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⁣
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# 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
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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>oi^ 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< 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