of  Wagner's  music  is  counterpoint.  When 
the  melodies  of  "Die  Meistersinger"  are  brought  together  in  the  overture  it  is 
modern  counterpoint;  not  an  end  in  itself,  but  as  a  means  to  direct,  emotional 
expression.  l[So  from  out  this  old  counterpoint  has  come  a  new,  which  to-day 
permeates  all  music.  Neither  Brahms  nor  Richard  Strauss  could  exist  but  for 
the  industry  of  those  early  savants,  who,  piling  notes  upon  notes,  laid  a  foun- 
dation for  the  cathedral  of  music  which  has  risen  majestically  under  Bach, 
Handel,  Mozart,  Beethoven,  Brahms,  and  Wagner.  It  is  modern  counterpoint, 
counterpoint  with  a  soul  in  it,  which  distinguishes  all  great  work  to-day  and 
stamps  it  for  posterity.  (See  Dictionary  of  Terms  entry,  page  57p.) 


THE  ELECTRIC  ORGAN 

BY  RUDOLPH  GAJSTZ 

THE  ELECTRIC  ORGAN,  invented  by  Laurens  Hammond,  is  a  striking  example  of 
contemporary  improvement  upon  an  instrument  of  great  antiquity,  and  of 
decided  value  in  the  progress  of  music  as  an  art.  It  furnishes  an  individual 
flavour  to  the  modern  ensemble,  and  it  is  gradually  replacing,  for  home  use  and 
as  an  orchestral  voice,  and  in  many  churches,  its  staid  and  orthodox  predecessor, 
because  it  is  an  instrument  instead  of  a  structure,  and  can  be  installed  with 
comparative  ease  and  economy.  1[As  to  the  peculiar  facility  of  tone  which 
enables  the  electric  organ  to  take  its  place  in  the  modern  orchestra  as  a  distinc- 
tive voice  of  undeniable  beauty,  I  can  say  with  the  authority  of  long  experience 
that  I  believe  it  has  come  to  stay.  TTLet  us  look  into  the  past  of  the  organ,  that 
we  may  understand  why  the  electric  organ  is  an  adaptation,  rather  than  an 
ultimate  expression,  of  the  original  instrument.  In  the  first  place,  let  us  disre- 
gard at  once  a  vague  but  popular  idea  that  the  organ  was  first  conceived  as  an 
orchestra  and  choir  compressed  within  a  single  unit.  This  idea,  of  course,  is 
absurd.  If"  The  first  instrument  used  in  art  music,"  says  W.  J.  Henderson  in 
The  Story  of  Music,  "was  the  organ."  He  explains  that,  as  it  was  first  employed 
in  the  church,  "it  came  under  the  consideration  of  the  only  musical  scholars  of 
the  Middle  Ages,  f  "The  best  organist  of  our  time  would  not  know  what  to  do 


SPECIAL  ARTICLES  729 

with  one  of  those  early  cathedral  thunderers.     According  to  the  historian 
Wulstan,  who  wrote  in  951,  an  organ  built  in  Winchester  Cathedral  had  400 
pipes  and  thirteen  pairs  of  bellows,  requiring  seventy  blowers.     If "  This  instru- 
ment sounded  but  ten  tones  and  was  built  simply  to  make  as  big  a  noise  as  possi- 
ble.    Only  one  note  at  a  time  was  played  on  these  organs,  and  that  had  to  be 
pressed  down  with  the  fist  or  elbow.     As  long  as  only  a  plain  chant  was  required, 
this  system  answered  well  enough;  but  when  harmony  was  invented,  the 
cumbersome  organ  could  not  double  the  newly-arranged  voice  parts.     The 
mechanism  of  the  organ,  therefore,  began  to  improve  in  answer  to  the  demands 
of  the  music  of  the  church."     fiThese  crudities  of  an  early  beginning  evidently 
had  given  way  to  a  vast  improvement  by  the  time  of  Bach,  for  the  organ  was  the 
instrument  upon  which  Bach  performed  some  of  his  greatest  works.     Dr.  Spitta 
gives  the  following  account  of  Bach's  organ  at  Arnstadt:     If"  The  organ  was 
splendidly  constructed,  all  the  diapasons  being  seven-ounce  tin,  the  gedackt  also 
being  of  metal,  instead  of  wood,  as  was  more  usual.     The  character  of  the 
'Brust-Positiv'  must,  indeed,  have  been  somewhat  shrill,  owing  to  the  pre- 
ponderance of  four-foot  stops;  and  it  was  only  by  using  all  the  stops  in  combina- 
tion that  even  a  moderately  good  effect  could  be  produced;  nor  was  there  on  the 
pedals  any  deep  stop  of  moderate  strength,  still  the  'Hauptwerk'  was  well 
arranged."     UThe  Oberwerk,  or  upper  manual,  had  twelve  stops;  the  Brust- 
Positiv,  or  choir,  seven;  and  the  pedals,  five;  in  addition  to  the  coupler.     This 
organ  existed  until  1863.     A  new  one  was  then  erected  as  a  memorial  to  Bach, 
but  as  many  of  the  old  stops  as  were  available  were  retained.     HThe  origin  of  the 
organ,  second  only  to  the  reed  instruments  in  antiquity,  supposedly  was  Roman. 
The  ancient  antecedent  of  the  organ  apparently  was  that  group  of  loosely  related 
reeds  known  as  the  Pipes  of  Pan,  consisting  of  a  series  of  hollow  reeds  of  different 
lengths  fastened  together,  and  played  by  blowing  each  tube  separately.     If' 'Of 
the  many  Roman  instruments,"  writes  Marion  Bauer,  "the  organ,  because  of 
its  importance  in  later  Christian  music,  interests  us  more  than  all  the  others. 
H "There  had  been  evidence  of  the  water-aulos  (hydraulos)  in  the  writings  of 
Philo  of  Alexandria  (200  B.C.)  who  credited  Ctesibus,  engineer,  with  the  inven- 
tion; of  Vetruvius,  writer  on  architecture  in  Augustus'  reign  and  of  Hero  of 
Alexandria.     This  evidence  was  not  substantiated  until  1885,  when  a  pottery- 
model  made  by  Possessor  in  100  A.D.  was  found.     A  complete  description  of  tbis 
organ  is  given  in  Stanford  &  Forsythe's  A  History  of  Mt4sic.     IT"  The  Romans, 
however,  had  a  pneumatic  as  well  as  a  water  organ.     Primitive  types  persisted 
until  our  own  era.     They  used  them  in  portable  forms  for  their  revels  and  coarse 
and  gaudy  circuses.     For  this  reason,  the  early  Christians  and  many  later 
Christian  societies  banned  the  organ,  as  well  as  other  instruments,  as  pagan  and 
profane."     IfKeys  were  first  introduced  into  the  organ  toward  the  end  of  the 
eleventh  century;  at  first  16,  later  22.     The  large  keys  were  so  stiff  and  clumsy 
that  they  had  to  be  pressed  down  with  the  fist.     The  addition  of  foot-pedals 
added  materially  to  the  musical  resources  of  the  organ.     The  addition  of  stops 
to  imitate  various  orchestral  instruments,  and  the  invention  of  the  swell  to 
increase  or  diminish  the  sound,  came  in  the  seventeenth  century.     The  first 
American-built  organ  was  erected  in  Trinity  Church,  New  York,  in  173  7.     IfMy 
purpose  in  thus  alluding  to  the  past  of  the  organ  is  to  bring  forward  a  proper 
consideration  of  the  electric  organ  as  a  new  instrument;  "adapted"  from  the 
organ  itself,  yet  possessing  certain  definite  powers  which  must  be  regarded  as 


730  SPECIAL  ARTICLES 

individ'ual  and  capable  of  further  development.  HThe  musical  world  is  in- 
debted to  Laurens  Hammond  for  a  pioneer  efiort  in  the  direction  of  the  electric 
organ,  adopting  a  principle  of  electric  vibration  'Mtherto  ignored  in  the  produc- 
tion of  pitched  tone.  1|The  Hammond  ongan  is  designed  specifically  for  the 
h  ome,  and  amateur  use ;  for  the  orchestra,  «nd  professional  use.  It  has  a  greater 
tonal  jrange  than  most  cathedral  organs,  is  instantaneous  in  action,  perfect  in 
pitch — all  in  a  space  smaller  than  a  baby  grand  piano.  1]The  tonal  pitch  of  this 
instrument  cannot  vary;  humidity  and  tejaaperature  do  not  affect  it;  it  consumes 
current  at  the  average  rate  of  one  cent  an  hour;  and  I  am  told  more  than 
253,000,000  tones  are  available;  its  voltaaae  is  Tin  limited.  1f  Creation  of  tone 
depends  upon  amplification  of  electrical  impulses  into  sound  waves.  The 
impulse  is  generated  by  tone-wheels  about  the  size  of  a  silver  dollar,  whicb 
r-evolw  At  constant  speed  <J.ose  to  sEoall  magnets,  each  with  a  coil  wound  at  one 
•end.  Tfeey  are,  in  effect,  tiny  instating  electric  generators.  HOn  the  rim  of  each 
tcmeHwkeel  is  a  series  of  psofcrusiens,  BegsLLaaiy  spaced,  similar  to  teeth  in  a  gear 
As  tbe  wheel  rotates,  tfeese  toigh  spots  i?egtilarfy  disturb  the  magnetic  field  and  a 
tiny  -electric  current  is  kuteced  ia  the  coil.  -^For  instance,  one  tone-wheel  is  so 
constructed  that  the  ridges  <ra  the  rim  pass  tibe  magnet  and  coil  at  the  raise  of  440 
per  second.  When  the  electric  impulse  created  by  the  wheel  is  amplified  and 
made  audible  the  result  is  a  simple  tone  with  a  frequency  of  440  vibrations, 
Middle  A  in  International  Pitch.  There  is  a  separate  tone-wheel  for  every 
frequency  used.  ^Tone-wheels  are  geared  together  and  are  driven  by  a  singk 
constant-speed  synchronous  motor;  each  tone-wheel  must  revolve  at  its  pre- 
determined uniform  speed.  1[As  the  emtice  process  is  electrical,  the  response  to 
the  depression  of  a  key  is  instantaneous.  In  the  traditional  organ  there  is  a 
noticeable  lag  of  tone  behind  each  key  depression.  For  this  reason  music  of 
rapid  tempo,  formerly  impractical  for  tbe  oigan.,  can  be  played  as  readily  as  on  a 
piano.  1f Variation  of  tone  in  this  instrument  is  purely  a  matter  of  physics. 
The  harmonic  principle  of  the  third  and  !&&h  of  a  single  note  vibrating  in  unison 
with  the  note  it-self  forms  a  basic  rule  of  construction  for  the  Hammond. 
TfEvery  complex  musical  tone  consists  of  a  fundamental  tone  plus  a  series  of 
harmonic  overtones  of  certain  strengths  relative  to  the  fundamental.  When 
the  harmonics  and  their  relative  strengths  ^are  specified,  the  quality  or  timbre 
of  the  tone  is  specified.  A  change  in  the  strength  of  any  overtone  will  alter  the 
quality  of  the  whole  tone.  1fThe  Hammond  organ,  instead  of  supplying  pipes 
or  o*eeds  with  fixed  tones,  supplies  the  simple  tones  which  constitute  the  fixed 
tones,  and  the  means  for  combining  them.  Tfeis  is  done  through  a  series  of  nine 
draw-baps  of  eight  strengths  each,  located  afoove  the  top  manual.  Each  draw- 
bar is  a  small  strip  on  which  are  marked  «aght  graduations  or  strengths,  the  full- 
closed  bar  giving  a  ninth  position.  One  01  "these  draw-bars  governs  the  funda- 
mental tone,  and  the  other  eight  the  overtones.  1fThe  degree  to  which  each 
bar  is  ptdled  out  determines  the  volume  im  which  the  overtone  it  governs  is 
present  in  the  tone  produced  when  a  key  -OB.  the  manual  is  depressed.  Thus  an 
almost  inexhaustible  variety  of  tone  occurs  -can  be  produced  at  the  will  of  the 
player  simply  by  varying  the  extent  to  wiaich  the  bars  are  pulled  out  in  relation 
to  each  other.  Tone  colours  frequently  used,  «uck  as  the  flute,  Frer.ch  horn, 
diapason,  full  organ  and  others,  -can  be  «et  permanently  on  the  organ  and  are 
broTsgkt  into  use  simply  by  depressing  a  single  preset  key  of  which  there  are  n 
focafcet**  the  extreme  left  of  the  kes^boa^A  of  each  manual  Thus  the  organist 


SPECIAL  ARTICLES  731 

has  instantly  available  22  ready  mixed  tones  in  addition  to  the  facilities  provided 
for  creating  new  tone  colours.  1fln  considering  the  musical  future  of  this 
instrument,  one  must  realise  that  composers  in  the  past  usually  utilised  musical 
instruments  offered  on  the  market  by  the  manufacturer,  as  Mr.  Joseph  Schil- 
linger  pointed  out  in  a  recent  address  before  the  League  of  Composers.  "Rich- 
ard Wagner  had  a  desire  to  create  new  instruments,"  said  Mr.  Schillinger,  "and 
Jiey  proved  impractical.  The  parts  he  wrote  for  these  instruments  are  seldom 
played  to-day  on  the  instruments  that  were  specially  constructed  for  them  under 
his  direction  (contra-bass  trombone,  ayr/i  tenor  tuba).  If  "The  education  of 
composers  will  not  be  complete,"  he  added,  "  without, the  study  of  the  physics  of 
sound  in  relation  to  musical  composition.  .  .  .  There  has  been  a  great  deal 
of  disappointment  in  the  electrical  instruments  among  the  musicians  and 
composers  because  they  have  always  been  trying  to  compare  these  instruments 
with  the  ones  that  are  constructed  on  an  entirely  different  principle  and  offer  an 
entirely  different  group  of  characteristics."  TfBut  the  electric  organ  is  still  in 
its  infancy,  employing  entirely  new  principles  and  offering  new  opportunities 
which  we  can  only  realise  by  earnest  application  and  sympathetic  study.  A 
myriad  of  effects  are  available  to  a  performer  of  musical  intelligence,  one  who  is 
willing  to  study  patiently  the  proper  touch,  attack  and  release,  and  bring  into 
play  the  unending  combinations  of  properly  balanced  tone  for  legitimate  musical 
expression.  As  with  all  musical  instruments,  when  degraded  by  misuse,  this 
organ  may  be  made  ridiculous.  However,  when  used  in  good  taste  by  a 
competent  and  interested  person,  the  instrument  proves  itself  an  artistic  crea- 
tion of  distinction  and  dignity.  ITThe  Hammond  organ,  as  it  is  now  consti- 
tuted, has  great  possibilities  for  outdoor  use,  in  performance  of  the  greater 
choral  and  orchestral  works.  Composers  are  realising  its  potential  grandeur; 
conductors,  myself  included,  are  glad  to  use  it  as  a  sensitive  and  superior  instru- 
ment, particularly  as  the  organist  is  able  to  respond  instantly  to  the  indications 
of  the  blton.  I  look  forward  to  a  time  when  the  electric  organ  will  have  at- 
tained a  state  of  development  which  will  make  it  as  necessary  a  part  of  con- 
temporary musical  life  as  the  piano.  (See  The  Organ,  page 


FOLK-SONG 

BY  H.  E.  EL&EHBIEL 

THE  BEARING  which  Folk-music  (i.e.,  Folk-song  and  Folk-dance)  has  on 
national  schools  of  composition  gives  propriety  to  an  attempt  at  accurate 
definition  of  the  subject  to  which  this  article  is  devoted.  Folk-song  is  not 
popular  song  in  the  sense  in  which  the  word  is  most  frequently  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 
come  into  existence  without  the  influence  of  conscious  art,  as  a  spontaneous 
utterance,  filled  with  characteristic  expression  of  the  feelings  of  a  people.  Such 
songs  are  marked  by  certain  peculiarities  of  rhythm,  form,  and  melody  which 
are  traceable,  more  or  less  clearly,  to  racial  (or  national)  temperament,  modes 
of  life,  climatic  and  political  conditions,  geographical  environment  and  language. 
Some  of  these  elements,  the  spiritual,  are  elusive,  but  others  can  be  determined 


732  SPECIAL  ARTICLES 

and  classified.    Peoples  living  in  northern  climates,  for  instance,  are  predisposes 
to  the  minor  mode,  which  has  melancholy  for  its  most  marked  characteristic. 
Here  the  influence  is  generally  climatic  and  geographical.    But  peoples  living 
in  cheerful  and  salubrious  climes  may  also  be  dominated  by  gloom  if  they  have 
long  suffered  under  oppressive  political  and  social  conditions.     flBoth  propo- 
sitions are  illustrated  in  the  case  of  Russian  Folk-song,  which  is  overwhelmingly 
minor  in  spite  of  the  fact  that  the  Czar's  empire  extended  over  nearly  thirty 
degrees  of  latitude  and  had  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 
universally  with  singularly  boisterous  and  energetic  dances;  but  the  reason  of 
this  becomes  plain  when  it  is  remembered  that  a  measured  and  decorous  mode 
of  popular  amusement  is  the  general  expression  of  equable  popular  life,  while 
svild  and  desperate  gayety  is  frequently  the  sign  of  reaction  from  suffering. 
There  is  a  gayety  of  despair  as  well  as  of  contentment  and  happiness.     Iflnter- 
vallic  peculiarities  are  more  difiicult  to  explain  than  rhythmic,  and  may  be  said 
to  be  survivals  of  primitive  artistic  conditions.    The  modern  scale  was  an 
evolution,  not  an  inspiration,  and  the  study  of  savage  music  discloses  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  (i.e, ,  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  predominant.    C6sar  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  commonly  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  char- 
acterises Hungarian  music  is  an  importation  from  the  Orient  by  the  Gypsies 
who,  while  the  national  musicians  of  Hungary,  are  nevertheless  a  Hindu  people. 
TfThese  facts,  gathered  at  random  'from  the  vast  but  as  yet  unexplored  store- 
house of  Folk-music,  indicate  the  possibility  of  using  tke  study  as  an  aid  in  the 
determination  of  many  things  in  ethnology  and  ethnography;  for  Folk-song 
elements  have  a  marvellous  tenacity  of  life.    In  the  study  of  Folk-music,  how- 
ever, the  purpose  of  the  student  should  be  primarily  to  discover  and,  if  possible, 
account  for  the  elements  which  differentiate  the  creations  of  one  race,  people, 
or  tribe  from  those  of  another.    This  done  it  will  be  possible  to  explain  and 
describe  the  distinguishing  characteristics  of  the  national  schools  of  composition 
based  upon  Folk-song  idioms,  such  as  the  Scandinavian,  Russian,  Polish, 
Bohemian,  and  Hungarian.     (See  Dictionary  of  Terms  entry,  page  <5o?.) 


SPECIAL  ARTICLES  733 

FORM 

BY  JOHN  F.  RTOTCTHAN 

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  application  which  are  included  in  this  one  comprehensive 
term  Form.     Ifln  the  beginning,  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  de- 
velopment.    But  in  the  earliest  traditional  melodies  that  come  down  to  us 
we  find  the  germ  of  all  that  is  now  known  &s  Form.     1fln  any  collection  of 
popular  songs  the  reader  will  find  examples  built  on  the  following  plan: — 
first  a  strain  is  delivered;  then  another  strain,  in  another  key,  is  delivered;  and 
finally  the  first  strain  is  repeated,  bringing  the  whole  thing  to  a  satisfactory 
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  key  would  prove  tiresome,  so  a  feeling  of  relief,  of  variety  is  pro- 
duced when  the  thing  is  lengthened  by  the  addition  of  a  second  strain  in  a  new 
key.     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  first  key  is  re-introduced 
and  the  whole  song  rounded  off  and  made  to  end  with  a  sense  of  perfect  com- 
pleteness by  a  repetition  of  the  first  strain  in  the  first  key.     IfFrom  this  simple 
example,  then,  we  may  infer  the  whole  object  of  Form:  it  is  to  secure,  whether 
in  songs  or  in  instrumental  movements  or  in  choruses,  a  piece  of  music  suffi- 
ciently long  and  combining  variety  with  unity.     ^Length,  variety,  and  unity — 
to  attain  these  is,  so  far  as  instrumental  music,  music  without  words,  is  con- 
cerned, the  whole  aim  and  object  of  Form.     When  once  music  is  used  in  asso- 
ciation with  words,  other  than  the  simplest  lyrics,  other  considerations  enter. 
These  we  will  touch  upon  later;  let  us  for  the  present  try  to  get  as  far  as  the 
first  instrumental  music  written  in   anything  approaching  regular  Form- 
Naturally  this  grew  out  of  the  polyphonic  vocal  music,  which  came  before  it. 
If  we  examine  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  sung  it  a  second  voice  takes  it  up,  while  the  first  voice 
proceeds  to  a  second  theme  or  strain  which  we  will  call  B — a  third  voice  enters 
with  A,  the  second  takes  up  B,  while  the  first  proceeds  to  yet  another  new 
strain,  C.     Roughly,  this  is  the  way  in  which  whole  movements  are  spun  out. 
The  modulations  are  more  or  less  haphazard  and  dictated  entirely  by  the  com- 
poser's desire  to  achieve  expression:  there  is  nothing  done  in  obedience  to  any 
rule.     The  first  instrumental  pieces  are  built  after  this  plan.     TfThese  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 


734  SPECIAL  ARTICLES 

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  some- 
thing to  say,  something  which  demanded  length;  most  of  them  had  the  architec- 
tonical  instinct  which  forces  r&\™  -to  build  .out  of  any  material  he  can  lay  his 
hands  on.     Now  a  long  movement,  a  too  long  movement,  spun  on  the  old  plan 
necessarily  becomes  tedious,  m0Hoton<OTB  aasd  'difficult  to  follow — it  as  at  best 
like  a  very  long  sentence  or  paragraph  with  Bevera-coinniaor  a  period.     More- 
over, if  the  music  is  all  the  same,  if  it  is  &om©geBecras,  it  is  obvious  that  one  of 
the  principal  methods  of  getting  expression,  tjoiftrast,  is  ruled  otrt.    Last,  no 
musical  architecture  is  possible  with  a  mea?e  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  of  the  popular  song  akeady  referred  to 
was  adopted,  probably,  nay,  ^certainly,  quite  unconsciously,  and  there  was 
evolved  a  very  simple  and  useful  Form,  one  which  has  been  vastly  used  by  all 
composers  and  will  doubtless  be  used  GQiastaflit&y  in  the  futere,  .however  music 
may  develop.     If  In  place  of  the  one  strain  ©f  the  simple  song  one  section  con- 
sisting of  many  strains  was  introduced.    Following  that,  in  a  new  key,  for  the 
sake  of  variety,  came  a  second  section,  also  consisting  of  many  strains.     Finally 
the  first  section  was  repeated  in  like  ^original  key,  bringing  the  whole  movement 
to  a  satisfying  conclusion.     Of  this  form  there  are  hundreds  of  examples  in  the 
shorter  movements  of  Haydn,  Mozart  and  Beethoven,     When  a  more  modern 
composer  uses  it,  however,  he  by  noineans  sticks  to  a^ouple  of  keys.     Our  sense 
of  tonality  has  grown,  we -perceive  relations  between  keys,  -which  our  forefathers 
were  totally  unable  to  perceive;  and  the  first  and  second  sectionsanay  .both  pass 
through  many  keys.     But  the  general  principle  Temams  the  same.     Now  *M* 
very  excellent  Form  is  also  very  primitive.     In  Haydn's  time,  soad  Before  it,  the 
instinct  to  buM,  to  crystaHdise,  music  was  stiH  at  <v«ork;  more  than  ever  ronv 
posers  wanted  to  -express  'something.;  'and  more  tihan  ever  it  .was  .necessary  to 
secure  contrast.     ^So  -whaft  is  commonly  ^called  sonata  form  came  »to  be  invented. 
In  the  simplest  examples  x>f  this  a  first  ttheme — corresponding  to  the  first  strain 
of  a  popular  song,  as  aforesaid — is  announced.    Then  romes  the  second  theme 
in  a  fresh  key.    But  after  that,  instead  of  a  repetition  of  the  first -section,  there 
is  what  is  called  a  development  or  working-out  section,  in  which  both  first  and 
second  themes  are  treated  with  all  the  skill  and  fancy  the  composer  possesses 
and  shown  in  a  dozen  or  more  unsuspected  lights.     Only  after  that  does  the 
first  theme  return,  and  then  .the  second  theme.     This  is  called  the  Reprise.    B  ut 
the  second  theme,  if  repeated  in  the  key  in  winch  it  first  appeared,  would  of 
course  end  the  work  incondtKivdy :  wherefore  it  is  placed,  on  ks  £ast  appear- 
ance, in  the  key  of  the  first  theme.     fTJbe  ingenious  reader  will  observe  that  if 
variety  is  obtained  only  by  change  of  key  then  tihexe  would  be  no  more  variety 
from  the  beginning  of  what  is  called  the  reprise.     Nor,  for  that  matter,  is  the 
mere  change  from  the  original  key  to  that  of  the  dominant  enough  to  produce 
any  great  variety.     The  second  theme  therefore  is  made  as  unlike  the  first  in 
every  respect  as  possible:  if  the  first  is  bold  and  rugged,  the  second  may  be 
gentle  and  soothing;  if  the  first  moves  rapidly,  the  second  may  be  long  drawn 
out;  if  rhythm  is  strongly  marked  in  the  first,  the  second  is  in  a  more  subtle  and 
elusive  rhythm. — in  fact  contrast  is  secured  by  any  of  the  thousand  ways  open 
to  the  composer,  and  quite  easily  .understood  when  heard,  though  anything  but 
easy  to  describe.     IfNow  &  we  tafee  a  symphonic  movement  of  M0zaurt  we  find 


SPECIAL  ARTICLES  735 

a  first  tboaae;  o£  marked  character;  after  its  delivery  (and  perhaps,  brief  ex- 
pansion.) aH  tl&e  Qrchfistra  g<s>es  to  wo*k  at  a  cadence?  m  &.  feammer-aad-tongs 
fashion:  and*  lets  yea*  know  uBmisstakafely  that  yona  have  readied  the  end  of  a 
section-.    Then*,  the  second:  theme  is.  aaxaerurteed,  dearly..    Then  we  have  "de- 
velopment" in  which  tine-  old  tunes  are  turned  into  new  ones  as  unlike  the  old 
as  possible,  yet  obviously  growing  out  of  them.     Finally  we  have  the  reprise, 
and  then  the eod&r&  few  bars  in  the  ease  o£  Haydn  and  Mozart  stuck  on  to  make 
an  effective  conclusion.,    HThis  is.  simple  sonata  form.     There  was  an  daormous 
lot  of  waste  in  it;  those  thumping  conventional  series  of  chords*at  the  end  of  each 
section,  fon  example,,  never  jeouean  and  never  did  mean  anything.     At  the  time 
they  were  written  the  tendency  to*  formulate  music,  to  get  conscious  control  of 
the  materials  of  music,,  was-  at  its  strongest;  one  o£  the  most  powerful  desires  of 
Mozart  and  Haydn*  was  to  make  their  form  as  dieaarand  distinct  as  possible;  and 
to  that  everything  else  was>,  ia\  aoa.  emergency,  sacrificed.     IB  fact,  composers 
of  that  time  seem-  to  have  felt  a*  keen  a  pleasure  in-  the  mere  regularity  and 
balance  of  the  various  parts  o£  movements  as  in  the?  poetic  and  sheer  musical 
q;uaMty  of  the  parts,  even-  when  ttLerbalaaEtce  was  secured  by  the  introductionx  of 
conventional  paddaag.  altogfittlaen  a&  "wsar  with  beauty  and  expression/,,  cpaite 
destructive  of  both.     1fW*th  Beethoven  came  a,  change.    His  music  must  at 
first  have  been  very  difficult  to  understand,  for  instead  of  the  trumpet  and  drum 
passages  marking  the  close  of  the  different  sectioos,.  one  section  leads  straight 
into  another  by  means  of  passages  of  as  high  nwasicaL  and  poetic  quality  as  any 
other  portions  of  his  movements.     Further,  he  went  m  for  third  themes  follow- 
ing the  second  (the  second  and  third  being  sa  pBDportioned  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*  foiarth  main  section  to  the  three-  existing,  before  his  time — the  first,  in 
which  the- themes  are  announced;  the  second,  in  which'  they  are  developed;  the 
third,  in  which  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,  such  lengthy  developments,  a  few  chords  were  not  sufficient  to  wind 
up:  a  tail  was  needed  by  the  symphonic  movement  before  it  could  be  felt  to  be 
satisfactory,  just  as  much  as  a  tail  is  needed  by  a  kite  before  it  will  ascend. 
IfLet  us  pause  for  a  moment  to  sum  up.     In  the  early  days  music  had  form  as  a 
flower  os  ar  blade  of  grass  has  form;  each  piece  grew  more  or  less  by  haphazard 
into  some  shape,  starting  from  its  one  theme.     The  utmost  that  could  be  done 
in  that  way  was  done  by  Bach  in  his  fugues.     But  the  fugue  itself  was  the  result 
of  the  tendency  to  formulate  music,,  to  press  it  into  the  bonds  of  strict  rule,  to 
get  a  conscious  mastery  of  the  material.     That  tendency,  together  with  the 
desire  to  express  more  complex  emotions  and  the  natural  instinct  of  man  to 
build,  resulted  HI  certain  clearly  defined  forms,  with  hard  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.     The  form  is  there  just  the  same,  and 
can  easily  be  grasped  by  anyone  who  takes  the  trouble  to  listen  carefully.     The 
fact  that  for  the  sake  of  expression,  he  prodigiously  varied  his  themes  on  their 
repetition,  does  not  alter  the  fact  that  they  are  repeated  in  a  satisfying  way. 
The  reader  who  can  follow  the  form  of  say  the  first  movement  of  the  Eroica 
symphony  (a  symphony  being  only  an  orchestral  sonata)  understands  not  only 
the  abstract  principles  of  form  but  the  manner  of  applying  those  principles  to 


736  SPECIAL  ARTICLES 

the  concrete.     HThe  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  is  used,  set  forth  and  finished  with;  in  longer  pieces  variety  and  unity  are 
secured  by  two  or  three  (or  even  more)  themes  of  different  character  placed  in 
different  keys.     The  mere  setting  of  themes  one  after  another  can  always  secure 
variety  of  a  kind;  but  whether  there  is  at  the  same  time  unity  depends  entirely 
upon  whether  the  composer  is  or  is  not  an  artist.     There  is  no  rule  for  that: 
only  genius  can  solve  the  problem.     So  much  then  for  pure  music.     HThe 
application  of  the  principles  may  be  widened  in  a  thousand  ways;  ten  themes 
may  be  used  instead  of  two  or  three  or  four,  the  order  and  relation  of  the  keys 
used  may  be  altered  and  added  to;  but  the  principles  remain  the  same.     1[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  longer  be  applied — or  rather,  there 
is  no  longer  any  need  to  apply  them.     Instead  of  following  the  architectonical 
faculty,  the  composer  must  follow  the  dictates  of  the  dramatic  or  lyrical  faculty. 
The  number,  character,  mode  of  development,  etc.,  of  the  themes  is  derived  from 
the  thing  to  be  conveyed  to  the  listener;  and  then  we  get  what  is  called  Pro- 
gramme music.     But  just  as  in  a  fine  novel  the  writer  reveals  architectonical 
sense,  so  in  a  really  fine  piece  of  Programme  it  is  revealed.     There  is  very  little 
difference  in  form,  for  example — at  any  rate  no  essential  difference — between 
a  Bach  fugue  and  the  Valkyries'  Ride  of  Wagner;  the  themes  axe  stated  and 
developed  in  a  certain  order,  and  all  one's  faculties  are  satisfied — the  emotions, 
the  sense  of  pure  beauty  in  melody  and  harmony,  the  srchitectonical  sense,  the 
intellectual  appreciation  of  right  handling  of  the  material.     IfWhether  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  complexities  unknown  to-day  and  be  able  to  express  subtleties  of  feelings  as 
yet  never  felt,  the  principles  by  which  our  feelings  are  expressed  in  noble  and 
beautiful  Form  cannot  but  remain  the  same. 

FUGUE 

BY  HOMER  A.  NOJURIS 

A  EUGUE  is  a  composition  in  which  a  theme,  called  the  subject,  is  announced 
by  one  voice  and  imitated  by  other  voices.  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  fugue  may  be  written  for  any  number  of  voices, 
but  we  shall  here  discuss  a  four-voiced  fugue.  IfThe  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  overlapping;  i.e.,  so  that  a  second  voice  may 
enter  without  musical  friction  before  the  first  voice  has  completed  the  phrase. 
This  overlapping  process  is  called  stretto.  IfThe  subject  may  be  announced 
by  any  voice.  At  its  completion  there  comes  a  very  short  passage  called 
codetta,  after  which  a  second  voice  sings  the  subject-matter  in  another  key. 
This  is  called  the  answer,  flln  the  majority  of  fugues  the  answer  is  a  trans- 
position of  the  subject  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  being  reproduced  literally  are  changed.  Subjects  which  are 


SPECIAL  ARTICLES  737 

changed  are  known  as  tonal  subjects;  subjects  which  remain  unchanged  are 
known  as  real  subjects.     f  While  the  second  voice  is  singing  the  answer,  the 
first  voice  accompanies  it,  and  usually  in  one  of  the  forms  of  double  counter- 
point.   It  is  then  intended  for  subsequent  use.     Such  an  accompanying  part  is 
called  counter-subject.     f 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  con- 
tinue with  contrapuntal  accompaniment.     Another  codetta  follows,  leading 
to  a  fourth  voice  which  sings  the  answer  in  the  dominant.    The  part  of  the 
fugue  that  we  have  discussed  is  called  the  exposition.     The  exposition  closes 
the  first  of  the  three  big  divisions  of  the  fugue.     fThe  exposition  is  followed 
ty  the  first  episode.    In  the  episode  the  composer  has  more  freedom  than  in 
any  other  portion  of  the  fugue.     New  material  may  be  presented;  brief  modu- 
lations to  related  keys  introduced,  together  with  free  imitation.     f After  the 
first  episode  comes  the  middle  section.     f  Here  the  four  voices  again  present  the 
subject-matter  in  somewhat  the  same  order  as  in  the  first  section  but  in  other 
keys.    The  principal  keys  are  altogether  avoided  or  only  incidentally  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.     fin  the 
third,  and  (usually)  final  section  a  return  is  made  to  the  original  keys.     Here 
the  subject  and  answer  are  generally  combined  in  stretto.     f 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  counter-subject.     Nearly  all  the  fugues  in 
Bach's  "Das  Wohltemperirte  Clavier"  are  strict  fugues,     fin  &  free  fugue  the 
episodes  are  constructed  of  new  material,     fin  a  fugato  passage  one  voice 
announces  a  theme,  after  which  other  voices  enter  in  free  imitation,     f  A 
fughetta  is  to  a  fugue  what  a  sonatina  is  to  a  sonata:  i.e.,  it  is  a  little  fugue. 
f An  academic  fugue  is  the  most  elaborate,  artificial,  and  purely  intellectual 
expression  of  musical  art.     (See  Dictionary  of  Terms  entry,  page  604.) 

GRACE 

BY  RUPERT  HUGHES 

ONE  of  the  innumerable  decorative  details  of  melodic  progression.  Grace 
notes  are  musical  parasites  borrowing  their  entire  sustenance  and  duration 
from  the  note  to  which  they  are  tied  by  a  slur.  They  are  consequently  vitally 
affected  by  the  rapidity  of  the  tempo.  They  are  almost  invariably  written 
small,  and  are  frequently  abbreviated,  or  indicated  by  some  form  of  musical 
shorthand.  It  is  to  be  noted  in  playing  old  music  that  the  appoggiatura  was 
written  small  merely  as  a  bit  of  academic  hypocrisy  to  smuggle  in  thus  an  un- 
prepared 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  value 
if  the  note  were  dotted.  f  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.  f  Composers  who  desire  to  escape  the 
wide  diversity  of  interpretation  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. 


738 


SPECIAL  ARTICLES 


Modern  Graces. 


Acciacatura,  or  Short  Appog- 

giatura,  I.  and  B.  Kurzer  Vor- 

schlag  or  Zw.samttae»sc3alaigf  O. 

Pinceetoufite,  P.    (Sometimes 

struck  simultaneously  and  in-      Long  Appoggiatura.   Langer  Vorsc&lag  orVorhalt 

*ta»tiy  released.)  (Written  small  but  taking  its  full  value!)       VOI™t- 


Written, 


Played.  | 


f  f  II 1 1 


Unaccented    Ap 
After4>*at.  Na  _ 

schleifer.    4Also  doue  N.) 


Shake,  or  Trill,  E.   Trifle,  I,  Trflle.P.  Triller,  G.   [Old  abbreviations,  ^%  4-  f>w 
AV^  «to.]    (Tbe  length  of  the  trill  vanes  with  the  length  of  the  note  and  the  tempo,  j 

"***  rf—         ^-         -._  h 


Written. 


m 


^m 


Beg»uai  «wi  the    With  After- 
principal.  auxiliary.          beat. 


Played. 


Chain  of  Trills,  E.  Catena  di  trilli,  I.  Trillerkette,  G,.  (May  be  with  or  without  the 

afterbeat, 

'Written.    I 


SPECIAL  ARTICLES 


739 


The  Mordent,  B. 
Mordent  or  Beis- 


___    or  (tnfast  temfo.) 


Written. 


flayed. 


The  Turn,  E.   Doppelschlag,  Q.    Groups,  F'.   Gnippetta,  I.    [Sign, 
c*  or    ,  now  used  for  back-turn. 


formerly 


(a)  With  sign  over  the  note*  (£)  With  sign  following  a  note. 


Written. 


Played. 


Written. 


Played. 


Old  Graces. 


(Those  used  in  Bach's  works  from  his  own  explanation^ 

Trillo  and  Double  or 

Trillo.  Mordant.  Mordant* .        Cadence.    Doppelt  Cadence. 


'Written. 


Played. 


£*e 


= 


Doppelt        Doppelt  Cadence    Doppelt  Cadence       Doppelt  Cadence 
Cadence.          and  Mordant.         and  Mordant.  and  Mordant. 


Written.  g| 


«ayed. 


740 


SPECIAL  ARTICLES 


Accent         Accent 
gend  ..  fallend 


Aecent 


Accent  and  Trillo. 


/4v 


Written.! 


Played. 


!  Couperitfs  List  (1713)- 
Pince  simple.        Pince  doublfe. 


Port  de 
voix  simple. 


Written, 


Port  de 
voix  coule. 


Played. 


Written, 


Played. 


Port  de  voix       Tremblement  ap- 

•     double.  puyeetlie.  Tremblement  ouvert. 


Tremblement  lie  sans 
Tremblement  firmfe  etre  appuye.  Tremblement  dttacht. 


Written.  E 


Played. 


Written. 


Played. 


SPECIAL  ARTICLES 


741 


Pine*  continu. 


Tremblement  continu* 


Written 


Played. 


CouleSj  dont  les  points  marquent 

que  la  seconde  note  de  chaque  Tierce  coulee  Tierce  coulee 
temps  doit  6tre  plus  appuye.  en  montant.  en  descendant.    Double. 


Written. 


(Slurs  whose  dots  indicate  that  the  second  note 
of  each  fceat  shotild  be  more  dwelt  upon.) 


Played, 


Aspiration. 

t 


Played. 


Unisson* 


Written.  {.*  ^  ''JLjt       jX-^-^c 


Suspension. 


Cadence. 

yw 


Written,  t 


Prom  Rameau's  List. 
Cadence  appuyee.    Double  Cadence*  Pince, 


«tpcr 

pyi?-f—  tt-^y*?ii*i-*  -- 

Port  de  volx.    Coules. 


Son     Suspen- 
Pinc6  et  port  de  vohc,  coupe,      sion. 


PUyed. 


742 


SPECIAL  ARTICLES 


Arpigement  simple*       Arpigement  figure. 


Written. 


Played, 


Written 


Played. 


Additional  Graces  (Obsolete). 


Accents. 

ji 


Acciaccaturas*    Appoggiatuta*.    Backfalls. 


Hayed.  I    C/ ir/IC 


BackfaU.  Double  Backfall.       Shaked  Backfall.  Balancement. 


Written. 


PUyed.  1      f       C     r- 


Written. 


Played. 


Cadent.  4j.  Shaked  Cadent. 


Chute. 


Chute  et  Pince. 


SPECIAL  ARTICLES 


743 


Coule. 
WrittenJ     "J 


t>ouble«rurutietterce. 


P?1 


IT*— 


Prallender  D. 


Played 
variously. 


Elevation. 


Wrltt 


Played. 


Shaked  Elevation. 


Martellement 
simple. 


Triple, 
v  W 


Written.! 


Single  ReiWh.        trouble  Relish. 


Played.  [.      J  J  J  J.J! 


'Slide's.  Springer.        Plato  Beat.  Shaked  Beat. 

or 


Written.! 


Played. 


tsing  Shake.         Beat. 

2         ^ 


Passing 


Trill  with  Trill  without 

Appoggiatura.  After-beat. 


WliCten. 


Played. 


744  SPECIAL  ARTICLES 

HARMONY  IN  PRACTICE 
BY  A.  J.  GOODEICH 

[NOTE. — Many  of  the  terms  touched  upon  here  will  be  found  treated  in  more  detail 
under  their  names — Ed.] 

IN  ITS  BROADER  SENSE  Harmony  embraces  the  origin  and  classification  of  chords^ 
their  rearrangement,  inversion,  and  progression;  modulation,  resolution,  transi- 
tion, false  relation,  sequence,  suspension,  chromatic  harmonisation  and  other 
topics  too  numerous  to  mention  here.  Yet  the  fundamental  principles  of 
harmony  may  be  easily  explained  and  readily  understood.  1[We  begin  with  con* 
cords  because  they  are  most  euphonious  and  not  subject  to  the  somewhat  com- 
plex theories  of  resolution.  A  concord  or  consonant  triad  consists  of  a  normal 
("perfect")  5th  and  a  major  or  minor  3d  from  the  root.  When  the  intervals 
stand  in  this  order  the  lowest  note  is  the  root,  or  the  name-note  of  the  chord.  It 
would  thus  appear  to  the  eye  all  upon  lines  or  all  upon  spaces;  thus  G  b  d  form  the 
chord  of  G  major.  G,  b  flat,  and  dy  would  form  the  chord  of  G  minor.  TfEvery 
major  key  bears  six  concords,  the  imperfect  triad  on  the  leading  note  not  being  a 
concord.  UThe  reader  may  now  sound  upon  a  piano  or  organ  these  six  concords, 
each  in  its  first  or  root  position.  After  sounding  the  first  chord  and  before  pro- 
ceeding to  the  next,  ascertain  the  gender, — that  is,  whether  it  is  masculine  (major) 
or  feminine  (minor) .  These  distinctions  should  be  determined  by  the  auricular 
sense,  and  also  by  the  visual  sense.  Practice  and  theory  should  be  thus  com- 
bined. 1[From  the  theory  of  scales  and  keys  and  intervals  [vide  these  terms] 
the  reader  is  supposed  to  know  whether  a  given  chord  represents  a  major  or  a 
minor  key.  The  ist,  3d,  and  5th,  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  most  directly  to  the  auricular  faculties. 

CONCORDS  CLASSIFIED 

When  all  the  concords  have  been  sounded  and  their  characteristics  recognised, 
they  should  be  classified.  How  many  major?  How  many  minor?  Which 
degrees  of  the  scale  bear  major  and  which  minor  concords?  ^Technical  terms 
may  be  then  applied:  chord  of  the  tonic,  i ;  chord  of  the  sub-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  ha^e 
as  elemental  material,  the  chords  of  the  tonic,  sub-dominant,  and  dominant 
(always  major  in  a  major  key)  and  the  relative  minors  [vide  RELATIVE]  of 
these.  This  process  should  be  repeated  in  all  the  major  keys. 

CONCOEDS  REARRANGED 

A  chord  has  as  many  close  positions  as  it  has  letters.  In  the  first  position 
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.  IfAt  first  the  different  positions  are  to  be  effected  by  rear- 
ranging the  letters  thus:  C,  e,  g,  root  position  of  the  C  chord.  Place  the  C  last 


SPECIAL  ARTICLES  745 

(an  octave  higher),  and  the  second  position  will  result  e,  g,  C.  Now  place  the  e 
last  (an  octave  higher),  and  the  third  position  will  appear, — g,  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  indicate  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  in- 
version of  chords.  Inversion  comes  much  later,)  Every  concord  in  the  key  is 
to  be  rearranged  by  means  of  letters,  as  indicated,  and  the  different  positions 
are  to  be  numbered  in  regular  order  i,  2,  3.  HThe  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  dose  positions  the 
process  should  be  continued  in  other  keys  without  the  aid  of  letters  or  written 
notes.  ITCare  must  be  exercised  not  to  add  any  new  element  to  the  tones  of  a 
given  chord  while  its  rearrangements  are  being  played.  For  instance,  in  the 
second  position  of  the  F  chord  pupils  sometimes  produce  the  A  minor  triad  by 
playing  a,  C,  e,  instead  of  a,  c,  F.  Sound  all  the  concords  in  their  three  close 
positions  in  every  major  key.  (See  Ex.  i.)  1[Also  it  is  desirable  to  play  the 
rearrangements  in  this  manner  descending,  as  well  as  ascending.  (Interesting 
examples  in  this  style  may  be  invented.) 

EXAMPLE  I 
S3  X         S          3  123  1«^3  etc. 


•n'    "    IQ    11     "    I  [|    "     "    III    fl    "    II 

PRELIMINARY  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  c'f  (an  octave  above  middle 
c).  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  c, — whether  above  or  below  is  immaterial.)  3.  What  is  the 
first  chord  that  contains  a  c?  What  position  has  c  at  the  top?  4.  Play  this. 
5.  What  is  the  next  chord  containing  c?  6.  What  position  has  c  uppermost? 
7.  Play  this,  keeping  the  same  finger  (5)  upon  3d  space  c".  8.  What  is  the 
third  chord  containing  c?  In  what  position  is  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,  e,  A,  c.  Each  chord  is  to  be  sounded  simultaneously,  the  letters  which 
Jtepresent  notes  are  read  from  below,  upward,  therefore  e,  g,  C,  indicate  that 
the  chord  of  C  is  to  be  struck,  C  being  uppermost.  Repeat  the  process  at  the 
piano:  C  chord,  2.  F  chord,  i.  A  minor  chord,  3.  The  fingering  should  be 

555 

233.     (See  Ex.  2.)     ^The  second  chord  of  the  scale  is  now  selected,  and  this 

iii 


746 


SPECIAL  ARTICLES 


is  to  be  harmonically  illustrated  in  the  same  manner,  i.  How  many  concords 
in  the  key  of  C  contain  d?  (Do  not  use  the  imperfect  triad  in  any  of  these 
elementary  exercises.)  a.  What  is  the  first  chord  containing  d?  3-  What 
position  has  rf  at  the  top?  4.  Play  this.  S-  What  is  the  other  chord  having  a 
dSf  (Mention  the  letter-name  of  the  chord  and  say  whether  it  be  masculine  or 
feminine.)  6,  What  position  of  the  G  chord  has  d  at  the  top?  7-  Play  it,  then 
repeat.  In  this  manner  every  tow  in  the  key  of  C  should  be  harmonically 
illustrated.  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. 
Transpose  to  other  major  keys. 

TBP&ORY  QE  STRICT  Gaom*  PROGRESSION 


Any  tone  which  occurs  in  any  two  cMepea*  chords  is  called  a  cawteeting  tone. 
Every  connecting  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  pro- 
gression, the  connecting  tones  are  retained,  or  remain  stationary  —  tied  or  played 
by  the  same  finger.  (The  previous  elementary  progressions  agree  with  tbfe 
theory.)  TJNow  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  pates  stationary.  0*  the  second  treble  staff 
write  the  C  chord  in  its  next  position  above,  g,  C,t  e.  Then  write  the  F  chord 
(with  c  in  the  middle)  and  the  A  minor  chord  with  a  and  c  tied  from  tite  preced- 
ing. On  the  third  or  highest  treble  staff  write  the  C  chord  in  its  first  position 
and  proceed  to  make  the  same  progression,  i.  e.,€to  F,  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.  For  instance  in  progressing  from  the  C 
to  the  F  the  connecting  note  (c)  will  appear  alternately  in  the  soprano,  mezzo- 


(Each  measure  to  be  considered  separately.) 


Write  an  octave  lower  when  the  parts  run  too  high* 


SPECIAL  ARTICLES  747 

joprano,  and  contralto  parts.  When  the  first  measure  is  completed  in  the  three 
treble  parts,  vertically,  add  the  roots  in  the  bass  staff  immediately  beneath  the 
treble  chords.  The  bass  part  moves  fundamentally,  from  root  to  root,  while  the 
treble  parts  progress  melodically,  that  is  without  skipping.  Do  not  skip  the 
bass  part  up  or  down  more  than  a  $th.  IfProceed  to  harmonise  d  with  the  two 
concords  which  accompany  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 
fe  %o  foe  treated  similarly — 2,  4  and  7  having  but  two  chords  each  as  accompany- 
ing harmonies.  (See  Ex.  3.)  1f After  this  scheme  has  been  worked  out  on 
paper,  choose  another  key  and  proceed  to  make  a  similar  example  at  the  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  3:0 

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  c  and  e  may 
be  accompanied  by  the  C  chord  or  the  A  minor  chord,  but  not  by  both  chords. 
When  the  melody  skips,  the  bass  remains  stationary  as  a  connecting  note. 
Consequently  there  is  always  a  connecting  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 


1  JP  ff  JE  —  1  — 

"  —  i61"^  

4fe  g    d     f 

^             CCont 

>  11  ft.  4    

^-r-s-—  --rr- 

inuous) 



IT.,  f  -o    d 

l-J  rj  f  r 

—  .  

-irrr1  H 

\jf  ,  T.  tf  ..;  ,  — 



SKCPS   OF  A  4TH 

Thes^  are  harmonised  by  the  same  principle,  though  a  skip  of  a  fourth  admits 
but  one  dtrotd  as  accompaniment:  that  chord  which  contains  both  notes  of  the 
skip  furnishes  the  solution.  During  the  skip  the  bass  remains,  and  acts  as  a, 
connecting  note.  Example  5  is  to  be  harmonised  practically  and  theoretically, 
as  explained.  (See  definition  of  harmony,  Dictionary  of  Terms,  page 


s 


(.8-  measure  theme ) 

ylft    o  o  i  ^P 


748  SPECIAL  ARTICLES 

HARMONIC  WARNINGS  FOR  COMPOSERS 

BY  A.  J.  GOODEICH 
NOTE:  These  are  some  of  the  traditional  rules,  but  are  often  broken. 

1.  DON'T  use  any  intervals  in  parallel  movement  except  these: 

(a)  Unisons,  and  octaves  when  the  latter  are  above  or  below,  with  no  har- 
mony between  the  octaves. 

(6)  Major  or  minor  thirds,  ascending  or  descending  diatonically. 

(c)  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  purposes. 
They  are,  however,  rather  harsh  and  incisive.) 

(e)  Major  or  minor  sixths  ascending  or  descending  diatonically — like  the 
thirds. 

(f)  Major  sixths  up  or  down  chromatically. 

(g)  Minor  sixths  up  or  down  chromatically.     (These  are  inversions  of  the 
major  thirds,  and  therefore  the  same  remarks  apply.) 

(ti)  Augmented  fourths  may  ascend  or  descend  chromatically  where  tbey 
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/  sharp  may  be  followed  by  b  and/ natural.  Practically  the  two  intervals 
are  identical  and  interchangeable.) 

(f)  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  any  of  these  intervals  in  parallel  movement: 
(a)  Major  or  minor  seconds,  ascending  or  descending. 

(£)  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  ineffective. 

(c)  [Normal  fourths,  when  they  are  accompanied  by  diatonic  thirds,  above 
or  below,  have  been  frequently  employed.     A  succession  of  triads  ha  their 
second  or  third  close  positions  necessarily  involves  parallel  fourths,  as  in  the 
Finale  to  Beethoven's  op.  2,  //.]     Parallel  fourths  ought  to  be  excluded  from 
strict  two-part  counterpoint,  as  they  are  too  much  inclined  to  vacuousness. 

(d)  Major  or  minor  sevenths  are  not  to  be  used  in  parallel  succession.    Di- 
minished sevenths  sound  like  major  sixths.     Therefore  these  two  intervals 
may  succeed  each  other  alternately. 

(e)  Parallel  octaves  have  always  been  forbidden,  and  usually  their  effect  is 
awkward  or  confusing.     Yet  hundreds  of  instances  might  be  quoted  from  the 
masters.     A  simple  illustration  is  the  little  Romance  from  Schumann  usually 
coupled  with  his  "Traumerei" — the  theme  above  is  doubled  by  a  solo  bass  part 
below. 

(/)  Cross  relation  or  false  relation  is  another  pitfall  into  which  the  young 
composer  is  likely  to  stumble.  The  effect  is  sometimes  very  unpleasant  and  at 


SPECIAL  ARTICLES  749 

other  times  perfectly  satisfactory.  IfThe  student  should  avoid  at  all  times  all 
interdicted  or  suspicious  progressions,  even  though  the  "evil"  be  more  fancied 
than  real.  If  he  becomes  a  creative  artist  he  must  eventually  act  on  his  own 
responsibility,  free  and  independent  of  all  prescription  and  formula. 


HYMNOLOGY 

BY  H.  E.  EJREHBIEL 

HYMNS,  in  the  sense  in  which  we  apply  the  term,  as  an  adjunct  of  Christian 
worship,  appear  to  have  been  used  from  the  earliest  days  of  the  Church.     The 
early  Christians  naturally  borrowed  their  music  from  their  forefathers  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,  Con- 
stantine,  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 
Deum,"  "Magnificat,"  "Benedictus,"  etc.,  were  in  use  from  very  early  days 
of  the  Church,  being  sung  to  plain-chant  melodies.     In  the  period  of  the  great 
Churdi  composers — Josquin  des  Pres,   Palestrina,   Orlando   di  Lasso,   and 
others,  these  hymn-tunes  were  often  used  as  cantifermi  for  masses  and  motets; 
and  Palestrina  also  used  them  as  the  basis  for  a  set  of  "Hymns  for  the  Entire 
Year,"  one  of  the  most  important  of  his  works.     Tfln  the  meantime  a  more 
popular  development  of  hymnal  music  had  been  going  on  in  the  Mysteries 
and  Mirade-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  entirely  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,  for  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 
tie  priest  to  the  congregation;  and  in  line  with  this  principle  Luther  laid  great 
stress  on  the  reintroduction  of  congregational  singing,  which  had  been  aban- 
doned since  the  early  days  of  the  Church.    Luther  produced  a  great  number  of 
hymns,  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  kind.    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,  "EnV  feste  Burg  ist  unser  Gott," — he  is  said 
to  have  composed  himself.     It  ought  to  be  said,  however,  that  his  authorship 
of  the  music  of  this  "Battle  Hymn  of  the  Reformation"  has  been  disputed. 
They  were  all  broad  choral  tunes  simply  harmonised,  such  as  remain  to-day  in 
constant  use  in  Germany,  and  formed  the  model  for  the  hymns  of  the  whole 
Protestant  Church.    In  France  the  metrical  psalms  of  Marot  and  Beza  were  as 
enthusiastically  received  by  the  Protestants  as  Luther's  hymns  in  Germany; 
they  were  originally  sung  to  popular  times  of  the  day  as  contained  in  a  psalter 


7SO  SPECIAL  ARTICLES 

published  in  i$4#,  by  Calvin,  in  Geneva.  Thereafter  numerous  other  col- 
lections weise  published,  notably  <ooe  by  Clatide  Geudlmd,  in  1565.  fin 
England  the  geneiral  estivation  of  part-singing  in  the  madrigals  made  the 
acceptance  of  ptopulaif  bymmatiy  as  a  part  of  the  new  religious  movement  facile 
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  fest  for  Qjpe  part  only.  "  The  Whole  Psalmes 
in  foure  parts,"  harmonised  in  the  simplest  manner  possible,  published  in  1563, 
was  the  first  harmonised  collection  of  lingfeb  hymn-tunes.  Numerous  col- 
lections of  such  tunes  were  issued  thereafter,  the  most  notable  being  Ravens- 
croft's,  ia  1631,  and  Playford's,  in  1675.  ^Wkh  the  compesitiom  of  hymns  by 
Wesley  and  his  followers  in  the  eigfefeeeaath  ceeiury  came  a  n&w  poetic  material 
of  which  maiskiaus  were  not  slaw  ta  avail  themselves,  and  which  resulted  in  new 
hymn-tunes  of  greater  warmth  of  feeling,  differing  entirety  from  the  older  school 
of  hymns  in  both  melody  and  hanoony .  These  have  had  a  ^eat,  if  not  always 
beneficial,  influence  on  the  modem  envelopment  of  hymnal  music.  TfHym* 
oology  has  held  a  notable  place  ia  tbe  hisjb&ry  of  Afflipnrira»TT  music.  The  stern 
piety  of  the  Puritan  immigrants  in  New  England  developed  a  goreat  activity  in 
this  brflyfr'h  of  musical  art,  after  ib  had  been  freed  from  the  shackles  that  at  first 
confined  ifc,  and  the  number  of  early  American  hynrmrtune  cocaposeaps  was  large. 
Among  these  were  William  Billings  (who  in  1770  published  *'The  American 
Psalm  Singer:  or  American  Chorister/*  containing'  hymns  of  his  own  compo- 
sition), Samuel  Holyoke,  Andrew  Law,  Jacob  Kanaball,  Oliver  Holden,  and 
others.  In  the  earlier  years  of  the  nineteenth  century  Thomas  Hastings,  Lowell 
Mason — whose  influence  in  a  secular  way  on  the  development  of  music  and 
musical  taste  in  America  was  marked^'-and  Nathaniel  Gould  were  the  most 
prominent.  (See  Dictionary  entry. ,  page  &r&) 


JAZZ 

BY  RO^ER^  C.  BAQAR 


MANY  and  confusing  are  the  theories  concerning  the  origin  of  jazz,  Tbe  most 
selfless  of  investigators  would  be  hard  put  to  it  to>  avoid  favouring  this  appealing 
probability  or  that.  And  to  add  to  the  dismay  the  word  jazz  itself  is  also  of 
extremely  uncertain  derivation.  If,  perhaps,  the  jazz  idiom  had,  in  a  manner 
of  speaking,  risen  suddenly,  and  as:  suddenly  achieved  the  highest  plane  of 
musical  speech  there  to  rub  friendly  elbows  with  its  proud  confreres  of  ths 
classics,  there  would,  naturally,  be  no  mystery.  The  facts  attendant  on  the 
rise  and  the  making  of  the  grade  would  then  be  before  us  in  systematic  array. 
Hit  is  not  jazz's  obscure  beginning  that  is  remarkable,  but  rather  that  it  should 
be  so  in  a  manifestation  —  to  call  it  that  —  comparatively  recent  as  jazz.  And 
that  takes  into  account  its  predecessor,  ragtime,  and  ragtime's  predecessors  in 
turn,  all  of  which  have  been  links  in  a  chain  of  existence  spanning  no  more  than 
four  decades  or  a  little  over,  including,  of  course,  the  years  of  swing,  which  are 
now  upon  us.  The  legendary  births  of  a  galaxy  of  musical  speeches  we  accept 
calmly.  The  remote  past  is  the  remote  past,  hence  legena  becoming  fact  and 
fact  legend  —  a  not  infrequent  phenomenon  in  either  case,  as  the  incessant 


SPECIAL  ARTICLES  751 

show — brifcgs  ajbout  1*0  tmdiie  qufeke&ing  of  the  pulse,  save  for  a 
gfcked&g  ifcsfcant  at  most.  The  dtust  is  <m  the  ages,  &ad  th^re  it  reposes  is  the 
reasonable  "attitude.  Yet  such  is  isot  the  resignation  that  would  apply  to  a 
contempetfcfry  product.  Hi6  desire  to  know  all  Is  the  keener  feecause  of  near- 
ness. And  the  inevitable  answer  to  that  desire  is  mystery.  However,  it  is 
generally  agreed  t&at  j&s&  came  out  of  ISfew  Orleans,  all  spteciilatkfli  as  t<D  >bow  it 
got  there  aside  for  the  mo&ient.  Uln  afl  o€  jazfc's  serio-co&iic  saga  there  is, 
perhaps,  nothing  as  auiusi&g  as  the  proposals  respecting  the  efiaserge&oe  of  the 
word  jazz.  For  instance,  one  contention  has  it  that  it  was  first  kaaown  in  the 
Creole  argot.  It  meant  "to  speed  up."  Acu&tber  is  that  it  was  bofrn  m  ugly 
circumstances  in  the  dance  halls  of  the  old  West.  Stffl  aHotfafer  offers  darkest 
Africa  as  its  spawning  ground,  and  that  the  SgaeHing  was  variously  jos,  jass,  jasz^ 
jazz,  and  ^o  on  ad  infinitum.  But  the  prize  is  tite  one  that  poiftitJS  to  the 
abbreviation  of  the  same  Cbaf les  "to  Cbae  a&  4te  cafcaptalfcer  ift*o  i&e  scheme. 
The  Cfcaz  in  t&e  cage  was  a  dfrFinwnet  naated  ChaJtles  W&sbi&gtoi^  wb&  fkft&isbed 
in  the  cJt^«ot  Vfccksbuirg,  Mississippi,  afou&d  tiie  torn  of  tlH&  £es»toty.  fife  was  a 
stat  pfcrcitssid&ist;  in  fact,  the  bright,  sfei&ing  %ht  ©f  a  ^g^b.^1  oowblaation. 
When?eV€*  thltegs  lagged  during  a  musical  session  the  ieatder  fcf  the  tetod  wodld 
can  on  Hiat  worthy  to  liv^  th&n  up  Wlda  the  par^^catav^  pkr»s%  "Hxjw,  Chaz, 
Now,  C&afe."  Tims  it  can  be  •seen  how  Chaiz  *2<yuM  easily  feax^e  become  ja&z* 
T[The  day*s  -of  tfoe  rninst^rdi  show  had  an  important  part  in  tfoe  paving  of  the  way 
for  jazz.  The  minstrels  tsok  spirituals  -and  wofk  s&&gs,  diist^r4re<i  tfoem  in  <aa 
elaborate  ^aaiiia.^  uafaciowfe  »op  to  that  timfc>  and  t^iey  ealied  tiheir  csaaiODCtioii 
^rag^ttg.^  A  mM  sj^acopatSoa — as  •configpaared  to  fclue  ^resefitt^day  a2»iaaplicated 
^pr^si6&-*tagging,  prepared  the  fouaida/tidiaj  tte^erthd.ef$s,  for  ragtime  and, 
through  it,  jazs.  In  1807  a  compost,  Kerry  Mills  by  na*oe,  turned  4>u<t  <a 
piece  titled  ''Georgia  Comp-MeMng."  It  was  a  great  success.  And  this, 
probably*  was  the  fkst  to  be  recognised  as  a  ragtime  number.  Bert  Williams' 
"O  I  D&n?t  Know,  You*re  Not  So  Warm"  had  the  distinction  to  be  the  first 
printed  song  whose  front  cover  carried  the  designation  "ragtime."  If  In  these 
items,  as  in  many  others  olf  their  period,  the  feature  which  specifically  set  them 
apart  as  ragtime  consisted  of  a  steady,  four-beat  bass  acconi.paTiim.ent  to 
syncopated  fillips  in  the  melody.  The  compositions  in  this  sphere  fairly  gushed 
forth  from  th?e  inventive  geadsases  of  the  day,  "My  Gal's  a  High-Born  Lady," 
for  example,  was  another  of  the  current  favotirites.  1fln  tiie  meantime 
the  orchestral  side  of  the  story  was  undergoing  its  own  development.  In  1895 
or  thereabouts  a  blind  Negto  newsboy,  who  atisivered  to  the  surprising  name  of 
Stale  Bread,  hawked  his  papers  in  a  aaovel  inaaner.  He  bad  picked  up  a  fiddle 
somdhow,  and  his  specialty  wees  to  attract  buyers  tfearomgh  the  playing  of  wailing 
tttfres.  Soon  he  was  joined  by  others  of  his  ^calMisg  a&d,  as  a  result,  a  group  of 
four  or  five  newsboys  formed  a  baad,  which  became  known  as  Stale  Bread's 
Spatfm  Band.  Five  y^ars  later  fcaother  easeflifck  made  its  bow,  Raztz's  Band, 
wfeich  like  Jts  f<*>rerutmer  se-ifved  the  fickle  goddess  <stf  mgtime-metaiiteoipiiosfei;g- 
into-jasz.  Records  befeag  unavailable,  it  is  saf^e  to  say  that  many  such  organisa- 
tions intfst  have  split  1&e  New  Otleans  aJr  With  tkeia:  odd-assented  screechings. 
The  elemait^ry  instrumetitation,  &£  cOTtse,  3iad  scftnething  to  do  With  the 
blatant  x&fcephony.  But  Jazz  was  fcn&ii&e&t,  which  was  sufficient  justification. 
IfAt  about  the  time  when  America  was  seeing  hersdlf  ^otwly  dtawn  ilnto  a  wcxrld 
Wat,  a  f&nr-piece  c^»1ainationv  iBtowti^s  Bund,  fnade  its  wav  ap  to  Chicago  stoi- 


752  SPECIAL  ARTICLES 

an  engagement  at  Lamb's  Cafe".  For  the  sake  of  geographical  accuracy  the 
group's  name  was  elaborated  to  Brown's  Band  from  Dixieland.  The  musicians 
belonging  to  this  outfit  were  Raymond  Lopez,  cornet  player;  Tom  Brown, 
trombonist;  Gus  Miller,  clarinetist,  and  William  Lambert,  drummer.  It  is 
significant  to  note  that  the  patrons  of  Lamb's  emporium  did  not  know  what  to 
make  of  this  new  music,  for  by  this  time,  it  can  be  well  assumed,  the  style  of 
playing  had  already  grown  to  the  free-for-all  improvisation  point,  although 
still  in  a  formative  stage.  Those  hardy  members  of  that  first  audience,  how- 
ever, were  not  long  holding  out.  Encouraged  by  the  proprietor  of  the  place 
to  step  out  on  the  floor,  the  patrons  soon  took  to  the  innovation  (for  Chicago) 
with  a  will.  ^Bert  Kelly,  a  Chicago  dance-band  manager,  had  been  using  the 
word  jazz  as  an  adjective  in  designating  his  many  ensembles,  all  collectively 
called  Bert  Kelly's  Jazz  Bands.  So  that  to  Mr.  Kelly  are  due  the  honours  for 
applying  that  word  first  in  the  title  of  a  band.  This  is  of  particular  importance, 
for  when  in  1916  Gus  Miller,  clarinetist  of  the  Brown  Band  from  Dixieland, 
severed  his  connection  with  the  latter  organisation  he  joined  the  Kelly  forces, 
He  was  sent  out  to  play  an  engagement  at  the  Booster's  Club  in  White  City. 
The  band  remained  there  a  year.  But  the  guests  had  become  converted  to  this 
type  of  orchestra,  so  the  manager,  in  order  to  please,  obtained  another  group 
from  New  Orleans.  When  the  players  arrived  they  were  immediately  given 
the  name  of  the  Original  Dixieland  Band,  and  the  manager,  who  had  liked  the 
sound  of  the  word  jazz  as  communicated  to  him  by  the  Gus  Miller  quintet, 
appropriated  the  word  so  that  the  name  now  became  the  Original  Dixieland 
Jazz  Band.  IfThat  was  the  beginning  of  an  era.  Not  only  did  the  Original 
Dixieland  Jazz  Band  take  the  country  by  storm,  make  innumerable  recordings, 
but  thereupon  every  ambitious  tyro,  as  a  consequence,  got  together  a  com- 
bination of  five  and  lorded  it  in  the  dance  halls,  at  school  hops  and  so  on,  con- 
tributing to  the  confusion  and,  at  the  same  time,  doing  something  for  the 
propagation  of  the  jazz  gospel.  ^Advanced  as  is  the  present-day  swing,  it  owes 
its  very  existence  to  the  "hot"  idiom  of  the  Dixieland  orchestras.  Usually 
consisting  of  clarinet,  saxophone,  banjo,  piano  and  drums,  these  apostolic  dele- 
gations featured  improvisation  to  the  heart's  content  and,  needless  to  add,  to  the 
•dancing  feet's  exhaustion.  There  was  nothing  "straight"  about  the  playing 
of  Dixieland  bands,  taking  straight  to  mean  unembellished  melody.  But  what 
opportunities  hot  playing  gave  to  the  imaginative  performer!  Hot  music  be- 
came the  expression  of  the  hour.  Improvisation  by  one  musician  over  a 
steadily  flowing  groundwork  of  rhythm,  was  one  thing,  but  two  and  even  three 
players  improvising  at  the  same  time  was  something  else  again.  What  has 
been  lately  called  a  new  musical  form — swing,  to  be  exact — has  its  roots  deeply 
imbedded  in  that  early  mass  extemporising.  1fThe  composer  was  as  nothing 
•compared  to  the  stature  of  the  hot  performer.  Any  simple  tune  could  be 
treated  in  the  vogue  idiom.  In  truth,  the  only  part  of  a  song  retained  was  the 
harmonic  structure,  the  melody  being  made  free  with  and  put  through  innumer- 
able variations  in  free  polyphonic  style.  One  of  the  most  famous  leaders  of  the 
•day  was  Ted  Lewis,  whose  arpeggiated  clarinet  rims  have  been  preserved  for 
posterity  through  his  phonograph  recordings.  But  with  all  this  to-do  about  hot 
playing  there  was  also  the  undownable  conservative  element  in  jazz  concerned 
with  glorifying  the  melody  as  well  as  the  harmony  of  a  tune.  There  was 
-rhythm,  of  course*  as  a  prime  feature  of  straight  playing,  but  a  fluidly  moving 


SPECIAL  ARTICLES  753 

rhythm,  not  over-stressed  to  the  neglect  of  the  melody.     Even  to-day  we  are 
aware  of  the  same  condition.     We  have  "swing"  bands  and  " sweet"  bands, 
which  correspond,  respectively,  to  the  hot  and  straight  of  the  jazz  age.     HSuch 
bands  as  Paul  Whiteman's  Orchestra,  Isham  Jones'  Orchestra,  Vincent  Lopez' 
Orchestra,  which  came  directly  on  the  heels  of  the  Dixieland  ensembles,  have 
retained  to  this  day  their  essentially  sweet  or  straight  characteristics,  although 
if  the  occasion  arises  there  are  musicians  in  any  of  these  outfits  that  can  sail 
blithely  into  split-second  "licks,"  or  peculiarly  accented  figures.     The  words 
"corny"  and  "McGee"  came  to  signify  phrasing  that  was  definitely  of  an 
elementary  order  in  hot  playing.     Corny,  with  its  Corn-Belt  connotations, 
meant  either  farm  or  small-town  expression,  not  urban,  as  it  were.     McGee 
is  of  obscure  origin.     The  fox-trot  was  becoming  more  and  more  perfected. 
Darius  Milhaud,  the  French  composer,  took  up  the  idiom  with  great  zest.     So 
did  Igor  Stravinsky.     IfWhile  the  craze  for  hot  music  was  at  its  height  Paul 
Whiteman,  who  had  been  leading  an  orchestra  at  the  Hotel  Alexandria,  Los 
Angeles,  in  1920,  where  he  was  devoting  himself  to  the  purification  of  jazz 
music,  hit  upon  the  idea  of  writing  out  parts  for  his  musicians.     Up  to  that 
time  the  playing  was  all  to  the  unorganised  side.     A  group  of  players  would 
get  the  melody  from  the  pianist  and  then  fall  into  line  with  melodies,  counter- 
melodies,  and  harmonies  on  the  way.     All  very  uncertain  and  lacking  system. 
Ferde  Grof6,  Whiteman's  arranger  and  pianist,  rose  quickly  to  fame  through 
nis  ingenious  orchestrations.     A  trained  musician,  possessing  a  talent  far 
beyond  the  average,  he  was  responsible  in  great  measure  for  the  sudden  return 
to  the  "legitimate"  (sweet  or  straight)  kind  of  playing,  but  this  time  it  was 
symphonic,  orderly,  following,  as  closely  as  jazz  could,  the  well-intentioned 
rules  of  orchestration.     ^Paul  Whiteman  and  his  orchestra  came  East.     They 
appeared  nightly  at  the  Palais  Royal  in  New  York.     The  new  style  with  its 
extremely  clever  arrangements  caught  on  solidly.     But  Whiteman  was  nurtur- 
ing a  secret  ambition.     Schooled  in  classical  music  spheres,  he  had  given  up  his 
orthodox  career  in  favour  of  the  sirenish  beckoning  of  jazz  which  promised 
much  in  the  way  of  financial  success  and,  logically  enough,  glory.     Yet  he  had 
not  freed  himself  completely  from  the  shackles  of  his  musical  education.     Sym- 
phonic music  was  still  to  him,  the  highest  form  of  tonal  expression.     The  ex- 
traordinary talent  he  had  surrounded  himself  with,  and  with  the  ever-growing 
reputation  of  a  young  composer,  George  Gershwin,  to  urge  him  on,  he  com- 
missioned the  latter  to  write  a  work  for  his  orchestra.     The  composition  was  to 
be  a  jazz  creation,  but  fitting  within  the  frame  of  one  of  the  serious  music  forms. 
The  result  was  the  "Rhapsody  in  Blue"     On  February  12,  1924,  it  was  given 
its  world  premiere  performance  at  Aeolian  Hall  by  the  Whiteman  orchestra. 
George  Gershwin  and  Zez  Confrey  were  the  solo  pianists.     The  work  was  an 
immediate  success.     It  was  acclaimed  by  critics  and  public  alike  as  a  fine 
example  of  American  jazz  elevated  to  concert  pitch.     There  were  subsequent 
concerts,  again  at  Aeolian  Hall,  and  at  Carnegie  Hall.     Thus  were  Whiteman, 
Gershwin,  and  Grof 6,  who  orchestrated  the  piece,  propelled  into  world  promi- 
nence.   There  were  tours  in  this  country  and  in  Europe.     Everywhere  White- 
man and  Gershwin  were  received  as  visiting  potentates.     ^A  most  illuminating 
sidelight  on  the  importance  achieved  by  Whiteman  is  the  fact  that  almost  all  of 
his  musicians  have  since  climbed  to  the  top  as  leaders,  star  performers,  or  com- 
posers.    Ferde  Grof6,  particularly,  a  respected  composer,  has  a  number  of  sue- 


754  SPECIAL  ARTICLES. 

cessfrai  works  te  hfe  cr$*&t,  nojbabl^r,  tfee  "Grimd  C<wwm"  *M*4 
suites,  "  Misstssip**,"  u  T^ee  Afowfetf  ^  Jfc^  and  otixore.  f  Perhaps, 
the  " Rhaps&dy*  m  BUtoe"  raaja  the  first  of  Tim-Pan  Alley's  brain  <&S4*W  to  scale 
the  h^igkfes  it  wift  seaoain  f oo?  many  a  year  to  eoaaae  tits  prisae  favourite  of  all 
jazzists,  a  catego^  Hfestfc  seems  to  b*  gmwiag  wfefe  3teap&  $nd  tyoainds  &>  the 
poiat  of  i&dttdKag  some  ol  tbe  mos*  Etoted  coiaf^s^s  of  ou*  tij^e.  Qf  these 
Darius-  Mifflbaiad  an«d  Jg&r  Sfcraiskisky  haw  already  feeen  ^^atip^e^-  There 
are  othears;  Aaron  Cogdaaid,  Loufls  €a?ueaberg>  John  Aldsa  C$.rp$ateE, 
Soweirby,  Eaaa«i»soa  WhMajon^  Kurt  WeiJU  Rav^  in  hi&  selad  d?^^,  had 
das<Jam€d!  fevest^atiEig  tbe  "bhaea.v  An  It^Kan,  So^sog^o,  b^d  a  w^k  of 
bis,  w  J/  Jaa&i'sta  R<w<mticoJ*  pla3?«ed  ia  Carnegie  Hatt  by  tfe^ 
Sy^a-pheay  Orchestra  wswier  the  directkui  osi  Artms*  Tosc^akti 
had  not  stopped  wtb  kis  "Rh&psedy"  It$i  swjcoess  couid  cx^Jly  fe^  a 
H*centiv.e  to  carry  0n,  Amdj  carry  on  he  dad,  a&  "witness  his  p^qdu^tion  of 
several  oAe*  worifejs  also*  in  the  higferplane  jazz  manneg.  His  Cwcsrto  w,  F, 
wfoich  was  iaa&F©dtiQed  to  a  Cjansiegie  HaD  a^udieoce  by  Walter  J>£^nifOsch,  who 
had  coBnttissioi»ed  MEQ  to  write  the  pdece*,  was  oioe  ol  tfeem.  "-4 
P&ris?9  was  anothep.  Then  there  were  several  pia^to  prides 
orchestrated  by  Roy  Bargy,  Piaul  Whitemam's  pajeaenit  pi&nisjfe)  and  a 
composition.  And,  of  cotnrse,  the  folk  opera  "Porgy  cwd  j^j."  Nor  had  he 
lesseaaed  his  activities  in  composing  music  for  Exoadway  shows  and,  latterly, 
films.  IfBut  the  other  American  composers,  referring  particularly  to  those 
out  of  Tin-Pan  Alley,  worked  on  with  a  supreme  nonchalance,  perhaps  a  Jittle 
surprised  at  all  the  attention  the  world  was  giving  their  creations.  Among 
these  we  find  Rube  Bloom,  Thomas  Griselle,  Dana  Suesse,  John  W.  Green, 
Harold  Arlen,  Zez  Confrey,  Matt  Mahaeck,  Frank  Signorelli,  Eastwood  Lane, 
Duke  Ellington,  slaving  away  at  a  beloved  task,  striving  for  new  ideas,  con- 
stantly keeping  pace  with  every  new  trend.  In  this  categoi?y,  too,  but  several 
notches  above  because  of  more  ambitious  efforts  fit  William  Grant  Still,  Ferde 
Grof6,  and  Robert  Russell  Bennett.  1f While  all  credit  is  due  the  ^azz  performers 
for  infinite  progress  made  in  the  direction  of  extending  the  scope  of  tibe  idiom, 
the  song  writers  whose  tunes  inspired  the  players  to  greater  heights  are  deserv- 
ing of  a  full  measure  of  attention.  Among  these  the  casual  survey  reveals  Irving 
Berlin,  who  graduated  from  singing  waiter  in  a  Bowery  satoon,  Nigger  Mike's, 
to  the  tremendous  hit  writer  he  is  to-day;  Jerome  KLern,  a  well-trained  musician, 
provider  of  many  of  Broadway's  successful  shows;  Richard  Rodgers,  who  to- 
gether with  his  partner,  Lorenz  Hart,  has  written  some  of  the  nation's  cleverest 
songs;  Vincent  Youmans;  Ray  Henderson,  of  the  famous  trio  De  Sylva  (Buddy), 
Brown  (Lew),  and  Henderson;  George  M.  CoJbian,  Walter  Donaldson,  Lew 
Pollack,  Nathaniel  Shilkret,  Abel  Baer,  Abner  Silver,  Vincent  Rose,  and, 
reaching  further  back,  Harry  von  Tilzer,  Charles  K.  Harris,  and  so  on.  If 
some  of  the  oldsters  have  been  included  in  what  is  really  a  very  sketchy  outline, 
it  is  because  the  jazz  musicians — and,  in  like  manner,  the  swing  musicians — 
have  tootled,  pounded,  sawed  and  slapped  their  hot  colorature  to  everything 
and  anything  that  ever  came  out  of  a  popular  composer's  creative  mind 
If  Irving  Berlin  wrote  "Alexander's  Ragtime  JBand"  in  1912.  But  time  can  do 
nothing  to  age  that  classic  It  is  as  fresh  and  invigorating  to-day  as  it  ever 
was,  perhaps  more,  considering  the  superb  orchestral  garb  that  can  be  given  it 
now.  Hits  from  the  Berlin  pen  have  been  numerous  and  each  has  been  a  finely 


SPECIAL  ARTICLES  ?S5 

wrought  piece  of  writing,  both  musically  and  as  to  text.     Consider  soifce  of  his 
famous  songs:  "When  I  Lost  You,"  "AH  Alone,"  nWbaf8IDat>"  " Remember >" 
"Always"  "Say  It  Isn't  So,'*  not  to  omit  his  innumerable  skew  times,  has 
movie  tunes.     It  would  be  a  trenneadous  task  to  find  another  popular  eoi&poser 
whose  hits  could  equal,  let  alone  outnumber,  Berlin's*     ^Soane  of  the  pieces 
turned  out  by  the  other  song  writers  give  an  extrasoirdinary  insight  into  the 
variety  of  expression  that  has  found  favour  with  the  American  public.    Men- 
tioned at  random  they  inight  be  "Birth  of  the  Blues"  "Tfaatf®  Why  Btorkie* 
Were  Born,"  "Over  Then,"  "You're  Driving  Me  Crazy,'3  "Ctorm&we,"  "Jew*- 
nine,"  "Farewell  to  Arms,9"  "Wfaspermg>"  "Aixdon,"  "linger  a  White)"  "Tea 
for  Two  "  and  "  After  the  Ball  Was  Over."     f  The  bands  that  made  these  numbers 
famous  have  been  part  of  a  fragment  of  American  life  that  is  not  to  be  diaplicated 
in  any  other  side  of  it.     For  kastance,  the  records  show  Paul  Whiteman^  Isham 
Jones,  Vincent  Lopez,  Ted  Lewis,  Rudy  Vallee,  Fred  Waring,  Guy  Lombardo, 
Ben  Bernie,  Wayne  King,  George  Olsen,  Ben  Bollack,  Jfeaa*  <*oldfcetfce  and 
others,     IfNo  picture  of  the  jazz  era  would  be  complete  without  inclusion  of 
blues  songs  and  their  originator,  the  coloured  composer,  William  C.  Handy. 
Briefly,  Handy  took  the  simple  darky  songs  of  his  time  &nd  gave  them  something 
of  his  own  which  something,  specifically,  called  for  the  introduction  of  a  minor 
third  intd  any  twos  in  a  major  key.    The  frequent  insertion  of  the  minor  third 
or  blue  note  made  tbe  piece  what  was  called  a  "mean'"  blues.     It  made  the 
song  wail  <afcd  tnoam.     At  the  beginning  of  this  century  Hattdy  doafcofcted  a 
campaign  song  for  a  political  candidate  who  had  little  chance  of  victory.    It 
wiELs  played  with  such  regularity  and  affection  that  it  helped  put  the  o$iee  seefcet 
into  the  dfesired  place,  besides  wMch  the  song  became  a  local  favourite     Having 
obtained  lais  end,  Handy  gave  the  number  a  meW  tide,  "Memphis  B£ites*"     It 
was  sent  to  many  publishers  and  was  rejected  by  alL    But  Haaady*  «iad&uaated, 
printed  the  tune  himself ,  and  a  vety  unfruitful  venture  that  turned  out  <te  £>e. 
Nobody  would  buy  it.    Finally  he  sold  his  rights  to  it  far  one  hundred  <doHaars, 
which,  as  is  often  the  case,  was  the  signal  for  it  to  became  one  of  the  big  aaoaey 
earners  of  that  period.     In  rapid  sequence  Handy  wrote  the  "*S&  Lxmis  Blues" 
and  the  "Beale  Street  Blues"  thereby  bringing  into  existence  three  pieces  that 
have  withstood  nobly  the  ravages  of  time.     ITSince  &  is  to  the  uausicians  them- 
selves, the  men  who  played  in  the  bands,  that  we  owe  the  real  development  of 
jazz  (witness  the  contintla&ce  of  this  phenomenon  in  tfoe  world  of  swing)  it 
would  be  an  omission  of  huge  proportions  to  .neglect  frta/rnfag  soctoe  of  tbe  most 
prominent  ki  t&e  fiekl,  so&3&  of  whom  are  busily  Engaged  in  the  very  tetsfc  to-day . 
Leon  "Bix"  Beiderbecke,  born  iQ03-died  1931,  was  one  of  the  greatest  jaes 
artists  known.     A  disciple  of  Louis  Armstrong,  the  gifted  Negro  trumpet  player, 
Beiderbecke,  also  a  trumpet  player,  is  held  as  the  example  of  what  the  perfect 
hot  player  should  be  like.     He  had  an  extraordinary  tone,  impeccable  taste, 
flaming  imagination,  and  a  technic  that  few  can  equal  now  or  could  equal  then. 
Also  a  talented  composer,  Beiderbecke  played  the  piano  almost  as  well  as  the 
trumpet.     One  composition  of  his  (he  wrote  several  pieces)  "In  a  Mist"  is, 
perhaps,  a  perfect  example  of  the  best  jazz  writing  of  the  period.     Beiderbecke 
was  for  a  time  a  member  of  the  Paul  Whiteman  Orchestra.     IfTommy  Dorsey, 
a  trombonist,  who  is  now  the  leader  of  his  own  band,  is  another  of  the  top-flight 
performers.     There  are  also  Jack  Teagarden,  trombonist ; Benny  Goodman,  clar- 
inetist, now  a  band  leader;  Fletcher  Henderson,  Claude  Hopkins,  Fats  Waller,  all 


756  SPECIAL  ARTICLES 

coloured  pianists;  Red  Norvo,  xylophonist;  these  a  handful  of  musicians  who 
had  their  beginnings  in  the  jazz  era  and  have  moved  lock,  stock  and  barrel 
into  the  current  sphere  of  swing,  all  of  them  tremendous  influences  in  the 
moulding  of  the  idiom  from  the  one  to  the  other.  IpDuring  jazz's  most  flourish- 
ing period,  in  the  years  immediately  following  the  Great  War,  the  struggle  be- 
tween the  sweet  and  hot  adherents  continued  unabated.  The  peculiar  and 
even  comical  phase  of  the  situation  was  that  those  who  held  out  for  sweet  were 
usually  incapable  of  playing  hot  and  vice  versa.  It  would  seem  that  the  con- 
test is  to  be  a  permanent  one,  for  both  sides  have  their  constituents,  and  they 
are  legion.  And  perhaps  more  than  the  musicians  the  listeners  fight  on  inde- 
fatigably  for  their  espoused  causes.  Whatever  the  result — and  apparently 
only  crossed  swords  will  bring  it  about — the  very  combat  has,  undoubtedly, 
given  greater  impetus  to  the  promulgation  of  jazz.  1flf  asked  the  question, 
"What  is  jazz?"  the  answer  might  be  any  one  of  a  hundred  loose  definitions, 
each  having  something  to  do  with  the  meaning,  and  not  all  of  them  combined 
capable  of  expressing  it  fully.  But  there  must  be  some  working  basis,  some 
common  ground  on  which  minds  may  meet  to  discuss  the  subject  intelligently. 
The  temptation  to  retort,  "What  has  intelligence  to  do  with  it?"  might  prove 
too  strong,  but  there  would  still  be  the  necessity  to  reach  a  happy  medium  of 
c-QTnTn.iinira.tinn  through  the  employment  of  words.  And  one  might  respond 
that,  roughly,  jazz,  either  sweet  or  hot,  is  a  musical  form  in  which  there  is  an 
established  rhythmic  figure  in  the  bass  while  the  original  melody  is  made  to  fit 
an  improvisatory  scheme,  second  to  the  purposes  of  the  moment.  Loosely, 
but  very  loosely,  this  definition  takes  care  of  both  sweet  jazz  and  hot  jazz.  In 
the  case  of  the  former  the  "improvisatory  scheme"  is  an  elementary  one;  in  the 
case  of  the  latter  a  complicated  one.  Even  in  the  playing  of  the  simplest  tunes, 
for  instance,  the  jazz  pianist  pays  little  attention  to  the  score;  that  is,  the 
pianist  performing  for  his  own  or  his  friends*  enjoyment.  Syncopation, 
spontaneous  and  pertinent  to  the  harmonic  and  melodic  manifestations,  is  of 
the  essence,  however.  ^Something  of  the  same  applies  equally  to  orchestral 
performance,  except  that  here  the  improvisation  has  been  scored  in  great  part. 
Wherever  the  orchestrator  has  purposely  left  a  sequence  unwritten  for  some  solo 
instrument  is  the  place  for  that  instrument  to  take  a  lick  or  a  "break,"  which 
terms  have  to  do  with  spontaneous  improvisation  in  the  nature  of  some  specially 
accented  figure.  1fThe  variations  of  this  procedure  are  many  and  intricate 
even  in  jazz  playing.  Despite  the  many  attempts  of  commentators  to  supply 
definitive  tracts  on  jazz,  the  fact  remains  that  it  can  only  be  played  and  not 
talked. 


LEADING-MOTIVES 

BY  GTJSTAVE 


OTHER  COMPOSERS  before  Wagner  used  typical  phrases  to  express  some  per- 
sonal characteristic  or  idea,  and  repeated  them  in  a  manner  wluch  suggests 
what  is  now  termed  a  leading-motive.  Such  is  the  "IdSefixe"  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 


SPECIAL  ARTICLES 

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-motive,  but  it  may  be  questioned  whether 


id>fc'i*  *j  jji=j=a 


^E 


"  irrnr  iff  nr'ii 


r  r  i  r  I 


Beethoven  intended  to  use  it  for  any  other  than  a  purely  musical  effect.  In 
fact  any  suggestions  Wagner  may  have  received  from  other  composers  were  so 
slight  that  the  leading-motive  in  the  modern  sense  may  unhesitatingly  be  said 
to  be  his  invention.  Iflt  is  easier  to  say  what  a  leading-motive  is  not,  than  to 
give  it  a  fixed  definition.  The  first  idea  to  disabuse  one's  self  of  is  that  a  leading- 
motive  is  anything  like  a  label.  The  "Walhalla"  motive  in  the  "Ring  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  does  not  escape  Wagner.  Witness  how  he 
lays  it  bare  with  his  scalpel  of  leading-motives  in  the  first  meeting  of  Siegfried 
and  Hagen  in  "Goetterdaemmerung"  with  the' Curse  Motive,  which  hints  at 
Hagen's  fell  purpose,  darkening  the  noble  Siegfried  Motive.  The  use  of  the 
Curse  in  this  episode  clearly  foreshadows  the  death  of  the  Volsung  hero  at 
Hagen's  hand  and  lays  the  gloom  of  impending  tragedy  heavily  upon  the  hearer's 
soul.  TfHow  plastic  a  leading-motive  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  Brilnnhilde  to  sally  forth  in  quest  of  adventure,  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's  lifeless  body  is  borne  up  on  the 


758 


SPECIAL  ARTICLES 


mountain  crest,  the  orchestra  gives  la  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.  1[But  Wagner's  use  of  leading-motives  singly 
and  m  complex  combinations  according  to  the  trend  of  the  drama  however 
interesting  analytically  woiiH  wholly  have  failed  were  not  the  motives  them- 
selves musically  valuable.  They  are  enunciated  chiefly  by  the  orchestra  (which 
thus  forms  a  constant  coaBflmentary  upon  the  proceedings  of  tfce  stage)  and  they 
are  considered  by  those  who  are  in  tie  van  of  musical  opinion  to  have  resulted 
in  the  most  eloquent  aad  sufelirae — if  at  tinies  tlae  aasuast  tedious— scores  civer 
penned.  To  appreciate  wftiat  a  gesKras  Wagner  really  was,  it  is  only  necessary 
to  listen  to  the  works  of  someiof  his  Ifcoatatocs.  fLfezt  in  his  Symphonic  Poems 
adapted  the  leading-motive  to  instrumental  music,  im  which  respect  Richard 
Strauss  followed  him.  (Set  dictionary  of  Tentos  owtry,  page  629.) 


MODERN  HARMONY 


BY 


PORTER 


BEFORE  undertaking  a  dlsettssieoa  of  some  of  the  important  trends  of  modem 
1  harmony,  it  is  essential  to  consider  what  came  before.  It  is  amazing  to  con- 
template the  wealth  of  music  which  conformed  itself  to  the  classic,  toaal  system 
of  harmony.  That  it  could  have  satisfied  so  weil  the  needs  ©f  so  noble  an  array 
of  musical  geniuses,  men  as  strikingly  contrasted  as  Bach  and  Schubert,  Mozart 
j  and  Wagner,  Handel  and  Beethoven,  testifies  to  the  richness  of  its  resources, 
but  at  the  same  time  demonstrates  conclusively  that  harmony  is  only  one  of  the 
constructive  elements  of  music,  by  no  means  explaining  all  that  is  often  asked  of 
it.  The  genius  of  Beethoven,  for  example,  manifests  itself  to  a  far  greater  ex- 
tent in  his  subtle  use  of  rhythm,  the  curiously  expressive  accent  of  his  melody, 
his  dynamic  power,  than  in  his  harmonic  practises,  which  were  fairly  conven- 
tional. IfWe  must  review  briefly  a  few  of  the  resources  of  this  system,  which 
many  stifl  consider  unexhausted.  The  elimination  of  modes  which  did  not  lend 


SPECIAL,  ARTICLES  759 

themselves  to.  tonic,  domioaRt,  and  subdominant  refection-ships,  left  the  listener 
with  only  two  scales,  the  major  and  mraor,  asyigpucaetyical  in  their  construction, 
and  hence  capable  of  easy  de&ution.  Great  opportunity  was  created  for  modu- 
lation, tonal  contrast,  a  Seeling  of  inevitability  in  toeinonic  progression  b&sed 
oa  sTiirparisisiglfy  simple  acoustical  relationships.  (Scbimberg  eloquently  explains 
the  simplicity  of  these  relationships  in  the  fir$t  part  of  his  book,  I&wmonie- 
lehre.)  The  weH-defined  and  contrasting  characteristics  of  the  major  and  minor 
scales  offered  ia  tfa&wsefoes  a  wealth  of  resource;  the  unification  of  a  complicate^ 
work  about  a  single  tonal  centre  gave  increased  power  to  musical  speech.  The 
mass  of  associations  which  develop  when  any  language  becomes  familiar  gave 
the  posssibility  of  increasing  freedom  in  the  treatment  of  dissonance,  new  ways 
in  which  to  use  chromatics,  interesting  omissions  of  what  could  be  taken  fos 
granted,  but  the  fundamental  structure  of  the  system  remained  the  same  for 
over  tkree  bumdared  years,  f Beethoven  himself  xaade  a  rather  unsuccessful 
attempt  to*  free  himseJf  from  the  bondage  of  this  system,  when  he  wrote  the  slow 
movement  of  bis  string  quartet  in  A  minor,  in  the  Lydian  mode,  but  it  was  not 
until  the  latter  part  of  the  nineteenth  century  that  the  older  modes  begaji  to 
assert  a  real  ktfUaeBjce  on  art  music.  Men  like  Moussorgsky  and  Grieg  found 
new  feeshness  ip.  their  native,  modal  folk  music;  others,  like  Franck  and  d'Indy, 
more  inspired  by  the  modal  music  which  had  successfully  survive/1  in  the 
church,  madfe  some  interesting  departures  from  the  conventions  of  the  old 
system  by  a  curious  mixing  of  the  modal  with  the  chromatic.  ^[Reaction 
against  the^Qjcrvrentions  of  the  classic  system  became  widespread.  Experiment 
after  experiment  was  made>  using  new  scales,  some  oriental  in  origin,  some 
especially  manufactured,  but  all  tending  toward  a  newer  and  freer  conception  of 
haraaomy*  TThese  new  departures  may  be  roughly  and  somewhat  arbitrarily 
classified  as:  ^i)  those  which  can  be  explained  as  further  extensions  of  simple, 
acoustical  relationships;  (2)  those  which  seem  xpore  artificial  in  character,  ^flt 
is  well  to  state  at  the  outset  that  those  which  fit  in  the  second  category  are  not 
necessarily  of  less  artistic  value  than  those  in  the  first.  In  the  evolution  of  all 
arts  there  is  a  tendency  away  from  the  more  natural  and  simple  toward  the  more 
artful;  away  from  the  spontaneous  toward  the  more  carefully  reasoned.  The 
mere  placing  side  by  side  of  two  sets  of  four  notes  to  make  a  mode  was  already 
a  long  step  in  the  direction  of  the  artificial.  The  major  triad  fits  perfectly  into 
the  chord  of  nature;  the  minor  triad  is  already  an  artificial  imitation.  The 
major  scale,  though  an  artificial  arrangement  of  notes,  has  many  natural  rela- 
tionships, more  than  any  other  scale  yet  found,  and  lends  itself  to  the  use  of 
chords  which  fit  fairly  well  into  the  chord  of  nature.  IfUnder  the  first  category 
let  us  consider,  to  begin  with,  the  discovery  of  new,  consonant-sounding  chords. 
Although  Debussy  may  have  thought  his  highly  sensitive  ear  was  at  fault  when 
he  noticed  that  a  major  triad  with  the  minor  7th  or  the  major  gth  or  both  added 
to  it  sounded  to  Mm  quite  consonant,  actually  he  was  beginning  to  expand  the 
possibilities  of  reposeful  harmonic  colour.  Soon  the  augmented  nth  was  found 
to  fit  agreeably.  These  new  chords  were  built  by  simply  adding  more  partials 
(the  7th,  Qth  and  nth,  respectively)  to  the  fundamental.  There  had  been  a 
lapse  of  seven  or  eight  centuries  since  any  such  extension  of  consonant  resources 
had  been  made.  Since  the  time  of  Debussy  many  other  similar  chords  have 
been  discovered,  and  whether  their  innovators  evolved  them  in  consideration  of 
acoustical  principles  or  merely  by  acute  listening  may  well  remain  their  ow,. 


760  SPECIAL  ARTICLES 

secret.  ^fWhen  two  different  notes  are  played,  not  only  the  fundamentals  but 
also  the  partials  of  both  actually  sound.  Composers  have  discovered  that  by 
actually  writing  these  partials  into  their  chords  they  can  achieve  a  great  variety 
of  clear,  well-defined  colours,  ranging  from  very  consonant  to  extremely  dis- 
sonant. Striking  effects  may  be  obtained  by  varying  the  position  of  the  upper 
notes  of  major  triads  built  on  two  fundamentals  separated  by  the  interval  of 
a  major  2n.d,  or  a  perfect  4th,  or  a  minor  6th.  To  separate  two  funda- 
mentals thus  reinforced,  contemporary  composers  frequently  employ  the  in- 
terval of  a  major  7th  (witness  the  combination  in  Stravinsky's  "Sacre"  of  the 
ist,  3rd,  5th,  and  7th  partials  of  E  flat,  above  the  ist,  3rd,  and  5th  partials  of  F 
flat,  in  the  rhythmically  repeated  chords  just  after  the  introduction).  Another 
favourite  interval  is  that  of  the  augmented  4th  (see  the  superposition  of  the 
major  triad  on  F  sharp  above  that  on  C  during  a  long  passage  in  the  same  com- 
poser's "Petrouckka").  IfAt  another  point  in  the  "Sacre"  Stravinsky  has  rein- 
forced by  adding  the  more  artificial  minor  triad  to  fundamentals  separated  by  a 
major  7th  and  a  minor  pth,  giving  a  darker  though  similarly  conceived  effect  of 
colour.  There  is  not  space  to  deal  with  more  intricate  combinations  which 
have  recently  extended  the  harmonic  palette  of  music,  but  merely  to  call  atten- 
tion to  a  curious  quality  which  some  of  them  possess.  Though  they  may  be 
extremely  complicated  in  their  make-up,  the  various  dissonances  seem  to 
neutralise  one  another,  producing  a  state  of  equilibrium  which  gives  an  almost 
paradoxical  effect  of  consonance.  Since  all  the  notes  disagree  more  or  less 
similarly,  there  is  no  clear  tendency  implied;  one  does  not  feel  the  necessity  for 
any  one  or  more  of  them  to  move  in  order  to  make  it  less  dissonant.  These 
equilibrium  chords  are  accepted  as  reposeful,  and  have  made  satisfactory  con- 
clusions for  certain  types  of  modern  works.  1fln  their  use  of  colour-chords, 
modern  composers  have  frequently  gone  back  to  the  principles  of  the  old  "or- 
ganum."  Instead  of  limiting  themselves  to  4ths  or  5ths  and  8ves  in  the  rein- 
forcing of  a  melodic  line,  they  have  been  using  some  of  these  colourful,  harmonic 
combinations,  such  as  triads,  chords  of  the  major  pth,  major  7ths,  or  minor  2nds. 
The  use  of  such  chords  or  intervals  to  strengthen  a  line  is  not  far  removed  from 
the  practise  of  giving  a  single  melodic  line  to  an  instrument  of  a  striking  colour, 
to  make  it  stand  out  from  its  background  with  clarity.  1f Coming  to  the  second 
category,  the  realm  of  the  more  artificial,  let  us  consider  chords  and  scales  which 
are  evenly  spaced.  Although  the  most  important  relationships  in  the  tonal 
system,  as  in  the  other  arts,  are  asymmetrical,  composers  seem  unable  to  resist 
the  lure  of  perfect  symmetry.  Like  blocks  which  can  be  easily  fitted  together 
in  many  different  ways,  symmetrical  chords  and  scales  offer  amusing  possi- 
bilities. The  symmetrical  diminished  7th  chord  was  worked  to  death  by  the 
romantic  composers.  Any  of  the  three  combinations  of  sounds  that  make  it 
can  be  written  so  as  to  relate  to  any  of  the  24  major  and  minor  keys.  Bach  and 
Beethoven  used  them  freely,  but  preserved  a  tonal  background  that  enabled 
one  to  keep  one's  relative  position.  Liszt  often  left,  the  listener  bewildered, 
wondering  where  he  was.  Nevertheless,  the  symmetrical  has  its  uses,  for  it  is 
sometimes  temporarily  desirable  to  blindfold  the  listener.  ^Modern  composers 
have  used  all  varieties  of  equi-spaced  chords  and  scales.  Spacing  by  perfect 
5ths  produces  an  equilibrium  chord,  whose  colour  varies  chiefly  with  the  number 
of  5ths  that  are  added.  The  effect  is,  of  course,  particularly  brilliant  with 
stringed  instruments  which  are  themselves  tuned  in  5ths.  ^Spacing  by  perfect 


SPECIAL  ARTICLES  761 

4ths  creates  a  quite  different  colour.     Scriabine  and  Satie  often  varied  the  chord 
from  the  perfect  by  the  addition  of  one  augmented  fourth,  achieving  a  slight 
effect  of  asymmetry.    Scriabine,  in  his  effort  to  expand  the  possibilities  of  his 
system,  built  of  superimposed  4ths  as  a  substitute  for  the  ards  of  the  classic 
system,  came  to  include  diminished  4ths  as  well,  and  frequently  arrived  in 
territory  that  had  already  been  discovered.     TpLittle  use  has  recently  been  made 
of  the  augmented  triad,  which  divides  the  scale  into  three  equal  intervals.    It 
is  one  of  the  few  chords  which  harmonise  the  whole-tone  scale,  but  its  possi- 
bilities for  giving  a  nebulous,  undefined  quality  to  harmony  were  fairly  well 
exhausted  many  years  ago,  more  recent  and  varied  ways  of  giving  similar  ef- 
fects having  tended  to  eradicate  its  use.     1fThe  diminished  7th  chord,  to  which 
reference  has  already  been  made,  is  decidedly  artificial  in  its  construction.    Its 
colour  has  become  perfectly  familiar,  however,  and  it  is  now  used  frequently  ia 
combination  with  other  chords.    Ernest  Bloch  often  combines  it  with  other 
diminished  7th  chords.    At  the  beginning  of  his  sonata  for  violin  and  piano,  for 
example,  he  maintains  one  of  them  in  the  middle  register  while  he  presents 
successively  in  the  bass  the  notes  of  a  diminished  7th  chord  a  half  tone  lower. 
HThe  possibilities  of  the  whole-tone  scale  were  nobly  exploited  by  Debussy,  and 
this  is  one  of  the  less  natural  of  his  discoveries.     New  uses  for  it  have  been 
found  by  Hindemith  and  others,  but  since  only  two  whole-tone  scales  exist,  its 
possibilities  are  very  limited.    New  uses  may  be  discovered,  in  combination 
with  other,  more  diatonic  factors.     ^During  the  entire  period  in  which  tonal 
harmony  held  swaj-,  the  chromatic  scale  was  employed  frequently,  and  with 
growing  freedom.    Wagner  effected  an  amazing  variety  of  colours  by  using  it 
,  on  a  background  of  tonal  harmony.    Without  a  stabilising  factor,  this  rather 
[artificial  spacing  of  intervals  (both  unnatural  melodically  if  repeated  contigu- 
ously, and  remote  from  the  simpler  harmonic  relationships  in  the  chord  of  na- 
ture) may  create  music  which  lacks  definition.    Other  methods  are  being 
discovered,  however,  of  stabilising  chromatic  materials  by  relating  them  to 
other  modes  and  scales.    The  architecture  of  Schonberg's  "Twelved-tone" 
music  depends  almost  entirely  upon  the  structure  and  use  of  its  melodic  mo- 
tives.   In  order  to  create  a  feeling  of  atonality,  it  meticulously  avoids  harmonic 
or  melodic  emphasis  on  any  one,  more  than  on  any  other,  of  the  12  chromatic 
notes.    While  experimentation  is  necessary  for  the  expansion  of  musica* 
resources,  it  may  also  result  in  rather  one-sided  emphasis,  and  there  is  a  growing 
feeling  that  present  efforts  at  innovation  along  the  line  of  symmetry  foreg® 
much  that  is  of  value  in  the  asymmetrical  tonal  system.     ^Finally  we  come  to  a 
consideration  of  quarter-tones,  whose  only  justification  seems  to  be  their  rela- 
tion to  the  familiar  semi-tone,  which,  as  we  have  remarked,  is  in  itself  quite  an 
arbitrary  interval.    Ernest  Bloch  has  used  them  in  a  piano  quintet,  but  the 
more  faithfully  they  are  executed  the  more  certain  is  the  average  audience  that 
the  players  have  produced  false  notes.     They  have  some  melodic  value,  partic- 
ularly as  passing  notes,  but  little  harmonic  value.     Any  step  toward  increasing 
the  present  number  of  possible  tones  should  give  access  to  consonant  intervals, 
such  as  the  7th  and  i  ith  partials,  which  we  cannot  now  use.     Since  they  accom- 
plish no  other  harmonic  service,  it  is  the  opinion  of  the  writer  that  they  con- 
stitute a  uselessly  long  step  in  the  direction  of  the  artificial.     1fNo  discussion  of 
modern  tendencies  can  omit  mention  of  certain  elements  which  do  not  properly 
tall  within  the  scope  of  the  title  of  this  article.     Considerations  of  rhythm, 


762  SPECIAL  ARTICLES 

and  mdody,  for  example,  are  of  foremost  importance.  Mticfa  of  the  most  strik- 
ing music  of  the  present  owes  its  effectiveness  less  to  harmony  than  to  vitality 
of  line  and  forward  motion  of  rhythm,  which  in  themselves  create  plausible  a&d 
artistically  justified  harmonies.  Just  as  the  earlier  composers  set  off  thek 
melodic  ideas  against  one  another  contrapuntally  by  the  use  of  instruments  with 
contrasting  colours,  so  the  mc-dern  composer  sets  off  his  melodic  ideas  by  putting 
them  in  contrasting,  non-blending  tonalities.  In  traditional  counterpoint,  only 
rhythmic  and  directional  independence  existed  between  the  different  voices;  in 
polytonal  counterpoint,  harmonic  independence  is  also  achieved.  The  music  of 
Hindemith  is  perhaps  more  understandable  from  this  point  of  view  than  from 
the  harmonic  one  which  he  himself  exposes.  H Whether  or  not  the  vast  experi- ' 
mentation  of  the  past  fifty  years  has  yet  given  rise  to  works  of  first  magnitude, 
it  is  certain  that  the  goddess  Euterpe  is  no  person  upon  whom  to  inflict  limita- 
tions. She  has  sung  most  eloquently  for  many  years  on  a  basis  of  tonal  few> 
mony.  In  the  future  ske  wiM  sing  new  melodies  oft.  new  fcarmonaes,  feat  some 
Bf  the  characteristics  of  tbe  «r«isic  which  has  stood  the  test  of  time  wail  doubtless 
remain.  Great  art  will  con  tone  to  be  at  bottom  simple,  but  witk  its  enor- 
mously increased  resources  s&iteic  will  became  increasingly  Universal  in  its  ability 
to  reflect  the  infinitely  vatied  phases  of  human  experience  &od  feeling* 


MODES 

BY  RUPERT 


PERHAPS  the  most  graphic  definition  of  modes  to  the  modern  mind  would  be:  — 
overlapping  portions  of  the  C  major  scale:  or  successive  octave-stretches  along 
the  white  keys  of  the  pianoforte.  Ecclesiastical  modes  were  the  Middle  Age 
perversion  of  the  Greek  modes*  White  overthrown  by  Nineteenth  Century 
scales  and  tonality,  traces  of  their  influence  persevere,  and  many  of  the  old 
chants  still  in  use  in  the  Roman  CathoKc  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  the  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  re- 
quired to  notate  the  highly  chromatic  music  of  our  day  renders  inevitable  some 
radical  change  in  the  system  of  keys;  meanwhile,  the  obsolete  modal  systems 
have  at  least  a  keen  historical  interest  and  importance.  There  is  place  here  for 
only  an  allusion  to  a  few  «tf  the  salient  points.  FuH  statement  of  tbe  details 
and  the  controversies  OBI  <tk«Ba  would  fill  a  Ifcrge  library.  UTiKrngh.  <&e  Greeks 
properly  gave  music  a  very  high  place  in  tfoek  educational  system,  they  were  too 
much  engrossed  in  theories,  rules,  and  ^restrictions  to  bttfld  up  lai^e  EaateriaL 
Their  musical  resources  were  of  the  slenderest.  While  their  noble  tragedies 
were  exactly  Wagner's  idea  of  opera,  the  music  4o  which  they  were  set  seems  to 
*have  been  of  the  most  limited  ttuage  aftd  variety;  and  furthermore,  abseiut^y 
backing  in  harmony  even  in  -the  Middle  Age  sense.  IfXbe  Greek  system  dafifen? 
ifia  kektgtaJi  «tf  <a  «ainor  ^feadeete&r,  in  having  the  -notes 


SPECIAL  ARTICLES  763 

wards,  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  from  c'  to  b  and  F  to  E, 
and  by  representing  a  whole  step  by  a  (  +  )  and  a  half  step  by  a  (  —  ),  it  will  be 

seen  that  this  Dorian  mode  descends  by  the  following  steps,  H — | 1 — | . 

These  make  two  similar  groups  of  three  steps  or  four  notes,  which  were  called 
tetrach&rda.  The  word  chord  with  them  meant  "string"  not  "harmony,"  for 
their  whole  music  took  its  rise  from  thefe  fere,  a  stiff  and  limited,  uniretted 
instrument  of  many  poetical  associations  but  stinted  in  practical  possibilities. 

The  pattern  of  tetrachord  (  +  H )  into  wMch  this  Dorian  mode  divided  was 

called  the  Doriam  tetrachord.  They  superimposed  on  the  top  note  e'  a  similar 
tetrachord  of  the  tones  a',  g*,  f',  e,  and  added  below  another  e,  d,  c,  B.  To  these 
they  added  the  tow  A  as  a  supplementary  (ia  Greek  prvslambanomenos}.  The 
outer  cotjples  of  tetrachords  overlap.  Between  the  micjdle  two  is  an  imaginary 
line  of  separation  (diazeuxis).  Each  of  these  was  therefore  a  "disjunct"  (dia- 
zengmenon)  tetruchord.  Tha  "complete  system"  (systema  teleion)  of  two 
octaves  (a7  dosra  to  A)  was  divided  thias  into  foair  tetrachords,  each  of  them 
given  the  name  which  (with  its  English  translation)  is  shown  in  the  chart  here- 
with. For  purposes  of  modulation  they  laid  across  the  middle  of  this  system  an 
overlapping  or  **  conjunct**  (synemmenoto)  tetrachord!  in  which  the  b  was  flat- 
tened, d',  c7,  bf>,  ?L  (  +  H }.  UThe  octave  from  e'  down  to  E  was,  as  already 

staifeed,  callecT  the  Dorian  mode.  Other  portions  of  the  systema  were  given  other 
names,  d  to  D  being  called  the  Phrygian,  c'  to  C  the  Lydian,  and  b  to  B  the 
Mixo-Lydian.  IfThey  conceived  a  way  of  extending  these  octaves  by  duplicat- 
ing one  of  the  tetsaehords  below  (in  Greqk  "hyp*").  Thus,  if  the  upper  tetra- 
chord (e^to  a)  of  the  Dorian  mode  be  transferred  an  octave  below,  and  fastened  to 

the  lower  tetrachord,  we  shall  no  longer  have^  e',,  d',  c/,  b,  a,  g,  f ,  e,  (  H — I 

+  H )  but  a,  g,  f,  e,  d,  c,  B,  A,  which  also  is  +  +  —  +  H ,  with  the 

addqd  st§p  +  (&r-Q$lambanomeno&)^  This  is  called  the  Hypo-Dori&w  mode. 
HThe  Phrygian,  Lydian,  and  Mixo-LydiaBr  modes  do  not  descend  by  the  same 

wbple  aadf  half  steps  as  the  Dorian,  but  as  follows:  Phrygian  (4 1 — | — h 

—  +  ),  Lydian  (-+H h  +  —  %  Mixo-Lydian  (  +  +  +  —  ++—). 

It  will  be  found,  however,  that  these  modes,  are  capable  of  the  same  hypo- 
treatowt*  tbu&  making  two  more  modes,  HypQ-phrygian  and  Hypo-Lydian, — 
for  the  Mixo-Lydian  (b  to  B)  being  too  low  to  add  a  tetrachord  beneath,  it  i? 
added  above,  giving  er  to  e,  which  is  identical  with  the  Dorian.  The  principal 
note  (tonic)  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*  sevsn  modes  with  two  others  added  later  are  shown  in  the  chart, 
which  shows  also  the  names  (and  their  tr&aslations)  given  each  note  and  each 
tetrachord.  UWith  this  system  as  a  foundation  and  with  the  use  of  the  con- 
junct 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  full  steps  until  they  acquired  a  complete  chromatic  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  +  and  — ,  or  other  signs  for  indicating  half  or 


764 


SPECIAL  ARTICLES 


Chart  of  the  Greek  Modes. 


*    r> 


6.  Hyper-phrygian  (or  Ixxsrian)  a  '-a. 

7.  Hypo-phrygian  (or  Ionian)  ^f-^v 
8.  Hyper-lydian  C^-1-^). 

9.  Hypo-lydian  (/'-/). 


«.  Phrygian  (rf'-rf),  -|-     —         4- 

- — ^ 

3.  Lydian  (<:'-<:).  — 

4.  Mixo-lydian  &-J3). 

5.  (-SEolian  or)  Hypo-dorian  (a-A).  4-     +     — 

are  indicated  by  +  ;  the  half-steps  by  —;  the  Diazeuxit 
is  indicated  by  »f« 


SPECIAL  ARTICLES  765 

whole  steps,  it  is  easy  to  plot  out  the  steps  of  any  scale  and  find  its  prototype 
and  its  name  in  the  original  modes.  HThe  Greek  notation  was  by  letters  and 
symbols.  It  is  too  complicated  to  explain  here.  1fA  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), 
making  the  four  strings  e,  c#,  c,  b.  This  was  the  chromatic  genus.  A  still 
later  plan,  called  the  newer  enharmonic,  was  to  tune  the  d  to  a  pure  third  with 
the  e,  making  the  tetrachord  e,  c,  c,  b;  the  two  c  strings  differing  slightly  in  tone 
(see  the  word  COMMA).  HThis  group  of  three  tones,  c,  c,  b,  or  eft,  c,  b,  was  the 
pyknon  (plural  pykna).  Other  variations  hi  the  treatment  were  called  chroai 
(colourings).  Definite  melodies  were  given  definite  names,  a  melody  being 
a  nomos  (i.  e.,  arrangement,  order,  or  setting).  IfUpon  this  false,  but  elaborate, 
system,  enormous  ingenuity  was  spent,  and  appalling  complexity  and  scholar- 
ship 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  their  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  degenerate 
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.  1[St.  Ambrose  is  traditionally  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.  e.9 
"governing,"  or  "chief."  The  latter  four  are  called  Plagal,  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  tritone  and  the  di- 
minished 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 
its  octave  was  superfluotis;  one  that  used  up  both  a  mode  and  its  plagal  was  in  a 
mixed  mode.  If  Greek  names  were  used  for  the  church  modes,  but  with  many 
differences  from  the  old  nomenclature.  1[An  authentic  mode  is  based  on  its 
Final  or  lowest  note;  the  next  most  important  note,  usually  a  fifth  or  a  third 
above,  is  its  dominant.  A  plagal  mode  is  found  a  fourth  below  its  authentic, 
and  the  final  of  the  authentic  serves  also  for  the  plagal.  The  dominant  of  a 
plagal  is  a  third  below  that  of  its  authentic  (save  where  it  falls  on  b,  in  which 
case  c  is  used).  ^Curiously  enough,  the  two  modern  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  ^Eolian  modes.  ^Besides  many  impressive  hymns 


766 


SPECIAL  ARTICLES 


AUT'EtfeKTIC  MODES* 

OR 

MODI 


Each  authentic  mode  is 
ccftmecte&  vrith  its  pte&ai 
"by  a  line  through  the  key- 
tiote  or  finalife  of  both. 


PLAOAL  MODES, 

OR 
MODI  Pl^AGAJLKS, 


•§ 


o 

I 

O 


I 

o 


SPECIAL  ARTICLES  767 

the  church  moctes  fcave  been  unconsciously  allowed  t$  fit  ma&y  popular  modern 
ttjmes.  It  is  wt  bard  to  test  the  m^de-sbip  o-f  any  air.  First,  if  necessary, 
bring  the  melody  into  a  xaiage  ^quirkag.  no  key-signature.  If  it  now  contains 
any  accidentals  save  1>  fl&t,.  &  is  WD*  m  %&y  of  the  i^aodes.  Otherwise  note  the 
tone  on  which  the  gar  e*d&,  This-  wm  be  tfee  jfew^  of  its  mode.  If  this,  is  the 
lowest,  or  aln&osit  the  kwessit  wte  ^ed,  and  if  the  irisiody  does  not  soar  higher 
than  an  octave  ibove  it,  thie  aiff  is,  ia  an  authentic  Bcuode.  If  the  final  is  m 
approximately  the  cent JSQ  of  the  mekxiLc  *ange*  and  if  the  range  dojes  not  exceed 
tfoe  fifth  above,  or  the  fo^tk  betow,  it  is  in  a  ptoggi  B&ode,  or  it  may  be  in  a  mixed 
mode*  The  name  <?/  the  fitted  wi&GGtes  the  mode.  The  airs  "  God  save  the  Kiag" 
(or  "America")  and  the  "Blue  Bells, of  Scotland"  2M&a»thentic  melodies..  The 
"Old  5ooth"  asd  "Eileen  Aroort"  are  plotgol.  "Jocfe  o'  Ha^eldean"  is  in  a, 
mixed  mode*  HMuch  of  the  mwc  in  the  Qld  church  ^wsdses  is  as  $hodti»g.  to  the 
modern  seaase  of  totality  9»&  oi*r  modern  ^i^ie  weaiW  *e«m  anarchis&Q  to  a^ 
old  master.  Superb  tmsT*$es  were  given  to  mycaortality  in  thoso  stiff  aadi 
arbitrary  forms.  Yet,  after  all^  the  modes  dsaesw  their  eternal  obsoleteness. 
They  were  unsatisf actory  and  arbitrary  ^  their  ow%  d&y.  They  are  hopelessly 
iriappscopriakte  to,  th0  m^deraji  xn^ical  idea$  a$d  idealist.  Tfee  majestic;  beauties 
of  some  of  their  results  are  but  m  th^  impressive  fossils  of  earlier  evolution. 
Their  fate  should  warn  us,  aga^st  stolid  satisfaction  with  our  owrx  musical 
system. 


NOTATION 

BY  RUPERT  HUGHES 

MUSICAL  PA^ALLEiL  of  writing  and  printing  as  the  means  of  expressing  in 
universal  and  permanent  symbols  the  ideas,  emotions,  and  memories  of  the 
mind,  fThe  Greeks,  having  only  uj^-nnonised  melodies  to  recoard,,  made 
use  of  the  letters  of  the  alphabet  in  positions  a$d  combinations  of  a,  most  com- 
plex yet  deinitivs  variety.  These  letters  ha4  reference  to  tetxache*ds  and 
transpositions  of  the  most  subtle  sort  (see  MODES),  The  business-like  Romans 
swept  away  a  mass  Qf  detail  by  giving  each  letter  a  definite  position  on  the 
whole  scale  without  reference  to  tetrachord  relations.  These  letters  were 
written  on  a  straight  lix*e  over  the  text  to  be  sung.  In  the  Eighth  Century 
this  alphabetical  notation  had  giver*  way  before  a  system  of  symbols  looking 
much  like  the  hooks  amd  cusrvea  of  modern  shorthand.  These  were  called 
neuma  (q.  v.)  and  were  of  numberless  sorts  and  names.  Thus  a  short  single 
note  was  a  puncUcm;  two  or  thiree  of  these  in  a  group  were  bipunctwm  or  tri- 
punctum;  the  standard  long  note  was  the  virga  which  could  be  grouped  as 
bivirga  or  trivirga.  Other  terms  were  podatus  <a  low  note  joined  to  a  higher), 
and  its  reverse  called  clivis,  dinis,  oiflexa;  the  scandicus  (three  ascending  notes) 
and  its  reverse,  dimacus;  the  quilisma  (a  repeated  note),  the  gnomo,  ancus, 
distropha  and  many  others.  These  neumae  were  written  over  the  text  and  were 
set  higher  or  lower  in  a  rough  form  of  melodic  contour.  They  were  only  an  aid 
to  the  memory  and  frequently  defy  decipherment.  In  time,  a  few  letters  were 
added  as  abbreviations  of  speed  or  force.  ITBut  about  the  year  900  a  genius 
(who  in  his  way  was  almost  as  great  as  the  inventor  of  the  wheel)  hit  upon  the 


768  SPECIAL  ARTICLES 

inspiration  of  ruling  above  the  text  a  thin  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  orna- 
mental letters  set  at  the  head  of  these  lines  soon  took  the  forms  known  to-day 
as  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  begin- 
ning T  for  a  whole  step  and  S  for  a  semitone.     The  hymn  to  be  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  certain  modern  humorous 
poems.)     Spaces  were  added  above  or  below  as  the  melody  needed  them  and 
each  voice  had  its  own  set  of  shelves.     HThis  awkward  plan  suggested  the  use 
of  the  lines  instead  of  the  spaces,  for  notes  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  usually  credited  with  the 
scheme)  added  two  black  lines  and  made  a  4-line  staff  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.     HThe  neumae  gradually 
exchanged  their  scraggly  outlines  for  the  square  black  heads  of  the  choral  note 
(the  nota  quadrata  or  quadriquarta) .     1flt  now  being  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  modern  division  into  measures  of  equal  length  by 
means  of  bars  was  a  long  time  coming.     There  were  two  centuries  of  clumsy 
mensurable  (i.  e.t  measurable)  music.     Notes  to  be  sung  to  the  same  syllable 
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  descend- 
ing, they  were  merged  in  a  thick  black  slanting  line  (figura  obliqua).    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  ligature  was  a 
breve,  it  was  said  to  be  "cum  proprietate" ';  if  the  first  note  were  a  long,  it  was 
sine  proprietate;  if  a  semibreve,  it  was  cum  opposita  proprietate;  if  the  last  note 
were  a  breve  it  was  imperfecta;  it  was  a  ligatura  perfecta  when  the  last  note  was 
a  long.     ITThe  method  of  expressing  rhythm  was,  as  said,  very  cumbersome. 
Rhythm,  was  classified  under  three  ratios:  mode  (modus),  time-value  (tempus), 
prolation.     1fThe  Modus  major  or  "  Great  Mode"  concerned  the  division  of  the 
large  into  longs,  being  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. 
UThe  division  of  the  breves  into  semibreves  was  the  tempus  and  was  similarly 
called  perfect(um)  or  imperfect(um) ,  a  circle  indicating  perfect  time  and  a  semi- 
circle, imperfect.     HThe  relation  of  semibreve  to  minims  was  called  prolatio(n), 
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.     HThe 
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  anothei 
of  less  value  was  imperfect.     ^Colour  played  a  part;  the  red  (notula  rubra)  or 
white  (alba)  or  black  (nigra)  note  among  others  of  a  different  colour  marked 
a  change  from  perfection  to  imperfection.     There  was  later  the  firoportio 


SPECIAL  ARTICLES  769 

hemiol(i)a,  or  2  -.3,  indicated  by  grouped  black  notes  among  white.  1[Speed 
was  open  to  slackening  (augmentatid)  or  acceleration  (diminutid),  the  latter 
being  marked  by  a  bar  through  the  time-signature,  or  by  the  use  of  numerals  or 
fractions,  called  signs  of  proportion,  a  term  referring  to  the  rhythm  of  simul- 
taneous voices.  HThe  value  of  a  note  was  open  to  alter atio(ri)  by  position  or 
by  use  of  the  dot  (punctum  augmentationis,  dlterationis,  (im)perfectionis  or 
divisionis).  ^Expression  marks  appeared,  along  with  many  other  symbols,  in 
the  Seventeenth  Century;  the  bar  was  brought  over  from  lute-tablature,  and 
mensurable  music  disappeared  before  the  convenient  complexities  of  our  own 
era. 


THE  OPERA 

BY  ROBERT  E.  BRADY 

OPERA  as  we  know  it  to-day  is  an  art  form  whose  origins  extend  back  only  to 
the  end  of  the  sixteenth  century.  It  is  true  that  music  in  some  form  played  an 
important  part  in  the  representations  of  the  dramas  of  the  ancient  Greek  tragic 
poets.  There  is  evidence  that  the  verses  of  Sophocles  and  Aeschylus  were  de- 
claimed to  the  accompaniment  of  stringed  and  wind-instruments,  and  that  the 
chorus  sang  or  chanted  its  comment  on  the  action  and  progress  of  the  drama. 
Music  was  also  employed  in  more  or  less  dramatic  fashion  by  the  religious  and 
secular  composers  of  the  thirteenth,  fourteenth,  and  fifteenth  centuries,  by  the 
trouv£res  in  France,  and  by  the  players  in  the  mystery  and  miracle  plays 
which  were  common  throughout  Western  Europe  in  the  Middle  Ages.  IfBut 
this  music  was  of  a  type  that  gave  little  opportunity  for  the  expression  of  strong 
emotion  or  for  the  delineation  of  character.  The  need  of  a  new  form  better 
suited  to  dramatic  representations  was  felt  by  a  group  of  Florentine  scholars 
in  the  last  decade  of  the  sixteenth  century.  Enthusiastic  devotees  of  the 
Revival  of  Learning,  they  worshipped  the  art  of  ancient  Greece  with  all  the 
fervour  characteristic  of  the  period.  What  finer  contribution  to  the  cause  of 
music  could  be  made,  they  asked,  than  to  rediscover  and  recreate  the  ancient 
modes  which  had  been  of  such  service  to  the  great  tragic  poets  of  the  antique 
world?  IfSuch  a  task  was,  of  course,  impossible  of  achievement,  since  little 
was  known  of  the  music  of  two  thousand  years  ago.  But,  -undisturbed  by  the 
difficulties  which  were  in  their  way,  the  little  band  of  scholars  set  to  work  to 
evolve  some  new  system  which  they  believed  might  at  least  approximate  that 
employed  by  the  Greek  dramatists.  The  result  of  their  labours  was  a  revolu- 
tion in  musical  theories  which  contained  the  germs  of  modern  music  drama. 
ITThree  members  of  this  coterie  which  habitually  met  at  the  palace  of  one 
Giovanni  Bardi,  Conte  di  Vernio,  a  patron  of  the  arts,  were  Jacopo  Peri,  Vin- 
cenzo  Galilei  (father  of  the  famous  astronomer),  and  Giulio  Caccirri.  The  year 
1597  saw  the  first  fruits  of  their  efforts.  "Dafne,"  a  dramatic  work  by  Peri  in 
the  new  style  of  accompanied  recitative,  was  received  with  enthusiasm  at  a 
private  performance  in  the  palace  of  a  Florentine  nobleman.  1fSo  successful 
was  this  first  experiment  that  it  was  followed,  in  1600,  by  another  work  by  the 
same  composer,  "Euridice,"  which  was  performed  at  the  wedding  festivities  of 
King  Henry  IV  of  France  and  Maria  de'  Medici.  Acclaimed  with  the  same 


770  SPECIAL  ARTICLES 

enthusiasm  that  &ad  'greeted  its  predecessor,  it  became  dae  model  foa:  a  -series  of 
dramatic  pieces  on  classical  subjects  by  other  composers.  Opera  thus  became 
recognised  as  a  legitimate  art  forfcst,  at  first  patronised  exdtusively  by  the 
nobility,  but  destined  fco©&  to  achieve  a  &&oe  m  the  lives  of  the  people. 
f  Montex*erdi's  famous  «>peifc  "OFfee*"  (1^07)  Barbed  a  &&tker  advance  in  the 
development  of  the  new  gete*e.  UtfcJIfce  f^eri  and  Gaocitti,  Monteverdi  was  a 
musician  of  distinguished  atflakanettits  is.  otfeer  forms  of  eoaaapasitron,  especially 
fche  ma&rigai;  and  he  fetotigtifc  to  opea:&  aJi  titoe  technical  resources  ©£  a  billed 
craftsman.  H*e  had  alsjeady  «OdeetpH3sed  an  ope»a  "^wwwwws"  wMcfci  had  made  a 
deep  impression;  but  "Orfeo"  in  the  richness  of  its  instrumental  accompani- 
ment —  more  than  thirty  instruments  were  employed  —  and  by  virtue  of  its 
emotional  quality,  far  surpassed  previous  works  of  its  kind.  TfSo  widespread 
was  the  interest  aroused  in  the  new  type  of  entertainment  that  soon  there  was  a 
demand  for  public  performances.  The  first  'Opera  house  was  opened  in  Venice 
in  1637.  Numerous  composers^  indfudiog  Moafeeverdi,  wrote  a  long  list  of 
works  which  firmly  established  the  vogue  of  opera  in  the  North.  Between 
¥637  **&($  1-699  *&?*fen  4irt&&gs  wefe  &y&lt  ft.  Veirtce,  *&&k  became  the  leaK&og 
city  6f^e^a  MI  a&  Ite*t$r.  S*ift  s&efa  4^c  t^atnefe  sp3mng  ^  ia  ail  tibe  pifk»cipal 
t-Mi  ^i^d.^gii&  itse^  ^5»  tta^t^vs^g  certain  dbaaages,  The 
^ 


The  beginnings  c£  tlie  a%*ca  ^ferfe  Mi^aidy  Kiasderttaiie,  Desprte  -oppofeiltBon  of 
the  consetvatives,  who  hfeM  t0  tfee-ofiginfed  psewed<&-Oedk  i^feai,  topiwa  was  taking 
on  the  cfe^actieristic  pa^s^ftis  wMeh  foteshadcrwed  tte  BMidetm  l43aiia«L  sdaaoi 
^AlessafifcAx)  Scatktti  4M  ai^Sre  t&a&  any  ^thesr  csMaspofrfer  t®  tartter  this  de- 
velopment. A  £>&st  i&tis£&  in  tlie  Art  <2rf  €Olnpo^itio6iy 
rigid  rules  whkh  to  a  great  efcfteiat  haxi  stentftnted  tfc«  taste  *»f 
toid  introduced  many  IhSioVdfti^tS  which  added  iaaaaaftasuwabfer  t<»  effectiveness 
of  oper&  both  from  the  m*fci!c&l  and  d&u&&tic  staaasdpoirrt.  CMef  Aiffi!0ng  tfoese 
depattutes  were  a  nacre  ^doqu?ent  type  of  recitative  aod  <a  rxckcr  ia^stniainenta- 
tion,  together  with  a&  ^aboi?ation  of  the  parfchsde,  Gifted  disciples  of  Scarlatti 
turned  out  scores  of  pieces  every  year,  uatii  opera  tecame  the  nxost  fK^ular 
enteftainment  of  the  day.  This  d-emocratisatwrn^  indeed,  began  to  sow  the 
seeds  of  decay.  The  ptobEc  was  already  "beccoooMig  mfore  iaterested  in  lavish 
spect&de,  huge  choruses,  a^nd  favourite  siogers  than  ifii  omsacal  worth.  But  in 
dignity,  passi<!ttia,te  sincerity,  fcnd  technidal  virtuosity  Sctokatta  set  aft  example 
that  Mspisred  the  best  of  his  successors  for  more  tfeaft  -a.  cHBrtury.  If  Meaaawhile 
there  wete  arisioag  in  Fr&ace  a^d  Getm^siy,  more  *&r  tess  iewatependendy,  types 
of  lyiicafl  dteMa  tliat  wei«e  essentially  natieiial  ito  sgpwrk.  Tke  owots  of  Faraack 
ofjeta  ai?fe  ^ottid  i&  tfete  latt^sic  of  tlae  t^iMteentk-eemfcory  tronavetes,  as  m  Aebato  de 
la  HaDe^  uLc.jeu  de  'Rebin  &  de  M&r%&&,"  wMch  >bscs  oonoae  x*ow&  te  ios  a&tact. 
It  tyas  the  bailet,  ho^eX^er,  otfctitfig  fx<0m  tte  latter  fealf  «of  the  sax*eea*tk  ceo^tiory, 
•which  *was  1^e  famte&iati&  fowfefe^r  0f  s^«n^»ewdh^d^t«yty  opteftt  in  France. 
ITJeaai  Baptiste  Lully  <^3^*-a?687)  -w»»  the  tfamt  feuaw^ui  <x«p«9eir  tfe»  Fsreach 
baHet  in  its  later  dev^kfptfaent.  A  talented  and  resotipoe^i  oruskiaj^iie  toou-ght 
it  to  a  state  of  perf  ectiom  tbat  sooft  won  it  tAce  lavoiur  <rf  t3ac  ^ojpfuktoe  «as  well  as 
*&e  ^oibS^y.  It  tfefttfS  ?*assed  f  rosm  tfee  ooiftrt  to  fete  tfa^aftlre.  Lflafiy  as  regarded 
^as  tke  first  dO»«^s«r  #f  ^toi^  i^reteck  <i^perav  Kii  "£**  iF^w  <fe  VAtnMr  tide 
iBctccfows,"  ^t^dHOKsed  i&  t6'7^  wa»  tbe  tfe^rfiabttcr  of  a  i«£ig  series  «l  sisaiiar 
'pieces,  %btk  giraftfe  ^t4  ^y.  Dod^s  *fto«t  vifetutguisfaed  successor 


SPECIAL  ARTICLES  77$ 

(1683-1764),  a  musician  in  many  respects  of  greater  originality  tib.an  Lullyf 
but  who  never  attained  the  latter's  popularity.  This  was  partly  due  to  the 
inferior  quality  of  his  libretti.  But  his  music  has  a  freshness,  charm,  and 
variety  not  to  be  found  in  the  work  of  his  many  contemporaries,  TfThe  rise  of 
opera  in  England  is  associated  with  the  name  of  Henry  Purcell  (c,  1658-1 695). 
His  "Dido  and  Aeneas,"  composed  between  the  years  1688  and  1690,  was  a  work 
of  astonishing  originality  and  beauty.  Purcell  was  to  some  extent  influenced  by 
French  and  Italian  masters,  but  his  art  is  strongly  national.  The  origin  of 
opera  in  England  is  commonly  ascribed  to  the  masque,  and  this,  is  partly  true. 
But  another,  and  perhaps  a  more  direct  source  of  opera  lies  ia  the  numerous 
plays  for  which  popular  composers  of  the  day  provided  incidental  music. 
Purcell  had  been  active  in  this  field.  Efe  left  no  successor,  the  only  purely 
English  development  which  followed  bfcing  the  Ballad  Opera,  of  which  John 
Gay's  "  Beggar's  Opera"  is  the  most  famous  example.  But  this  form  eventually 
disappeared  with  the  introduction  of  the  French  and  Italian  schools.  Balfe's 
"Bohemian  Girl'9  and  Wallace's  "Marit&na,"  to  be  sure,  may  be  regarded  as 
nineteenth-century  survivals.  The  fact  that  "Dido  and  Aeneas"  is  PurcelTs 
sole  contribiitioa  to  the  operatic  literature  of  his  time  in  England  may  be 
explained  by  the  circumstances  of  its  production^  It  was  performed  by 
"young  gentlewomen"  at  the  private  school  of  a  Mr.  Josias  Priest  at  Chelsea. 
The  composes  was  thus  relieved  of  the  necessity  of  catering  to  the  fashionable 
public  taste  of  the  moment.  1fln  Germany,  as  elsewhere,  secular  and  religious 
plays  of  the  Middle  Ages  prepared  the  soil  for  the  development  of  opera.  But 
the  introduction  of  Italian  works  marked  the  real  beginning  of  German  operatic 
history.  Vienna,  Munich,  and  many  provincial  cities  saw  productions  of  the 
favourite  Italian  composers.  But  it  was  in  the  North,  especially  at  Hamburg, 
that  German  national  opera  had  its  inception.  1[The  first  German  opera  house 
was  opened  in  Hamburg  in  1678,  for  the  purpose  of  giving  works  in  the  vernacu- 
lar. Here  was  produced  the  first  truly  German  opera,  Johann  Theile's  "Adam 
und  Ewa"  It  seems  to  have  been  a  pretentious,  pietistic,  and  generally  dull 
piece,  as  were  many  of  its  successors,  both  religious  and  secular.  But  with  the 
coming  of  Reinliardt  Reiser  in  1694  there  was  a  distinct  advance.  During  the 
first  half  of  the  eighteenth  century  he  composed  numerous  works,  thoroughly 
German,  melodious,  and  well  designed  for  character  delineation.  Though  they 
have  not  survived  they  exerted  an  enormous  influence  in  Germany  and  abroad. 
^fOne  of  Keiser's  associates  in  Hamburg  was  the  youthful  George  Frederic 
Handel  (1685-1759),  This  man  who  was  to  become  the  greatest  composer  of 
his  day  wrote  four  operas  on  classic  subjects  during  his  Hamburg  days.  They 
showed  the  talent  of  the  composer  but  were  overshadowed  by  the  brilliant  operas 
with  which  he  dazzled  London  audiences  some  years  later.  ^"Rindldo"  an 
opera  fashioned  after  the  Italian  models,  was  produced  in  lavish  style  in  London 
in  1711.  It  created  a  sensation,  the  beauty  of  its  arias  winning  instant  response 
trom  a  charmed  and  delighted  public.  From  this  time  up  to  1737  Handel  pro- 
duced a  long  series  of  operas  along  the  same  lines.  The  influence  of  various 
Italian  masters,  notably  Scarlatti,  appears  in  the  suavity  and  grace  of  the  voca? 
writing.  Indeed,  it  was  as  a  vocal  and  choral  composer  that  Handel  from  the 
first  excelled.  ^[Handel's  contemporaries  included  Johann  Hasse,  of  Dresden, 
born  in  1699,  who  left  more  than  one  hundred  operas.  They  were  second-rate, 
however,  and  depended  for  their  success  largely  on  the  extraordinary  singing 


772  SPECIAL  ARTICLES 

of  his  wife,  Faustina  Bordoni.  Hasse  himself  was  a  singer  of  the  Italian  school; 
and  he  was  one  of  the  first  of  those  opera  composers  in  Germany  who  worshipped 
vocalism  for  its  own  sake,  and  played  into  the  hands  of  favoured  singers. 
Domenico  Scarlatti  and  Buononcini  were  other  leading  contemporaries  of  Hasse, 
UThe  rise  of  opera  buffa  in  Italy  was  an  important  development  during  the 
middle  of  the  eighteenth  century.  This  genre,  which  had  its  prototype  in 
France  and  Germany,  was  an  outgrowth  of  the  comic  interludes  and  intermezzi 
which  were  interpolated  between  the  acts  of  serious  works.  The  opera  buffa 
introduced  some  innovations  that  influenced  serious  opera — a  more  naturalistic 
style  and  greater  freedom  from  convention.  The  earliest  example  of  this  form 
which  has  survived  is  Pergolesi's  "La  Servo,  Padrona"  (1733)-  Other  later 
examples  are  Paisiello's  "Barbiere"  Cimarosa's  "II  matrimonio  segreto" 
Mozart's  "Cosifan  tutte,"  Rossini's  "Barber  of  Seville/'  and  Donizetti's  "Don 
Pasquale."  HThe  first  French  piece  modelled  on  Italian  opera  buffa  was  Jean 
Jacques  Rousseau's  "Le  Devin  du  Village"  (1752),  which  was  inspired  by  "La 
$erva  Padrona"  ^[Despite  the  trend  toward  naturalism  in  opera  buffa,  the 
serious  forms  were  slow  in  shaking  off  classic  conventions.  Arias  were  formal, 
and  must  follow  a  definite  pattern.  A  certain  number  of  arias  must  be  allotted 
to  each  singer.  There  must  be  no  trios  or  quartets.  Naturally,  all  this  was 
fatal  to  a  free  development  of  the  drama.  Librettists  and  composers  alike  were 
handicapped.  Moreover,  the  voice  parts,  instead  of  reflecting  the  thoughts 
and  feelings  of  the  character,  were  often  mere  show-pieces.  Great  composers 
like  Handel  could  in  a  measure  surmount  such  difficulties,  but  the  rank  and  file 
were  content  to  abide  by  the  rules  and  let  all  truth  and  dramatic  verity  go  by  the 
boards.  IfSuch  was  the  state  of  opera  when  Christoph  Wilibald  Gluck  began 
to  compose.  His  first  attempts  proved  to  his  satisfaction  that  he  could  not 
succeed  by  following  the  antiquated  formulas.  For  years  he  pondered  over  new 
methods  whereby  he  could  make  music  serve  the  cause  of  drama  as  it  was 
originally  intended  to  do.  The  fruit  of  his  speculations  was  "Orfeo"  (1762),  a 
masterpiece  that  brought  about  a  revolution  in  opera  that  was  comparable  to 
the  political  and  social  upheaval  that  was  to  come  some  years  later.  Uln 
"Orfeo,"  Gluck  swept  aside  all  the  fustian  of  the  old  forms.  Elaborate  but 
meaningless  arias  overburdened  with  ornamentation  gave  place  to  broad, 
majestic  melodies  of  profound  emotional  significance.  The  opera  met  with  the 
qualified  approval  of  a  public  which  was  not  altogether  ready  to  transfer  its 
allegiance  from  Hasse  and  his  school.  Five  years  later  Gluck  produced  "Al- 
ceste"  In  a  preface  to  the  published  work  he  outlined  his  artistic  credo.  It 
was  his  purpose,  he  wrote,  to  strip  the  aria  of  outworn  conventions;  to  provide 
an  orchestral  prelude  which  should  apprise  the  spectator  of  the  action  to  be 
represented;  to  reduce  the  disparity  between  recitative  and  the  aria;  and 
finally  to  achieve  "a  grand  simplicity."  1f Gluck  decided  to  go  to  France,  since 
he  was  dissatisfied  with  the  reception  of  these  two  works  in  Vienna.  In  Paris, 
under  the  patronage  of  his  former  pupil,  Marie  Antoinette,  he  brought  out  his 
"Iphigtnie  en  Aulide,"  in  French,  in  1774.  Its  success  was  immediate,  though 
there  was  a  powerful  faction  of  reactionaries  who  championed  the  Italian  school 
represented  by  Piccinni.  But  with  his  next  opera,  "Ipkigenie  en  Tauride" 
Gluck's  triumph  was  complete.  A  new  era  in  French  opera  had  dawned,  which 
was  to  have  a  lasting  influence.  Gluck  to-day  is  recognised  as  the  first  great 
exponent  of  modern  music  drama.  1[But  Gluck's  reforms,  far-reaching  a? 


SPECIAL  ARTICLES  773 

they  were,  did  not  divorce  opera  from  an  artificial  world  wholly  removed  from 
reality.     His  was  essentially  an  aristocratic  art,  in  the  narrowest  sense,  which 
was  concerned  with  the  thoughts  and  feelings  of  characters  having  little  in 
common  with  life  and  actuality.    With  the  spread  of  the  humanistic  cult  of 
naturalism  the  time  was  ripe  for  a  composer  to  interpret  the  new  and  restless 
spirit  of  the  day.     ^[One  of  the  great  musical  geniuses  of  all  time  was  destined 
to  accomplish  this  mission:  Wolfgang  Amadeus  Mozart.     Only  in  his  first  opera, 
"Idomeneo"  did  Mozart  pay  homage  to  Gluck.     With  "Die  Entfu&hring  azts 
dem  Serail"  he  forsook  the  Never-never  land  of  pseudodassical  antiquity  for  a 
world  peopled  by  human  personalities.     In  "The  Marriage  of  Figaro9'  and 
"Don  Giovanni"   he  portrays  human  aspirations,  follies,  and  sorrows  with 
masterly  insight,  by  means  of  music  of  incomparable  beauty.    Like  Gluck  he 
avoids  extravagant  vocal  ornamentation  except  in  arias  like  that  of  the  Queen 
it»  " The  Magic  Flute"  where  it  is  used  for  definite  dramatic  effect.    Though 
Italian  influences  are  apparent  in  his  work,  Mozart  is  essentially  a  German. 
To  be  sure,  he  used  Italian  in  three  of  his  operas  as  a  language  better  suited  to 
his  purpose.     IfWith  the  spread  of  the  Romantic  Movement  at  the  turn  of  the 
nineteenth  century  there  came  a  body  of  work  which  marked  the  transition 
between  eighteenth-century  classicism  and  the  new  romanticism.     The  most 
celebrated  opera  of  this  period  was  Beethoven's  "Fidelio"  which  combines  the 
old  classic  forms  with  the  new  revolutionary  spirit.     Beethoven  had  no  special 
urge  toward  the  stage,  but  after  he  accepted  a  commission  from  the  Vienna 
Theater-an-der-Wien  to  write  an  opera  he  undertook  the  task  with  ardour. 
He  chose  for  his  libretto  a  story  of  wifely  devotion  which  had  already  been 
utilised  by  Ferdinando  Paer,  and  by  Pierre  Gaveaux.     "Fidelio"  is  an  example 
of  th£  Singspiel  in  that  spoken  dialogue  alternates  with  arias,  duets,  and  con- 
certed numbers.     Beethovferi  made  majhy  revisions  of  his  original  score — he 
wrote  four  overtures — and  several  Versions  of  the  work  were  presented  after  its 
initiaJ  performance  in  Vienna  in  1805.     *^"  Fidelio"  despite  certain  faults,  re- 
mains the  finest  example  of  German  opera  between  Mozart  and  Wagner;  a 
work  of  intense  dramatic  power  and  musical  beauty.     Other  composers  of  this 
transitional  period  include  Cherubim,  whose  work  was  greatly  admired  by 
Beethoven,  and  Spontini,  whose  "La  Vestale"  was  revived  at  the  Metropolitan 
Opera  House  in  1925.     HThe  Romantic  Movement  was  in  full  flower  when 
Weber's  "Der  Freischuetz"  was  produced  in  Dresden  in  1822.     National  feeling 
in  Germany  was  runnMg  high.     The  .public  had  tired  of  the  tragic  and  heroic 
subjects  favoured  by  then^mnco-Italian  Spontmi,  and  the  time  was  propitious 
for  a  w$rk  deriving  from  German  folklore.     "Der  Freischuet^'  fulfilled  in 
urillian^fashion  this  desire.     It  was  acclaimed  with  ti^^dest  enthusiasm,  and 
its  autKor,  a  picturesque,  Byrpnic  figure,  became  the'  hero  of  the  day.     His 
great  gift  for  popular  melody,  his  skill  in  choral  writing,  and  the  imaginative 
treatment  of  the  supernatural  made  "Der  Freischuefa"  the  most  beloved  opera 
ever  written  in  Germany.     Its  extraordinary  popularity  soon  spread  to  other 
countries,  as  witness  the  story  of  the  choleric  English  gentleman  who  advertised 
for  a  valet  who  couldn't  whistle  a  tune  from  "  Freischuetz."     Unfortunately 
Weber's  later  operas  were  less  successful.     The  best  known  are  "Euryanthe" 
and  "Oberor,*"     1f  Mean  while  Rossini  was  infusing  new  life  into  Italian  opera 
which,  at  the  beginning  of  the  nineteenth  century,  had  fallen  on  evil  days.     He 
^as  not  a  reformer  like  Gluck,  but  he  determined  to  substitute  for  the  old  diched 


774  SPECIAL  ARTICLES 

of  his  immediate  predecessors  a  new  spirit,  at  the  same  time  conforming  to  the 
prevailing  taste  of  the  day.     This  he  accomplished  by  virtue  of  his  amazing 
facility,  his  sparkling  brilliancy,  and  his  robust  comic  gifts.     These  qualities 
made  him  for  years  the  most  popular  composer  in  Europe.     His  serious  works 
are  dramatically  ineffective,  though  they  contain  a  wealth  of  ingratiating 
melody.     "The  Barber  of  Seville"  (1816)  is  perhaps  the  greatest  opera  buffa 
ever  written.     Rossini's  style  was  florid,  and  he  loved  vocal  display.     The 
same  may  be  said  of  his  chief  contemporaries,  Bellini  and  Donizetti.     While 
not  of  a  particularly  high  order  their  music  is  uniformly  tuneful  and  appealing. 
UThe  popularity  of  Rossini  was  partially  eclipsed  for  a  time  by  the  advent  of 
Meyerbeer,  a  German  whose  career  was  largely  confined  to  Paris.     His  grandi- 
ose operas  created  a  sensation.     "Robert  le  Diable"  "Les  Huguenots"  "L'Afri- 
caine"  and  "Le  Prophete"  are  said  to  have  made  the  fortune  of  the  Paris  Opera. 
Wagner's  caustic  indictment  of  Meyerbeer  as  a  "miserable  music  maker"  is 
hardly  deserved.     He  possessed  undeniable  gifts,  which  would  have  carried  him 
to  greater  heights  had  he  not  chosen  to  seek  the  applause  of  a  fashionable,  un- 
critical Parisian  audience.     Meyerbeer  left  no  disciples,  though  his  chief  con- 
temporary was   Halevy,   whose   "La  Juive"  retains  its  popularity   to-day 
IfGiuseppe  Verdi  (1813-1901)  was  in  many  respects  the  greatest  Italian  com- 
poser of  the  nineteenth  century.     His  early  works  reveal  no  radical  departures 
from  accepted  conventions,  though  he  introduced  a  dramatic  and  virile  spirit 
not  to  be  found  in  the  sweet  and  graceful  operas  of  Bellini  and  Donizetti.    The 
works  of  his  middle  period  like  "//  Trovatore,"  "La  Traviata,"  "The  Masked 
Ball,"  and  "Rigoletto"  are  perhaps  his  most  characteristic  and  popular  operas 
though  by  no  means  the  best.     In  the  operas  of  his  third  period,  "AZda,"  for 
example,  the  set  aria  is  already  disappearing  and  the  orchestra  plays  a  more 
prominent  part.     In  his  old  age  Verdi  produced  two  masterpieces,  "Otello" 
(1887)  and  "Falstaff"  (1893) ,  which  exhibit  to  an  astonishing  degree  a  new  spirit 
•\nd  a  new  technique  in  Italian  opera.     Set  arias  are  few,  and  the  orchestra  is 
infinitely  more  complex  than  in  his  earlier  works.     The  characters  of  lago  and 
FalstafE   are  portrayed   with   a  penetrating  insight  almost   Shakespearian. 
Verdi  was  fortunate  in  having  the  distinguished  singing  actor,  Victor  Maurel, 
as  the  interpreter  of  these  rdles.     HThe  operatic  Titan  of  this  same  period  in 
Germany  was,  of  course,  Richard  Wagner  whose  stupendous  genius  produced 
works  of  such  revolutionary  character  and  sustained  grandeur  as  have  never 
been  remotely  approached  by  any  of  his  successors.     The  four  operas  of  the 
"Ring"-,  "Tristan  and  Isolde"  perhaps  the  greatest  love  tragedy  of  all  time; 
"Die  Meistersinger,"  a  comic  opera  of  epic  proportions;  and  "Parsifal,"  the 
great  religious  festival  drama — these  monuments  of  a  unique  genius  tower 
above  all  the  other  musical  works  of  the  nineteenth  century.     In  these  master- 
pieces of  his  maturity  Wagner  developed  the  leitmotif  system  to  a  state  of 
perfection  never  equalled.     ^Among  the  composers  of  the  latter  half  of  the 
century  whose  work  was  significant  were  Arrigo  Boito,  whose  "Mefistofele" 
may  have  influenced  Verdi;  Gounod,  whose  "Faust"  is  perhaps  the  most  populai 
opera  ever  written;  Bizet,  whose  "Carmen"  ranks  as  the  outstanding  French 
opera  of  the  period;  PonchieUi  and  his  successor  Puccini,  whose  "Tosca,"  "La 
Boheme,"  and  "Butterfly"  are  in  the  repertory  of  opera  companies  the  work? 
over.     In  the  last  decade  of  the  century  Mascagni,  with  "  Cavalleria  Rusticana" 
and  Leoncavallo,  with  "  Pagliacd"  achieved  an  enormous  popularity  which  has 


SPECIAL  ARTICLES  775 

continued  ever  since.  Giordano,  Wolf-Ferrari,  and  Charpentier  are  among  the 
host  of  popular  composers  of  a  somewhat  later  date.  IfThe  name  of  Puccini 
stands  out  as  that  of  the  most  popular  Italian  composer  of  his  day.  His  first 
work,  "Le  Vitti"  (1884),  was  successful  "Manon  Lescaut"  (1893)  made  up 
in  part  for  an  earlier  failure  "Edgar"  (1889);  but  it  was  "Bohbme"  (1896)  that 
firmly  established  Puccini's  fame.  This  was  enhanced  with  "Tosca"  (1900) 
and  "Madame  Butterfly"  (1904).  Of  his  later  works,  in  which  he  attempts  a 
more  modern  idiom  with  qualified  success,  "La  FanciuUa  del  West"  ("Girl  of 
the  Golden  West"}  which  had  its  world  premiere  at  the  Metropolitan  in  1910, 
and  "Turandot"  produced  in  1924  after  the  composer's  death,  are  best  known. 
Puccini  had  a  flair  for  the  theatre  unequalled  by  any  of  his  contemporaries,  and 
his  music  has  a  lyrical  intensity  admirably  suited  to  dramatic  expression. 
1fNot  long  after  Germany  threw  off  the  shackles  of  foreign  domination  with 
"Der  Freischitetz"  a  national  opera  also  began  to  emerge  in  Russia.  Glinka 
was  the  creator  of  a  new  school  with  his  "Life  for  the  Tsar"  The  music  is  na- 
tive in  origin,  fashioned  and  adapted  in  a  manner  to  make  it  acceptable  to 
Western  ears.  Suggestions  of  the  Orient  provide  piquant  contrasts  to  the 
Russian  themes.  The  same  holds  true  with  Borodin's  "Prince  Igor"  set  to  an 
epic  poem  comparable  to  the  Arthurian  romances.  Borodin's  music  abounds  in 
melody,  impassioned  and  richly  coloured.  Moussorgsky  was  preeminently 
realistic  in  his  treatment  of  the  national  material  he  employs.  His  writing  for 
voice  and  chorus  is  superior  to  his  orchestration,  which  is  often  stark  and  bare. 
His  masterpiece,  "Boris  Godounoff"  contains  superb  choral  passages  and  a 
profoundly  tragic  and  realistic  death  scene  reminiscent  of  Macbeth.  Rimsky- 
Korsakov  excelled  his  predecessors  in  technical  skill.  All  his  works,  with  one 
exception,  are  based  on  national  themes.  The  most  popular  of  his  operas  are 
"The  Snow  Maiden,"  "Sadko,"  and  "Le  Coq  d'Or."  IfThe  Czech  composer 
Smetana  was  also  the  creator  of  a  national  opera.  His  works  for  the  most  part 
are  little  known  outside  Central  Europe,  with  the  exception  of  "  The  Bartered 
Bride"  one  of  the  loveliest  of  modern  comic  operas,  ^[The  present  century 
has  seen  the  production  of  scores  of  new  works  by  composers  of  varying  im- 
portance; but  whatever  the  verdict  of  posterity  may  be  concerning  their  merit 
the  fact  remains  that  few  of  them  have  achieved  a  permanent  place  in  the 
standard  repertory.  Only  a  scant  half  dozen  have  won  sufficient  favour  to 
justify  frequent  performance.  HThe  first  of  these  was  Debussy's  lyrical  drama 
"Pelttas  et  M6lisande"  written  to  a.  poetic  play  by  Maeterlinck.  This  unique 
work,  first  performed  at  the  Op&ra  Comique  in  Paris  in  1902,  is  a  landmark  in 
the  history  of  opera.  It  founded  no  school,  and  by  reason  of  the  special  nature 
of  its  book  and  music  it  is  unlikely  to  become  universally  popular.  But  it  re- 
mains the  finest  example  of  impressionism  in  modern  operatic  music;  elusive, 
delicately  atmospheric,  filled  with  a  wan  and  wistful  beauty  wholly  indescrib- 
able. 1fAn  opera  not  unlike  "Pdttas"  in  subject  matter,  but  wholly  unlike  it 
in  other  respects,  is  Italo  Montemezzi's  "Love  of  Three  Kings"  It  was  first 
produced  in  Milan  in  1913  and  one  year  later,  under  Toscanini's  direction,  at 
the  Metropolitan  Opera  House.  Though  the  composer  was  virtually  unknown 
and  the  opera  unheralded,  it  achieved  an  instantaneous  success.  The  libretto 
was  the  work  of  Sem  Benelli,  the  Italian  poet  and  playwright.  The  excellence 
of  the  book  no  doubt  contributed  to  the  success  of  the  opera;  but  Montemezzi's 
music  received  the  highest  praise  from  press  and  public.  It  is  truly  original, 


776  SPECIAL  ARTICLES 

owing  nothing  to  Puccini  and  very  little  to  Verdi  or  Wagner.  The  vocal  line  is 
graceful  and  finely  melodic.  The  music  is  continuous  and  free,  witL  few  re- 
current themes.  Of  external  realism  there  are  only  some  fugitive  touches. 
TThe  third  operatic  work  by  a  living  composer  which  belongs  to  the  present 
century  is  "Der  Rosenkavalier"  by  Richard  Strauss.  It  marks  a  complete 
change  of  style  from  the  turgid,  neurotic,  and  melodramatic  "Salome"  and 
" Elektra"  The  opera  is  a  tour  deforce  of  brilliant  orchestration  which  weaves 
a  glittering  web  of  tone  fashioned  out  of  Viennese  waltz  tunes  and  Mozartean 
melody.  The  full  modern  orchestra  is  employed  with  masterly  skill  to  invest 
these  naive  and  fragmentary  themes  with  a  sophisticated  and  pungent  quality 
wholly  captivating.  The  trio  of  women's  voices  is  a  reminder  of  the  "Meister- 
singer"  quintet,  and  the  monologue  of  the  Marschallin  is  another  high  spot  in  a 
score  that  is  matched  perhaps  only  by  Wagner's  comic  masterpiece.  If  * '  Salome" 
and  "Elektra"  were  performed  in  the  United  States  not  long  after  their  Euro- 
pean premieres.  But  despite  the  notable  impersonations  of  such  artists  as 
Fremstad,  Mazarin,  and  Mary  Garden  the  public  did  not  take  kindly  to  the 
hectic  and  cacophonous  music  and  the  lurid  books.  In  recent  years,  notably 
in  the  season  of  1937—1938,  they  were  revived  at  the  Metropolitan  with  conspicu- 
ous success.  TTPost-war  composers  whose  contributions  to  opera  have  attracted 
favourable  notice  from  the  more  critical  and,  in  some  cases,  substantial  support 
from  the  general  public  include  Francesco  Malipiero  ("Pantea"  "Sette  Can- 
zoni,"  "Le  Baruffe  Chiozzotte,"  "Orfeo") ;  Louis  Gruenberg  ("Emperor  Jones"); 
Deems  Taylor  ("  The  King's  Henchman,"  "Peter  Ibbetson") ;  Alban  Berg  ("Woz- 
zeck,"  "Lulu");  Darius  Milhaud  ("Christopke  Colombe,"  "Le  Pauvre  Matelot," 
"Minute-Operas"  "Juarez  et  Maorimilien")*,  Paul  Hindemith  (three  one-act 
operas,  "Cardillac"  "Neues  vom  Tage,"  "Mathis  der  Maler");  Mario 
Castelnuovo-Tedesco  ("  Mandragola") ;  Jaromir  Weinberger  ("Sckwanda"); 
Ernst  Krenek  ("Die  Zwingburg"  "Der  Sprung  ueber  den  Schatten"  "Orpheus," 
"Jonny  Spielt  Auf,"  two  one-act  operas,  "Orest,"  "Das  Leben  Karls  V"); 
Kurt  Weill  ("Mahoganny"  "  Dreigroschenoper,"  "Der  Jasager,"  "Die  Burg- 
schaft>"  "Der  Stibersee");  Dmitri  Shostakovich  ("Lady  Macbeth  of  Mzensk"\ 
(For  synopses  of  many  of  the  operas  mentioned  see  the  Opera  section,  page  &rp). 


THE  ORATORIO 
BY  H.  E,  KKEHBIEL 

AN  ORATORIO  is  a  musical  composition  for  chorus  and  solo  voices,  with  orches- 
tral accompaniment,  to  a  poem  on  a  religious  or  sacred  subject,  generally  in 
narrative  form,  though  often  with  dramatic  episodes,  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  thirteenth  and  fourteenth  centuries,  which 
enacted  an  important  part  in  the  life  of  the  common  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  (1515-95),  who  recognised  in  them  a  means  of  opposing 


SPECIAL  ARTICLES  ITt 

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  com- 
posers to  furnish  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  corre- 
sponding to  the  modern  form.   It  was,  however,  intended  to  be  acted  in  costume, 
and  only  gradually  did  this  feature  fall  into  disuse.   The  later  Italian  composers, 
Carissimi,  Stradella,  Cesti  and  Alessandro  Scarlatti,  first  developed  the  new 
form  on  the  lines  in  which  it  has  come  down  to  us.     Carissimi  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  cultivated  still  further  the  natural  resources  of 
the  chorus  at  a  time  when  the  general  tendency  in  Italy  was  toward  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  development  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  representatives 
of  more  strenuous  nations  for  its  ultimate  development.     IfThat  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  thence  to  his  native  land  some 
of  the  new  ideals  of  music.     His  first  Passion  was  produced  in  1645.     The 
furious  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  dramatic  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,  repre- 
senting the  emotions  of  the  onlookers,  while  the  solo  airs  were  of  a  piously 
reflective  character.     There  was  a  plentiful  interspersion  of  chorales  in  which 
the  congregation  joined.     In  the  middle  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  according  to  St.  Matthew"  and  "St.  John/' 
respectively,  composed  ir  the  first  quarter  of  the  eighteenth  century.     German 
art  was  thenceforward  turned  into  the  channels  of  the  oratorio  as  it  was  de- 
veloped in  Italy;  and  the  form  was  brought  to  its  highest  perfection  by  George 
Frederick  Handel.     As  thus  perfected  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 


778  SPECIAL  ARTICLES 

quite  unknown  in  that  country.  The  long  line  of  masterpieces  he  produced 
thereafter  gave  the  final  and  definite  character  to  the  oratorio  form  which  has 
remained  to  this  day.  The  greatest  of  them  are  "The  Messiah,"  "Judas 
Maccabseus,"  "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.  IfFor  a  considerable  period  after  Handel's  death,  little  of  importance 
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  fore- 
most, and  the  musical  characterisation  of  the  various  persons  presented  is 
perhaps  more  vivid  than  any  previous  attempts  in  this  line.  Works  like  Liszt's 
"St.  Elizabeth"  and  Rubinstein's  "Moses"  are  conceived  as  operas  in  which 
descriptive  directions  take  the  place  of  scenery,  costume,  and  incident.  (See 
Dictionary  of  Terms  entry,  page  648.) 


THE  ORCHESTRA  AND  ORCHESTRATION 

BY  W.  J.  HENDERSON 

THE  MODERN  ORCHESTRA  dates  from  the  early  part  of  the  seventeenth  century. 
Previous  to  that  no  attempts  at  a  systematic  combination  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  (1568-1643).  His  orchestra  was 
the  first  in  which  a  considerable  body  of  strings,  including  two  violins,  figured. 
He  invented  some  special  instrumental  effects,  and  led  the  way  toward  the 
establishment  of  the  string  quartet  as  the  foundation  of  the  orchestra.  Ales- 
sandro  Scarlatti  (born  1659)  wrote  for  a  string  quartet  similar  to  that  employed 
in  the  present  orchestra,  and  used  oboes  and  flutes  as  his  principal  wind- 
instruments.  ^"Handel  (1658-1759)  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,  because  these  instruments  then  were  much 
less  powerful.  In  the  early  part  of  the  eighteenth  century,  when  the  seeds  of 
symphonic  music  were  just  beginning  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,  trumpets  and  tympani  being  added  when  brilliancy  was 
needed.  Clarinets  had  not  entered  the  orchestra,  but  flutes  were  common. 
The  trombone  was  employed  only  in  the  opera,  where  alone  also  the  harp  was 
heard.  ^Joseph  Haydn  (1732-1809)  wrote  his  first  symphony  in  1759  for  first 
and  second  violins,  violas  and  basses,  two  oboes  and  two  horns.  Mozart  (1756- 


SPECIAL  ARTICLES  779 

91}  introduced  clarinets  and  Haydn  learned  their  use  from  him,  so  that  his  D 
major  symphony,  written  in  1795,  is  scored  for  2  flutes,  2  oboes,  2  clarinets, 
2  horns,  2  kettle-drums,  violins,  violas,  'cellos  and  basses,  adding  in  the  first 
movement  2  bassoons  and  2  trumpets.  In  the  "Eroica"  Beethoven  introduced  a 
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  con- 
tains the  entire  modern  orchestra,  except  such  instruments  as  have  since  been 
introduced  for  special  effects.  The  operatic  writers  in  their  search  after  dra- 
matic colouring  led  the  way  in  such  introductions,  and  the  romantic  composers 
of  symphonic  music,  building  up  their  great  colour  schemes,  were  not  slow  to 
accept  every  suggestion.  ^Nevertheless  the  orchestra  as  now  constituted  is 
practically  that  of  Beethoven.  As  ordinarily  distributed  it  is  composed  of  a 
piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trom- 
bones, 2  kettle-drums,  first  and  second  violins,  violas,  'cellos,  and  basses.  The 
wood-wind  instruments  are  now  frequently  used  in  triplets  instead  of  pairs,  ana 
the  whole  wind  choir  is  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.  If  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  modern  efforts  have  been  in  the 
direction  of  increased  sonority  and  richness  of  colour.  These  ends  are  obtained 
by  writing  for  a  larger  number  of  instruments  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.  The  first 
three  groups  are  the  wood-wind,  the  brass,  and  the  strings,  and  the  other  is  the 
•'battery,"  as  the  group  of  percussive  instruments  is  called.  In  this  last  group 
only  the  kettle-drums  have  musical  pitch,  except  when  bells  are  employed. 
IfThe  wood- wind  is  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 
independent  harmony,  but  all  of  a  high  pitch.  Bassoons  are  the  basses  of  the 
oboe  family,  and  hence  with  two  oboes  and  two  bassoons,  composers  can  write 
in  full  four-part  harmony  for  this  class  of  reed  instruments,  and  let  them 
play  by  themselves  when  their  peculiar  thin,  reedy  quality  is  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  bass  clarinet  covers  the  tenor  and  the  bass.  Here  again  the 
composer  can  get  a  full  harmony  in  one  family  of  wood.  Thus  the  wood  alone 
offers  three  distinct  orchestral  tints.  But  the  instruments  of  the  different 
families  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  had  con- 
ventional methods  of  writing  for  these  instruments,  almost  always  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  instru- 
ments can  be  used  profitably  as  solo  voices.  HThe  brass  offers  three  groups, 
horns,  trumpets  and  trombones,  each  of  which  is  capable  of  independent  har- 
mony, 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 


780  SPECIAL  ARTICLES 

especially  good  for  this  purpose.  The  brass  can  also  be  used  in  many  combina- 
tions with  the  wood- wind.  Horns,  clarinets,  and  bassoons,  for  example,  are 
frequently  combined.  The  foundation  of  the  orchestra,  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  subdivide  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.  HThe  essential  requirements  of  good  orchestration 
are  solidity,  balance  of  .tone,  contrast  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  strings,  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  singing  the  melody.  A  perfect  understanding  of  the  relative  powers 
of  the  various  instruments  is  necessary  to  success  in  these  two  matters.  Es- 
pecially must  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.  IfContrast  is  obtained  by  trans- 
ferring the  melodic  ideas  frequently  from  one  of  the  three  divisions  of  the  orches- 
tra 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  even  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.  The  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  modern 
operas  and  symphonic  works  he  will  hear  all  the  results  of  the  most  complex 
treatment  of  orchestral  tinting.  (See  also  "Orchestration  of  Theatre  and  Dance 
Music"  below;  "Orchestra  and  Band  Instruments,"  page  811;  "Orchestras  In 
America"  page  787;  and  Dictionary  of  Terms  entry,  page  648). 


ORCHESTRATION  OF  THEATRE  AND  DANCE  MUSIC 

BY  ROBERT  RUSSELL  BENNETT 

MORE  PROGRESS  is  seen  in  the  orchestral  treatment  of  light  music  than  in 
any  other  feature  of  this  type  of  entertainment,  not  excluding  the  melodic  and 
harmonic  substance  of  the  pieces  themselves.  Music  designed  for  immediate 
popular  approval  must,  of  course,  work  in  the  direction  of  the  obvious,  there- 
fore it  can  add  not  more  than  one  experimental  feature  to  what  is  already  weD 
planted  in  the  public  ear,  and  composers  do  best  when  they  can  avoid  even 
that  one  and  still  be  fresh  and  appealing.  ^Instrumentation  is  not  so  limited; 


SPECIAL  ARTICLES  781 

in  fact  great  inventiveness  is  often  shown.  Its,  more  imaginative  flights  are 
protected  from  popular  failure  by  the  success  of  the  tune  and  the  almost  bar- 
baric simplicity  of  the  underlying  rhythm,  and  the  arranger  finds  himself  free 
to  Borrow  at  will  from  all  the  striking  orchestral  effects  of  the  masters  with  no 
necessity  for  the  hearer  to  "analyse  and  understand"  Him.  With  the  develop- 
ment of  recorded  music  and  broadcasting,  orchestration  assumes  greater  and 
greater  importance.  Robbed  of  one  of  its  primary  ingredients,  namely  the 
personal  magnetism  of  the  performers,  music  must  look  to  so-called  orchestral 
colour  for  a  great  portion  of  its  individuality,  if  any  is  to  be  achieved.  This 
point  is  hardly  controversial,  but  if  anyone  questions  it  let  him  make  a  list  of 
the  human  imperfections  of  playing  freely  pardoned  and  often  enjoyed  in  the 
concert-hall,  yet  simply  unpleasant  when  recorded  or  transmitted  by  mechanical 
instruments.  Uln  other  words,  the  spread  of  radio  and  phonograph  over  the 
world  has  tended  largely  to  reduce  ensemble  playing  to  a  chemical  mixture 
whose  component  parts  must  be  as  pure  as  possible.  (For  the  purposes  of  this 
article,  the  term  music  will  refer  to  what  is  known  as  "popular,"  "light," 
"commercial,"  etc.,  and  is  not  to  be  confused  with  the  great  art  of  music  for 
musicians  and  cultured  listeners,  who  might  pardonably  wonder  why  we  spend 
time  on  the  details  of  the  scherzo — so  to  speak — without  taking  up  the  pro- 
founder  movements  of  life's  symphony.)  TfThe  vast  majority  of  this  music 
is  first  introduced  in  the  form  of  songs.  Every  arrangement  for  orchestra  of 
these  songs  falls  into  one  or  another  formula,  depending  on  the  nature  of  per- 
formance intended.  This  formula  changes  and  develops  in  each  branch  as  new 
combinations  are  successfully  tried,  but  there  is  never  any  very  revolutionary 
novelty-  introduced  with  success — as  a  deep  study  of  every  new  t  development' 
will  reveal.  The  introduction  of  greater  or  smaller  combinations,  the  addition 
of  unusual  instruments,  the  sudden  discovery  of  new  playing  tricks  of  instru- 
ments and  groups  of  instruments  already  in  use,  and  the  use  of  the  voice  or 
voices  with  the  orchestra  to  present  the  words  of  the  song;  all  these  "innova- 
tions" are  made  to  cling  desperately  to  the  original  tune  or  the  semi-barbaric 
rhythms  already  mentioned,  or  both,  and  the  result  will  not  go  down  as  revo- 
lutionary. 

THEATRE  ORCHESTRAS 

With  no  attempt  to  go  deeply  into  its  history  one  can  say  that  theatre  music 
has  always  been  composed  of  songs,  dances,  and  incidental  music.  For  many, 
many  years  the  formula  for  the  orchestral  score  of  a  "number"  for  the  theatre 
was  something  as  follows:  T[In  general,  a  transcription  for  orchestra  of  the 
piano  copy  as  printed  and  sold.  More  specifically,  an  introduction,  vamp, 
verse,  and  chorus.  The  chorus  was  marked  to  repeat,  with  certain  instruments 
playing  the  second  time  only,  and  certain  others  playing  an  octave  higher  6n 
the  repeat.  This  repeat  version  served  either  for  an  accompaniment  to  the 
•ensemble  on  the  stage,  singing  fortissimo,  or  for  dancing,  either  by  the  chorus 
or  by  the  "principals"  (actors  or  actresses  who  went  into  their  dance  after 
singing  the  song  through).  ^[This  loud  refrain,  or  chorus — both  of  which 
terms  are  avoided  as  confusing  in  the  music  of  Jerome  Kern,  where  the  word 
u burthen"  supplants  them — merits  a  little  deeper  study,  as  it  has  long  remained 
the  basis  of  all  arrangements  for  the  purposes  enumerated  above.  Examining 
briefly  the  instruments  and  their  treatment,  we  find  something  Jike  this: 


782  SPECIAL  ARTICLES 


or  Flutes:  portions  of  the  melody  and  little  variations  at  frequent  hire* 
vals,  all  placed  an  octave  higher  than  the  soprano  voice  would  be  on  the  melody. 
^Oboe:  the  melody,  in  the  register  of  the  soprano  voice,  with  certain  allowances 
for  breathing.     ^Clarinets  (2)  :  the  second  and  third  voices  of  the  flute  part. 
^Bassoon:  a  mixture  of  'cello  and  bass  parts,  with  sometimes  both  bass  notes 
and  afterbeats.     ^Horns  (2):  mostly  afterbeats  with  an  occasional  sustained 
note  or  a  doubling  of  the  counter-melody  of  the  'cello  for  a  few  measures. 
^Trumpets  (2)  :  the  melody  and  an  accompanying  line  in  thirds,  sixths,  or  other 
pleasant-sounding  harmony  notes  for  the  second  trumpet.     These  parts  were 
marked  "second  time  only."     ^Trombone:  bass  notes,  occasionally  the  melody 
and  occasionally  the  counter-melody  of  the  'cello,  also  marked  "second  time 
only."     ^Drums:  "oom-pahs"  in  the  loud  version  —  that  is  —  bass-drum  and 
attached  cymbal  on  the  bass  beats  and  snare-drum  on  the  afterbeats.     Some- 
times the  strain  was  written  out,  with  bells  (glockenspiel)  playing  the  first 
time  through,  principally  on  the  melody,  and  drums  for  the  repeat.     ^Firsf 
Violin  or  Violins:  the  melody,  marked  "8  va  2nd  time."     ^Second  Violin 
Afterbeats,  arranged  so  as  to  form  a  full  chord  with  the  viola,  for  the  most  pan 
by  means  of  double  stops,  the  lower  note  of  which  was  usually  lower  than  the 
higher  note  of  the:     ^Viola,  which  served  as  a  "big  second  fiddle"  and  com- 
pleted the  harmony  of  the  afterbeats.     ^Cello:  a  counter-melody,  or  low  har- 
mony note  under  the  melody  of  the  first  violin.    This  counter  was  preferably 
on  the  A  string  and  was  sustained  in  character  especially  if  the  tune  of  the 
composition  was  not.     ^Bass:  the  bass  notes,  area  or  pizzicato.    It  is  to  be 
borne  in  mind  that  this  whole  strain  served,  played  softly  and  as  marked,  for 
a  Vocal  accompaniment  to  soli  voices  on  the  stage  the  first  time  through.    All 
instruments  marked  "2nd  time  only"  joined  in  during  the  "ist  Ending" 
(or  "First  Time  Bars,"  as  they  call  it  in  England)  and  proceeded  with  th* 
repeat  version,  jf  as  just  described.    This  briefly  detailed  rSsumS  is  given,  no* 
to  indicate  that  it  was  the  first  orchestral  make-up  of  a  popular  refrain,  nor 
that  it  continued  in  vogue  for  a  longer  period  than  some  other  way  has  or  will 
in  the  future,  but  chiefly  because  it  assumes  importance  as  the  starting  point 
for  all  that  has  followed.     Iflt  is  well  to  avoid  individual  names  in  a  study  of 
this  kind,  but  two  names,  one  well  known  and  the  other  quite  obscure,  are  in- 
dispensable.   These  names  are  Victor  Herbert   and  Frank   Saddler.    The 
former  influenced  theatre  orchestration  tremendously  by  enriching  the  pattern 
described  above  in  several  details;  the  latter  by  the  introduction  of  combina- 
tions 'of  colours  and  flights  of  imagination  that  lead  to  practically  all  the  sub- 
sequent styles  employed  by  the  countless  band  arrangers  of  our  era.     Victor 
Herbert  was  a  great  musician  in  every  sense  of  the  word  —  his  knowledge  of  the 
classics  was  such  that  he  conducted  symphony  orchestras  for  many  seasons 
without  reference  to  scores  during  rehearsal  or  concert,  and  his  feeling  for  the 
structure  of  a  sound  orchestration  was  infallible.    His  only  concern  in  the 
arrangement  of  his  operettas  was  the  simplest,  most  effective  method  of  pre- 
senting his  charming  melodies,  and  his  technical  contributions  to  our  formula 
were  the1  result  of  no  search  for  unusual  sounds,  but  merely  of  his  desire  to 
make?  'his  'music  sound  as  beautiful  as  possible.     Frank  Saddler,  however,  was 
not  a£:home  with  the  broader  beauties  of  a,  Victor  Herbert  style  of  arrangement  . 
'Hfe  Wafe  a  champion  of  small  orchestras,  filling  up  his  refrain  with  charming 
trick^'of  muted  brass,  unexpected  bass  progressions,  pizzicato  effects,  duets  for 


SPECIAL  ARTICLES  783 

two  violins  against  the  melody  in  the  lower  instruments  and  many  other  devices. 
The  main  addition  of  Victor  Herbert  was  the  dividing  of  the  violins  into  three 
or  more  expressive  parts,  the  high  vibrant  'cello  just  beneath  the  melody,  and 
the  dramatic,  full-sounding  brass  choir  at  the  climaxes.  He  detested  the  usual 
variations  of  the  flutes  and  clarinets  and  kept  them  low,  simple  and  sonorous. 
TfFrank  Saddler  wrote  no  operettas  of  his  own.  He  was  an  orchestrator,  versa- 
tile and  inventive,  with  a  fine  ear  for  every  novel  effect  of  the  great  writers  of 
symphonic  music  and  a  genius  for  adapting  their  tricks  to  the  current  musical- 
comedy  tunes.  His  arrangements  fairly  sparkled  and  a  melody  of  no  distinc- 
tion whatsoever  became  alluring  in  his  interpretation.  No  subsequent  arrang- 
ing has  done  more  for  the  tunes  themselves  than  Saddler's  although  much  has 
been  added  to  his  technique.  It  is  not  too  much  to  say  that  he  established 
once  and  for  all  the  position  of  the  orchestrator  as  a  personality  quite  apart 
from  the  composer  of  the  songs.  He  is  responsible  for  the  fact  that  even  com- 
posers who  can  make  creditable  arrangements  for  the  orchestra  decline  to  do 
so  in  view  of  the  great  advantage  to  their  melodies  of  having  new  and  equally 
inspired  brains  create  the  orchestrations.  ^Continuing  a  bit  on  the  technical 
side,  one  feature  that  both  of  these  men  struggled  for  was  not  fully  realised 
vpnt.il!  after  their  death.  Both  had  visions  of  emancipating  the  second  violins 
and  violas  so  that  they  might  play  cantabile — with  the  first  violins  and  'celli — 
instead  of  incessant  short  afterbeats.  Saddler  eliminated  second  violins  or 
rather  included  them  with  the  firsts,  and  left  the  rhythm  to  two  or  more  divided 
violas.  (See  the  opening  bars  of  Mozart's  G  Minor  Symphony  for  a  perfect 
example  of  this  distribution.)  Herbert  at  times  left  the  rhythm  to  the  harp, 
often  used  in  metropolitan  theatres,  whilst  his  second  fiddles  soared  away  with 
the  -firsts.  After  both  of  these  gifted  men  had  passed  away  a  new  style  of 
guitar  playing  came  into  being  and,  with  a  piano  or  two  and  a  very  much  re- 
fined and  softened  pulse  of  drums,  solved  the  oom-pah  problem  completely  and 
left  all  other  instruments  free  to  indulge  in  counterpoint  or  their  particular 
rendition  of  the  melody.  Not  all  music  will  admit  of  such  an  accompaniment 
but  the  majority  will  and  the  seconds  and  violas  have  gone  free!  ^Theatre 
orchestration  was  undoubtedly  the  main  source  of  ideas  for  dance  orchestras, 
at  first  in  its  effect  on  the  printed  arrangements  from  which  all  dance  bands 
played  and,  later,  as  the  bands  elaborated  on  these  printed  arrangements,  in 
its  more  imaginative  combinations.  However,  the  use  of  saxophones,  which 
dates  back  much  farther  than  one  might  think,  added  great  possibilities  to  the 
dance  combinations,  and  eventually  the  saxes,  plus  the  rhythm  combination  of 
piano  (or  pianos)  and  guitar,  invaded  the  theatre  and  coloured  its  music. 
Saxophones  are  of  great  value  because  they  are  easy  to  play  and  can  almost  be 
"sung"  on  without  great  concern  over  technical  difficulties  such  as  beset  flutes, 
oboes,  bassoons,  and  even  clarinets.  This  does  not  mean  that  anyone  with  a 
good  ear  can  play  them,  but  a  good  clarinetist,  for  example,  feels  he  is  on  a 
vacation  when  playing  alto  or  tenor  saxophone,  IfNaturally  their  develop- 
ment has  taken  a  turn  not  purely  technical  They  have  grown  in  warmth  of 
tone  and  lip  and  tongue  effects,  and  they  are  itfce  last  answer  (up  to  this  writing) 
to  an  arranger's  prayer  when  he  deals  with  small  bands.  They  can  play  loud 
enough  not  to  be  drowned  out  by  trumpets  and  trombones,  and  in  the  softer 
bits,  their  peculiar  timbre  seems  to  combine  low  strings,  horn,  bassoon,  and 
human  voice  tone,  so  that  (always  remembering  the  simple  chord  structure  of 


784  SPECIAL  ARTICLES 

the  type  of  music  we  are  concerned  with)  the  sensitive  ear  of  the  sincere  musician 
must  acknowledge  the  live,  vibrant  pulse  they  add  to  an  orchestra  with  in- 
adequate strings,  horns  and  low  winds.  TfThis  becomes  even  more  important 
where  rhythm  is  the  prime  factor,  since  it  is  almost  axiomatic  that  the  smaller 
the  group  the  better  and  cleaner  the  rhythm.  IJIrx  the  theatre  as  one  sits  in  the 
back  rows  of  a  crowded  house  with  a  "legitimate"  (i.e.,  saxless)  orchestra,  the 
impression  is  that  there  are  two  moods  in  the  orchestration — with  brass,  and 
without  brass.  With  saxophones  added  one  is  distinctly  conscious  of  three 
colours:  one  with  predominating  brass,  and  one  with  wood- wind  and  saxes. 
This  leaves  the  "without  brass"  mood  still  to  be  used  for  the  tenderer,  more 
delicate  moments  and  we  have  actually  gained  one  whole  colour.  This  is  of 
course  speaking  very  broadly  of  the  effect  when  seeing  the  show  for  the  first 
time,  and  wasting  no  time  listening  consciously  to  the  orchestra.  1[I«t  would 
be  silly  to  say  that  theatre  music  cannot  do  without  saxophones.  Many  pro- 
ductions are  so  conceived  that  the  tone  would  be  entirely  out  of  place — vulgar 
and  blasphemous.  Their  great  value  to  the  majority  of  shows  is  nevertheless 
incontestable. 

This  is  not  meant  to  be  a  lesson  in  theatre  arrangements  for  orchestrators, 
yet  a  few  of  the  problems  of  this  most  limited  of  all  orchestration  jobs  will  be 
interesting  to  all  music-lovers.     UTn  the  first  place  the  general  rule  to  observe 
is  that  we  are  not  arranging  for  the  concert  stage  but  for  the  orchestra  pit, 
and  the  broad  brush  of  the  opera  composer  is  more  our  pattern  than  the  more 
precious  pastels  of  symphonists.     Not  at  any  time  during  the  performance  are 
we  given  the  undivided  attention  of  the  audience.    Even  overtures,  entr'actes 
and  outmarches  are  accompaniments  to  a  babble  of  the  audience's  own  con- 
versation and  movement,  and  the  orchestra  must  either  be  so  garish  as  to  stop 
momentarily  the  flow  of  talk  or  resign  itself  to  the  enhancing  of  a  general  mood 
of  enjoyment  while  being  practically  ignored.    The  latter  is  by  far  the  safer 
plan,     flln  accompanying  singers  of  the  musical-comedy  stage,  a  great  problem 
was  presented  when  the  popular  fancy  turned  away  from  big  voices  to  little, 
thin  ones  of  personal  appeal  but  no  vocal  power.    This  necessitated  for  years 
the  presence  of  the  melody  strongly  played  in  the  orchestra,  since  the  singer 
would  leave  some  doubt  as  to  just  what  the  melody  was  if  left  to  his  or  her  own 
devices  in  the  matter.     Not  until  the  use  of  microphones,  which  transform  a 
"  croon"  into  a  full  vocal  tone,  was  it  thought  possible  to  make  the  orchestration 
into  a  pure  accompaniment.     Somehow  a  wave  of  such  orchestration  followed 
the  radio  and  motion-picture  boom.     High  sustained  violins  (divided),  piano> 
guitars,  and  pizzicato  bass  for  rhythm,  low  sustained  wood-wind  (maybe  sax, 
pianissimo)  or  a  harmless  counter-melody  in  low  unison  clarinets,  with  trumpets 
and  trombones  chirping  out-  the  moment  the  voice  pauses  for  breath— that 
became  the  accepted  architecture  of  song  orchestration  when  voices  were 
"miked."     1flt  is  also  used  where  no  loud-speaker  system  is  present.    The 
reason  is  vague  but  somehow  the  hammering  of  the  public  ear  by  "  miked " 
music  has  caused  voices  to  grow  fuller  and  more  penetrating  when  left  unaided. 
TTWhen  the  ^full  chorus  comes  on  and  the  dance  begins  the  orchestra  conies 
Bearer  to  being  the  feature  than  at  any  other  time  in  the  show.    As  suggested 
fttave,  before  the  use  of  saxophones  the  full  brass  was  indispensable  throughout 
the  whole  dance  except  on  rar$  occasions  when  a  delicate  four-measure  phrase 


SPECIAL  ARTICLES  785 

came  as  a  surprise  (and  "  got  by  "  the  producer  of  the  show) .  Alter  the  develop- 
ment of  the  sax  it  was  possible  to  carry  a  few  measures  on  the  winds  for  variety, 
giving  the  brass  a  short  rest  for  higher  and  louder  doings  later.  1[If  we  take 
up  the  cinema  as  a  part  of  theatre  orchestration  we  are  concerned  not  so  much 
with  music  as  with  sound.  In  recording,  a  solo  muted  violin  can  be  made  to 
drown  out  a  full  orchestra  playing Jff  by  means  of  a  small  dial.  This  may  bring 
up  many  different  possibilities  in  the  facile  mind,  but  the  -fi™.T  condition  is 
something  like  this:  The  limit  of  effect  is  merely  the  limit  of  the  orchesf  rator's 
imagination.  There  is  practically •  nothing  ineffective,  there  are  no  boundaries 
of  safe  combination  of  instruments,  there  is  no  art  in  doubling  or  reinforcing  in 
different  sections  of  the  orchestra.  All  this  is  theoretically  true  because  of  the- 
curious  feature  known  as  sound-mixing.  However,  a  sound,  well-balanced 
orchestration  renders  the  task  of  recording,  both  by  the  conductor  of  the 
orchestra  and  by  the  sound-mixer,  very  much  easier.  Although  it  harnesses 
the  mind  of  the  orchestrator  very  much  as  the  original  art  of  theatre  orchestra- 
tion has,  it  makes  possible  a  much  simpler  system  of  microphones,  and  brings 
a  consequent  saving  in  terms  of  a  great  deal  of  time  and  money  for  the  studios, 
At  least  one  of  the  film  industry's  best  musical  directors  prefers  to  play  the 
music  all  into  one  "mike"  and  of  course  the  orchestration  must  in  this  case  be 
practically  as  well  made  as  for  the  concert  platform.  The  orchestras  used  are 
in  most  cases  larger  than  for  theatres  and  an  experienced  arranger  knows  that 
the  larger  the  band  the  easier  his  task.  As  one  fine  orchestrator,  Stephen  O. 
Jones,  once  said  when  told  of  a  great  orchestration  someone  had  made  for  a 
fifty-piece  band,  "Who  can't  make  a  good  one  for  that  sized  bunch?" 

DANCE  ORCHESTRAS 

Years  ago  when  trumpets  were  more  than  hazardous  in  their  upper  tones,  a 
coloured  band  had  a  star  player  who,  after  many  attempts  at  a  high  C  sounding 
B  flat,  finally  resigned  himself  to  missing  it  and  substituting  the  major  second 
lower  which  comes  out  with  the  same  fingering  and  less  effort  of  the  lips  (for 
the  studious  reader,  he  sounded  the  seventh  tone  of  the  harmonic  series — • 
rather  false  in  intonation — instead  of  the  eighth,  for  which  he  was  striving). 
Who  shall  say  that  this  resultant  seventh  was  not  the  sire  of  the  W.  C,  Handy- 
George  Gershwin-Darius  Milhad  line  of  "blues"  chords  that  found  such  a 
vogue?  ^Likewise  in  the  heart  of  Kansas  there  was  (also  years  ago)  a  small 
orchestra  with  no  'cello  player.  One  harness  maker  had  an  E  flat  alto  saxo- 
phone and  one  day  he  discovered  that  he  could  read  the  'cello  part.  Looking 
at  a  'cello  part  one  sees  at  once  that  all  he  had  to  do  was  use  a  little  imagination 
in  the  key  signature  and  read  it  in  the  G  (treble)  clef,  and  the  missing  'cello 
was  missed  no  more.  Who  will  take  the  trouble  to  go  farther  in  a  search  for 
the  birth  of  the  sax  choir  in  our  dance  bands?  The  treatment  of  this  choir 
by  the  best  dance-arrangers  lends  credence  to  the  theory  at  least.  This  of 
course  ceases  to  apply  when  the  saxes  are  doubling  on  other  instruments,  a 
practice  that  has  grown  universal  since  they  were  introduced.  IfTbe  art  of 
doubling,  an  art  so  advanced  that  many  an  arrangement  for  the  modern  dance 
orchestra  has  the  names  of  persons  in  place  of  the  names  of  instruments  in  the 
wood-wind  section,  has  carried  the  matter  of  colouring  to  an  almost  fantastic 
point.  Instead  of  the  accustomed  "ist  Clarinet  in  Bb"  we  see  on  the  score 


786  SPECIAL  ARTICLES 

"Elmer,"  followed  by  the  first  measure  of  his  part  over  which  appears  "Flute 
in  G"  or  "Oboe"  or  "Bi?  Tenor"  or  whatever  other  instrument  Elmer  owns 
and  the  orchestrator  needs.  A  wood-wind  section  of  six  players  will  give  you 
at  various  intervals  all  the  tone  combinations  of  a  full  symphony  orchestra's 
wood-wind,  plus  beautifully-played  saxophones,  plus  a  light-hearted  and  en- 
thusiastic quality  to  whatever  phrase  is  played,  making  up  for  the  lack  of  vir- 
tuosity with  spirit  and  a  feeling  for  ensemble  not  always  obtainable  hi  the 
larger  orchestras.  IfDance  orchestration  has  long  since  taken  its  place  as  the 
most  imaginative  and  productive  of  all  arranging.  Bands  that  remain  to- 
gether for  long  periods  develop  what  is  known  by  the  over-worked  name  of 
"style"  to  a  degree  not  possible  in  any  other  group.  Very  much  as  the  old 
glee  clubs  and  minstrels  used  to  do,  the  modern  dance  band  discovers  its  most 
striking  effects  in  rehearsal  and  playing.  Usually  the  arranger  is  one  of  the 
band  himself  and  he  is  thus  "in"  at  the  inception  of  any  new  twist  the  players 
discover.  To  make  the  point  clearer,  a  trombonist  may  arrive  at  a  rehearsal 
and,  in  warming  his  instrument  up,  play  some  phrase  with  a  certain  personal 
amplification — some  slur  with  lips  instead  of  the  slide,  a  "rip"  which  is  a  series 
of  grace  notes  up  to  a  high  tone,  made  possible  by  the  harmonic  series,  playable 
with  no  change  of  slide  or  valve  position,  or  a  hundred  other  little  variations 
on  the  usual.  Another  player  hears  it  or  he  calls  the  other's  attention  to  it, 
they  gather  in  one  or  two  more  players  and  a  new  find  in  orchestration  is  real- 
ised. If  the  effect  is  sufficiently  appealing  it  sweeps  the  land;  if  not  it  is  tried 
and  soon  discarded,  1fA  glossary  of  terms  such  as  "rip,"  "flare,"  "lick," 
"break,"  "release,"  "redow,"  etc.,  provocative  as  they  are,  would  be  of  little 
value  because  they  are  out-moded  so  quickly  that  a  student  who  took  the 
trouble  to  learn  them  would  risk  that  most  damning  of  all  stigmas — "corny" 
(originally  "corn-fed,"  the  jazz-player's  translation  of  the  French  "rococo"). 
ITEach  of  these  terms  and  a  great  many  others  may  be  safely  assumed  to  have 
grown  up  in  the  course  of  rehearsal  and  playing  by  individual  instrumentalists, 
as  already  described.  Not  all  of  the  names  were  originated  with  the  players 
who  discovered  the  tricks,  in  fact  the  majority  of  the  names  spring  from  the 
picturesque  vernacular  of  the  Negro  bands.  These  Negro  bands,  incidentally, 
are  in  a  class  by  themselves  as  to  rhythm,  a  fact  probably  due  to  a  simpler  set 
of  vibrations  in  the  bodies  themselves,  but  that  would  be  for  a  student  of  some- 
thing besides  music  to  say.  In  many  ways  they  are  pioneers  in  dance  music 
and  a  number  of  them  can  boast  of  splendid  musicians  as  their  arrangers. 
They  have  influenced  enormously  all  popular  music,  which  is  not  surprising  if 
we  consider  that  the  American  contribution  to  popular  music  is  the  direct  off- 
spring of  the  "  Coon  Song."  Were  it  not  for  the  Viennese  and  English  ingredi- 
ents in  our  finest  operettas  we  could  merely  say,  "The  Negroes  continue  to 
set  the  pace  in  light  music,"  IfThe  "  Coon  Song"  got  a  new  name  in  Ragtime. 
Ragtime  was  later  christened  Jazz.  Jazz  became  trite  as  a  name  before  the 
music  did,  so  its  name  was  again  changed  to  Swing  Music.  Swing  Music  be- 
came rococo — corny  if  you  like — as  a  title,  but  hearts  still  beat  oom-pah, 
oom-pah,  and  so  do  dancing  feet;  and  all  nature,  bisected,  according  to  Emerson, 
by  an  inevitable  dualism,  continues  under  different  names  to  go  oom-pah, 
oom-pah,  oom-pah,  oom-pah.  (See  "Orchestras  and  Orchestration"  page  778; 
"  Orchestra  and  Band  Instruments"  page  811;  "  Orchestras  in  America"  page  787: 
end  Dictionary  of  Terms  entry,  page  648.) 


SPECIAL  ARTICLES  7&7 

ORCHESTRAS  IN  AMERICA 

BY  LEONARD  LIEBLING 

SYMPHONY  ORCEOESTRAS  in  the  best  sense  are  a  comparatively  recent  develop- 
ment in  America,  which  did  not  become  generally  interested  in  such  organisa- 
tions until  about  three  hundred  and  fifty  years  after  its  discovery.     Previously 
there  had  been  many  small  and  sporadic  instrumental  ensembles,  but  it  was 
not  until  about  the  middle  of  the  nineteenth  century  that  symphonic  bodies 
came  into  existence  which  approximated  those  then  flourishing  in  Europe. 
If  Singing,  largely  psahnodic,  constituted  almost  the  sole  tonal  utterance  of  the 
early  settlers  and  found  its  greatest  practise  in  New  England  after  the  1620 
landing  at  Plymouth  Rock.     Instrumental  music  was  banned  not  only  ia 
church  but  also  in  the  homes,  the  good  Pilgrim  Fathers  basing  their  ban  on  the 
Bible  passage  in  Amos,  v.  23,  "I  will  not  hear  the  melody  of  thy  viols."     Four- 
part  hymns  represented  the  ultimate  in  harmony  until  well  into  the  eighteenth 
century.     HWhile  the  New  England  Puritans  were  making  up  their  minds 
whether  it  was  impious  even  to  sing  and  not  merely  read  the  psalms,  Palestrina, 
Vittoria,  and  Lassus  had  already  composed  monumental  choral  music;  oratorios 
and  lyrical  and  sacred  music  dramas  (soon  to  blossom  into  opera)  were  winning 
popularity  abroad;  and  soon  after,  Purcell,  Bach,  Handel,  the  Scarlattis,  and 
others  grandly   gifted,  perfected  great  forms  for  pure  instrumental  music. 
^Beethoven  was  born  in  the  same  year  that  saw  the  Boston  tanner;  William 
Billings,   publish   his   first   crude   composition,   "The   New  England   Psalm- 
Singer  or  American  Chorister."     In  1713  the  first  organ  came  to  Boston  from 
England.     Other  instruments  imported  by  the  early  colonists  were  the  harpsi- 
chord, pianoforte,  violin,  bass  viol  ('cello),  flute,  clarinet,  and  bassoon.     Accom- 
paniments for  the  choir,  after  instruments  slipped  into  the  church,  usually 
consisted  of  a  flute,  bassoon,  and  bass  viol,     frequently  only  the  last-named 
supported  the  voices.     In  1786  the  Stoughton,  Mass.,  Musical  Society  was 
organised    and   performed    excerpts   from    oratorios,    accompanied   by    small 
groups  of  instruments.     In  1798  Gottlieb  Graupner,  a  German  who  played  in 
Haydn's  orchestra  $n  London  (1791-92),  went  to  Boston  where  he  put  together 
the  nucleus  of  the  first  meagre  combination  which  could  at  all  be  considered  an 
orchestra.     Then  in  1810,  with  mostly  amateurs,  he  founded  a  "  Philharmonic 
Society,"   which   met   socially  and  practised  Haydn's   symphonies.     Subse- 
quently, public  concerts  were  held,  the  last  one  in  1824,  with  an  orchestra  of 
sixteen — violins,  a  viola,  'cello,  double-bass,  flute,  clarinet,  bassoon,  French 
horn,  trumpet,  tympani.     1[In  1839  Boston  had  its  Academy  Orchestra,  started 
by  Henry  Schmidt,  who  at  the  eight  concerts  in  1841  introduced  the  city  to 
Beethoven's  First  and  Fifth  symphonies.     When  the  group  disbanded  in  1847, 
Boston  had  made  favourites  of  six  of  the  nine  Beethoven  symphonies,  as  well 
as  Mendelssohn's  "Scotch,"  Haydn's  "  Militaire,"   and    Mozart's  "Jupiter." 
From  twenty-four  to  forty  players  performed  those  works.     The  society's 
annual  report  for  1843  mentions  that  the  season  brought  for  the  £rst  time  a 
conductor  (Professor  Webb)  who  used  a  baton  and  did  not  play  in  the  orchestra 
himself.     ^Succeeding  the  Academy,   came  the  Musical  Fund   (1852)   with 
about  sixty  players,  and  lasting  a  number  of  years.     Other  aggregations  were 


788  SPECIAL  ARTICLES 

formed  on  and  off,  the  only  one  having  a  tolerably  long  life  being  the  Orchestra 
Society  with  concerts  under  the  auspices  and  management  of  the  Harvard 
Musical  Association,  born  in  1837  at  a  meeting  of  the  Pierian  Sodality  com- 
posed of  alumni  of  Harvard  College.  The  Harvard  Musical  Association  also 
had  its  own  orchestra  from  1865  to  1882,  and  prepared  the  way  for  the  Boston 
Symphony  Orchestra,  whose  outstanding  activity  began  in  1881  through  the 
generosity  of  Colonel  Henry  Lee  Higginson,  Boston  banker,  for  the  next  thirty- 
^even  years  the  sole  guarantor  of  the  operating  funds.  George  Henschel  was 
the  initial  conductor  and  remained  for  three  years.  In  1884-85  he  was  suc- 
ceeded by  Wilhelm  Gericke  who  improved  the  orchestra  by  importing  players 
from  Europe.  After  five  years  came  Artur  Nikisch,  and  for  the  next  four 
seasons  the  orchestra  rose  to  a  peak  of  excellence  which  has  never  declined  since. 
Emil  Paur  followed  Nikisch  for  five  years.  In  1898  Gericke  was  recalled  and 
stayed  until  1905-06  when  Karl  Muck  came  from  Berlin  for  two  years.  A  Max 
Fiedler  reigned  from  1908  to  1912.  Then  Muck  was  again  the  leader  until 
1918,  followed  by  Henri  Rabaud  for  a  single  season,  Pierre  Monteux  for  five, 
and  some  guest  conductors  until  Serge  Koussevitzky,  the  present  incumbent, 
took  the  biton  in  1924.  In  1918  the  orchestra  was  incorporated,  and  is  spon- 
sored  financially  by  a  board  of  directors,  fortified  by  a  $1,000,000  endowment 
fund  left  by  Colonel  Higginson.  The  orchestra's  home  concerts  are  held  in  its 
own  auditorium,  Symphony  Hall.  IfNew  York  started  its  orchestral  cultiva- 
tion with  a  wind  band  in  1773.  Small  mixed  ensembles  appeared  there  during 
the  next  score  of  years  but  had  a  hard  time  of  it.  Some  of  them,  as  told  in  the 
records,  were  cat-called,  vegetable-pelted,  and  rotten-egged  when  they  tried  to 
introduce  Haydn  symphonies.  Auditors  shouted  for  "Yankee  Doodle"  and 
other  patriotic  tunes.  In  the  18203  a  philharmonic  society  existed  which  gave 
two  concerts  each  year  "for  the  aid  of  widows  and  orphans  of  deceased  mem- 
bers." However  progressive  as  New  York  and  Boston  tried  to  be,  those  future 
great  cities  were  shamed  by  Upper  Marlborough,  Md.,  where  in  1752  an  orches- 
tra was  employed  at  a  performance  of  Gay's  "  The  Beggar* s  Of  era."  It  should 
be  remembered,  too,  that  the  first  mention  of  French  horns  in  America  came 
from  Benjamin  Franklin,  who  wrote  of  the  fine  music  in  the  church  at  Bethle- 
hem, Pav  where  flutes,  oboes,- 'French  horns -and  trumpets  were  accompanied 
by  the  organ.  IfUntil  1842,  the  Euterpean  Society  and  the  Musical  Fund 
("Funds"  of  that  period  were  bodies  that  pro/ided  old-age  pensions  and  in- 
surance for  their  members)  functioned  as  the  leading  orchestras  of  New  York. 
The  Fund,  all  professionals,  gave  a  concert  in  1836  with  thirty-eight  players 
(two  clarinets  played  the  oboe  parts)  conducted  by  Alfred  Boucher,  a  'cellist. 
The  programme  included  Beethoven's  "Eroica  "  symphony,  arranged  as  a  septet. 
Another  commendable  project  was  the  Concordia  led  by  Daniel  Schlesinger 
which  met  in  a  private  room  at  Delmonico's  restaurant.  IfUreli  C.  Hill,  a 
New  York  violinist,  studied  with  Spohr  at  Cassel,  Germany,  in  1836,  and  after 
his  return  to  his  native  city  felt  that  it  should  have  an  orchestra  like  the  London 
Philharmonic  Society.  He' kept  on  doggedly  with  his  infest  until  he  persuaded 
other  New  York  musicians  to  join  in  it.  They  held  a  meeting  at  the  Apollo 
Rooms,  April  2,  1842,  and  organised  the  Philharmonic  Society,  with  many  of 
the  Euterpeans  as  members.  Weekly  rehearsals  followed  until  the  first  concert, 
December  7,  1842,  given  at  Apollo  Hall,  a  ballroom  on  Broadway  near  Canal 
Street.  Four  of  the  members  acted  as  ushers,  wearing  white  kid  gloves  and 


SPECIAL  ARTICLES  789 

carrying  long  white  wands  provided  by  the  society.     The  whole  orchestra, 
except  the  'cellists,  stood  while  performing.     The  players  numbered  fifty-two. 
Three  concerts  were  given  in  the  first  season,  four  the  next  year.     By  1854 
the  membership  had  increased  to  sixty-seven,  and  in  1867  there  were  ninety- 
nine.     The  orchestra  was  cooperative,  appointed  its  own  manager  and  con- 
ductor, and  profits  went  pro  rata  to  the  players.     After  the  first  season  each 
one  received  a  dividend  of  $25.     In  1855  the  amount  had  increased  to  $65. 
1f Conductors  of  the  first  seven  seasons  of  the  Philharmonic  were  U.  C.  Hill 
H.  C.  Timm,  W.  Alpers,  G.  Loder,  L.  Wiegers,  D.  G.  Etienne,  A.  Boucher. 
In  1849  Theodor  Eisfeld  was  chosen  sole  conductor  and  after  1854  alternated 
with  Carl  Bergmann  until  the  former  resigned  in  1865-66.     Bergmann  con- 
tinued to  function  until  he  was  succeeded  by  Dr.  Leopold  Damrosch  in  1876. 
The  next  season  Theodore  Thomas  was,  appointed,  Adolf  Neuendorf!  replaced 
him  a  year  later,  and  in  1879  Thomas  returned,  who  directed  until  1891,  when 
the  baton  fell  to  Anton  Seidl.     Emil  Paur  held  the  leader's  stand  up  to  1902. 
Walter  Damrosch  won  a  single  season,  1903,  after  which  the  guest-conductor 
system  obtained  during  1904-05-06  with  a  long  list  of  distinguished  leaders. 
Wassili  Safonoff  headed  the  orchestra   1906-09;    Gustav    Mahler    1909—11; 
Josef  Stransky   1911-23    (the  fina]   two  seasons  in  conjunction  with  Willem 
Mengelberg) ;  Mengelberg,  half  seasons,  the  rest  of  the  periods  filled  by  Artui 
Bodanzky,  Henry  Hadley  (American  programmes),  Willem  van  Hoogstraten. 
Ernest    Schelling    (children's   concerts),    Igor   Stravinsky,    Arturo  Toscanin? 
(guest,  1926),  Wilhelm  Furtwaengler;  iyntjl  in  1927—28,  Toscanini  began  his 
regular  connection,  after  which  he  was  chief  to  1935—36,  with  associates  Mengel- 
berg, Beecham,  Molinari,  Richard  Strauss,  Ossip  Gabrilowitsch,  Erich  Kleiber, 
Bruno  Walter,  Issay  Dobrowen,  Hans  Lange,  Werner  Janssen,  Otto  Klemperer, 
Artur  Rodzinski.     In  1936-37  John  Barbirolli  became  the  regular  conductor, 
with  Rodzinski,  Carlos  Chavez,  Georges  Enesco,  Igor  Stravinsky  as  associates. 
Ifln  1912  Joseph  Pulitzer,  proprietor  of  the  New  York  World,  bequeathed 
$500,000  to  the  Philharmonic,  an  endowment  later  said  to  be  doubled.     From 
1917  the  Philharmonic  finances  have  been  guaranteed  by  a  board  of  directors. 
In  1930  the  Philharmonic  made  a  highly  successful  European  tour  with  Tosca- 
nini.    TpDuring  the  course  of  its  existence  the  Philharmonic  has  absorbed  the 
National  Symphony,  City  Symphony,  American  Orchestral  Society  and  New 
York  Symphony,  and  its  concerts  were  held  successively  in  Apollo  Hall,  Broad- 
way Tabernacle,    Assembly   Rooms,   Apollo   Salon,   Niblo's    Concert   Salon, 
Metropolitan  Hall,  Niblo's  Garden,  Academy  of  Music,  Irving  Hall,  Steinway 
Hall,  Metropolitan  Opera  House,  and  Carnegie  Hall,  the  present  location  of  the 
Philharmonic  when  it  is  not  appearing  in  the  summer  at  the  Stadium  of  the 
College  of  the  City  of  New  York.      H"In  1878  Dr.  JLeopold  Damrosch  founded 
the  New  York  Symphony  Society  in  competition  with  Theodore  Thomas*  own 
orchestra,  and  the  rivalry  of  the  two  groups  did  much  to  acquaint  New  York 
with  the  classical  masterpieces  and  the  newest  creations  of  Europe.     Damrosch 
and  Thomas  were  the  leading  musical  personalities  and  educators  of  their  time, 
as  Hill  and  Bergmann  had  been  before  them.     After  Damrosch's  death,  in 
1885,  kis  son  Walter  took  over  the  Symphony  Society  and  was  its  sole  conductor 
until  he  invited  Felix  Weingartner  as  co-leader  for  the  season  of  1905-06. 
Thereafter  the  younger  Damrosch  resumed  entire  charge  until  he  associated 
iimself  with  radio  activities  in  1928  when  his  enterprise  was  merged  with 


790  SPECIAL  ARTICLES 

Philharmonic  whose  official  title  became  Philharmonic-Symphony  Orchestra. 
In  1920  the  New  York  Symphony  made  a  European  tour  financed  by  H.  H. 
Flagler,  who  for  ten  years  generously  acted  as  the  sole  guarantor  of  the  or 
chestra,  in  the  amount  of  about  $100,000  annt.ia.lly.     Walter  Damrosch's 
further  creditable  contributions  to  American  musical  development  were  his 
founding  of  symphony  concerts  for  children,  his  devotion  to  the  works  o£  Wagner 
(when  that  composer  still  needed  championing  in  the  New  World),  and  his 
prevailing  upon  Andrew  Carnegie  to  build  the  great  concert-hall  named  after 
him,  for  whose  opening  festivities  Tchaikovsky  was  brought   from  Russia 
to  conduct  several  programmes.     IfTheodore  Thomas'  personal  series  com- 
menced in  1864.     In  1866  he  started  his  summer  concerts  at  Terrace  Garden; 
in  1877  he  moved  to  Central  Park  Gardens*     During  the  winters,  Thomas 
toured  the  country  with  his  orchestra  from  1869  to  1878.     Just  before  the  turn 
of  the  century  he  gave  several  winter  seasons  of  Sunday-evening  concerts  at 
Lenox  Lyceum.     ^America  had  early  visits  from  European  orchestras,  notably 
those  of  Joseph  Gungl  (1849)  from  Berlin,  and  Louis  Julien  (1853)  from  Paris, 
whose  solo  double-bass  player  was  the  celebrated  Bottesini.     Julien  carried 
ninety-seven  players,  the  largest  aggregation  of  symphonists  the  United  States 
had  then  experienced.     He  introduced  the  one-composer  programme,  devoted 
to  Beethoven,  Mozart,  Mendelssohn,  et  al.    A  number  of  the  men  imported 
by  Gungl  and  Julien  remained  in  this  country  and  joined  native  orchestras 
thereby  raising  their  proficiency.     Many  other  highly  competent  players  emi- 
grated here  after  the  1848  political  troubles  in  Europe.     An  American  travelling 
orchestra  was  the  Germania,  led  by  the  estimable'  Carl  Bergmann.    All  those, 
touring  bands  awakened  a  large  part  of  America  to  orchestral  appreciation  and 
undoubtedly  inspired  many  cities  to  think  seriously  of  possessing  symphonic 
organisations  of  their  own.     ^During  the  present  century  New  York  had,  aside 
from  the  orchestras  mentioned,  the  Young  Men's  Symphony  (conductor, 
Arnold  Volpe),  Amicitia  {amateur),  Russian,  Symphony  (Modest  Altschuler), 
Manhattan  (Henry  Hadley),  Seidl  (Anton  Seidl),  which  gave  concerts  at 
Brighton  Beach,  National  (Stransky  and  Bodanzky),  Friends  of  Music  (Bodan- 
zky),  and  numerous  lesser  intermittent  projects  of  symphonic  and  dbanaber- 
music  size.    European  visitors  were  the  London  Symphony  (Nikisch),  Paris 
Conservatoire  (Messager),  La  Scala  (Toscanini).     Orchestras  from  other  cities 
that  have  appeared  in  the  metropolis  for  guest  concerts  are  those  of  Chicago, 
Minneapolis,  Cincinnati,  Elizabeth,  N.  J.     Philadelphia  and  Boston  send  their 
orchestras  for  regular  annual  series.     There  are  also  courses  by  the  National 
Orchestral  Association  (a  training  medium  for  youmg  professionals)  led  by 
Leon  Barzin,  and  the  Women's  Symphony  Orchestra  under  Antonia  Brico. 
Several  other  major  cities,  too,  have  female  orchestras.     1[The  example  of 
Boston  and  New  York  spurred  their  sister  cities  to  emulation  and  despite  high 
costs,  groups  of  interested  sponsors  raised  funds  for  orchestras  in  their  own  com- 
munities or  arranged  for  visits  from  touring  orchestras.     Philadelphia  had  its 
Musical  Fund  Society,  1820-57,  and  Chicago  its  Philharmonic  Society,  1860-68. 
Milwaukee  supported  its  Musik  Verein,  organised  in  1849-50.     Cincinnati 
had  an  orchestra  as  early  as  1856;  St.  Louis  in  1838;  reorganised  in  1859.     \s 
late  as  1890,  however,  Boston  and  New  York  boasted  the  only  recognised 
permanent  orchestras  in  the  United  States.     TfThis  running  review  shall  not 
attempt  to  outline  all  the  pioneer  attempts  to  create  orchestras  throughout  tb* 


SPECIAL  ARTICLES  791 

land  but  must  content  itself  with  the  mention  of  only  the  chief  ones  now  exist- 
ing. Chicago's  eminent  orchestra  was  founded  1891  by  Theodore  Thomas, 
with  a  guarantee  fund  raised  by  popular  subscription.  Later  through  the  same 
agency  and  the  help  of  wealthy  Chicagoans,  Orchestra  Hall  was  built  as  a  per- 
manent home  for  the  orchestra.  Philadelphia's  famous  orchestra  dates  from 
1890  and  was  incorporated  in  1903.  Fritz  Scheel  led  the  initial  seasons.  The 
present  conductors  are  Leopold  Stokowski  and  Eugene  Ormandy.  Cincinnati's 
orchestra  was  started  1895  (by  the  Ladies'  Musical  Club)  under  Michael  Brand. 
Some  later  conductors  were  Theodore  Thomas,  Frank  van  der  Stucken,  Ernst 
Kunwald,  Eugene  Ysaye,  Leopold  Stokowski,  Fritz  Reiner.  At  present, 
Eugene  Goossens  is  the  director,  in  the  orchestra's  own  Music  Hall.  St. 
Louis's  orchestra,  founded  1880,  grew  out  of  the  local  choral  society.  In  1900 
it  became  an  independent  organisation.  Now  its  head  is  Vladimir  Golschmann. 
Kansas  City  has  a  Philharmonic  dating  from  1933  under  Karl  Krueger.  Omaha 
entered  the  field  importantly  in  1924;  San  Francisco  in  1911,  with  Henry 
Hadley  and  later,  Alfred  Hertz;  present  conductor,  Pierre  Monteux.  San 
Francisco's  was  the  first  major  symphonic  body  to  admit  women  to  its  playing 
membership.  Los  Angeles,  1919,  called  Walter  Rothwell  to  take  charge  of  its 
new  Philharmonic  Orchestra.  Present  conductor,  Otto  Klemperer.  Minneap- 
olis entered  the  S3nnphonic  lists  in  1903,  with  Emil  Obfcrhoffer,  and  he  led  until 
his  retirement,  being  succeeded  by  Henri  Verbrugghen.  Present  conductor, 
Dimitri  Mitropoulos.  Washington,  D.  C.,  had  abortive  orchestras  (one  tmdei 
Reginald  De  Koven)  until  1931,  when  the  National  Symphony  came  under 
Hans  Kindler,  at  present  still  its  leader.  Baltimore  was  another  city  early 
interested  in  orchestral  practise,  but  a  permanent  body  did  not  eventuate  until 
1915.  Present  conductor  of  its  Symphony  Orchestra  is  Werner  Janssen. 
Rochester,  N.  Y.,  has  two  orchestras;  one  connected  with  the  Eastman  School 
of  Music  and  under  Howard  Hanson;  the  other,  the  Philharmonic,  founded  by 
George  Eastman  in  1922,  In  1936  Jose  Iturbi  was  appointed  permanent  con- 
ductor with  Guy  Fraser  Harrison  as  associate.  Cleveland's  larger  orchestra 
began  in  1918  under  the  auspices  of  the  Fine  Arts  Association.  Nikolai  Sokoloff 
conducted  for  fifteen  years,  to  be  succeeded  by  Artur  Rodzinski.  The  orchestra 
has  its  own  home,  Severance  Hall,  one  of  the  finest  concert  auditoriums  in 
America.  ^Others  of  the  larger  orchestras  and  their  leaders  are:  Birmingham, 
Ala.,  Dorsey  Whittington;  Denver,  Horace  E.  Tureman;  Hartford,  Conn,, 
Jacques  Gordon;  Jacksonville,  Fla.,  Clarence  Carter;  Atlanta,  Ga.,  George  F. 
Lindner;  Indianapolis,  Ind.?  Fabien  Sevitzky;  Des  Moines,  la.,  William  A. 
Moore;  New  Orleans,  La.,  Arthur  Zack;  Fall  River,  Mass.,  Ray  Groff;  Worces- 
ter, Mass.,  Walter  Howe;  Detroit,  Mich.,  Franco  Ghione  and  Victor  Kolar; 
Grand  Rapids,  Mich.,  Karl  Wecker;  Duluth,  Minn.,  Paul  Lemay;  Elizabeth, 
N.  J.,  August  May;  Newark,  N.  J.,  Essex  County  Symphony,  Alexander 
Smallens;  Trenton,  N.  J.,  Guglielmo  Sabatini;  Buffalo,  N.  Y.,  Franco  Autori; 
Syracuse,  N.  Y.,  Andre  Polah;  Albany,  N.  Y.,  William  Penny  Hacker;  Colum- 
bus, O.,  Earle  Hopkins;  Dayton,  O.,  Paul  Katz;  Toledo,  O.,  Joseph  Sainton; 
Youngstown,  O.,  Michael  and  Carmine  Ficcocelli;  Oklahoma  City,  Okla., 
Ralph  Rose;  Seattle,  Wash.,  Nikolai  Sokoloff;  Erie,  Pa.,  John  R.  Metcalf; 
Pittsburgh,  Pa.,  Fritz  Reiner;  Reading,  Pa.,  Dr.  Hans  Kindler;  Scranton,  Pa., 
Dr.  Felix  M.  Gatz;  Providence,  R.  L,  Dr.  Wassily  Leps;  Dallas,  Tex.,  Jacques 
Singer;  Fort  Worth,  Tex.,  Brooks  Morris;  Houston,  Tex.,  Ernst  Hoffman** 


792  SPECIAL  ARTICLES 

San  Antonio,  Tex.,  Walter  Dunham;  Norfolk,  Va.,  Henry  C.  Whitehead; 
Richmond,  Va.,  Dr.  Laird  Waller;  Tacoma,  Wash.,  Eugene  Linden;  Milwaukee, 
Wis.,  Dr.  Sigfrid  Parger.  ^American  interest  in  orchestral  concerts  is  wide 
and  growing  constantly  (helped  by  the  sale  of  phonograph  records  and  radio 
performances),  only  a  few  large  cities  being  without  permanent  orchestras 
supported  by  private  guarantors  or  municipal  funds.  The  number  of  orches- 
tras has  increased  considerably  during  the  past  several  years,  through  the 
activities  of  the  Federal  Music  Project,  in  the  endeavour  to  furnish  occupation 
for  unemployed  musicians.  IfThe  cost  of  maintaining  a  first-class  symphony 
orchestra  is  high,  having  risen  gradually  because  of  the  players'  fees  demanded 
by  their  unions.  According  to  figures  revealed  at  a  recent  St.  Louis  meeting 
of  orchestral  managers,  the  total  annual  expenditure  of  thirteen  major  orches- 
tras was  $4,346,500.  Their  earned  income  amounted  to  $2,782,100,  leaving  a 
deficit  of  $1,564,400,  met  by  maintenance  funds,  endowment  income  and  special 
gifts.  The  largest  single  deficit  was  $178,000,  and  the  least,  $57,000.  To-day 
some  of  the  first-desk  players  receive  as  much  as  $200  per  week — contrasted 
with  the  $25  for  a  whole  season  which  the  members  got  individually  from  the 
New  York  Philharmonic  in  1842.  TfThis  article  omits  mention  of  orchestral 
developments  hi  the  fields  of  radio  (where  the  National  Broadcasting  Company 
established  its  dignified  air-orchestra  under  the  aegis  of  Toscanini,  December  25 
1937)  and  grand  and  light  opera,  subjects  treated  elsewhere  in  these  pages. 
How.ever,  attention  is  called  to  the  excellent  symphony  orchestras  in  some  of 
the  leading  moving-picture  theatres,  the  best  example  being  Radio  City  Music 
Hall  in  New  York,  where  Erno  Rapee  functions  as  chief  conductor  and  daily 
lists  at  least  one  symphonic  composition,  frequently  a  movement  or  two  from  a 
symphony.  It  is  estimated  that  nearly  4,000,000  persons  constitute  the  annual 
audiences  at  Music  Hall.  HAdd  the  audiences  which  crowd  the  winter  concert- 
halls  and  the  summer  series  at  the  New  York  Stadium,  Boston  Symphony  Hall 
Philadelphia  Dell,  Hollywood  Bowl  and  other  outdoor  places,  and  it  will  be 
seen  that  an  enormous  proportion  of  the  population  hi  America  is  regularly 
devoted  to  the  best  symphonic  communion.  1fln  concluding  review,  let  it  be 
repeated  that  the  orchestras  which  have  done  most  for  American  musical  ad- 
vancement are  those  of  Boston  and  New  York;  and  that  the  conductors  sim- 
ilarly to  be  credited  are  Ureli  Hill,  Carl  Bergmann,  Theodore  Thomas,  Wilhelm 
Gericke,  Artur  Nikisch,  the  two  Damroschs,  Anton  Seidl,  and  Arturo  Toscanini. 
(See  "Orchestras  and  Orchestrations"  page  ??8;  "Orchestra  and  Band  Instru- 
ments," page  8n;  "Orchestration  of  Theatre  and  Dance  Music"  page  780; 
Dictionary  of  Terms  entry,  page  648.) 


ORGAN* 

BY  RUPERT  HUGHES 

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 

*A  comment  on  the  old  organ  is  included  here  since  so  many  organs  over  the 
country,  still  in  use,  were  installed  before  the  invention  of  electrical  manuals  and 
Wowers. 


SPECIAL  ARTICLES  793 

wind-instrument  which  contains  in  its  forest  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.  HThe  HISTORY  of  the  organ  is,  in  any  completeness,  beyond 
the  space  of  this  work.  Its  prototypes  are  the  primeval  Pan's  pipes  and  the 
bagpipe.  The  2d  century  B.C.  finds  it  with  a  key-board,  and  pipes  supplied  by 
bellows  with  air  compressed  by  water.  Ctesibius  (170  B.C.)  invented  this 
water-organ  (Organon  hydraulicon)  which  his  pupil  Heron  described  in  Greek. 
There  are  many  accounts  and  representations  of  organs  from  that  point  on. 
The  mediaeval  monks  used  organs  abundantly,  the  pipes  being  8  to  15  in  number 
and  of  no  greater  than  4-ft.  length,  the  range  being  usually  one  octave  from 
middle  </  downward,  the  key-board  consisting  of  lettered  plates  to  be  pressed. 
In  the  xoth  century  there  was  at  Winchester,  England,  an  organ  with  2  manuals 
for  2  performers,  20  digitals  each,  and  10  pipes  to  each  digital,  400  ii?  alL  In 
the  i2th  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  isth  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  aid  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  per. 
former  with  his  draw-knobs  has  almost  as  easy  command  as  the  conductor  witl\ 
his  bitten.  IfThe  CONSTRUCTION  of  the  manual  organ  [as  distinguished  from 
the  newer  type,  whose  operation,  both  as  to  stops  and  wind-supply,  is  largely 
electrical]  is  too  complicated  for  detail,  but  many  of  the  terms  following  will  be 
found  more  fully  explained  under  their  separate  heads.  When  looking  at  a 
manual  organ,  in  a  church  for  example,  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,  according  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  within  easy  reach.  U"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  (Gt.)  organ  manual  Hauptwerk  (Manual  I)  Grand-orgue  (i«  dayier)  Prindpale. 

Choir  "        Unterwerk  (  "  IE)  Positierif  (2*       "     )  Oigano  di  coro. 

Swell  (Sw.)  "         Schvrellwerk  (        "  HI)  Clav,  de  recit  (3*       "    )       "d'espressione. 

Solo  "        Soloklavier  (          "  IV)     "    des  bombardes  (4*       "     )       "  d'assolo. 

Echo  "        Echoklavier  (        "        V)       "      d'echo  Cs*       "     )       "  d'eco. 

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.     ITThe  pedal- 


794  SPECIAL  ARTICLES 

key-board,   Pedalklaviatur    (pa-daT-kla-fi-a-toor7),    G.,   or   darner    des  peddles. 
(klav-ya-da-pa-dar)  Fr.,  or  pedallera  (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  full-organ.     The  coupling- 
action  is  worked  by  draw-knobs.     1TThe  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  which  is  called  the 
sound-board;  the  lower  part  of  the  pipe,  passing  through  an  upper-board,  which 
i  grips  its  nose,  sets  its  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* 
TT(4)  The  wind  is  collected  from  the  outer  air  by  bellows  and  led  by  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  sound-board)  is  pierced  by  grooves  closed  by  valves  or  pallets,  and 
separated  by  bars.     IJTo  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, 
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,  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  up- 
right rod  (a  sticker),  this  in  turn  raising  the  front  end  ojf  a  horizontal  lever  (or 
back-fall)  whose  rear  end  is  ttous  depressed  and  pulls  down  a  thin  upright  £trip 
Of  wood  (a  tracker)  whdch  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 
groovse  fttom  the  wind-chest)  rush  up  through  the  slider  into  the  pipe  to  make  it 
sotatnd  or  speak.     (Squares  and  roller-beards  sometimes  intervene  between  the 
stickers  and  trackers,  while  pneumatic  or  electric  actions  give  still  more  direct 
connection  between  digital  and  pallet.)     This  is  the  mechanism  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.     1f  By  means  of  the  swell  (q.  v.)  the  volume 
of  sound  may  be  gradually  increased  or  diminished  while  it  is  sustained.     (See 
also  "The  Electric  Organ,99  page  728.) 


PHONOGRAPH  MUSIC 

BY  R.  D.  DARREIX 

PHONOGRAPH  (literally  sound-writer)  and  GRAMOPHONE  are  currently  synony- 
mous terms — favoured  in  American  and  British  usage  respectively — for  an  in- 
strument to  record  and  reproduce  sound.  Commonly  the  word  phonograph  de- 
notes a  sound-reproducing  instrument  only,  used  in  conjunction  with  records,  flat 
discs- — usttally  ten  or  twelve  inches  in  diameter — in  the  grooves  of  which  sound 
tracks  have  been  engraved.  To-day  the  instrument  is  usually  operated  elec- 
trically, often  ia  conjunction  with  a  radio  with  which  it  shares  an  amplifying 
circuit  ^aaid  loudspeaker.  For  phonographic  purposes  the  combination  instru- 


SPECIAL  ARTICLES  795 

merit  switches  out  the  detector  circuit  of  the  radio  (employed  to  catch  broad- 
cast electrical  impulses)  and  switches  on  a  pick-up  circuit  in  which  the  initial 
impulses  are  provided  by  a  needle  moving  in  an  electrical  field  and  actuated  by 
the  needle  point  tracing  the  sound  tracks  in  the  grooves  of  a  record  spinning 
on  a  motor-driven  turntable. 

HISTORY 

The  problem  of  storing  up  sound — that  of  the  human  voice  in  particular — 
and  releasing  it  at  will  occupied  man's  imagination  many  years  before  Thomas 
Edison's  tinfoil  phonograph  squawked  its  epochal  "Mary  had  a  little  lamb"  in 
1877.  But  it  remained  in  the  world  of  fantasy  (as  exemplified  by  the  frozen 
horn  blast  in  one  of  Baron  Munchausen's  tall  tales)  or  found  form  only  in  the 
creation  of  vocal  automatons  and  music  boxes,  until  Leon  Scott's  phonautograph 
of  1857  revealed  a  seminal  principle — the  ability  of  a  diaphragm  to  translate 
sound  waves  into  vibrations  of  an  attached  tracing  stylus.  (The  phonauto- 
graph, improved  by  Blake,  also  gave  Bell  his  first  definite  conception  of  the 
speaking  telephone.)  A  French  poet,  Charles  Cros,  was  the  first  to  realise 
the  potential  reversability  of  the  phonautograph,  but  no  working  model  of  his 
projected  paleophone  had  been  built  when  Edison's  original  talking  machine 
indented  sound  tracks  on  tinfoil  and  actually  played  them  back.  flAppropriat- 
ing  the  name  phonograph  (originally  coined  by  an  Englishman,  Fenby,  for  a 
primitive  sort  of  player-piano  roll,  and  first  used  in  its  present  sense  by  a  friend 
of  Cros,  Abb6  Lenoir),  Edison  created  a  natural  sensation  and  had  a  lively 
box-office  attraction  when  he  put  his  inaehine  on  public  exhibition  around  1879. 
Other  experimenters,  who  had  been  working  along  similar  lines,  followed  him 
into  the  field  in  the  next  decade,  most  notably  Alexander  Graham  Bell,  Charles 
Sumner  Tainter,  and  Emile  Berliner.  The  first  two,  working  together,  pro- 
duced the  graphophone  (utilising  a  stylus  that  cut  rather  than  indented  sound 
tracks,  wax  instead  of  tinfoil  for  the  impressible  surface,  and  an  improved 
diaphragm — the  mica  type  used  for  many  years  later) ;  Berliner  invented  the 
gramophone,  employing  a  disc  rather  than  a  cylinder  record,  and  followed  the 
phonautograph  in  tracing  the  sound  track  laterally  (hi  a  sinuous  course  like  the 
windings  of  a  level  road,  the  width  of-  the  oscillations  corresponding  to  the  fre- 
quencies of  the  tones  recorded)  instead  of  vertically  (in  a  series  of  hills  and  dales, 
the  depth  corresponding  to  the  frequencies  of  the  tones  recorded — the  system 
used  by  both  Edison  and  the  Bell-Tainter  team).  Berliner  was  also  the  first 
to  conquer  the  most  serious  obstacle  to  mass  production — unlimited  and  ac- 
curate duplication — of  records.  By  1892  he  had  evolved  a  satisfactory  process 
of  stamping  duplicate  discs  from  a  "master"  record  and  of  manufacturing  discs 
from  a  synthetic  compound  of  shellac  and  mineral  earths — substantially  the 
same  process  and  material  used  for  nearly  all  records  to-day.  IfWith  the 
twentieth  century  came  a  long  period  of  technical  refinements  and  commercial 
exploitation  of  two  rival  systems:  (i)  Vertically  cut  cylinders  (later  vertically 
cut  discs)  manufactured  mainly  by  Edison,  the  early  Columbia  Company,  and 
Pathe  Freres  in  France:  (2)  Laterally  cut  discs  ^manufactured  mainly  by  the 
Victor  Company  (purchaser  of  the  Berliner  patents),  the  Gramophone  Com- 
pany in  England,  and  the  Columbia  Company  after  1908.  There  were  affiliated 
companies,  and  as  the  basic  patents  expired  many  more  were  formed,  but  almost 


796  SPECIAL  ARTICLES 

without  exception  the  new  concerns  identified  themselves  with  the  second 
(Berliner)  system.  Technical  developments  were  confined  largely  to  minor 
improvements:  quieter  record  surfaces,  more  effective  diaphragms  and  amplify- 
ing horns,  and  the  like.  HBut  the  introduction  of  the  Maxfield-Harrison  sys- 
tem of  electrical  recording  and  reproduction,  in  1925,  was  revolutionary. 
Stemming  from  the  invention  of  vacuum  tubes  and  amplifying  circuits  first 
brought  to  public  attention  in  the  radio,  the  new  system  took  over  the  micro- 
phone, amplifiers,  and  loudspeaker,  and  replaced  the  old  diaphragm  sound-box 
with  an  electrical  pick-up.  In  both  recording  and  reproduction  the  available 
frequency  range  became  so  much  wider,  the  dynamic  range  was  so  markedly 
increased,  and  tonal  fidelity  was  so  greatly  enhanced  that  the  old  acoustic  (or 
mechanical)  recording  process  was  quickly  abandoned  and  the  old-style  re- 
producing machine  was  doomed  (almost  the  only  examples  produced  to-day  are 
low-price  portable  instruments).  And  since  electrical  recording  was  or  seemed 
more  easily  adapted  to  the  lateral-cut  disc,  the  rival  vertical-cut  system  quickly 
faded  out  of  use.  Edison  made  a  few  attempts  at  manufacturing  electrical 
recordings,  even  some  with  lateral-cut  discs,  but  they  were  half-hearted  and  in 
1929 — within  two  years  of  his  own  death — he  gave  up  his  recording  activities 
entirely.  (Later,  however,  his  vertical — "hill  and  dale" — system  was  success- 
fully adapted  to  electrical  recording  by  the  Bell  Telephone  Laboratories,  but  as 
yet  no  attempt  has  been  made  to  exploit  the  vertically  cut  "ERPI"  records 
commercially.) 

RECORDED  Music 

The  phonograph  was  conceived  primarily  as  a  talking  machine,  but  once  the 
astonishing  novelty  of  hearing  the  human  voice  emerge  from  a  mechanical  con- 
trivance had  worn  off,  that  function  dwindled  to  minor  importance.  The 
Dictaphone  and  similar  instruments  took  over  the  application  of  recorded  sound 
for  business  purposes,  and  while  recent  years  have  seen  a  revival  of  interest  in 
"  diction*'  records  (i.e.,  recorded  speeches,  plays,  poems,  examples  of  dialects, 
etc.),  such  discs  form  but  a  small  part  of  the  recorded  repertory.  Even  before 
1900  it  had  become  obvious  that  the  phonographic  art  was  to  be  dedicated 
substantially  to  musical  entertainment.  What  type  of  entertainment  was  long 
indicated  by  Edison's  statement  of  1891:  "Through  the  faculty  with  which  it 
[the  phonograph]  stores  up  and  reproduces  music  of  all  sorts,  or  whistling  and 
recitations,  it  can  be  employed  to  furnish  constant  amusements  to  invalids,  or  to 
social  assemblies,  at  receptions,  dinners,  etc."  This  prophecy  formulated  his 
•own  policy  for  the  next  decades'  exploitation  of  his  phonograph  and  cylinders. 
Sentimental  and  sacred  songs,  band  and  salon  orchestral  novelties,  dance  music, 
whistling  solos,  comic  recitations,  and  a  like  order  of  vaudeville  entertainment 
made  up  Edison's  (and  the  bulk  of  other)  catalogues  for  many  years.  The 
phonograph  was  not  so  much  in  disrepute  as  a  musical  instrument  as  it  was 
never  considered  a  truly  musical  medium.  It  was  the  tonal  equivalent  of  the 
comic  strip,  and  pandered  to  the  same  mob  tastes  that  turn  to-day  for  satisfac- 
tion to  a  certain  and  necessarily  popular  type  of  broadcast  programme.  TfBut 
soon  gaudy  scaxlet-and-gold  "celebrity"  records  began  to  appear,  eventuall> 
to  enjoy  nearly  equal  popularity.  These  were  the  recorded  voices  of  famoui- 
•singers,  and  the  so-called  golden  era  of  this  type  of  record  corresponds  approxi- 
mately with  the  recording  career  of  the  brightest  in  its  galaxy  of  stars:  1902™ 


SPECIAL  ARTICLES  797 

1921,  the  years  of  Caruso's  first  records  and  his  death.     But  right  up  to  ihe 
advent  of  the  radio  and  much-exaggerated  "death"  of  the  phonograph  it  was 
almost  exclusively  a  medium  for  popular  music  and  famous  voices — the  latter 
esteemed  of  course  by  the  degree  of  their  celebrity  rather  than  by  what  they 
actually  sang.     If  At  the  same  time,  however,  a  few  pioneers  realised  the 
potentialities  of  recorded  fare  of  a  more  substantial  sort.     Several  complete 
operas  were  attempted,  and  large  sections  of  Wagnerian  music  dramas.     The 
Odeon-Parlopfaone  Company  was  the  first  to  present  a  complete  set  of  Bee- 
thoven symphonies  on  discs,  Columbia  experimented  with  chamber  music  and 
subsidised  the  recording  of  contemporary  British  composers,  Poly  dor  employed 
Richard  Strauss  to  direct  many  of  his  larger  works  for  the  phonograph  and  even 
ventured  to  record  the  enormous  "Resurrection"  symphony  of  Mahler.     A 
strange  cult  was  formed  of  "gramophiles"  or  "phonomanes";  some  banded  to- 
gether in  societies  to  share  their  treasured  discs;  a  journal,  The  Gramophone,  was 
established  at  London  by  ComjJton  Mackenzie  in  1923,  and  three  years  later 
Axel  B.  Johnson  started  The  Phonograph  Monthly  Review  at  Boston.     The  cult 
flourished  largely  abroad;  the  American  "phonophile"  searched  the  domestic 
lists  for  an  occasional  significant  morsel,  but  was  forced  to  import  most  of  his 
major  recorded  *vorks  from  Europe;  and  when  Mr.  Mackenzie  compared  the 
repertory  available  in  the  United  States  with  that  in  England,  one  could  hardly 
blame  him  /or  flinging  one  of  America's  own  topical  songs  in  its  face,  "You  may 
be  fast,  but  your  Mama's  gonna  slow  you  down!"    If  The  combined  upheaval 
in  the  wake  of  the  radio  and  electrical  recording  seemed  to  spell  the  doom  of 
the  phonograph  in  general  as  well  as  Edison's  own  instrument  and  records. 
At  one  stroke  every  existing  record  was  antiquated  and  the  whole  repertory — 
the  good  along  with  the  bad — was  consigned  with  the  family  tintype  album  to 
the  attic  or  junk  pile.     The  manufacturers  had  a  marvellous  new  instrument, 
but  the  public  was  buying  radios.     The  new  electrical  records  were  superb, 
but  the  vocal  stars  were  mostly  dead  or  dimmed:  that  market  was  lost,  and  the 
market  for  tonal  vaudeville  entertainment  and  dance  music  had  been  preempted 
by  the  broadcasters*    Only  the  gramophiles  were  faithful,  but  they  were  com- 
paratively few  in  number  and  exceedingly  particular  in  their  tastes.    Aftei 
the  stock  market  reached  the  peak  of  its  skyrocket  flight  and  dropped  like  a 
plummet,  the  Edison  recording  activities  were  brought  to  a  close  with  the  re- 
peated assertion  that  recorded  operatic  and  symphonic  music  did  not  represent 
a  sound  commercial  proposition  in  America,  and  a  melancholy  prophecy  (that 
did  not  seem  too  far-fetched  in  those  days)  that  Victor,  too,  would  soon  abandon 
the  field.    If  But  these  were  birth  and  not  death  pangs.    The  phonograph  was 
smothered  in  the  rough  embrace  of  radio's  Gargantua,  but  in  dying  it  drew  on 
the  very  life  blood  of  its  conqueror  to  fashion  a  young  electronic  Hercules  that 
would  emerge  from  its  sickly  childhood  to  take  an  honoured  place  in  the  world 
beside — rather  than  opposed  to — its  father.  The  cultists  were  right  and  Edison 
was  wrong.    Armed  with  its  new  powers,  and  forced  by  the  loss  of  its  old  mar- 
kets, the  phonograph  turned  to  serious  music  and  suddenly  discovered  thai 
the  combination  of  faithful,  realistic  reproduction  and  significant  musical  fare 
had  shattered  many  an  old  prejudice*    The  term  "canned  music**  lost  its 
derogatory  force  (indeed  it  has  almost  been  forgotten).    It  was  sufficient  that 
a  once-derided  mechanistic  contraption  was  an  Open  Sesame  to  the  world  or 
great  music.    UThe  nsw  public  for  recorded  music  was  drawn  in  part  from  u*c 


798  SPECIAL  ARTICLES 

old  gramophiles,  more  extensively  from  musicians  and  concert-goers,  and  to  no 
small  degree  from  the  newly  music-conscious  public  developed  by  the  better  type 
of  broadcasts.     And  it  mushroomed  by  its  own  momentum.     Almost  without 
exception  every  musical  artist  of  note  was  called  upon  to  make  records.     The 
recorded  repertory  grew  phenomonally,  quickly  encompassed  the  standard 
symphonic  and  concert  repertories,  and  was  driven  by  sheer  weight  of  expansive 
force  to  seek  relatively  unfamiliar  material,  music  previously  known  only  to 
specialists:  modern  works,  the  works  of  Bach,  his  contemporaries  and  predeces- 
sors.    From  1931  this  trend  gained  impetus  by  the  publication  of  many  limited 
or  "society"  editions  (the  complete  piano  sonatas  of  Beethoven,  Licder  by 
Wolf,  Mozart  operas,  Bach's  Wohltemperirte  Klavier  and   organ   works,  etc.), 
and  the  establishment  of  independent  recording  organisations  specialising  hi 
rare  music  (notably  L'Anthologie  Sonore,  Lumen,  and  L'Oy$eau-Lyre  in  Paris; 
Musicraft,   Gamut,   and   Timely   in  the  United  States).     fWith  the  growth 
of  important  material  came  a  growing  appreciation  of  the  artistic  significance 
and  potentialities  of  recorded  music  long  obscured  by  the  contemptuous  attitude 
of  many  professional  musicians,  the  commercial  approach  of  most  manufacturers, 
the  lack  of  consistently  planned  direction  and  expert  criticism.     Led  by  The 
Gramophone  the  specialised  journals  have  grown  in  number  and  influence;  from 
around  1930  many  leading  newspapers  and  magazines  throughout  the  world 
have  published  regular  record  reviews.    The  Carnegie  Foundation  established 
a  fund  to  provide  elaborate  record  libraries  and  excellent  reproducing  equipment 
for  schools  and  colleges,  and  in  addition  to  these  sets  many  records  were  pur- 
chased by  various  educational  institutions  themselves.     A  number  of  public 
libraries  (led  by  the  Fifty-Eighth  Street  branch  of  the  New  York  Library) 
established  record  collections.     In  1936  the  chaotic  and  uncharted  jungle  of 
multilingual,  often  inaccurate  and  inadequate  manufacturers*  listings  of  their 
records  were  comprehensively  surveyed  in  the  monumental  Gramophone  Shop 
Encyclopedia  of  Recorded  Music,  compiled  by  R.  D.  Darrell,  foreword  by 
Lawrence  Oilman.     Here  for  the  first  time  the  enormous  world  output  of  serious 
recorded  music  was  listed  under  one  cover,  and  systematically  arranged.     Its 
scope  is  indicated  by  the  fact  that  nearly  seven  hundred  composers  of  note  are 
represented;  the  "discography"  of  Wagner  alone  runs  to  over  twenty-seven 
pages. 

IMPLICATIONS 

The  individual  whose  literature  is  restricted  to  the  daily  newspaper  may  be 
satisfied  musically  by  the  radio  alone,  but  for  him  whose  cultural  life  is  not 
complete  without  books,  the  theatre,  and  the  concert  hall,  the  phonograph  is 
essential.  A  favourite  symphony  heard  first  in  concert  or  on  a  symphonic 
broadcast  is  given  permanent  domicile  and  frequent  repetition.  The  advertis- 
ing slogan  "The  music  you  want  when  you  want  it"  is  soundly  based  on  the 
powerful  appeal  of  the  phonograph's  salient  and  unique  characteristic — the 
ability  to  bring  music  directly  home  to  one,  enabling  one  to  choose  and  repeat  it 
at  will,  to  listen  alone  and  undisturbed,  or  in  informal,  congenial  company  and 
surroundings.  Nothing  can  ever  take  the  place  of  making  music  oneself,  of 
knowing  it  as  it  can  only  be  known  through  one's  own  fingers  or  throat,  but  in- 
dividual opportunities  and  executant  skill  are  limited.  (Even  here  the  recent 
mit"  and  "  Accompo"  records  promise  a  new  method  of  personal  parti- 


SPECIAL  ARTICLES  799 

apation — by  the  help  of  the  phonograph — in  music  making.)     But  either  as  an 
augmentation  of  direct  participation  or  as  an  unavoidable  substitute  for  it, 
recorded  music  opens  up  new  and  unsunnised  horizons.     And  it  may  mean  far 
more  than/a#£  de  mieux  substitution  or  escape.     The  shellac  discs  are  sounded 
scores  intelligible  to  everyone  with  ears  and  a  mind,  breathing  life  into  the 
intricate  hieroglyphics  of  notation  that  have  had  meaning  only  to  the  technically 
expert.    The  giant  works  of  music  may  become  one's  daily  bread.     HThe 
potential  repercussions  are  just  beginning  to  be  felt.     New  artists,  discovered 
on  limited  or  imported  records,  attain  a  public  long  before  they  have  become 
highly  publicised  concert  figures.     A  concert  in  the  smallest  town  is  sure  to 
number  among  its  audience  men  and  women  whoarenot  only  familiar  with  most 
of  the  works  to  be  played,  but  very  likely  know  them  through  recorded  per- 
formances of  the  world's  finest  artists.    The  professional  musician  must  be  pre- 
pared to  meet  a  new  and  higher  standard  of  ability  and  taste.     The  time  is 
coming  when  his  public  is  no  longer  going  to  be  satisfied  with  the  repertory  that 
has  served  him  so  well  for  perhaps  a  quarter  of  a  century;  when  his  readings  are 
going  to  be  judged  in  comparison  with  those  of  a  Schnabel,  Heifetz,  Szigeti,  or 
Flagstad.    Audiences  will  no  longer  be  satisfied  to  hear  the  standard  "master- 
pieces'* given  casual  and  routine  performances  year  aftei  year;  they  will  demand 
fewer  and  far  more  carefully  prepared  performances  of  the  standard  works  and 
a  radical  change  in  programme-making  to  embrace  a  more  catholic  and  vastly 
expanded  repertory.     The  success  of  a  concert  series  like  that  of  the  New 
Friends  of  Music  in  New  York  City  (that  only  a  few  years  ago  would  have  been 
damned  as  quixotic  and  highbrow),  and  its  cooperation  with  a  record  manu- 
facturer in  making  available  recordings  of  its  principal  works  is  surely  prophetic 
of  the  new  musical  trend  of  the  times.     1f New  music  will  lose  much  of  its  terrors 
and  instinctive  opposition.     Heard,   reheard,  and  studied  on  records,   the 
mysterious  screen  of  new  and  forbidding  idioms  can  no  longer  conceal  the 
stature  of  our  contemporary  composers;  familiarity  will  reveal  them  in  true 
perspective,  whether  they  are  pygmies  or  giants.     At  the  other  end  of  the 
expanding  repertory  the  greatness  of  Bach  and  his  incalculable  scope  is  just 
beginning  to  become  apparent  to  the  musical  layman.    And  there  were  giants 
before  him,  many  of  them  scarcely  more  than  names  even  to  specialists,  but 
their  music  lives  in  suspended  animation,  waiting  only  to  be  heard,  music 
comparable  in  craftsmanship  and  wealth  of  invention  even  to  that  of  Bach. 
The  phonograph  makes  a  wide  breach  in  the  great  ice  wall  that  has  separated  us 
from  a  lost  musical  Atlantis,  opening  up  a  strange  and  rich  tonal  world  as  alien 
to  contemporary  concert-goers  as  the  civilisations  of  Babylonia,  Egypt,  and 
Maya,  but  unlike  those  preserved  in  their  original  ruggedness  and  colour — a 
world  to  be  reconquered  by  anyone  who  sets  the  proper  record  spinning  on  a 
turntable.     If  Brave  new  and  old  worlds  lie  at  the  feet  of  the  phonographic  ex- 
plorer.    And  this  is  the  supreme  irony  of  the  instrument  that  began  with  "  Mary 
had  a  Kttle  lamb"  and  "  Cohen  on  the  Telephone"  and  has  not  ended  by  bringing 
a  Toscamni  or  Beecham  into  one's  own  home:  that  a  musical  world  giving  lip 
service  to  catholicity,  snarling  against  the  rape  of  the  muse  by  the  machine, 
should  dogmatically  dictate  that  certain  works  of  the  eighteenth,  nineteenth,  and 
twentieth  centuries  are  all  we  need  to  know;  while  a  derided  mechanistic  con- 
trivance of  wires,  condensers,  and  vacuum  tubes  should  be  an  iconodast  and  the 
resurrector  of  the  purest  and  richest  tonal  tradition  the  world  has  ever  known. 


800  SPECIAL  ARTICLES 

The  phonograph,  and  recorded  music  have  committed  many  sins  of  omission 
and  commission,  but  for  atonement  they  restore  our  lost  heritage:  the  music 
of  the  Gregorian  Chant,  of  Victoria,  Byrd,  Sweelinck,  Lassus  and  many  another 
titan,  as  well  as  countless  unfamiliar  works  of  Bach,  Handel,  Haydn,  and 
Mozart — works  possessing  a  poignance  and  profundity  of  feeling  now  rarely  to 
be  found  in  the  pitifully  limited  concert  repertory  which  we  have  drained  and 
trampled  to  an  exhaustion  rapidly  approaching  complete  sterility.  TfThe 
quintessence  of  the  meaning  of  the  phonograph  and  recorded  music  for  the 
individual  was  summed  up  long  before  the  invention  of  the  modern  instrument 
and  its  coming  of  age  by  the  author  of  The  Magic  Mountain,  and  in  the  quota- 
tion from  Thomas  Mann  that  served  as  text  for  the  Encyclopedia  of  Recorded 
Music  lies  the  secret  of  the  phonograph's  significance  and  sorcery:  1f".  .  . 
And  what  he  felt,  understood,  and  enjoyed,  sitting  there  with  folded  hands,  look- 
ing into  the  black  slats  of  the  jalousies  whence  it  all  issued,  was  the  triumphant 
idealism  of  the  music,  of  art,  of  the  human  spirit.  .  .  .  Hans  Castorp's 
thoughts  or  rather  his  prophetic  half-thoughts  soared  high,  as  he  sat  there  in 
night  and  silence  before  his  truncated  sarcophagus  of  music.  They  soared 
higher  than  his  understanding,  they  were  alchemistically  enhanced/' 


PIANOFORTE 

BY  RUPERT  HUGHES 

PiANOifORTE  (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  i4th  cent,  there  is  mention  of 
a  "stringed  instrument  of  the  organ  family:  the  Exaquir,  $p.,  Eschiquier  d' 
Angleterre"  i.e.,  "English  chessboard,"  F.  or  Esquakiel,  G.).  Tflts  HISTORY  is 
obscure  and  owes  much  possibly  to  the  monochord  and  elaborations  from  it. 
In  the  monochord,  the  hurdygurdy,  or  organistrum,  etc.,  a  single  string  pro- 
duced 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  even  after  the  strings  were  increased  in  number,  but  was  finally  changed  to 
clamchord  (clavis  =  key)  or  clavier;  the  movable  bridge  was  displaced  by 
tangents  which  served  both  to  divide  the  strings  as  with  frets  and  to  sound 
them.  ^Simultaneously  ^h  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  davicymbal  (from  cymbal  meaning 
dulcimer),  called  in  France,  clavecin;  in  Italy,  clavi-cembalo  or  arpicordo;  in 
England,  harpsichord;  in  Germany,  Fliigel,  Kielflugel,  Steertstttck  or  Sckweins- 
kopf.  Small  forms  of  this  were  the  Virginal(s),  the  couched  harp  or  spinet 
(from  spina  =  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"  (gebunderi).  The 
tone  was  capable  of  a  beautiful  trembling  effect  (Bebung)  and  considerable 
virtuosity,  but  there  was  little  possibility  of  shading  from  loud  to  soft.  The 
apoearance  of  the  elaborate  dulcimer  the  Pantaleon  seems  to  have  set  the  clavf- 


SPECIAL  ARTICLES  801 

chordists  to  thinking,  and  Cristofori,  in  1711,  invented  the  hammer-mechanism, 
which  he  called,  from  its  power  to  sound  loudly  or  softly,  piano  forte,  literally 
"loud-and-soft"  (this  name  had  been  used  as  early  as  1598).  In  Germany, 
Silbermann,  the  organ-builder,  won  Bach's  approval  for  a  Hammer-klavier  of  the 
same  general  idea.  This  idea,  with  many  improvements  in  detail  but  little 
fundamental  change,  persists  to-day  in  the  magnificent  instrument  on  which 
great  gymnasts  combine  brute-force  with  legerdemain.  IfThe  CONSTRUCTION 
of  the  piano  of  our  time  shows  the  triumph  of  ingenuity  over  a  total  string- 
tension  of  twelve  to  twenty  tons.  A  powerful  cast-iron  frame,  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  strings  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: 

iis  is  called  overstringing.  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")«  HThe  ACTION  of  the  piano  consists 
of  a  key-board  of  finger-levers  or  digitals  (loosely  called  keys),  the  white  digitals 
Storming  the  scale  of  C  major,  the  black  digitals  furnishing  the  necessary  semi- 
tones 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  instantly,  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  Sckappement  of  Erard  being  the  origin  of  the  many 
Forms  of  escapement*)  The  digital  carries  at  the  inner  end  a  vertical  pilot 
which  supports  a  nearly  horizontal  carrier,  at  about  a  right  angle  to  which  is 
the  rod  called  the  hopper^  which  fits  against  the  hammer  by  a  notch  or  pro- 
'ection.  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  position  so  that  the  hammer  on  rebounding  from  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  of  felt  (or  leather).  The  action  which  throws  the  hammer  against  the 
strings,  and  makes  it  rebound  instantly,  lifts  away  from  the  strings  the  little 
damper,  which  muffles  the  strings  when  not  in  use;  this  damper  remains  off  the 
strings  as  long  as  the  digital  is  held  down,  1fBy  means  of  the  damper-pedal 
(commonly  called  the  "loud  pedal*')  all  the  dampers  may  be  lifted  from  all 
the  strings,  thus  permitting  sustained  tones  and  sympathetic  vibrations  while 
the  hands  play  other  chords.  Some  pianos  have  also  a  sustaining  as  well  as  a 
piano,  or  soft  pedal  (see  PEDAL)*  IfThe  piano  has  a  complete  chromatic  scale 
with  a  compass  of  about  seven  octaves  Ay/-a"".  It  is  capable  of  a  rapidity 
and  clarity  of  utterance  of  which  the  organ  is  incapable;  and  no  other  instrument 
but  the  organ  approaches  its  resources  in  chords,  range,  and  brilliance.  Except 
the  organ.  It  is  the  only  self-supporting  instrument;  it  can  furnish  absorbing 


802  SPECIAL  ARTICLES 

employment  for  the  four  hands  of  two  performers.  The  chief  lack  is  the  in- 
ability 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 

MOKE  THAN  A  CENTURY  of  experience  in  piano  pedagogy  has  not  been  fruitless; 
skilled  masters  of  the  instrument  no  longer  burden  their  pupils  with  futile 
finger  exercises,  and  the  precious  morning  hours  instead  of  being  devoted  to 
mere  digital  tortures  are  now  utilised  for  the  memorising  of  a  repertoire  an<? 
the  study  of  especial  difficulties  in  a  composition.  Since  Karl  Tausig,  the  vast 
and  useless  6tude  literature  has  been  sent  to  Limbo;  for  in  the  music  itself  may 
be  studied  the  precise  technical  difficulty  to  be  overcome.  IfAfter  the  inde- 
pendence 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  musical  development  of  the  scholar; 
Cramer — edited  by  Von  Billow;  dementi — edited  by  Tausig;  Kessler — a 
judicious  selection;  Kullak's  octave  school;  and  the  Chopin  Etudes,  opus  10  and 
opus  25.  After  these  latter  the  studies  of  Liszt  and  Rubinstein,  and  Schu- 
mama's  Symphonic  Etudes  may  be  essayed.  Of  special  studies,  the  Toccata 
of  Czerny,  the  Schumann  Toccata,  the  Rubinstein  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  exception  of  his  excellent  special 
studies  for  the  left  hand — is  obsolete.  1fFor  the  quick  grasp  of  the  Brahms 
technique,  study  his  fifty-one  exercises.  Isidor  Philipp,  taking  his  cue  from 
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  dailj 
gymnastics,  use  Tausig's  studies,  but  in  frugal  manner. 


RADIO  MUSIC 

BY  LAWRENCE  ABBOTT 

MUSICAL  HISTORY  has  been  profoundly  affected  by  the  development  of  radio 
broadcasting,  and  no  survey  of  contemporary  music  would  be  complete  without 
a  consideration  of  radio's  effect  upon  it. 

Music  BROADCASTING  IN  ITS  INFANCY 

Radio,  or  the  wireless  transmission  of  sound,  was  born  in  1895  &t  Bologna, 
Italy,  when  Guglielmo  Marconi  first  succeeded  in  sending  wireless  signals  on  his 
father's  estate.  This  event  marked  the  origin  of  practical  radiotelegraphy. 


SPECIAL  ARTICLES  803 

Marconi's  spark  transmitter,  however,  was  incapable  of  accomplishing  the 
transmission  of  music  and  speech,  known  technically  as  radiotelephony — with- 
out which  modern  broadcasting  would  be  nonexistent.  Eleven  years  elapsed 
before  Lee  De  Forest  invented  the  audion,  a  three-element  vacuum  tube,  and, 
in  an  experiment  conducted  on  December  31,  1906,  transmitted  speech  by  radio 
for  the  first  time.  In  1907  phonograph  music  was  radioed  from  Dr.  De  Forest's 
laboratory  for  a  distance  of  12  miles.  The  information  as  to  what  music  was 
broadcast  is  unobtainable;  but  the  following  year  German  engineers  of  the 
Telefunken  Company,  during  experimental  broadcasts  between  Sandy  Hook 
and  Bedloe's  Island  in  New  York  Harbour,  for  the  benefit  of  the  U.  S.  Signal 
Corps,  transmitted  a  phonograph  recording  of  the  Anvil  Chorus  from  Verdi's 
"//  Trovatore"  This  may  well  have  been  the  first  operatic,  or  even  classical 
music  to  be  heard  by  radio.  The  first  "live"  music  broadcast  took  place  in 
1009,  at  Lee  De  Forest's  laboratory  in  New  York  City,  when  Marguerite 
Mazarin  of  Hammerstein's  Manhattan  Opera  Company  sang  an  aria  from 
•' Carmen .**  In  the  following  January,  under  De  Forest's  auspices,  a  far  more 
remarkable  event  in  radio  history  occurred:  in  an  experimental  broadcast  from 
the  Metropolitan  Opera  House  in  New  York,  Enrico  Caruso  sang  the  r61e  of 
"Turiddu"in"  Cavalleria  Rusticana"  and  washeardby  listeners  in  various  parts 
of  the  city  as  well  as  by  at  least  one  wireless  operator  at  sea.  During  the  next 
ten  years  radio  remained  in  an  experimental  phase;  its  potential  value  was* 
considered  chiefly  as  a  supplement  to  the  telegraph  and  telephone,  while  its 
possibilities  as  a  purveyor  of  mass  entertainment  remained  unrecognised. 

Music  BROADCASTING  IN  THE  UNITED  STATES,  1920-1938 

Broadcasting  in  the  modern  sense — *.«.,  the  daily  transmission  of  speech  and 
music  to  a  widespread  public  audience  in  accordance  with  a  regular  published 
schedule — originated  in  Pittsburgh,  Pennsylvania,  when  station  KDKA,  owned 
by  the  Westinghouse  Electric  &  Manufacturing  Company,  began  operation* 
Other  stations  quickly  came  into  existence.  At  first  they  were  little  concerned 
with  serious  music,  devoting  their  time  chiefly  to  news  bulletins,  sporting  events, 
and  novelties.  Musical  broadcasts  were  limited  almost  entirely  to  dance  music, 
popular  songs,  and  salon  pieces;  this  is  understandable,  since  the  mass  audience 
to  which  radio  broadcasts  necessarily  must  be  directed  were  at  first  totally  un- 
familiar with  concert  music  and  unwilling  to  listen  to  it.  Only  gradually  did 
they  become  educated  to  its  capacity  for  giving  them  enjoyment,  and  so  only 
gradually  did  radio  come  to  occupy  an  important  position  in  the  field  of  serious 
music,  1flu  November,  1922,  listeners  heard  the  first  pick-up  of  an  opera 
performance  originating  outside  a  broadcasting  studio  (Verdi's  "A'ida,"  per- 
formed at  Kmgsbridge  Armoury,  New  York),  and  later  in  that  same  month 
the  first  major  symphonic  broadcast  took  place  (a  concert  by  the  New  York 
Philharmonic  Orchestra,  in  the  Hall  of  the  College  of  the  City  of  New  York). 
The  following  October,  Walter  Damrosch  pointed  the  way  to  the  invaluable 
service  radio  could  perform  in  the  field  of  music  education  when  a  lecture  re- 
cital of  his  on  Beethoven  was  broadcast  from  Carrcgie  Hall,  New  York.  Two 
seasons  later— in  January,  1926— John  McCormack  and  Lucreaia  Bori  made 
their  radio  debuts  hi  a  broadcast  that  inspired  other  eminent  artists  to  go  on  the 
air.  In  the  autumn  of  1026  Dr.  Darm-osch  again  lent  his  prestige  to  the  iniaiu 


804  SPECIAL  ARTICLES 

radio  industry  by  inaugurating  a  series  of  weekly  radio  symphonic  concerts 
which  he  continued  for  six  winter  seasons.  The  following  January  a  nation- 
wide audience  heard  its  first  broadcast  of  a  complete  opera  performed  in  an 
opera  house  ("Faust,"  broadcast  from  the  Chicago  Civic  Opera  Auditorium). 
Not  quite  two  years  later  a  still  more  important  milestone  occurred:  Dr. 
Damrosch's  first  music  appreciation  broadcast  in  October,  1928.  Known  the 
first  year  as  the  RCA  Educational  Hour,  and  since  then  as  the  NBC  Music 
Appreciation  Hour,  these  broadcasts  have  continued  uninterruptedly  for  more 
than  ten  years,  have  become  part  of  the  required  curricolum  in  many  thousands 
of  schools,  and  have  brought  musical  enlightenment  and  understanding  to  untold 
millions  of  school  children  and  adults.  ^During  the  last  decade  (1928-1938), 
the  history  of  broadcast  music  has  been  less  a  succession  cf  sporadic  "firsts" 
than  it  has  a  steady  increase  in  both  the  volume  and  quality  of  serious  music 
broadcasts.  During  this  period  network  broadcasting  rose  to  its  present 
dominating  position  and  made  possible  the  fullest  achievement  of  radio's 
potentialities  for  mass  entertainment  and  education:  its  abiUty,  for  example, 
to  transmit  a  single  memorable  musical  performance  to  a  world- wide  audience. 
The  National  Broadcasting  Company  was  formed  in  1926,  the  Columbia 
Broadcasting  System  in  1927,  and  the  Mutual  Broadcasting  System  in  1934. 
To-day  broadcasting  in  the  United  States  consists  of  these  three  nation-wide 
networks  plus  a  number  of  smaller,  regional  networks,  and  many  independent 
stations  with  no  network  affiliations.  By  the  late  19203,  also,  the  American 
system  of  broadcasting  had  become  firmly  established.  Under  this  system 
broadcasting  is  financed  by  the  sale  of  time  to  advertisers.  Programmes  are 
either  commercial  (i.e.,  produced  and  paid  for  by  firms  which  wish  to  advertise 
their  products  thereby),  or  sustaining  (furnished  by  broadcasting  stations  or 
networks  at  their  own  expense  in  order  to  attract  listeners  and  create  good  will). 
During  the  entire  history  of  radio,  more  than  two  thirds  of  all  broadcast  hours 
have  been  sustaining.  On  the  whole,  commercial  programmes  are  devoted  to 
mass  entertainment  of  a  light  nature;  most  cultural  programmes,  from  which 
listeners  derive  aesthetic  enjoyment,  are  sustaining  programmes.  Uln  October, 
1930,  the  Columbia  Broadcasting  System  brought  symphonic  music  into  new 
prominence  when  it  began  its  weekly  winter-season  broadcasts  of  the  Sunday 
afternoon  New  York  Philharmonic-Symphony  concerts — two-hour  broadcasts 
which  have  continued  each  season  to  the  present  time.  Two  years  later  the 
National  Broadcasting  Company  began  a  regular  series  of  two- hour  broadcasts 
by  the  Boston  Symphony  Orchestra.  To-day  every  important  symphony 
orchestra  in  the  country  is  heard  by  radio  listeners  at  some  time  during  the 
year.  ^Tn  March,  1933 ,  radio  pioneered  in  establishing  a  new  field  of  orchestral 
music  when  Frank  Black,  conducting  what  has  become-  known  as  the  NBC 
String  Symphony ,  inaugurated  a  series  of  broadcast  concerts  devoted  exclusively 
to  music  for  strings  alone.  Never  before  had  such  a  series  been  presented  either 
on  the  radio  or  in  the  concert  hall.  Since  then  other  string  orchestras  have  been 
established  for  broadcast  purposes,  and  in  at  least  one  instance  (the  1937 
Saratoga  Spa  Music  Festival  concerts,  conducted  by  F.  Charles  Adler)  the  con- 
cert hall  has  followed  in  radio's  footsteps.  Tfln  November,  1937.  another 
important  development  took  place  when  the  NBC  Symphony  Orchestra  made 
its  d6but  as  a  full-size,  permanent  symphony  orchestra;  this  was  the  first  such 


SPECIAL  ARTICLES  805 

organisation  of  major  calibre  to  be  established  and  maintained  by  an  American 
broadcasting  corporation  exclusively  for  studio  broadcasts  ot  symphonic  music. 
During  the  eleven  weeks  when  Arturo  Toscanini  conducted  this  orchestra  in  the 
winter  season  of  1937-38  music  critics  broke  a  long-standing  precedent  by 
treating  the  concerts  in  their  reviews  on  a  basis  of  equality  with  those  of  the 
leading  symphony  societies.  TfOpera  became  regularly  accessible  to  radio 
audiences  with  the  first  complete  opera  broadcast  from  the  Metropolitan  Opera 
House  ("H&nsel  undGretel"  December  25,  1931).  With  the  development  of  in- 
ternational short-wave  re-broadcasting,  the  best  European  orchestras  and  opera 
companies  began  to  be  heard  in  the  United  States  (the  first  of  such  broadcasts: 
London,  Symphony  Orchestra,  1930;  Dresden  Opera  House,  1930).  Chamber 
music  received  scant  attention  until  October,  1934,  when  the  National  Broad- 
casting Company's  NBC  Music  Guild  inaugurated  the  hitherto  unheard-of 
procedure  of  broadcasting  four  programmes  of  chamber  music  weekly,  making 
no  concessions  to  musical  illiterates,  and  employing  the  leading  string  quartets 
of  the  United  States  and  Europe.  Present-day  radio  programme  schedules 
include  a  due  proportion  of  chamber  music.  1f Among  notable  recent  develop- 
ments in  educational  uiusic  broadcasts  are  the  lecture  recitals  of  Abram  Chasins, 
devoted  to  critical  analysis  of  piano  compositions  illustrated  by  the  performance 
first  of  fragments  and  then  of  compositions  in  their  entirety  (a  procedure  which 
cannot  be  duplicated  as  successfully  either  in  the  large  concert  hall  or  by  means 
of  the  printed  page) ;  the  NBC  Home  Symphony,  which  encourages  amateur 
music  making  by  broadcasting  actual  rehearsals  in  which  listeners  may  take 
part,  each  instrumentalist  adding  his  own  part  to  the  music  of  a  studio  orchestra 
which  emanates  from  his  loudspeaker;  and  various  "schools  of  the  air,"  one 
broadcast  nationally  by  CBS,  others  on  a  state-wide  or  city- wide  basis  under  the 
auspices  of  boards  of  education.  1f  A  recent  phenomenon  is  the  extensive  broad- 
casting of  music,  serious  as  well  as  light,  by  "electrical  transcription"  (either 
standard  phonograph  records  or  recordings  made  specially  for  broadcast  pur- 
poses). This  technique  has  enabled  small  stations  to  broadcast  many  hours  of 
symphonic  and  operatic  music  at  little  expense;  its  future,  however,  is  some- 
what clouded  because  of  uncertainty  as  to  the  extent  to  which  recording  artists 
and  phonograph  companies  can  legally  exercise  control  over  the  use  to  which 
records  are  put.  IfThe  extensive  volume  in  which  music  of  aesthetic  value,  both 
instrumental  and  vocal,  is  available  to  the  radio  public  of  to-day  (omitting  from 
consideration  broadcasts  of  phonograph  records)  may  be  gauged  by  the  fact 
that  during  1937  the  three  principal  networks  broadcast  3,420  hours  of  such 
music — on  an  average,  more  than  nine  hours  of  it  each  day. 

Music  BROADCASTING  IN  FOREIGN  COUNTRIES 

On  the  whole,  the  development  of  music  broadcasting  in  other  parts  of  the 
world  has  paralleled  that  of  the  United  States.  Chelmsford,  England,  shares 
with  Pittsburgh,  Pennsylvania,  the  honours  of  originating  scheduled  broad- 
casts. Foreign  programmes  of  serious  music  to-day  compare  favourably  with 
those  in  this  country.  In  virtually  every  other  nation  broadcasting  is  operated 
or  controlled  by  the  government,  and  is  usually  supported  by  taxation.  Partly 
as  a  consequence,  receiving  sets  are  found  in  a  smaller  percentage  of  homes;  no 


806  SPECIAL  ARTICLES 

other  country  equals  the  estimated  82  per  cent  of  American  homes  which 
possess  radio  receivers. 

BROADCASTING  TECHNIQUE 

In  order  that  a  musical  performance  may  be  transmitted  to  radio  listeners,  it 
must  first  be  picked  up  by  a  microphone,  which  transforms  the  complex  sound 
waves  that  reach  it  into  electrical  waves;  these  feeble  waves  must  then  be 
amplified,  after  which  they  must  travel  by  cable  to  the  radio  station's  trans- 
mitting tower  or  antenna;  they  are  then  sent  through  the  ether  in  the  form  of 
radio  waves,  are  picked  up  by  the  aerial  of  some  distant  receiving  set,  trans- 
formed again  into  electrical  waves,  amplified  once  more  to  proper  volume,  and 
through  electrical  vibrations  set  up  in  a  sensitive  loudspeaker  are  restored  to  an 
approximation  of  their  original  form  as  sound  waves.     The  different  steps  of 
this  process  call  for  great  engineering  skill  and  constant  expert  supervision  in 
order  to  prevent  the  "approximation"  from  being  an  extremely  inaccurate  and 
distorted  one.     ^[Various  types  of  microphones  are  used.     The  most  common 
one  in  music  broadcasts  is  the  velocity,  or  ribbon,  microphone.     It  is  direc- 
tional— that  is,  it  responds  unequally  to  sounds  approaching  it  at  different 
angles.     Unlike  a  camera,  which  "sees"  its  entire  image  with  equal  clarity,  the 
velocity  microphone  "hears"  with  greatest  volume  the  sounds  that  travel  to  it 
from  points  directly  in  front  and  with  decreasing  intensity  the  sounds  which 
originate  at  points  on  either  side.     The  usual  type  of  velocity  microphone  is 
bi-directional — that  is,  it  responds  equally  to  sounds  in  front  of  it  or  behind  it. 
One  microphone  is  sufficient  to  reproduce  the  sound  of  a  large  orchestra  or 
chorus;  in  fact,  it  usually  does  so  more  successfully  than  a  battery  of  two  or 
more  microphones,  the  reason  for  this  being  that  when  sound  waves  reach  two 
different  microphones  at  slightly  different  times  (as  will  all  sound  waves  except 
those  which  emanate  from  a  point  equidistant  from  both  microphones),  and 
when  the  electrical  waves  thus  formed  are  blended  into  a  single  circuit,  "  wave 
interference"  is  produced  which  mars,  theoretically  at  least,  the  fidelity  of  the 
reproduction.     These  as  well  as  other  factors  must  be  taken  into  consideration 
by  the  director  of  the  broadcast  in  placing  musicians  and  microphones  in  the 
correct   relative   positions.     ^Acoustical   problems   also   beset   the  director. 
The  music  which  we  hear  in  a  concert  hall  consists  of  sound  waves  which  travel 
straight  from  the  source  of  the  music  to  our  ears,  plus  other  waves  which  reach 
us  only  after  being  reflected  from  the  floor,  walls,  and  ceiling.     Reflected  sound 
produces  reverberation  or  room  resonance.     This  is  disconcerting  when  ex- 
cessive ;  yet  without  it  music  would  sound  strangely  flat  and  lifeless.     Resonance 
within  a  broadcasting  studio  is  controlled  largely  by  the  use  of  sound-absorbent 
material  in  the  construction  of  walls  and  ceiling,  and  by  adjustable  fabric 
hangings.     It  can  also  be  increased  or  decreased,  however,  by  changing  the 
angle  at  which  the  microphone  is  tilted.     It  is  noticeably  affected,  incidentally, 
by  the  presence  or  absence  of  a  studio  audience.     In  the  past,  studio  broadcasts* 
usually  permitted  too  little  reflected  sound  to  be  heard;  today,  however,  roora 
resonance  is  more  frequently  given  its  due.     Uln  arranging  the  placement  of 
ensembles  and  orchestras,  instruments  which  are  least  powerful  in  tone  ano 
highest  in  pitch  must  be  placed  nearest  the  microphone.     In  a  string  quartet 
the  first  violin  must  be  slightly  nearer  and  the  'cello  slightly  further  away  than 


SPECIAL  ARTICLES  807 

the  other  two  players.  In  a  symphony  orchestra  the  violins  should  be  neai  est, 
while  it  is  necessary  to  place  the  brass  and  percussion  instruments  not  only 
furthest  away,  but  to  one  side.  Sometimes  trumpeters  are  directed  to  point 
the  bells  of  their  instruments  away  from  the  microphone  in  order  to  lessen  the 
apparent  volume.  The  placement  of  horns  is  especially  important;  since  their 
bells  project  backwards,  they  must  not  be  seated  directly  in  front  either  of  a 
highly  reflecting  or  of  a  completely  sound-absorbing  surface.  Often  chamber 
music  performers  and  soloists  with  piano  accompaniment  are  placed  on  both 
sides  of  a  bi-directional  microphone.  ^Broadcasting  experience  has  shown 
that  theoretical  principles  can  be  relied  upon  only  up  to  a  certain  point;  the 
final  arbiter  must  be  the  ear,  provided  it  is  a  well-trained  musical  ear.  Hence 
critical  listening,  during  rehearsals,  to  the  loudspeaker  in  the  soundproof  "con- 
trol room"  adjoining  the  studio  is  often  the  most  important  factor  in  the  super- 
vision of  a  broadcast.  When  a  broadcast  is  in  progress  a  final,  flexible  control 
over  volume  of  tone  is  exercised  by  the  studio  engineer.  This  is  necessary, 
since  an  excessive  volume  of  sound  (caused,  for  instance,  by  a  sudden  fortissimo 
roll  on  the  kettledrum)  can  overload  delicate  transmission  equipment  to  a 
point  where  damage  to  it  will  put  the  broadcast  off  the  air.  Under  ideal  condi- 
tions the  studio  engineer  leaves  his  "  gain-control "  dials  untouched  during  a 
concert  broadcast,  so  that  variations  in  dynamics  are  transmitted  with  perfect 
fidelity;  when  this  is  not  possible,  good  broadcasting  technic  requires  that  altera- 
tions in  the  volume  of  amplification  be  made  so  gradually  as  to  be  imperceptible. 

TONAL  QUALITY  or  BROADCAST  Music 

The  fidelity  with  which  musical  tones  are  transmitted  and  received  in  modern 
radio  broadcasting  is  a  subjec*  of  extreme  importance.  On  it  depends,  to  a 
large  extent,  the  value  of  radio  as  a  satisfactory  medium  for  the  presentation  of 
music.  1f  Musical  tones  and  overtones  may  be  scientifically  described  as  sound 
waves  which  vibrate  at  frequencies,  or  rates  of  vibration  which  can  be  expressed 
ia  cycles  per  second.  The  lowest  tone  on  the  piano,  for  instance,  vibrates  at 
the  rate  of  about  27  cycles  per  second  while  the  highest  vibrates  at  about  4,000 
cycles  per  second.  The  oboe's  A,  from  which  orchestral  musicians  tune  their 
instruments,  is  440  cycles.  In  a  symphony  orchestra,  the  lowest  frequency 
usually  heard  is  the  fundamental  tone  of  the  open  E  string  of  the  double  bass, 
about  40  cycles*  The  highest  dearly  audible  tones  are  the  upper  harmonics  of 
the  violins  and  oboes,  about  16,000  cycles.  When  music  is  mechanically  re- 
produced, a  considerable  portion  of  the  extremely  low  and  high  frequencies 
is  generally  lost  in  transmission.  The  omission  of  low  frequencies  is  most  clearly 
perceptible*  since  important  bass  tones  are  eliminated.  The  omission  of  the 
two  upper  octaves  of  high  frequencies  (4,000  to  16,000  cycles)  is  not  so  readily 
noticeable,  since  this  eliminates  only  certain  overtones;  yet  these  overtones  are 
what  give  orchestral  instruments  their  characteristic  tone  quality,  and  their 
omission  results  in  a  distortion  of  tonal  values.  This  simplified  explanation  of 
scientific  principles  may  help  to  explain  why  reproduced  music  falls  short  of 
being  act  exact  replica  of  the  original  performance.  1[The  old-fashioned  phono- 
graph and  the  first  radio  receiving  sets  had  an  upper  limit  of  about  2,000  cycles, 
while  the  tones  under  200  cycles  reproduced  by  it  were  no  more  than  shadows 
of  their  original  selves.  The  tone  quality  of  such  instruments  was  consequently 


808  SPECIAL  ARTICLES 

far  from  satisfying.  The  last  fifteen  years  has  witnessed  great  strides  in  fidelity 
of  reproduction,  but  actual  results  obtainable  on  most  modern  receiving  sets  are 
still  far  short  of  the  ideal.  The  reasons  are  two-fold,  being  due  to  deficiencies 
both  in  transmission  and  in  reception.  Radio  stations  are  now  licensed  to 
transmit  at  a  specified  "carrier"  frequency,  through  a  "channel"  or  wave  band 
which  is  usually  10,000  cycles  in  width — in  other  words,  extending  5,000  cycles 
on  either  side  of  the  frequency  allotted.  Such  a  channel  can  accommodate 
musical  tones  which  have  frequencies  up  to  5,000  cycles.  Few  stations  transmit 
frequencies  much  higher,  and  these — in  theory,  at  least — overlap  into  neighbour- 
ing channels,  causing,  under  certain  conditions,  a  possibility  of  interference. 
In  a  very  few  instances,  stations  have  been  allocated  "high-fidelity"  channels  of 
double  this  width;  these  can  transmit  interference-free  tones  up  to  10,000 
cycles.  As  yet,  however,  receiving  sets  (with  a  certain  few  exceptions)  are  not 
designed  to  reproduce  the  full  range  of  tones  now  being  transmitted  by  modern 
broadcasting  stations.  The  average  receiver  is  not  noticeably  responsive  to 
frequencies  below  100  cycles  (G  on  the  bottom  line  of  the  bass  staff)  or  above 
3,500  (A  in  the  fourth  octave  above  middle  C).  Midget-size  receivers  are,  of 
course,  limited  to  an  even  less  extensive  range.  At  present  writing,  engineering 
science  is  capable  of  building  and  operating  both  transmitters  and  receivers  of 
far  greater  fidelity.  That  it  is  not  doing  so  at  present  is  partly  due  to  public 
apathy  towards  faithfulness  in  the  reception  of  broadcast  music,  and  partly  to 
the  fact  that  high-fidelity  transmission  cannot  be  accomplished  without  a  com- 
plete re-allocation  of  station  wave  lengths  and  a  reduction  in  the  total  number 
of  stations  licensed  to  broadcast — steps  which  the  public  at  large  has  at  present 
shown  no  desire  to  take,  and  which,  in  the  second  instance,  would  involve  losses 
as  well  as  gains.  ^Another  factor  which  causes  radio  music  to  sound  differently 
from  music  heard  in  a  concert  hall  is  its  lack  of  dimension  or  perspective. 
Technically  speaking,  it  is  monaural.  This  term  may  be  best  explained  by  a 
comparison  with  vision.  We  see  with  two  eyes,  and  in  so  doing  we  see  two 
slightly  different  images.  These  images,  when  combined  by  the  brain,  give  us  a 
sense  of  distance  and  direction.  Ordinary  pictures  lack  perspective,  axe  two- 
dimensional;  pictures  seen  through  a  stereoscope  are  extraordinarily  lifelike 
simply  because  each  eye  is  permitted  to  see  each  picture  from  its  own  par- 
ticular viewpoint.  Similarly,  our  two  ears  enable  us  to  recognise  the  precise 
direction  from  which  any  given  sound  comes;  this  quality  of  hearing  is  known 
technically  as  "aural  perspective."  Whenever  we  listen  to  an  orchestra  in  the 
concert  hall  our  ears,  as  well  as  our  eyes,  give  "dimension"  to  the  orchestra. 
If,  however,  a  sound-proof  wall  were  erected  halfway  between  us  and  the 
orchestra,  having  in  it  a  single  small  aperture,  the  sounds  reaching  our  ears 
would  have  to  travel  through  this  one  point  and  our  sense  of  aural  perspective 
would  be  lost.  This  is  what  takes  place  in  the  transmission  of  radio  music. 
All  sounds  are  transmitted  from  one  point  (the  microphone)  and,  again,  are 
reproduced  at  one  point  (the  loudspeaker).  Successful  experiments  have  been 
conducted  with  the  binaural  transmission  and  reproduction  of  music.  Many 
obstacles,  however,  would  have  to  be  overcome  before  "binaural  broadcasting" 
could  become  commercially  practicable.  Its  successful  operation  would  require 
two  microphones,  two  independent  sets  of  broadcasting  equipment,  two  separate 
broadcasting  channels,  and  two  receiving  sets  with  properly  placed  loudspeakers 
in  every  home  which  wished  to  enjoy  its  advantages. 


SPECIAL  ARTICLES  809 


SIGNIFICANCE  or  RADIO  Music 

Radio  must  be  considered,  not  as  a  form  of  art,  but  as  a  means  of  conveying 
sxt  to  the  multitudes.  When  so  considered,  its  invention  may  be  counted  as 
being  as  important  to  music  as  the  invention  of  printing  was  to  literature. 
1f  Before  the  development  of  radio,  art  music — like  painting,  sculpture,  and  the 
drama — was  the  aristocratic  property  of  an  infinitesimally  small  fraction  of  the 
country's  total  population.  Symphony  orchestras  existed  in  only  a  handful  of 
American  cities;  only  a  tiny  proportion  of  the  residents  of  these  cities  subscribed 
to  symphony  concerts  or  listened  to  them  at  all  regularly ;  even  those  fortunate 
persons  heard,  in  most  cases,  not  more  than  twenty  hours  of  symphonic  music  a 
year,  and  waited,  in  many  instances,  several  seasons  before  hearing  a  repetition 
of  a  favourite  symphony  or  tone  poem.  Other  types  of  vocal  and  instrumental 
music  were  heard  by  similarly  limited  audiences.  IfTo-day  music  has  become 
virtually  a  universal  art.  This  revolutionary  change  has  been  wrought  prima- 
rily by  radio,  though  to  some  extent  other  technical  developments — the  player 
piano,  phonograph,  and  motion  picture — have  assisted  the  transformation. 
Some  indications  of  the  almost-overnight  growth  of  a  nation-wide  musical 
public  can  be  observed  in  the  following  facts:  Since  1938  the  number  of  major 
symphony  orchestras  in  America  has  risen  from  10  to  17.  In  the  same  period 
the  total  number  of  orchestras  (according  to  listings  in  Pierre  Key's  Music 
Yearbook)  has  increased  from  60  to  286;  most  medium-sized  cities  now  have 
their  own  symphony  orchestras.  Music  courses  in  the  public  schools,  almost 
unknown  in  1920,  are  now  not  only  widespread  but  of  high  calibre.  The  num- 
ber of  school  orchestras  in  the  country  has  grown  prodigiously;  it  is  now  esti- 
mated at  more  than  30,000;  in  addition,  there  are  more  than  20,000  school 
bands.  The  business  of  booking  concerts  and  recitals,  as  reported  by  leading 
concert  bureaus,  surpassed,  in  1937,  that  of  any  year  since  1912  (including 
even  the  prosperous  year  of  1929).  Sales  of  new  pianos  in  1937  (exclusive  of 
player  pianos  or  reproducing  pianos)  exceeded  those  of  1929,  as  well  as  of  the 
fcxtervening  years.  1f When  radio  first  ceased  to  be  a  novelty,  musicians  began 
to  fear  that  radio  music  would  prove  to  be  exceedingly  harmful,  both  eco- 
nomically (by  ruining  the  sale  of  musical  instruments  and  of  concert  admis- 
sions), and  artistically  (by  producing  a  nation  of  passive  listeners  devoid  of 
musical  intelligence  and  unwilling  to  create  music  themselves  either  as  per- 
formers or  composers)*  When  Walter  Damrosch  first  undertook  to  conduct 
symphonic  broadcasts,  he  was  begged  by  noted  musicians  not  to  do  so;  they 
firmly  believed  that  if  radio  obtained  a  foothold  in  the  realm  of  serious  music 
their  concert  careers  would  be  doomed.  The  reverse,  however,  has  proved  to 
be  true.  Radio  has  produced  thousands  of  new  listeners  who  have  become 
acquainted  with  symphonies,  operas,  Kedcr,  etc.,  and  have  subsequently  come 
to  the  conclusion  that  actual  performances  of  music  by  living  artists  provide 
sources  of  enjoyment  which  cannot  be  duplicated  by  reproduced  music.  It 
seems  now  definitely  established  that  a  permanent  place  exists  for  both  radio 
broadcasting  and  the  concert  hall — that  they  are  supplementary  rather  than 
competitive.  IfRadlo  has,  as  yet,  developed  no  striking  new  musical  tech- 
nique A  few  works  have  been  composed  especially  for  radio  performance. 
These  include  three  radio  operas:  "The  Willow  Tree"  by  Charles  Wakefield 


810  SPECIAL  ARTICLES 

Cadman  (NBC,  1932);  "Green  Mansions"  by  Louis  Gruenberg  (CBS,  1937); 
and  "The  Old  Maid  and  the  Thief9  by  Gian-Carlo  Menotti  (NBC,  1938). 
Hans  Spialek's  orchestral  suite,  "Manhattan  Water  Colors'3   (1937),  contains 
continuity  to  be  read  by  an  announcer  over  a  musical  background.     In  other 
instances  radio  has  been  found  to  be  an  especially  successful  medium  for  music 
composed  as  background  to  spoken  narration;  a  noteworthy  example  is  Frank 
Black's  musical  setting  of  Arthur  Guiterman's  poem,  "Ode  to  Memorial  Day." 
1[To  radio  may  be  attributed  the  growing  public  demand  for  less  hackneyed, 
more  unfamiliar  music.     Since  the  advent  of  broadcasting,  concert  audiences 
have  grown  thoroughly  familiar  with  the  principal  works  in  the  literature  of 
music,  so  that  conductors  and  recitalists  find  it  necessary  to  delve  more  and 
more  into  the  works  of  lesser-known  composers,  as  well  as  into  the  lesser-known 
compositions  of  the  acknowledged  masters,  in  order  to  avoid  too-frequent  repe- 
titions of  the  so-called  standard  works.     To  radio  may  also  be  attributed  a 
partial  breakdown  of  the  barrier  between  popular  and  classical  music.     Com- 
mercial variety  programmes   frequently   feature  famous  concert  artists  in 
performances  of  serious  music  side  by  side  with  the  most  popular  types  of 
vaudeville  entertainers.     Even  more  significant  is  radio's  effect  upon  the 
public's  standards  of  performance.     By  acquainting  audiences  everywhere 
with  the  supreme  artistry  of  such  musicians  as  Toscanini,  Heifetz,  Flagstad, 
etc.,  radio  has  raised  the  public's  critical  standards  immeasurably;  as  a  result, 
mediocre  musicians  are  no  longer  tolerated,  young  artists  are  experiencing 
increasingly  keen  competition,  while,  on  the  other  hand,  top-ranking  musicians 
are  enjoying  greater  success  than  ever  before.     1fOne  curious  aspect  of  modern 
radio  deserves  mention:  a  handicap  created  by  the  very  abundance  of  good 
music  which  radio  provides.     In  years  gone  by,  when  an  opera  performance 
or  symphony  concert  was  a  rare  treat,  to  be  enjoyed  only  after  the  expenditure 
of  effort  and  money,  it  was  approached  in  a  mood  of  keen  anticipation  and 
heard  with  undivided  attention.     Now,  with  similar  music  available  at  the 
flick  of  a  dial,  many  listeners  pay  but  scant  attention  to  what  they  hear,  being 
chiefly  preoccupied  with  housework,  card  playing,  or  reading.     Like  easily  won 
riches,  music  broadcasts  are  often  grossly  undervalued  and  unwittingly  squan- 
dered.    TTRadio,  as  a  purveyor  of  music,  has  certainly  not  reached  its  ultimate 
goal.     Yet  it  has  travelled  amazingly  far  in  its  few  years  of  existence.     Com- 
plaints are  voiced  that  opportunities  to  hear  serious  music  on  the  air  are  too 
infrequent,  and,  conversely,  that  too  many  hours  are  devoted  to  music  devoid 
of  artistic  value.     Yet  the  proportion  of  concert  music  to  light,  inconsequential 
music  on  the  air  to-day  is  probably  considerably  greater  than  the  proportion 
of  good  current  literature  to  the  cheap  output  of  tabloid  newspapers  and  pulp 
magazines.     Under  the  American  system  of  broadcasting,  government  authori- 
ties have  no  voice  in  the  type  or  quantity  of  music  broadcast  to  the  public; 
their  jurisdiction  is  limited  to  the  technical  phases  of  broadcasting  and  to  the 
elimination  of  programmes  that  exceed  limits  of  decency  or  contain  fraudulent 
advertising.     Broadcasting  in  the  United  States  is  based  on  the  democratic 
principle  that  the  public  itself  shall  choose  and  judge.     This  it  can  do  by  the 
turn  of  a  dial,  selecting  between  programmes  offered  simultaneously  by  two  or 
more  competitive  stations.     Surveys,  polls,  and,  to  some  extent,  fan  letters 
provide  broadcasters  with  a  fairly  accurate  means  of  estimating  programme 
popularity.     If,  under  this  system,  serious  music  occupies  only  a  minor  fraction 


SPECIAL  ARTICLES  811 

of  tie  time  allotted  to  music  on  the  air,  the  reason  can  be  traced  to  the  fact 
that  only  a  small  minority  of  the  radio  audience  actually  prefers  such  music. 
Broadcasters  maintain  a  scrupulous  regard  for  the  rights  of  small  minorities. 
£t  is  solely  because  of  this  that  they  allot  network  time  to  the  presentation  of 
music  of  extremely  limited  appeal,  such  as  Bach's  complete  "Kunst  der  Fuge" 
or  atonal  chamber  music  compositions  by  little-known  contemporary  com- 
posers. It  can  be  assumed  that  broadcasters  will  continue  to  adjust  their 
programmes  in  the  future,  as  they  have  in  the  past,  to  conform  to  changing 
public  tastes,  and  that  they  will  increase  the  hours  of  serious  music  broadcasts 
as  rapidly  as  the  demand  for  them  grows  in  volume  and  insistence. 


THE  STORY  OF  ORCHESTRA  AND  BAND 
INSTRUMENTS 

BY  H.  W.  SCHWARTZ 

Music  is  as  old  as  history  but  the  orchestra  is  a  modern  development,  barely 
300  years  old.  The  germ  of  the  orchestra  was  originated  by  Italian  opera 
writers  in  the  latter  sixteenth  and  in  the  seventeenth  centuries.  Their  so-called 
orchestras  contained  lutes,  lyres,  harpsichord,  viols,  flageolets,  zinken,  and 
other  strange  instruments  now  obsolete*  Even  the  great  Bach  and  Handel 
were  not  equal  to  the  task  of  deciding  what  instruments  were  worthy  of  mem- 
bership m  the  symphony  orchestra.  1f Haydn  is  called  the  "Father  of  the 
Symphony"  because  he  cleaned  out  these  old  instruments  and  established  the 
classical  symphony  orchestra,  about  1 760,  Other  instruments  were  added  from 
time  to  time  and  the  modern  orchestra  was  developed.  ^{Haydn's  orchestra 
was  a  small  one-  He  built  it  around  a  well-disciplined  group  of  strings  consist- 
ing of  6  first  violins*  6  second  violins,  3  violas,  and  3  string  basses.  Note  that 
the  'cello  was  not  admitted.  To  this  group  he  added  2  trumpets  and  2  tym~ 
pani.  The  trumpets  were  really  bugles  and  had  no  valves,  because  valves 
were  not  invented  until  1815.  He  also  added  2  hunting  horns.  These  of 
course  had  no  valves  cither.  Among  the  wood-winds  were  two  boxwood  or 
coccuswood  flutes  with  from  3  to  6  brass  keys,  2  boxwood  or  coccuswood  oboes 
with  3  to  6  keys*  The  famous  Boehm  system  key  mechanism  for  wood- win*4  f 
was  not  invented  until  1832,  Two  bassoons  completed  the  wood-winds  white 
the  wind  bass  of  the  orchestra  was  furnished  by  the  odd-looking  instrument 
called  the  serpent.  Uln  Haydn's  day  the  orchestra  was  conducted  from 
the  haipsichord.  Here  the  conductor  sat  and  pkyed  along  with  the  orchestra, 
sodding  his  head  and  occasionally  waving  his  hand  to  give  the  beat  and  main- 
tain the  tempo*  The  harpsichord  was  the  father  of  the  piano,  which  was  in- 
vented In  1709  by  Cristofori  of  Italy  but  which  was  not  used  very  generally  for 
nearly  a  hundred  years.  Such  an  orchestra  gave  a  performance  which  was 
Dimple  and  dear  in  harmonic  structure  but  lacked  solidity,  variety,  and  colour. 
*)!Mozart  was  a  pupil  of  Haydn  but  he  taught  the  old  master  and  all  other 
musicians  how  to  use  the  clarinets  in  the  symphony  orchestra*  These  instru- 
ments were  made  of  boxwood  and  had  about  a  half-dozen  brass  keys.  It  is 
true  that  Hayda  used  clarinets  in  the  opera  but  Mosart  was  the  first  to  admif 


812  SPECIAL  ARTICLES 

them  into  tne  more  exclusive  ranks  of  the  symphony  orchestra.     Otherwise 
the  orchestra  was  the  same  as  the  Haydn  orchestra.    As  yet  there  was  no  con- 
ductor to  stand  in  front  of  the  orchestra  and  beat  time.     The  conductor  still 
sat  at  the  harpsichord.     ^Beethoven  as  a  youth  studied  with  the  old  master, 
Haydn,  but  he  was  too  radical  in  his  views  and  soon  left  Haydn  to  pursue  his 
own  ideas.     Nevertheless,  in  his  first  four  symphonies  he  used  substantially 
the  same  orchestra  as  that  used  by  Haydn  and  Mozart.     However,  in  his  cele- 
brated Fifth  Symphony,  composed  in  1808,  he  found  the  old  classical  orchestra 
inadequate  for  his  musical  thought.     During  the  first  three  movements  of  this 
symphony  he  remained  classical  but  in  the  fourth  movement  he  worked  himself 
up  to  such  a  romantic  pitch  that  he  broke  the  bonds  of  conventional  instrumen- 
tation and  in  the  statement  of  the  opening  theme  he  introduced  2  trombones. 
Haydn  and  Mozart  had  used  trombones  in  the  opera  but  this  was  the  first  time 
they  had  ever  been  used  in  the  symphony.     At  the  same  time  he  wrote  for  the 
piccolo,  really  a  high  soprano  flute.     The  piccolo  had  been  used  by  Gluck,  the 
opera  writer,  even  before  Haydn's  day,  but  this  was  the  d£but  of  the  piccolo  in 
the  symphony,  IfThe  string  section  was  also  augmented  by  4  'cellos.     Haydn 
was  really  the  first  to  use  the  'cello  in  the  orchestra.     This  he  finally  consented 
ro  do  in  1795  in  his  Symphony  in  D,  when  he  was  sixty-three  years  old.     The 
'cello's  place  in  the  orchestra,  however,  was  not  secure  until  Beethoven's  time. 
Even  Beethoven  did  not  always  use  it.     In  some  of  his  symphonies  he  scored 
for  it  and  in  some  of  them  he  omitted  it.     But  by  the  time  Beethoven  died, 
the  'cello  had  become  accepted  as  a  regular  member  of  the  symphony,  and  the 
string  quartet  gave  way  to  the  string  quintet.     Beethoven  not  only  added  new 
instruments  but  used  more  of  the  old  instruments  known  to  Haydn  and  Mozart. 
The  string  section  was  also  increased  in  number  of  players.     And  as  for  the 
conductor  we  still  find  him  behind  the  harpsichord  or  piano.     The  Beethoven 
orchestra  added  greater  solidity  and  variety  but  still  lacked  definite  colour 
treatment.     ^[Wagner  was  a  writer  of  opera  but  Wagner's  opera  music  is 
superb  orchestration  and  is  played  by  the  symphony  orchestra  more  than  any 
other  music.     Wagner  composed  but  three  symphonies  and  only  one  of  these 
is  ever  heard  and  that  one  only  seldom.     ^Beethoven  wrote  his  music  on  12 
staffs  but  Wagner  increased  the  musical  parts  to  such  an  extent  that  22  staffs 
were  necessary.     He  added  the  bass  trombone,  made  nossible  by  an  invention 
of  Sax  about  1840.     This  invention  consisted  of  a  thumb  valve  and  tubing 
which  bridged  the  gap  in  the  tenor  trombone  from  E  to  Bb  below  the  staff. 
He  wrote  for  bass  clarinets,  first  used  by  Meyerbeer  in  1836  in  his  "Huguenots" 
opera.     The  English  horn,  first  used  by  Rossini  in  his  "William  Tell"  opera, 
in  1828,  was  included  in  Wagner's  score.     1[In  1832  Boehm  invented  his  great 
mechanism  for  flute  and  this  mechanism  was  adapted  to  the  clarinet  in  1843 
by  Klose.     Several  features  of  the  system  were  also  incorporated  on  the  oboe, 
especially  the  ring  keys.     Therefore  Wagner  availed  himself  of  the  greater 
facilities  of  the  new  and  improved  wood-winds,  and  the  old  flutes,  oboes,  and 
clarinets  were  replaced  by  the  modern  instruments.     If  In  1815  Blumel  invented 
the  piston-valve  and  ten  years  later  the  rotary  valve.     Although  these  improved 
instruments  were  not  immediately  accepted,  they  had  replaced  to  a  large  extent 
the  simple  trumpets  and  hunting  horns  by  the  time  of  Wagner.     Instead  of  the 
bugle  type  of  trumpet  he  used  the  improved  piston-valve  trumpet  such  as  we 
use  to-day.     And  instead  of  the  old  hunting  horn  he  used  the  rotary  valve 


SPECIAL  ARTICLES  813 

French  horn  with  which  we  are  familiar.  He  seldom  used  less  than  4  of  these 
and  often  used  6  or  8.  He  added  the  bass  tuba  and  threw  out  the  old  serpent. 
Serpents  appear  for  the  last  time  in  his  "Rienzi"  overture  in  1842.  The 
German  bandmaster,  Wieprecht,  invented  the  bass  tuba  in  1829  and  it  was  per- 
fected by  Sax  in  1842.  Wagner  is  noted  for  his  treatment  of  the  brass  but  much 
of  his  improved  handling  is  due  to  the  new  resources  of  the  instruments  made 
possible  by  the  addition  of  the  valves.  IfThe  percussion  section  of  Wagner's 
orchestra  is  also  improved.  As  early  as  1760  the  opera  composer,  Gluck,  had, 
used  snare-drum,  bass-drum,  cymbals,  and  triangle,  and  they  were  also  used 
in  opera  by  Haydn  and  Mozart,  but  it  was  Wagner  who  established  these  in- 
struments in  the  symphony.  He  also  was  the  first  to  establish  the  use  of  the 
third  tympano,  although  Weber  had  used  the  third  tympano  as  early  as  1807. 
At  this  time,  also,  the  hand-tuned  tympani  gave  way  to  the  more  efficient 
machine,  or  pedal,  tympani.  IfBesides  adding  a  variety  of  tonal  colouring, 
Wagner  also  added  to  the  size  of  the  orchestra,  increasing  the  number  of 
stringed  instruments  as  well  as  of  wind-instruments.  IfWith  such  a  superb 
orchestra  Wagner  was  able  to  paint  a  musical  picture  of  which  even  Beethoven 
scarcely  dreamed.  He  employed  a  full  choir  of  wood-winds,  a  full  choir  of 
brass,  a  full  choir  of  strings,  and  a  large  and  varied  percussion  section*  He 
divided  these  choirs  into  many  separate  parts,  giving  a  closely  integrated  har- 
mony, a  wide  tonal  spectrum,  and  a  great  variety  of  orchestral  effects.  When 
his  music  was  first  heard  it  was  called  barbarous  and  inharmonic.  This  was 
because  it  was  new  and  the  ears  of  the  time  were  not  used  to  this  type  of  music. 
It  has  since  been  accepted  as  the  greatest  music  of  its  kind  ever  written  and  is 
probably  the  most  popular  music  played  by  the  symphony  orchestra  to-day. 
TfBy  Wagner's  time  both  the  harpsichord  and  piano  had  been  discarded  for 
the  b&ton  and  conductor's  podium.  This  custom  of  directing  with  the  Mton 
had  been  made  popular  by  Berlioz  and  Mendelssohn  and  has  been  common  now 
for  over  a  century.  Adolph  Sax,  a  Belgian  instrument-maker  working  in  Paris, 
invented  the  saxophone  in  1840.  It  was  early  accepted  by  such  French  com- 
posers as  Berlioz  and  Meyerbeer  and  by  a  few  of  the  German  composers. 
To-day  most  modern  composers  score  for  the  saxophones.  The  saxophones 
serve  to  blend  the  wood-winds  and  the  brasses  together.  ^Some  additional 
instruments  used  by  moderns  are  the  vibraphone  and  tubular  chimes.  The 
latter  take  the  place  of  the  giant  bells  of  the  carillon.  Some  ancient  percussion 
instruments  to  earn  their  place  in  the  symphony  orchestra  are  the  Spanish 
castanets  and  oriental  tambourine.  The  moderns  are  colourists  and  require 
a  wealth  of  tonal  tints  in  their  musical  palette.  IfTo-day's  bands  are  an  out- 
growth of  the  Elizabethan  bands  of  Shakespeare's  time.  They  were  composed 
of  oboes,  corncttos,  flageolets,  bugles,  serpents,  and  other  wind-instruments* 
After  Sax  invented  his  family  of  saxhorns,  in  1842,  the  wind  band  was  primarily 
of  brass.  There  were  sopranos,  altos,  tenors,  barytones,  and  basses — all  cup- 
mouthpiece  instruments.  This  is  still  the  typical  wind  band  of  Italy,  Germany, 
and  other  European  countries.  If  America  has  developed  a  new  type  of  band 
*1  though  this  development  is  recent*  In  Civil  War  days  the  band  was  sub- 
stantially like  the  bands  of  Europe  and  Canada.  Later  wood-winds  were  used 
^aore  prominently.  To-day  the  Band  is  patterned  in  general  after  the  sym- 
phony orchestra,  clarinets  and  other  wood-winds  taking  the  place  of  the  string 
section.  There  is  less  brass  and  more  wood-winds.  If  AF  important  phas*  of 


814  SPECIAL  ARTICLES 

this  development  is  the  use  of  complete  choirs  of  each  family.     We  have,  for 
instance,  soprano  clarinets,  alto  clarinets,  bass  clarinets,  and  contrabass  clari- 
nets, giving  a  complete  range  of  clarinet  colouring.     We  also  have  the  soprano 
oboe,  the  alto  oboe,  or  English  horn,  the  bass  oboe,  or  bassoon,  and  the  contra- 
bass oboe,  or  contrabass  bassoon.  The  saxophone  family  is  also  complete 
throughout  the  entire  range  of  the  band.     Only  the  flute  family  is  incomplete 
although  there  has  been  some  use  of  the  alto  and  bass  flute.     1fi.  The  Violin 
Family.    The  ancestor  of  the  violin  is  the  Greek  kithara,  the  first  instrument 
to  have  a  sound  chest  with  top  and  back  separated  by  straight  ribs.     The  viol? 
developed  from  this  instrument  and  were  well  known  in  the  Middle  Ages- 
The  viols  developed  into  the  violin  in  the  late  fifteenth  century.     One  Caspat 
Tieffenbrucker,  of  Italian  Tyrol,  is  credited  with  making  the  first  true  violin 
in  1467,  twenty-five  years  before  Columbus  discovered  America.     IfThe  making 
of  violins  early  centred  at  Brescia,  a  little  town  in  Lombardy,  Italy,  fifty  miles 
from  the  Tyrol  border,  about  1520.     This  group  of  craftsmen  flourished  for 
one  hundred  years.     The  most  famous  school,  however,  was  the  Cremona 
school,  located  about  forty  miles  from  Brescia.     Here  the  Amati  family  began 
attracting  attention  about  the  middle  of  the  sixteenth  century.     A  pupil  of 
Niccolo  Amati  was  Antonius  Stradivarius  who  became  the  most  famous  maker 
of  them  all.     During  his  long  lifetime  (1645-1737)  he  made  about  950  violins, 
besides  150  violas  and  'cellos.     ^2.  The  Flute.     The  oldest  wind-instrument  is 
the  flute.     The  most  primitive  is  the  syrinx  or  pipes  of  Pan.     It  is  found  in 
ancient  Egyptian  tombs  and  was  a  favourite  instrument  with  the  Greeks.     The 
flute  developed  along  two  lines:  those  blown  from  the  end  and  those  blown 
from  the  side.     The  side-blown  flute,  commonly  called  the  German  flute,  nosed 
out  the  end-blown  flute  in  Europe  in  the  fourteenth  century.     But  the  end- 
blown  flute  was  popular  hi  England  until  about  1700.     IfThe  first  key  ever  used 
on  a  wind-instrument  was  invented  in  1677,  inventor  unknown.     Used  to 
bridge  the  gap  in  the  diatonic  scale  at  the  bottom  where  cross  fingering  was 
impossible.     The  second  key  was  invented  in  1726  by  Quantz,  flute  teacher  to 
Frederick  the  Great.     It  was  used  to  overcome  enharmonic  differences  but  it 
turned  out  to  be  useless.     Keys  were  added  from  time  to  time  until  Boehm's 
day,  about  one  hundred  years  later,  when  the  flute  had  8  keys.     1fTo  correct 
the  imperfections  of  the  current  flute,  Boehm  invented  his  new  flute  in  1832. 
It  had  14  holes,  but  how  could  he  cover  these  14  holes  with  9  fingers?    The  ring- 
key  system  was  Boehm's  solution.     This  made  the  flute  playable  in  all  keys 
and  revolutionised  the  instrument.     In  1847  he  came  out  with  his  cylindrical- 
bore  flute,  made  of  metal.     This  was  a  still  further  improvement,  having  15. 
holes  and  23  keys.     Other  improvements  were  the  clutch  and  Buffet's  needle 
springs.     All  flutes  to-day  are  close  copies  of  the  Boehm  flute,  although  many 
improvements  have  been  added  to  the  mechanism.     %.  Double  Reeds.    The 
Crusaders  brought  the  first  oboes  to  Europe  from  the  Orient  nearly  a  thousand 
years  ago.     Even  then  they  were  extremely  ancient  instruments,  having  been 
known  to  the  Egyptians  for  over  fifty  centuries.     It  was  not  until  the  orchestra 
began  to  bud  in  Italy  in  the  late  sixteenth  century  that  they  came  to  be  used 
as  a  musical  instrument.     Bach  was  the  first  to  use  all  three  voices  of  the  oboe 
family — the  soprano  oboe,  the  alto  English  horn,  and  the  bass  bassoon.     This 
he  did  in,  his  "Passion"  music,  composed  in  1723.     His  English  horn,  however, 
was  really  the  early  form  of  alto  known  as  the  oboe  da  cfltcia,  which  was  later 


SPECIAL  ARTICLES  815 

crowded  out  by  the  superior  English  horn,  invented  in  1760  by  Ferlandis  of 
Bergamo.  The  bassoon  is  an  extremely  old  instrument,  its  shape  having  been 
invented  in  1540  by  Aifranio,  a  Catholic  priest.  If  The  sarrusophone,  a  sort  of 
metal  bassoon,  was  invented  by  the  French  bandmaster  Sarrus  in  1856,  Al- 
though built  in  a  complete  family,  like  the  saxophone,  only  contrabass  in  Eb  is 
used  in  America.  ^4.  The  Single  Reeds.  Whereas  the  range  of  all  other 
wind-instruments  was  about  two  octaves,  the  chalumeau  (primitive  clarinet) 
could  play  only  an  octave.  Denner  in  1690  discovered  the  beauty  in  this  in- 
strument and  made  the  clarinet  a  useful  instrument.  He  found  that  although 
the  chalumeau  would  not  overblow  to  the  octave,  as  did  the  fiute  and  oboe, 
it  would  overblow  to  the  twelfth  when  a  small  hole  was  bored  into  the  tube  up 
near  the  mouthpiece,  He  then  added  keys  to  bridge  the  gap  between  the 
first  octave  and  the  twelfth  and  gave  the  instrument  a  chromatic  scale  of  over 
two  octaves.  In  its  key  development  it  followed  the  trend  of  the  flute  and 
oboe.  After  the  Boehm  system  was  invented,  Klose,  a  great  clarinet-player  of 
his  day,  had  a  darinet  made  for  his  own  use  incorporating  the  Boehm  system. 
This  was  in  1843  and  marks  the  beginning  of  the  true  greatness  of  the  darinet, 
for  this  key  system  made  it  playable  in  all  keys.  flThe  alto  darinet  was  in- 
vented by  Horn  of  Passau  in  Bavaria  in  1770.  He  called  it  the  basset  horn 
and  its  key  was  F,  Beethoven  and  Mendelssohn  wrote  for  the  old  basset  horn 
but  after  the  middle  of  the  nineteenth  century  its  mechanism  became  Boehm, 
its  pitch  was  changed  to  Eb>  and  it  was  called  simply  the  alto  clarinet.  HThe 
bass  darinet  is  generally  credited  to  Gresner  of  Dresden.  It  was  invented  in 
1793  but  apparently  nobody  used  it  much  until  after  Sax  improved  the  mecha- 
nism about  1840.  If 5.  Trumpet ,  Fluegclkorn,  and  CorneL  The  trumpet  with 
its  cylindrical  bore  is  as  old  as  history.  The  ancestor  of  the  fluegelhorn  ia  the 
ancient  bugle  which  had  a  conical  bore*  In  the  thirteenth  century  the  cornetto, 
ancestor  of  to-day's  corneti  made  its  appearance.  It  had  a  bore  which  was 
midway  between  the  cylindrical  bore  of  the  trumpet  and  the  conical  bore  of 
the  bugle.  It  was  a  crude  instrument  made  of  wood  and  covered  with  leather. 
1f All  three  of  these  instruments  were  used  in  the  early  orchestras  but  all  three 
had  musical  limitations  because  of  the  gaps  in  their  natural  scale.  This  defect 
was  not  remedied  until  Blumel  invented  the  piston  valve  in  1815.  To-day  the 
trumpet  is  the  principal  soprano  of  the  brass  choir  in  the  orchestra,  while  th« 
cornet  is  the  principal  soprano  of  the  brass  choir  in  the  band.  The  ffuegelhorn 
Is  an  important  instrument  in  the  band  and  is  used  to  bridge  the  tonal  gap 
between  the  cornets  and  the  horns,  1f6,  Tke  Trombone,  For  centuries  the 
trombone  was  nothing  but  a  big  trumpet.  But  in  the  fourteenth  century  some 
genius  in  northern  Italy  discovered  when  working  with  the  tuning  slide  of  his 
trumpet  that  moving  the  slide  changed  the  pitch  of  the  instrument.  He  saw 
dearly  that  this  presented  a  method  of  bridging  the  gaps  in  the  natural  scale. 
At  first  the  slide  was  long  enough  to  add  only  4  semitones  but  before  the  middle 
of  the  sixteenth  century  the  slide  was  lengthened  to  add  the  6  semitones  found 
on  to-day's  slide  trombone.  1JThe  early  composers  called  for  the  trombone, 
or  sackbut,  as  it  was  called,  They  often  scored  for  5  trombones — at  altos,  a 
tenors,  and  i  bass.  It  was  Cluck,  the  opera  composer  who  first  made  intelli- 
gent use  of  the  trombone.  He  established  the  style  of  writing  for  the  trombone 
in  three  parts,  a  style  adhered  to  ever  since.  Bach,  Handel,  Haydn,  and 
Mozart  used  the  trombone  in  oratorios  and  operas  but  they  refused  to  use  them 


816  SPECIAL  ARTICLES 

in  the  symphony.  jBeethoven  followed  their  lead  in  his  first  four  symphonies. 
But  in  his  great  Fifth  Symphony,  composed  in  1808,  he  introduced  the  trom- 
bones because  no  other  instrument  could  express  his  musical  thought.  1f  Shortly 
after  BlumeFs  invention  of  the  piston  valve,  valves  were  added  to  the  trombone. 
Strangely  enough,  however,  the  valve  trombone  found  no  wide  popularity  ex- 
cept in  Italy,  the  birthplace  of  the  slide.  It  was  Sax  who  added  the  thumb 
valve  to  the  bass  trombone  which  bridged  the  gap  between  the  first  and  second 
partial,  making  it  chromatic  throughout.  This  he  did  before  1850,  1[7-  The 
French  Horn.  Oldest  type  of  horn  is  the  Hebrew  shofar,  made  from  ram's  horn. 
Our  French  horn  came  from  the  horn  used  in  the  chase  by  French  kings. 
French  horns  were  introduced  into  the  orchestra  by  Lully  in  1664.  In  Ger- 
many the  old  "waldhorn,"  or  forest  horn,  made  its  d£but  in  the  orchestra  in 
1705,  when  Keiser  wrote  for  a  pair  of  horns  in  his  opera  "Octavia."  In  1715 
Handel  introduced  the  horns  into  England,  in  his  "Water  Music."  Six  years 
later  Bach  called  for  two  horns  in  his  first  "Brandenburg"  concerto,  and  the 
place  of  the  horns  became  assured.  IfHampl,  a  Dresden  horn-player,  invented 
his  famous  "machine  horn"  in  1753.  This  invention  permitted  the  insertion 
of  the  crooks  not  in  the  mouthpipe  but  in  the  body  of  the  horn  and  improved 
intonation.  Hampl  seven  years  later  discovered  that  by  stopping  the  horn 
with  the  hand  the  pitch  could  be  raised  a  semitone  and  a  full  tone.  This  gave 
a  whole  new  series  of  notes  without  the  use  of  slides.  The  hand-horn  became 
the  standard  horn  and  survived  until  a  long  time  after  valves  were  invented. 
1fln  1815  Blumel  invented  the  piston  valve.  In  1827  he  followed  this  with  a 
rotary  valve  which  has  survived  on  the  French  horn.  In  spite  of  the  superiority 
of  the  valve  horn  over  the  hand-horn,  it  was  twenty  years  before  it  was  generally 
called  for  by  composers;  and  even  then,  the  hand-horn  was  usually  called  for 
for  the  first  and  third  horn  parts,  the  second  and  fourth  being  given  to  the  valve 
horn.  It  was  not  until  Wagner's  time  that  the  hand-horn  gave  way  to  the 
valve  horn,  along  toward  the  middle  of  the  nineteenth  century.  1f  8.  The  Tuba 
Family.  In  1590  Guillaume  of  Auxerre  invented  the  serpent,  a  queer-looking 
instrument  about  eight  feet  long,  made  of  wood  and  covered  with  leather. 
It  flourished  for  two  hundred  years  as  an  important  bass  instrument,  but  it  is 
chiefly  known  for  its  many  and  varied  progeny.  Among  these  are  the  ophi- 
cleides,  a  family  of  six.  Iflt  was  from  this  family  of  ophicleides  that  Sax  got 
his  idea  for  the  saxhorns,  a  family  of  cup-mouthpiece  instruments  with  piston 
valves  and  a  conical  bore,  invented  in  1842.  Not  satisfied  with  this  conical 
bore,  Sax  a  few  years  later  made  another  complete  family  of  instruments  which 
he  called  the  saxtrombas.  These  were  very  similar  to  the  saxhorns  except  that 
the  bore  was  not  so  conical,  being  more  nearly  cylindrical.  Although  these 
instruments  did  not  find  favour  in  Europe  and  quickly  died  out,  our  own  tubas 
are  really  saxtrombas.  Whereas  the  tone  of  the  saxhorns  was  round  and 
mellow,  the  tone  of  the  saxtrombas  and  of  our  tubas  is  more  solid  and  on  the 
brilliant  side.  Since  the  saxhorns  and  saxtrombas  were  not  invented  until  the 
middle  of  the  nineteenth  century,  Wagner,  Berlioz,  and  their  contemporaries 
were  the  first  composers  to  profit  by  their  use.  1f  All  upright  cup-mouthpiece 
instruments  are  tubas.  These  include  the  alto  tuba,  the  tenor  tuba,  the  bary- 
tone tuba,  the  euphonium,  the  El?  bass  tuba,  and  the  BBi?  bass  tuba;  but  it  is 
customary  in  America  to  use  the  word  tuba  for  only  the  bass  tubas.  The 
Wagnerian  tub&n  do  not  really  belong  to  this  family,  although  they  are  cup- 


SPECIAL  ARTICLES  817 

mouthpiece  instruments  and  they  are  in  the  shape  of  the  upright  tubas.  They 
are  essentially  French  horns  built  in  tenor  and  barytone  voices.  IfC.  G.  Conn 
made  the  first  sousaphone  in  1897,  expressly  for  John  Philip  Sousa's  band. 
This  instrument  had  the  upright  bell  and  Sousa  refused  to  use  any  other  to  the 
end  of  his  days.  In  1908  Conn  built  the  first  bell-front  sousaphone  which  has 
superseded  the  original  bell-up  model,  f  9.  The  Saxophones.  The  saxophone 
was  invented  by  Adolph  Sax,  a  Belgian  instrument-maker  working  in  Paris, 
in  1840.  He  got  his  idea  while  trying  to  fit  a  clarinet  mouthpiece  to  the 
ophicleide,  an  old  cup-mouthpiece  instrument.  lie  liked  the  strange  blending 
of  the  brass  tone  of  the  ophicleide  with  the  reedy  tone  of  the  clarinet.  He 
worked  over  the  key  mechanism  of  the  ophicleide  and  this  modification  of  the 
ophicleide  key  mechanism  became  the  saxophone  mechanism.  1fHis  family  of 
saxophones  included  the  high  Eb  soprano,  the  Bb  soprano,  the  El>  alto,  the  Bl> 
tenor,  the  Et>  barytone,  and  the  Bl>  bass.  Other  members  which  have  since 
been  added  are  the  C  soprano^  the  C  tenor  or  melody,  and  the  F  mezzo  soprano. 
Occasionally  one  sees  the  contrabass  in  Ei>.  C.  G.  Conn  built  the  first  saxo- 
phone ever  constructed  in  America,  in  1888,  Ifio.  Percussion  Instruments. 
In  this  family  are  the  instruments  struck  in  various  manners  to  produce  sound. 
They  are  the  most  primitive  and  the  oldest  of  all  musical  instruments.  Divided 
into  two  classes:  (i)  those  without  musical  pitch,  such  as  drums,  tomtoms, 
cymbals,  castanets,  and  (a)  those  with  musical  pitch,  such  as  tympani,  chimes, 
bells,  vibraphone.  1JThe  Moors  brought  kettle-drums  to  Europe  in  711  A.P. 
Virdung,  German  historian  of  music  writing,  in  1511  describes  the  kettle-drums 
of  his  day,  fts  does  Praetorius  about  a  hundred  years  later*  First  used  in 
opera  by  JLuHy  in  seventeenth  century.  Bach  and  Handel  used  kettle-drums 
as  did  almost  all  subsequent  composers.  Weber  first  to  use  3  tympani,  in 
*8o7f  although  Berlioz  claims  this  distinction.  Pfund,  tympanist  for  Men- 
delssohn, invented  the  machine  tympani  about  1840.  If  Wagner  was  most 
prominent  early  user  of  chimes,  as  in  "  Parsifal."  Also  used  orchestra  bells, 
as  in  "  Die  WalkUre"  Saint-S&ens  used  xylophone  to  good  effect  in  his  "  Danse 
Macabre"  Tschaikowsky  introduced  the  celesta  in  the  symphony,  in  his 
"Casse-NeisetteS*  Gluck  introduced  the  drums  into  the  orchestra  about  1760. 
Mozart  used  bass-drum,  cymbal,  and  triangle  a  few  years  later.  Origin  of 
snare-drum  came  from  Scotch  practice  of  whipping  drum  with  leather  thongs. 
Tambourine  known  to  Greeks,  Assyrians,  etc.  One  of  first  uses  was  by  Weber, 
in  "Precosia.**  Castanets  (word  means  chestnut  wood)  are  of  Spanish  origin. 
One  of  most  famous  uses  is  in  Bizet's  "  Carmen"  Tamtams  are  a  form  of  large 
gong,  while  tomtoms  are  small  drums  with  thick  leather  heads.  Cymbals  are 
of  Turkish  origin  and  are  popular  in  producing  oriental  effects.  Haydn  started 
the  use  of  "  effects  "  in  his  "  Seasons"  He  started  with  such  sounds  as  thunder, 
quail  call,  and  gunshot.  Hundreds  of  effects  have  been  added  since  his  time. 
(See  "Orchestras  and  Orchestration"  page  77%;  "Orchestras  in  America" 
page  787;  "Orchestration  of  Theatre  and  Dance  Music"  page  780;  and  Dictionary 
of  Terms  entry ,  page  648.) 


818  SPECIAL  ARTICLES 

SWING  MUSIC 

BY  JAMES  A.  POLING 

SWING  is  a  form  of  music  indigenous  to  America.     Its  history  is  vague  but  it 
is  conventionally  believed  that  swing  music  originated  in  the  deep   South 
around  the  first  decade  of  this  century,     Certainly  the  first  recognised  great 
swing  musician  was  Buddy  Balden,  a  black  New  Orleans  cornetist,  and,  musi- 
cally speaking,  the  grandfather  of  Louis  Armstrong,  recognised  to-day  as  one 
of  the  greatest  swing  artists  of  all  time.     IfSwing  music  made  its  first  impor- 
tant bid  for  popular  approval  in  1916,  with  the  appearance  at  Reisenweber's 
restaurant  in  New  York  of  The  Original  Dixieland  Jazz  Band.     Ted  Lewis 
and  Paul  Whiteman  helped  spread  its  popularity  and  they  in  turn  were  followed 
by  Red  Nichols  and  countless  other  bands  until  the  popularity  of  swing  be- 
came international.     Swing  music's  popularity  was  climaxed  in   1938  with 
the  appearance  at  Carnegie  Hall  of  Benny  Goodman  (the  greatest  clarinetist  of 
his  time)  and  his  band  in  an  all-swing  concert.     IfSwing  differs  from  other  music 
in  that  in  other  musical  forms  the  orchestra  re-creates  the  composer's  musical 
ideas  just  as  the  composer  conceived  them.     The  performer  is  in  a  secondary 
r61e.     In  swing  the  performer  appears  in  a  more  creative  r61e.     Through  im- 
provisation (the  soul  and  heartblood  of  swing)  the  performer  transforms  the 
composer's  fundamental  melodic  idea  into  his  own  conception  of  the  theme. 
In  other  words,  the  swing  musician  does  not  simply  convey  to  the  listener  what 
was  original  with  the  composer;  he  himself  creates  the  musical  substance  his 
auditors  hear.     Hugh  Panassie  in  his  book  Hot  Jazz  says,  "To  ignore  the  talent 
of  the  orchestra  in  jazz  (swing)  is  like  ignoring  the  talent  of  the  composer  in 
classical  music."     TSwing  is  characterised  by  a  musical  idiom  and  attitude, 
rather  than  by  a  tempo.     It  is  generally  polyphonic  music  composed  of  melodies 
that  support  one  another,  as  contrasted  to  homophonic  music  in  which  the 
melody  is  supported  by  chords.     Ad  lib  variations  on  a  simple  theme;  counter- 
point, particularly  of  the  fourth  or  syncopated  variety;  involved  harmonies; 
and  syncopation,  in  which  the  accent  is  shifted  to  the  unstressed  part  of  a  beat 
or  measure — these  are  fundamental  to  swing.     ^Whether  or  not  swing  is  a 
transient  musical  form  is  a  subject  of  considerable  debate.     The  answer  gener- 
ally given  by  swing  addicts  is  the  now  classic  statement  of  Louis  Armstrong, 
greatest  cornetist  of  them  all,  "Folks,  take  it  from  me — we  couldn't  live  with- 
out a  little  swing  now  and  then,  mostly  then/' 


SYNOPSES   OF   NINETY  OPERAS 

CURRENT  IN  PRESENT-DAY 

REPERTOIRES 


The  operas  are  arranged  alphabetically  according  to  title,  and  where  there 
is  an  accepted  English  title  it  is  used  in  preference  to  the  original. 

AFRICAINE,  L> 

Composer:  GIACOMO  MEYERBEER 

Book  by  EUGENE  SCRIBE 

First  performance:  Optra,  Paris,  April  28,  1865 

5  acts. 

VASCO  DA  GAMA,  who  is  pledged  to  marry  Inez,  daughter  of  a  Portuguese 
admiral,  returns  with  information  about  a  new  land  and  two  natives  to  prove  it: 
Selika,  an  Indian  queen,  and  Nelusko,  attendant.  Don  Diego,  father  of  Inez, 
has  tried  to  get  her  to  marry  Don  Pedro,  who  now  throws  Vasco  in  jaal.  Selika 
comes  there  to  protect  him  from  the  murderous  intent  of  the  jealous  Nelusko, 
and  to  tell  him  of  her  love.  Don  Pedro  decides  to  find  the  new  land  for  himself 
and  takes  Inez  with  him,  also  taking  Selika  and  Nelusko  as  guides.  The  latter 
plans  to  destroy  the  ship— a  plan  which  Vasco  knows  about.  He  pursues  the 
party  in  a  second  ship  to  warn  them,  Don  Pedro  pays  no  heed  and  the  crew 
is  killed.  Vasco's  life  is  spared  when  Selika  informs  the  natives  that  he  is  her 
husband.  However,  when  Vasco  finds  that  Inez  was  not  killed  in  the  massacre 
he  leaves  Selika  for  hJs  old  love.  The  Indian  Queen  in  despair  kills  herself* 
as  the  faithful  Nelusko  does  likewise!  by  breathing  the  poisonous  scent  of  the 
manchinecl  tree, 

AIDA 

Composer:  GIUSEPPE  VEKDX 

Book  by  ANTONIO  GHXSLANZONI  and  composer  from  Camille  du  Lode's 
work>  and  a  sketch  by  the  Egyptologist  Marictte 

First  performance:  Opera,  Cairo,  December  24,  t%?i 
4  acts* 

AtDA,  living  as  a  slave  to  Amneris  in  the  Pharaoh's  palace  at  Memphis,  l& 
actually  the  daughter  of  King  Amonusro,  invading  Ethiopian.  Alda  loves 
Radames  who  has  been  selected  to  defend  Egypt  against  King  Amormsro's 

819 


S20  STORIES  OF  THE   OPERAS 

forces.  Amneris,  Aida's  mistress,  is  the  daughter  of  the  Pharaoh.  She  also 
loves  Radames.  He  returns  successful  from  the  Wars  and  brings  with  him 
among  the  prisoners  Amonasro.  Aida  goes  to  her  father's  arms  but  does  not 
reveal  his  rank.  Radames  asks  that  all  prisoners  be  set  free.  All  are,  except 
Amonasro.  On  the  banks  of  the  Nile,  at  night,  Radames  is  waiting  to  see  Aida 
one  last  time  before  he  must  marry  Amneris.  Amonasro  persuades  Aida  to 
get  Radames  to  flee  with  her,  also  to  give  information  that  will  help  the  rearming 
Ethiopians.  She  persuades  Radames  but  in  getting  the  information  is  over- 
heard by  Amneris  who  had  gone  to  spend  the  night  before  her  marriage  in  the 
temple  of  Isis  in  prayer.  Amonasro  and  Aida  escape  but  Radames  is  caught 
and  sentenced  to  death  by  suffocation  for  treason.  Radames  spurns  freedom 
at  the  cost  of  marrying  Amneris  and  prepares  to  die.  In  the  tomb  Aida  has 
concealed  herself  and  dies  with  him. 


AMORE  DEI  TRE  RE,  L' 

(The  Love  of  the  Three  Kings) 

Composer:  ITALO  MONTEMEZZI 

Book  by  SEM  BENEIXI 

First  performance :  La  Scala,  Milan,  April  20, 1913 

3  acts. 

A  TALE  of  the  early  days  when  Huns  still  invaded  Italy.  Archibaldo,  a  Ger- 
manic, is  conqueror  of  Altura.  Fiora,  beautiful  native  daughter,  is  married 
to  Manfredo,  the  conqueror's  son,  against  her  own  wishes,  for  she  loves  Avito,  an 
Alturan  prince.  Flaminio,  aid  to  Archibaldo,  helps  this  romance  as  Avito  visits 
the  castle  often  during  Manfredo's  absences.  The  affair  is  assisted  by  the  fact 
that  Archibaldo  is  blind,  Archibaldo  is  convinced  that  someone  visits  Fiora 
but  though  he  accuses  her  she  will  tell  him  nothing.  Manfredo  leaves  Fiora 
after  a  very  moving  scene  in  which  she  almost  falls  in  love  with  him.  But  Avito 
comes  immediately  after  Manfredo  leaves  and  Fiora  knows  her  heart  is  his. 
Archibaldo  overhears  them,  Flaminio  barely  restraining  Avito  from  killing 
the  blind  old  man.  Archibaldo  questions  her  and  when  she  won't  tell  the  name 
of  her  lover,  kills  her.  Manfredo,  on  his  return,  is  overcome  with  grief  but 
Archibaldo  vows  he  will  find  the  man  who  made  Fiora  unfaithful.  He  puts 
Flora's  body  in  a  crypt  and  smears  poison  on  her  lips.  Avito  comes  to  kiss  her 
farewell  and  dies,  telling  Manfredo,  who  has  entered,  that  Fiora  loved  him.  At 
this  Manfredo  wishes  only  death  and  kisses  Fiora.  When  Archibaldo  enters 
to  identify  the  victim  of  his  trap  he  realises  in  horror  that  he  has  destroyed  the 
one  most  dear  to  him,  his  son. 


STORIES  OF  THE  OPERAS  821 

ARIADNE  AND  BLUEBEARD 

(Ariane  et  Barbe-Bleue) 

Composer:  PAUI,  DUKAS 

Book  by  MAURICE  MAETERLINCK 

First  performance:  Opira  comique>  Paris,  May  10,  1907 

3  acts. 

ARIADNF  is  the  most  recent  of  Bluebeard's  wives.  She  has  come  to  his  castle 
in  spite  of  the  warnings  of  the  peasantry.  Given  six  silver  keys  which  she  may 
use  and  one  gold  one  which  she  may  not,  she  takes  but  a  cursory  glance  at  the 
jewel-filled  rooms  which  the  former  open  and  immediately  uses  the  gold  key. 
She  hears  the  cries  of  distress  of  the  five  earlier  wives  of  Bluebeard.  She  brings 
them  out  into  the  light,  gives  them  the  jewels  and  then  smiles  sardonically* 
when  Bluebeard  returns  to  his  castle,  bound  and  wounded  by  his  enraged 
peasantry,  for  the  five  wives  immediately  serve  him  with  new  attachment. 
Ariadne  leaves,  never  to  return. 


BARBER  OF  SEVILLE,  THE 
(//  Barbiere  di  Sivigla) 

Composer:  GIOACCHINO  ROSSINI 

Book  by  CESAJRJE  STERBXNX,  from  Beaumarchais*  comedy  Le  B&rbier  it 
Seville 

First  performance:  Teatro  di  Torre  Argentina,  Rome,  February  20  >  iBi6 
*  acts. 

COUNT  AtUAViVA,  disguised  as  Lindoro,  wishes  to  marry  Rosinat  ward  of  Dr. 
Bartolo  who  himself  wants  to  marry  her*  Figaro,  the  barber,  is  asked  to  help 
the  count,  Don  Basilic*,  the  music  teacher,  protects  Rosina  for  Dr.  Bartolo 
but  she  contrives  to  let  the  Count  know  by  note  that  she  returns  his  love. 
Balked  in  his  attempt  to  enter  the  house  as  a  drunken  soldier,  the  Count  later 
arrives  in  the  disguise  of  Don  Basilic,  who  is  supposedly  indisposed.  Figaro 
steals  the  key  to  the  balcony  as  he  shaves  the  doctor.  Don  BasiHo  who  arrives 
is  hushed  up  and  sent  off  with  a  bribe*  Later  he  returns  to  tell  Dr.  Bartolo, 
who  is  outraged,  While  the  doctor  is  getting  a  notary  to  marry  him  to  Rosina 
(who  believes  now  that  the  Count  is  untrue  to  her)  BasiHo  returns  with  the 
notary  after  Figaro  ami  the  Count  have  arrived.  The  Count  throws  off  his 
disguise  to  clear  himself  with  Rosina  and  the  two  are  married  by  the  notary 
Basilic  had  fetched  for  Dr.  Bartolo*  This  worthy  is  appeased  when  the  Coun* 
signs  Rosiaa's  dowry  over  to  him, 


822  STORIES  OF  THE  OPERAS 

BARTERED  BRIDE,  THE 

Composer:  BEDRICH  SMETANA 

Book  by  KAREL  SABINA 

First  performance:  National  Theatre,  Prague,  May  30,  i&66 

3  acts* 

HANS,  recently  arrived  in  the  Bohemian  village,  is  in  love  with  Marie  whose 
wealthy  parents  want  her  to  marry  a  half-idiot,  Wenzel,  son  of  another  wealthy 
family.  Marie  returns  Hans'  love  but  it  is  impossible  to  get  her  parents'  consent. 
Marie  absolutely  refuses  to  marry  Wenzel  and  finally  a  marriage  broker  is 
called  in.  Kezal,  the  broker,  does  what  he  can  to  persuade  Hans  to  retire,  even 
offering  him  money.  At  this  point  Hans  agrees  to  three  hundred  crowns  if  the 
words  "Marie  shall  marry  only  Micha's  son"  are  in  the  contract.  Kezal  is 
delighted,  and  Marie  is  unhappy  because  Hans  appears  to  have  sold  her  out. 
But  it  develops  that  Hans  is  a  son  by  Micha's  earlier  marriage.  Marie  and  he 
can  be  married  and  can  also  keep  the  three  hundred  crowns  as  a  wedding 
present. 


BOHEME,  LA 

(Bohemia) 

Composer:  GIACOMO  PUCCINI 

Book  by  GIUSEPPE  GIACOSA  and  LUIGI  ILLICA,  from  Henri  Murger's 
novel,  Scenes  de  la  vie  de  Boh&me 

First  performance:  Teatro  Regio,  Turin,  February  i,  i8g6 
4  acts. 


poet,  Marcello,  painter,  Schaunard,  musician,  and  Colline,  philoso- 
pher, are  starving  in  a  Paris  attic  when  one  of  them  gets  sufficient  money  for  a 
real*  meal  to  whicT  all  save  Rodolfo  repair  immediately.  He  stays  to  write  an 
article?  and  thereby  meets  Mimi,  an  upstairs  neighbour  who  has  stumbled  into 
his  Boom  in  a  faint.  He  revives  her  and  takes  her  to  the  restaurant  where  the 
otJiers.are  eating.  An  old  love  of  Marcello's,  Musetta,  arrives  with  an  elderly 
admirer;  and  immediately  dispatches  him  in  favour  of  Marcello.  Months  later 
these  two-  are  running  a  wine  shop  while  the  romance  of  Mimi  and  Rodolfo  has 
been-  killed  by  his  terrific  jealousy.  Mimi,  who  is  ill,  returns  for  one  last  sight  of 
her  lover.  Later  she  is  taken  in  by  the  quartet  who  are  having  another  ex- 
temporaneous feast  because  of  a  sudden  small  windfall.  Sick,  she  is  put  to  bed 
while  medicine  is  procured  through  Musetta's  gift  of  her  earrings.  Muni  dies 
as  Rodolfo  realises  her  love  for  him.  Musetta  and  Marcello,  who  have  quar- 
relled, are  reunited  by  the  scene. 


STORIES  OF  THE  OPERAS  823 

BORIS  GODUNOFF 

Composer:  MODEST  MGUSSORGSKY 

Book  by  the  composer,  from  the  play  by  Alexander  Pushkin 

First  performance:  Imperial  Opera  House,  St.  Petersburg,  January  24,  1874 

3  acts. 

THE  SCENE  of  this  opera  is  laid  in  Russia  where  Boris  Godunoff  has  murdered 
the  Czarevitch  Dimitri  and  has  himself  taken  the  throne  of  the  country.  En- 
raged by  this  action  a  novitiate  of  a  monastery  impersonates  Dimitri  and  pro- 
ceeds toward  Moscow.  A  young  Polish  girl  of  rank,  Marina,  wants  to  marry 
Dimitri  and  ascend  the  throne  with  him.  Rumours  of  the  masquerader  have 
reached  Boris  who  is  already  repenting  the  murder  of  the  Czarevitch.  When 
the  would-be  Dimitri  arrives  in  Moscow,  the  aroused  public  condemns  him  to 
death*  Boris  dies  of  remorse,  leaving  the  throne  to  his  son. 

CARMEN 

Composer:  GEORGES  BIZET 

Book  by  HENRI  MEILUAC  and  LXJJDOVIC  HAL£VY,  based  on  Prosper 
M£rim£e*s  story 

First  performance:  Optra  comique,  Paris,  March  j,  i8?5 

4  acts. 

CARMEN,  a  Spanish  coquette,  is  arrested  for  fighting  in  the  cigarette  factory  of 
Seville.  J0s£»  the  sergeant  put  in  charge  of  her,  is  overcome  by  her  beauty  and 
offers  of  love,  He  allows  her  to  escape.  For  this  he  is  imprisoned.  When  he 
regains  his  freedom  he  joins  a  smuggling  ring  to  which  Carmen  belongs.  Jos6 
is  called  away  to  his  mother's  death  bed  and  on  returning  finds  Carmen  has 
given  her  affections  to  Kscamillo,  a  bullfighter,  Jos£  pleads  with  her  to  return 
to  him  but  she  scorns  him.  Insane  with  love  and  jealousy,  he  stabs  her  to  death  , 

CAVALLERIA  RUSTICANA 

(Rustic  Chivalry) 

Composer:  PEETRO  MASCAGNI 

Book  by  G.  TARGIONI-TOZZETTI  and  G.  MENASCI,  from  a  story   by 
Giovanni  Verga 

Hrst  performance:  Teatro  Costanzi,  Rome,  May  17, 
i  act, 


has  been  loved  and  deserted  by  Turiddu,  local  Don  Juan.    He  now 
loves  Lola  who  is  married  to  Alfio,     When  Santuzza  pleads  with  him  on  Easter 


824  STORIES  OF  THE  OPERAS 

morning  to  marry  her  to  protect  her  from  the  scandal  that  must  be  he  knocks 
her  down.  As  Lola  and  Turiddu  go  into  Mass  they  laugh  at  her.  This  is  too 
much  for  Santuzza  who  finds  Alfio  and  tells  him  that  Lola  and  Turiddu  are 
carrying  on  together  and  are  at  the  moment  in  the  church.  Alfio  picks  a  fight 
with  Turiddu  and  they  go  off  to  duel.  Mama  Lucia,  Santuzza's  mother,  stays 
with  her  to  hear  the  result.  When  the  crowd  comes  running  back  crying  that 
Alfio  has  killed  Turiddu,  Santuzza  swoons  into  her  mother's  arms. 

CONTES  D'HOFFMANN,  LES 

See  The  Tales  of  Hoffmann 

COQ  D'OR,  LE 

(The  Golden  Cock} 

Composer:  NIKOLAI  RIMSKY-KORSAKOV 

Book  by  VLADTMTR  BEEXSKY,  from  a  poem  by  Alexander  Pushkin 
First  performance:  Zimin's  Private  Theatre,  Moscow,  May,  igio 
3  acts. 

A  GOLDEN  COCK  has  been  set  up  in  the  council  chambers  of  the  mythical  King, 
Dodon.  The  astrologer  who  put  it  there  claims  unusual  powers  for  it.  When 
the  cock  crows  after  the  King  has  retired  he  discovers  that  the  King's  son  has 
taken  an  army  and  gone  out  to  fight.  The  King  follows.  Though  he  finds  his 
son  and  the  army  dead  he  is  relieved  of  suffering  by  the  sight  of  the  Queen  of 
Shemaka,  beautiful  beyond  words.  She  accepts  his  offer  of  marriage  and  back 
they  go  to  his  palace.  The  Astrologer  wants  to  be  paid  for  the  Golden  Cock  and 
asks  the  Queen  as  his  price.  The  King  kills  the  Astrologer  whereupon  the 
Golden  Cock  attacks  the  King  and  kills  him  with  his  beak.  In  a  dreadful  storm 
that  ensues  the  Queen  and  the  bird  disappear.  When  morning  arrives  the 
people  mourn  the  loss  of  King  Dodon.  The  Astrologer,  revived,  tells  the  audi- 
ence not  to  worry  about  the  situation  since  he  and  the  Queen  are  the  only  people 
alive  in  the  kingdom  of  Dodon  anyhow. 

COSI  FAN  TUTTE 

(They  All  Do  It) 

Composer:  WOLFGANG  AMADEUS  MOZART 

Book  by  LORENZO  DA  PONTE 

First  performance:  Burgtheater,  Vienna,  January  26,  I?QO 

2  acts. 

DON  ALFONSO  bets  two  young  officer  friends  that  if  they  leave  their  wives  for  a 
time,  no  matter  how  much  the  wives  love  their  husbands,  the  ladies  will  be  un- 


STORIES  OF  THE  OPERAS  825 

faithtul.  The  husbands  leave  and  return  masquerading  as  merchants.  At  first 
neither  wife  will  give  in  to  the  ardent  advances  of  the  attractive  strangers,  but 
finally  each  does.  In  the  end  the  whole  matter  is  cleared  up  happily,  not  with- 
out some  skillful  maneuvering  by  Don  Alfonso's  helper,  Despina,  the  maid. 


CYRANO 

Composer:  W  ALTER  DAMROSCH 

Book  by  W,  J.  HENDERSON,  from  Edmond  Rostand's  play  Cyrano  de 
Bergerac 

First  performance:  Metropolitan  Opera  Howe,  New  York,  February  27, 


4  acts. 

THE  LEASER  of  the  Gascoiiy  cadets,  Cyrano,  loves  Roxane,  who  in  turn  loves 
Christian  de  Neuvillette,  a  somewhat  inarticulate  friend  of  Cyrano's.  Cyrano 
supplies  the  words  for  Christian's  famous  balcony  wooing  of  Roxane  as  he 
(Cyrano)  hides  in  the  bushes  while  Christian  seems  to  speak  as  one  inspired. 
After  Roxane  and  Christian  are  married  she  rushes  to  the  battlefield  of  Arras 
to  see  her  husband  and  perhaps  die  with  him.  The  love  letters  from  Christian 
to  Roxane  had  been  written,  of  course,  by  Cyrano  and  Christian  accuses  Cyrano 
of  having  pled  his  own  rather  than  Christian's  case  in  love.  Rushing  into  the 
battle  he  is  quickly  brought  back  dead.  Roxane  enters  a  convent  and  it  isn't 
until  years  later  that  she  discovers  the  fact,  even  though  Cyrano  denies  it,  that 
Cyrano  has  loved  her  always* 


DON  GIOVANNI 


Composer:  WOLFGANG  AMADEUS 

Book  by  LORENZO  DA  PONTE 

First  performance:  National  Theatre^  Prague,  October  28,  1787 

a  acts, 

PATTERNED  AFTER  the  career  of  the  legendary  Don  Juan  this  is  the  story  of 
Don  Giovanni  who,  with  his  servant,  Leporello,  enter  the  house  of  the  Coramen- 
datore  of  Seville  to  get  his  daughter,  Donna  Anna,  with  whom  the  Don  for  the 
moment  is  enamoured.  She  screams  for  help  and  in  escaping  the  Don  kills  the 
Commendatore.  As  he  leaves  he  is  Intercepted  by  Donna  Elvira,  a  woman  he 
has  wronged.  As  the  Don  dashes  away  Leporello  shocks  her  with  a  listing  of 
the  Don's  endless  aSairs.  Don  Giovanni,  meanwhile,  has  fallen  in  love  with 
Zerlina,  peasant  fiancie  of  Masetto,  and  has  broken  up  her  wedding  party  in  his 
attempt  to  seduce  her.  But  even  the  party  he  gives  at  his  home  for  peasantry 
and  gentry  alike  is  not  successful.  Donna  Elvira  protects  the  girl.  Later, 


826<  STORIES  OF  THE  OPERAS 

after  asking  the  statue  of  the  dead  Commendatore  to  dine  with  him,  he  is 
warned  by  Donna  Elvira,  still  faithful  to  him,  of  dangers  about  to  beset  him. 
Leporello  arrives  screaming  that  the  statue  of  the  Commendatore  is  about  to 
enter  the  room.  The  Don  does  not  flee  but  grasps  the  hand  of  the  statue  and 
is  hurled  into  Hell  which  opens  at  the  Commendatore's  feet. 


DONNE  CURIOSE,  LE 

(The  Inquisitive  Ladies) 

Composer:  ERMANNO  WOLF-FERRARI 

Book  by  LUIGI  SUGANA,  from  a  play  by  Carlo  Goldini. 

First  performance:  Residenztheater,  Munich,  November  27,  1903 

3  acts. 

A  JLIGHT  COMEDY  in  which  two  lady's  maids  and  their  mistresses  are  anxious  to 
know  what  goes  on  in  a  men's  club  where  women  are  not  permitted.  After 
several  trials  they  arrive  inside  to  find  husbands  and  friends  dining  well.  When 
the-ladies  have  been  forgiven  their  invasion,  the  party  grows  gay  with  dancing. 
Rosaura  and  Florindo  provide  the  only  particular  love  interest. 


ELEKTRA 

(Electro) 

Composer:  RICHARD  STRAUSS 

Book  by  HUGO  VON  HOPMANNSTHAL,  from  Sophocles 
First  performance:  Hofoper,  Dresden,  January  25,  /pop 
i  act. 

NEAR  THE  SERVANTS*  QUARTERS  of  the  palace  at  Mycenae,  beside  the  grave  of 
King  Agamemnon,  is  the  scene  of  this  opera.  Electra,  daughter  of  Agamemnon 
wants  to  avenge  her  father's  murder  at  the  hands  of  her  mother,  Clytemnestra, 
now  married  to  Aegisthus.  This  pair  have  reduced  Electra  and  her  sister, 
ChiysQihemis,  to  the  status  of  servants.  Their  brother  Orestes  has  escaped 
CPytemnestra  is  obsessed  with  superstitions  and  asks  Electra  to  foretell  her 
day&.  When  Electra  does  so  Clytemnestra  screams  but  is  comforted  by  news 
from  another  source  that  Orestes,  who  is  fated  to  kill  her,  is  dead.  Electra  does 
not  believe  that  he  is.  She  tries  to  get  Chrysothemis  to  kill  Clytemnestra  but 
Chrysothemis  is  not  able.  Orestes  appears  and  at  first  does  not  recognise  his 
sisitei?  Bfeetra.  When  he  does  he  goes  into  the  palace  and  kills  Clytemnestra. 
Later  foe  also  kills  Aegisthus.  Wild  with  joy  Electra  dances  on  her  father's 
. while  Chrysothemis  screams  for  Orestes.  There  is  no  answer. 


STORIES  OF  THE  OPERAS  827 


EMPEROR  JONES,  THE 

Composer:  Louis  GRTTENBERG 

Book  by  the  composer  from  Eugene  O'NeiU's  play 

First  performance:  Metropolitan  Opera  House,  New  York,  January  7, 

2  acts  (prologue,  interlude,  and  6  scenes). 

BRUTUS  JONES,  self-termed  "emperor"  of  the  Negroes  of  a  West  Indian  island, 
has  learned  from  a  white  trader,  Smithers,  that  the  natives  intend  to  kill  him. 
Jones,  a  former  Pullman  porter,  has  risen  to  his  rank  on  the  island  by  his  crafty 
methods.  Taking  five  lead  cartridges  and  one  silver  one  (for  himself,  if  neces- 
sary),  Jones  plunges  into  the  jungle.  He  is  beset  by  the  visions  of  men  he  has 
tortured,  and  finally  by  horrible  shapes  conjured  up  by  voodoo  and  witch  doc- 
tors. He  uses  his  five  bullets  and  finally  fires  the  silver  sixth  bullet  at  a  Croco- 
dile God>  brought  to  existence  by  a  witch  doctor.  In  the  morning  he  finds  he 
has  fled  in  a  wide  circle  and  is  back  at  the  edge  of  the  jungle  where  he  is  easily 
captured. 

FALSTAFF 

Composer:  GIUSEPPE  VERDI 

Book  by  ARRIGO  BOITO,  from  Shakespeare 

First  performance:  La  Scala,  Milan,  February  p,  *%93 

3  acts. 

SIR  JOHN  FAX-STAFF,  plotting  affairs  with  both  Mrs,  Page  and  Mrs.  Ford,  wishes 
to  make  them  pay  out  financially.  The  ladies  themselves,  however,  are  in  on 
the  plot,  thanks  to  Dame  Quickly,  and  are  attempting  a  counterplot.  Anne 
Page,  who  is  in  love  with  the  threadbare  Fenton,  it  is  hoped  by  her  parents  will 
marry  much  better.  Sir  John  accepts  the  invitations  to  a  t£te-&-t£te  sent  him 
by  Mrs.  Ford  and  Mrs.  Page.  Ford  himself,  dressed  as  a  man  named  Fontana, 
delivers  the  invitations.  Sir  John  attired  in  his  best  wooing  garments  goes  to 
the  Fords'  house  as  Fontana  (Ford)  follows.  There,  to  save  Sir  John  from 
discovery,  after  A  variety  of  horseplay,  he  is  tumbled  out  the  window  into  the 
Thames.  Ford's  anger  is  eased  by  seeing  Sir  John's  humiliating  situation. 
Wine  revives  Sir  John,  however,  and  he  is  ready  to  fall  into  another  trap  when 
Mrs,  Ford  again  invites  him  to  a  rendezvous  in  Windsor  Forest.  He  is  to  come 
disguised  as  a  hunter.  He  arrives  and  this  time  elaborate  preparations  have 
been  made  to  receive  him.  Mrs,  Ford  goes  as  the  Queen  of  Fairies,  Mrs.  Page 
as  a  nymph.  Dame  Quickly  as  a  witch,  and  scores  of  children  as  sprites  and 
*lves.  *  Sir  John,  in  the  moonlit  forest  scene,  is  chased  and  hounded  by  all  until 
h«j  admits  that  he  has  been  bested.  All  unmask  for  a  last  chorus  together,  not 
i  t'fore,  however,  Anne  has  taken  part  in  a  mock  marriage  ceremony  with  Fen- 
tua,  which,  it  develops,  was  no  mockery  but  real. 


«28  STORIES  OF  THE  OPERAS 


FAUST 

Composer:  CHARLES  GOUNOD 

Book  by  JUUES  BARBIER  and  MICHEL  CARRE,  from  Faust  by  Goethe 

First  performance:  TMd.tr e  Lyrique,  Paris,  March  ip,  1850 

5  acts. 

FAUST  is  about  to  kill,  himself  with  poison  when  M ephistopheles  appears  in  his 
study  and  offers  him  youth  in  exchange  for  his  soul.  Faust  accepts  after 
Marguerite  is  revealed  to  him  at  her  spinning  wheel.  Faust  and  Marguerite 
fell  hi  love,  after  which  Valentin,  her  brother,  returns  from  the  wars  and  fights 
a  duel  with  Faust  in  which  Valentin  is  killed.  Faust  and  Mephistopheles  visit 
Marguerite  in  prison  where  she  is  waiting  death  because  she  killed  the  child 
Faust  has  fathered.  Marguerite  will  not  go  with  them  and  she  is  redeemed  by 
her  appeals  to  Heaven.  Faust  and  Mephistopheles  disappear. 


FIDELIO 

Composer:  LTJDWIG  VON  BEETHOVEN 

Book  by  JOSEPH  SONNLEITHNER  and  GEORG  FRIEDRICH  TREITSCHKE 
from  a  play  by  Jean  Nicolas  Bouilly 

First  performance:  Theater  an  der  Wien,  Vienna,  November  20,  1805 
2  acts. 

FLORESTAN  is  the  political  prisoner  of  Don  Pizarro  and  is  slowly  being  starved 
to  death  in  the  deepest  dungeon  of  the  prison.  Leonore,  his  devoted  wife,  is 
unable  to  explain  his  sudden  disappearance,  and  finally  disguised  as  a  man 
(Fidelio)  goes  to  the  prison  and  becomes  the  assistant  of  the  friendly  jailor. 
Rocco.  Marcelline,  daughter  of  Rocco,  becomes  enamoured  of  Fidelio  and 
invites  the  jealousy  of  Jacquino,  turnkey  who  loves  her.  By  encouraging  this 
affair  between  herself  and  Marcelline,  Leonore  (Fidelio)  is  able  to  discover  that 
a  mysterious  prisoner  is  being  given  a  slow  death  in  the  dungeon.  Don  Pizarro, 
frightened  by  a  letter  from  his  superior,  indicating  a  visit  to  the  prison,  instructs 
the  watch  to  give  a  trumpet  blast  when  Don  Fernando,  his  superior,  is  sighted. 
He  tries  to  bribe  Rocco  to  kill  Florestan  in  order  to  get  him  out  of  sight  but 
Rocco  will  only  agree  to  dig  the  grave.  Rocco  takes  Fidelio  with  him  into  the 
depths  of  the  prison  to  dig  it.  There  Leonore  (Fidelio)  reveals  herself  to 
Florestan,  and  draws  a  pistol  on  Don  Pizarro  who  arrives  to  murder  Florestan. 
Don  Fernando  is  announced  by  the  trumpet  call  and  Don  Pizarro  is  lighted 
up  to  the  surface  where  he  is  relieved  of  his  position  and  Florestan  and  Leonore 
are  happily  reunited. 


STORIES  UJb   THE  OPERAS  829 

FLYING  DUTCHMAN,  THE 

(Der  Fliegcnde  Hollander} 

Composer:  RICHA&D  WAGNER 

Book  by  the  composer 

First  performance:  f I  of  theater,  Dresden,  January  2,  1843 

3  acts. 

BASED  ON  THE  LEGEND  of  the  Flying  Dutchman,  this  is  the  history  of  Vander  • 
decken  who  vowed  he  could  sail  around  the  Cape  of  Good  Hope  in  spite  of  bad 
weather.  As  payment  for  such  a  rash  oath  he  was  doomed  to  sail  until  he  could 
find  a  woman  who  would  be  eternally  true  to  him.  Vanderdecken  meets  a 
Norwegian  sea  captain,  Daland.  He  tells  Daland  about  the  rich  cargo  he  is 
carrying  and  offers  to  pay  well  to  stay  at  Daland's  home  which  is  not  far  from 
the  port  in  which  they  meet.  In  the  Daland  household,  meantime,  Senta,  th* 
daughter,  gazes  at  a  picture  of  the  Flying  Dutchman.  To  her  amazement  hi* 
reincarnation  appnears  in  the  doorway  with  her  father.  Erik,  who  loves  hex 
has  been  in  despair  because  of  her  obsession  with  the  picture  and  her  desire  to 
free  the  man  from  his  endless  pilgrimage  on  the  sea.  After  Vanderdecken  and 
Senta  are  alone  together  she  quickly  accepts  his  offer  of  marriage.  Later,  how- 
ever, Vanderdecken  sees  Senta  pursued  by  Erik  and  decides  if  she  would  give 
up  one  man  she  might  another.  Without  any  warning  he  therefore  boards  his 
ship  and  sails  away.  Senta,  rushing  to  the  top  of  a  cliff,  screams  that  she  has 
been  faithful  unto  death  and  leaps  into  the  sea.  At  this  the  ship  sinks  and  in 
the  background  the  pair  can  be  seen  mounting  heavenward  together. 

FREISCHUTZ,  DER 

(The  Free-Shooter) 

Composer:  CARL  MARIA  VON  WEBER 

Book  by  JOHANN  PRIEDRXCK  KIND,  from  a  story  in  the  Gespensterbudk 

First  performance:  Schauspielhaus,  Berlin,  June  8,  1821 

3  acts. 

THE  DEMON  ZAMIEL  has  persuaded  Kaspar,  devotee  of  Prince  Ottokar  of  Bo- 
hemia, to  bargain  his  soul  for  a  set  of  magic  bullets.  Agathe,  daughter  of 
Kuno,  the  Prince's  chief  huntsman,  loves  Max  and  wants  to  marry  him.  Kas- 
par and  Zamiel  conspire  to  make  Max  a  poor  shot  in  the  first  round  of  competi- 
tion for  Kuno's  position  (that  worthy  is  retiring).  Max  is  encouraged  to  meet 
Kaspar  and  £amiel  where  he  will  receive  the  magic  bullets  *  .  .  i.e.,  Kaspar 
will  be  relieved  of  the  burden  of  them,  and  Zamiel  will  accept  Max  as  his  new 
ward.  Agathe  receives  a,  magic  wreath  from  a  holy  hermit.  At  the  next  con- 
testt  Max  shoots  perfectly  six  times  with  six  of  the  magic  bullets  which  will  do 


830  STORIES  OF  THE  OPERAS 

his  will,  but  the  seventh  must  do  Zamiel's.  The  demon  forces  Max  to  shoot 
Agathe,  whose  magic  wreath,  however,  saves  her  life,  deflecting  the  bullet  so 
that  it  kills  Kaspar.  Max  and  Agathe  can  now  wed. 

FRIEDENSTAG,  DER 

(The  Day  of  Peace) 

Composer:  RICHARD  STRAUSS 

Book  by  JOSEPH  GREGOR 

First  performance:  National  Theatre,  Munich,  July  24,  1938 

i  act. 

DtrftiNG  THE  THIRTY  YEARS'  WAR  a  besieged  town  is  being  held  by  a  Commander 
and  his  Catholic  adherents  who  would  rather  die  than  give  up.  Outside,  the 
besieging  troops,  led  by  Holsteiner,  are  pressing  the  town  hard.  A  letter  from 
the  Emperor,  sent  by  special  messenger,  orders  the  town  held  at  all  costs.  The 
messenger  sings  a  song  of  peace  which  instantly  brings  cries  from  the  populace 
who  want  bread.  They  plead  with  the  Commander  to  give  in  but  he  will  not. 
The  Commander  tells  the  people  that  they  will  receive  a  sign  before  noon,  at 
which  time  the  gates  will  be  opened.  Intending  to  quiet  them  while  he  can 
make  his  preparations,  the  Commander  goes  ahead  with  his  plan  to  blow  up  the 
town  and  kill  everyone,  himself  as  well.  His  wife,  Maria,  hears  the  preparations 
in  the  vaults  under  the  city,  and  comes  to  plead  with  her  husband.  He  is 
adamant.  The  enemy  is  sighted  approaching  with  obvious  banners  of  peace. 
The  Commander  cannot  believe  that  this  is  other  than  a  hoax.  Finally,  how- 
ever, Maria,  on  her  knees  before  her  Commander-husband,  persuades  him  to 
take  the  proffered  hand  of  the  enemy  leader,  Holsteiner.  The  populace  breaks 
out  into  a  hymn  of  peace. 

GIANNI  SCHICCHI 

Composer:  GIACOMO  PUCCINI 

Book  by  GIOACCHINO  FORZANO 

First  performance:  Metropolitan  Opera  House,  New  York,  December  14* 


i  act. 

THE  ESTATE  of  Buoso  Donati  has  been  left  not  to  his  immediate  relatives,  but 
to  charity.  The  relatives,  gathered  at  his  bedside  after  his  death,  are  in  a 
quandary  to  find  a  method  of  breaking  the  will.  One  member  of  the  family. 
Runuccio,  suggests  that  his  prospective  father-in-law,  Gianni  Schicchi,  a  gentle- 
man of  considerable  guile  and  cleverness,  be  called  in.  He  presents  the  only 
•possible  solution  for  the  situation  which  is  instantly  put  into  action.  Since  no 
one  except  those  in  the  death  chamber  know  of  Donati's  demise,  the  body  is 


STORIES  OF  THE  OPERAS  831 

removed  and  Gianni  Schicchi  impersonates  Donati.  The  doctor  calls  and  is 
delighted  to  find  his  patient  still  alive  (be  does  not  recognise  the  substitution), 
Gianni  Schicchi  then  calls  for  legal  support  and  dictates  a  new  will.  When  the 
relieved  relatives  read  the  will  they  discover  to  their  horror  that  he  has  willed 
the  major  part  of  the  estate  to  Gianni  Schicchi !  And  no  one  can  contest  it  since 
each  has  been  a  part  of  the  first  criminal  action. 


GIOCONDA,  LA 

(The  Smiling  One) 

Composer:  AHILCARE  PONCHIELLI 

Book  by  TOBIA  GORRIO  (Arrigo  Boito)  from  Victor  Hugo's  play  Angdo, 
tyran  dc  Padoue 

First  performance:  La  Scala,  Milan,  April  5,  1876 
4  acts. 


GRIMALBO,  a  pirate  in  the  Adriatic,  loves  Laura  Adorno  who  is  married  to 
Alvise  Badoero,  an  inquisitor,  La  Gioconda  is  in  love  with  Enzo  even  though 
she  is  a  street  singer,  and  he  of  noble  birth.  She  supports  her  blind  mother, 
La  Cieca,  Barnaba,  a  spy,  wants  to  possess  La  Gioconda.  In  a  wild  scene 
before  the  Doges'  Palace  in  Venice  Barnaba  arranges  for  Enzo  and  Laura  to 
meet  on  an  island.  He  advises  Alvise  that  the  meeting  will  take  place.  La 
Gioconda  also  learns  of  this  rendezvous.  Previously,  La  Cieca  has  been  accused 
of  witchcraft  and  would  have  been  killed  had  it  not  been  for  the  intervention  of 
Laura  to  whom  La  Cieca  gave  her  rosary.  On  the  island  Enzo  and  Barnaba 
arrive,  as  do  shortly  Laura  and,  finally,  La  Gioconda.  The  latter  is  about  to 
stab  Laura  when  she  sees  her  mother's  rosary  and  desists.  Alvise  is  about  to 
arrive  on  a  vessel  when  Laura  and  Gioconda  leave  the  island  while  Enzo  burns 
his  ship,  Back  in  Venice  Alvise  is  bent  on  avenging  his  honour  and  arranges 
to  have  Laura  drink  pxjison.  La  Gioconda  substitutes  a  sleeping  potion  so  that 
later  at  a  ball  when  Alvise  draws  aside  a  curtain  he  reveals  a  sleeping,  though 
apparently  dead,  Laura.  Enzo  is  arrested  for  denouncing  Barnaba  and,  in 
the  general  mC-lcc,  La  Oieca  is  taken  off  by  Barnaba.  La  Gioconda  cries  that 
she  will  give  herself  to  Barnaba  if  he  will  but  spare  Enzo's  life.  In  the  last 
act  Ktuso  conies  to  Lu  Gioconda  and  tells  her  that  he  only  wants  to  die  on  Laura's 
bier.  La  Uioconda  then  tells  him  that  Laura,  who  has  been  brought  in  still 
apparently  dead,  is  only  sleeping.  She  awakens  and  attests  her  love  for  Enzo. 
La  Giocomla  helps  the  two  depart  in  safety  to  Illyria  while  she  waits  to  stab 
herself  as  Harnafia  enters  to  collect  on  the  bargain  they  made  to  free  Enzo. 
To  partially  avenge  himself  in  losing  La  Gioconda,  Barnaba  screams  that  he  has 
killed  La  Cieca,  but  La  Giocontla  does  not  hear.  She  is  dead. 


GIOIELLI  DELIA  MADONNA,  I 
e  The  Jewels  of  the  Madonna 


832  STORIES  OF  THE  OPERAS 

GIRL  OF  THE  GOLDEN  WEST,  THE 

(La  Fanciulla  Del  West) 

Composer:  GIACOMO  PUCCINI 

Book  by  GTJELPO  CIVINI  and  CARLO  ZANGAiaNi  from  David  Belasco's 

play  of  the  same  name 
First  performance:  Metropolitan  Opera  House,  New  York,  December  10, 

ipio 

3  acts. 

IN  THE  CALIFORNIA  of  1849  Minnie  owns  a  saloon  to  which  Sheriff  Ranee  comes 
repeatedly  to  propose  marriage.  She  is  not  interested  but  is  attracted  to  a 
newcomer,  Dick  Johnson.  When  the  Sheriff  and  men  leave  as  a  posse  to  search 
for  the  outlaw,  Ramerrez,  Minnie  invites  Johnson  to  her  cabin  for  a  tete-i-t€te. 
During  their  love  scene  the  Sheriff  knocks  and  enters,  not  before  Johnson  has 
been  hidden  above  the  rafters,  however.  When  Ranee  has  left  Johnson  admits 
he  is  the  ouclaw,  and  Minnie  tells  him  to  leave.  He  is  later  wounded  and  re- 
turns. She  repents,  hides  him  again,  and  almost  convinces  Ranee  who  has 
returned  that  Johnson  (Ramerrez)  is  not  there.  But  blood  dropping  from  the 
rafters  gives  Johnson  away  and  Minnie  plays  poker  for  his  life:  Johnson  to  go 
free  if  she  wins,  and  she  herself  to  marry  Ranee  if  she  loses.  She  cheats  and 
wins.  In  the  final  scene  Johnson  has  been  captured  and  is  about  to  be  hung 
but  Minnie  intercedes,  and  the  crowd  gives  him  up  to  her  so  that  the  pair  can 
go  off  to  begin  a  new  life  together. 

GOTTERDAMMERUNG 

See  Ring  of  the  Nibelung 

GUILLAUME  TELL 

See  William  TeU 

HANSEL  UND  GRETEL 

Composer:  ENGELBERT  HUMPERDINCK 

Book  by  ADELHEID  WETTE,  from  a  fairy  tale  by  the  Brothers  Grimm. 
First  performance:  H  of  theater,  Weimar,  Germany,  December  23,  iSpj 
3  scenes. 

HANSEL  AND  GKETEL  are  sent  into  the  woods  to  pick  berries.    They  get  lost, 
and  when  thev  are  sleepy  lie  down  to  rest.     Angels  come  down  to  protect  them, 


STORIES  OF  THE  OPERAS  833 

and  they  spend  a  peaceful  night  only  to  be  caught  in  the  morning  by  the  Witch 
of  the  forest  who  loves  to  eat  children.  The  alert  children  contrive  to  lock  net 
in  the  oven  that  has  been  prepared  for  them.  Her  death  brings  to  life  all  the 
children  who  have  been  lost  before.  The  parents  of  Hansel  and  Gretel  arrive 
***  take  the  children  home. 

HERODIADE 

(Herodias) 

Composer:  JULES  MASSENET 

Book  by  PAUL  MILLIET  and  HENRI  GR&MONT  (Italian  version  by  A. 
Zanardmi) 

First  performance:  Tht&tre  de  la  Monnaie,  Brussels,  December  ip9  i88x 
4  acts. 

IN  JERUSALEM  of  30  A.D.  Salome  is  searching  for  the  prophet  John  who  once 
was  kind  to  her.  She  does  not  know  that  Herodias  is  her  mother.  Herod  is 
madly  in  love  with  Salome.  His  wife,  Herodias,  demands  that  John  lose  his 
head  because  he  cursed  her.  Herod  is  afraid  to  issue  this  order  since  the  people 
believe  Jn  John.  Salome  offers  John  her  love  but  he  tells  her  to  seek  God, 
Herodias,  in  consulting  Phanuel,  a  soothsayer,  discovers  that  Salome  is  her  own 
child.  When  Herod  finds  that  Salome  loves  John,  he  orders  the  prophet  be- 
headed, Salome  immediately  assumes  this  to  be  the  work  of  Herodias,  and  draws 
a  dagger  to  kill  her.  Herodias  stays  the  girl's  hand  when  she  cries  that  she 
(Herodias)  is  Salome's  mother.  Salome,  aghast  at  this  revelation,  stabs  herself. 

HEURE  ESPAGNOLE,  L' 

(Spanish  Time) 

Composer:  MAURICE  RAVEL 

Book  by  FRANC  NOHAIN 

First  performance:  Optra  comigue,  Paris,  May  ip,  ipr/ 

*  act. 

IN  TOLEDO  during  the  eighteenth  century  lived  Concepcion,  beautiful  but 
inconstant  wife  of  Torquemada,  clock-maker.  She  has  come  upon  the  happy 
method  of  hiding  her  lovers  by  putting  them  in  grandfatherVclock  cases, 
Ramiro,  a  giant  henchman,  lugs  these  from  room  to  room,  and  up  and  down- 
stairs to  suit  Ooncepcion's  taste  and  requirements.  However,  she  becomes  so 
interested  in  the  engaging  muscles  of  the  mighty  RamJro  that  she  invites  him 
to  her  rooms,  and  forgets  about  the  poet  in  one  clock  case  and  the  banker  in 
another*  Torquemada  returns  and  humanely  releases  them,  also  selling  each 
a  clock!  Finally,  with  Conccpcion  and  Ramiro,  they  all  sing  an  engaging 
quiatet* 


834  STORIES  OF  THE  OPERAS 

HUGUENOTS,  LES 

Composer:  GIACOMO  MEYERBEER 
Book  by  EUGENE  SCRIBE  and  SMILE  DESCHAMPS 
First  performance:  OpSra,  Paris,  February  29,  1836 
5  acts. 

RAOTJL  DE  NANGIS,  popular  Huguenot,  is  requested  by  Marguerite,  Queen  of 
Navarre,  to  come  blindfolded  to  meet  the  woman  she  wishes  him  to  marry, 
Valentine.  This  beautiful  young  lady  is  one  Raoul  had  fallen  in  love  with  years 
before  and  earlier  in  this  same  evening  had  seen  with  her  affianced,  De  Nevers, 
a  man  from  whom  she  was  trying  to  escape.  When  the  Queen  reveals  Valen- 
tine, Raoul  assumes  the  meeting  he  chanced  to  see  with  De  Nevers  was  an  assig- 
nation, and  cries  that  he  wouldn't  think  of  marrying  Valentine.  Marguerite 
later  prevents  open  warfare  between  the  Huguenots  and  Catholics  over  this 
slight.  Raoul,  still  in  love  with  Valentine,  watches  her  step  aboard  the  wedding 
barge  De  Nevers  has  provided.  He  appears  in  her  room  later,  and  learns  the 
truth  as  someone  enters.  Hiding  behind  a  curtain  he  overhears  the  whole  plan 
for  the  St.  Bartholomew's  Day  massacre.  When  he  emerges,  Raoul  and 
Valentine  sing  a  passionate  love  song.  In  the  Italian  version  it  is  at  this  point 
that  they  are  shot  down  from  offstage  and  the  opera  ends.  In  the  fifth  act 
ending,  Valentine  and  Raoul,  both  Huguenots  now,  are  shot  by  her  father's 
soldiers  not  before  they  have  been  married,  however. 


INQUISITIVE  WOMEN,  THE 

See  Le  Donne  Curiose 

JEWELS  OF  THE  MADONNA,  THE 

(7  Gioielli  della  Madonna) 

Composer:  ERMANNO  WOLF-FERRARI 

Book  by  the  composer,  verses  by  Carlo  Zangarini  and  Enrico  Golisciani 

First  performance:  Kurfurstenoper,  Berlin,  December  2,  ign 

3  acts. 

MAXEELLA  is  a  girl  free  with  her  favours,  whose  foster  parent,  Carmela,  has  a  son 
Gennaro  who  is  very  much  in  love  with  her.  She  loves  Rafaele,  a  lad  of  rash 
statements  but  cool  actions.  When  he  offers  to  steal  the  jewels  of  the  Madonna 
for  MalieUa  she  is  delighted  at  the  shocking  bravery  of  even  a  suggestion  of  such 
action.  When  Gennaro  is  taunted  bv  Maliella,  the  young  man  takes  her 


STORIES  OF  THE  OPERAS  835 

seriously,  goes  out  into  the  moonlight  to  bring  back  the  jewels.  Maliella,  once 
she  sees  them,  is  so  struck  with  their  beauty  that  she  gives  herself  to  him,  and 
happily  dons  the  precious  gems.  To  a  meeting  of  Camorrists  at  the  edge  of 
Naples  Maliella  comes  dressed  in  clothes  held  close  about  her.  When  she 
mentions  Gennaro's  name  Rafaele  is  enraged  and  hurls  her  to  the  floor  where- 
upon her  shawl  falls  open,  and  reveals  the  jewels.  Rushing  off  to  the  sea  the 
hysterical  Maliella  disappears,  as  do  all  the  Camorrists  who  are  afraid  of  being 
accused  of  the  theft.  Gennaro  has  in  the  meantime  arrived.  He  asks  the  Holy 
Virgin's  forgiveness,  and  stabs  himself  as  the  Camorrists  return  to  punish  him. 


JUGGLER  OF  NOTRE  DAME,  THE 

(Le  Jongleur  de  N dire-dame) 

Composer:  JULES  MASSENET 

Book  by  MAURICE  L&NA,  from  Anatole  France's  story 
First  performance:  Tkidtre  Monte  Carlo,  February  i89  1902 
3  acts. 

A  CROWD  is  making  fun  of  Jean,  a  poor  juggler,  whose  bag  of  tricks  the  crowd 
ridicules.  The  Prior  of  the  abbey  in  front  of  which  this  action  has  taken  place 
dears  the  square,  and  reproves  Jean  for  his  profession.  He  does,  however, 
invite  htm  into  the  abbey.  There  Jean  finds  the  monks  extolling  their  various 
arts*  and  trying  to  win  him  to  one  of  them.  Jean  is  unhappy  because  of  his  own 
lack  of  learning  but  the  cook,  Boniface,  later  points  out  that  it  is  not  necessary 
to  be  a  scholar  to  worship.  This  pleases  Jean  who  goes  into  the  chapel  in  his 
juggler  outfit*  and  does  his  pitiful  routine  as  a  humble  offering  to  the  Virgin, 
Just  when  the  enraged  Prior  and  monks  are  about  to  throw  him  out,  the  Virgin 
raises  her  hands  in  benediction  over  the  boy  as  he  dies. 


JUIVE,  LA 

(The  Jewess) 

Composer:  FROMENTAL  HAL£VY 

Book  by  EUGENE  SCRIBE 

First  performance:  Opira^  Paris,  February  23, 1835 

5  acts. 

IN  1414  IN  CONSTANCE,  Rachel,  the  supposed  daughter  of  the  wealthy  Jewish 
merchant,  Eleazar,  is  Iovc<l  by  Prince  Leopold,  a  man  she  knows  only  as  Samuel, 
an  artist.  When  she  discovers  that  Samuel  is  not  only  Prince  Leopold  but  has 
a  wife,  Eudoxia,  as  well,  she  is  overwhelmed,  and  accuses  him  publicly.  Cardi- 
nal Brogni  imprisons  all  three,  also  excommunicating  the  Prince.  Rachel 


836  STORIES  OF  THE  OPERAS 

finally  recalls  her  accusation  at  the  behest  of  Princess  Eudoxia,  whereupon 
JEleazer  and  Rachel  are  accused  of  plotting  against  a  Christian.  Before  they 
are  to  die  in  boiling  oil,  Eleazar  points  out  that  Rachel  is  not  his  daughter  but 
the  Cardinal's,  a  child  he  had  saved  from  the  Cardinal's  palace  when  it  burned. 


KING'S  HENCHMAN,  THE 

Composer:  DEEMS  TAYLOR 
Book  by  EDNA  ST.  VINCENT  MXLLAY 

First  performance:  Metropolitan  Opera  House,  New  York,  February 
1927 

3  acts. 

ENGLAND  in  the  tenth  century  is  the  scene  of  this  opera  in  which  King  Eadgar 
declares  his  intention  of  marrying  Aelfrida,  rumoured  as  the  extremely  beautiful 
daughter  of  a  thane  of  Devon.  Aethelwold,  best  friend  of  the  King,  is  asked 
to  go  and  present  the  King's  invitation  of  marriage.  Aethelwold  has  no  interest 
in  the  ladies  but  as  an  act  of  friendship  agrees  to  do  so.  In  a  misty  forest  of 
Devonshire  on  Allhallow  Eve  Aethelwold  lies  asleep  when  Aelfrida  approaches 
reciting  an  invocation  which  is  to  find  her  a  true  lover.  As  though  by  divine 
intervention  the  mist  rises,  and  reveals  Aethelwold  to  Aelfrida.  They  im- 
mediately fall  in  love.  Aethelwold  discovers  that  Aelfrida  is  the  woman  he 
has  been  sent  to  find,  and  departs  in  order  to  put  temptation  behind  him.  But 
he  returns  when  she  calls  him.  Without  telling  her  of  the  King's  invitation  to 
marriage,  Aethelwold  sends  word  back  to  King  Eadgar  that  Aelfrida  is  too 
homely  for  a  King,  and  begs  leave  to  marry  her  himself.  They  live  happily 
for  months  until  the  King  sends  word  that  he  is  coming  to  visit  his  faithful 
servant,  and  meet  his  wife.  When  Aelfrida  hears  of  Aethelwold's  duplicity 
she  first  agrees  to  make  herself  homely,  but  when  the  King  arrives  she  appears 
looking  her  most  beautiful.  Aelthelwold  kills  himself  as  the  King  mourns  his 
best  friend. 


KONIGSKINDER,  DIE 

(The  King's  Children) 

Composer:  ENGELBERT  HUMPERDINCK 
Book  by  ERNST  ROSMER  (Elsa  Bernstein) 

First  performance  (operatic  version):  Metropolitan  Opera  House,  New 
York,  December  28,  ipio 

3  acts. 

THE  KING'S  SON  on  seeing  a  Goose  Girl  realises  he  has  found  the  woman  who 
will  be  his  Queen.     She,  unfortunately,  is  under  a  spell  from  which  he  can  n of 


STORIES  OF  THE  OPERAS  837 

free  ber.  When  the  people  of  Hellabrunn,  who  have  been  expecting  their  own 
King,  see  the  King's  Son  (a  lackey  at  the  Inn)  bow  before  the  Goose  Girl  as  she 
comes  into  the  market  place  they  will  have  nothing  to  do  with  the  pair  as 
royalty,  and  drive  them  out  of  the  city,  along  with  the  Fiddler  who  has  ac- 
companied the  Goose  GirL  One  child,  alone,  believes  that  they  truly  are 
royal.  Wandering  in  the  snow  the  pair  come  to  the  Witch's  house.  She  is 
dead  and  the  Fiddler  lives  there,  though  he  is  out  hunting  for  them.  The  King's 
Son  is  given,  in  error,  a  poison  loaf  left  by  the  Witch.  He  innocently  gives  it 
to  the  Goose  Girl  as  well  as  eating  of  it  himself.  The  children  of  Heliabrunn 
find  them  dead  ,  *  ,  the  royal  pair  that  the  world  has  not  recognised. 


LAKME 

Composer:  L£o  DELIBES 

Book  by  EDMOND  GOUDINET  and  PHILIPPE  GILLE,  based  on  Le  Mariage 
de  Loii  by  Goudinet 

First  performance:  Optra  comique,  Paris,  April  14,  1883 
3  acts. 

LAKM£  is  the  daughter  of  NHakantha,  a  fanatic  hater  of  foreigners.  She  meets 
Gerald  in  the  temple  grounds,  trespassing  upon  which  means  death  for  infidels. 
When  the  Hindu  priest,  NHakantha,  sees  footprints  he  demands  the  man's 
name  of  Lakm£,  but  she  will  not  reveal  it.  At  a  village  square  meeting  he  has 
Lakm£  sing  the  Bell  Song*  and  his  cunning  is  rewarded  for  Gerald  reveals  him- 
self. Nilakantha  instantly  staba  him.  Lakm£  has  him  spirited  off  to  the 
fonsst  where  she  cures  him.  She  leaves  to  make  a  love  potion  for  the  love  which 
has  blossomed  between  them.  When  she  returns  Gerald  is  leaving,  having  been 
urged  by  a  friend  to  return  to  his  duties  as  an  officer.  Lakrafi  drinks  poison, 
and  dies  in  Gerald's  arms. 


LOHENGRIN 

Composer:  RICH  ABB  WAGNER 

Book  by  the  composer 

First  performance:  ff  of  theater,  Weimar,  Germany,  August  28,  1850 

3  acts. 


AT  AOTWE*!*,  Gottfried,  the  young  Duke  of  Brabant,  has  disappeared.  Count 
Teiramund  accuse*  Eba,  Gottfried's  sister,  of  murdering  him.  King  Henry 
calls  Eisa  beneath  the  oak  of  justice.  Klsa  tells  of  a  dream  she  has  had  of  a 
knight  who  will  come  to  protect  her,  and  marry  her.  Elaa  prays,  and  the  boat 
drawn  by  a  swaa  appears  with  the  Knight  in  the  prow.  He  declares  himself 


838  STORIES  OF  THE  OPERAS 

Elsa's  champion  on  the  condition  that  she  never  ask  his  name  or  origin.  He 
bests  Telramund  in  battle,  but  spares  his  life.  Telramund  and  his  heathen  wife, 
Ortrud,  plan  vengeance.  As  Elsa  is  entering  the  church  about  to  marry  the 
Knight  Ortrud  tells  Elsa  she  should  know  her  husband's  name.  After  the 
ceremony  in  the  bridal  chamber  Elsa,  her  curiosity  aroused,  asks  her  husband's 
name.  Telramund  enters  with  drawn  sword,  and  is  killed  by  the  Knight. 
Because  of  Elsa's  question  her  husband  now  leaves  her,  and,  before  King  Henry. 
he  tells  his. story  and  that  his  name  is  Lohengrin.  He  kneels  to  pray,  and  the 
swan  leading  his  boat  sinks,  Gottfried  appearing  in  his  place.  A  dove  pilots 
Lohengrin's  boat  down  the  river  out  of  sight  as  Elsa  falls  dead  in  her  brother's 
arms. 


LOUISE 

Composer:  GUSTAVE  CHARPENTIER 

Book  by  the  composer 

First  performance:  Opera  comique,  Paris,  February  2,  IQOO 

4  acts. 

THE  DRESSMAKER,  Louise,  has  become  enamoured  of  an  artist,  Julien.  She 
wants  to  marry  him,  but  her  father  will  not  give  his  consent  because  he  believes 
all  artists  to  be  wasters.  Disgusted  with  the  restrictions  her  parents  place 
upon  her  Louise  elopes  with  Julien,  and  goes  to  live  with  the  Bohemians  in 
Montmartre.  At  a  special  occasion  when  Louise  is  to  be  honoured  as  Queen 
of  the  Quarter,  she  is  asked  to  come  home  because  her  father  is  dying.  If  this 
is  not  a  trick,  then  it  is  fortunate  that  she  goes,  for  the  father  recovers  almost 
instantly  upon  her  arrival.  Louise  refuses  to  stay,  and  announces  that  she  is 
going  back  to  Julien  and  the  Quarter.  Louise  dodges  a  chair  which  her  father 
hurls  at  her  in  his  anger,  and  leaves.  Her  father  curses  Paris. 


LUCIA  DI  LAMMERMOOR 

Composer:  GAETANO  DONIZETTI 

Book  by  SALVATORE  CAMMARANO,  from  Sir  Walter  Scott's  novel  The 
Bride  of  Lommermoor 

First  performance:  Teatro  San  Carlo,  September  26,  1835 
3  acts. 

EDGAR  of  Ravenswood  (Edgardo)  is  leaving  for  France,  and  renews  his  vows 
of  love  for  Lucy  Ashton  (Lucia)  though  the  two  houses  have  maintained  a  feud 
for  years.  Henry  Ashton  (Enrico),  Lucy's  brother,  arranges  a  marriage  be- 
f  weea  his  friend  Arthur  Bucklaw  (Arturo)  and  Lucy  by  tricking  her  into  believ- 


STORIES  OF  THE  OPERAS  839 

ing  Edgar  has  been  untrue.  On  the  marriage  night  she  murders  Arthur,  and 
dies  with  the  last  note  of  her  famous  "Mad  Scene."  Edgar,  who  returned 
at  the  time  of  the  marriage  to  curse  Lucy  for  faithlessness,  now  sees  the  tragic 
duplicity  that  has  taken  Lucy  from  him,  and  stabs  himself. 


LUSTIGEN  WEIBER  VON  WINDSOR,  DIE 

See  The  Merry  Wives  of  Windsor 

MADAME  BUTTERFLY 

(Madama  Butterfly) 

Composer:  GIACOMO  PUCCINI 

Book  by  GIXISEPPE  GIACOSA  and  LTTIGI  ILLICA,  from  the  play  by  David 
Belasco  and  John  Luther  Long  (itself  from  Long's  Madam  Butterfly) 

First  performance:  La  Scala,  Milan,  February  if,  1904 
3  acts. 

IN  JAPAN,  Pinkerton,  an  officer  in  the  United  States  navy,  finds  a  young  Japa- 
nese girl,  Cio-Cio-San,  attractive  to  him,  and  takes  her  for  his  wife.  She  bean, 
him  a  son  while  he  is  away.  The  American  consul,  Sharpless,  has  become  a 
good  friend  to  Cio-Cio-San,  and  when  Pinkerton  returns  with  his  legitimate  wife 
from  America  Sharpless  informs  him  of  the  existence  of  a  son.  Mrs.  Pinkerton 
wants  to  adopt  the  child  but  Cio-Cio-San  will  not  permit  it,  and  asks  Pinkerton 
to  return  a  few  minutes  later  for  the  child.  She  then  blindfolds  the  child,  and 
commits  hari-kari. 


MAGIC  FLUTE,  THE 
(Die  ZauberjlMe) 

Composer:  WOLFGANG  AMADEUS  MOZART 

Book  by  EMANUEL  SCHIKANEDER 

First  performance:  Theater  auf  der  Wieden,  Vienna,  September  30,  1791 

2  acts. 

JN  A  HYPOTHETICAL  EGYPT  of  antiquity,  the  daughter  of  an  evil  Queen  has  been 
taken  from  her  mother  by  the  high  priest  of  Isis,  Sarastro.  Tamino  attempts 
to  return  Pamina,  the  daughter,  to  her  mother  in  gratitude  for  the  debt  he  owes 
her  since  her  handladies  saved  him  from  a  snake.  Papageno,  the  bird-catcher, 
accompanies  Pamina.  Sarastro  fascinates  Tamino,  and  instead  of  freeing  the 
iaughter  of  the  Queen  he  studies  to  become  a  disciple  of  Sarastro,  Finally, 
however,  he  is  married  to  Pamina  and  the  evil  Queen  of  the  Night  is  thwarted. 


840  STORIES  OF  THE  OPERAS 

MANON 

Composer:  JULES  MASSENET 

Book  by  HENRI  MEILHAC  and  PHILIPPE  GILLE  based  on  L'Histoire  de 
Manon  Lescaut  by  Abbe  Prevost 

First  performance:  OpZra  comique,  Paris }  January  ip,  1884 
5  acts. 

ON  HER  WAY  to  a  convent  Manon  meets  Chevalier  des  Grieux  whom  she  in- 
stantly loves.  In  Paris  where  they  go  to  live  together  the  Chevalier  is  not 
successful  in  getting  his  father's  consent  to  marriage.  He  is  kidnapped  by  his 
father  after  De  Bretigny  has  asked  Manon  to  go  with  him  and  be  his  mistress. 
After  Des  Grieux's  disappearance  she  lives  with  De  Bretigny  until  she  finds 
that  the  Chevalier  is  about  to  take  holy  orders.  She  rushes  to  St.  Sulpice 
and  convinces  him  that  he  should  depart  with  her.  Later,  fti  a  gambling 
house,  the  Chevalier  and  Manon  are  both  arrested  for  cheating  at  cards.  He 
is  freed  through  his  father's  influence,  but  Manon  is  to  be  deported  to  America 
with  others  of  her  sisterhood.  Des  Grieux  and  Lescaut,  her  cousin,  had  planned 
to  rescue  her,  but  when  she  appears  in  the  procession  to  the  ship  she  is  ill  and 
spent.  She  dies  in  the  Chevalier's  arms. 


MANON  LESCAUT 

Composer:  GIACOMO  PUCCINI 

Book  by  DOMENICO  OLIVA,  MARCO  PRAGA,  GIUSEPPE  GIACOSA,  LUIGI 
ILLICA,  and  GIULIO  RICORDI,  from  Abb6  Provost's  L'Histoire  de  Manon 


First  performance:  Teatro  Regio,  Turin,  February  i,  1893 
4  acts. 

THE-  ITRST  MEETING  and  elopement  of  Manon  and  Des  Grieux  is  essentially  the 
same  as  in  Massenet's  opera  (produced  in  1884).  In  the  succeeding  act  Manon 
is  the  expensive  mistress  of  G6ronte  de  Ravoir  in  Paris.  Des  Grieux  finds  her, 
and  they  are  about  to  run  away  for  the  second  time  when  they  are  halted  by 
G6ronte.  Manon  catches  up  her  jewels  only  to  be  arrested  as  a  thief.  Later 
Manon  is  sentenced  to  exile  in  Louisiana  and  is  leaving  on  a  ship  filled  with 
others  of  her  kind.  Des  Grieux  accompanies  the  boat  as  a  member  of  the  crew 
Manon  dies  near  New  Orleans  with  the  faithful  Des  Grieux  at  her  side, 


STORIES  OF  THE  OPERAS  Ml 

MAN  WITHOUT  A  COUNTRY,  THE 

Composer:  WALTER  DAMJROSCH 

Book  adapted  by  the  composer  from  Edward  Everett  Kale's  famous 
novel;  done  in  verse  by  Arthur  Guiterman 

First  performance:  Metropolitan  Opera  House,  New  York,  May  12,  /pj7 
2  acts  (5  scenes). 

WHEN  AARON  BURR  tried  to  form  a  new  republic  in  the  Southwest  he  drew  into 
bis  conspiracy  Philip  Nolan.  The  opera  opens  on  the  island  of  Blennerhassett 
where  the  Ohio  joins  the  Mississippi,  Mary  Rutlcdge  is  present  at  a  party 
to  which  Philip  Nolan  comes  to  declare  his  love.  When  Burr  and  his  party 
have  left  for  Natchez  (he  fears  arrest)  Nolan  lingers  behind  to  say  good-bye 
to  Mary,  and  is  captured  by  United  States  soldiers.  Tried  at  Charleston  he  is 
sentenced  to  never  see,  or  touch  foot  on,  his  native  soil  because,  desperate  after 
being  plagued  with  so  many  questions,  he  screamed:  "Damn,  damn  the  United 
State*1  I  never  wish  to  hear  the  cursed  name  again."  Aboard  the  frigate 
Gugrritrc  Nolan  has  spent  months  and  years  while  Mary  works  for  a  pardon 
in  Washington.  She  goes  to  Gibraltar  and  comes  aboard  his  ship.  He  is  over- 
joyed to  see  her,  but  asks  her  to  leave  since  the  frigate  will  shortly  pursue 
pirates.  He  pleads  to  be  allowed  to  fight  with  the  Gucrribrc  men  against  the 
pirates.  Mary  succeeds  in  getting  the  permission,  and  he  dies  after  killing 
the  Admiral  of  the  enemy  ships.  Commodore  Decatur  drawing  his  own  sword 
Jays  it  in  Nolan's  arms. 


MAROUF,  SAVETIER  DU  CAIRE 
(M&rouf,  The  Cobbler  of  Cairo) 

Composer:  HEKEI  RABAUD 

Book  by  LUCIEN  NKPOTY>  from  the  Arabian  Nights 
First  fx*rfarmance:  Optra  comique,  Paris,  May  1 
5  acts. 

To  KHA!TAN?  M  AROUF,  the  cobbler  of  Cairo,  has  come  to  change  his  luck,  having 
grown  tired  of  his  nagging  wife.  M&rouf  follows  the  advice  of  Ali,  and  creates 
a  fictitious  caravan  boasting  of  its  early  arrival  in  the  city.  This  talk  interests 
the  Sultan  and  Vizier  who  overhear  him.  He  is  invited  to  the  palace,  and 
finally  offered  the  hand  of  the  Sultan's  daughter  in  marriage.  The  treasury 
is  opened  to  M&rouf  who  gives  freely  to  the  people.  When  the  daughter  is 
unveiled  Marouf  discovers  that  he  loves  her,  and  that  she  loves  him.  But  the 
caravan  fails  to  arrive  anci  the  Vizier  grows  suspicious.  To  the  Sultan's  ques- 
tions Mfcrouf  is  evasive,  but  he  breaks  down  and  tells  the  Sultan's  daughter 
about  his  true  state.  She  suggests  that  they  flee  the  city  which  they  do 


842  STORIES  OF  THE  OPERAS 

They  come  upon  a  man  ploughing  in  a  field,  and  ask  him  for  food.  While  he  is 
gone  to  get  it  Mirouf  ploughs,  and  unearths  a  ring  which  marks  the  opening  of  a 
treasure  cave.  The  Princess  rubs  the  ring  whereupon  the  workman  reappears 
as  a  Djinn.  Mlrouf  instantly  wishes  for  his  caravan,  and  none  too  soon,  for 
the  Sultan  and  Vizier  arrive,  and  propose  to  execute  M&rouf.  In  the  nick  of 
time  an  endless  caravan  arrives,  and  Mirouf  and  bis  bride  are  borne  ofi  tri- 
umphant while  Vizier  is  given  a  beating  for  his  pessimism. 

MARRIAGE  OF  FIGARO,  THE 

(Le  Nozze  di  Figaro) 

Composer:  WOLFGANG  AMADEUS  MOZART 

Book  by  LORENZO  DA  PONTE,  from  Beaumarchais'  comedy  Le  Mariage 
de  Figaro 

First  performance:  Burgtheater,  Vienna,  May  J,  1786 
2  acts. 

FIGARO,  valet  to  Count  Almaviva,  is  to  marry  Susanna,  maid  to  the  Countess. 

Cherubino,  a  page,  is  in  love  with  the  Countess.    When  Cherubino  asks 

Susanna's  help  the  Count  arrives  to  pay  her  court,  and  Cherubino  hides  behind 

a  chair,  only  to  be  quickly  succeeded  there  by  the  Count  himself  when  the  music 

master,  Don  Basilio,  arrives.     The  knowledge  of  intended  infidelity  of  each 

on  the  part  of  another  keeps  both  silent.     The  Countess,  mildly  unhappy  about 

the  Count's  unfaithfulness,  is  aided  by  Susanna,  Figaro,  and  Cherubino  in  an 

attempt  to  mend  his  ways.     Cherubino  is  to  dress  as  Susanna,    This  is  not 

accomplished  before  the  Count  is  heard  arriving,  and  Cherubino  hides  in  a 

closet.     The  Count  hears  him,  goes  for  something  with  which  to  pry  open  the 

door,  only  to  find  Susanna  in  the  closet,  Cherubino  having  leaped  out  the 

window.     Marcellina,  a  duenna,  arrives  with  a  promise  made  by  Figaro  to 

marry  her  daughter  in  payment  of  an  old  debt.    This  to  the  Count  eliminates 

Figaro,  and  makes  the  winning  of  Susanna  easy.    But  Marcellina  turns  out 

to  be  Figaro's  mother.     In  a  new  intrigue,  the  Countess  and  Susanna  exchange 

costumes.    In  the  final  resolution  the  Count  and  the  Countess  are  reunited, 

and  Figaro  and  Susanna  will  be  married,  at  last. 

MARTHA 

Composer:  FRIEDRICH  VON  FLOTOW 

Book  by  W,  FRIEDRICH 

First  performance:  Karnlhnerthor  Theatre,  Vienna,  November  25,  184? 

5  acts. 

IN  ENGLAND,  during  the  rule  of  Queen  Anne,  Lady  Harriet  and  her  friend 
Nancy,  in  a  spirit  of  fun,  take  jobs  as  maids  to  two  farmers,  Lionel  and  Piunkett 


STORIES  OF  THE  OPERAS  843 

The  men  immediately  fall  in  love  with  the  maids  who  have  assumed  the  uames 
Martha  and  Julia.  The  two  women  quickly  tire  of  their  jaunt,  and  escape  by 
means  of  Sir  Tristram,  cousin  of  Lady  Harriet.  However,  it  develops  that 
Lionel  is  actually  the  heir  to  the  Earl  of  Derby's  title.  A  ring  left  by  the  man 
who  had  masqueraded  as  Lionel's  father  proves  the  young  man's  rightful 
heritage.  Lady  Harriet,  who  had  had  him  thrown  in  prison  when  he  threw 
himself  at  her  feet  during  the  royal  hunt,  now  suddenly  ceases  to  scorn  him, 
and  marries  him. 

MEFISTOFELE 

(Mephistofeles) 

Composer:  ARRIGO  BOITO 

Book  by  composer,  based  on  Goethe's  Faust 

First  performance:  La  Scala,  Milan,  March  5,  1868 

Prologue,  4  acts,  and  epilogue. 

MEPHISTOPHELES,  having  made  a  defiant  boast  to  God  that  he  can  break  a  soul, 
pursues  the  young  student  Faust  and,  in  exchange  for  supernatural  aid,  receiver 
Faust's  agreement  to  go  with  him,  Faust  makes  love  to  Marguerite  as  Mephis- 
topheles  pays  attention  to  her  mother,  Martha.  Marguerite  is  visited  in 
prison  by  Faust  where  she  is  to  be  executed  for  the  murder  of  her  child.  She 
will  not  flee  with  him,  and  Js  redeemed  by  her  penitence.  Faust  is  then  taken 
by  Mephistopheles  to  ancient  Thessaly  where  he  meets  Helen  of  Troy  and  hears 
her  story.  She  permits  herself  to  be  attracted  to  Faust.  Finally,  in  the 
epilogue,  Faust  has  grown  ancient,  and  seems  to  have  lost  interest  in  the  world 
Mephistopheles  has  provided  for  him.  Though  the  Evil  One  conjures  up  new 
enticements,  Faust  dies  with  the  Bible  in  his  hands. 


MEISTERSINGER,  DIE 

(The  Master-Singers) 

Composer:  RICHAKD  WAGNER 

Book  by  the  composer 

First  performance:  Uof-und-National-Theater,  Munich,  June  21, 1868 

3  acts. 

Varr  POONER,  a  rich  goldsmith,  has  promised  to  give  the  hand  of  his  daughter, 
Eva,  to  the  winner  of  the  singing  contest  on  St.  John's  day.  Walther  von 
Stolzmg,  a  knight,  has  seen  Eva  in  church,  and  fallen  in  love  with  her.  Walther 
applies  to  the  Mastersingers  to  compete  in  the  contest.  Beckmesser,  a  writer, 
and  rival  for  Eva's  hand,  tries  to  discredit  Walther  by  marking  down  all  his 
mistakes  at  the  tryout  Walther  stays  at  the  house  of  Hans  Sachs,  and  Eva 
contrives  to  see  him,  betraying  their  love  to  the  kind  old  cobbler.  Walther, 


844  STORIES  OF  THE  OPERAS 

while  sleeping,  dreams  of  a  prize  song,  and  the  next  day  sings  it  to  Sachs  who 
writes  it  down.  Beckmesser  enters  the  shop  and  steals  the  song.  Just  before 
the  competition  Walther  composes  another  verse.  At  the  contest  Beckmesser 
sings  the  song  he  has  stolen  very  poorly,  and  is  laughed  down.  When  he  tells 
them  Hans  Sachs  wrote  it  Hans  denies  it,  and  asks  Walther  to  sing.  Walther 
sings  all  the  verses  of  his  song,  and  is  acclaimed  by  the  Guild.  Walther  receives 
the  hand  of  Eva  as  his  reward. 

MERRY  WIVES  OF  WINDSOR,  THE 

(Die  Lustigen  Weiber  Von  Windsor) 

Composer:  OTTO  NICOLAI 

Book  by  SALOMON  HERMANN  VON  MOSENTHAL,  from  Shakespeare 

First  performance:  Hofoper,  Berlin,  March  p,  1849 

3  acts. 

SIR  JOHN  FALSTAFF,  who  has  been  writing  love  letters  to  Mrs.  Ford  and  Mrs. 
Page,  is  drawn  into  a  trap  set  by  the  ladies  to  catch  him.  He  leaps  into  a 
clotheshamper  to  hide  when,  invited  to  a  t6te-a-t£te  with  Mrs.  Ford,  her  hus- 
band returns.  Later,  of  course,  he  is  dumped  into  the  river  with  the  dirty 
clothes.  As  a  secondary  theme,  the  attempt  to  marry  Anne,  the  daughter  of 
the  Pages,  offers  amusing  action.  In  the  end  Anne  runs  away  to  marry  a  poor 
poet,  Fenton. 

MIGNON 

Composer:  AMBROISE  THOMAS 

Book  by  MICHEL  CARR£  and  JULES  BARBIER,  from  Goethe's 
Wilhelm  Meister 

First  performance:  Optra  comique,  Paris,  November  17, 1866 
3  acts. 

IN  A  GERMAN  OTN,  Lothario,  an  insane  singer,  searches  for  his  lost  daughter. 
Mignon,  a  member  of  a  gypsy  tribe  entertaining  the  guests,  refuses  to  dance. 
Giarno,  the  gypsy  chief,  is  about  to  beat  her  when  Wilhelm  Meister,  a  wealthy 
young  man,  offers  to  buy  her  from  him.  Giarno  accepts  and  Mignon,  dressed 
as  a  page,  accompanies  Wilhelm  to  a  castle  where  Filina,  an  actress,  is  to  play 
"Titania."  Wilhelm  tells  Mignon  she  must  leave  his  service  to  protect  her 
reputation.  Again  a  gypsy  and  in  love  with  Wilhelm,  Mignon  contemplates 
suicide.  Seeing  .Wilhelm  with  Filina,  she  wishes  the  castle  struck  by  lightning. 
Mad  Lothario  overhears,  and  sets  the  castle  on  fire.  Mignon  rushes  into  the 
building  -to  retrieve  a  bouquet  given  to  Filina  by  Wilhelm.  Wilhelm  saves 
her,  and  realises  he  is  in  love  with  her.  Lothario  regains  his  sanity  on  finding 
Mignon  is  his  lost  daughter.  Mignon  and  Wilhelm  avow  their  love  for  each 
Other. 


STORIES  OF  THE  OPERAS  845 

NATOMA 

Composer:  VICTOR  HERBERT 

Book  by  JOSEPH  D.  REDDING 

First  performance:  Metropolitan  Opera  Howe,  Philadelphia,  February  25  ', 


3  acts. 

IN  THE  EARLY  DAYS  of  California  when  It  was  controlled  by  Mexico,  Barbara, 
the  daughter  of  wealthy  rancher  Don  Francisco,  is  eagerly  awaited  by  her 
father.  She  is  returning  from  school.  Paul  Merrill  is  visiting  the  Don  and 
falls  instantly  in  love  with  Barbara,  being  himself  devotedly  loved  by  Natoma, 
an  Indian  girl.  Alvarado,  cousin  to  Barbara,  wishes  to  marry  her,  and  decides 
to  take  her  away  with  or  without  permission.  At  the  fiesta  in  the  village 
Barbara  begs  off  when  asked  to  dance  the  paftuela  with  Alvarado.  Castro 
then  asks  anyone  to  dance  the  dance  with  him,  and  Natoma  accepts.  This  is 
a  design  of  Alvarado's  to  get  the  crowd's  attention  on  the  dance  so  that  he  can 
abduct  Barbara.  However,  Natoma  sees  Alvarado  throw  his  serape  over 
Barbara's  head,  and  sidesteps  Castro  to  stab  Alvarado.  She  is  given  sanctuary 
by  the  priest  of  the  mission.  She  asks  to  become  a  nun  and  is  granted  the 
privilege.  It  ia  assumed  that  Barbara  will  be  Paul's. 


NORMA 

Composer:  VINCENZO  BELLINI 

Book  by  GIUSEPPE  FELICE  ROMANIA  based  on  a  story  by  Alexander 
Soumet  and  Louis  Belmontet 

First  performance:  La  Scala,  MUan,  December  26*  1831 
*  acts. 

NORMA,  high  priestess  of  the  Druids,  secretly  loves  and  has  had  two  children 
by  Poilione,  a  proconsul  of  the  invading  Romans*  Because  of  her  love  for 
Poliione  she  persuades  the  Druids  not  to  fight  the  Romans,  Pollione,  mean- 
while, has  become  enamoured  of  Adalgisa,  a  young,  virgin  priestess,  and  wants 
her  to  return  to  Rome  with  him.  Adalgisa  confesses  her  love  for  Pollione  to 
Norma  who  reveala  her  own  passion  for  him.  They  join  in  denouncing  him* 
Because  of  Nonna's  suffering,  Adalgisa  pleads  with  Pollione  to  return  to  her. 
He  refuses  and,  instead,  plans  to  abduct  Adalgisa.  Norma,  learning  this, 
sounds  the  call  of  War  on  the  Romans.  Norma  gives  him  the  choice  of  death 
or  exile.  He  refuses  both  and  Norma,  angered,  calls  the  Druids,  and  tells  them 
a  virgin  priestess  has  broken  her  vows,  and  must  die  by  fire  as  punishment. 
Bolliona,  thinking  she  means  Adalgisa,  begs  her  not  to  do  it.  But  instead  of 
Adalgisa  NOTO&  tells  th$  Druids  it  i$  she,  herself,  who  ba$  trans- 


846  STORIES  OF  THE  OPERAS 

gressed.  Pollione,  realising  the  greatness  of  Norma,  ascends  the  funeral  pyre 
with  her. 

NOZZE  DI  FIGARO,  LE 

See  The  Marriage  of  Figaro 

ORPHEUS  AND  EURYDICE 

(Orfeo  Ed  Euridice) 

Composer:  CHRISTOPH  WHXIBALD  VON  GLUCK 
Book  by  RANTERI  DI  CALZABIGI,  from  a  Greek  legend 
First  performance:  Hofburgtheater,  Vienna,  October  5, 1762 
4  acts. 

ORPHEUS,  who  has  mourned  the  loss  of  Eurydice,  wishes  to  go  into  the  under- 
world to  look  for  her.  He  is  warned  that  he  must  not  look  back  at  her.  He 
finds  her  at  last  in  the  Elysian  Fields,  after  having  passed  safely  through  Hades. 
He  leads  her  back,  but  she  pleads  him  not  to  look  at  her.  Accidentally  he  turns 
to  her,  and  she  disappears,  returning  to  the  Elysian  Fields.  Orpheus  is  in 
despair  until  Amor  assures  him  that  the  gods  have  relented,  and  Eurydice  will 
rejoin  Mm  again.  They  meet  in  the  Temple  of  Love. 

OTELLO 

Composer:  GIUSEPPE  VERDI 

Book  by  ARJUGO  BOITO,  after  Shakespeare 

First  performance:  La  Scala,  Milan,  Febritary  5,  1887 

4  acts. 

OTHELLO  arrives  at  Cyprus,  and  announces  that  the  Turkish  fleet  has  been 
annihilated.  lago  begins  to  plot  against  Othello  because  the  latter  has  pro- 
moted Cassio  over  lago's  head.  Roderigo  is  in  love  with  Desdemona,  recently 
married  to  Othello.  Cassio  wounds  Montano  in  a  brawl  incited  by  lago. 
Othello  relieves  Cassio  of  his  commission.  Desdemona  is  prevailed  upon  by 
Cassio  to  intercede  for  him.  She  accidentally  drops  a  handkerchief  which 
lago's  wife,  Emilia,  picks  up.  lago  builds  Othello's  jealousy  of  Cassio  by 
showing  Othello  the  handkerchief.  Othello,  infuriated,  decides  to  poison 
Desdemona,  but  lago  counsels  smothering  her.  He  himself  will  take  care  of 
Cassio.  Othello  promotes  lago.  The  head  of  the  Venetian  embassy  appears 
to  read  an  order  removing  Othello,  and  placing  Cassio  in  his  place.  Desdemona 
who  has  interceded  before  this  for  Cassio  is  insulted  by  Othello.  Later  Othello 
enters  Desdemona's  bedroom  and  strangles  her.  Before  she  is  quite  dead 
Emilia  arrives  saying  that  Roderigo  has  killed  Cassio.  Though  Desdemona 


STORIES  OF  THE  OPERAS  847 

says  with  her  last  breath  that  she  died  by  her  own  hand,  Othello  maintains  he 
lolled  her  because  she  was  mistress  to  Cassio.  Emilia  then  explains  the  whole 
handkerchief  business,  and  as  she  does  Montano  comes  in  to  report  that  Rode- 
rigo  in  dying  has  told  of  lago's  plot.  lago  escapes  and  Othello,  seeing  how  he 
has  wronged  Desdemona,  stabs  himself. 

PAGLIACCI 

(Punchinello) 

Composer:  RUGGIERO  LEONCAVALLO 

Book  by  the  composer 

First  performance:  Teatro  dal  Verme,  Milan,  May  21,  1892 

2  acts. 

IN  THE  FAMOUS  PROLOGUE  Tonio  tells  the  villagers  that  actors  are  but  human. 
A  small  company  of  strolling  players  have  arrived  in  Calabria,  and  set  up  theii 
booth.  Nedda>  wife  ol  Canio  who  loves  her  madly,  is  carrying  on  an  affair 
with  a  villager,  Silvio.  She  is  also  desired  by  Tonio,  the  clown,  but  him  she 
will  not  tolerate.  In  revenge  Tonio  leads  Canio  to  the  place  where  Silvio  and 
Nedda  are  trysting.  Canio  tries  to  kill  Silvio  but  he  escapes.  Canio  then  turns 
on  Nedda  but  she  is  protected  by  members  of  the  troupe*  That  night  the 
actors  present  a  play  from  their  stage,  and  its  action  is  essentially  the  drama  of 
the  lives  of  Canio,  Silvio,  and  Nedda.  Desperate,  Canio  finally  drops  his  part 
in  the  play  and  demands  of  Nedda  her  lover's  name.  When  she  won't  tell  him 
he  stabs  her,  Silvio  leaps  to  the  stage  to  protect  her,  and  is  in  turn  killed. 
Canio  turns  to  the  audience  and  speaks:  "The  comedy  is  ended." 

PARSIFAL 

Composer:  RICHARD  WAGNER 

Book  by  the  composer 

First  performance:  Festepielhaus,  Bayreuth,  July  26, 1882 

3  acts, 

THE  ACTION  which  has  taken  place  before  the  play  concerns  the  Spanish  Pyre- 
nees where  the  Knights  of  the  Holy  Grail  live,  guarding  two  sacred  relics:  the 
Spear  with  which  the  side  of  Christ  was  pierced,  and  the  Cup  of  the  Last  Supper 
which  also  caught  the  Hood  from  His  side.  They  have  refused  Klingsor  entry 
to  their  order.  In  a  garden  which  he  has  created  to  tempt  the  Knights  he 
contrives  to  ensnare  Amfortas,  King  of  the  Grail,  through  the  agencies  of  the 
fascinating  Kundry.  Amfortas  is  wounded  by  the  Spear  and  can  find  no  way 
to  heal  his  wound.  He  must  find  an  Innocent  Fool,  a  man  who  can  resist  all 
temptation,  and  win  back  the  Spear  with  which  to  cure  Amfortas.  He,  then, 
will  become  the  new  King*  The  opera  action  opens  at  this  point.  Parsifal, 


848  STORIES  OF  THE  OPERAS 

a  boy  of  the  forest,  is  captured  by  the  Knights  for  killing  a  swan.  Gurnemanz 
believes  this  innocent  lad  may  be  the  Fool  for  whom  they  are  waiting.  Hs 
shows  no  understanding  of  the  service  of  the  Eucharist  which  further  convinces 
Gurnemanz.  In  the  castle  of  KLingsor,  ELundry  is  called  to  practice  her  wiles 
on  Parsifal.  He  resists  all  temptations  and  finally,  when  Klingsor  in  anger 
hurls  the  Spear  at  him,  Parsifal  makes  the  sign  of  the  Cross  which  protects  him- 
self,  and  destroys  the  garden.  He  wanders  for  some  time  until  he  gets  back  tc 
the  castle  of  the  Holy  Grail  where  he  is  received  by  Kundry  who  has  repented 
and  is  now  a  servant  of  the  Grail.  With  the  Spear  he  heals  Amfortas'  wound, 
As  Amfortas  kneels  before  the  new  King,  Kundry  dies.  Parsifal  has  become 
the  Saviour  of  the  Order  of  the  Holy  Grail. 


PELLEAS  AND  MELISANDE 

(Pelleas  et  Melisande) 

Composer:  CLAUDE  DEBUSSY 

Poem  by  MAURICE  MAETERLINCK 

First  performance:  Op&ra  comique,  Paris,  April  jo,  igo2 

5  acts  (12  scenes). 


is  met  in  the  forest  by  Golaud  who  has  gone  there  to  hunt.  He 
wishes  her  for  his  bride,  and  asks  his  half-brother,  Pell6as,  to  make  the  intricate 
arrangements  necessary  to  please  his  grandfather,  King  Arkel  of  Allemonde. 
PellSas  is  immediately  attracted  to  M61isande.  Golaud  is  jealous,  particularly 
when  the  wedding  ring,  which  she  has  lost  in  a  pool,  becomes  the  centre  of 
suspicion.  He  spies  upon  Pell€as  and  Melisande,  even  to  holding  his  child  up 
to  see  what  the  pair  are  doing  in  her  room.  Once  when  she  leans  out  the  window 
to  speak  to  Pell6as  her  hair  falls  about  his  head,  and  he  caresses  it  as  Golaud 
enters.  Finally,  his  suspicions  having  driven  him  mad,  he  kills  PellSas.  When 
Melisande  lies  dying  in  childbirth,  she  tells  him  that  she  loved  PellSas,  but 
innocently.  She  dies,  leaving  him  still  tormented  by  doubts. 


PETER  IBBETSON 

Composer:  DEEMS  TAYLOR 

Book  by  composer  and  CONSTANCE  COLLIER,  after  her  play  version  of 
Du  Maurier's  novel 

First  performance:  Metropolitan  Opera  House,  New  York,  February  7,  jrpjr 
3  acts, 

YOUNG  PETER  IBBETSON,  nephew  and  ward  of  pompous  Colonel  Ibbetson,  meets 
Mar>,  Duchess  of  Towers,  at  a  London  gathering.  He  doesn't  realise  that  she 
is  the  sweetheart  of  his  youth.  Peter  angers  his  uncle  and  leaves  to  visit  France 
vfcere  he  spent  his  childhood.  He  falls  asleep  at  an  inn  and  dreams  of  a  quarrei 


STORIES  OF  THE  OPERAS  849 

between  his  mother  and  his  uncle.  He  awakens  to  find  Mary  at  the  inn.  They 
recognise  each  other  and  find  they  are  still  in  love.  Mary  tells  him  they  must 
not  meet  again.  Peter  returns  to  London  and,  in  a  heated  dispute  with  his 
uncle,  kills  him.  Sentenced  to  life  imprisonment  he  is  consoled  by  a  message 
from  Mary  that  they  will  always  be  together  in  their  dreams.  Forty  years 
later  Peter,  an  old  man,  hears  of  Mary's  death  and  sees  her  in  a  dream  beckoning 
to  him.  He  dies  to  meet  her  in  Eternity. 

PRINCE  IGOR 

Composer:  ALEXANDER  BORODIN 

Book  by  the  composer  and  VLADIMIR  STASSOV  from  the  Russian  tale 
The  Epic  of  the  Army  of  Igor 

First  performance:  Imperial  Opera  Howe,  St.  Petersburg,  October  23,  1890 
Prologue  and  4  acts. 

PRINCE  IGOR  of  Severski,  in  the  twelfth  century,  gives  his  wife,  Yaroslovna, 
into  the  keeping  of  his  brother-in-law,  Prince  Galitsky,  and  leaves  to  fight  the 
Polovtses,  enemy  tribes  from  the  East.  He  is  accompanied  by  his  son,  Vladi- 
mir. While  Prince  Igor  is  away  Prince  Galitsky  seizes  the  government.  His 
moral  will  to  do  so  is  strengthened  by  a  report  that  Prince  Igor  and  Vladimir 
have  been  captured  by  the  Polovtses.  In  the  meantime,  Prince  Igor  and 
Vladimir  are  enjoying  the  hospitality  of  Khan  Konchak  who  treats  his  prisoners 
like  gentlemen.  Vladimir  refuses  to  escape  when  the  means  is  provided  by 
Qvlour,  a  native  convert  to  Christianity,  because  he  has  fallen  in  love  with  the 
Khan's  daughter,  Konchakovna.  He  regrets  that  he  didn't  take  the  offer 
later,  for  the  Polovtsians  have  pillaged  his  own  native  city,  and  returned  with 
their  loot.  Vladimir,  Igor  and  Ovlour  escape,  and  return  in  time  to  oust  Prince 
Galitsky.  Vladimir,  recaptured,  is  saved  from  execution  by  Konchakovna. 

PROPHETS,  LE 

Composer:  GIACOMO  MEYERBEER 

Book  by  EUGENE  SCRIBE 

First  performance:  Op&ra,  Paris,  April  26,  1849 

5  acts. 

JOHN,  an  Anabaptist  of  Germany,  wishes  to  marry  Bertha,  vassal  of  Count 
Oberthal  who  will  not  give  his  consent  because  she  is  so  beautiful.  Bertha,  seek- 
ing concealment  from  the  Count,  is  finally  given  as  a  hostage  to  spare  the  life 
of  Fid£s,  John's  mother,  whom  the  Count  holds  captive,  and  will  kill  if  Bertha 
is  not  relinquished,  John  then  gives  in  to  the  Anabaptists  who  have  wanted 
him  for  their  leader,  and  leads  a  revolt,  disguised  as  the  Prophet.  Fides,  now 
a  beggar,  tells  Bertha  that  John  is  dead.  Bertha  assumes  that  the  Prophet  has 
killed  him-  Fid£s  is  imprisoned  as  an  imposter  when  she  recognises  her  son  as 


850  STORIES  OF  THE  OPERAS 

the  Prophet.  Afraid  of  advancing  enemy  forces,  the  Anabaptists  decide  to  give 
up  John,  as  Bertha  enters  to  avenge  the  supposed  death  of  John  by  killing  the 
Prophet.  When  she  sees  that  the  Prophet  is  John  she  kills  herself  instead. 
John  and  his  mother  are  burned  in  the  flames  of  the  palace. 


RIENZI,  THE  LAST  OF  THE  TRIBUNES 

(Rienzi,  Der  Letzte  der  Tribunen) 

Composer:  RICHARD  WAGNER 

Book  by  the  composer  from  Bulwer-Lytton's  novel  of  the  same  name 

First  performance:  H  of  theater,  Dresden,  October  20,  1842 

5  acts. 

BASED  on  the  character  of  Rienzi,  the  Roman  tribune  of  the  fourteenth  century, 

this  is  the  story  of  the  abduction  of  Irene,  sister  of  Cola  di  Rienzi.     Paolo 

Orsini,  a  noble,  has  captured  her.     His  right  to  her  is  contested  by  Steffano 

Colonna.    Adriano,  Colonna's  son,  protects  Irene  from  the  warring  factions. 

When  Rienzi  decides  to  overthrow  the  nobles  and  save  the  people,  Adriano  gives 

him  his  support.     When  this  is  an  accomplished  fact  the  nobles  come  to  the 

Capitol  to  submit  to  his  rule.     Adriano  is  convinced  that  foul  work  is  afoot, 

and  warns  Rienzi  who  prepares  himself  so  that,  when  Orsini  leaps  upon  him 

with  a  dagger,  hidden  armour  protects  him.     Adriano's  pleas  for  the  release 

of  his  father,  after  all  the  nobles  have  been  condemned  to  death,  leads  Rienzi  to 

free  them  all.     The  nobles  immediately  betray  their  pardon,  and  battle  the 

people.     They  are  defeated,  but  Adriano's  father,  Colonna,  is  killed.    Adriano 

serves  warrant  on  Rienzi  that  the  death  must  be  avenged.     Rienzi  is  Coronated 

and,  almost  immediately,  it  is  rumoured  that  he  is  a  partisan  of  the  Emperor's. 

Adriano  tries  to  assassinate  him  and,  unsuccessful,  goes  to  Irene  and  tells  her 

of  the  danger  Rienzi  is  in.     He  asks  her  to  flee  with  him  but  she  won't.     She 

goes  to  the  Capitol,  and  finds  Rienzi  in  prayer.     He  pleads  with  her  to  leave 

with  Adriano.     She  will  not  go,  but  stays  with  her  brother  in  the  Capitol, 

perishing  with  him.     Adriano,  who  wants  to  be  with  her,  dies  in  the  flames 

trying  to  get  to  her. 

RIGOLETTO 

Composer:  GIUSEPPE  VERDI 

Book  by  FRANCESCO  MARIO  PIAVE,  from  Victor  Hugo's  Le  Rot  s'^musc 

First  performance:  Teatro  la  Fenice,  Venice,  March  ix,  1851 

4  acts. 

RIGOLETTO,  the  hump-backed  court  jester  of  the  Prince  of  Mantua,  laughs  at 
the  noblemen  of  the  court  for  allowing  the  Prince  to  be  attentive  to  their  wives. 


STORIES  OF  THE  OPERAS  851 

plot  vengeance  on  him,  and  Count  Monterone  curses  him.  The  Prince 
disguised  as  a  student  has  been  courting  Gilda,  Rigoletto's  daughter,  at  church. 
The  noblemen  abduct  her  thinking  she  is  Rigoletto's  mistress.  Rigoletto  finds 
Gilda  at  the  palace  with  the  Prince.  He  admits  she  is  his  daughter,  and  takes 
her  away.  Rigoletto  goes  to  an  inn  where  the  Prince  is  staying,  and  plans  his 
death  with  the  aid  of  Sparafucile,  a  bandit.  Maddalena,  Sparafucile's  sister, 
begs  him  not  to  kill  the  Prince.  Sparafucile  promises  not  to  if  another  comes 
to  the  inn  before  midnight.  Gilda  overhears  this  and,  dressed  as  a  man,  enters 
the  inn,  Rigoletto  comes  at  midnight,  and  is  given  a  body  tied  in  a  bag.  He 
:s  about  to  throw  the  bag  in  the  river  when  he  hears  the  Prince  singing  in  the 
inn.  In  a  frenzy  he  unties  the  bag,  and  finds  Gilda  who  with  her  dying  breath 
says  she  is  Happy  to  die  for  her  lover.  Rigoletto  realises  that  the  curse  of  Count 
Monterone  has  been  fulfilled. 


Ring  of  the  Nibelung 

RHEINGOLD,  DAS 

(The  Rhinegold} 

Composer:  RICHARD  WAGNER 

Book  by  the  composer 

First  performance:  Ho/~und~N<ttional->Theatert  Munich,  Septembers^  1869 

4  scenes. 

Tfeoe  RHINE  MAIDENS,  Woglmde,  Wellgunde,  and  Flossbilde  guard  the  Kiine- 
gold  in  the  depths  of  the  Rhine-  After  telling  Alberich,  a  Nibeiung,  that  anyone 
able  to  forge  a  ring  from  the  gold  will  possess  the  world  and  all  its  power,  he 
steals  the  gold  from  them,  Wotan,  King  of  the  Gods,  and  Fricka,  his  wife,  are 
sleeping  before  the  Valhalla,  new  home  of  the  Gods,  built  by  the  Giants  Fafner 
and  Fasolt  in  return  for  Freia,  the  Goddess  of  Youth  and  Love,  Loge,  the  God 
of  Pure,  tells  Wotan  of  the  ring  Alberich  has  made  from  the  Rhinegold.  The 
Giants  end  Wotan  both  want  the  ring,  and  the  Giants  take  Freia  away  saying 
that  they  will  release  her  Jf  Wotan  gets  them  the  gold  and  the  ring  before  eve- 
ning. The  Gods  lose  their  youth  when  Freia  departs.  Wotan  and  Loge 
descend  beneath  the  earth,  and  by  trickery  obtain  the  Nibelung  treasure,  the 
ring  and  the  Tarnhelm  (a  magic  helmet  which  enables  the  wearer  to  make  him- 
self invisible  or  change  his  form),  Wotan  refuses  the  Giants  the  ring  but  gives 
it  up  when  Erda,  the  Goddess  of  Earthly  Wisdom,  warns  him  against  it,  and 
predicts  the  fall  of  the  Gods,  The  curse  of  the  ring  is  wrought  on  Fasolt,  the 
first  wearer,  who  is  killed  by  Fafner  in  a  quarrel  over  it.  Wotan  leads  the  Gods 
to  Valhalla  over  a  rainbow  bridge  which  appeared  when  Donner  struck  away 
the  clouds* 


STORIES  OF  THE  OPERAS 


WALKURE,  DIE 

(The  Valkyr) 

Composer:  RICHARD  WAGNER 

Book  by  the  composer 

First  performance:  Hof-und-National-Theater,  Munich,  June  26, 

3  acts. 

WOTAN,  King  of  the  Gods,  begets  Siegmund  and  Sieglinde  in  a  union  with  a 
mortal  woman.  Separated  at  birth  Sieglinde  is  unhappily  married  to  Hunding, 
a  savage  fighter.  She  gives  a  stranger  shelter  in  her  house.  Suspecting  him 
to  be  Siegmund,  her  lost  brother,  she  secretly  tells  him  of  a  sword,  Nothung, 
Wo  tan  their  father  placed  in  a  tree  for  Siegmund  to  use  in  his  hour  of  need.  The 
stranger  pulls  the  sword  from  the  tree,  proving  himself  her  brother.  They 
embrace  in  love  and  flee  to  the  forest,  Hunding  pursuing.  Wotan  tells  Briinn- 
hilde,  one  of  the  nine  Walkiire  Maidens  he  created  by  a  union  with  Erda  the 
Earth  Goddess,  to  protect  Siegmund  against  Hunding.  Fricka,  his  wife  and 
Goddess  of  Marriage,  makes  Wotan  reverse  his  order  and  protect  Hunding, 
punishing  Siegmund  for  uniting  with  Sieglinde  in  love.  Briinnhilde  disobeys 
and  protects  Siegmund.  Fricka  forces  Wotan  to  interfere  on  Hunding's  behalf, 
and  he  breaks  Siegmund's  sword,  Nothung,  with  his  spear.  Hunding  slays 
Siegmund,  and  for  this  Wotan  kills  Vnm  in  return.  Briinnhilde  sends  Sieglinde 
to  the  forest  to  bear  the  child  of  her  lover.  Wotan,  angry  at  BrQnnhilde's  dis- 
obedience, punishes  her  by  putting  her  to  sleep  on  a  rock  surrounded  by  fire 
which  only  a  fearless  hero  can  penetrate,  and  who  only  with  a  kiss  can  awaken 
her. 

SIEGFRIED 

Composer:  RICHARD  WAGNER 

Book  by  the  composer 

First  performance:  Festspielkaus,  JBayreuth,  August  16,  x8?6 

3  acts. 

SIEGFRIED,  son  of  Siegmund  and  Sieglinde,  has  grown  to  manhood  in  the  forest. 
His  mother,  who  died  at  his  birth,  had  given  him  the  broken  sword,  Nothung. 
Mime,  the  brother  of  Alberich,  who  cares  for  him,  tries  to  forge  the  sword  to- 
gether but  fails.  Siegfried  succeeds  and,  led  by  Mime,  goes  to  the  cave  where 
Fafner,  in  the  form  of  a  dragon,  guards  the  Rhinegold.  Siegfried  kills  Fafner 
with  his  sword,  and  accidentally  tastes  the  dragon's  blood  which  enables  him  to 
understand  the  birds.  They  tell  him  of  the  ring,  the  Rhinegold,  and  the  Tarn- 
helm  in  the  cave.  He  obtains  these,  and  kills  Mime  who  tries  to  make  him 
drink  a  poison  potion.  The  birds  then  tell  him  of  Briinnhilde,  sleeping  on  a 
rock  surrounded  by  fire.  Siegfried  sets  out  for  her,  and  is  stopped  by  Wotan, 


STORIES  OF  THE  OPERAS  853 

disguised  as  a  wanderer.  Siegfried  breaks  Wotan's  spear  with  his  sword, 
Nothung,  thereby  demonstrating  that  man  had  broken  the  might  of  the  Gods, 
tie  advances  to  the  rock,  surmounts  the  fiery  wall,  and  wakes  Briinnhilde  with 
a  kiss. 

GOTTERDAMMERUNG 

(Dusk  of  the  Gods) 

Composer:  RICHARD  WAGNER 

Book  by  the  composer 

First  performance:  Festspielhaus,  Bayreuth,  August  17,  1876 

Prologue  and  3  acts. 

Pens:  THREE  NORNS  (Fates  of  Northern  mythology)  break  the  golden  rope  of 
destiny  as  they  pass  it  to  one  another.  The  Gods,  seeing  in  this  their  doom,  go 
down  into  the  earth  to  their  mother  Erda.  Brtinnhilde  sends  Siegfried  forth 
on  a  journey  to  the  Rhine.  Before  he  leaves  he  places  the  ring  on  her  finger 
to  give  her  strength.  By  the  Rhine  is  the  family  of  the  Gibichungs,  Gunther, 
head  of  the  tribe,  Gutrune,  his  sister,  and  Hagen,  their  half-brother.  Hagen 
plans  to  unite  Gunther  and  Brtinnhilde,  and  Gutrune  and  Siegfried  in  marriage. 
Siegfried  enters  and,  after  drinking  a  potion  which  blots  out  his  memory  of 
BrUnnhilde,  he  marries  Gutrune,  and  sets  out  to  bring  Brtinnhilde  for  Gunther- 
BrUnnhilde  refuse^ to  give  up  Siegfried's  ring  to  Wotan  to  save  the  Gods  from 
destruction.  Siegfried,  disguised  as  Gunther,  comes  and  takes  the  ring  from 
BriinnhHde,  and  tells  her  she  must  be  his  wife.  Siegfried  returns  to  Gutrune, 
and  they  begin  to  celebrate  a  wedding  feast,  Gunther  enters  with  Briinnhilde 
who  is  wild  with  anger  when  she  sees  Siegfried  married  to  Gutrune,  She  and 
Hagen  plan  Siegfried's  death  and  enlist  Gunther's  aid.  She  tells  Hagen  of  the 
vulnerable  spot  in  Siegfried's  back.  On  a  hunt  Siegfried  passes  the  Rhine,  and 
the  Maidens  ask  for  his  ring.  When  he  refuses  they  predict  his  death.  When 
the  potion  wears  off  and  Siegfried  regains  his  memory,  he  relates  the  story  of  his 
life  and  his  love  for  Briinnhiide.  Hagen  stabs  him  in  the  back,  and  they  bring 
him  to  Gutrune.  Hagen  and  Gunther  fight  over  the  ring,  and  Gunther  is  killed. 
When  Hagen  tries  to  wrench  it  from  Siegfried's  finger  the  dead  man  raises  his 
hand  in  warning.  Briinnhilde  enters,  and  takes  the  ring  saying  it  wiU  be  re- 
stored to  the  Rhine  Maidens  after  it  has  been  purified  by  the  fire  that  will  burn 
Siegfried  and  herself-  She  lights  the  funeral  pyre  of  Siegfried  and  mounted 
on  her  horse,  Grane,  rides  into  the  flames.  The  Rhine  overflows  and  extin- 
guishes the  fire.  The  Rhine  Maidens  catch  the  ring  when  Brttnnhilde  flings 
it  to  tfaem.  Hagen  drowns  in  the  waters,  and  in  the  distance  the  Valhalla  burns 
destroying  the  Gods- 


85<  STORIES   OF  THE  OPERAS 

ROMEO  AND  JULIET 

(Romeo  et  Juliette) 

Composer:  CHARUES  GOUNOD 

Book  by  JULES  BARBIER  and  MICHEIL  CARRE,  from  ShakespeareV  play 

First  performance:  Th&titre  Lyrique,  Paris,  April  27,  1867 

5  acts. 

JUIJDET,  of  the  house  of  Oapulet,  meets  Romeo  at  a  masked  ball  given  in  her 
home.  In  spite  of  the  age-old  feud  between  the  houses  of  Capulet  and  Montagu 
(of  which  Romeo  is  a  member),  they  are  married  in  Friar  Lawrence's  cell. 
Romeo  is  banished  by  the  Duke  for  having  killed  Tybalt  who  had  previously 
killed  Mercutio.  Juliet,  after  being  secretly  visited  by  Romeo  in  the  night, 
is  approached  by  Capulet  who  says  she  must  marry  Count  Paris,  Friar  Law- 
rence gives  Juliet  a  potion  to  drink  which  will  make  her  appear  dead,  though  she 
is  only  asleep.  When  Romeo  hears  of  her  supposed  death  he  buys  poison  for 
nimself ,  and  comes  to  the  tomb  to  die  beside  her.  He  meets  Count  Paris,  ar\c 
Villa  him.  Romeo  then  drinks  the  poison,  and  dies  himself.  When  Friar 
Lawrence  comes  to  awaken  Juliet  he  "finds  swords  and  blood.  He  therefore 
tries  to  induce  Juliet  to  flee  but  she  will  not.  She  stabs  herself,  and  dies  beside 
her  husband. 

RONDINE,  LA 

(The  Swallow) 

Composer:  GIACOMO  PUCCINI 

Book  by  GIUSEPPE  AJDAMI 

First  performance:  Monte  Carlo,  March  27,  IQI? 

3  acts. 

IN  THE  SALON  of  Magda,  mistress  of  Rambaldo,  a  young  poet,  PrumSre  voices 
the  opinion  that  love  and  marriage  are  coming  back  into  favour.  He  is  laughed 
at  but  Magda  considers  seriously  what  he  has  said.  Later  in  the  evening, 
Ruggero,  a  young,  innocent  country  lad,  is  introduced.  When  he  expresses  an 
interest  in  seeing  night  life  Rambaldo  offers  to  show  him,  Magda  and  her  maid 
follow  the  men  to  the  Bal  Bullier.  There  she  falls  in  love  with  him,  and  leaves 
Rambaldo .  In  their  villa  retreat  in  Antibes  Magda  is  happy  with  him  but 
Ruggero  wants  to  marry  her.  He  writes  for  his  mother's  consent  and  she  gives 
it,  provided  the  girl's  past  is  immaculate.  Magda  philosophically  leaves 
Ruggero  to  a  safe  girl  of  his  mother's  choice,  and  returns  to  Paris  and  Rambaldo. 


STORIES  OF  THE  OPERAS  855 

ROSENKAVALIER,  DER 

( The  Knight  of  the  Rose) 

Composer:  RICHARD  STRAUSS 

Book  by  HUGO  VON  HOFMANNSTHAL 

First  performance:  Hofoper,  Dresden,  January  26 ,  IQII 

3  acts. 

OCTAVIAN,  lover  of  the  Princess  von  Werdenberg,  Is  embracing  her  in  her 
boudoir  when  she  thinks  she  hears  her  husband  returning.  Octavian  quickly 
disguises  himself  as  a  lady's  maid  only  to  have  the  Baron  Ochs,  a  cousin  of  the 
Princess,  come  in  to  ask  bar  advice  about  getting  a  token  of  love  to  Sophia,  the 
girl  of  his  choice,  daughter  of  wealthy  Faninal.  In  the  course  of  this  arrange- 
ment, however,  he  contrives  to  make  a  date  with  the  maid  (Octavian).  When 
ail  are  gone  except  Octavian  the  Princess  becomes  blue  about  the  possible  fading 
of  her  beauty,  and  when  he  fails  to  kiss  her  good-bye  she  calls  him  back  to  be 
the  messenger  with  the  rose  for  the  Baron.  Octavian  delivers  the  rose,  and 
both  he  and  Sophie  instantly  fall  in  love.  Her  father  will  have  no  nonsense 
about  her  marrying  Octavian,  particularly  after  the  boy  picks  a  quarrel  with 
the  dignified  Baron-  Sophie  must  marry  the  Baron  or  become  a  nun.  Oc- 
tavian again  assumes  his  maid's  disguise,  and  keeps  his  date  with  the  Baron 
at  a  country  tavern.  Here  the  Baron  is  subjected  to  all  sorts  of  indignities  and 
foolishness.  When  a  woman  comes  in  to  claim  him  as  her  husband,  Sophie  has 
her  father's  permission  not  to  marry  the  Baron.  The  Princess  arrives  to  end 
the  trouble,  and  Sophie  leaves  with  Octavian,  not  before  Octavian  has  given 
the  Princess  one  last  affectionate  look  as  a  token  of  their  past  love. 


ROSSIGNOL,  LE 

(The  Nightingale) 

Composer:  IGOB  STRAVINSKY 

Bock  by  the  composer  and  S.  MITOTJSOV,  from  ^  story  by  Hans  Christian 
Andersen 

First  performance:  Optra,  Paris,  May  26 >  1914 
3  acts. 

THE  Eicpmaoa  OF  CHINA  is  so  disheartened  that  his  life  is  despaired  of*  Finally 
a  nightingale  is  Drought  to  him.  It  sings  so  sweetly  that  the  Emperor  is  com- 
pletely restored,  and  grants  the  bird  any  wish.  The  nightingale  considers  itself 
sufficiently  repaid  by  the  Emperor's  humility,  and  asks  no  more.  A  mechanical 
nightingale  Is  then  delivered  to  the  Emperor  as  a  gift  from  the  Emperor  of 
Japan.  The  live  nightingale  is  so  outraged  at  the  singing  of  this  imitation 


856  STORIES  OF  THE  OPERAS 

that  it  flies  away  in  disgust.  The  Emperor  immediately  grows  ill,  and  curses 
the  live  nightingale  for  leaving  him.  Finally,  the  live  nightingale  takes  pity, 
and  returns  to  bring  the  Emperor  back  to  health. 


SADKO 

Composer:  NIKOLAI  RIMBKY-KORSAKOV 

Book  by  the  composer 

First  performance :  Private  Opera  House,  Moscow,  January  6,  i8p8 

7  acts. 

SADKO  is  a  travelling  musician  who  plays  upon  the  gusle.  Princess  Volkhova, 
daughter  of  the  Ocean  King,  is  so  pleased  with  him  that  Sadko  is  enabled  to  rise 
quickly  in  wealth  and  position,  and  shortly  he  builds  a  dazzling  estate  of  white 
stone.  At  sea  one  day  the  water  becomes  so  perturbed  that  Sadko  finally 
descends  to  the  bottom  to  play  for  the  Ocean  King.  The  King  and  his  court 
begin  to  dance,  the  whole  affair  becoming  successful  to  a  fault  for  the  Ocean 
King  falls  dead  from  exhaustion.  When  peace  and  quiet  have  finally  settled, 
Sadko,  with  the  Princess,  rise  to  the  surface,  and  spend  a  happy  life  in  Sadko's 
white  palace. 

SALOME 

Composer:  RICHARD  STRAUSS 

Poem  by  OSCAR  Wn-DE  (adapted  in  German  by  Hedwig  Lachmann) 

First  performance:  Hofoper,  Dresden,  December  g>  190$ 

i  act. 

THE  SCENE  is  outside  the  banquet  hall  of  the  palace  of  the  Tetrarch,  Herod 
Antipas.  The  captain  of  the  guard,  Narraboth,  watches  Salome  with  fasci- 
nation as  she  sits  in  the  great  hall.  In  a  cistern  can  be  heard  the  voice  of 
Jokanaan  (John  the  Baptist)  prophesying  the  coming  of  the  Lord.  Salome 
comes  out  of  the  banquet  hall  and,  on  hearing  Jokanaan's  voice,  asks  that  he 
be  brought  up  so  that  she  can  speak  to  him.  When  he  emerges,  tawny  and 
strong,  he  denounces  Herodias,  wife  of  Herod  and  mother  of  Salome.  Salome, 
fascinated  by  this  strange  man,  wants  to  kiss  him.  Narraboth,  horrified,  stabs 
himself.  Jokanaan,  uttering  a  curse,  returns  to  the  cistern.  Herod  and  Herodias 
come  into  the  court  from  the  banquet  hall  and  are  annoyed  by  the  presence  of 
the  blood  of  Narraboth.  Herod,  restless,  finally  asks  Salome  'to  dance  for  him. 
She  won't  until  Herod  promises  to  give  her  what  she  asks.  He  promises,  and 
she  dances  the  dance  of  the  seven  veils  at  the  conclusion  of  which  she  asks  for 
Jokanaan's  head  on  a  silver  plate.  Herod  pleads  for  anything  else,  but  finally 
consents  as  Herodias  approves  the  girl's  request.  When  the  head  is  brought 
from  the  cistern,  Salome  takes  the  plate,  and  kisses  the  mouth  of  Jokanaan 
Herod,  revolted,  orders  his  soldiers  to  kill  her. 


STORIES  OF  THE  OPERAS  857 

SCHWANDA  DER  DUDELSACKPFEIFER 

(Schwanda  the  Bagpiper) 

Composer:  JAROMIR  WEINBERGER 

Book  by  MILOS  KARES 

First  performance:  National  Theatre,  Prague,  April  27, 192? 

2  acts. 

IN  CZECHOSLOVAKIA,  Schwanda  is  a  famous  bagpiper  to  whose  home  comes  the 
famous  bandit,  Babinsky.  He  falls  in  love  with  Dorota,  Schwanda's  wife.  He 
tries  to  interest  Schwanda  in  the  court  of  Queen  Ice-Heart  to  which  Schwanda 
decides  to  go  with  Babinsky.  They  go,  leaving  Dorota  in  the  house.  At  the 
court  the  Queen  is  so  pleased  with  Schwanda's  playing  that  she  wants  to  marry 
him,  but  when  Dorota  bursts  in  to  announce  that  he  is  hers,  Queen  Ice-Heart 
orders  him  executed.  Schwanda's  bagpipes  cannot  be  found  when  he  asks 
to  play  them  just  before  his  execution,  an  event  which  never  takes  place  since 
Babinsky  has  substituted  a  broom  for  the  headman's  axe.  The  pipes  are  finally 
found  and  Schwanda  plays  everyone  into  a  good  humour.  Babinsky  makes 
Schwanda  utter  a  curse  which  sends  him  to  Hell.  Babinsky  now  assumes  his 
way  dear  to  marry  Dorota  but  she  wants  only  Schwanda  and,  finally,  Babinsky 
has  to  go  to  Hell  and  play  cards  with  the  Devil  to  win  Schwanda  back,  which 
he  does.  Returned  to  earth  Schwanda  discovers  he  has  been  gone  twenty 
-rnnutes  instead  of  twenty  years  as  it  had  seemed. 


SECRET  OF  SUZANNE,  THE 
(II  Segreto  di  Susanna) 

Composer;  ERMANNO  WOLF-FERRARI 

Book  by  ENRICO  GOLISCIANI 

First  {>erformance:  Uofaper,  Munich,  November  4,  /pop 

i  act* 

COUNT  GIL  returns  home  to  discover  the  faint  odour  of  tobacco  in  his  home. 
The  Countess  Gil,  beautiful  and  twenty,  will  not  give  him  a  satisfactory  answer, 
and  his  jealousy  quickly  rises.  The  Count  grows  enraged,  puts  on  a  scene, 
breaks  up  furniture  and  is  finally  calmed,  and  sent  of!  to  the  club  by  Countess 
Gil.  She  then  summons  the  servant,  Sajite,  who  never  speaks  a  word  in  the 
piece,  and  asks  him  to  briftg  her  cigarettes.  The  Count  who  has  been  spying 
at  the  window  discovers  the  innocent  vice  his  wife  is  trying  to  cover,  and  returns 
to  make  peace 


858  STORIES  OF  THE  OPERAS 

SIEGFRIED 

See  Ring  of  the  Nibelung 

SIMON  BOCCANEGRA 

Composer:  GIUSEPPE  VERDI 

Book  by  FRANCESCO  MARIA  PIAVE  (revised  by  Arrigo  Boito)  from  a 
play  by  Antonio  Garcia  Gutierrez 

First  performance:  Teatro  la  Fenice,  Venice,  March  12,  1857 
Prologue  and  3  acts. 

BY  POPULAR  ACCLAIM  of  workmen  Simon  Boccanegra  is  elevated  to  the  estate  oi 
a  Doge  from  his  position  as  corsair.  Among  those  who  assist  in  this  fourteenth- 
century  conspiracy  are  Paolo  and  Pietro.  Simon  happens  upon  the  house  of 
Grimaldi  and  discovers  that  Amelia  Grimaldi  is  in  reality  his  own  lost  daughter. 
She  is  to  marry  Gabriele  Adorno,  of  Genoa.  Paolo,  by  reason  of  his  assistance 
to  Simon,  asks  her  hand  in  marriage  and  is  refused.  Paolo  and  Pietro  decide  to 
avenge  themselves  by  unseating  Simon.  They  begin  by  having  Amelia  kid- 
napped. Simon  is  accused  of  this  act  by  Amelia's  tutor,  Andrea,  and  Gabriele. 
Gabriele  tries  to  stab  Simon  on  his  coronation  day  but  Amelia  stays  him. 
Andrea  and  Gabriele  are  imprisoned.  Pietro  and  Paolo  are  not  successful  in 
persuading  them  to  kill  Simon.  [One  of  the  several  inconsistencies  of  the 
libretto.]  Gabriele  overhears  a  conversation  between  Simon  and  Amelia  where- 
upon he  again  tries  to  stab  her  father.  Again  she  averts  the  tragedy.  When 
Gabriele  finds  who  Simon  is  he  asks  his  pardon,  and  swears  to  be  his  defender, 
But  his  defense  cannot  save  Simon  from  the  poison  that  Paolo  has  given  th<* 
Doge.  Simon  dies  as  he  blesses  Amelia  and  Gabriele  before  their  wedding  feast 


SNEGOUROTCHKA 

(The  Snow  Maiden) 

Composer:  NIKOLAI  RIMSKY-KORSAKOV 

Book  by  ALEXANDER  OSTROVSKY,  from  a  Russian  folk  tale 

First  performance:  Moscow,  January  29 ,  1882 

Prologue  and  4  acts. 

MIZGYR,  a  young  Tartar,  has  fallen  in  love  with  the  Snow  Maiden,  lovely 
daughter  of  King  Winter  and  Spring.  Mizgyr  jilts  his  fiancee,  Koupava,  in 
favour  of  Snegourotchka  whereupon  The  loser,  Koupava,  appeals  to  the  Czar. 
He  decrees  that  since  the  Snow  Maiden  seems  pure,  who  shall  ever  be  able  to 
win  her  heart  by  morning  shall  have  her.  Snegourotchka  immediately  appeals 


STORIES  OF  THE  OPERAS  859 

to  her  mother  for  the  right  to  love  as  humans  do.  Granted,  she  discovers  that 
she  loves  Mizgyr,  But  even  as  she  discovers  the  fact  the  sun  comes  out  to  melt 
her.  Mizgyr,  overwhelmed  with  grief,  commits  suicide. 


SONNAMBULA,  LA 

(The  Sleep-walker) 

Composer:  VINCENZO  BELLINI 

Book  by  GIUSEPPE  FELICE  ROMANI 

First  performance:  Teatro  Carcano,  Milan,  March  6, 

2  acts. 

who  will  shortly  marry  Elvino,  a  wealthy  countryman,  is  addicted  to 
sleepwalking  and  one  night  in  her  sleep  walks  into  the  chambers  of  Rodolfo, 
who  is  staying  at  the  inn,  and  enjoying  at  the  moment  Amina  arrives  the  atten- 
tions of  Lisa,  the  inn's  mistress.  Rodolfo,  observing  Amina's  condition,  cour- 
teously leaves  the  room  to  her  as  she  lies  down  in  his  bed.  Lisa,  who  has  been 
the  loser  in  the  competition  for  Elvino,  spreads  the  news  that  Amina  has  been 
indiscreet  with  Rodolfo.  A  highly  curious  group,  including  an  incredulous 
Elvino,  come  to  the  inn  to  see  her  sleeping  in  Rodolfo's  bed.  All  is  resolved  in 
the  end  when  a  handkerchief  of  Liza's  is  found  in  Rodolfo's  room,  and  when  the 
somnambulism  is  dramatically  proved  real  as  Amino  walks  a  dangerous  plank 
across  the  mill  wheel,  and  is  awakened  by  Elvino  himself  as  he  takes  her  in  his 
arms. 


SPANISH  HOUR,  THE 

See  JL'Heure  Espagnole 


TALES  OF  HOFFMANN,  THE 

(Les  Contes  D'Hoffmann) 

Composer:  JACQUES  OFFENBACH 

Book  by  JULES  BAKBIER  and  MICHEL  CARR&  from  three  tales  by  E.  T.  A. 

Hoffmann 

First  performance:  Optra  Comique,  Paris,  February  to,  i88r 
Prologue,  3  acts,  and  an  epilogue.        *T 

HOFFULANN  is  telling  his  drinking  companions,  particularly  his  friend  Nicklausse, 
in  Luther's  Inn  about  his  three  disillusioning  love  affairs.     Tn  the  fir^t  instance 


860  STORIES  OF  THE  OPERAS 

he  fell  in  love  with  Olympia,  a  beautiful  doll,  created  by  Dr.  Spalanzani.  By 
equipping  Hoffmann  with  special  glasses  the  doctor  has  duped  him  into  believing 
she  is  real.  She  sings  and  dances  with  Hoffmann  though  she  does  not  answer 
his  pleas  to  marry  Mm.  When  Olympia* s  inner  mechanism  begins  to  play  out 
she  dances  out  of  the  ballroom  leaving  Hoffmann  the  butt  of  laughter.  Outside 
a  crash  is  heard  as  Dr.  Coppelius  smashes  Olympia  because  Spalanzani  had 
given  him  a  worthless  check  for  his  share  in  the  doll.  Next  Hoffmann  is  dis- 
illusioned in  Venice  where  he  falls  in  love  with  Giulietta,  beauty  of  renown. 
Compelled  to  fight  a  duel  with  Giulietta's  lover,  Schlemihl,  Hoffmann  kills  the 
man  only  to  have  Giulietta  run  off  with  another  lover,  Hoffmann  is  barely 
saved  from  arrest  by  the  faithful  Nicklausse.  In  the  final  instance  Hoffmann 
has  fallen  in  love  with  Antonia,  the  daughter  of  Crespel,  a  musician  whose  wife 
had  died  mysteriously  years  before.  Antonia  has  a  beautiful  voice,  but  because 
of  bad  health  has  been  instructed  not  to  sing.  Dr.  Miracle,  bent  on  killing 
Antonia  as  he  did  her  mother,  contrives  finally  to  make  Antonia  sing  herself  to 
death.  Dr.  Miracle  disappears,  and  Hoffmann  is  accused  of  killing  the  girl. 
Returning  to  Luther's  Inn,  Nicklausse  consols  Hoffmann  as  two  characters 
Stella  and  Lindorf ,  are  introduced  to  little  more  than  extend  the  opera. 


TANNHAUSER 

Composer:  RICHARD  WAGNER 

Book  by  the  composer 

"First  performance:  H  of  theater,  Dresden,  October  Jp,  1845 

3  acts, 

TANNHAUSER,  a  minstrel  and  singer,  has  deserted  Wartburg,  his  native  village, 
for  Venusberg,  on  a  near-by  hill  where  the  Goddess  Venus  holds  him  with  her 
charms.  When  his  desires  are  satisfied  he  longs  to  return  to  his  home.  He 
breaks  Venus'  hold  on  him  when  he  mentions  the  Virgin  Mary.  He  is  found 
on  the  road  by  the  singers  of  Wartburg,  and  his  friend  Wolfram  tells  him  that 
Elizabeth,  pious  niece  of  Herrmann  the  Landgrave,  loves  him.  He  returns 
Kdth  them  to  Wartburg  to  sing  in  the  prize  contest.  Elizabeth  is  to  grant  any 
wish  of  the  winner.  Wolfram  sings  of  ideal  love  which  incenses  Tannhauser 
who  has  known  the  sensual  love  of  Venus.  He  answers  with  a  hymn  to  Venus. 
The  others  uphold  Wolfram,  and  draw  swords  on  Tannhauser,  but  Elizabeth 
protects  him.  Her  father  tells  him  to  join  the  Pilgrimage  to  Rome  to  obtain 
forgiveness  from  the  Pope.  When  the  Pilgrims  return  Elizabeth  asks  for 
Tannhauser  but  he  isn't  among  them.  Wolfram  realises  she  is  about  to  die. 
Tannhauser  comes  back  without  the  forgiveness  of  the  Pope  and  calls  for  Venus. 
She  appears  but  Wolfram  shows  him*the  funeral  train  of  Elizabeth,  and  Tann- 
hauser, overcome,  throws  himself  upon  her  bier.  Messengers  arrive  from  Rome 
to  tell  of  the  Pope's  forgiveness,  and  TannMuser  dies  t>es*de  Elizabeth,  saved 
fropa  damnatipii. 


STORIES  OF  THE  OPERAS  861 

THAI'S 

Composer:  JULES  MASSENET 

Book  by  Lotus  GALLET,  from  the  novel  by  Anatole  France 

First  performance:  Op£ra,  Paris,  March  id,  1894 

3  acts. 

AiHANAiiL,  a  young  monk  in  a  desert  fasting  place,  has  a  vision  of  Thais, 
whom  he  Is  convinced  he  must  save.  She  is  a  popular  courtesan  of  Alexandria 
to  which  city  he  goes  to  save  her  soul.  She  is  attracted  to  this  handsome  young 
man,  and  is  gradually  won  over  to  confession.  Athanael  takes  her  to  Albine, 
another  desert  holy  soul,  mother  of  the  White  Sisterhood.  However,  he  has 
begun  to  fall  in  love  with  Thais  who  has  now  turned  aside  from  fleshly  love. 
Athanael,  in  his  desert  fasting  place,  has  a  vision  of  her  dying,  and  hurries  to 
the  convent  when  in  anguish  he  hears  her  last  words  as  she  cries  that  she  has 
seen  the  Holy  One. 

TOSCA 

Composer:  GIACOMO  PUCCINI 

Book  by  GIUSEPPE  GIACOSA  and  LUIGI  IIXICA,  from  Victorien  Sardou/s 
play  La  Tosca 

First  performance:  Teatro  Costanzi,  Rome,  January  4,  ipoo 
3  acts. 

TOSCA*  a  beautiful  singer,  is  the  jealous  lover  of  Mario  Cavaradossi,  a  religious 
artist*  Angelotti,  an  escaped  prisoner,  hides  in  the  church  in  which  Mario  is 
painting.  Mario  helps  him  escape*  Scarpia,  chief  of  Roman  police,  enters  the 
church  and,  not  finding  Angelotti,  arrests  Mario  as  an  accomplice,  and  orders 
him  shot.  Desiring  Tosca  for  himself,  Scarpia  promises  her  lover's  liberty  in 
return  for  her  favours*  Tosca  agrees  and  Scarpia  orders  a  fake  execution  of 
Mario.  When  Scarpia  returns  to  claim  her  she  stabs  him.  At  dawn  the  pre- 
tended execution  of  Mario  takes  place.  Tosca  hurries  to  the  prone  figure  of 
her  lover,  after  the  firing,  to  find  he  is  dead.  Hearing  noise  of  approaching 
soldiers,  she  realises  her  murder  of  Scarpia  has  been  discovered.  Climbing  the 
orison  wall  she  leaps  to  her  death. 


862  STORIES  OF  THE  OPERAS 

TRAVIATA,  LA 

(The  Lost  One) 

Composer:  GIUSEPPE  VEKDI 

Book  by  FRANCESCO  MARIA  PIAVE,  from  Alexandra  Dumas'  La  Dame 

aux  Cam&ias 

First  performance:  Teatro  la  Fenice,  Venice,  March  6,  1853 
3  acts.  * 

ALFREDO  GERMONT  has  fallen  in  love  with  Violetta  Val£ry  (Camille),  a  beautiful 
courtesan  who  has  only  a  short  time  to  live  and  wishes  to  make  the  most  of 
it.  She  refuses  Alfredo's  offer  of  marriage  because  she  wants  to  spend  the  short 
months  remaining  to  her  in  gaiety.  Finally  she  goes  to  live  with  Alfredo  but 
his  father  pleads  with  her  to  give  him  up  since  their  liaison  is  creating  a  scandal 
that  makes  it  hard  for  Alfredo's  sister  to  marry.  Violetta  agrees.  In  a 
gambling  house  Alfredo  sees  her,  and  suspects  in  his  unhappiness  that  she  has 
left  him  for  an  old  lover,  Baron  Douphol.  Seizing  this  as  the  easiest  way  out, 
Violetta  lies  in  admitting  it.  Alfredo  wins  at  the  tables  and  throws  his  winnings 
at  her  in  disgust.  His  father  pleads  with  him  not  to  behave  thus  with  any 
woman.  In  the  end  as  Violetta  dies  the  father  has  become  reconciled,  and 
Alfredo  knows  that  Violetta  loved  him. 


TRISTAN  AND  ISOLDE 

Composer:  RICHARD  WAGNER 

Book  by  the  composer 

First  performance:  Hof-und-Nationcd-Theater,  Munich,  June  10,  1865 

3  acts. 

ON  A  SHIP  Isolde  is  being  brought  from  Ireland  to  Cornwall  by  Tristan  to  be 
the  bride  of  King  Mark.  Isolde  plans  to  poison  Tristan  because  he  once  killed 
her  lover  in  battle.  Instead  of  a  poison  her  maid,  Brangane,  prepares  a  love 
potion.  Both  Tristan  and  Isolde  drink  of  it,  and  fall  into  each  other's  arms. 
At  the  King's  castle  Mark  has  gone  hunting.  Tristan  and  Isolde  meet  secretly, 
but  are  betrayed  to  King  Mark  by  a  traitor,  Melot.  Tristan  is  mortally 
wounded  in  fighting  Mdot.  He  is  taken  to  his  castle  in  Brittany  by  Kurwenal. 
When  Tristan  is  dying  Kurwenal  sends  for  Isolde  hoping  she  will  help  him. 
When  she  arrives  Tristan  rips  off  his  bandages,  and  tries  to  go  to  her.  He  calls 
her  by  name,  and  falls  bads:  dead  in  her  arms.  Isolde,  overcome  with  grief, 
dies  beside  him.  King  Mark,  who  has  followed  the  pair  to  give  them  his  bless- 
ing, prays  beside  their  bodies. 


STORIES  OF  THE  OPERAS  863 


TROVATORE,  IL 
(The  Troubadour) 

Composer:  GIUSEPPE  VERDI 

Book    by    SALVATORE    CAMMARANO,    from    a    play    by    Antonio    Garcia 
Gutierrez 

First  performance:  Teatro  Apollo,  Rome,  January  ip,  2853 
4  acts. 

£N  THE  FIFTEENTH  CENTURY  in  Aragon  the  Count  di  Luna  has  burned  a  woman 
at  the  stake  for  bewitching  one  of  his  sons.  Azucena,  the  gypsy's  daughter, 
wishes  to  avenge  her  mother  by  killing  the  Count's  son,  but  kills  her  own  in 
error.  She  kidnaps  the  Count's  boy,  and  takes  him  to  raise  as  her  own.  The 
young  Count  di  Luna,  years  after  these  events,  is  in  love  with  Leonora  and  jeal- 
ous of  Manrico,  a  troubadour  whom  Leonora  loves.  Leonora  is  informed  falsely 
chat  Manrico  is  dead  and  decides  to  become  a  nun.  Manrico  snatches  her  from 
the  altar,  a  kidnapping  that  Count  di  Luna  intended  to  do  but  Manrico's  men 
beat  off  those  of  the  Count.  Near  Castellor,  where  Manrico  has  taken  Leonora, 
the  Count's  guard  capture  Azucena,  and  she  is  condemned  to  be  burned  at  the 
stake.  Manrico  rushes  to  his  mother's  rescue,  Manrico  is  captured,  and  is 
fco  be  executed  with  his  mother*  Leonora  offers  herself  to  the  Count  if  he  will 
«et  Manrico  free.  She  takes  a  slow  poison  when  this  offer  is  accepted.  Azucena 
is  enraged  because  her  mother's  death  will  go  unavenged.  Leonora  dies  saying 
farewell  to  Manrico,  and  the  Count,  breaking  his  promise,  sends  Manrico  to  be 
executed.  Azucena  then  has  her  revenge  by  pointing  out  to  the  Count  that  he 
*as  just  killed  his  brother. 


TURANDOT 

Composer:  GIACOMO  PUCCINI 

Book  by  GIUSEPPE  ADAMI  and  RENATO  SIMONI 

First  performance:  La  Scala,  Milan*  April  *$>  1926 
3  acts. 

Tu*ANDOTt  in  Peking,  is  a  coldly  beautiful  Princess  who  offers  to  marry  anyone 
who  can  answer  three  questions  she  asks*  If  unsuccessful  the  young  man  must 
tose  his  head.  A  young  Persian  is  about  to  be  executed  when  the  unidentified 
Prince,  Calaf,  comes  into  the  square  and  recognises  his  old  father,  a  Tartar 
King.  Timor,  the  father,  has  fallen  in  the  dust  and  Liu,  his  servant  girl,  has 
stayed  with  him  for  years  because  she  once  fell  in  love  with  Calaf.  The  beauti- 
ful Prioces*  U  beseeched  to  free  the  voting  Persian  but  she  is  adamant*  Then 


864  STORIES  OF  THE  OPERAS 

Calaf  shouts  that  he  will  try  to  answer  the  questions,  and,  to  the  Princess1 
dismay,  does  so  successfully.  She  then  wishes  to  go  back  on  her  bargain  but 
her  father  insists  she  marry  Calaf.  Calaf  relents,  and  will  require  nothing  of 
her  if  she  can  learn  his  identity  by  dawn.  Overjoyed,  the  Princess  gives  an 
order  that  everyone  must  spend  the  night  learning  his  name,  or  the  whole 
populace  will  be  executed.  Liu  stabs  herself  rather  than  tell.  Finally  Calaf 
himself  reveals  the  truth.  Turandot  suddenly  realises  that  she  has  finally 
truly  fallen  in  love,  and  goes  to  his  arms. 


WERTHER 

Composer:  Times  MASSENET 

Book  by  EDOUARD  BLATJ,  PAUL  MILLIET,  and  GEORGES  HARTMAN,  from 
Goethe's  novel  The  Sorrows  of  Werther 

First  performance:  Hofoper,  Vienna,  February  16,  1892 
4  acts. 

THE  DAUGHTER  of  the  bailiff  has  taken  care  of  her  brothers  and  sisters  since 
her  mother's  death.  She  is  waiting  to  go  to  the  ball  with  Albert,  a  young  man 
to  whom  she  has  become  engaged  at  her  mother's  wish.  Charlotte  loves 
Werther  rather  than  Albert,  but  marries  as  her  mother  wished  her  to.  Months 
later  Werther,  having  been  sent  away,  returns  to  retell  his  love  for  Charlotte. 
Her  affection  has  not  died  either,  but  she  insists  he  must  leave  because  nothing 
can  ever  change  her  present  married  status.  Werther  then  says  he  is  going 
on  a  long  journey  and  asks  to  borrow  Albert's  pistols.  Albert  complies  without 
questioning,  but  Charlotte,  when  she  hears  of  it,  is  frightened,  and  hurries  to 
find  him  only  to  arrive  too  late.  He  dies  in  her  arms. 


WILLIAM  TELL 

(Guillaume  TelT) 

Composer:  GIOACCHINO  ROSSINI 

Book  by  £XDENOTE  DE  JOUY  and  HEPPOLYTE  Bis,  from  Schiller's  play 

First  performance:  Opfra,  Paris,  August  j,  1829 

4  acts. 

NEAB.  LAKE  LTTCEBNE  in  the  fourteenth  century  the  Swiss  hate  their  Governor, 
Gessler,  for  his  killing  of  Melchtal  because  Leuthold  had  killed  one  of  Gessler's 
men  for  insulting  Leuthold's  daughter.  Gessler's  son,  Arnold,  joins  William 
Tell  and  Leuthold,  whom  Tell  has  helped  to  escape,  Arnold  loves  Mathilde, 
an  Austrian  Princess,  who  may  someday  rule  him  and  his  people*  Tell  organises 


STORIES  OF  THE  OPERAS  865 

the  Swiss  against  Gessler  a  man  who  has  forced  indignities  on  the  people  which 
Tell  won't  stand.  Tell's  punishment  is  to  shoot  an  apple  off  his  son's  head 
which  he  does.  When  a  second  arrow  falls  out  of  his  shirt  Tell  boldly  tells 
Gessler  it  was  for  the  Governor's  heart  if  he  (Tell)  had  hit  the  child.  Tell  and 
son  are  imprisoned  but  Tell  escapes  over  a  wild  sea,  and  kills  Gessler.  Arnold 
and  Mathilde  are  united. 


WOZZECK 

Composer:  ALB  AN  BERG 

Book  by  the  composer  from  Georg  Btichner's  play 
First  performance :  Staatsuper,  Berlin,  December  14,  1925 
3  acts  (15  scenes), 

WOZZECK,  a  downtrodden  soldier  of  Germany,  imposed  upon  by  all  and  re- 
spected by  few,  is  particularly  the  object  of  contempt  of  his  Captain.  Wozzeck's 
mistress,  Marie,  who  has  given  him  a  son,  is  something  of  a  toast  of  the  regiment, 
and  has  offered  her  charms  to  many  beside  Wozzeck.  The  beginning  of  the 
action,  after  these  points  are  well  established,  is  an  affair  between  the  handsome 
Drum  Major  and  Marie.  Wozzeck  is  whipped  by  the  Drum  Major  in  a  fight, 
and  begins  to  see  more  clearly  his  lowly  place  among  his  fellows,  as  well  as  in 
Marie's  esteem.  Wozzeck,  having  slowly  fanned  his  flame  of  vengeance,  stab* 
Marie  to  death  near  a  pond  into  which  his  weapon  falls.  In  trying  to  retrieve  it 
he  is  drowned.  An  ironic  twist  concludes  the  opera — the  son  of  Wozzeck  rides 
feis  hobbyhorse  onto  the  scene. 


SUPPLEMENTARY  LIST 
OF  MODERN  COMPOSERS 


(Owing  to  the  great  increase  in  num- 
bers of  creative  figures  within  recent 
decades,  particularly  in  the  United 
States,  the  following  additional  depart- 
ment has  been  added  to  the  Music 
Lovers'  Encyclopedia.  An  effort  has 
been  made  to  give  data  on^  composers 
whose  works  are  being  heard  in  America, 
rather  than  to  attempt  to  give  an  ex- 
haustive list  of  worldwide  scope.  See 
also  the  main  biographical  listing  for 
other  names.) 

Ad'dinsell,  Richard,  b.  London,  1904; 
studied  law  at  Oxford,  later  music  at 
the  R.  C.  M.,  London;  composer  of 
incidental  music  for  plays,  incl. 
"Alice  in  Wonderland73  (N.  Y.  prod, 
by  Eva  Le  Gallienne);  and  films  incl. 
"Dangerous  Moonlight"  from  which 
the  "Warsaw"  Concerto  (pf.  and 
orch.)  heard  in  concert. 

Aguirre  (a-goo-5-ra),  Julian,  Buenos 
Aires,  1868 — 1924;  studied  Madrid 
Cons.;  later  taught  at  Buenos  Aires 
Cons.;  has  been  called  "the  Argen- 
tinian Grieg";  esp.  known  for  piano 
works  in  smaller  forms,  such  as 
"Aires  Criottos,"  "Tristes";  c.  suite, 
"De  Mi  Pais"  (perf.  Buenos  Aires, 
under  Alberto  Williams,  1910);  etc. 

AUende  (a-yan'-da),  Pedro  Humberto, 
b.  Santiago,  Chile,  1885;  composer 
of  national  leanings;  c.  "La  Voz  de 
les  Calles"  symph.  poem  based  on 
streetpedlars'  cries  (Santiago,  1921); 
Concerto  for  'cello  and  orch.,  etc. 

Almond',  Claude,  b.  Winnsboro,  La., 
1915;  c.  symphony,  "The  Waste 
Land"  (Rochester,  N.  Y.,  Civic 
Orch.,  1940);  "John  Gilbert"  (A 
Steamboat  Overture) ,  based  on  pop- 
ular songs  heard  on  Mississippi  River 
boat  of  that  name  (commissioned  and 
perf.  under  Robert  Whitney  by 
Louisville,  Ky.,  Philh.  Orch.,  1949); 
Piano  Concerto  (ibid.,  1949);  etc- 

Alnaes  (al-na'-as),  Eyvind,  b.  Fred- 
riksstad,  Norway,  April  29,  1872; 
studied  in  Christiania,  Leipzig,  and 
Berlin;  organist,  choir  director;  best 
known  for  his  songs  and  folk  ballads; 
also  c.  symph.  in  C  minor;  symph. 
variations,  piano  wks.,  etc.;  d.  1932. 


Ard6vol,Jose,b.Barcelona,Spain,i9ii; 
of  Catalonian- Cuban  ancestry;  c. 
"Study  in  Form  of  a  Prelude^  and 
Fugue"  for  37  percussion,  friction 
and  sibilation  instruments;  Suite  for 
the  same  (Mills  Coll.,  Oakland,  Cal., 
1940),  etc. 

Arnell,  Richard,  b.  London,  1917;  c. 
overture,  "Highgate  Hill"  (Nat'L 
Orch.  Ass'n.,  N.  Y.,  1941);  overture, 
"1940";  Sinfonia,  Quasi  Variazioni; 
Fantasia  for  orch.;  music  for  film, 
"The  Land";  studied  with  John 
Ireland  at  R.  C.  M.,  London. 

AvshaTamoff,  Aaron,  b.  in  Niko- 
laievsk,  Siberia,  1894;  c.  ballet, 
"Dream  of  Wei  Lien"  (Shanghai, 
1 936) ;  "Peiping  Hutungs"  for  symph . 
orch.,  based  on  street  cries  of  Chinese 
city  (Phila.  Orch.,  under  Stokowski, 
i93$;SanFranciscoSymph.,i949),  2 
symphs  (No.  2,  Cine.  Symph.,  1949)- 

Aya'la,  Daniel,  b.  Pueblo  de  Abala, 
Yucatan,  1908;  Mexican  of  Indian 
extraction;  his  works  based  on  music 
of  native  Indian  idiom;  c.  "Tribu" 
(The  Tribe),  suite  for  symph.  orch. 
(Mexican  Symph.  Orch.,  under 
Chavez,  1935),  etc. 

Babin' ,  Victor,  b .  Moscow ,  1 908;  studied 
at  Riga  Cons,  and  Berlin  Hochsch., 
piano  with  Schnabel,  comp.  with 
Schreker;  after  1933,  member  of  2- 
piano  team  with  Vitya  Vronsky ,  whom 
he  m.;  U.  S.  d£but,  1937,  took  up 
residence  here;  c.  Concerto  for  2  pfs. 
and  orch.;  Sonata-Fan taisie  for  'cello 


Lands  "  suite  for  2  pfs.;  str,  quartets, 
songs,  etc. 

Bacon,  Ernst,  b.  Chicago,  1898;  studied 
there  and  in  Vienna;  pupil  of  Ernest 
Blochand  Eugene  Goossens;  c .  operas, 
"A  Tree  on  the  Plains"  and  "A  Drum- 
lin  Legend"  (both  commissioned  by 
Alice  M.  Ditson  Fund  and  prod*  at 
Columbia  Univ.,  N.  Y.);  also 
Symphonies:  "Ford  Theatre"  Suite 
for  orch.,  chamber  works,  songs. 

Bal'ogh,  Ern5,  b.  Budapest,  1897; 
studied  with  Bartok  and  Kodaly  at 
Cons,  there;  pianist-composer,  res. 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS      867 


in  U.  S,  after  1924;  c.  " Pastorale  and 
Capriccio"  (piano?  flute,  clarinet  and 
strings,  commissioned  by  Station 
WQXR,  1943);  "Portrait  of  a  City," 
suite  for  strings  and  piano  (broad- 
cast, in  part,  over  WQXR);  piano 
pieces,  etc. 

Barlow,  Wayne,  b.  Elyria,  O.,  1912; 
grad.  (Ph.  D.),  Eastman  Sch.  of 
Music;  taught  there;  won  Lillian 
Fairchild  Award,  1935;  c.  "The  Win- 
ter's Passed  "  for  oboe  and  strings, 
based  on  two  folksongs;  "Lyrical 
Piece"  for  clarinet  and  pf .  (or  strings); 
"Madrigal  for  a  May  Morning"; 
"Saraband**  for  orch.;  ^a&d  Psalm'1 
for  tenor,  mixed  chor.,  and  organ  (or 
orch.)*  etc. 

Barber,  Samuel.  (See  also  page  44.) 
Mus.  D.,  ken.  causa,  Curtis  fnst.  of 
Music,  1945;  member,  Nat'I.  Inst. 
of  Arts  and  Letters;  first  composer  to 
win  Pulitzer  Prize  twice;  after  service 
in  World  War  II,  awarded  post- 
service  fellowship  by  Guggenheim 
Foundation:  c,  also  a  "Essays  for 
Orch."  (No.  2  by  N.  Y .  Philh. -Symph., 
under  Bruno  Walter,  $942);  asymphs. 
(No*  a  by  Boston  Sympiu  in  1944); 
overture  to  "  The  School  for  Scandal"; 
"Capricorn"  Concerto  for  sm.  orch., 
etc. 

Bate,  Stanley,  b,  Plymouth,  England, 
1912;  lives  in  U,  S.;  awarded  Gug- 
genheim Fellowship;  c-  sinfonietta 
For  ordb.;  music  for  ballets,  chamber 
music;  studied  with  Nadia  Boulanger. 
Beach,  John,  b.  Gloversville,  N,  V., 
1877;  studied  In  U.  S.  and  Europe: 
grad.  New  England  Cons,,  pupil  of 
Chadwkk  and  LoefBer;  c,  "The 
Asolani"  suite  after  Bern  bo  (Min- 
neapolis Symph.  under  Verbrugghen, 
xpa6);  "Mardi  Oras"  for  barytone 
voice  and  smalt  orch*  (New  Orleans 
under  Henri  Wchrman,  William 
Broussard  soloist,  1926);  "New  Or- 
leans Street  Cries  at  Dawn"  (Phila. 
Orch.  under  StokowskL  1937);  ballet. 
"Tk*  Phantom  Satyr"  (in  ballet  form 
at  Asolo,  Italy,  under  Francesco  de 
Guarnieri,  19*5;  concert  form  by 
Rochester  Little  Symph.  under  Han- 
son, 1936);  " Pippa fjr  Holiday"  acena 
for  sopr,  and  orch.;  "Jornida  and 
Jornidd"  (opera*  a-act)« 
Beck,  Conrad,  b.  Lohn,  Switzerland, 
1901:  c,  ballet,  "The  Bear";  cantata 
in  chamber  style  (text  by  Louise 
Labs');  oratorio  with  text  by  Silcsius; 
other  chamber  works,  songs,  etc. 


BenatzTsy,  Ralph,  b.  Moravske  Bude- 
joyice,  Austna,  1887;  pupil  of  Veit, 
Klinger  and  Mottl;  esp.  known  as 
composer  of  operettas,  many  pf 
which  were  successfully  prod,  in 
Vienna  and  Berlin;  has  written 
nearly  100  scores  for  the  stage,  incl. 
many  waltz  hits;  in  U.  S.  since  1938; 
best  known  for  operetta  "White 
Horse  Inn"  prod,  in  London  and 
U.  S.;  other  works  staged  in  English 
Inch'' Meet  My  Sister";"The  Apaches"-, 
"Cocktail"  and  "Casanova";  has  also 
c.  music  for  films. 

Ber'ger,  Arthur  V.,  b.  New  York,  1912: 
M.  A.,  N.  Y.  Univ.;  studied  also 
with  Miihaud,  Piston,  Nadia  Bou- 
langer,  and  Vincent  Jones;  taught  at 
Mills  Coll.,  Texas  State  Coll.,  and 
Brooklyn  Coll.;  served  as  music  critic 
of  Boston  Transcript,  later  of  N.  Y. 
Herald  Trib.',  c.  Quartet  for  Wood- 
winds; Serenade  for  chamber  orch.; 
3  Pieces  for  string  orch.;  "Psalm  $2" 
for  chorus;  Duo  for  violin  and  piano; 
many  pf  ,J>ieces,  incl.  Partita:  etc. 

Bergs'ma,  William,  b.  Oakland,  Cal., 
1921;  grad.  Eastman  Sch.  of  Music; 
Guggenheim  Fello  wship ,  BearnsPrize; 
c.  ballet,  "Gold  and  the  Senor  Com- 
mandante"  (Rochester,  1942);  "Music 
on  a  Quiet  Theme"  for  orch.;  "Paul 
Bunyan"  Suite  (San  Francisco 
Symph.,  1939);  "Variations  on  a  Sea 
Chanty"  for  orch.,  etc.;  won  $1000 
Amer.  Acad.  of  Arts  and  Letters 
Award;  Soc.  for  Pub.  of  Amer.  Music 
Award;  commission,  Koussevitzky 
Foundation. 

Berkeley,  Lennox,  b*  near  Oxford, 
Eng,,  1903:  studied  in  Paris  with 
Nadia  Boulanger;  c,  ballet,  "The 
Judgement  of  Paris"  (Sadler's  Wells 
Ballet,  London,  1958);  orch.  work 
"Mont  Juic"  (in  collaboration  with 
Benjamin  Britten);  oratorio,  "Jonah" 
(Leeds  Fest,,  1937):  chamber  music 
and  many  piano  works, 

Bing'ham,  Seth,  b.  Bloomfield,  N.  J., 
1 88 a;  grad.  Yale  Univ.;  pupil  of 
Parker  and  D'Indy;  prof,  of  music, 
Columbia  Univ.;  c.  "Pioneer  Amer- 
ica" for  orch.;  choral  music,  etc. 

Blacker  (blakh'-er) ,  Boris,  b,  Jan.  3> 
1903,  in  China,  of  German  parents; 
later  lived  in  Berlin;  c.  operas, 
"Romeo  und  Juliet"  (Salzburg  Fest., 
1950,  also  in  N.  Y.  in  concert  version, 
1 940) ;  *  *  Preussisches  Mae  re  hen J '  ( x  9  50  > 
Berlin);  one-act  works,  "Die  Flut" 
and  "Nachtschwalbc"-,  symph.;  orch. 


868      SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


suites,  chamber  music,  pf.  pieces, 
etc. 

Bowles,  Paul,  b.  New  York,  1911: 
studied  with  Aaron  Copland  and 
Virgil  Thomson;  c.  ballets,  "Yankee 
Clipper"  (Ballet  Caravan  and  Phila. 
Orch.  under  Smallens,  1937)  and 
" Pastorela";  Suite  for  sm.  orch.; 
cantata,  songs;  incid.  music  for  plays, 
etc. 

Brant,  Henry,  b.  Montreal,  Can., 
1913;  studied  in  U.  S.  with  Rubin 
Goldinark  and  George  Antheil;  won 
Loeb,  Coolidge  and  Seligman  Prizes; 
c.  ballets,  "City  Portrait"  and  "The 
Great  AmericanGoof"  (Ballet  Theatre, 
1940);  "Music  for  a  Five  and  Ten 
Cent  Store"-,  Ballad  for  orch.  (WOR 
Little  Symph.),  etc. 

Britten,  Benjamin.  (See  also  page  80.) 
B.  formed  the  English  Opera  Group, 
for  perfs.  of  his  works  on  tour;  orga- 
nized the  Aldeburgh  Music  Fest.;  he 
toured  U.  S.  and  Canada  with  Peter 
Pears,  tenor,  in  1949-50,  giving  joint 
recitals  of  his  music.;  c.  also  "Let's 
Make  an  Opera"  opera  for  children; 
new  version  of  the  "Beggar's  Opera"* 
and  in  1950  was  at  work  on  an  opera 
based  on  Herman  Melville's  "Bitty 
Budd,"  with  libretto  by  E.  M.  For- 
ster;  c.  "Soir&esMusicales"  (suite after 
Rossini)  (BBC  Orch,,  London,  1937); 
''Sinfoniada  Requiem"  (N.  Y.  Philh.- 


Bridge" 

for  str.  orch.  (Boyd  Neel  Orch.,  Salz- 
burg Fest.,  1937);  Concerto  in  D 
major  for  pf .  and  orch.  (BBC  Orch. 
under  Wood,  composer  soloist,  1938); 
"' Diversions  on  a  Theme"  for  solo  pf. 
(one  hand)  and  orch.  (Phila.  Orch., 
under  Ormandy,  Paul  Wittgenstein, 
for  whom  it  was  written,  soloist, 
1942);  Concerto  in  D  minor  for  violin 
and  orch.  (N.  Y.  Philh.-Symph. 
under  Barbirolli,  Antonio  Brosa,  solo- 
ist, 1940);  "Les  Illuminations,"  cycle 
for  tenor  and  small  ensemble,  based 
on  Rimbaud  poems,  etc. 
Bruns'wick,  Mark,  b.  New  York,  1902; 
studied  with  Rubin  Goldmark,  Ernest 
Bloch,  Roger  Sessions  and  in  Paris 
with  Nadia  Boulanger;  c.  Symph.  for 
chorus  and  orch.;  String  Quartet; 
Fantasia  for  viola  solo;  motet,  "Frag- 
ment of  Sappho"-,  ballet  suite  on 
Aristophanes'  Lysistrata,  etc.;  in 
1948-9  he  was  pres.  of  the  Amer.  sec- 
tion, ISCM. 


Burkliard,  Willy,  b.  Evillard  sur 
Bienne,  Switzerland,  1900;  taught 
piano  and  composition  at  Berne  Cons.; 
c.  opera,  "The  Black  Spider,"  on 
medieval  morality  play  (Lucerne, 
1949);  cantatas;  Violin  Concerto; 
piano  works,  etc. 

Bush,  Alan,  b.  London,  Dec.  22,  1900; 
composer;  studied  at  R.  C.  M.  for  a 
few  years,  then  comp.  with  Ireland, 
piano  with  Schnabel  and  Moisei- 
witsch;  musicology  at  Univ.  of  Berlin, 
1929-31;  prof,  of  comp.,  at  R.  A.  M., 
also  active  as  conductor,  pianist, 
lecturer;  organised  concerts  for  work- 
ing class  groups;  c.  2  Symphs.  (No.  2 
commissioned  for  4<x>th  anniv.  of 
City  of  Nottingham);  suite,  "Piers 
Plowman's  Day"^  Concerto  for  pf. 
and  orch.  with  male  chor.;  "Dance" 
and  "Resolution"  Overtures;  "Eng- 
lish Suite"  for  str.  orch.;  "Lyric  In- 
terlude" for  vln.  and  pf .;  "Meditation 
on  a  German  Song  of  1848  "  for  vln. 
and  pf .;  "Concert  Piece"  for  cello  and 
pf.;  "Dialectic"  for  str.  quartet;  "The 
Winter  Journey,"  cantata  for  mixed 
chor.,  strgs,  and  harp;  "The  Press 
Gang,"  children's  opera;  also  opera 
on  Wat  Tyler,  etc. 

Cage,  John,  b  .Los  Angeles,  191 2;  studied 
with  SchSnberg,  Co  well,  Weiss;  c. 
works  for  perc,  insts.  and  "prepared" 
piano,  withsmall  objects  between  strs. 
to  produce  novel  effects;  c .  *  *  /  maginary 
Landscape"  for  percussion  orch.; 
scores  for  ballets;  "Construction  I," 
and  "Construction  II"  for  percussion 
insts.,  etc. 

Canteloube  (k&nt-l65b),  Joseph,  b. 
1879  at  Annonay,  France;  pupil  of 
D'Indy;  c.  opera  "Le  Mas"  (Paris 
Op6ra);  arr.  folksongs  of  the  Au- 
vergne;  c.  symph,,  piano  works, 
songs,  etc. 

Carter,  Elliott,  b.  New  York,  1908; 
studied  at  Harvard  Univ.  with  Hill 
and  Piston;  in  Paris  with  Nadia 
Boulanger;  c.  ballet,  "Pocohontas" 
(commissioned  by  Ballet  Caravan, 
1939);  Symphony;  works  for  chorus, 
songs,  etc. 

Cas'tro,  Juan  Jose",  b.  Buenos  Aires, 
1895;  after  1930,  conductor  for  opera 
and  orch.  concerts  at  Teatro  Colon 
there;  c.  opera,  "La  Zapatera  Pro- 
digiosa"',  "Dans^  le  Jardin  des  Morts" 
for  orch.  (ist  prize,  Munic.  of  Buenos 
Aires,  1924);  3  "Troso$  Sinfonicos" 
(ISCM  Fest.,  London,  1931);  Sin- 
fonia,  etc. 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS      869 


Catoria  (U-ttiarMa) ,  Alejandro  Garcia. 
Remedies,  Cuba,  1906—1940;  pupil 
of  Nadia  Boulanger  in  Paris;  c. 
"Cuban  Suite"  for  8  wind  insts.  and 
pf .: "  Tres  Danxas  Cubanas"  (Havana 
Phiih.,  1928);  chamber  music,  songs, 
etc. 

Caz'den,  Korman,  b.  New  York,  1914; 
studied  Juilliard  Grad.  Sch.;  c.  "Pre- 
amble" and  uj  Dances"  for  orch,: 
Concerto  for  *o  insts.  (Juilliard 
Grad.Sch., under  Bernard  Wagenaar, 
7);  "Oi*  the  Death  of  a  Spanish 
'"-  (orig,  title  "Ele&  before 
for  symph*  band,  also  for 
chamber  orch.;  songs*  etc. 

Chan'ler,  Theodore*  b.  Newport,  R.  I., 
1903;  studied  witn  Arthur  Shepherd, 
Percy  Goetschius.  Ernest  Bloch;  at 
Oxford  Univ.  ana  with  Nadia  Bou- 
laager  in  Paris;  c.  Sonata  for  violin 
and  piano;  Mass  for  two  women's 
voices;  "8  Epitaph*,*'  song  cycle; 
"5  Short  Colloquies^  for  piano;  song 
cycles;  Sonatina  for  chamber  en- 
semble, etc, 

Cfemara  (ch^m*'-rt),Pietro,  b.  Rom*. 
1887;  studied  at  Rome  Cons.,  and 
with  Resplghi:  1916,  dftbut  as  cond. 
at  Cofttatufi  Theat*  in  Rome;  after 
1934.  as»*t,  cond.  at  Met,  Op.; 
c7  '~Tri&yck"  for  voice  and  oiih.; 
songs*  etc. 

Cit'kcrwit*,  Ittmel,  b.  in  Rtissla,  ^ 
brought  to  U.  S.  M  a  child;  stuc 
with  Copland  and  Seesions,  and  in 
Paris  with  Nadia  Boulanger;  taught 
at  Dmlcrose  Sch.,  N.  Y,;  c.  choral, 
orch  *  *  chamber  works,  etc. 

Cohxu  Arthur,  b*  Philadelphia,  xoxo; 
studied  at  Juilliard  Sch.:  dir.  of  mus. 
div.,  Free  Library  of  that  dty;  dir. 
of  &wte  A,  neither  Music  Collec- 
tion; c.  "Itoir  Sympk.  Documents" 
(Nat*l  Symph.  Orch*  under  Kindler, 
1041);  "Retrospections"  for  str.  orch* 
(Phiia*  Chamber  Orch.  under  Isadore 
Freed,  In  part,  1:035);  "Histrionics" 

Estr.  quartet,  later  for  str.  orchO 
Y,,  Strlttgart  Quartet,  i$jS>5  4 
ludes  (Greenwicit  Orch.,  N*  Y., 
under    composer,    1937);    ^Nature 
jPtaw.** suite  for  orch^etc*;  won  $500 
prime  of  Soc.  for  Ancient  lnstsM  for 
his  "Mime /or  Ancient  /fwte.,"  I938* 
Cootreras  (k6n-trt'-riLft),  Salvador,  b. 
Gueramaro,  Mexico,  191  a;  c.  Suite 
Tor  Chamber  Orch.   (Mexico  City, 
composer  conducting,  1941);  Music 
for  Symph,  Orch.;  Three  Symphonic 
Movements,  etc* 


Cole,  Ulric,  b.  New  York,  1905;  studied 
with  Homer  Grunn  in  Uos  Angeles, 
Goetschius  in  N.  Y.;  at  Juilliard 
Sch.;  with  Boulanger  in  Paris;  c. 
"  Two  Sketches"  for  string  orch.  (orig. 
two  movements  from  String  Quartet 
No.  i),  (Mutual  Broadcasting  String 
Symph.,  under  Wallenstein,  1938); 
Concerto  for  Piano  and  Orch,;  2 
Sonatas  for  vln.  and  pf.;  Diverti- 
mento for  str.  orch.  and  2  pfs.,  etc. 

Cools,  Eugene,  Paris,  1877 — 1936;  pupil 
ana  later  assistant  (1907-23)  to* 
Gfidalge  at  Paris  Cons.;  studied  with 
Faure"  and  Widor;  c.  Symph.  in  C 
minor,  which  won  Prix  Cressent  in 
1906;  operas,  music  to  plays,  cham- 
ber and  piano  works,  songs,  etc.; 
music  critic  of  Le  Monde  Musicale. 

CraVford^  Ruth,  b*  East  Liverpool, 
Ohio,  1901;  studied  in  Chicago,  also 
in  Paris  and  Berlin  on  Guggenheim 
Fellowship;  c,  "Three  Songs"  (Am- 
sterdam Fest.  of  the  Intern.  Soc.  for 
Contemporary  Music,  1933),  etc. 

Bailapiccok    (da-l&-p«'-k34a) ,    LtdgL 

b.  Pisino,    Italy,    1904;    pupil    of 
Florence   Cons.,   and  taught  there 
after  1934;  atonalist;  c.  operas,  "Vel 
d*  Nwti,"  and  "II   Prigioniero;"  a 
Partita  for  orch.;  chamber  works,  etc. 

Dela'ney.  Robert,  b.  Baltimore,  1903; 
studied  with  Boulanger  and  Honeg- 
ger;  c*  "Going  to  Town,"  orch.  suite, 
suite  of  music  for  "The  Constant 
Couple,"  play  by  Farquhar  (Roches- 
ter Philh.,  under  Hanson.  ioaS); 
"Symphonic  Piece  No.  x'*  (ibid,, 
1936);  "Work  No.  **,"  scherzo  for 
orch.  (Harvard  Univ*  Orch.  under 
Malcolm  Holmes,  1939);  choral 
symph.,  "John  Brown's  Body"i  3 
Str.  Quartets;  Vln.  Sonata;  "Blake 
Cyde?>  etc. 

Belanaaoy  (dtt-lto-waO  ,Marcel,b.Fert^- 
Alais,  Isle  de  France,  1898;  studied 
iu  Paris  with  Honegger  and  Cools; 

c.  ballet-opera,  "Le  Fou  de  la  Dame"; 
ballet,    "La    Pantoufie    de     Vair"; 
Sympnony;    String   Quartet;    piano 
works*  songs,  etc. 

Delgadillo.  Luis,  b.  Managua,  Nic- 
aTaguaj  1887;  c.  "Ballet  Infantil"  for 
orch.  (based  on  cartoon  of  Felix  the 
Cat  and  Mickey  Mouse) ; "  Diciembre" 
(Suite  Colonial);  "Sinfonia  Inceica"; 
"Tectihuacan"  (Suite  Mexicana), 
etc. 

BeUo  Joi'o,  Norman,  b.  New  York, 
1913;  studied  at  Inst.  of  Mus.  Art, 
with  Gaston  Dethier  in  pf .  and  org,; 


870      SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


his  Piano  Trio  won  Coolidge  Award; 
1939,  awarded  fellowship  at  Juilliard 
Grad.  School,  where  he  studied 
comp.  with  Bernard  Wagenaar; 
1940-1  awarded  scholarships  at 
Berkshire  Mus.  Centre,  where  he 
studied  with  Paul  Hindemith,  and 
with  the  latter  also  at  Yale  Univ.; 
1942,  his  Magnificat  won  N.  Y. 
Town  Hall  award  for  composition; 
1946,  he  rec'd.  $1,000  grant  from 
Amer.  Acad.  of  Arts  and  Letters; 
1945  and  1946  won  Guggenheim 
Fellowships;  c.  "Variations,  Cha- 
conne  and  Finale"  (PittsburghSymph. 
under  Reiner,  1948;  also  by  N.  Y. 
Philh.-Symph.  under  Walter;  Boston 
and  Cincinnati  Symphs.,  Natl 
Symph.,  Washington);  "Serenade" 
for  orch,  (Cleveland  Orch.  under 
Szell,  1949);  "New  York  Profiles," 
suite  for  sm,  orch.  commissioned  by 
Nikolai  Sokoloff,  for  Mus.  Arts  Soc., 
La  Jolla,  Cal.;  Concertante  for  clar- 
inet and  orch.  (written  for  Artie 
Shaw  and  prem.  by  Mm  with  Chau- 
tauqua,  N.  Y.,  Symph.,  1949);  Con- 
certo for  harp  and  orch.;  Trio  for  flute, 
cello  and  pf .;  in  1949  he  was  a  teacher 
of  comp.  at  Sarah  Lawrence  Coll. 
Delvincourt  (d&-vgn-ko5r'),  Claude, 
b.  Paris,  Jan.  12, 1888;  pupil  of  Widor 
at  Paris  Cons.;  won  Prix  de  Rome, 
1913;  wounded  and  lost  sight  of  one 
eye  in  World  War  I;  dir.  of  Paris 
Cons,  in  1945;  c.  ballet-opera, 
"Lucifer"  (Paris  Op.,  1948-9);  arr. 


jji  amoncL,  ^^ «%**.*-*,  •»/•  ,xwv».u,^o«.^j. .  j.> .  a. ., 
1915;  studied  at  Eastman  School  of 
Music  with  Bernard  Rogers;  also 
with  Roger  Sessions;  won  Guggen- 
heim Fellowships,  1938, 1941;  studied 
at  Fontainebleau,  with  Nadia  Bou- 
langer;  awarded  American  Acad.  in 
Rome  Prize;  c.  symphs.;  "Rounds" 
for  str.  orch.;  Sonata  for  vln.  and 
piano;  string  quartets;  incid.  music 
for  "Romeo  and  Juliet";  Overture  to 
"The  Tempest"-,  Music  for  Double 
String  Orch.;  Psalm  for  orch.  (Juil- 
liard  Pub.  Award);  Sinfonietta  (after 
Carl  Sandburg)  (won  Elfrida  White- 
man  Fellowship,  1935);  2  Symphs. 
(No.  i  played  by  N.  Y.  Philh.,  under 
Mitropoulos,  1941);  "Elegy"  (to 
Memory  of  Ravel)  (Eastman  School 
Fest.,  1934);  "The  Enormous  Room" 
(after  Cummings)  (Cincinnati 
Symph.,  1949)  etc. 


Don'ovan,  Richard,  b.  New  Haven, 
Conn.,  1891;  studied  at  Music  School 
of  Yale  Univ.;  at  Inst.  of  Mus.  Art, 
N.  Y.,  and  with  Widor  in  Paris;  mem- 
ber, Yale  School  of  Mus.  facility;  c. 
"Smoke  and  Steel"  symph.  poem, 
after  poem  by  Carl  Sandburg;  Symph. 
for  Chamber  Orch.  (Yaddo  Fest., 
1937,  composer  conducting);  "Rxcer- 
care"  for  oboe  and  strings  (Eastman 
Sch.  Little  Symph.,  1939),  etc. 
Dop'per,  Cornells,  Stadskanaal,  Fries- 
land,  1870 — Amsterdam,  1939;  chiefly 
self-taught,  but  studied  at  Leipzig 
Cons.,  1887-90;  pupil  of  Wendfing, 
Reinecke  and  others;  active  as  choral 
and  operatic  conductor,  and  after 
1908  ass't.  cond.  with  the  Amsterdam 
Concertgebouw  Orch.;  c.  4  operas, 
incl.  "Ret  Eerekruis"  (Amsterd., 
1894)  and  "William  Ratcliffe"  (Wei- 
mar, 1912);  &  symphs.,  incl.  No.  5 
(with  chorus)  based  on  Book  I  of  the 
Iliad  (1916);  and  No.  7  ("Zuyderxee") 
(1919):  "Paris,"  rhapsodic  for  orch.; 
Cello  Concerto;  Overtures;  a  popular 
"Cfaconna  Gothic*"  for  orcfiu;  Str* 
Quartet,  which  won  a  prize  in  1914; 
Sonatas  for  vln.  and  pf .,  cello  and  pf .; 
choral  works,  piano  pieces,  and  many 
songs. 

Dres'den,  Sem,  b.  Amsterdam,  1881; 
pupil  of  Bernard  Zweers  in  that  city 
and  of  Pfitzner  in  Berlin;  after  1007 
teacher  of  composition  at  Amsterdam 
Cons.;  founded  a  madrigal  society 
in  1914;  with  Daniel  Ruyneman  and 
Henri  Zagwijn  formed  Soc,  of  Modern 
Dutch  Composers;  c.  Piano  Sonata; 
Sonata  for  vln.  and  pf .;  3  Sextets  for 
wind  and  piano:  Trio  for  a  oboes  and 
English  horn;  jPraeludium,  Scherzo 
and  Finale  for  2  pianos:  Sonata  for 
Harp  and  Flute;  Sonata  for  Cello  and 
Pf.;  Variations  and  Suite,  both  for 
orch.;  StringSexte^acapeliachoruses, 
songs,  etc. 

Duke,  John,  b.  Cumberland,  Md.» 
1899;  studied  at  Peabody  Cons.;  also 
with  Boulanger  and  Schnabel;  prof, 
mus.,  Smith  College;  c*  Overture  in 
D  minor  for  str.  orch.  (Smith  Coll. 
Symph.  Orch,  under  composer,  1928): 
Concerto  in  A  major  for  piano  and 
str.  orch.  (Springfield,  Mass.,  Fed. 
Orch.,  composer  soloist,  Milton 
Aronson,  cond.,  1939);  chamber 
wks.,  songs,  etc. 

Ei'nem,  Gottfried  von,  b.  Austria* 
1918;  pupil  of  Boris  Blacher;  c.  opera, 
"Dantons  Tod"  (after  drama  by 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS      871 


Georg  Bttchner)  ,  Salzburg  Fest.  ,  1947; 
song  cycles,  etc.;  in  1949-50  he  was 
reported  at  work  on  an  opera  based 
on  a  story  by  Franz  Kafka. 

El'weU,  Herbert,  b*  Minneapolis, 
1898;  studied  at  Univ.  of  Minnesota; 
in  New  York  with  Ernest  Bloch;  1922, 
went  to  Europe  for  study  with  Nadia 
Bouianger;  1926,  awarded  Fellow- 
ship at  Amer.  Acad.  in  Rome;  after 
1932  rnus.  critic  for  Cleveland 
plain  Dealer;  won  Eastman  School 
Publication  Award;  Padere  wski  Prize, 
1046,  for  his  **  Lincoln,  Requiem  A  eter- 
nam"i  also  c.  ballet,  "Tite  Happy 
Hypocrite";  Orchestral  Sketches;  Can- 
tata; "Pastoral*"  for  sopr.  and  orch., 
setting  of  Song  of  Songs;  Quintet  for 
strings  and  pf  .;  Sonata  for  vln.  and 
of.;  "Divertimento"  for  str,  quartet; 
Sonata  and  other  works  for  pf,; 
choruses,  songs,  etc. 

Ea'gel,  Lehman,  b*  Jackson,  Miss.^ 
Sept.  14,  1910;  studied  at  Cincinnati 
Coll.  of  Mus,  and  Conservatory*  also 
with  Rubin  Goldmark  and  Roger 
Sessions  at  Juilliard  Grad.  Sch.;  was 
cond.  and  founder,  Madrigal  Singers; 
taught  at  Neighborhood  Playhouse 
SchT,  N.  Y.;  c.  operas,  "Medea" 
(x-act),  "Pierrot  of  the  Minute"-,  bal- 
let, "Phobias";  "Jungle  Dance," 
"Introduction  and  Allegretto,"  "Scien- 
tific Creation,"  for  orch.;  choral  wks.; 
indd.  music  for  "Murder  in  the 
Cathtdral,"  "Within  the  Gates," 
"Birds"  (Aristophanes),  and  other 
dramas:  cond.  first  U.  S.  perf.  of 
Kurt  Wears  opera,  "Der  Jasager" 
and  score  for  Paul  Green's  "Johnny 
Johnson"  on  Broadway,  also  other 
theatr.  prods  * 


,  Carl*  b.  Carbon,  Ind.,  1882; 
studied  ia  Europe  with  Hugo  Kaun, 
Nikisch,  Kunwald;  founded  Mil- 
waukee Civic  Orch.,  192%;  c.  "A 
Symphony  of  the  City,"  symph.  cycle 
in  4  parts,  mcL  I.  «'  Trajfic*  (second 
prize  in  N  EC  competition,  %93*,  perf. 
NBC  Orch,  under  Goossens,  and 
same  year  by  Hollywood  Bowl  Orch. 
under  Stock);  II,  "City  Shadows"; 
III.  "$te*d"i  IV.  "City  Nights"  (lat- 
ter 3  by  Rochester  Philh.  under 
Hanson,  1035);  "&scapa<ie,"  mus. 
satire  (Indianapolis  Symph.  under 
SeviUky,  1941);  Symphonic  Suites  I 
and  II  (per!.,  resp.,  by  Chicago  and 
Detroit  Syrnphs.,  194*  and  1942); 
"  Timber,  >f  tor  orch*  (Juilhard  Pub. 
Award);  "A  Cameo  Symph."; 


"Symph.     of     the     Land",     opera, 
"Kaintuckee"  etc. 

Fernan'dez,  Oscar,  Bio  de  Janeiro, 
Brazil,  1897 — 1948;  founder  and  Jor 
some  years  dir.  of  Brazilian  Cons,  of 
Mus.;  c.  opera,  "Malazarte"  from 
which  the  Negro  dance,  "Batuque," 
has  been  widely  heard;  and  "Im- 
bapara,"  Indian  poem  for  orch*,  also 
perf.  as  a  ballet;  "Suite  Brastteiro" 
"Suite  Sinfonica  sobre  Tres  Themas 
Populaire$j"  both  for  orch.;  "Piano 
Trio  Brasileiro,"  etc. 

Finney,  Ross  Lee,  b.  Wells,  Minn., 
1906;  studied  in  U.  S.  with  Hill  and 
Sessions,  in  Europe  with  Bouianger 
and  Berg;  won  Pulitzer  Scholarship 
and  Guggenheim  Fellowship;  member 
of  Smith  Coll.  music  faculty;  c.  dance 
drama,  "Masse  Mensch";  "Barber 
Shop  Ballad"  (based  on  folksong 
"The  Dark-eyed  Canaler"),  orch. 
work  (commissioned  by  CBS  and 
premiered  uxxder  Herrmann,  1940); 
^'Overture  for  a  Drama"  (Eastman 
Symph.  under  Hanson,  1941);  "Slow 
Piece"  (orch.  of  movement  from 
'cello  and  pf,  sonata),  (Minneapolis 
Symph.  under  Mitropoulos) ,  etc. 

Fiorillo  (f«-6r-Xl'-l6),  Dante,  b.  New 
York,  1905;  c.  Prelude  and  Fugue  for 
string  orch.  (former  perf.  by  Cham- 
ber Orch.  of  Phila.,  Isadore  Freed 
conducting,  1934;  both  by  N.  Y. 
Civic  Orch*,  1935);  a-lso  Concerto; 
Introduction  and  Passcaglia;  Partita 
(on  theme  by  an,  iSth  Century 
Fiorillo) — all  for  orch.;  chamber 
music*  songs,  etc. 

IForst,  Rudolf,  b.  New  York,  1900; 
violinist;  studied  comp.  with  Mason 
at  Columbia  Univ.;  c.  "Music  for 
Strings"  (orig.  a  str.  quartet,  and  as 
such  won  $250  prize  of  NBC  Music 
Guild,  1936;  played  over  NBC  by 
Gordon  String  Quartet,  1937);  "4«- 
bade  Jkre#&a£tt£,  based  on  old  Spanish 
songs  of  Calif.  (Greenwich  Orch., 
under  Maganini,  1938);  Divertimento 
for  chamber  orch.  (from  which, 
Pastorale  and  Tempo  di  Valse  given 
at  Yaddo  Fest.,  X93&,  and  Toccata- 
Prelude  by  WOR  Symphonietta, 

Fort'ner,  Wolfgang,  b.  Leipzig,  1907; 
studied  with  Grabner,  Kroyer;  after 
jQ^i  taught  romp.,  Heidelberg;  c. 
ballet,  "We  ll'eise  Kose,"  chm.  wks., 

FOBS,  Lukas  (name  originally  Fuchs), 
b.  Berlin,  1922;  studied  in  Berlin  and 
Paris;  came  to  U,  S.  with  parents  in 


872       SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


1937;  studied  at  Curtis  Inst.  of  Music, 
Phila.;  served  as  pianist  of  Boston 
Symph.  Orch.;  c.  cantata,  "The 
Prairie"  (perf.  by  N.  Y.  Philh.- 
Symph.  Orch.  and  vocalists,  1945); 
"Recordare"  (to  memory  of  Gandhi), 
(Boston  Symph.,  1948-9  under 
Koussevitzky);  ballet,  "Song  of  Solo- 
mon" (choreographed  by  Charles 
Weidman,  1949),  etc. 
Fran'co,  Johan,  b.  Zaandam,  Holland, 
1908;  studied  under  Pijper;  later  res. 
in  U.  S.;  c.  First  Symph.  (Rotterdam 
Philh.  under  Flipse,  1934);  Symphony 
No.  2  ("George  Washington"),  last 
movement  orig.  titled  Introduction 
e  Scherzo,  for  clarinet  and  chamber 
orch.;  "Serenata  Concertante"  for  pf. 
and  chamber  orch.  (Orchestrette 
Classique  under  Frederique  Petrides, 
N.  Y.,  WilHam  Masselos  soloist, 
1940);  "Symphony  Concertante"  for 
pf.  and  orch.  (Nat'l  Orch.  Ass'n., 
N.  Y.,  under  Barzin,  Masselos  solo- 
ist, 1941);  "Concerto  Lirico"  for  vln. 
and  orch.,  etc. 

Freed,  Isadora,  b. in  Russia,  1900;  taken 
to  Philadelphia  in  the  U.  S.  while 
quite  young;  grad.  of  Univ.  of  Penna. 
and  medallist  of  Phila.  Cons.;  studied 
with  Ernest  Bloch;  with  D'Indy,  at 
Schola  Cantorum,  Paris;  taught  at 
Curtis  Inst.,  Phila.;  c.  Symph.; 
Triptych:  "Jeux  de  Timbres"-,  "Pas- 
torales" (9  pieces),  (Nat'l.  Symph., 
Washington,  1938),  all  for  orch.; 
chamber  works,  songs;  ballet  "Vi- 
brations"; one-act  opera,  "Homo 
Sum";  choral  music;  opera,  "The 
Princess  and  the  Vagabond"  (com- 
missioned by  Hartt  Opera  Guild, 
Hartford,  Conn.,  and  prod,  there, 
1948),  etc. 

Fuleilian  (f  55-la'-han) ,  Anis,  b .  Kyrenia, 
Isle  of  Cyprus,  1900;  came  to  U.  S. 
in  1915;  studied  with  Alberto  Jonas 
(piano),  and  made  dSbut  as  pianist; 
later  won  Guggenheim  Fellowship; 
c.  Symph.  No.  i  (N.  Y.  Philh.- 
Symph.,  under  Barbirolli,  1936); 
"Mediterranean,"  suite  for  orch. 
(Cincinnati  Symph.,  under  Goossens, 
1935);  "Fiesta"  and  "Invocation" 
(commissioned  and  perf.  by  Indian- 
apolis Symph.  under  Sevitzky,  1939 
and  1941,  resp.);  Concerto  No.  i  for 
pf.  and  str.  orch.  (Saratoga  Spa 
Fest.,  under  F.  Charles  Adler;  com- 
poser, soloist,  1937); " Epithalamium" 
(variations  for  pf.  and  str.  orch.) 
{Phila.  Str.  Simfonietta,  under  Se- 


vitzky, composer  soloist,  1941),  etc. 

Gaito  (gS,-e"'-t5j ,  Constantine,  b.  Buenos 
Aires,  1878;  son  of  Caystano  G., 
violinist;  early  showed  mus,  gifts  and 
was  sent  for  study  with.  Platania  in 
Naples;  made  concert  tour  of  Italy; 
1900,  returned  to  Buenos  Aires, 
founded  school;  c.  operas,  "Strapas" 
(r-act);  "Doria"  (3-act);  "Cajo 
Petronio"  (3 -act);  Overture;  Suite  for 
Orch.;  syxnph.  poem,  "El  OmbtL" 
(awarded  first  municipal  prize  of 
Buenos  Aires,  1924);  songs,  etc. 

Galin/do,  Bias,  b.  San  Gabriel,  Jalisco, 
Mexico,  1911;  folk-style  composer; 
grad.  and  later  dir.  of  Mexican  Nat'l 
Cons.;  c.  "Preludios"  for  orch.; 
"Danza  de  las  Fuerzas  Nuevas"  (Mexi- 
can ballet  suite) ,  chamber  works,  etc. 

Gavazzeni  (ga-va-tsa'-ne1) ,  Gianandrea, 
b.  Bergamo,  1909;  c.  "Preludio 
Sinfonico"  and  "Concerto  Berga- 
mesco"  for  orch,;  sonatas  for  vln.  and 
cello;  Piano  Trio;  ballets  and  mel- 
odramas; "Chants  of  the  Lombard 
Laborers"  (Venice  Mod.  Mus.  Fest., 
i937)>  etc. 

Ghedini  (gS-d€'~n5),  Giorgio  Federico, 
b.  Cuneo,  Italy,  1892;  studied  at 
Verdi  Cons.,  Turin  (where  he  later 
was  prof.)  and  grad.  of  Bologna 
Cons.,  19x1;  cellist,  pianist,  organist, 
conductor;  c.  operas,  "The  Bac- 
chantes" (La  Scala,  1948);  "£'/»-  " 
trusa"  (r-act);  Partita  and  Suite  for 
orch.;  "Marinaresca  e  Baccanale" 
(Chicago  Symph.,  under  De  Sabata, 
1949);  "Dramatic  Overture"  Con- 
certo Grosso;  oratorios,  masses;  Con- 
certo for  organ  and  orch. 
'  Gianneo  (h€-&xi-5/-o) ,  Luis,  b.  Buenos 
Aires,  1897;  c.  "Obertura  para  una 
Comedia  Infantil"  (for  chamber  orch. 
of  winds  and  percussion)  (NBC  Sym- 
phony, N.  Y.,  under  Juan  Jose* 
Castro,  1941);  Violin  Concerto,  etc. 

Gil'lis,  Don,  b.  Cameron,  Mo.,  1912; 
B.  M.,  Texas  Christian  Univ.;  M.  M., 
North  Texas  Teachers  Coll.;  staff  ar- 
ranger in  radio  station.  Ft.  Worth, 
Tex.,  for  a  time;  later  lor  a  Chicago 
network,  and  then  mus*  dir.  of  prod., 
NBC  Symph.;  c.  5  symphs.;  suite, 
"The  Panhandle,"  "Portrait  of  a 
Frontier  Town,"  "The  Raven,"  *'To 
an  Unknown  Soldier,"  "Citizen  Tom 
Paine,"  "Intermission — 10  Min- 
utes," "Symphony  Five  and  a  Hatf" 
(cond,  by  Toscanini  with  NBC 
Symph.),  "Prairie  Poem,"  "The 
Alamo,"  "Short  Overture  to  an 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS      873 


written  Opera,"  "Perpetual  Emo- 
tion," all  for  orch.;  "Rhapsody"  for 
harp  and  orch.;  cantata  for  radio, 
"  The  Crucifixion"-  "Music  for  To- 
night" five  str.  quartets,  pf.  quin- 
tet, etc. 

Ginastera  (hS-nas-ta'-ra) ,  Alberto,  b. 
Buenos  Aires,  1916:  c.  "Concierto 
Argentina"  forpf.  and  orch.  (SODRE 
Orch,,  Montevideo,  1941,  under 
Lamberto  Baldi,  Hugo  Balsso  solo- 
ist) "  Panambi"  (choreographic  leg- 
end), etc. 

Gould,  Morton,  b.  Richmond  Hill, 
N.  Y.,  1913;  stud*  at  Inst-  of  Mus. 
Art,  N.  Y.;  cond.  on  radio  and  ar- 
ranger; graa.,  N.  Y.  Univ.  at  age  of 
15;  precocious  in  music  and  early 
active  as  pianist;  c.  "Chorale  and 
Fu&ue  in  Jas*'*  (Phiia.  Orch.  Youth 
Concerts,  under  StokowskL  1936); 
3  "American  SymphoneUes^  "Latin 
American  SymphonetteS*"  Spirituals" 
(str.  choir,  orch.)  (N.  Y.  Philh.- 
Symph.);  "Foster  Gallery,"  "Lincoln 
Legend,"  "Cowboy  Rhapsody"  for 
orch,;  Piano,  Concerto,  3  Sonatas,  a 
Sonatina  (all  pf.);  ballets,  "Inter- 
play" and  "Fall  River  Legend";  band 
wks.,  music  for  plays. 

Griffis. Elliot,  b.  Boston,  1893 -studied 
at  Ithaca,  N,  Y.,  *uid  New  England 
Cons,T  at  Yale  Sch*  of  MusM  and 
Mannes  School,  N.  Y.:  won  Pulitzer 
Fellowship;  Mus.  D.,  N.  Y.  ColL  of 
Mus.;  c.  "Moniewtto,"  concerto  for 
strings,  piano  and  organ  (based  on 
Southern  Mountain  tunes);  "Colos- 
sus" (symph.  poem,  based  on  legend 
of  Paul  Bunyan);  "Fantastic  Pur- 
suit** (aympfe.  for  str.  orch-);  songs, 
etc. 

Gtwunoieri  (g$&~ttr-n€-a'-re*),  Caxnaxgo, 
b*  Tiete,  Sao  Paulo,  Braasil,  1907; 
conductor;  toured  IL  S*  as  yuest  in 
concerts  of  his  music;  inspired  by 
native  Brazilian  themes,  advanced 
modern  style;  c.  Symphs.;  Concerto 
for  Piano  and  Orch.  (Rio  de  Janeiro, 
Orquestra  do  Theatre  Municipal, 
under  composers  baton,  with  Lidia 
Simoes  as  soloist,  X94P);  "Prologo  e 
Fuga"  for  orch.;  "Abertura  Con- 
certoni*"  "Dansa  Brasileira"  and 
'* Danza Selvagem"  (SSo  Paulo  Munic. 
Orch.  under  composer's  direction); 
"Flor  de  Tremembf*  (Rio  de  Janeiro, 
ensemble  of  the  Escuola  Nacional 
de  Musica,  with  Guarnieri  directing) , 
etc. 

Oulon    (gi'-to),   Bavid,  b,   Ballinger, 


Tex.,  1895;  studied  with  Godowsky 
at  Vienna  Cons.;  c.  "Western  Bal 
let,"  based  on  folk  tunes;  "Shing- 
andi,"  African  ballet  suite;  "Alley 
Tunes99-,  "Arkansas  Traveler";  "Tur- 
key in  the  Straw";  "Sheep  and  Goat 
Walkin'  to  the  Pasture";  "Mother 
Goose"  suite,  for  orch.  ;someioo  songs. 

Haiefif  (hi-Sf),  Alexei,  b.  Russia,  1914; 
after  1932  in  U.S.,  studied  Juilliard 
School;  also  in  Paris;  c.  orch.  wks. 

Halff'ter,  Rodolfo,  b.  Madrid,  1900; 
bro.  of  Ernesto  H .•  a  follower  of 
Schpenberg's  atonal  theories  of  comp .; 
he  lived  in  Latin  America  after  1938; 
c.  "Natures  Mortes"  for  piano; 
"Piezas"  for  str.  quartet;  Suite  for 
Orch.;  "Obertura  C  oncer tante"  for 
piano  and  orch.,  etc, 

Ham'erik,  Ebbe,  b.  Copenhagen,  1898; 
son  of  Asger  H.;  pupil  of  his  father 
and  Frank  Van  der  Stucken;  1919, 
made  d6but  as  conductor  in  native 
city;  1919-22  at  Royal  Theat.  in  that 
city  as  ass't.  cond.;  appeared  in 
Vienna,  Berlin,  etc.,  as  orch-  cond.; 
c.  opera  "Step an"  (Mainz,  1924); 
Symph.;  Str.  Quartet;  "Sommer"  for 
barytone  and  orch.;  org.  wks.,  songs, 
etc. 

Har'rison,  Lou,  b.  Portland,  Ore.,  1917; 
c.  works  for  percussion  ensemble, 
inch  "Canticle,"  "Fifth  Simfony"; 
Concerto  for  Flute,  etc, 

Hauf'recht,  Herbert,  b.  New  York, 
1909;  studied  Juilliard  Sch.  of  Music; 
c,  "Overture  for  an  Amer*  Mural 


_      Symjjh. 

Frank  Black,  1941);  Suite  for  str. 
orch,  (Juilliard  Grad,  Sch.  Str.  Orch., 
under  Edgar  Schenkman,  1934); 
choruses,  songs,  etc. 

Hel'fer,  waiter,  b.  Lawrence2  Mass., 
1806;  grad.  ol  Harvard  Univ.:  won 
Fellowship  at  Amer.  A  cad.  in  Rome; 

'  studied  with  Mason  and  Respighi; 
chm,  faculty  of  mus.,  Hunter  Coll., 
N.  Y,;  c.  Str.  Quartet;  "Symphony  on 
Canadian  Airs";  "Faniasie  on  ChU~ 
dren's  Tunes";  Prelude  to  "A  Mid- 
summer NiMs  Dream"  (Paderew- 
ski  Prize  of  $i  ,000,  1938) ,  etc. 

Herr'mann,  Bernard,  b.  New  York, 
1911;  studied  at  Juilliard  Grad. 
School;  after  1938  with  Columbia 
Broadcasting  System  as  cond.  of 
orch.  programs;  led  the  New  Cham- 
ber Orch.  as  guest,  also  HallS  Orch. 
in  Manchester,  Eng.;  c.  ballet  ^ 


874      SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


"Skating  Rink";  Sinfonietta  for  str. 
orch.;  Nocturne  and  Scherzo;  "Cur- 
rier Bf  Ives"  Suite;  tone  poem,  "The 
City  of  Brass9';  Variations  on  "Deep 
River"  and  "Water  Boy";  Symph.; 
Violin  Concerto;  "Moby  Dick"  dram, 
cantata  for   soloists,   speakers   and 
male  chorus  (N.  Y.  Phil h. -Symph. 
Orch.);  film  scores,  etc. 
Howe,  Mary,  b.  Richmond,  Va.,  1882; 
studied  piano  with  Hutcheson,  Harold 
Randolph;  and  Burmeister  in   Ger- 
many; comp.   -with  Gustav  Strube, 
and  with  Nadia  Boulanger  in  Paris; 
grad.  Peabody  Cons.;  later  lived  in 
Washington;  c.  ballet  "Cards";  orch. 
wks.,     "Dirge,"     "Sand,"     "Stars"; 
"Poema";      "Coulennes";      "Mists"; 
Violin  Sonata;  Quintet  Suite;  "Haba- 
nera" for  2  pfs.;  choruses,  songs,  etc. 
Inch,   Herbert,    b.    Missoula,    Mont., 
1904;  grad.  Eastman  School  of  Music, 
Rochester,  N.  Y.;  won  Fellowship  at 
Amer.  Acad.  in  Rome;  Ernest  Bloch 
Award;    Univ.   of   Rochester   Trav. 
Fellowship;  Ph.  D.,  Montana  State 
Univ.;  c.  *' Serenade"  for  string  orch. 
(heard    in    part    at    Eastman    Sch. 
Symposium,  Rochester  Civic  Orch., 
under  Hanson,  1939);  Symph.  No.  i 
(Rochester  Philh.  Orch.,  under  Han- 
son, 103?);  "Three  Pieces"  for  small 
orch.  (ibid.,  1930);  "Variations  on  a 
Modal  Theme"  (ibid.,  1927)  etc. 
Ja'cob,    Gordon    (See    also    entry   in 
biograph.  section);  b.  Norwood,  n. 
London,  1895;  composer;  studied  at 
Dulwich  Coll.,  later  at  R.C.M.  with 
Stanford  and  Charles  Wood;  prof,  of 
comp.,   harmony  and  orchestration 
at   latter  school;    c.    2    Symphs.;   3 
Suites  for  Orch.;  Concertos  for  Oboe 
and  Bassoon  with  Strs.;  Rhapsody 
for   Cor  Anglais  and  Strs.;  "Varia- 
tions on  an  Original  Theme,"  "Pas- 
sacaglia    on    a  Well-known    Theme"; 
"Fantasie  on  the  Alleluia  Hymn"  and 
"Festal  March,"  all  for  orch.;  Clar- 
inet Quintet;  Oboe  Quartet;  "Prel- 
ude, Passacaglia  and  Fugue"  for  vln. 
and    via.;    "Three    Inventions"    for 
flute  and  oboe;  choral  and  pf .  music, 
songs;   also   ballet   "Uncle   Remus," 
etc.;  arr.  works  of  older  composers, 
incl.  an  "Orlando  Gibbons"  Suite  and 
Handel's    Overture    to    "Theodora"; 
author  of  treatise  on  instrumentation; 
B.  Mus.,  London,  1935. 
Jemaitz    (yam'-nets) ,    Alexander,    b. 
Budapest,  1890;  studied  with  Koes- 
sler   at    Mus.  Akad.  there,  and  in 


Leipzig  with  Reger  and  Straube;  was 
ass't,  cond.  at  Bremen  Opera;  later 
in  Berlin  and  then  Budapest  as 
teacher  and  critic;  c.  orch.,  chamber 
mus.,  ballets;  Str.  Quartet;  Sonatas 
for  vln.  and  pf .;  flute  and  oboe  trios, 
etc. 

Jirak  (yg'-rak),  Karl  Boleslav,  b. 
Prague,  1891;  studied  with  Novak 
and  J.  B.  Foerster;  cond.  at  Hamburg 
Op.,  later  in  Bruenn  and  cond.  of  the 
Hlahol  Chorus  in  Prague;  after  1920 
taught  comp.  at  Prague  Cons.;  later 
as  teacher  in  Chicago;  c.  2  Symph.; 
"Overture  to  a  Comedy";  Str.  Sextet; 
Sonatas  for  vln.  and  via.;  Pf .  Suites 
and  smaller  pieces^  "Tragiko- 
moedien"  song  cycle  with  orch.,  etc. 
John'son,  Hunter,  b.  Benson,  N,  C., 
1906;  grad.  Eastman  Sch.  of  Music: 
taught  at  Univ.  of  Mich.;  awarded 
Guggenheim  Fellowship,  194x5  pre- 
viously had  won  Fellowship  at  Amer. 
Acad.  in  Rome  and  studied  in  Europe, 
I933~5>  c-  Sy*nph.;  Concerto  for 
Piano  and  Small  Orch.  (Greenwich 
Concert  Orch.,  N.  Y.,  under  Lehman 
Engel,  Harry  Cumpson  soloist,  1937) , 
etc. 

Jolivet  (zh6-lS-va'),  Andre",  b.  Paris, 
1905;  pupil  of  Le  Flem  and  Varfese; 
opponent  of  neo-classicism,  flouting 
tonality;  c.  Concerto  for  Ondes  Mar- 
tenot  (electronic  inst.)  and  Orch. 
(Boston  Symph.  under  Munch,  1949, 
with  Ginette  Martenot  as  soloist)* 
"Trois  Chansons  de  M&nestrels"  and 
"Pobmes  IiUimes"  for  voice  and 
pf .;  "Memories  of  a  Soldier";  wks.  for 
pf.  and  org.,  etc. 

Jones,  Charles,  b.  Tamworth,  Ontario, 
Can.,  1912;  mem.  of  faculty  at  Mills 
CoU.,  in  California;  studied  and  was 
active  as  teacher  in  the  U.  S.,  c. 
Symphs,;  Concerto  for  sm.  orch.; 
Suite  for  string  orch.,  chamber  wks., 
songs,  etc. 

Kanitz  (ks'-n5ts),  Ernst,  b.  Vienna, 
1894;  studied  harmony  with  Heu- 
berger,  counterpoint  and  composi- 
tion with  Schreker;  prof,  of  musical 
theory  at  the  New  Vienna  Cons,  for 
some  years;  later  res.  as  teacher  and 
composer  in  U.  S,;  member  music 
faculty,  Univ.  of  Southern  Cali- 
fornia; c.  Str,  Quartet;  Concert  Over- 
ture; Songs  for  high  voice;  Three 
Songs  for  medium  voice  (Salzburg 
Intern.  Chamber  Mus.  Fest.);  "Das 
Hohe  Lied"  (setting  of  the  Song  of 
Songs)  for  soloists,  chor.  and  orch. 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS      875 


(perf,  by  Vienna  Philh.  Chorus  and 
Vienna  Singakademie,  under  Szell, 
1921);  Sonata  for  vln.  and  pf.,  etc. 

Kau'der,  Hugo,  b.  Tobitschau,  Mora- 
via, 1888;  went  to  Vienna  in  1905; 
studied  at  Vienna  Univ.;  largely 
self-taught  in  mus.;  played  violin  and 
viola  in  the  Konzertverein  Orch. 
there;  1925,  violist  of  Baltz  Quartet; 
c.  Symph.  (Vienna,  1924);  'Cello 
Concerto;  2  Str.  Quartets;  Diverti- 
mento for  vln.  and  via.;  Passacaglia 
for  org.;  about  100  songs,  etc. 

Kay,  Ulysses,  b,  Tucson,  Arizona,  1917; 

trad.  Eastman  Sch.  of  Music;  won 
rooo  Alice  M.  Ditson  Fellowship; 
also  $700  prize,  American  Composers 
Alliance,  sponsored  by  Broadcast 
Music,  Inc.;  c.  Sinfonietta  (in  part 
by  Rochester  Civic  Orch.,  under 
Hanson,  1939);  "Danse  Calinda" 
(ballet  with  story  by  Ridgely  Tor- 
reace)  (ibid.,  1:941);  "Five  Mosaics" 
for  orch.;  Oboe  Concerto  (ibid., 
1940^  Sprenkel  soloist):  "Of  New 
Honawns"  ($500  ist  prize,  Fellow- 
ship of  Amer.  Composers  and  AMC): 
"A  Short  Overture*  (joint  award  of 
$1000,  Gershwin  Memorial  Contest, 
x$47>;  Piano  Sonata  (Phi  Mu  Alpha 
Award,  1940),  etc.;  awarded  Fellow- 
ship, Amer,  Acad,  in  Rome,  1949. 

K*n'n*n,  Kent,  b.  Milwaukee,  Wis., 
*$*$>  JP*d-  Eastman  Sch.  of  Music; 
won  Fellowship  at  Amer.  Acad.  in 
Rome;  c.  Nocturne  for  viola  and 
small  orch.;  "Air  de  Ballet"  (Detroit 
Symph.  under  Kolar,  1941,  later 
oart  of  a  Suite,  given  by  Eastman 
Sch,  Little  Symph.,  1:943);  "Lament" 
(NBC  Symph.  Orch.  under  Black, 
1041);  "#****  Soliloquy,"  for  flute, 
pf,  and  strings:  "Promenade*9  (Santa 
Cecilia  Orch.,  Rome,  1938,  also  later 
part  of  Suite  for  Orch.);  "Con- 
certina for  an  American  Going  to 
War"*>  Andante  for  solo  oboe  and 
small  orch.  (Roch.  Civic  Orch., 
1  941),  etc. 

Kerr,  Harrison,  b.  Cleveland,  O.»  1899; 
his  works  heard  at  Yaddo  Fest.2 
Saratoga,  N*  Y.;  taught  at  Univ.  of 
Oklahoma;  member  of  the  Civil 
Affairs  Division.  Dept,  of  the  Army; 
and  member  of  the  Intern,  Music 
Council  of  UNESCO;  c.  Symph.  in 
D  Miser,  "Dance  Suite"  (Rochester 
Symph.  under  Hanson,  x^a)*,"  Dance 


Sonata"  for  3  pfs.  and  percussion 
(Bennington  ColL  Feat.,  1938);  etc. 
Klein'singer,  G«orge»  b,  San  Bernar- 


dino,  Cal.,  1914;  B.  A.  in  Mus.  from 
N.  Y.  Univ.;  awarded  fellowship  in 
comp.  at  Juilliard  Grad.  Sch.,  1938- 
40;  c.  opera,  "Life  in  a  Day  of  a 
Secretary"  (ist  prize,  Nat'L  New 
Theatre  League  Contest,  1939); 
cantata,  "/  Hear  America  Singing" 
(St.  Louis  Symph.;  NBC  Symph.; 
Southern  Symph.;  Springfield 
Symph.);  Fantasy  for  vln.  and  orch. 
(Nat'L  Orch.  Ass'n.  with  Barzin); 
"Street  Corner"  Concerto  for  har- 
monica and  orch.  (Cleveland  Orch.; 
Boston  Pops;  Kansas  City  Philh.); 
"Tubby  the  Tuba"  (N.  Y.  Philh. 
under  Stokowski;  Phila.  Orch.;  Cin- 
cinnati Symph.;  Columbus  Symph.; 
PittsburghSymph.;  ChicagoSymph.); 
"Overture  on  American  Folk  Themes" 
(Bos ton  Pops  Orch.) ;  "Panthe  Piper" 
(Cincinnati  Symph,  under  Thor 
Johnson);  "Western  Rhapsody"  (Buf- 
falo Symph.;  Boston  Civic  Orch.); 
"Peewee  the  Piccolo"  (Phila.,  Cin- 
cinnati and  Pittsburgh  Symphs.); 
"Celeste"  (N.  Y.  Philh.,  Ptila., 
Cincinnati,  Denver  Symph.);  String 
Quartet  (WQXR  and  NBC  Quartets); 
Sonatina  for  flute,  cello  and  pf. 
(Sagul  Trio);  Cello  Concerto  (Nat'l 
Orcn.  Ass'n.,  1950);  Ouintet  for 
Clarinet  and  Strings  (Musicians' 
Guild;  Kroll  String  Quartet),  etc, 

Koufzen,  Boris,  b.  Uman,  Russia, 
1901;  in  U.  S.  after  1924;  violinist; 
in  Philadelphia  Orch.  for  a  time; 
studied  comp.  with  Gliere;  Mus.  D.; 
c.  Symph.  in  C,;  "Solitude,"  nocturne 
(Phila.  Orch.,  under  composer,  2927); 
" Valley  Forge"  symph,  poem  (won 
Juilliard  Pub.  Prize,  peril  by  Nat'L 
Orch*  Ass'n.,  N*  Y.,  under  Barzin, 
1940);  Concerto  for  5  solo  insts.  and 
str.  orch.  (ibid.-  1935);  "Mouvement 
Symphonique"  for  vln.  and  piano, 
etc.;  headed  violin  dept.  at  Phila. 
Cons,  of  Music;  his  Str.  Quartet  No. 
a  rec'd  award  of  Soc.  for  Pub.  of 
Amer.  Music. 

Kra'sa,  Hans,  b.  Prague,  1895;  of 
German-Czechish  extraction;  studied 
with  Z«mlinsky;  his  style  influenced 
by  Stravinsky  and  other  moderns; 
esp,  known  for  his  Songs  with  orch., 
to  texts  of  Christian  Morgenstern: 
c.  also  opera,  "Betrothal  in  a  Dream" 
(won  Czech  State  Prize,  1933), 
oratorio,  "Die  Erde  ist  des  Herrn"i 
Symph*  for  sm.  orch.  (in  U.  S*  by 
Kousaevitzky  and  Boston  Symph.), 
Str.  Quartet;  songs,  etc. 


876       SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


Kreutz  (kroits),  Arthur,  b.  La  Crosse, 
Wis,,  1906;  won  Amer.  Prix  de 
Rome  and  Guggenheim  Fellowship; 
studied  Univ.  of  Wis.;  Brussels  Cons.; 
M.  A.,  Columbia  Univ.;  c.  "Music 
for  Symph.  Orch."  (NBC  Symph., 
under  Frank  Black,  1940);  "Paul 

1  Bunyan,"  dance  poem  (won  Nat'l 
Ass'n.  for  Amer.  Composers  and 
Conductors'  Prize);  "Symphonic 
Sketch  on  3  Amer.  Folk  Tunes39 
(ISCM  Fest.,  Berkeley,  CaL,  1942); 
"American  Dances"  (WOR  Sin- 
fonietta  under  Katims,  1941);  ballet, 
"Long  May  Our  Land  Be  Bright" 
(commissioned  by  Martha  Graham; 
first  c.  for  pf.,  then  suite  for  orch., 
latter  cond.  by  composer.  Univ. 
Symph.,  Austin,  Tex.,  1944);  Violin 
Concerto,  etc. 

Ku'bik,  Gail,  b.  South  Coffeyville, 
Okla.,  19x4;  grad.  Eastman  Sch. 
of  Music;  won  Guggenheim  and  Mac- 
Dowell  Colony  Fellowships;  award 
of  Soc.  for  Pub.  of  Amer.  Music; 
active  as  comp.  for  Army  films,  1943; 
c.  Concerto  in  D  for  Violin  and  Orch. 
(awarded  ist  jDrize  of  $1,000  by 
Jascha  Heifetz  in  competition  held 
by  the  publisher,  Carl  Fischer,  Inc.); 
"Men  and  Ships  "  symph.  piece; 
Scherzo  from  a  Symphony  (dedi- 
cated to  the  Chicago  Symph.  on  its 
5oth  anniversary);  "Whoopee-Ti-Yi- 
Yo"  for  small  orch,,  based  on  cow- 
boy tunes  (commissioned  by  CBS 
whose  Concert  Orch.  perf.  it  under 
Bernard  Herrmann,  1941);  "Ameri- 
can Caprice"  for  piano  and  small 
orch.;  "Puck"  for  chamber  orch.; 
choruses,  songs,  etc.;  won  Sinfonia 
Nat'l  Award;  Chicago  Golden  Jubi- 
lee Award,  and  Citation,  Nat'l. 
Ass'n.  of  Composers  and  Conductors. 

LapTiam,  Claude,  b.  Ft.  Scott,  Kan., 
1890;  composer  influenced  by  Jap- 
anese idioms  and  basing  much  of  his 
music  on  an  adaptation  of  them,  with 
Western  symphonic  technique;  c. 
"Miharayama"  tone  poem  for  orch., 
descriptive  of  Japanese  volcano  in 
which  unhappy  lovers  seek  death 
(Tokyo  Symph.  under  Klaus  Prings- 
heim,  1935);  Japanese  Concerto  for 
Piano  and  Orch.;  song  cycles,  etc. 

La  Violette',  Wesley,  b.  St.  James, 
Minn.,  1894;  studied  and  lived  in 
Chicago;  grad.  Northwestern  Univ.; 
Mus.  D.,  Chic.  Mus.  Coll.;  c. 
.First  Symph.  (Rochester  Civic  Orch. 
under  Hanson,  1938);  "Tom  Thumb" 


Symph.  (Chicago,  1942?  under  Ru- 
dolph Ganz);  "The  Spook  Hour," 
scherzino  for  orch.  (Nat'l  Chamber 
Orch.,  N.  Y.,  under  Ganz,  1931); 
"Nocturne"  (ibid.,  in  Aurora,  111., 
Ganz  conducting);  "San  Francisco" 
Overture  (commissioned  by  Pierre 
Monteux,  and  cond.  by  composer 
with  San  Fran.  Symph.,  1941);  "Cot- 
legiana"  fest.  rhapsody  for  orch. 
(Chicago  Philh.  under  Czerwonky, 
1936);  "Chorale"  (Amer.  Concert 
Orch.,  Chicago,  under  composer, 
1936);  opera,  "Shylock"  (won  David 
Bispham  Memorial  Award);  etc. 

Lecuona  (la-koo-6'-na),  Ernesto,  b. 
Guanabacoa,  Cuba,  Aug.  7,  1806; 
comp.,  cond.,  pianist;  recitals  in 
Paris  and  S.  Amer.;  c.  works  based 
on  rhumba  and  other  dance  rhythms, 
incL  "Andalucia,"  "Malaguefia," 
"Siboney";  "Poem"  for  orch.;  Pf. 
Concerto;  film  scores,  etc. 

Lee,  Dai-Keong,  b.  Honolulu,  1915; 
won  Guggenheim  Fellowship;  studied 
with  Roger  Sessions;  Frederick  Jacobi, 
at  Juilliard  Grad.  Sch.;  and  Aaron 
Copland;  c.  "Prelude  and  Hula," 
pert,  widely  by  Amer.  orchs.;  2 
Symphs.,  "  Hawaiian  Fest.  Overture," 
"Golden  Gate"  Overture;  "Pacific 
Prayer,"  etc. 

Lesur  (Iti-stir'),  Daniel,  b.  Paris,  1908; 
studied  with  Tournemire,  Caussade 
and  A.  Ferte*;  1938,  prof,  at  Schola 
Cantorum;  member  of  group  "Le 
Jeune  France"  with  Messiaen,  Jolivet 
and  Yves  Bau drier;  c.  "Suite  Fran- 
gaise"  for  orch.,  his  best-known  work; 
"Passacaille"  for  pf .  andorch.j "  Trois 
Lieder"  after  Heine,  for  voice  and 
str.  quartet;  "Les  Carillons,"  suite 
for  piano;  "La  Vie  Interieure"  for 
organ;  songs,  etc. 

LSvy,  Ernst,  b.  Basel,  1895;  pupil  of 
Hans  Huber  and  Egon  Petri  in  that 
city  and  Raoul  Pugno  in  Paris;pian- 
ist;  1916-21,  taught  at  Basel  Cons.; 
after  1922  in  Paris;  c.  S  Symphs.; 
Piano  Quintet;  2  String  (Jhiartets; 
Organ  Sonata;  piano  pieces,  songs, 
etc. 

Lock'wood,  Norm  and,  b.  New  York, 
1906;  won  Fellowship  at  Amer.  Acad. 
in  Rome,  1929;  studied  with  Respighi 
and  Nadia  Boulanger;  1934,  won 
Swift  Orch.  Prize;  taught  Oberlin 
Coll,;  c.  6  Str.  Quartets;  "Fragments 
from  Sappho"  (girls*  voices):  *rDrum 
Taps"  (chor.  and  orch.);  "Requiem" 
for  chor,,  tenor  and  orch-;  "Dtrgefor 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS      877 


Two  Veterans"  (mixed  chor.,  a  cap- 
pella),  etc. 

Lothar  (I$'-tar),  Mark,  b.  Berlin,  1902; 
pupil  of  J.  H.  Wetzel;  early  active  as 
pianist;  after  1934  conductor  at  the 
State  Theater  in  Berlin;  c.  operas,  of 
popular  folk  character,  incl,  "Schnei- 
der Wibber  (Berlin  Op.);  "Tyll"  and 
"Lord  Spleen"  (both  prod,  in  Wei- 
mar); "Mtinchausen"  (Dresden  Op.); 
Serenade  for  Chamber  Orch.;  music 
for  plays;  piano  pieces,  songs;  arr. 
score  of  Haydn's  opera,  "Die  Welt  im 
Monde"  (N.  Y.  in  ItaL,  1949). 

Ixmri6  (i$o-re-a')»  Arthur,  b.  St.  Peters- 
burg* 1892;  studied  at  Cons,  there; 
early  was  influenced  by  musical  "fu- 
turism** and  experiments  in  form; 
left  Russia  in  1922  and  settled  in 
Paris;  c.  "Concerto  Spiritual*"  for 
chorus,  piano  and  double-basses 
(Schola  Can  to  rum,  N.  Y.,  1930): 
"Sinfonia  Dialectic*"  (Philadelphia 
Orch.,  1931);  short  opera.  "Feast 
during  *ft*  Pla&ue";  Str.  Quartets, 
etc.;  wrote  biog.  of  Koussevitzky, 

Iteming,  &*tOj  *>*  Milwaukee,  Wis., 
2900:  won  Guggenheim  Fellowship; 
studied  Munich  Akad.,  also  with 
Bissoni,  Andreae  and  Jarnach:  mem- 
ber of  inus.  faculty  at  Columbia 
Univ.;  active  as  conductor;  c.  opera, 
"  Bvangeline"  (commissioned  by  Alice 
»  Pitson  Fund  and  prod,  at  Colum- 


bia Univ..  X947);"/V«J*«ktoa  Hymn 
Tune  by  BWln&»    (N.   Y.   Philh.- 


Suita  for  str.  orch.  (Saratoga  Spa 
Feat.,  under  F.  Charles  Adler,  1037); 
Concertino  for  flute  with  strings, 
harp  and  celesta,  (Phila.  Chamber 
Orcn.  under  Isadore  Freed,  com** 
poser  soloist,  1035),  etc- 
Martin  (mftr-t«h'}t  Frank,  b*  Geneva, 
1890;  studied  there  with  Josef  Lauber: 
lived  for  a  time  in  Paris,  then  founded 
a  school  at  Geneva  ana  taught  at  the 
Mus.  Inst.  there;  critic,  "  Tribune  de 
Crtfif^wr";  c,  secular  oratorio,  "Le  Vin 
HttrbeJ*  on  Tristram  legend,  sung 
widely  in  Europe;  stage  works, 
"Oedfp*  Roi,"  "Romeo  et  Juliette* 
"La  Niqu*  d  5<a*<i»";  "Le$  Dithy- 
ramb**" for  chorus;  *lTrois  Primes 
PaUm*"  for  barytone  and  orch.;  Orch. 
Suite;  Sonata  for  Vin.  and  Pf .;  Piano 
Quintet:  "/ijptf«$>w"  for  sm.  orch*: 
'^Ptfta**1*  for  str.  orch.,  "Fo*  Trot'* 
lor  sm,  orch,  (Boston  Fops  Orch. 


under  Fiedler);  oratorio,  "Golgoffai"\ 
Petite  Sinfonie  Concertante,  etc. 

McBride,  Robert,  b.  Tucson,  Ariz., 
1911;  taught  at  the  Univ.  of  Arizona, 
later  at  Bennington  (Vt.)  College; 
c.  works  with  strong  folk  ingredient, 
also  jazz  influences  in  some  of  them; 
his  compositions  include  "Mexican 
Rhapsody"  for  orch.;  "Fugato  on  a 
Well  Known  Theme"  (Univ.  Cham- 
ber Orch.,  Tucson,  1935);  "Prelude 
to  a  Tragedy"  (N.  Y.  Philh.- 
Symph.,  under  Hans  Lange?  1935); 
ballet  "Show  Piece"  (commissioned 
by  Ballet  Caravan,  1937;  orch.  suite 
from  same  played  by  Philadelphia 
Orch.  under  Stokowski,  1937); 
"Workout"  for  oboe  and  piano 
(composer  has  appeared  as  oboe 
soloist  in  this  score  in  N.  Y.),  etc. 

McDonald,  Harl,  b.  near  Boulder, 
Colo*,  1899;  largely  self-taught,  but 
studied  comp.  in  U.  S.  and  Germany; 
has  served  for  some  years  as  business 
mgr.  of  the  Philadelphia  Orch., 
which  gave  premieres  of  the  following 
of  his  works:  "Festival  of  the  Workers/' 
suite  (1933-4,  under  Stokowski): 
Symph.  No.  i  ("Santa  Fe  TrM") 
(ibid.,  1934);  Symph.  No.  2  ("Re- 
flections on  Era  of  Turmoil")  (ibid.. 
1935);  Concerto  for  2  Pianos  and 
Orch.  (ibid.,  1937,  Jeanne  Behrend 
and  Alex.  Kelberine  soloists);  Suite 
("From  Childhood")  for  harp  and 
orch.  (ibid.,  1941,  Ormandy  cond., 
Edna  Phillips  soloist);  Symph.  No.  4 
(ibid.,  1933);  "Three  Poems  on 
Aramaic  Themes"  (ibid.,  1936); 
"Rhumba"  Symph.;  also  "San  Juan 
CapistranoJ*  a  nocturnes  for  orch. 

,  (Boston  Symph .  under  Kousse vitzky . 
1939);  "Legend of  Arkansas  Traveler, 
humoresque  for  orch.  (Ford  Orch., 
Detroit,  under  Ormandy.  on  CBS, 
1940);  "Miniature  Suite*  (Boston 
Pops  Orch.,  under  Fiedler,  1939), 
etc. 

McKay,  George  Frederick,  b.  Harring- 
ton, Wash.,  1899;  grad.  Eastman 
Sch.  of  Music;  won  first  prize  for 
Organ  Sonata,  Amer.  Guild  of 
Organists;  hon.  mention,  for  Violin 
Concerto,  Jascha  Heifetz  Contest; 
c,  Sinfonietta  ("From  a  Mountain 
Town"),  (People's  Symph.,  Boston, 
under  Sevitzky,  1934);  "To  a  Lib- 
erator" symph.  poem  (commissioned 
and  perf.  by  Indianapolis  Symph., 
under  Sevitzky,  1940);  "Pioneer 
Epic"  (Oakland,  Cal.,  Symph., 


$78      STIEPUEMENTARY  LIST  OF  MODERN  COMPOSERS 

Mignone  (mSg-n5'-na)  ,  Francisco,  b. 
Sao  Paulo,  Brazil,  1897;  active  as  a 
conductor  of  Ms  works,  and  as  such 
visited  the  U.  S.;  c.  operas  "El 
Contratista  de  Diamante"  and  "El 
Innocente";  oratorio,  "Alegrias  de 
Nossa  Senhora";  "Congada"  (Afro- 
Brazilian  Dance)  (Sao  Paulo  Symph. 
under  composer,  1922;  Vienna  Philh. 
under  Richard  Strauss,  1923);  "Festa 
des  Igrejas"  (Sao  Paulo  Symph., 
under  composer,  1942);  "Sonho  de 
urn  Menino  Travesso"  ("Bad  Boy's 
Dream")  (Rio  de  Janeiro  Munic. 
Orch.,  under  Villa-Lobos,  1936); 
"Suite  Brasileira"  (Rio  Philh.  Orch., 
under  Burle  Marx,  1933);  2  "Fan- 
tasias Brasileiras"  for  pf  .  and  orch., 
etc. 

Mihalovici  (mg-hal-S-vSt'-sS),  Marcel, 
b.  Bucharest,  Rumania,  *89&;  pupil 
in  Paris  of  D'Indy;  c.  opera,  i-act, 
"L'Intransigeant  Pluton"  from  which 
orch.  excerpt,  "Cortege  des  Divinites 
Infernales"  has  been  perf.  in  U.  S.; 
ballets,  "Karaguez"  and  "Divertisse- 
ment" (latter,  Paris,  1925);  orch. 
works,  "Notturno,"  "Introduction  au 
Mouvement  Sympkonique"  and  "Fan- 
tasia" (last  at  ISCM  Fest.,  Liege, 
1930);  chamber  works,  etc. 

MoTbuaupt,  Richard,  b.  Breslau,  Ger- 
many, 1904;  studied  with  Rudolf 
Bilke  and  Julius  Pruewer;  was  theatre 
cond.  in  Aachen,  Breslau  and 
Weimar,  also  made  tours  as  symph. 
cond.  in  other  countries;  lived  after 
1932  in  Berlin,  where  won  success  as 
opera  comp.;  but  took  up  res.  in  U. 
S.  before  World  War  II;  c.  Piano  and 
Violin  Concertos;  "  Town  Piper  Mu- 
sic" for  orch.,  etc. 

Moross',  Jerome,  b.  Brooklyn,  N.  Y., 
1913;  c.  ballets,  "American  Pattern," 
"A  mer.  Saga,"  "Frankieand  Johnny" 
(Ruth  Page,  choreographer,  2938); 
Symph*  (3rd  movement  also  heard  as 
sep.  work  under  title,  "Ramble  on  a 
Hobo  Tune"}  (in  entirety  by  Seattle 


"A    Prairie    Portrait"    (San 
Franciaco    Symph.,    under   Lemay, 
avjer  MBS,  1941);  "-4   Lanier  Pas- 
torale"   for    orch,;    "Fantasy    on    a 
Western   Folk    Song9'    for    chamber 
orchi,  (Seattle  Symph.,   with  com- 
poser  cond.,    1935);    "Sonatine  for 
Ckwmet  and.Str.  Orch.";  Quintet  for 
woodmnds    (hon.    mention,    NBC 
chamber  music  competition),  etc. 
Menasce,  de  (du  ma-n&shO,  Jacques, 
b.  Bad  Ischl,  Austria,  1905;  a  Hun- 
garian Baron,  but  now  U.  S.  citizen; 
studied,  at,  Vienna  State  Acad.  with 
Marx,   Ber^,  Pisk;  pf.   with  Sauer; 
d6but.  aa  pianist  at  Salzburg  Fest., 
1933;  came  to  U.  S.,  1941;  toured  in 
concerts  with  Angel  Reyes  in  Europe 
and  America;  c.  2  Piano  Concertos 
(No.  2,  over  CBS);  3  Piano  Sona- 
tinas; chamber  wks.,  etc. 
MJen'nin,  Peter,  b.  Erie,  Pa.,  May  17, 
1923;  began  music  study  at  age  of  7; 
attended  Oberlin  Cons,  before  service 
in   World   War  II;   grad.    Eastman 
Sen.  of  Music  (Ph.  D.;,  where  taught 
also  for  a  time  on  fellowship;  studied 
conducting    with    Koussevitzky    at 
Berkshire      Music      Centre;      1947, 
teacher  of  comp.  at  Juilliard  Sch.  of 
Music;  won  $1,000  award  of  Amer. 
Acad.  of  Arts  and  Letters;  Guggen- 
heim A  ward;  Beams  Prize  of  Columbia 
Univ.;    first   George    Gershwin    Me- 
morial Award,   1945;  c.  4  Symphs. 
(No.  3    commissioned    by    N.     Y. 
Phflh.-Symph.  and  perf.  1947;  No.  4, 
"The  Cycle,"  for  chorus  and  orch.; 
New  York,  1949);  other  commissions 
from  League  of  Composers,  Juilliard 
Musical  Foundation,  Dallas  Symph. 
Oich.,  Koussevitzky  Music  Founda- 
tion, tMe  Collegiate  Chorale,  NBC, 
and  Protestant  Radio   Commission; 
c.  also  "Folk  Overture";  Fantasia  for 
str-    orch.;     Sinfonia    for    chamber 
orch.;  2  Str.  Quartets;  Concertino  for 
flute,    strings    and    percussion;    Di- 
vertimento and  Partita,  both  for  pf .; 
cantata,     "The     Christmas     Story"; 
A    Cappella    Choruses    on    Chinese 
Texts;  2  Choruses  for  women's  voices 
and  pf.,  etc. 

Messiaen  (m&-3-an'),  Olivier  (see  also 
p.  291).  M.  visited  the  U.  S.  in  1949 
and  taught  on  faculty  of  the  Berk- 
shire Music  Centre;  his  "U Ascen- 
sion" Four  Symph.  Meditations, 
nerf.  at  Berkshire  Fest.  same  year; 
**Trois  Petites  Liturgies"  (N.  Y. 


Symph.,  under  Beecham,  1943); 
"Paeans"  (Chamber  Symph.  Orch., 
N.  Y.,  under  Herrmann,  1932);  "A 
Tall  Story19  (commissioned  by  CBS 
and  perf.  by  CBS  Orch,  under 
Barlow,  1938)5  "Biguine"  (heard  over 
CBS,  under  Green,  1934);  incid. 
mus.  for  plays;  "Paul  Bunyan,"  bal- 
let suite  for  orch.;  Suite  for  chamber 
orch.,  etc. 

Mortari  (m$r-ta'-r$),  Via^iHo,  b.  near 
Milan,  1902;  studied  with  Rossi  and 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS      879 


Pizzetti,  influenced  by  latter's  meth- 
ods in  setting  vocal  music;  c.  Con- 
certino for  piano,  violin,  clarinet, 
trumpet  and  bassoon;  Concerto  for 
str.  quartet,  horns,  harp  and  kettle- 
drums; Rhapsody  for  timpani,  per- 
cussion, harp  and  strings  (IS  CM 
Fest.  in  London,  Alfredo  Casella 
conducting,  1931),  etc. 

Nagin'sfci,  Charles,  Cairo,  Egypt,  1909 
—  Lenox,  Mass.,  1940;  brought  to 
U.  S.  in  early  youth;  won  Walter 
B  am  rose  h  Fellowship  at  Amer.  Acad. 
in  Romej  c.  Symph.;  "1936"  for 
orch.;  Smfonietta  (CBS  Concert 
Orch.,  under  Victor  Bay,  1938); 
"Five  Pieces  from  a  Children's  Suite" 
(Boston  Pops  Orch.  under  Fiedler, 
1940);  ballet  suite,  "The  Minotaur"; 
"  Nocturne  and  Pantomime";  Suite  for 
sm.  orch.  (Greenwich  Sinfonietta, 
N.  Y.»  under  Charles  Lichter,  1935); 
Divertimento  for  woodwind  and  for 
brass:  songs,  etc. 

Hox'daff,  Paul,  b.  Philadelphia,  1909: 
studied  Juilliard  Sch.  of  Mus.,  N.  Y., 
won  Beam*  Prise  of  Columbia  Univ.; 
awarded  Guggenheim  Fellowship; 
taught  at  Phita.  Cons,  of  Mus*;  c. 
Prelude  and  Three  Small  Fugues 
(last  fugue  perf.  by  Phila.  Orch* 
under  Stokowski,  1937;  complete 
by  Peana.  Symph,  Orch*  under 
Sabatini,  1040);  Suite  (St.  Louis 
Symph,  under  Goiachmann,  1940); 
"Variations  an  a  Bavarian  Dance 
Tk*m*";  Piano  Concerto  (Nat'L 
Symph.  »  Washington,  under  Kin- 
dler,  composer  golobt,  1939);  Violin 
Concerto;  aongs,  etc.;  arr.  Gluck 
theme*  for  ballet,  "TaUy-tte"  (Agnes 
deMi!le);c.»core»forMarthaGraham. 

0r0f  Carl,  b,  Munich,  1895;  grad,  of 
Akad,  der  Tonkunst  there;  served  as 
aw't.  cond,  in  Munich,  Mannheim 
and  Darmstadt  theatres;  1921-3  pu- 
pil of  Hcinrich  Karninski;  he  with* 
drew  Im  compa.  for  stage,  orch., 
chorus  am!  swmgs  written  before  then, 
and  in  his  later  work»  showed  a  style 
of  aggressive  modernism;  c.  operas 
"  *"  witel  heard  in  Ger 


£>M? 


witlely  heard  in  Ger- 


m*Ky\*> 
*Mff/t£>*r*'  (Sulxburg  Feat.,  IQ49>; 
**#«*  Ttirmes  AuferstehungS'  cantata 
for  »olt>,  chor.  and  orch.  after  Werfel; 
dance  play,  **/><Y  Pettw/ttrbene,"  etc. 
lm'er,  Robert  H.t  b,  Syracuse,  N* 
Y.f  1915;  grad*  Kafttrnan  School  of 
Music;  awarded  Siooo  grant  of 
Amer.  Acad.  of  Arts  and  Letters; 


MacDowell  Colony  Fellowship;  has 
received  commissions  from  Columbia 
Broadcasting  System,  1940;  from 
Koussevitzky  Music  Foundation, 
and  from  Dimitri  Mitropoulos;  c. 
Symph.;  "Poem"  for  violin  and  sm. 
orch.  (Rochester  Civic  Orch.,  untier 
Hanson,  John  Celantano,  soloist, 
1938) ,  chamber  works,  songs,  etc, 

Peragallo  (pS-rfi-gSl'-S) ,  Mario,  b. 
Rome,  1910;  c.  opera,  "Ginewa" 
prod,  with  succ.,  1937;  his  first  scores 
marked  by  post-Puccinian  style;  later 
became  interested  in  "twelve- tone" 
manner;  c.  "La  Collina"  a  "scenic 
madrigal"  based  on  "Spoon  &iver 
Anthology9'  by  Edgar  Lee  Mastexs 
(prod,  at  Venice  Fest.,  1948,  and  in 
stage  prod,  at  La  Scala,  1950);  Music 
for  double  str.  quartet,  etc.;  pres., 
Italian  section,  ISCM. 

Persichetti  (p^r-se-ka'-te),  Vincent,  >b. 
Philadelphia,  1915;  at  16  organist 
and  dir.  of  music,  Arch  St.  Presb. 
Church  there;  studied  at  Coxxbs-CcdGL 
of  Mus.,  Curtis  Inst.  of  Mus.  tmd 
Phila.  Cons,  of  Mus*;  grad.  (Mus. 
D.)  from  latter,  where  he  faeaded 
com  p.  dept.  after  1942;  also  studied 
comp.  with  Roy  Harris  at  Colorado 
Coll.;  now  member  of  comp.  dept., 
Juilliard  Sch.  of  Mus.;  c.  "Dance 
Overture"  (won  Juilliard  Pub.  Awaad, 
I943)j  3  Piano  Sonatas  (No.  3,  ast 
prise,  Colorado  Coll,  Fine  Arts 
Fest*);  2  String  Quartets  <No,  a, 
Blue  Network  chamber  mus.  prize, 
1945);  3  Symphs.;  "The  nollwtMen* 
for  trumpet  and  str.  orch.;  Concer- 
tino for  pf ,  and  orch.;  wks.  for  pf., 
and  other  chamber  scores,  etc. 

Petrassl  (pa-tra-sS),  GoflEredo,  b.  Zaga- 
rolo,  Italy,  1904;  studied  at  Naples 
Cons,  and  with  Busoni;  in  early  life 
he  was  a  music  dealer;  c.  opera,  x-act, 
"//  Cordovano"  (La  Scala,  1949);  *?* 
troduction  and  Allegro,  for  vualin 
concertante  and  n  insts*  (perf.  at 
Santa  Cecilia  Acad.,  Rome,  uadet 
Mario  Rossi,  1934);  Concerto  lot 
Orch.;  Partita  for  orch.;  works  for 
chor.  and  orch.;  songs,  pf .  pieces,  etc. 

Phillips,  Burriilt  b.  Omaha,  Nebr.f 
1007;  grad.  of  Eastman  Sch.  oif  Mu- 
sic; later  taught  there;  won  Guggen- 
heim Fellowship,  1942-3;  Amer. 
Acad.  of  Arts  and  Letters  Awaard, 
1944;  c.  ballet,  "Play  Ball"  (East- 
man Sch.  Fest.,  under  Hanson,  with 
Rochester  Civic  Orch.,  1938);  "•$**• 
iionsfrom  McGu/cy's  Readers,"  aoite 


880      SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


(Rochester  Philh.  under  Hanson, 
1934);  "Three  Satiric  Fragments'9 
(Roch.  Civic  Orch.  under  same  cond., 
1941) :"  Symphony  Concertante"  (East- 
man Sch.  Little  Symph.,  under  Van 
Hoesen,  1935);  "Dance"  Overture 
(Roch.  Civic  Orch.,  Hanson,  1940); 
"Music  for^  Strings'9  (ibid.,  1939); 
"Concert  Piece"  for  bassoon  and  str. 
orch.  (Eastman  Fest.,  1940);  "Scena" 
for  sin.  orch  ;" Declaratives"  (women's 
voices  andsm.  orch.);  3  Divertimenti 
for  pf.,  etc. 

Piston,  Walter.  (See  also  page  338) .  C. 
Concerto  for  Orch.  (Boston  Symph., 
Cambridge  concerts,  1934,  composer 
conducting);  Prelude  and  Fugue 
(Cleveland  Orch.,  under  Rodzinski, 
1936);  Sinfonietta  (Zighera  Chamber 
Orch.,  Boston,  Bernard  Zighera  con- 
ducting, 1941);  Suite  No.  i  for  Orch. 
(Boston  Symph.  Orch.,  1930,  com- 
poser conducting);  ballet,  "The  In- 
credible Flutist"  (Jan  Veen  and 
dancers  with  Boston  Pops  Orch. 
under  Arthur  Fiedler,  1938;  symph. 
suite  from  same,  Pittsburgh  Symph. 
under  Reiner,  1940);  Suite  No.  2  for 
Orch.  (Boston  Symph.  Orch.  under 
Munch,  1940),  etc. 

Ponce  (pon-sa),  Manuel  M.,  Mexico 
City,  1886 — 1948;  composer  influ- 
enced by  folk  music  and  working 
mostly  in  popular  smaller  forms; 
studied  hi  Berlin;  taught  at  Mexico 
City  Cons.;  decorated  by  Mexican 
Govt.,  1947;  c.  "Chapultepec,"  2 
symph.  sketches  (Mexican  Symph. 
Orch.,  under  Chavez,  1934);  Con- 
certo for  Guitar  and  Orch.  (written 
for  Andres  Segovia  and  played  by 
Mm  in  Mexico  City  and  in  Europe); 
"Poema  Elegiaco"  for  orch.;  'Vw- 
stantaneas  Mexicanas99  (Mexican 
Snapshots) ,  7-part  suite  for  chamber 
orch.;  "Estampas  Nocturnas"  orch. 
suite;  and  many  songs  incl.  the  pop. 
"Estrellita,"  etc. 

Poot,  Marcel,  b.  Vilvoorde  near 
Brussels,  1901;  studied  at  Amster- 
dam Cons,  and  with  Paul  Gilson; 
served  as  music  critic  in  Brussels;  c. 
"Jazz  Music  for  Orch."  (Brussels, 
Defauw  Concerts,  1932,  also  in 
XJ.  S.);  Symphs.;  orch.  poems,  works 
for  stage;  pf.  pieces  and  chamber 
music;  dir.,  Brussels  Cons.,  1949. 
Porrino  (p6-r5'-n5),  Ennio,  b.  Cagliari, 
Sardinia,  1910;  studied  at  Accademia 
^i  Santa  Cecilia  in  Rome  under 
and  Mule;  c.  overture, 


"Tartarin  de  Tarascon"  (won  Prize 
of  Rome  August eo  Orch.);  "Sar- 
degna,"  orch.  poem  based  on  Sar- 
dinian folksongs  (N.  Y.  Philh  .- 
Symph.  under  Stokowski,  1949);  "La 
Visione  di  Ezechiele";  "Sinfonia  per 
una  Fiabe";  "Saltarella"  all  for  orch.; 
" Tre  Canzoni  Italiane"  for  srru  orch., 
etc. 

Raw'sthorne,  Alan,  b.  Haslingden, 
Eng.,  1905;  in  his  20*3  entered 
R.  C.  M.  (Manchester);  1927, 
studied  pf.  in  Europe  with  Petri; 
taught  at  Dartington  Hall  in  Eng.; 
after  1935  in  London;  c.  "Theme  and 
Variations"  for  2  violins  (ISCM 
Fest.,  London,  1938);  "Symphonic 
Studies"  (ibid.,  Warsaw,  1030): 
"Corteges"  (ibid.,  London,  1946); 
"Street  Corner"  Overture;  Piano 
Concerto  (London  Proms.,  Kentner 
soloist);  music  for  films,  "The  Captive 
Heart"  (from  which  "Prisoners* 
March"  heard  in  concert)  and  "School 
for  Secrets"  Vln.  Concerto:  "Baga- 
telles" for  pf.,  etc. 

Read,  Gardner,  b.  Evanston,  III., 
1913;  grad.  Eastman  Sch.  of  Music; 
won  fellowship,  Berkshire  Music 
Centre;  $2000  Cromwell  Travelling 
Fellowship  for  European  study; 
Juilliard  Pub.  Prizes,  1938,  1941; 
MacDowell  Fellowship;  c,  Symph. 
No.  i  (N,  Y.  Philh.-Symph.,  under 
Barbirolli,  1937 — won  $1000  first 
prize  of  this  organization,  1936); 
Symph.  No.  2  (Boston  Symph., 
1943*  comp.  conducting;  won  ist 
prize  of  $1,000  in  Paderewski  Fund, 
comp.,  same  year);  "Sketches  of  the 
City,'9  suite  after  Carl  Sandburg  (won 
Juilliard  Pub.  Award,  1938;  Roch- 
ester Civic  Orch.  under  Hanson, 
1934);  Passacaglia  and  Fugue  (com- 
missioned by  Ravinia  Fest.  Ass'a., 
1938,  played  under  Rodzinski  at 
Ravinia,  same  year);  "Night  Flight99 
(Eastman  Orch.  under  Hanson, 
1944),  etc. 

Reiser  (rl'-z&r),  Alois,  b.  Prague,  1887: 
.pupil  of  Dvorak;  came  to  U.  S.  and 
lived  on  Pacific  Coast;  c.  "Summer 
Evening"  (Prague  Philh.,  1911): 
"Slavic  Rhapsody"  (Los  Angeles 
Philh.,  composer  conducting,  1931); 
"Erewhon"  (after  Samuel  Butler) 
(Los  Angeles  Fed.  Orch.,  under 
composer,  1936);  Concerto  for  Cello 
and  Orch.  (Los  Angeles  Philh.  under 
Rodzinski,  with  Ilya  Bronson  soloist, 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS       881 


Revueltas  (r&-voo-ai'tSs),  Silvestre, 
Papasquiero,  Mexico,  1899 — Mexico 
City,  1940;  composer  of  folk  inspira- 
tion, and  modern,  partly  satiric, 
descriptive  style;  c.  "Redes"  (Waves), 
score  for  film  (1034),  shown  in  U.  S.; 
"Sensemaya"  (Song  with  Which  to 
Kill  a  Snake)  (N.  Y.  City  Symph., 
1948,  and  N.  Y.  Philh.-Symph  under 
Stokowski,  1:049);  Toccata  (without 
Fugue);  "Alcancias"  (Penny  Banks); 
"Cuauhmahuac")  "Esquinas"  (Cor- 
ners); "Afvsica  para  Charier"  (Con- 
versation Music);  **  Homage  a  Garcia 
Lorca";  "Eight  on  the  Radio"*, 
"Pianos"  (Planes);  Three  Sonnets, 
etc. 

Rold'an,  Araadeo,  Paris.  1900 — Ha- 
vana, 1939;  composer  of  works  influ- 
enced by  native  dances  of  Cuba;  c. 
ballet,  "La  Rebambaramba"  (Havana 
Philh.  under  composer  played  ex- 
cerpt, 1928);  "RUmico  V  and  VI," 
pieces  for  percussion  orch.  (heard  at 
Cornish  Sch.»  Seattle.  Wash.,  with 
John  Cage  conducting);  "Overture  on 
Papular  Cuban  Themes"  etc. 

Ro'senberg,  Hitting*  b,  Bosjftkloster, 
Sweden,  1892;  studied  at  Stockholm 
Cons,  and  in  Dresden;  his  style  has 
been  called  "expressionistic";  c. 
Symph.;  "  *  Phantasie  Pieces";  Piano 
Concerto;  Variations  and  Passacaglia; 
Sonata  for  Solo  Violin;  Trio  for  flute, 
via,  and  via,;  Suite,  "Orpheus  in 
Town,"  for  orch,;  Str.  Quartet; 
songs.  etc. 

Royce,  Edward,  b»  Cambridge,  Mass,, 
1886;  member  faculty,  Eastman  Sch. 
of  Music;  c.  "Far  Ocean,'1  tone  poem 
for  orch.  (Eastman  Pub.  Award, 
Roch,  Philh.,  under  Howard  Hanson, 
1999);  "The  Fire-Bringers"  (ibid., 
1036);  songs,  etc. 

eWtid^Hirald,  b.  Bergen,  Norway, 
1897;  studied  with  Holmsen  in 
Bergen  and  at  the  Berlin  Hochschule; 
c.  3  Symphs.  (No.  r,  1024,  Christi- 
ania);  Piano  Sonata;  symph.  poems, 
pf.  works,  songs,  etc.;  c.  music  for 
Ibsen's  "Peer  6>/"  (1948),  etc. 

San'ders,  Robert,  b.  Chicago,  1006, 
studied  at  Bush  Cons.,  Chicago;  won 
Fellowship  at  Amer,  Acad.  in  Rome; 
studied  in  Paris  and  in  Italy;  ass't 
cond.9  Chicago  Civic  Orch.,  *933~8j 
c.  Little  Symph.  in  C  (won  half  of 
award,  N.  Y*  Philh.  Prize,  *937-8); 
Suite  for  large  orch.  ( Augusteo  Orch., 
Rome,  composer  conducting,  1929); 
"  The  Tragic  Muse"  (Chicago  Symph. 


under  DeLamarter,  1936);  songs,  etc. 

San  juan  (san-hoo-an')  ,  Pedro,  b.  San 
Sebastian,  Spain,  1886;  lived  in 
Cuba  as  cond.  of  Havana  Philh. 
Orch.;  more  recently  in  U.  S.,  cond. 
of  Spartanburg,  S.  C.,  Fest.  and 
Symph.  Orch.;  c.  "Rondo  Fantastico" 
on  Basque  theme  (awarded  Nat'I 
Prize,  Spain,  1934;  Havana  Philh., 
composer  cond.,  1926);  "Castilla" 
(ibid.,  1927);  "Liturgia  Negra,"  etc, 

Schil'linger,  Joseph,  Kharkov,  Russia. 
1895  —  New  York,  1943;  c.  "North 
Russian"  Symph.  (commissioned  for 
radio  by  RCA,  N.  Y.,  1930);  "Orient" 
March  (Leningrad  Philh.,  1926, 
under  Maikop,  etc.;  S.  is  best  known 
as  the  deviser  of  a  system  of  composi- 
tion by  means  of  scientific  formulae, 
the  results  of  which  are  pub.  in  "The 
Schillinger  Method";  he  taught  a 
number  of  well-known  composers 
and  arrangers. 

Searle  (sSrl),  Humphrey,  b.  Oxford, 
Eng.,  1915?  composer;  studied  at 
Univ.  there  and  at  R.  C.  M.,  pupil 
of  Ireland,  Jacob  and  Morns; 
awarded  Octayia  Trav.  Scholarship 
and  lived  in  Vienna,  1937-8;  studied 
there  with  Webern;  Secretary  of 
International  IS  CM;  wrote  book  on 
Liszt;  c.  "Gold  Coast  Customs^ 
setting  of  lengthy  Edith  Sitwell 
poem,  for  speaker,  male  chorusj  2 
pfs.,  chamber  orch.  and  percussion 
(London,  1949,  Contemporary  Music 
Centre);  "Overture  to  a  Drama" 


. 

Giocosa"  for  orch.;  Quintet  for 
bassoon  and  strs.;  Quartet  for  vln., 
via.,  clar.,  and  bassoon;  piano  pieces, 
songs,  etc. 

Ser'ly,  Tibor.  b.  Losonc,  Hungary, 
1900;  res.  in  U.  S.;  arr.  Mozart's 
Fantasia  and  Fugue  (composed  for 
organ  in  clock)  (Budapest  Philh., 
1935,  Serly  cond.);  arr.  for  orch. 
excerpts  from  Bartok*s  piano  collec- 
tion, "Mikrokosmos"  (St.  Louis 
Symph.*  under  Golschmann,  in 
part);  also  completed  Bartok's  last 
Piano  Concerto,  and  Viola  Concerto 
(post.). 

Shape'ro,  Harold,  b.  Lynn,  Mass., 
April  20,  1020;  studied  with  Bpu- 
langer,  Hindemith,  Krenek,  Slonim- 
sky,  Stravinsky,  Piston,  and  Cop- 
land; awarded  Naumburg  Fellowship, 
Paine  Fellowship,  Prix  de  Rome, 


882      SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


Beams  Prize,  Gershwin  Memorial 
A^ard,  Guggenheim  Fellowship; 
commissioned  by  Koussevitzky  Music 
Foundation,  for  which  c.  "Symphony 
for  Classical  Orck."  (Boston  Symph. 
Orch.,  under  Leonard  Bernstein, 
1^4$);  c.  also  overture,  "The  Trav- 
elers," chamber  wks.,  pf .  pieces,  etc. 
Sieg'meister,  Elie,  b.  New  York,  1909; 
studied'  with  Riegger,  Stoessel, 
Bernard  Wagenaar  and  Nadia  Bou- 
langer;  grad.  Columbia  Univ.;  won 
JuiSiard  Grad.  School  Fellowship; 
cond.  of  the  Manhattan  Chorus; 
taught  at  Brooklyn  Coll.;  c.  Rhap- 
sody for  orch.;  "Dance  Trilogy"  for 
7  instfe.;  String  Quartet;  Quintet  for 
windinsts,;  "Walt  Whitman"  Over- 
ture;- "'Amer.  Holiday"  for  chamber 
arch.;  Theme  and  Variations  for 
piano;  arr.  3  Negro  folksongs  and 
other  wks.  for  chorus;  songs;  "Ozark 
Suite"  (ballet  version  choreographed 
by  Hanya  Holm),  etc. 
Smith,  Julia,  b.  Denton,  Tex.,  1911; 
studied  JuiUiard  Sch.  of  Mus.  under 
Rubin  Goldmark  and  Frederick 
Jacobi;  c.  operas,  "Cynthia  Parker" 
(Tex.  State  Coll.  prod.) ,  "  The  Stran- 
ger of  Manzano"  and  "  The  Gooseherd 
and  the  Goblin,"  work  for  children 
(commissioned  by  Hartt  Opera  Guild, 
Hartford,  Conn.,  and  prod,  there, 
1949)5-  "Liza  Jane"  (CBS  commis- 
sion, 1940);  suites  for  orch.,  chamber 
woitks,  songs,  etc.  2  Pieces  for  via. 
and  pf . 

Spialek  (sp5'-a-lSk) ,  Hans,  b.  Vienna, 
1894;  studied  Vienna  and  Moscow 
Gons.;  c.%  "The  Tall  City,"  suite 
(written  for  the  NBC  Symph.  under 
Frank  Black,  1933;  rev.  version, 
Rochester  Philh.  under  Hanson, 
1934);  Sinfonietta  (NBC  Symph. 
under  Black,  1936);  Piano  Concerto; 
"To  a  Ballerina"  for  orch.;  in  U.  S. 
after  1924;  active  as  arranger  for 
many  Broadway  musical  shows. 
Stein'ert,  Alexander,  b.  Boston,  1900; 
grad.  Harvard  Univ.;  studied  in  Paris 
with  LpefHer,  D'Indy,  GSdalge  and 
Koechlin;  awarded  fellowship  at 
Amer.  Acad.  in  Rome,  where  studied 
3  years;  has  appeared  as  pianist  and 
cond.;  later  res.  on  Pacific  Coast;  c. 
"Nuit  Mfridionale"  (Boston  Symph. 
under  Koussevitzky,  1926);  "Con- 
certo Sinfonico"  for  piano  and  orch. 
(ibid. ,  1935 ,  with  composer  as  soloist) , 
etac. 

g,  Gerald,  b.  Claresholm,  Canada, 


1908;  c.  Symph.  (one  movement  by 
Fed.  Symph.,  Los  Angeles,  composer 
conducting,  193?);  "Percussion  Mu- 
sic for  Three  Players"  (perf.  in 
Seattle,  Wash,,  John  Cage  conduct- 
ing, 1938);  piano  works,  etc. 
Sutermeis'ter,  Heinrich,  b.  Aug.  12, 
1910;  Swiss  composer  and  pianist;  c. 
succ.  operas,  "Romeo  et  Juliette," 
also  "  Raskolnikov"  (based  on  Do- 
stoievsky's "Crime  and  Punishment") 
(La  Scala,  1950)  which  feature  return 
to  melody  and  strong  rhythms,  rather 
than  Romanticism  andimpressionism; 
chamber  music,  songs,  pf ,  works,  etc. 

Terrasse  (tSr-as'),  Claude,  L'Arbresle, 
near  Lyons,  France,  1867 — Paris, 
1923;  studied  at  Niedenneyer  Sch.; 
first  active  as  organist,  then  c.  some 
20  operettas,  of  which  "La  Petite 
Femme  de  Loth,"  "Les  Travails  de 
Hercule,"  "Le  Sire  de  Vergy"  and 
"Le  Mariage  de  Tttemaque"  are  best 
known,  the  last  his  masterpiece. 

Thompson,  Virgil.  (See  also  p.  435.)  C. 
opera,  "The  Mother  of  Us  All"  (text 
by  Gertrude  Stein,  commissioned  by 
Alice  M.  Ditson  Fund  and  prod,  at 
Columbia  Univ.,  1948);  ballet  "Fill- 
ing Station"  (Ballet  Caravan,  1938); 
scores  for  documentary  films,  "The 
Plough  That  Broke  the  Plains"  and 
"The  River":  "Seine  at  Night"  for 
orch,;  Cello  Concerto,  etc. 

Tip'pett,  Michael,  b.  London,  1905; 
studied  at  R.  C.  M.  there;  c.  oratorio, 
"Child  of  Our  Time";  cantata  for 
tenor  and  pf.,  "Boyhood  End";  Con- 
certo for  double  str,  orch.;  Concerto 
for  Piano  and  Orch.;  2  String  Quar- 
tets; Pf.  Sonata,  etc. 

Tocchi  (t6'-k£),  Gianluca  (je-an'-loo- 
kS),b.  Perugia,  Italy,  1901;  studied  in 
Rome  with  Respighi;  won  prizes  for 
comp.;  c.  orch.,  "Rhapsodia  Ro- 
mantico"-2  "Quadro  Sonoro";  "Record'9 
(Impressions  for  Orch.);  Concerto  for 
jazz  Orch.;  "Film,"  orch,  suite; 
chamber  wks.,  songs,  etc. 

Tomasi  (td-ma'-se) ,  Henri,  b.  Mar- 
seilles, 1901;  c.  "Don  Juan  de 
MaHara,"  suite  for  orch.  (Lamou- 
reux  Orch.  under  Bigot,  1937); 
"Deux  Dames  Cambodgiennes"  (Paris 
Orchestra  National,  composer  cond., 
I93S);  "Petite  Suite  Medievale" 
(broadcast,  Paris  Radiodif.  Orch., 
under  composer,  1937);  also  chamber 
music,  songs,  etc. 

Trunk  (troonk),  Richard,  b.  Baden, 
Germany,  1879;  studied  at  Hoch 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS       883 


Cons.,  Frankfort,  and  Munich  Mus. 
Sch.;  19 1 2- 14 ,  cond.,  Arion  Soc., 
New  York;  1014-25,  choral  cond. 
and  critic,  Munich;  1925-34,  dir.  of 
Cons,  in  Cologne;  after  1934,  dir. 
Akad.  der  Tonkunst,  Munich;  c. 
choral  works;  Piano  Quintet;  uWal- 
purgisnacht"  for  orch.;  operetta, 
**  fferzdame"  (Munich,  1917);  and 
esp.  more  than  zoo  songs,  incl.  cycle 
after  Verlaine. 

Bribe  (oo-r€'-bfi) ,  Guiltanno,  b.  Bogota, 
Colombia »  1880;  studied  at  Academia 
National  de  Musica  there,  and  after 
1910  was  dir.  of  Nat'l  Cons,  in  same 
city;  studied  in  Paris  under  D*Indy 
(Schola  Cantorum)  and  vln.  with 
Arm  and  Parent,  C£sar  Thomson  and 
others;  founder  and  cond.  of  Concert 
Soc.  of  Cons,  in  Bogota;  c.  Symph. 
"dd  T*rr*no"  (awarded  nat»l  prize, 
1924);  "Ta  Deum";  many  chamber 
works,  pf.  pieces,  etc.,  of  modern 
trend « 

Van  Vac'tor,  David,  b.  Plymouth, 
Indiana.  3906;  conductor  of  Knox- 
ville,  Term.,  Symph,  Orch.;  has 
toured  South  America,  etc.;  c, 
Symph,  in  D  (ist  prize,  N.  Y. 
Philh.-Symph  Competition,  1937-8, 
perl,  by  same, composer  cond.,  2939); 
Symph.  Suite  (commissioned  for 
Rav&nia  Fest.,  perf.  there  *939>  com- 
poser  cond.);  Divertimento  for  sm. 
orch.  (Sbid.»  under  composer);  "Five 
LittU  Pieces"  for  orch.  (Chicago 
Symph,,  under  DeLamarter,  X93i); 
"Masqu*  of  the  Red  Death"  (after 
Poe),  for  orch.;  a  "Overtures  to  a 
Comedy"  (No,  a  by  Indianapolis 
Symph.  under  Seviteky,  1041); 
"Grthic  Impressions"  (Chicago 
Symph.  under  composer,  *94a),  etc. 

Vardelf',  Charles,  b.  Salisbury,  N.  C., 
xSQK  grad.  (Ph.  D.},  Kastman  Sch. 
of  Music;  c.  "/«*  Clark  Shfs  Out," 
descriptive  piece  with  jaasz  influence 
(Rochester  Philh.  under  Hanson, 
19^7),  latter  also  given  as  ballet  at 
Kastman  F«at.;"5aJi«r4ay  Nigkt"  for 
orch,,  etc.;  received  Eastman  Pub. 
Award,  tQ.$7» 

Varcfti,  Antonio,  b»  Verona,  Italy, 
1900;  pupil  of  Alfano;  c.  opera,  *'// 
jftivwfla  del  Re"  (La  Scala,  1932); 
"SiH/onia  Itatfano"  for  orch.;  suites, 
overtures,  chamber  wks.,  pf.  pieces, 
ftongs,  etc. 

Vemtfi*  John,  b.  Britt.  Iowa,  1908: 
studiedT  with  Copland,  Jacobi  and 
Kodaly;  awarded  Guggenheim  Fel- 


lowship, 1946;  member  of  music 
faculty,  Univ.  of  Washington;  c.  4 
String  Quartets;  Sonata  for  viola  and 
piano;  Serenade  for  5  insts.,  and 
other  chamber  music  works  which 
show  influence  of  Bartok;  "Concert 
Piece''  for  strings  and  horn  (revised 
version  by  N.  Y.  Philh.-Symph. 
under  Mitropoulos,  1941);  "Portrait 
of  Man"  for  orch.,  etc. 

Vomack'a,  Boleslav,  b.  Mlada  Bdleshtv, 
Czechoslovakia,  1887;  studied  at 
Prague  Cons,  under  Novak  and 
others;  a  govt.  official,  later  a  music 
critic  in  Prague;  early  influenced 
by  Schoenberg;  c.  symph.  poem, 
"Youth";  Sonata  for  vln.  and  pf.; 
Piano  Sonata;  "The  Search^*  suite 
for  pf.;  "ipi4,"  song  cycle;  and 
many  choruses. 

Wag'ner,  Joseph,  b.  Springfield,  Mass., 
1900;  studied  in  U.  S.  and  JEurope; 
cond.  of  Boston  Civic  Orch.  'for  two 
decades  after  1925,  with  which  he 
introduced  many  Amer.  wks.:  later 
cond.  of  Duluth  Symphony;  c*  ballet, 
"Hudson  River  Legend"  (Boston 
Civic  Orch.  with  Jan  Veen  Dancers, 
Arthur  Fiedler,  cond.,  1944);  "Rhap- 
sody for  Orch."  (ibid.,  composer 
cond.,  1925);  "Four  Miniatures" 
(NBC  Symph.,  under  Black,  1941); 
Concerto  for  Piano  and  Q*ch.;  "fru- 
gal Triptych"  for  piano,  percussion 
and  str.  orch.,  etc, 

Wald,  Ma*,  b.  Litchfield,  111.,  1889; 
studied  in  Chicago  and  with  dMndy; 
c.  "The  Dancer  Dead,"  poem  'for 
orch.  (awarded  $2500  first  prise  in 
contest  by  NBC  and  perf.  by  NBC 
Symph.  under  Goossens,  1932);  "Ret- 
ro$pective$,"  2  orch.  pieces  (Chicago 
Symph,  under  Stock,  1926);  "The 
Streets  of  Spring,"  overture,  etc. 

Ward,    Robert,    b.    Cleveland 


gracL  Eastman  Sch.  of  Music;  won 
Columbia  Univ.  Fellowship;  Mac- 
Dowell  Fellowship;  c.  Syraph.  No.  i 
(Juilliard  Pub,  Award,  1942;  perf, 
by  Juilliard  Sch.  Orch.,  1941,  under 
composer);  "A  Yankee  Overture"; 
"Slow  Mwic  for  Qrch*"  movement 
from  a  Symph.,  in  E  minor  (Rochester 
Civic  Orch.,  under  Hanson,  1938); 
2  Svmphs.;  Andante  and  Scherzo  for 
strings,  etc.;  won  Amer.  Acad.  of 
Arts  and  Letters  Award,  1946. 
Weber,  Ben,  b.  St.  Louis,  Mo.,  1916; 
studied  De  Paul  Univ.,  Chicago;  uses 
i  a-  tone  system  in  his  works;  c.  Con- 
certo for  piano  solo,  cello  obbligato 


$84      SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS 


and  wind  insts.;  Sonata  for  cello  and 
pf ,;  Fantasia  for  pf .;  etc. 

Wein'zweig,  John,  b.  Toronto,  1913; 
staff  composer  for  the  Canadian 
Broadcasting  Corp.;  c,  "The  En- 
chanted Hill"  (after  poem  by  Walter 
de  la  Mare)  and  Suite,  both  for  small 
orch.  (Rochester  Civic  Orch.,  under 
Hanson,  1938);  "Spectre"  for  str. 
orch.  and  4  timpani  (broadcast  over 
CBC,  Alexander  Chuhaldin  cond., 
1939);  "A  Tale  of  Tuamotu"  for  orch. 
and  solo  bassoon;  choruses,  songs. 

Weisgall  (vis-gal),  Hugo,  b.  Eiben- 
schutz,  Czechoslovakia,  1912;  later 
res.  in  U.  S.;  c.  ballet,  "Quest"  for 
Baltimore  Ballet  Co.  (orch.  suite 
from  this  perf.  by  N.  Y.  Philh.- 
Symph.  under  Barbirolli,  1942); 
chamber  works,  songs,  etc. 

Weiss,  Adolph,  b.  Baltimore,  Md., 
1891;  bassoonist  in  N.  Y.  Philh.; 
studied  with  SchSnberg;  c*  "Ameri- 
can Life,"  jazz  scherzo  for  orch. 
(Conductorless  Orch.,  N.  Y.,  1930); 
" I  Segreti,"  tone  poem  after  Goethe 
(Rochester  Philh.,  under  Hanson, 
1925);  chamber  works  in  modern 
idiom,  vocal  scores,  etc. 

Wes'sel,  Mark,  b.  Coldwater,  Mich., 
1894;  grad.  Northwestern  Univ.; 
studied  with  Schonberg;  won  Gug- 
genheim and  Pulitzer  Fellowships; 
c.  "Ballade"  for  violin,  oboe  and  str. 
orch.  (Eastman  Sch.  Orch.  under 
Belov,  1932);  "Holiday"  and  "Song 
and  Dance"  (Eastman  Sch.  Fest. 
under  Hanson,  1934);  "Scherzo 
Burlesque"  for  piano  and  strings 
(Rochester  Little  Symph.  under 
Hanson,  with  composer  soloist, 
1926);  etc.;  1938,  prof,  of  pf.  and 
comp.  at  Univ.  of  Colorado. 

White,  Paul,  b.  Bangor,  Me.,  1895; 
grad.  and  member  of  faculty,  East- 
man Sch.  of  Music;  Mus.  Doc.,  hon. 
causa,  Univ.  of  Maine,  1939;  c.  "Five 
Miniatures"  (Rochester  Civic  Orch., 
composer  cond.,  1934);  "Boston 
Sketches,"  (Four  Spokes  from  the 
Hub)  (Boston  Pops  Orch.  under 
Fiedler,  1938);  Symph.  in  E  minor 
(Rochester  Philh.,  under  Hanson, 
1934)$  "Lake  Spray"  for  orch.  (ibid., 
Iturbi  cond.,  1939);  "Voyage  of  the 
Mayflower ,"  for  chor.  and  orch.; 
"Sea  Chanty  Quintet";  Sinfonietta  for 
strings,  etc. 

Williams,  Alberto,  b.  Buenos  Aires, 
1862;  studied  at  Paris  Cons,  with 

t     (iuirard,  Franck,  Godard,  etc.;  1893, 


founded  Buenos  Aires  Cons.,  and 
was  its  dir.  until  1949;  also  active  as 
cond.;  c.  Overtures;  "Poem  of  the 
Bells"  for  orch.;  "Milongas"  (5 
Dances);  o  Symphs.;  chamber,  piano 
works  and  songs;  d.  195*. 

Wolpe  (vol'-pa)  ,  Stefan,  b.  Berlin,  Aug. 
25,  1902;  studied  at  State  Acad.  of 
Music  thereand  with  Webern;  1934-8, 
taught  theory  and  comp  .  at  Palestine 
Cons.;  came  to  the  U.  S.  late  in  19^^ 
and  was  head  of  theory  dept.  at  Sev- 
tlement  Music  School,  Philadelphia, 
1939-44;  in  1946-7  was  head  of  the 
Department  of  Comp.  at  the  Brook 
lyn  Free  Musical  Society;  after  1948. 
dir.  of  the  Contemporary  Music  Sch., 
N.  Y.,  and  head  of  its  dept.  of  the- 
ory; from  1949,  also  head  of  theory 
and  comp.  dept.,  Phila.  Musical 
Acad.;  his  "Palestinian  Songs'9  heard 
at  ISCM  Fest.,  N.  Y.;  c.  operas, 
"Schoene  Geschichten"  and  "Zeus  and 
Elida"  (both  1927);  ballet  "Tke  Ma* 
from  Midian"  (1942)  aad  2  orch. 
suites  from  same;  Concerto  for  2 
Pianos  and  3  Wind  Players;  for  orch  ., 
"$  Pieces,"  Passacaglia,  Dances, 
Concerto,  etc.;  for  chorus,  oratorio, 
uPassion  of  Man"  (text  by  Renn); 
cantata,  "Let  Him  Go"  (Becher);  "2 
Chinese  Epitaphs,"  mixed  chor.  and 
drums;  cantata.  "  Unnamed  Lands" 
(Whitman);  canta  "Yigdal"  (Mai- 
monides)  for  barytone,  chor-,  and 
orch.;  "Lament  for  Ignatio  Sanches 
Mejias"  (Lorca),  cantata  for  sopr., 
barytone,  and  sm*  orch.  (1945,  rev. 
1949};  "14  Palestinian  Songs"  for 
alto  and  pf.;  for  pf.,  "4  Studies," 
"Zemach"  Suite,  Toccata,  and  "Bat- 
tle Pieces";  "Music  for  flute,  t»to.  and 
cello"-,  Duo  for  oboe  and  clar.;  Sonata 
for  oboe  and  pf.;  Concerto  for  flute, 
clar.,  bassoon,  horn,  trump.,  tromb., 
vln.,  cello  and  pf  .;  Trio  for  clar.,  vln. 
and  cello;  2  Sonatas  for  vln.  and  pf  .; 
songs,  etc. 

Wolfmann,  Frederick,  b.  Flushing, 
N.  Y.,  1908;  grad.  of  Eastman  Sch. 
of  Music;  studied  there  with  Hanson 
and  Rogers;  1937,  awarded  Juilliard 
Fellowship  at  Amer.  Acad.  in  Rome; 
c.  "Songs  for  Autumn"  (barytone, 
soprano  and  orch.);  "Poem"  for  flute 
and  orch.;  Rhapsody  for  horn  and 
orch.;  "Song  of  the  Forest  Dweller," 
"Dance  of  the  Torch  Bearers,"  "Songs 
from  a  Chinese  Lute,"  and  "Pool  of 
Pegasus,"  all  for  orch.;  Scherzo  for  8 
wind  lasts.;  etc.;  1937,  commissioned 


SUPPLEMENTARY  LIST  OF  MODERN  COMPOSERS       885 


to  comp.  orch.  work  by  Mitropoulos 
for  Minneapolis  Symph. 
Za'dor,  Eugen,  b,  Bataszek?  Hungary, 
1894;  after  1920  lived  in  Vienna; 
studied  with  Heuberger,  Reger,  Abert 
and  Schering;  taught  New  Cons, 
there;  1939  in  Hollywood  as  film  com- 
poser, c.  "Bank-Ban,"  symph.  poem; 
t'Hannele,"  symph.  prelude;  "Ro- 
mantic" Symph.;  operas,  i-act, 

4£    *"*  *  *>  *1*"fc  T  -  •*.  ....»..* 

"Dtana" 
Inscl  der 

Carlsruhe, 

Columbus"  (broadcast  NBC  network, 
>;  suite  from  ballet,   "Machine 


Men"    (Minneapolis    Symph.    under 
Ormandy);   "Variations  on  a    Hun- 
garian  Song"    for   orch.;    his    works 
§erf .  also  under  Stokowski,  Monteux, 
zeU,  Stock,  Barbirolli,  etc.;  c.  and 
arr.  music  for  films. 

Zem'achson,  Arnold,  b.  Vilna,  Russia, 
1892;  res.  in  U.  S.;  c.  Chorale  and 
Fugue  in  D  minor  (Philadelphia 
Orch.  under  Stokowski,  1930);  Con- 
certo Grosso  in  E  minor  (Chicago 
Symph.  under  Stock,  1934);  Suite  in 
F  (WOR  Sinfonietta  under  Wallen- 
stein  over  Mutual  network,  1941), 
etc. 


A  TABLE  OF 
PRONUNCIATIONS 

Giving  the  Code  of  Symbols  used  in  this  Book; 

and  also  a  Guide  to  the  Pronunciations  of  sixteen 

Languages,   arranged  in   a  novel  Tabular  Form 

by  Letters 


This  top  row  gives  the  phonetic 
meaning  of  the  letters  and  sym- 
bols   AS    USED    IN    THIS 
BOOK. 

A 

as  used  in  this  book  :  d  as 
in  father  ;  a  as  in  fate  ;  a 
as  in  f  at  ;d&  and  an,  see 

Note  i. 

B 
as  in  bob. 

C 

see  ck,  at  end  of  the  alphabet 

ARABIAN:  very  difficult  even 

as  in  fat  ;  before  r  as  in 

as  in  bob. 

as  in  English  ;  ch  like  Ger- 

for sojourners  among  the  peo- 

far. 

man,  ck,  see  Note  3. 

aOHEMIAN  :  See  Note  4.    In 

as  w  in  fun  ;  a  as  in  father. 

as  in  bob. 

c  like  fo,  or  German  i;  I 

diphthongs  the  vowels  are  pro- 

like ck  in  child. 

nounced  separately,  as  in  Ital- 
ian. 

DANISH,  doubled  vowels  are 

as  in  father  j  aa  as  a  in  fall. 

as  in  bob. 

like  Swedish  c. 

simply  prolonged. 

DUTCH  :  «  in  be  and  ge  ;  i  be- 
fore k,  g  and  ng  ;  and  ij  in  the 
suffix  lijk  are  silent. 

when  short  as  in  half  ;  also 
before  ch  ;  when  open  as 
in  father  :  aa,  aai  (see  at), 

beginning  a  syllable,  as  in 
bet  ;  ending,  as  p  in  trap. 

only  in  foreign  words  ;  like 
s  before  e,  i  and  y  ;  like 
kj  otherwise. 

FLEMISH  :  dead  as  a  literary 

prolonged  as  in  father. 
a  or  d,  as  m  father  or  mica  ; 

as  in  bob. 

like  k  ;  ch  like  German  ck. 

language,  but  of  great  historic 

aa  or  ac,  the  same  pro- 

importance. 

longed. 

FRENCH  :  a  silent  final  conso- 

as in  f  5t  ;  a  as  in  father  ; 

as  in  bob. 

as  5  before  c,  i  and  y  ;  as  * 

nant  is  usually  sounded  with 
the  following  word  when  that 

see  ai,  aw,  and  Note  i. 

otherwise,  except  that  f  is 
always  s.    See  ck, 

begins  witn  a  vowel    This  is 

called   liaison.    French    sylla- 

bles have  duration  rather  than 

accent  ;  the  tendency  is,  to  give 

a  slight  stress  to  the  final  syl- 

lable.   In  this  book  accent  is 

rarely  marked. 

GERMAN  :  long  words  usually 
accent  the  first  syllable  most 
strongly,  and  give  a  lesser  ac- 

as in  father  ;  a  ,  see  Note  2  ; 
a  is  sometimes  spelled  ac  ; 
ai  «=  i  in  bite  ;  for  &v 

beginning  a  syllable,  as  in 
bet  ;  ending  a  syllable,  as 
p  in  trap. 

like  ts  in  Uts  before  e,  i 
and  a*  ;  Jike  k  before  a,  « 
and«;cA.    See  Note  3. 

cent  to  one  or  mor*  of  the 

and  aeu,  see  aw. 

Others. 

HUNGARIAN  :  long  and  short 
vowels  are  so  rather  in  dura- 

as  in  what  :  a  is  prolonged, 
as  in  father. 

as  in  bob. 

ci  -  cJ<  in  church  ;  a  •  to, 
as  in  hats. 

tion_than  in  sound.    There  are 

no  silent  letters  and  no  accents. 

ITALIAN  :  doubled  consonants 

as  in  father  and  mica  :  a  as 

as  in  bob. 

before  «  and  i  as  ck  in 

are  distinctly  pronounced,  as 

in  far. 

chime  ;  cc  before  e  and  i 

fred-do.    Doubled   vowels  are 

«•  #*,  «  wretched  ;  ch 

also  separately  pronounced. 

-*. 

NORWEGIAN:        , 

a  as  in  father  ;  aa  as  o  in 
no  ;  ait  as  o  in  no. 

as  in  bob* 

only  in  foreign  words  ;  as  s 
before  «,  ;  and  y  ;  as  k 

otherwise. 

POLISH:  consonants   strongly 

as  in  father  ;  g  as  in  ball. 

as  in  bob. 

c  •-  fc,  as  in  hats  ;  ck  - 

sounded  are  accented  thus  :  o, 

German  ck  ;  a  -  cA  in 

PORTUGUESE  :  a*  very  difficult 
language;  placed  usually  just 
back  of  the  teeth.    The  nasal 

as  in  father  ;  when  two  as 
occur  in  a  word  the  first 
is  more  like  a  in  fat  ;  5, 

nearly  asin  bob  ;but*ofter 

like  y  before  «,  f  and  y  ;  like 
k  otherwise  ;  q  always  like 
j  ;  in  cc  the  first  c  is  like  jt. 

vowels  are  also  unique.   Note  5. 

see  Note  5. 

the  second  is  determined 

RUSSIAN:  has  36  letters,  in- 
cluding 12  vowels.    It  is  usu- 

when accented,  as  in  fath- 
er; unaccented,  as  in 

this  letter  resembling  our/ 
is  pronounced  u.  as  in 

by  the  following  letter. 
as  m  cent  or  zone  ;  ck  m 
German  ch  at  the  end  ;  at 

ally   written    phonetically   in 
German  pronunciation  as  fol- 
lows : 
SPANISH  :  a  language  of  ideal 
regularity  and  precision;  all 

bat  ;  at  the  beginning, 
as  ya  in  yacht  ;  if  unac- 
cented, as  in  yank, 
as  in  father  or  in  hat  ;  a  as 
in  father. 

vane,  or/,  as  in  toe  ;  the 
equivalent  of  our  b  sounds 
as  &  or  p  in  bet  or  trap, 
like  v  in  very. 

the  beginning,  as  in  chest 

before  e  or  «,  as**  in  think, 
otherwise  as  k  ;  ck  as  in 

vowels    are    separately    pro- 
nounced. 

church  ;  <?»  asg*  in  quart. 

SWEDISH  : 

as  in  father  or  in  mica  ;  3  as 

as  in  bob. 

before  *,  f  or  y,  as  in  cent  ; 

o  'm  go,  when  long  ;  when 

otherwise  as  in  ca«h  ;  ck 

short,  as  a  in  what  ;  #  as 
in  hare. 

*•  k,  except  to  foreign 
words* 

WELSH:  all  vowel  combina- 
tions    are     separately     pro- 
aounced;  the  letter  w  ••  oo 

as  in  fat  ;  d  as  in  dare. 

as  In  bob. 

always  like  k  :  e  k  »  Ger- 
man ck,  see  Note  3. 

in  moon. 

D 

ts  in  deed  ;  dk  as  Ift  fax  these  : 
<#  as  in  adjoin. 

E 

I  as  in  bean  ;2  as  in  pet—  at 
the  end  of  words  almost 
like*. 

F 
as  in  fife. 

G 

as  in  gig. 

*oft  like  Italian  d. 

as  in  prey  ;  2  as  in  pet. 

as  in  fife. 

M  in  gig. 

is  in  deed.    For  <T,  <tf  and 
di>  see  Note  4. 

as  in  pet  ;  f  as  in  ere  ;  *  « 
?<z>  as  in  beatitude.    See 

as  in  fife* 

as  in  gig. 

also  Note  4. 

beginning  a  syllable  as  in 
date;    ending    as   tk    in 

as  in  prey  and  there  ;  ej  like 
i  in  bite. 

as  in  fife. 

as  in  gig  :  after  e  or  $  ttke\  In 
yoke  ;  between  vowels  of  tea 

bathe;  alter  /,  a,  and  r. 

mute. 

silent  \ds  -  «  in  hiss. 

at  the  beginning  of  syllables 
as  in  date  ;  at  the  end  as 

when  short  as  in  met  ;  when 
open  as  in  prey  ;  «  sim- 

as in  fife  ;  f  as  in  flow  ;  fr 
as  in  fresh. 

like  German  g  ;  ng  as  in  look- 
ing. 

fin  hot. 

ply  prolongs  the  sound  ; 

see  also  «*. 

Eke  German  d  and  & 

9  or  <f  as  in  pet;  eu  like 

as  in  fife. 

as  German  &  very  guttural. 

French  eu  ;  e  after  a  vowel 

usually  simply  prolongs 

it  ;  M  —  a  in  fate  or  as  in 

at  the  beginning  or  In  the 
nOddknas  d  to  deadlock  : 
esuaUy  silent  at  the  end 
of  the  word;  in  liaison  it 
becomes/. 

seem;  see  mt. 

as  «  in  father  or  v  in  cut  ;  as 
a  final  syllable  generally 
silent  ;  t  as  in  prey  when 
it  bar  stress,  otherwise  as 
in  pet  ;  4  as  of  in  fair  ;  1 

as  in  fife,  not  silent  at  the 
ends  of  words,  except  in 
clef  ;  in  liaison  it  becomes 

V. 

as  in  gate  except  before  *,  1 
and  y,  then  as  *  in  pleasure 
(marked  here  as  sA>  ;  silent 
when  final,  becoming  k  in 
liaison  ;gnzsni  in  minion* 

beginning  a  tyHable  as  to 
date  ;  ending  a  syllable  as 
fin  hat;  A  M  *Ja  hat 

when  long  as  in  prey  ;  when 
short  as  in  pet  ;  ei  •  i  In 
right  ;  see  «*. 

as  in  fife, 

at  the  beginning  of  a  syllable 
as  in  gate,  but  softer  ;  at  the 
end.  see  Note  $  ;  ng  when 
final  vanishes  in  a  faint  k 

as  in  deed  ;  dj  same  as  °&; 
djs  -j  in  judge* 

before  m  or  a  sharp  conso- 
nant as  in  fat  ;  otherwise 

as  in  fife* 

sound  as  sang  -  zangk. 
as  in  gig  ;  gy  »  d  in  due  (not 
doo>  ;  ggy  »  my  or  <T  <T.. 

a*  «  In  ten  ;  *  as  in  prey. 

as  In  deed,  but  ftofar  and 

ftttftptlatai 

win  prey  when  long;  when 
short  as  in  pet  ;  «  as  in 

as  b  fife* 

before  e  and  i  as  in  gem  ;  u 
as  dj  in  adjoin  ;  gti  »  ly 

pet 

like  U  in  million,  gn  »  »y* 

or  MJ  in  pinion  :  &v  «•  r»  ; 

as  in  deed 

as  In  prey  ;  but  when  final 
at  t  in  father. 

as  in  fife. 

as  in  gig,  but  before  j  and  y 
as  y  in  yoke. 

as  in  deed)  /«  as  in  ad»; 

M  as  in  met  ;  f  m  French  In, 

as  in  fife* 

as  In  gig. 

di  as,  4f«  m,  judge* 

see  Note  i  ;  4  -  <j  as  In 

pate, 

win  deed. 

t  and  t  usually  as  in  prey  ;  I 
has    *    curious    dosed 

'as  in  fife. 

as  in  gate  ;  but  before  e,  i  and 
y  as  in  gem. 

sound. 

ttfedeed, 

at  the  beginning  of  words  « 
yo  in  yolk  if  accented  ;  if 
unaccented  as  w  in  yes- 
terday ;  otherwise  as  «  in 

usually  represented  by  the 
German  *  or  w. 

at  the  beginning  usually  as  im 
go  ;  sometimes  at  the  begin- 
ning, always  at  the  end  as 
German  ch  ;  see  Note  2* 

pet, 

Kpdb  like  M  in  those  (marked 
In  this  book  by  rf*)  ;  when 
t  wo  rfs  occur  In  a  word,  only 
the  second  has  this  found, 
the  first  at  in  date. 

as  in  prey  when  long  t  when 
short  at  in  pet  ;  *  as  in 
prey  or  pet 

as  in  fife* 

as  in  gate  ;  but  before  e  and  f» 
as  a  very  harsh  k  in  hate  ; 
gue  m  ga  as  in  gate  ;  |wf  "• 
£0  as  in  gear  ;£»  as  in  ig- 
nite ;  $  as  in  glow. 

at  in  deed,  but  tilem  In  *d* 
and  K&  and  before  j  or  t 

as  In  film  when  long  ;  when 
short  At  in.pet  j  «r  as  or 
in  bare. 

as  in  fit  at  the  beginning  of 
syllables  or  after  a  short 
vowel  :  at  end  of  syllable 
like  v  in  slave  ;  before  t 

as  in  gate  ;  before  *.  «,  lt  9** 
and  after  /  and  r,  like  y  in, 
yoke  ;  silent  before  j  ;  |»«^ 
*g  In  sing. 

flilent. 

•s  In  date  ;<W  at  lib  these, 

as  In  pet  r  *«  £n  bean. 

like  ti  in  revive  \£  like  /in 
off. 

as  in  gate  ;  *i  as  in  wrong. 

Phonetic  meaning 
of    the    letters 
and    symbols 
AS   USED   IN 
THIS  BOOK. 

H 

as  in  hate. 

1 

*  as  in  fight  ;  t  as  in  pin. 

J 
as  in  jug. 

K 

as  in  kick  ;£*»  Ger- 
man  ch   or  gi   see 
Note  i. 

ARABIAN: 
BOHEMIAN: 

DANISH? 

strongly  aspirated 
at  end  or  begin- 
ning of  a  word, 
as  in  hate. 

as    in    hate   but 
silent   before  j 
and  v. 

as  in  pin  ;  i  as  in  bird, 
as  in  pin  ;  *  as  in  machine. 

as  in  machine  ;  after  a,  e,  o, 
t>,  and  u  like  y  in  yoke. 

as  in  jug. 

like  y  in  yes  ;  after 
vowels    it    prolongs 
their  sounds  some- 
what as  y  in  day, 
whey,  etc. 
even  with  vowels  qf,  «/, 
like  y  in  yoke. 

strongly  guttural* 
as  in  kick. 

as  in  kick* 

DUTCH: 

FLEMISH: 

as  in  hate, 
a?  in  hate. 

when  short  as  in  pin  ;  when 
open  as  c  in  rely  ;  «*«  pro- 
longs the  open  sound  only 
before  r,  otherwise  as  c  in 
rely  ;  ij  same  as  ci. 
i  or  i  as  in  pin  ;  ii  or  *c  the 
same     prolonged  :     ieu 
sounds  like  e-u. 

as  y  in  yoke, 
as  y  in  yoke. 

as  in  kick  ;  ks  -  *  in 
fbc  ;    ku>    «*.   c«    in 
quart. 

as  in  kick  ;&  **  sin  fix. 

FRENCH: 

always*  silent 

as  in  pin,  see  «,  oi  ;  t  as  i  in 

machine*  but  see  oi» 

as  j  in  measure  (marked 
in  this  book  as  z/*). 

as  in  kick. 

GERMAN: 

as  in  hate. 

as  in  machine.;  *e  as  in  be- 
lieve. 

as  y  in  yoke. 

as  in  kTrlp., 

HUNGARIAN: 
ITALIAN: 

as  in  hate, 
silent  ;  after  c  or 

as  the  quick  e  in  rely  ;  t  as  in 
machine. 

as  in  machine   but  when 

as  y  in  yoke  ;  jj  as  y  in 
paying. 

same  as  t  /  at  the  be- 

as in  kick* 

g  it  has  simply 
a  hardening  ef- 
fect. 

snort  as  in  pin  ;  at  the 
beginning  of  words  like  y 
in  yoke. 

ginning  of  words  like 
y  in  yoke  ;  as  a  vowel 
like  i  in  machine* 

NORWEGIAN  : 

as  in  hate. 

as  in  machine  ;  at  the  begin- 
ning as  y  in  yoke. 

as  in  yoke. 

as  in  -kick  ;  before  i  and 
y  like  h  ;  kv  -  «tf  in 

quarter. 

POLISH: 

as  in  hate  ;  see  c, 
landn. 

i  as  in  machine  ;  after  a  con- 
sonant it  has  the  effect  of 
the  imaginary  y  in  due 
(not  doo)  ;  j'w  =»  «  in  gun. 

as  y  in  yoke. 

as  in  kick. 

PORTUGUESE  : 

silent. 

as  in  machine* 

as  in  jug: 

only  m  foreign  words,  as 
in  kick. 

RUSSIAN: 

SPANISH  : 

used  only  in  a  few 
native     words, 
and   in   foreign 
derivations, 
usually   silent    or 

as  in  machine,  but  well  back 
in  the  throat  ;  after  la- 
bials ($,  /,  m,  p  and  i»)  as  i 
in  pin. 
as  in  machine  when  long  ; 

asyinyeL, 
as  3,  very  harsh  h  in 

as  in  kick  ;  before  £,  / 
and  ch  softly  as  in 
German  ch. 

very  slight  ;  see 
c. 

when  short  as  in  pin  ;  i  as 
in  machine. 

hate  ;    almost    like 
German  eft. 

SWEDISH  : 
WELSH: 

as  in  hate  ;  silent 
before/  or  ». 

as  in  hate. 

as  in  machine* 
as  in  machine. 

as  y  in  yoke. 

as  in  kick  but  before  *, 
e,  t,  H  and  y  in  the 
same  syllable  like  ch. 

as  in  kick. 

L 

asinluIL 

M 

as  in  mum. 

N 

as  in  nun  ;  fl,  see  Note  1. 

0 

9  as  in  note.  ;  oi  as  in  noise  ; 
oo  as  in  moon  or  foot  ;  6  as 
in  wrong  ;  ow  as  in  cow  ;  6n> 
see  Note  x. 

P 
MS  in  pop. 

•sinhilL 

as  in  ipfrwifri 

as  in  nun* 

as  in  note  ;  t>  -  German  V,  see 
Note  a. 

as  in  pop. 

•sinhdL 

as  in  mum. 

as  in  nun;  11  as  in 

as  in  note  ;  6  as  in  wrong. 

as  In  pop. 

cafioru 

aslnBiB. 

utamum. 

as  in  nun. 

when  open  as  in  bother  ;  when 

as  in  pop. 

closed  as  in  move  j  <1>  »• 
French  cu  closed  as  m  peu  ; 

ff  *m  the  same  open  as  in 

coeur  ;  see  Note  2. 

as  in  hill,  but  when  fol- 
lowed   by    another 
consonant  *  ibort  * 
is  interpolated,  at  if 

as  in  pwtft,r 

as  in  nun. 

as  in  bother  when  short,  when 
long  as  in  over  ;  oo  •»  o  in 
over  :  ooi  «•  o  m  over  fol- 
lowed by  i  in  pin  ;  see  oc. 

as  in  pop;  ph  - 

elk  were  spelt  ekk. 
as  in  tali. 

-Inmum. 

as  in  nun. 

a  as  in  note  or  not  ;  oo  or  M 
usually  the  same  prolonged, 

as  in  pop. 

sometimes  like  wa  in  was, 

<?«'  or  oey  as  7-7. 

atm  tOy,  t  sometimes  I 
(caSed  "1  mouffie1") 

at  tbe  beginning,  as 
inmate.  Sec  Note 

at  the  beginning,  as  in 
name.    See  Note  x. 

as  in  not  ;  often  almost  as  u  in 
nut  ;  d  as  in  note  ;  see  0». 

atatndbemi±! 

fa  liquid,  «y  in  yoke 
cr  paying. 

X. 

as  in  paper  . 
put  **  almost 
pw  *  ph    m 

//srfontwlien 
final. 

nsmfoJL 

as  in  mum. 

as  in  nun. 

as  in  wrong  ;  if  see  Note  *  ;  # 

as  in  pop. 

is  sometimes  spelled  00. 

«  In  late  ;  ff  or  /y  m  y 
in  pay  inf. 

aib  mum. 

as  in  nun  ;ny  —  rtasin 
new  (not  two)  ;  imy 
m  **y»y»  or  n  n*. 

<7  as  in  note  ;  6  is  prolonged  as 
in  slow  :  tf  «•  French  *i*  ;  3 
or  ff  m  German  long  8. 

as  in  pop. 

as  mitt!!;  tee  |» 

as  in  mum. 

as  in  nun  ;  see  g. 

as  in  note  ;  d  as  in  wrong. 

as  in  pop. 

at  in  Ml 

as  in  mum. 

as  in  nun* 

as  «  in  full,  but  often  as  o  in 

as  in  pop. 

note  or  not  ;  o«  «•  a  in  sale  ; 

#  like  French  ft*  long  or 

short. 

at  la  KiB  :  *  U  sounded 

as  in  mum. 

win  nun. 

o  as  in  note  ;  6  is  between  note 

as  in  pop. 

by  doting  the  teeth 

and  move. 

oc  the   tip  of  the 

tongue  as  J  is  pro* 

u  In  lull;  'ik  like  JH  ID 

miBiofi* 

as  in  meet,  but  at 
end  of  syllables 

as  in  note  ;  but  at  end 
of  syllables  or  after 

as  in  note  or  in  not  ;  0  see 

Note  5. 

asinpop;^* 

or  after  «,  like 

*,  like  French  nasal 

French  nasal  ft. 

»,  see  Note  x  ;  nh  •• 

See  Note  x. 

m  in  minion. 

a*  fat  mB;  before  A  or*, 

as  in  mum. 

as  in  nun« 

as  in  not 

as  in  pop. 

as  tt  in  collar. 

asintook;Jnik«#t'in 

billiards. 

as  in  mum* 

as  In  nun  ;  n  divides 
into  ny  as  ni  in  min- 

when long  as  in  note  ;  when 
short  o  as  in  not  ;  6  as  in 

as  in  pop;  silent 
before   *.    «• 

ion,  thus  cafton  — 

note. 

and<. 

canyon. 

«tt  In  lull:  but  usually 
silent  before  j. 

as  in  mum* 

as  in  nun  ;  |»  «•  ng  in 
sing, 

as  in  move  or  not,  according 
to  complex  rules  \  y  «•  Ger- 
man 0, 

as  in  pop. 

a*  in  look  ;ff  haiacuri- 
otts  minting  of  Ik 
and  I 

as  In  MHBL 

as  in  nun* 

as  In  gone  :  6  as  in  bone  ;  the 
sound  oo  is  represented  by  w. 

asinpop;^*- 

891 


Phonetic  meaning 
of    the    letters 
and    symbols 
AS   USED   IN 
THIS  BOOK. 

Q 

R 

as  in  roar. 

S 
as  in  sense. 

T 
as  in  tot  ;  th  as  in  think. 

ARABIAN  : 

as  in  roar. 

as  in  sis  ;  ss  strongly  hissed  ; 

strongly  palatal. 

sh  as  in  show. 

BOHEMIAN  : 
DANISH  : 

as  qu  in  quart. 
qv**qu  in  quart. 

as  in  roar  ;  r  «  rzk 
or    rsh    as    in 
"for  sure,"  thus 
Dvofak  is  dv6r- 
zhak. 
as  in  roar. 

j  as  in  sis  ;  ?  as  sh  in  show. 

as  in  sense  ;  ski  or  sky  as  in 

skim. 

as  in  tot  ;  see  also  Note  4. 
as  in  cot. 

DUTCH  : 

qu  as  ir»     ja*t. 

as  in  hurry. 

sharply  as  in  sense  ;  y  •»  sk 
in  show  ;  see  sch. 

after  a  hard  vowel  it  is  soft  a* 
in  note,  otherwise  as  in  hot 

FLEMISH  : 

git  as  in  quart 

as  in  roar. 

as  in  suppose. 

as  in  tot  ;  di  as  t  in  hat. 

FRENCH  j 

qu  always  as  k  in 
kick  ;  cq  as  k. 

commonly    rolled 
on  the  back  of 
the  tongue  ;  in 
Paris  almost  like 
win  bower;  as  a 
final  letter  it  is 
sounded  except 
after  «  ;  er  ««  « 
in  sale. 

as  in  suppose  j  when  final  it 
is  silent  except  in  proper 
names  ;  in  liaison  it  be- 
comes s. 

as  t  in  tub  j  like  s  in  such  suf- 
fixes as  -tion;  almost  al 
ways  silent  when  final  ;  « 
=»  a  in  sale. 

oERMAN  : 
HUNGARIAN  : 

gu  as  fa;  thus 
quart     - 
k'vart. 

usually  rolled  and 
always  strongly 
sounded. 

always  trilled. 

beginning  a  syllable  before  a 
vowel  usually  as  s  in  zone  ; 
as  the  end  of  a  syllable  as 
in  this  ;  sp  and  si  ••  shp 

as  sh  in  show  j  ss  •«  sk. 

as  in  tot  ;  /A  -  /  in  hat. 
as  in  tot    ty  stron&iv  as  /  in 

tube  ;  tty  •  ty  ty*  or  ?  t'  , 
is  -ck. 

ITALIAN: 
NORWEGIAN  : 

POLISH  : 

git  as  in  quart. 
qu  as  hi  quart. 

usually  trilled, 
as  in  hurry. 

as  in  roaf    rt  •• 

as  in  suppose  ;  see  •»  sk&  ;  sd 
as  in  sis  ;'  ski  -shin  show. 

as  in  sense  *  jrc  *•  sh  in  show. 

as  in  tot  ;  ti  usually  —  fa. 
as  in  tot 

as  in  tot. 

French  j  or  5  in 
measure. 

**ORTUGUESE  : 
RUSSIAN  : 

qtt&te  in  quart;  " 
bef  ore.  «  or  i> 

a$i  in    rpar   and 
hurry. 

with  a  burr  as  IT  in 

as  in  suppose  ;  having  the  s 
sound  between  vowels. 

a^  in  sense  *  sh  as  in  show  * 

win  tot. 

worry. 

ski  -  sk£  ;  u  ~  s*. 

is  in  tot  £  ts  beginning  or  en<i> 
ing  as  in  hats  ;  Uch  as  sktfk. 

SPANISH- 

qu  as  k  in  kick. 

as  in  roar. 

as  in  sense. 

«j  in  tot. 

SWEDISH: 
WELSH: 

qv  -  k  in  kin. 

as  in  hurry, 
as  in  roar. 

as  in  sense  ;  sk*  tf,  and  stf  all 
*•  sh  in  show. 

as  in  sense. 

as  in  *ot  ;  tj  ««  ck  in  church 
but  ii  foflowed  by  a  or  t  •» 
ts  In  hats  ;  tk  m  t  in  tot. 

urn.  fn  tnr  •  tlr  ««  fn  *K(«tr 

is  «u  ioc  t  tit  as  in  tuUOJCi 

u 

V 

W 

X 

!                                         ** 

Y 

£  always  with  the  sound  of 
you  ;  tf  ,  see  Note  a. 

as  in  revive. 

as  in  will. 

as  in  fix. 

as  in  yoke. 

ts,  in  full. 

as  in  revive. 

as  in  will 

as  in  why. 

as  in  full  ;  A  or  4,  as  in  rule. 

as  in  revive. 

as  in  will  ;  w  is 

as  in  fix. 

as  I  in  pin  ;  y  as  f  in  in** 

silent    before   z 

chine. 

and  another  con- 

sonant, as  wsd. 

»  in  rule  or  full 

as  in  revive;  silent 
after  i  and  r. 

only    in     foreign 
words. 

as  in  xebec. 

like  «  in  fur. 

when  short,  as  in  cut  ;  when 
loo*,  as  in  rule  ;  «*  as  00 
in  moon. 

at  the  beginning, 
as  in  vote  j  at  the 
end,  as  /in  off. 

as  in  will. 

as  in  fix. 

as  in  why. 

tike  &  short  German  fi,  see 

as  in  revive. 

as  in  wiH. 

as  in  fix. 

like  i  in  machine;  some* 

No**  a  ;  MM  or  «a,  the 
same  prolonged  ;  see  ***'. 
*eNotea. 

as  in  revive. 

in   foreign   words 

as  in  fix  or  exile  ; 

times   nasal  like  French 
in,  see  Note  i  ;  see  ai. 
when  alone  or  when  a  con- 

only,    and 
sounded  like  v 
in     vote  ;     v>h 
sounded  as  to  in 

silent  when  fi- 
nal ;  becoming  2 
in  liaison. 

sonant  precedes  or  follows 
it,  as  e  in  bean.    When  it 
lies  between  two  vowels  it 
may  be  said  to  be  divided 

i 

was. 

into  two  sounds.    After  an 

a  or  «  it  is  sounded  like  if 

in  pet  followed  by  y  in 

yoke  (thus  rayon  becomes 

rf-ydfi)  ;    with   an   o   it 
sounds  like  wtt  in  was  fol- 

lowed by  y,  as  in  yoke 

(thus    joyeux     becomes 
zhwft-ytf)  ;  with  u  it  be- 

comes 8  ™—  y'  (thus  appuy- 

«*  0*  f  n  moon  or  foot  ;  H 
(sometimes  spelled  »w), 
see  Note  3. 

like/in  fife, 

like  v  in  revive,  but 
with  a  soft  trace 
also  of  the  w  in 

as  in  fix,  even  at 
the  beginning  of 
a  syllable. 

ant  becomes  ap-pwe-yttn). 
as  o  in  bean,  sometimes  1^0 
U  f  see  Note  a. 

was. 

*  as  In  pull  ;  4  ts  in  rule  ;  « 

as  in  *Mve. 

see  g  .  lf  n  and  J. 

-  French  u  ;  It  or  ft  the 

same  prolonged. 

w  in  rule  ;  6  ts  in  full 

ts  In  revive. 

§s  In  rule. 

as  !n  revive  ;  ko  «• 

as  in  fix. 

like  French  w. 

C*  In  quart 

*t  !n  ruk  ;  preceded  by  i  Jt 

as  «  in  revive. 

as  in  fix. 

yf  ••  9  in  bean* 

is  the  French  *. 

ts  in  ruk  ;  &,  *e*  Note  5. 

as  in  revive* 

after  0,  as  in  vex  ; 

as  £  in  machine. 

otherwise  as  sn 

in  show. 

ts  In  due,  or  ts  00  in  moon  ; 

as  /In  far  or  off. 

as  /  in  far  or  olt*. 

same  as  Russian  f. 

exvei*  in  words  of  French 
or  German  origin,  then  ts 

Frewa  »*, 

*s  In  rule,  when  long  ;  when 

as  in  revive. 

as  in  fix  ;  even  at 

as  t  in  machine. 

short,  ts  in  full  ;  *  ts  la 
rule  or  f  uU  ;  *«  m  UK  In 

the  beginning; 
in  some  proper 

wait. 

names  as  h  in 

hate. 

ts  in  rule  ;  or  In  full. 

as  in  revive. 

like  v  in  revive. 

,ike  French  u  ;  see  Note  2. 

t  little  broader  thtn  i  In 

sounded  like  oo  in 

as  u  in  turn  ;  at  the  end  of  a 

this  ;  *  —  «•  In  seen. 

moon. 

syllable  as  in  pretty. 

893 


Phonetic  meaning 
of    the    letters 
and   symbols 
AS   USED    IN 
THIS  BOOK. 

Z 
as  in  zone  and  buzz. 

^E 

Al 

AU 

EUA 

AVAR!  AN  • 

RfyHnfMTAKT  • 

azure. 

like  *  W(  bite 

as  ow  in  cow. 

DANISH  : 

f>TTTOW  • 

then  like  $  in  sis. 

and  in  said. 

flwt  combines  o>  in 

combines   a  in 

father  with  a 
quick  e  in  meet, 
almost  like  y  in 
why. 
oi  and  fly  as  ai  in 

fat  with  oo  in 
moon  ;  sharp- 
er than  otoin 
cow. 

FRENCH  • 

used  interchange- 
able with  5. 

fts  in  zone 

longed  ;  act  or  aey 
—  a»  prolonged. 

said;o«tora«y 
the  same  pro- 
longed. 

a*  ,  flrf  ,  oy  as  e  in 

as  0  in  zone. 

as  o  in  zone. 

^%'|>i>%jr  A  "M  . 

pet. 
like  *  in  bite. 

as  0*0  in  cow  j 

GERMAN  : 

VTTTKTfT  A1?T  Altf  * 

at  the  beginning 
of  a  syllable. 

of  &    See  lK>te  a. 

5«  almost  like 
*  in  bite  (ac- 
tually oA—  «), 

•fPAt  TAKT  • 

•ttfYDtXTirnTAYJ  • 

ds  in  Windsor. 

liV*  i«  in  fiaffl 

tions   the  vowels 
are  always  sepa- 
rately pronounced 
in  Italian. 

like  o  In  note. 

t^fYT  TfJTT  • 

Fv/LIoH  : 

fi^VOHPTTrtTTWCHH1 

precededbyabuzz. 

RUSSIAN: 

i  fiDAKnrQTT  • 

the  end  of  syllables 
like  sin  this, 

as  Germans  —  fc;or 
as  French  *  -  ^  in 
menagerie. 

as  /J^in  t^^^n 

same 

as 

German 

diphthongs. 

lilr*  «  in  «i« 

SWKDISH: 

894 


«l 

EU 

IE 

OE 

i 

OI 

as  in  noise. 

ou 

combines  e  in  met 

same  as  German  short 

See  1  •  ifi4  **  <i  in 

same    as    oo    in 

combines  o  in  not 

"with  i  in  pin  ; 
in    the    suffix 
beid    -    a  in 
fate. 

#,  see  Note  2  ;  ww  — 
a   in   fate,   with   a 
whispered,  9  after  it. 

same  as  French  eu  ;  ecu 

fate,   with  a 
soft  rafter  it. 

moon  ;  oci  -  oo 
followed    by   a 
short*. 

as   oo  in   moon  ; 

with  u  in  rule  ; 
softer  than,  but 
often  confused 
with,  as*. 

•s  2  in  PK* 

the  same  prolonged, 
like  *  In  father  when 

sometimes    a 
simple    pro- 
longed o  ,'  or  like 
wa  in  was  ;  oei 
or  oey  ««  tw. 
00  M*  tffl  in  was  * 

oi  or  oy  *  100  in 

<w  ••  oo  in  boot  • 

fikitt  1  in  bite. 

short  ;    when   long, 
the  same  sound  pro- 
longed ;  it  lies  be- 
tween *  in  pet  and  u 
in  cut,  and  resembles 
German  &         See 
Note  a. 
almost  like  i  in  bite 

as  in  believe 

owlikew*. 
only  another  spell- 

was  ;  oin**w 
followed     by 
the  nasal  in. 
See  Note  x. 

<wt"  «  ••  o*fi  ; 
see  ot  and  Note 

X. 

with  a  hint  of  oi  in 
noise. 

ing   of  &.    See 
Note  a. 

like  4  in  sale. 

almost  aa  o  ift 

•ame 

4S 

the 

Ggrnx&n 

diph- 

note. 

thongs. 

895 


Phonetic  meaning 
of    the    letters 
and   symbols 
AS  USED  IN 
THIS  BOOK. 

UE 

Ul 

CH 

as  in  church  ;  German  ch 
is  represented  by  kh, 
see  Note  3. 

SCH 

SP 

ARABIAN  : 
BOHEMIAN  : 
DANISH  : 

DUTCH  : 

FLEMISH  : 
FRENCH  : 
GERMAN. 

HUNGARIAN: 
ITALIAN  : 
NORWEGIAN: 
POLISH  : 
PORTUGUESE  : 
RUSSIAN  : 
SPANISH: 
SWEDISH  : 
WELSH, 

like  German  ch. 

as  £,  except  in  foreign 
words. 

liks  German  ch,  but  more 
palatal  at  the  begin- 
ning of  foreign  words  ; 
as  sh  in  show. 

like     German    ch.    See 
Note  3. 

as  sh  before  a  vowel  ;  be- 
fore a  consonant  as  &. 

see  Note  3. 

almost  y  in  why; 
but  verging 
on  the  French 
eu. 

ui  and  uy  like 
Gentian  en. 

beginning  a  syl- 
lable, as  stch  ; 
at  the  end,  as 
simple  s  in 
this; 

as  in  span. 

same  as  a  pro- 
longed «. 

ufi  like  eu, 

only   another 
spelling  of  il. 
See  Note  2. 

like  sh  in  show. 

Ifte  shp  in  disk 
pan. 

as*  in  kin. 

as  sk  in  skip. 

as  in  span. 

like  German  ch,  see  Note 
3. 

as  in  church. 

like  German  ch,  see  Note 
3- 

S96 


ST 

TH 

as  in  thing  ;  the 
th  in  those  is 
represented 
by  dk. 

NOTES 

No.  x.  —  The  French  nasal  sounds  are  easily  obtained  : 

(x)  Though  spelled  with  an  m  or  n  (and  indicated  in  this  book  by  an  n)  they  have 
really  no  n  sound  in  them,  much  less  the  *s  sound  that  some  foreigners  give  them. 
Though  variously  spelled  they  are  reducible  to  four  vowel  sounds  pronounced,  as  we 
say,    through  me  nose,"  though  actually  with  closed  nasal  passages.    If  one  will 

pronounce  or  rather  snort  the  word  "wrong"  without  producing  the  final  g  at  all, 
one  will  have  exactly  the  French  on  (i)  ;  the  word  "thank"  similarly  sounded  with- 
out the  k  will  give  the  French  in  (2)  ;  the  word  "trunk"  without  the  k  gives  tne 
French  un  (3)  ;  the  word  "donkey"  (not  pronounced  like  monkey)  contains  the 

_s  in  stone. 

French  en  (4).    These  four  aw  indicated  in  this  book  by  (i)  M  ;  6)  U;  (3)  «*; 
(4)  #». 
The  French  nasals  may  be  grouped  as  follows  :  Those  pronounced  like  (x)  are  om, 
on,  and  eon  after  s  ,'  like  (a)  tin,  in,  aim,  aint  tin  and  also  en  as  an  ending  ;  like  Cs)  *% 
un  and  eon  ;  like  (4)  am,  an,  can,  acn,  aon  and  en  at  the  beginning  of  words. 

These  letters  m  and  n,  however,  lose  their  nasal  quality  when  doubled  or  when 
preceding  a  vowel  ;  onne  is  pronounced  as  one  in  done,  ome  or  omme  as  in  come,  erne 
as  in  m  in  them,  etc. 

No.  2.—  French  u  (which  is  the  same  as  the  German  11  when  long)  is  easily  pro- 
nounced if  one  will  pucker  his  lips  to  say  00,  as  in  rroon  ;  and  keeping  them  strongly 
puckered,  say  e  as  in  bean.    Those  who  have  eaten  green  persimmons,  or  had  their 

lips  distended  with  peach  fuzz,  have  the  correct  position  for  this  6  sound.    There  is 
really  no  oo  sound  in  the  French  u  at  all,  and  if  one  cannot  say  the  u  correctly  he  will 
come  much  nearer  the  truth  if  he  uses  a  plain  English  long  e,  as  in  bean,  rather  than 
the  sound  of  u,  as  the  spelling  might  suggest. 
The  German  U  when  short  is  formed  by  keeping  the  lips  puckered  and  spying  *  as 

like  ***  in 
washtub. 

like  /  in  tot. 

in  fit,  instead  of  0  in  serene. 
The  other  German  modified  (or  umlauted)  vowels  are  (a)  ff,  pronounced,  when  long, 
almost  like  a  in  sale,  but  verging  on  a  in  care  (it  is  marked  here  simply  as  ffj  ;  when 
short  much  like  e  in  pet  ;  (A)  if  when  long  can  be  secured  by  puckering  the  lips  for  a 
round,  full  o.  as  in  note  and  then  saying  a  as  in  sale  (it  is  marked  in  this  book  simply 
as  S  to  avoid  the  danger  of  saying  a  plam  o)  ;  when  it  is  short  the  lips  should  be  puck- 
ered for  the  round  0,  and  a  short  e  as  in  net  then  pronounced.    The  caution  must  be 
emphasised  that  in  the  experiments  the  lips  rrust  l>e  firmly  kept  in  the  first,  or  puck- 
ered position,  in  spite  of  the  temptation  to  alter  it. 

No.  £.—  German  ch  is  not  difficult,  once  caught.    Our  sound  tk  as  in  think  wfll  be 

AS  in  btone 

found  if  prolonged  to  be  produced  by  the  simple  device  of  holding  the  tip  of  the 
tongue  lightly  between  the  teeth  and  then  breathing.    The  German  ch  results  from 
pressing  the  two  sides  of  the  tongue  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  tongue 

free,  then  breathing  the  necessary  vowel  as  in  <tch,  ich,  etc.    German  g  is  much  the 
same  but  even  softer.    Both  are  indicated  in  this  book  by  kh. 

No.  4.—  Certain  Bohemian  letters  and  combinations  insert  the  sound  y  closely  allied 

to  a  consonant,  as  in  the.  French  di&le  and)  tf*t,  or  the  English  "How  d1  ye  do?  "  ox 
"I  ve  caugbft/f.*   Bohemian  'd"t  n  'and  t  art  given  this  <Ty  and  t*y  sound  wfeen  fol* 
lowed  by  t  or  i  or  by  an  apostrophe  as  d\  n  or  /  . 
Many  Bohemian  combinations  of  consonants  seem  unspeakable  because  they  are 

spelt  with  no  vowels  between.    They  are  no  hardei  to  say,  however,  than  such  words 
of  ours  as  "twelfths."    Among  such  consonant  chains  are  dm,  kb,  kd,  krl,  fast, 
skr*,  sr>  tof  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  combinations  of  vowels  (sometimes  of  three  vowels  or 
triphthongs)  in  which  each  vowel  is  sounded  independently  :  in  the  first  class 
the  first  vowel  takes  the  accent,  in  the  second  class  the  second  vowel  is  accented. 

The  third  class  contains  a  nasal  vowel  marked  £,  2  or  i3,  and  pronounced  with  a  strong 
nasal  twang. 

No.  6.—  In  vowel  combinations  other  than  those  speciallv  mentioned  here,  the 

like  /  in  tot. 

vowels  are  pronounced  separately,  each  in  its  own  way. 

No.  7.—  Combinations  of  consonants  other  than  those  mentioned  here  will  be  found 
under  their  first  letter. 

No.  8.  —  As  Greek  and  Latin  pronunciations  are  matters  of  controversy  and  personal 
taste,  no  system  is  attempted  here.    Chinese,  Japanese.  Hebrew,  Hindu,  ana  various 
other  languages  are  usually  spelled  phonetically,  but  on  such  different  national  of 

i 

personal  standards  that  they  can  hardly  be  generalised. 

897