Skip to main content

Full text of "The World's best music; a library of musical masterpieces containing songs and pianoforte compositions ... The great composers; critical and biographical sketches"

See other formats 


EX  LIBRIS 


=23 


T  VJM 


'mm 


IHl 


. 


TSCHAIKOWSKI 


Th 

WORLD'S  B 


MUSIC 


.„  or  studio; 

!!.•'.• 


Si\ 

!  K.'    • 

NEW  ^  OKK 


The 

WORLD'S  BEST  MUSIC 


International  Edition 


A  LIBRARY  OF  MUSICAL  MASTERPIECES 

Containing  Songs  and  Pianoforte  Compositions  for  every  occasion,  in  home  or  studio ; 
selected,  classified,  graded  and  specially  edited  for  study  and  recreation  or  recital  use 


Tffe    Editors 

ALEXANDER  LAMBERT  RUDOLPH  GANZ 

VICTOR  HERBERT  HOMER  N.  BARTLETT 

Louis  C.  ELSON  FANNY  MORRIS  SMITH  Louis  R.  DRESSLER 

HENRY  HOLDEN  Huss  CHARLES  DENNEE  FREDK.  A.  WILLIAMS 

BERN.  BOEKELMAN  JOSEPH  M.  PRIAULX  E.  R.  KROEGER 

AUGUST  FRAEMCKE  SIDNEY  SILBER 

GUSTAV  L.  BECKER  J.  J.  MCCLELLAN 

NICHOLAS  DE  VORE 


Also  including  a  considerable  number  of  pianoforte  compositions  reprinted  from  the 
original  plates  and  in  the  identical  editions  used  in  the 

CENTURY  LIBRARY  OF  Music 

Edited  by  IGNACE  J.  PADEREWSKI 


VOLUME  II 

THE  GREAT  COMPOSERS 

CRITICAL  AND  BIOGRAPHICAL  SKETCHES 

PRONOUNCING  DICTIONARY  OF  MUSICAL  TERMS 


THE  UNIVERSITY  SOCIETY 

mooavoxAAm 

NEW  YORK 


ML 

310 


V.2. 


COPYRIGHT,  1921,  BY 
THE  UNIVERSITY  SOCIETY  INC. 


COPYRIGHT,  1904,  1906,  1907,  1908,  BY 
THE  UNIVERSITY  SOCIETY  INC. 


CONTENTS 

CRITICAL   AND    BIOGRAPHICAL    SKETCHES    ON    MODERN    MUSIC 

PAGE 

A  HISTORICAL  SKETCH  OF  Music  IN  RUSSIA Cesar   Cui      313 

The  Beginnings  of  National  Music  in  Russia— Michael  Glinka — Dargomijsky — Deutch  and   Serov 

The    New    Russian     School — Borodin — Moussorgsky- — Rimsky-Korsakov — Dargomijsky's    "Stone 

Guest" — Tschaikowsky  and  Rubinstein — Song  Composers — Composers  of  Symphonic  Music: 
Rimsky-Korsakov  and  Tschaikowsky;  Napravnik,  Taneieff  and  Glazounov — Composers  of  Chamber 
Music  and  Piano  Pieces. 

STATUS  OF  Music  IN  RUSSIA  IMMEDIATELY  PRIOR  TO  THE  GREAT  WAR -      -      326 

After  the  Death  of  Tschaikowsky — Russia's  Slow  Development  in  Musical  Culture — Economic 
Conditions  in  Their  Relation  to  Music;  Material  Considerations — Rubinstein  as  an  Educator  of 
the  People;  Other  Educative  Forces — Publication  of  Folk  Song  Collections — Musical  Revolution; 
Scriabin;  Stravinsky;  Rebikov;  Gnessin;  Other  Contemporaries — Gretchaninov;  the  Conservatives. 

PETER  ILYITCH  TSCHAIKOWSKY     - Daniel  Gregory  Mason       337 

The  Tendency  to  Exaggerate  the  Melancholy  Side  of  Tschaikowsky's  Character — Sentimental  and 
Rational  Pessimism — Tschaikowsky's  Early  Life  and  Studies — Beginnings  of  His  Musical  Career — 
Early  Operas — The  Mystery  'of  His  Life — Years  of  Creative  Activity — His  Tour  Abroad — Inti- 
mate Details  of  His  Character — Emotional  Characteristics  of  His  Music — Melodic  and  Structural 
Mastery — The  Positive  Qualities  of  His  Art. 

A  STUDY  OF  TSCHAIKOWSKY Ernest  Newman       343 

The  Musical  Physiognomy  of  the  Russians — Tschaikov^ky  as  a  Typical  Russian — His  Preference 
for  Program  Music — An  Interpreter  of  Poetic  Conceptions-  -The  "Pathetic  Symphony." 

ANTON  RUBINSTEIN    ------ Hugo  Riemann       346 

Tragic  Aspects  of  Rubinstein's  Life — The  Wonder  Child — Early  Life  and  Studies — Struggle 
Against  Poverty — In  Vienna — Success  in  St.  Petersburg;  His  Protectors;  Founding  of  the 
Conservatory — His  Career  as  a  Virtuoso — His  Limitations  as  a  Composer — -Rubinstein  as  a 
Nationalist — Imperial  Honors — Production  of  His  Works — His  Appointment  and  Death— An 
Estimate  of  His  Works. 

THE  POLES  IN  Music --  .       .       .       Jaroslaw  de  Zielinski       352 

The  History  of  the  Slavonic  Race — The  Poles  a  Cultured  Race — Peculiar  Characteristics  of 
Polish  Music — Royal  Patronage  of  Polish  Music — The  Works  of  Szamotulski — The  Composition 
of  the  First  Polish  Opera;  Kamienski;  Stefani — The  Figures  of  the  Polonaise;  Brodzinski — The 
Genius  of  the  Mazurka — The  Krakowiak — A  Group  of  Court  Musicians:  The  Oginskis;  Kozlowski, 
Janiewicz,  Eisner,  Prince  Radziwill — The  Composers  of  the  Nineteenth  Century:  Lipinski; 
Mirecki;  Dobrzynski;  -  Kazynski;  the  Brothers  Wielhorski — Frederic  Chopin — Oscar  Kolberg  and 
Other  Composers — Contemporary  Composers. 

CARL  GOLDMARK " Theodor  Helm       371 

Early  Life  and  Education — Early  Years  in  Vienna — Budapest:  Further  Studies — Settlement  •  in 
Vienna;  Hellmesberger  as  the  Introducer  of  His  Works — "Sakuntala"  Overture — "The  Queen  of 
Sheba" — "The  Cricket  on  the  Hearth" — An  Estimate  of  His  Works — Goldmark  as  a  Symphonic 
Composer. 

MAX   REGER •: Eugene  E.  Simpson       380 

Reger's  Position  in  Modern  German  Music — Early  Life — Riemann  and  Reger — The  Attitude  of 
Munich  Toward  Contemporary  Music — Reger  in  Munich;  Early  Publications;  Straube's  Cham- 
pionship— Creative  Influences — Reger  as  Organist,  Pianist  and  Conductor — Mature  Works — 
Other  Champions;  International  Recognitions-Critical  Antagonists — The  Dortmund  Festival; 
Strauss  and  Reger — The  Important  Works;  The  Hundredth  Psalm — An  Estimate  of  Reger's 
Work — Difficulties  of  Appreciation. 

BRUCKNER,  MAHLER  AND  THEIR  SUCCESSORS  ...".*. Eugene  E.  Simpson       393 

A  Modern  Repository  of  Musical  Mysticism — Outlines  of  Bruckner's  Life — Conditions  of 
Mahler's  Youth — Bruckner  and  the  Brahms-Wagner  Controversy — Consideration  of  Bruckner  and 
Mahler's  Principal  Works — The  Younger  Generation;  Korngold — Arnold  Schonberg — Estimate  of 
Schonberg's  Work — Future  Aspects  of  the  School  Founded  by  Bruckner  and  Mahler. 

RICHARD   STRAUSS Romain  RoUan/l      400 

Strauss's  Life — Salient  Influences — An  Estimate  of  His  Art — His  Symphonic  Works — "Tod  unrl 
Verklarung" — "Guntram" — "Till  Eulenspiegel" — "Zarathustra" — "Don  Quixote" — "Heldenleben'' — 
Strauss  and  the  Modern  Teutonic  Spirit — Strauss's  Operas. 

CAMILLE  SAINT-SAENS Pierre  Lalo       411 

The  Diversity  of  Saint-Saens's  Talents — Saint-Saens  as  a  Song  Writer,  Composer  of  Piano  Pieces 
and  Chamber  Music — A  Master  of  the  Orchestra — His  Symphonic  Poems — Symphony  in  C  Minor 
— His  Dramatic  Works — An  Estimate  of  Saint-Saens's  Music. 

iii 


iv  .CONTENTS 


PACE 

CESAR  FRANCK Vincent  d'Indy       420 

Franck's  Neglect  by  the  Public  of  His  Day — The  Man:  His  Life  and  His  Character;  His  Daily 
Habits — The  Artist;  The  Rare  Quality  of  Sincerity — A  Genius  of  Pure  Music;  Predilection  for 
Religious  Themes  and  the  Portrayal  of  Noble  Traits — Melodic  and  Harmonic  Qualities  of  His 
Music:  Franck's  Conception  of  the  Cyclical  Forms — "The  Redemption";  "The  Beatitudes";  The 
Quartet  in  U — The  Last  Three  Organ  Chorales — The  Instructor — Appreciation  and  Personal 
Recollections. 

THE  Music  OF  MODERN  FRANCE  ----- - 435 

The  French  Spirit  in  its  Relation  to  Modern  Music — The  Nineteenth  Century  in  France — Effect 
of  the  War  of  1870 — Organization  to  Promote  Native  Art;  The  National  Society  of  Music — 
Preparatory  Forces:  Berlioz,  Bizet,  Franck — Debussy  and  the  Pupils  of  Franck. 

THE  LEGACY  OF  THE  CENTURY    --.-.--------       Pietro   Mascagnl      441 

Introduction — Rossini  and  Verdi  the  Unbroken  Line  of  Genius  Through  the  Century — English 
Music  Exotic — The  Other  Northern  Nations  Exhibit  Well-Defined  Schools — Italy,  Spain,  and 
Hungary — The  Potency  of  Popular  Melody  Among  Its  Own  People — Hungarian  Music — Foreign 
Art  Cannot  Be  Grafted  Upon  a  Country — Music  in  Spain — On  the  Northern  School — The  New 
Russian  School — Italian  Sacred  Music — Perosi,  the  True  Genius — The  Respective  Influence  of 
France,  Germany  and  Italy  Upon  Music — Brahms,  the  Greatest  Figure  of  the  Century  in 
German  Music — A  Review  of  Melo-Dramatists — Germany  and  Italy  Contest  the  Field — -Review 
of  French  Music — Boito,  an  Isolated  Genius  in  Modern  Italian  Music — Shall  Italian  Music  Be 
Germanized  ?— The  Mischievous  Modern  Critic — Italian  Music  Will  Progress — Wagnerism  the 
Danger  of  Italian  Music — Popular  Melody  the  Solution  of  Our  Enigma. 

ARTHUR  SEYMOUR  SULLIVAN Charles  Maclean      464 

The  Significance  of  Sullivan  in  English  Musical  History — The  Monodic  Style  in  Relation  to 
National  Development — Sullivan's  Use  of  British  Folk  Songs — The  Development  of  His  Talents; 
Biographical  Facts;  Study  and  Early  Works — Sullivan  and  W.  S.  Gilbert — The  Renascence  of 
the  Operetta — Sacred  Works — Later  Operas — An  Estimate  of  Sullivan's  Genius. 

SAMUEL  COLERIDGE-TAYLOR 471 

Coleridge-Taylor  in  Relation  to  His  Race — Biographical  Facts — Early  Works;  His  Use  of  Rational 
Material — The  Samuel  Coleridge-Taylor  Society — The  "Bamboula" — Personal  Characteristics — 
His  Efforts  on  Behalf  of  His  Race. 

AMERICA'S  POSITION  IN  Music Eugene  E.  Simpson       476 

Two  Errors  in  the  Consideration  of  the  Question — Early  American  Composers;  Lowell  Mason, 
William  H.  Fry,  George  F.  Bristow— Stephen  Foster — State  of  Music  in  Europe  During  the 
Period  of  America's  Musical  Infancy — First  Studies  in  Native  Musical  Material — Early  Nation- 
alists in  American  Music — Later  Influences  and  Present-Day  Endeavor  in  Musical  Nationalism — 
Chronology  of  American  Composers. 

THE  COMPOSERS  OF  AMERICA Frederick  H.  Martens      491 

Introduction — The  Pioneers — MacDowell's  Contemporaries:  Chadwick,  Kelley,  Parker  and  Others 
— MacDowell's  Successors — Oldberg,  Arne  and  other  Neo-Classicists — The  Modernists:  Nation- 
alists and  Eclectics;  Ultra-Moderns;  The  Lighter  Vein. 

EDWARD   MACDOWELL Henry   T.  Finck      505 

Biographical  Facts — MacDowell's  Use  of  Indian  Themes — Stephen  C.  Foster  and  Edward  Mac- 
Dowell — MacDowell's  Gift  of  Humor — His  Relations  with  Raff — Recognition  by  Liszt — Return  to 
America — MacDowell  as  a  Teacher — The  Estimate  of  MacDowell's  Works:  His  Piano  Pieces 
and  Songs — The  Last  Years  of  His  Life. 

AFRO- AMERICAN   COMPOSERS Graver  Brower      512 

Negro  Folk  Song  and  the  Negro  Composer— Harry  T.  Burleigh— Will  Marion  Cook— Nathaniel 
Dett— Carl  L.  Diton  and  Others. 

ERNEST   BLOCK Cisar  Saerchinger       515 

Ernest  Bloch's  Position  in  Contemporary  Music;  An  Expression  of  the  Jewish  Race  Spirit — 
Creative  Influences— Bloch's  Life— The  Principal  Works:  The  Jewish  Poems;  Settings  of  the 
Psalms;  "Israel";  The  String  Quartet  and  Other  Works. 

CONTEMPORARY  Music Horatio  Parker      519 

The  Th'ee  Essentials  in  the  Pursuit  and  Enjoyment  of  Music— The  Attitude  of  the  Contemporary 

iblic   Toward   the   Music   of    Palestrina,    Bach,    Beethoven— The    Modern    Aspects    of   Absolute 

Music  and  Program   Music— Modern  Aspects  of  Opera— Strauss  and  Debussy  as  Champions  of 

lern   French  and   German   Schools— A   Consideration  of  Their   Comparative    Significance. 

PRONOUNCING   DICTIONARY   OF   MUSICAL   TERMS 

DIRECTIONS  FOR  PRONUNCIATION 526 

DICTIONARY  OF  TERMS 527 

BIOGRAPHICAL   DICTIONARY   OF   MUSICIANS 

A  GUIDE  FOR  THE  PRONUNCIATION  OF  FOURTEEN  LANGUAGES 589 

BIOGRAPHICAL  DICTIONARY 503 


LAMAS    OF    EASTERN    SIBERIA 
The  instruments  are  those  used  in  the  Buddhist  temple  service 


A  HISTORICAL  SKETCH  OF  MUSIC  IN  RUSSIA 

*    \ 

CESAR    GUI* 


MUSIC,  as  we  know  it  now,  with  its 
broad  melodies,  its  harmonic  wealth, 
dazzling  instrumental  color,  its  intense  ex- 
pressiveness, is  the  youngest  of  the  arts. 
The  beginning  of  its  present  position  dates 
only  from  the  end  of  the  eighteenth  century 
— from  Beethoven.  But  Beethoven  had 
predecessors  who  for  several  centuries  had 
prepared  the  ground  for  its  heavenly  seed. 
In  Russia,  music  as  an  art  goes  back  only 
to  1836,  and  —  thanks  to  the  genius  of 
Glinka  —  armed  of  a  sudden,  completely 
equipped,  without  preparation  of  any  sort. 
True  it  is  that  the  soil  was  fertile  and  that 
the  musical  genius  of  the  Russian  people 
had  long  before  revealed  itself  in  admirable 
folk  songs  which  attracted  the  attention  of 
musicians  like  Beethoven.  I  refer  to  his 
use  of  Russian  themes  in  his  quartets. 

In  Russia,  as  everywhere  else,  vocal  music 
preceded  the  instrumental.  Since  the  first 

*  C£sar  Cui  was  born  in  1835  at  Vilna,  Russia, 
of  a  French  father  and  a  Lithuanian  mother.  He 
studied  at  the  Engineers'  Academy,  where  he  later 
became  professor  emeritus  with  the  rank  of  lieu- 
tenant-general. Among  his  pupils  in  the  fortifica- 
tion classes  was  the  recent  Czar  of  Russia.  Cui 
is  author  of  "Music  in  Russia,"  "The  Nibelungen 
Ring,"  and  "Russian  Romances."  As  a  composer 
he  has  written  six  operas:  "Prisoner  of  the  Cau- 
casus," "Mandarin's  Son,"  "William  Ratcliff." 


half  of  the  eighteenth  century  (1735)  an 
opera  house  has  existed  in  Petrograd,  but 
the  first  opera  there  was  Italian.  Twenty 
years  later  a  troupe  of  Russian  singers  was 
organized  and  music  was  written  to  Russian 
words.  Catherine  II  wrote  the  texts  of  five 
operas.  The  composers  were  foreigners. 
The  efforts  of  a  few  native  composers,  even 
of  the  most  gifted,  such  as  Verstarsky,  were 
so  colorless  and  unskilled  that  hardly  any 
fragments  of  the  scores  have  come  down 
to  us. 

Michael  Glinka  (1804-1857)  gave  serious 
study  to  the  piano.  As  for  theory,  he  busied 
himself  with  it,  sometimes  in  Petrograd 
and  sometimes  when  abroad,  but  he  never 
took  a  complete  and  systematic  course.  His 
natural  gifts  supplied  the  deficiency.  He 
determined  to  write  an  opera,  and  in  ''A 
Life  for  the  Czar,"  presented  in  1836,  at 
once  created  a  masterpiece.  In  respect  to 

"Angelo,"  "The  Filibuster"  (words  by  Richepin), 
and  "The  Saracen";  also  eighteen  a  capella  cho- 
ruses; one  hundred  and  sixty  songs;  four  orches- 
tral suites,  two  scherzos,  a  tarantelle  and  a  marche 
solennelle  for  orchestra.  Cui  is  a  corresponding 
member  of  the  Institut  de  France,  fellow  of  the 
Belgian  Royal  Academy,  one  time  chairman  of  the 
Petrograd  section  of  the  Imperial  Russian  Musi- 
cal society,  and  a  commander  of  the  Legion  of 
Honor. 

313 


314 


A   HISTORICAL   SKETCH    OP   MUSIC    IN   RUSSIA 


form,  Glinka  was  no  innovator.  He  con- 
fined himself  to  the  forms  then  in  use,  and 
divided  his  opera  into  independent  and 
symmetrical  numbers.  But  his  art  broad- 
ened them,  gave  them  an  artistic  stamp,  and 
in  this  form  he  presented  ideas  of  rare  origi- 
nality and  loveliness.  It  must  be  added  that 
Glinka  was  possessed  of  an  innate  dramatic 
instinct,  which  in  many  of  the  touching 
scenes  of  his  operas  impelled  him,  almost 
against  his  inclination,  to  overstep  the 
limits  of  stereotyped  forms,  and  caused  him 


tion  to  many  musicians.  The  subject  has 
neither  the  unity  nor  the  dramatic  quality 
of  the  "Life  for  the  Czar."  It  is  a  fairy 
tale,  with  interesting  but  unconnected 
scenes.  The  variety  of  these  scenes,  how- 
ever, was  admirably  suited  to  the  supple 
talent  of  Glinka.  As  an  opera  "Russian" 
lacks  the  scenic  interest  of  the  "Life  for 
the  Czar,"  but  its  music  is  superior  to  that 
of  the  earlier  effort.  In  it  one  finds  Russian 
nationality,  but  that  of  the  most  remote 
ages,  before  its  conversion  to  Christianity. 


A   COSSACK    OF   THE    STEPPE 
Painted  by  Ilya  Repin 


to  follow  the  text  and  give  great  importance 
to  melodic  recitative  and  to  declamation. 
Moreover,  the  music  of  "A  Life  for  the 
Czar"  is  essentially  national,  and  inspired 
by  the  spirit  and  sentiment  of  the  national 
songs  that  Glinka  had  assimilated  from 
childhoo'd  while  on  his  parents'  estate.  In 
this  regard  "A  Life  for  the  Czar"  is  an 
opera  as  completely  national  as  is  "Der 
Freischiitz,"  for  Glinka  devotes  to  the  Pol- 
ish element,  strongly  characterized,  one 
whole  act  and  several  scenes. 

In  1842  he  completed  and  had  performed 
another  opera,  "Russian  and  Ludmila," 
founded  on  a  story  in  the  verse  of  Pushkin, 
the  Russian  poet,  who  has  furnished  inspira- 


It  has  splendid  Oriental  tone-color,  broad 
and  impassive  forms  (introduction  to  Act 
I),  marvelous  thematic  development,  a  scale 
in  whole  tones,  superbly  harmonized,  and 
extraordinary  melodic  inspiration  through- 
out. Glinka  reveals  himself  in  "Russian" 
as  one  of  the  greatest  musicians  and  com- 
posers of  any  era.  He  composed  only  these 
two  operas.  When  first  given  they  were 
but  moderately  successful,  especially  true  of 
"Russian."  But  they  have  become  objects 
of  devotion  to  all  Russians. 

Glinka  was  complimented,  so  to  say,  by 
Dargomwirshky  (1813-1869).  One  was, 
above  all,  a  musician,  the  other,  a  composer 
for  the  stage.  Dargomwirshky  lacked  the 


A   HISTORICAL    SKETCH    OP    MUSIC    IN    RUSSIA 


315 


broadly  melodious  inspiration  of  Glinka, 
but  his  brief  vocal  phrases  are  often  felici- 
tous and  always  expressive.  His  harmonies 
had  neither  the  beauty  nor  the  elegance  of 
Glinka's,  but  if  occasionally  uneven,  they 
are  always  highly  personal  and  original. 
His  musical  forms  have  neither  the  classic 
splendor  nor  the  architectural  magnificence 
of  Glinka's,  but  they  are  free,  varied  and 


"Bacchus."  But  the  opera  "Russalka" 
(The  Water  Sprite),  also  to  Pushkin's  text, 
marked  a  great  .step  toward  dramatic  truth- 
fulness. In  this  half-realistic,  half-fanciful 
work  the  composer,  without  .renouncing  con- 
servative forms  and  fixed  numbers,  accords 
great  development  to  melodious  recitative, 
and  herein  discloses  his  admirable  qualities 
as  a  composer  for  the  stage — dramatic  ac- 


A   COSSACK    OF   LITTLE    RUSSIA    PLAYING    THE    BANDUR 


•well  suited  to  the  action  of  the  drama. 
Added  to  this  were  his  superb  declamation, 
the  close  connection  between  his  measures 
and  the  text,  and  his  great  talent  in  the  ex- 
pression of  different  shades  of  humor. 

Dargomwirshky  's  first  works  presented  no 
remarkable  characteristics.  They  were  the 
opera  "Esmeralda,"  written  to  the  French 
of  Victor  Hugo,  afterward  translated  into 
Russian;  and  the  opera-ballet  to  Pushkin's 


tion,  wealth  of  ideas,  and  truthfulness  and 
variety  of  expression.  These  are  the  ele- 
ments of  the  finest  part  of  his  opera.  To- 
ward the  end  of  his  career  he  wrote  one 
opera  more — "The  Stone  Guest"  (Don 
Juan),  the  book  by  Pushkin.  It  is  a  work 
remarkable  and  in  the  highest  degree  origi- 
nal but  will  be  best  considered  later.  As  for 
"Russalka,"  I  would  add  that  the  com- 
poser was  happier  in  dealing  with  reality 


MICHAEL    GLTXKA 


than  with  the  world  of  fancy,  and  that  his 
music  bears  the  impress  of  his  nationality, 
but  less  deeply  than  that  of  Glinka. 

Glinka  and  Dargomwirshky !  Behold  in 
them  the  two  genuine  and  glorious  ancestors 
of  the  long  list  of  Russian  composers  con- 
stituting the  "new  school."  The  first  one 
demonstrated  that  operatic  music  could  be 
quite  as  gorgeous  as  symphonic  music.  The 
second  showed  how  the  words  should  be 
faithfully  treated  and  how  the  scenic  devel- 
opment of  the  drama  should  be  faithfully 
followed,  step  by  step. 

Among  the  contemporaries  of  Glinka  and 
Dargomwirshky,  Duetch  and  Serov  are  to 
be  mentioned.  Duetch,  who  died  in  1863, 
left  but  one  opera,  "The  Croatian  Woman." 
Its  music  is  hardly  original,  but  recalls 
Meyerbeer,  Mendelssohn  and  Liszt,  yet  it 
has  value  and  is  written  with  taste  and  ele- 
gance. It  should  hold  place  among  operas 
of  current  repertory.  Unhappily,  its  book 
is  deficient  in  interest  and  the  verse  is  poor. 
This  may  be  one  of  the  causes  of  the  undue 
oblivion  into  which  the  opera  has  fallen. 

Serov  (1820-1871)  began  by  earning  at- 
tention as  a  music  critic.  His  career  as  a 
composer  began  late  and  he  wrote  only  three 
operas,  "Judith,"  "Rognyeda"  and  "The 
Wicked  Force,"  the  last  a  posthumous  work. 
316 


The  choice  of  subjects  is  most  felicitous, 
thanks  to  the  contrast  between  the  Hebrews 
and  the  Assyrians  in  "Judith,"  between 
Christianity  ..and  idolatry  in  "Rognyeda." 
As  for  his  third  opera,  the  subject,  taken 
from  a  drama  by  Ostrovsky,  is  distinctly 
popular.  As  a  musician,  Serov 's  talent  is 
of  an  inferior  grade.  Melodic  inventive- 
ness, taste,  finesse,  elegance,  poetry,  dignity, 
are  all  considerably  lacking.  However,  the 
composer  has  dramatic  sense  and  an  appre- 
ciation of  effect;  but,  wanting  in  vigor,  he 
is  violent,  brutal.  He  substitutes  for  artis- 
tic verity  a  vulgar  realism,  and  inclines  to 
gaudy  instrumentation.  Thus  it  happens 
that  his  operas  are  very  uneven,  including 
many  coarsely  trivial  pages,  unbearable  and 
provoking  for  a  man  of  taste,  although  they 
do  attract  the  masses  after  the  fashion  of 
the  prints  in  the  nursery.  Add  to  this,  that, 
in  his  music  as  well  as  in  his  critiques,  he 
changed  his  convictions  in  the  airiest  man- 
ner and  at  every  instant.  He  was  an  op- 
portunist, bound  to  attain  success  at  any 
cost.  His  operas  were  deficient  in  personal 
style  and  he  reverted  to  processes  of  ancient 
routine  in  an  endeavor  to  attain  the  spec- 
tacular. 

Upon  the  solid  foundations  of  Glinka  and 
Dargomwirshky  there  soon  arose  a  superb 


A    HISTORICAL    SKETCH    OF    MUSIC    IN    RUSSIA 


317 


monument — a  Russian  school  of  opera- 
through  the  simultaneous  appearance  of  a 
group  of  Russian  composers  of  great  talent : 
Balakirev,  Borodin,  Moussorgsky,  Rimsky- 
Korsakov  and  Tschaikowsky. 

Although  Balakirev  wrote  no  operas,  he 
has  exerted  an  influence  on  the  evolution 
of  opera  in  Russia.  In  1856,  when  still  a 
young  man,  I  had  the  good  fortune  to  meet 
him.  Both  of  us  were  passionately  fond  of 
music,  and  we  came  together  daily  and 
spent  long  hours  in  reading  and  discussion. 
Ere  long  our  circle  broadened:  Borodin, 
professor  of  chemistry  at  the  Academy  of 
Medicine ;  Moussorgsky,  an  officer  in  the 
Preobrazhensky  regiment,  and  Korsakov, 
an  officer  in  the  navy,  joined  us.  We  five 
constituted  what  was-  then  called  the  "new 
Russian  school."  Tschaikowsky  always  held 
aloof,  and  dwelt  chiefly  in  Moscow.  Our 
meetings  and  discussions  continued.  Of  the" «. 
quintet,  Balakirev  was  unquestionably  the 
best  musician,  and  a  pianist  and  reader  of 
high  attainments.  He  exerted  great  influ- 
ence on  the  musical  development  of  each  of 
us,  without  modifying  our  individuality. 
Among  tlte  subjects  which  most  frequently 
arose  for  discussion  was  the  question  of  the 
rational  forms  of  opera,  and  here  are  the 
general  principles  that  were  adopted  by  the 
' '  new  school ' ' : 

Commonplaces  are  as  unbearable  in  the 
opera  as  in  symphonic  music. 

The  music  must  follow  the  dramatic  situa- 
tions, step  by  step,  whence  greater  liberty  and 
diversity  of  forms. 

The  book  must  be,  as  far  as  possible,  a  liter- 
ary and  poetic  work,  and  must  not  be  dis- 
figured by  the  music.  On  the  contrary,  the 
music  closely  bound  to  the  text,  constituting 
with  it  a  unity,  must  draw .  from  it  a  new,  a 
double  force  of  expression,  and  this  exacts  a 
supple  and  irreproachable  declamation, 

The  character  of  the  personages  must  be 
brought  forth  in  strong  relief. 

Many  of  these  principles  bear  a  close 
analogy  to  those  of  Wagner,  but  the  proc- 
esses employed  arc  essentially  different. 
The  Russian  musicians  have  avoided  the 
wanderings  —  the  intentional  wanderings, 
perhaps — of  the  great  German.  They  do 
not  exaggerate  the  use  of  the  leading  motif; 
the  principal  musical  ideas  are  entrusted, 


not  to  the  orchestra,  but  to  the  characters 
on  the  stage,  they  who  act,  speak  the  words 
and  hold  the  attention  of  the  audience. 
These  Russian  musicians  write  vocal  music 
— not  symphonic  music,  with  a  voice  obbli- 
gato  which  prevents  one  from  listening  to 
the  orchestra,  just  as  the  orchestra,  in  turn, 
prevents  listening  to  the  voice. 

The  simultaneous  appearance  of  a  group 
of  composers  of  talent  is  not  an  isolated  oc- 
currence in  history,  but  the  marvelous 
thing  is  that  the  members  of  the  group  bear 
no  resemblance,  as  do,  for  example,  the  mod- 
ern Italian  composers,  Mascagni,  Leonca- 
vallo, Puccini,  Giordano  and  others.  Re- 
markable, too,  yjs  the  diversity  of  their 
talent.  The  result  is  a  repertory  of  extreme 
wealth  and  variety. 

Borodin  (1834-1887)  wrote  but  one  opera, 
''Prince  Igor."  He  followed  in  the  ways 
of  Glinka ;  his  main  thought  was  to  com- 
post good  music,  and  in  this  he  succeeded 
admirably.  His  opera  bears  a  marked  affin- 
ity with  "Riisslan. "  Its  subject  is  equally 
epic  and  somewhat  disjointed.  -It  presents 
the  same  contrasting  Russian  and  Oriental 
elements,  and  the  same  musical  forms  in  de- 
tached numbers.  Its  music  is  superb,  and 
broadly  and  nobly  melodious.  Borodin's 
epic  tableaux  and  his  choruses  are  grandi- 
ose, and  his  lyric  scenes  touching.  His  Ori- 
entalism is  impressed  by  a  most  typical 
barbaric  force,  but  it  never  oversteps  the 
boundaries  set  by  taste  and  esthetics;  his 
Oriental  dances  are  fiery  and  irresistible ; 
his  whole  work  is  imbued  with  the  local  col- 
oring of  the  two  nationalities  concerned, 
thoroughly  personal  and  original,  especially 
in  respect  of  the  harmonies.  Borodin  in- 
clined strongly  to  small  dramatic  passages, 
to  the  use  of  intervals  of  a  second,  to  sudden 
changes  of  key  which  often  made  him  re- 
peat himself.  In  "Igor"  the  comic  element 
in  the  popular  scenes  is  treated  with  much 
wit  and  verve.  The  composer  died  before 
quite  completing  his  opera,  and  his  friends, 
Rimsky-Korsakov  and  Glazounov,  gave  it 
the  finishing  touches.  "Prince  Igor"  en- 
joys great  popularity  in  Russia,  and  its  pop- 
ularity is  well  deserved. 

Moussorgsky  (1839-1886)  carried  on  the 
work  of  Dargomwirshky  and  endeavored  to 


318 


A    HISTORICAL    SKETCH    OF    Mt'SlC    IN    RUSSIA 


transform  opera  into  music  drama.  He  left 
two  works  founded  on  Russian  history: 
"Boris  Godunov, "  wherein  the  hero  was  the 
supposed  murderer  of  the  czarewitch  Dmi- 
tri, whose  scepter  he  coveted;  and  "Kho- 
vanstchina,"  a  name  borne  by  a  religious 
sect  crushed  out  by  Peter  the  Great. 

Moussorgsky  was  an  unfinished  musician. 
His  taste  was  not  always  irreproachable  and 


MODEST   MOUSSORGSKY 

his  technic  was  imperfect.  His  music  is  un- 
even and  angular.  It  includes  rough,  bi- 
zarre and  inexplicable  harmonies,  yet  in 
general  his  harmony  is  thin  and  incomplete. 
The  unevenness  of  his  music,  its  singular 
and  far-fetched  attributes,  recall  Berlioz  in 
various  ways.  Where  these  defects  do  not 
occur,  however,  Moussorgsky 's  work  is  ad- 
mirable. He  often  resorts  to  melodious  reci- 
tative, with  phrases  of  great  musical  value. 
His  declamation  is  superb,  and  in  his  scores 
the  music  is  so  closely  associated  with  the 
words  that  it  is  difficult  to  remember  them 
when  separated.  His  musical  ideas  are 
deep,  virile  and  markedly  national.  His  fa- 
vorite persons,  especially  in  "Khovanst- 
china,"  are  the  people  which  he  loved  with 
his  whole  heart;  and  to  this  love  he  owes 
his  finest  inspirations.  His  chorus  is  not  the 
conventional  group  of  the  past,  but  of  a 


real  people,  a  multitude  of  living  and  im- 
passioned beings.  His  popular  scenes, 
truthful,  animated,  highly  colored  and  in- 
tense, are  a  revelation  in  opera  music  on 
account  of  the  manner  in  which  they  are 
treated. 

Of  his  two  operas,  I  prefer  "Boris  God- 
unov," perhaps  because  its  details  show 
greater  polish.  He  died  before  completing 
"Khovanstchina, "  and  again  Korsakov,  ad- 
mirable comrade,  came  forward  and  under- 
took its  instrumentation.  In  ' '  Boris ' '  there 
are  two  nationalities,  the  Russian  and  the 
Polish.  The  former  is  handled  in  the  su- 
perior manner.  There  are  some  humorous 
scenes,  wherein  Moussorgsky  reveals  extraor- 
dinary and  many-sided  talent.  There  are 
dramatic  scenes,  genre  pictures  and  people's 
scenes  that  are  absolute  masterpieces;  for 
example,  the  death  of  Boris,  the  scene  in  the 
wine  shop  and  the  popular  uprising.  The 
subject  of  the  work  follows  Pushkin. 

Rimsky-Korsakov  (1844-1908)  was  an  un- 
tiring worker  and  wrote  eight  operas: 
"  Pskovityanka, "  on  a  historical  subject  in 
the  reign  of  the  Czar  Ivan  the  Terrible; 
"May  Night,"  with  a  sorceress  for  its  hero- 
ine, on  a  comic  subject  furnished  by  Gogol ; 
"The  Snow  Maiden,"  on  a  fantastic  story 
by  Ostrovsky,  a  celebrated  playwright; 
"Mlada,"  a  fantastic  opera-ballet;  "Christ- 
mas Night,"  on  a  subject  related  to  that  of 
the  "May  Night,"  and  also  supplied  by 
Gogol;  "Sadko,"  a  fairy  legend;  "The 
Czar's  Affianced,"  founded  on  historical 
fact  from  the  days  of  the  Czar  Ivan;  and 
the  "Czar  Sattan,"  on  a  fantastic,  prehis- 
toric tale  by  Pushkin.  With  these  eight 
grand  operas  must  be  mentioned  two  short 
works:  "The  Boyarinya  Sheluga, "  which 
serves  as  a  prologue  to  "Pskovityanka;" 
and  "Mozart  and  Salieri,"  to  words  by 
Pushkin. 

It  will  be  observed  that  in  his  grand  op- 
eras, Rimsky-Korsakov  six  times  dealt  with 
fantastic  and  but  twice  with  real  or  histori- 
cal subjects.  This  need  cause  no  astonish- 
ment. The  composer  was  a  well-balanced 
man,  thoroughly  cognizant  of  the  strong 
and  weak  sides  of  his  remarkable  talent ;  he 
acted  accordingly.  His  talent  was  wanting 
in  two  respects  only — rather  important  re- 


A   HISTORICAL    SKETCH    OP   MUSIC   IN   RUSSIA 


319 


spects,  it  is  true :  he  lacked  imagination  for 
broad,  original  and  firmly  defined  cantilena ; 
he  also  lacked  warmth  and  passion.  As  it 
is  difficult,  failing  in  these  qualities,  to  suc- 
ceed in  music  drama  founded  on  reality,  he 
avoided  subjects  of  that  kind.  On  the  other 
hand,  his  rare  qualities  as  an  accomplished 
musician,  and  one  whose  technic  was  well- 
nigh  flawless;  his  musical  phrase,  which  he 
handled  with  dexterity  and  skill ;  his  ex- 
quisite taste ;  his  harmonies,  abounding  in 
fortunate  inspirations;  his  richly  colored 
and  withal  simple  and  truthful  instrumen- 
tation, almost  unrivaled — all  these  qualities 
made  him  most  fit  to  deal  with  themes  of 
fairyland.  He  was  aware  of  this,  as  I  have 
observed,  and  in  acting  as  he  did,  he  was 
in  the  right. 

He  was  first  a  musical  colorist  and  land- 
scape-painter, and  his  landscapes  are  de- 
lightfully attractive.  His  music  bears  the 
imprint  of  his  nationality.  He  sometimea 
used  folk  songs  as  themes.  He  inclined  to 
the  song  form,  and  in  this  form — some- 
what exceptional  in  opera — modeling  upon 
popular  songs  he  often  happens  upon  a  fe- 
licitous and  melodious  inspiration.  He  ex- 
cels in  the  leading  of  voices  in  choruses,  in 
the  amalgamation  of  themes  and  in  magnifi- 
cent sonorities.  Writing  so  much,  it  is  not 
strange  that  he  often  repeated  his  materials. 
As  to  musical  forms,  he  was  not  an  unbend- 
ing conservative,  nor  was  he  an  innovator 
of  firm  conviction  and  uncompromising  at- 
titude, like  Moussorgsky.  One  might  think 
he  still  sought  his  way.  After  employing 
melodious  recitative  almost  exclusively  in 
"Mozart  and  Salieri,"  in  the  "Czar's  Affi- 
anced," composed  almost  directly  after- 
ward, he  harked  back  to  detached  num- 
bers and  ensembles  as  much  as  possible,  and 
as  far  as  the  dramatic  situation — to  which 
he  occasionally  does  violence — permitted. 

Rimsky-Korsakov  's  masterpieces  are  the 
' '  Snow  Maiden ' '  ( Snyegorotchka )  and 
"Sadko" — the  first-named,  through  the  re- 
fined, exquisite  and  poetic  grace  of  its  music, 
and  the  other,  through  the  admirable  na- 
tional coloring  and  the  fairy  music  of  its 
fantastic  scenes. 

One  cannot  close  an  account  of  the  "new 
school"  without  mention  of  the  "Stone 


Guest ' '  by  Dargomwirshky.  When  the  new 
school  budded,  Dargomwirshky  was  already 
aged.  With  quite  youthful  ardor,  however, 
he  took  an  interest  in  its  ideas,  and  not  only 
adopted  them,  but  applied  them  in  the  most 
radical  manner  in  his  last  opera,  which 
death  kept  him  from  completing.  The  honor 
of  completing  it  fell  to  my  lot.  There  was 
little  to  be  done ;  Korsakov  wrote  the  instru- 
mentation. • 

As  music  may  regard  words  as  its  ally,  it 
is  logical  to  choose  a  powerful  ally;  that  is 
to  say,  the  text  of  a  true  poet  and  not  of  a 
professional  librettist,  whose  verses  ordi- 
narily have  no  worth.  In  his  "Russalka, " 
Dargomwirshky  retained  many  of  Push- 
kin's verses.  In  the  "Stone  Guest"  he  per- 
formed a  unique  and  veritable  feat  in  writ- 


NK'OLAI    1UMSKY-KORSAKOV 

ing  his  whole  score  on  the  words  of  the 
poet,  without  a  single  omission.  Korsakov 
afterward  repeated  this  feat  with  "Mozart 
and  Salieri,"  but  he  made  some  cuts,  and 
moreover,  his  opera  is  briefer  than  the 
"Stone  Guest."  Dargomwirshky  under- 
stood perfectly  the  drawbacks  resulting 
from  the  selection  of  a  book  not  suited  to 


320 


A    HISTORICAL    SKETCH    OF    MUSIC    IN    RUSSIA 


music.  In  "The  Stone  Guest"  there  are 
neither  choruses  nor  ensembles;  it  contains 
a  series  of  dialogues,  some  of  which  are  tol- 
erably prosaic.  But  he  was  irresistibly  at- 


the  incomparable  beauty  of  the  verse.  The 
opera  is  divided  into  three  short  acts,  and 
is  perfectly  homogeneous.  It  consists  of 
melodious  recitatives,  which,  when  occasion 


A    RUSSIAN    MUZHIK 


tracted  by  the  extreme  interest  of  the  drama 
(in  Pushkin's  drama,  Donna  Anna  is  the 
wife  of  the  Commander),  by  the  quick  prog- 
ress of  the  events,  by  the  depth  of  the  psy- 
chology, the  sharp  delineation  of  the  char- 
acters, the  terseness  of  the  exposition  and 


offers,  expand  into  ariosos.  It  is  an  admira- 
ble model  of  declamation ;  and  his  inspira- 
tion abides  by  the  composer  alike  in  the 
brief  melodic  phrases  of  the  recitatives  and 
in  the  broader  phrases  of  the  ariosos.  The 
characteristics  of  the  personages  are  ably 


A    HISTORICAL    SKETCH    OF    MUSIC    IN    RUSSIA 


321 


delineated,  the  situations  are  deftly  man- 
aged. For  auditors  who  are  able  to  listen 
simultaneously  to  words  and  music,  and  es- 
timate their  worth,  the  work  is  a  delight. 
"The  Stone  Guest"  is  not  indeed  a  normal 
type  of  opera ;  it  is  an  exception,  but  in  its 
originality  it  is  a  master  work. 

Tschaikowsky  (1840-1893),  like  Rubin- 
stein, is  prodigious  because  of  the  mass  of 
work  he  has  produced  and  its  variety.  He 
wrote  eight  operas:  "Opritchnik,"  on  a  his- 
torical subject  of  the  period  of  Ivan  the 
Terrible;  "Vakula  the  Smith,"  on  a  comic 
subject  from  Gogol — the  same  as  was  em- 
ployed in  Korsakov's  "Christmas  Night"; 
"The  Enchantress;"  "Joan  of  Arc;"  "Ma- 
zeppa, "  on  a  subject  by  Pushkin;  "Eugen 
Onegin"  (Pushkin),  "The  Queen  of 
Spades"  (Pushkin)  and  "lolanthe, "  a  one- 
act  work.  To  this  list  must  be  added  other 
works  written  for  the  playhouse,  as  hi£ 
three  ballets  —  "The  Sleeping  Beauty," 
"Lake  of  the  Swans"  and  "The  Nut- 
Cracker" — and  the  incidental  music  to  Os- 
trovsky's  "Snow  Maiden."  Tschaikowsky 
did  not  belong  to  the  new  school.  Only 
once — in  "Vakula  the  Smith" — did  he  seek 
to  approach  it  in  regard  to  style,  and  the 
effort  was  not  successful,  it  was  not  re- 
newed. He  paid  slight  attention  to  the 
words  of  his  operas,  changed  the  form  of 
the  text,  repeated  lines  and  words,  and  cut 
and  added  as  he  thought  fit,  caring  only 
for  the  music. 

He  was  a  man  of  great  and  unquestion- 
able talent,  a  master  of  all  the  resources  of 
his  art,  and  possessed,  furthermore,  of  the 
true  gift  of  melody.  His  music  has  much 
sincerity,  grace  and  charm,  but  in  most  of 
his  works  a  melancholy,  somewhat  morbid 
and  almost  effeminate,  lyricism  is  predomi- 
nant. La  Comtesse  de  Mercy- Argenteau, 
who  has  written  judicious  studies  of  music, 
describes  Tschaikowsky 's  music  as  "pearl- 
gray."  His  music  often  bears  impress  of 
the  composer's  nationality,  though  less 
markedly  than  the  works  of  his  colleagues 
— Borodin,  Korsakov  and  Moussorgsky.  If 
Korsakov  is  considered  the  Russian  Saint- 
Sae'ns,  Tschaikowsky  must  be  viewed  as  the 
Russian  Massenet.  Two  of  his  operas — 
"The  Queen  of  Spades"  and  "Onegin"— 


have  been  most  successful  and  are  perma- 
nent elements  of  the  repertory. 

Anton  Rubinstein  (1829-1894)  enjoyed 
in  Russia  the  greatest  popularity,  which  he 
richly  deserved,  not  only  as  a  prodigious 
pianist  and  composer  of  talent,  but  as  the 
founder  of  the  Russian  Imperial  Musical 
Society  and  the  Conservatory,  and  who 


A    COSSACK    CHIEF 

worked  hard  for  the  development  of  music 
in  Russia.  He  was  also  a  man  of  independ- 
ent character  and  of  broad  and  generous 
nature.  He  was  as  productive  as  Tschai- 
kowsky, if  not  more  so.  Omitting  mention 
of  his  first  three  operas,  written  to  Russian, 
German  and  French  words,  and  of  which 
scarcely  a  fragment  remains,  the  long  list 
contains:  "The  Demon,"  on  a  subject  fur- 
nished by  Lermontov,  another  great  and 
popular  Russian  poet;  "The  Maccabees;" 
"The  Merchant  Kalashnikov, "  also  on  a 
subject  by  Lermontov,  and  its  performance 
on  the  third  night  forbidden  by  the  censors 
because  of  its  theme  from  the  period  of  Ivan 
the  Terrible;  "Goriusha;"  "The  Children 
of  the  Plains;"  "Feramors"  (Lalla 
Rookh);  "Nero;"  "The  Brigands,"  and 
"The  Parrot,"  both  of  which  were  comic; 
"Moses"  and  "Christ,"  two  sacred  operas. 
The  list  further  includes  two  oratorios, 
"The  Tower  of  Babel"  and  "Paradise 
Lost";  and  a  ballet,  "The  Vine." 

As  a  composer,  Rubinstein  does  not  dis- 
close talent  of  the  very  highest  order,  but 
his  personality  is  very  marked.  He  was 
wanting  in  self-criticism;  he  wrote  too 
quickly  and  without  going  over,  without 


322 


A   HISTORICAL    SKETCH    OF    MUSIC    IN   RUSSIA 


analyzing  the  completed  work.  His  music 
is  extremely  uneven;  very  fine  measures 
found  side  by  side  with  wretched  common- 
places. He  had  broad  views  but  did  not  al- 
ways succeed  in  realizing  his  intentions.  He 
wished  to  do  large  work  but  accomplished 
only  long  work;  his  ideal  of  beauty  never 
rose  to  the  poetic.  The  music  of  his  operas 
is  far  inferior  to  that  of  Tschaikowsky,  but 
the  operas  themselves  are  almost  better 
suited  to  the  stage.  He  often  wished  to 
write  Russian  music,  but  his  performances 
in  this  respect  are  more  or  less  counterfeit. 
On  the  other  hand,  he  was  always  success- 
ful with  Oriental  music.  Of  all  his  operas, 
only  "The.  Demon"  enjoys  enduring  suc- 
cess, and  this  probably  on  account  of  Ler- 
montov  's  very  popular  subject.  In  this  par- 
ticular it  rivals  "Onegin." 

One  must  also  cite  as  composers  of  opera, 
Napravnik  (1839 — )  ;  the  distinguished 
conductor  of  the  Imperial  Opera  in  Petro- 
grad,  and  author  of  three  much  esteemed 
works,  "Nizhegorodtzy,"  "Harold"  and 
"Dubrovsky,"  the  latter  on  a  subject  by 
Pushkin;  Serge  Taneieff,  composer  of  the 
interesting  "Orestes;"  Arensky  (1861- 
1906),  "A  Dream  on  the  Volga,"  "Ra- 
phael" and  "Nal  et  Dawayanti;"  also  Sol- 
oviev,  "La  Haine,"  on  a  Sardou  drama. 

While  dealing  with  works  for  the  voice, 
it  is  well  to  devote  brief  attention  to  the 
songs  or  romances — a  refined,  domestic, 
sympathetic,  delicate  type  of  music  in  which 
the  Russian  composers  excel.  Our  com- 
posers of  songs  are  legion.  The  more  re- 
markable are  by  the  composers  of  the  operas 
already  mentioned,  but  the  name  of  Balak- 
irev  must  be  added  to  the  list.  The  pro- 
genitors of  the  style  are  once  more  Glinka 
and  Dargomwirshky.  Most  of  Glinka's  mel- 
odies are  written  in  the  Italian  vein,  with 
rather  primitive  accompaniments  and  ar- 
peggios. They  are  already  become  nearly 
obsolete;  among  them,  however,  are  some 
admirable  exceptions — "The  Midnight  Re- 
view," for  example.  Dargomwirshky  has 
surpassed  Glinka  in  his  romances.  His  mel- 
odies are  more  varied,  better  in  declama- 
tion, more  closely  in  touch  with  the  words, 
and  more  original.  Many  of  his  numbers 
have  preserved  to  this  day  their  freshness, 


whether  in  the  lyric,  the  dramatic  or  the 
humorous  vein. 

Balakirev  wrote  only  thirty  songs,  but 
they  were  sufficient  to  aid  the  progress  of 
this  order  of  music  by  the  introduction  of 
accompaniments  of  great  beauty,  richness 
and  variety.  Balakirev  was  a  melodist  like 
Glinka ;  he  possessed  the  same  lyricism, 
was  equally  sincere,  and  his  modern  charac- 
ter was  more  marked.  Borodin,  in  his 
twelve  romances,  said  nothing  new  in  re- 
spect to  form.  As  in  his  operatic  work,  his 
only  aim  was  to  write  good  music,  and  this 
he  attained.  His  songs  are  melodious,  ex- 
pressive, varied,  and  they  are  often  har- 
monized in  a  very  original  manner,  as  in 
"The  Sleeping  Princess"  and  "A  Disso- 
nance." Among  the  more  numerous  ro- 
mances written  by  Korsakov,  the  best  are 
the  descriptive  songs  —  fine  landscapes 
painted  with  infinite  taste  and  refinement, 
in  attractive  musical  colors,  with  rich  ac- 
companiments. In  Tschaikowsky 's  songs — 
there  are  upward  of  a  hundred — one  finds 
the  same  qualities  and  perhaps  the  same  de- 
fects that  are  observable  in  his  operas. 
Tschaikowsky  was  essentially  a  symphonist 
and  treated  the  combining  of  tones  and 
words  with  some  degree  of  indifference. 
Among  the  numerous  songs  composed  by 
Rubinstein  —  upward  of  two  hundred — 
many  are  entirely  insignificant,  the  off- 
spring of  hasty  and  neglectful  inspiration; 
some,  however,  are  very  fine,  especially  when 
infused  with  Oriental  color,  as  in  the  case 
of  "The  Asra"  and  the  "Twelve  Persian 
Melodies."  The  composer's  style  is  always 
melodious,  his  accompaniments  always  sim- 
ple and  easy.  Among  other  bold  attempts, 
he  essayed  putting  into  music  some  of  the 
fables  of  the  famous  Krylov,  an  experiment 
that  proved  hardly  successful.  The  list  of 
composers  must  further  include  the  cele- 
brated cellist,  Charles  Davidov  (1838-1889), 
whose  melodies,  albeit  somewhat  nervous, 
morbid  and  strained,  are  distinguished  by 
their  sincerity  and  nobility;  Napravnik, 
who  has  written  sound  and  attractive  melo- 
dies, and  Arensky,  whose  individual  songs 
are  marked  by  elegance,  taste  and  lyric  sen- 
timent. 

But  the  most  original,  if  not  the  most  ir- 


A   HISTORICAL    SKETCH    OF   MUSIC    IN   EUSSIA 


323 


reproaehable,  composer  of  Russian  romances 
is  Moussorgsky.  He  is  original  through  the 
choice  of  his  texts.  He  does  not  sing  of  love, 
the  habitual  theme  for  songs,  but  of  the  peo- 
ple, in  their  profound  misery ;  of  the  joys 
and  sorrows  of  children,  in  nursery  scenes 
of  extraordinary  realism;  of  a  whole  series 
of  deaths,  differing  from  each  other  —  a 
Dance  of  Death,  as  it  were.  He  carries 
polemics  and  satire  into  music.  He  is  origi- 
nal, too,  in  the  forms  of  his  songs,  written 
almost  exclusively  as  melodious  recitatives, 
with  phrases  that  are  short  but  brimful  of 
inspiration,  and  with  words  and  tones  in 
close  alliance.  He  is  even  original  through 
the  variety,  the  truth,  the  depth  of  the  sen- 
timent he  expresses.  He  astonishes  in  the 
wealth  of  his  shading,  in  comedy,  in  light 
pleasantry,  almost  in  farce ;  in  gaiety,  good 
humor,  irony  and  even  in  tragic  humor. 
The  music  of  his  songs  is  by  no  means  be- 
yond reproach ;  it  contains  harsh  measures 
and  disagreeable  exaggerations;  but  when 
happily  inspired,  he  produces  a  profound 
and  lasting  impression.  Until  latterly  he 
has  not  had  the  appreciation  due  his  merit, 
and  he  is  even  yet  far  from  popularity, 
— a  fact  also  explained  by  the  originality 
of  his  music  and  the  difficulty  of  its  execu- 
tion. Music  of  this  order  has  nourished  ex- 
ceedingly in  Russia,  and  our  composers  of 
romance  can  bear  comparison  with  the  high- 
est exponents  of  the  art — with  Saint-Saens, 
Massenet,  Schubert,  Schumann,  Liszt  and 
Grieg. 

Turning  to  the  consideration  of  sym- 
phonic music,  we  must  again  begin  with 
Glinka  and  Dargomwirshky.  Glinka  left 
but  little  in  this  field,  but  that  little  is 
epochal.  It  includes  the  incidental  music 
to  the  drama  ' '  Prince  Kholmsky, ' '  a  worthy 
counterpart  of  Beethoven's  "Egmont"  mu- 
sic; "La  Jota  Aragonesa, "  a  set  of  spark- 
ling variations  with  a  broad  development ; 
and  the  poetic  "Night  in  Madrid"— the 
latter  two  compositions  on  Spanish  themes. 
Then  comes  "  Kamarinskaya, "  a  fantasy  on 
Russian  themes,  replete  with  finesse,  ele- 
gance and  humor.  The  three  symphonic  at- 
tempts of  Dargomwirshky,  "The  Kazat- 
chok,"  "Baba-Yaga"  (The  Sorceress)  and 
"The  Finnish  Woman,"  have  a  humorous 


character  of  original  quality,  which  denotes 
neither  great  joy  nor  gentle  gaiety,  but  at- 
tempts rather  the  caricature — to  suggest  the 
grotesque — without,  however,  the  sacrificing 
of  the  dignity  of  his  art. 

To  have  composed  the  first  Russian  sym- 
phony— in  a  strict  sense — is  an  honor  which 
one  must  accord  to  Korsakov,  even  though 
he  was  very  young  when  he  wrote  the  work. 
It  lacks  maturity,  but  it  bears  the  unmistak- 
able stamp  of  talent.  Korsakov  afterward 
cultivated  program  music  in  preference  to 
the  symphony,  with  "Antar,"  a  program 
symphony,  and  " Scheherezade, "  a  suite; 
also  with  a  symphonic  poem,  ' '  Sadko, ' '  and 
with  his  "Dominican  Overture,"  "The 
Fairy  Tale,"  and  the  "Spanish  Caprice." 
He  excels  in  descriptive  music  of  this  sort 
and  the  caprice  is  a  display  of  dazzling  py- 
rotechnics. He  has  also  written  a  beautiful 
piano  concerto,  or  rather  a  concert  piece, 
lof  orchestra  with  a  piano  obbligato. 

Borodin  left  two  completed  symphonies 
and  a  third  which  included  two  movements 
only.  These  are  among  the  most  beautiful 
symphonies  written  by  a  Russian  composer. 
They  are  ingenious  and  full  of  vigor,  en- 
ergy and  originality,  especially  the  second, 
which  presents  a  series  of  grandiose  and 
epic-like  pictures  of  Russian  life.  Borodin 
also  wrote  a  charming  symphonic  sketch, 
"On  the  Steppes  of  Central  Asia." 

Tschaikowsky  is  much  more  remarkable 
in  his  instrumental  than  in  his  vocal  music. 
With  the  orchestral  palette  he  enjoyed  more 
freedom ;  his  melodic  ideas  could  take  a 
higher  flight,  and  his  prodigious  technic 
could  have  a  broader  outlet.  His  symphonic 
work  assumes  large  proportions,  with  six 
symphonies,  several  suites,  the  symphonic 
poems,  "Romeo  and  Juliet,"  "The  Tem- 
pest," "Francesca  da  Rimini,"  "1812," 
"Italian  Capriccio, "  "Mozartiana"  and 
others.  His  symphonies  contain  many  beau- 
tiful pages  and,  especially  in  his  symphonic 
poems,  one  finds  beauties  of  the  highest  or- 
der and  an  intensity  of  feeling  which  pro- 
duces an  irresistible  impression. 

In  quantity,  Rubinstein  wrote  no  less 
voluminously  than  Tschaikowsky,  but  his 
instrumental  achievement  is  of  slender 
worth.  His  six  symphonies,  including  the 


A   HISTORICAL   SKETCH    OF   MUSIC    IN   RUSSIA 


' 


SERGEI    TANEIEFF 

interminable  "Ocean  Symphony"  in  seven 
movements,  and  'his  suites,  are  not  of  ex- 
citing interest.  He  succeeded  better  with 
his  symphonic  pictures,  "Faust,"  "Ivan 
the  Terrible"  and  "Don  Quixote."  The 
last  in  particular  is  full  of  humorous  charm 
which  does  not  exclude  a  sincerely  melan- 
choly feeling.  This  may  be  viewed  as  Ru- 
binstein's most  symphonic  work. 

Napravnik  and  Taneieff  have  also  writ- 
ten symphonies.  Among  several  sympho- 
nies by  Napravnik  may  be  mentioned  "The 
Demon,"  a  program  work  with  many  fine 
pages  of  Oriental  color;  a  series  of  interest- 
ing national  dances,  and  music  to  a  "Don 
Juan"  written  by  the  poet  Tolstoy — not 
the  celebrated  philosopher  and  communist. 
Taneieff  wrote  several  symphonies  and  a 
great  deal  of  chamber  music,  in  which  tech- 
nical knowledge  is  more  conspicuous  than 
inspiration,  yet  all  are  commendable  and 
interesting  in  point  of  technic. 

We  next  come  to  a  composer  of  great  tal- 
ent, whose  musical  achievement  is  already 
great — Alexander  Glazounov,  born  in  1865. 
Until  now,  with  the  exception  of  a  few 
songs  which  are  in  no  way  remarkable,  he 
has  composed  only  instrumental  music,  ora- 


torios, suites,  ei^lit  symphonies,  a  piano  and 
a  violin  concerto,  and  the  symphonic  poems. 
"The  Forest,"  "Spring,"  "The  Sea." 
"The  Kremlin,"  "Stenka  Razin,"  "Aspe- 
niana, ' '  and  others.  An  admirable  musician, 
an  ingenious  and  novel  harmonist,  he  is 
possessed  of  technic  of  the  very  first  order, 
which  enables  him  to  handle  and  develop 
his  material  with  rare  dexterity.  If  he  is 
deficient  in  any  way,  it  is  in  respect  of 
beauty  of  melodic  inspiration,  and  also,  to 
an  extent,  in  point  of  grace  and  finesse.  He 
is  a  little  too  massive  in  the  exposition  of 
his  ideas  and  in  his  instrumentation.  In 
his  first  works  there  is  too  much  harmonic 
research,  a  too  evident  intention  to  be  origi- 
nal at  any  cost,  to  proceed  in  a  fashion  un- 
like that  of  others,  even  at  the  expense  of 
sacrificing  the  beautiful  to  the  odd.  But 
with  maturing  years,  Glazounov  has  become 
more  simple  and  natural,  and  his  later 
symphonies  are  beautiful.  He  has  also 
written  three  ballets — "Raymonde,"  "The 
Seasons"  and  "Love  Wiles" — the  last  two 
very  short.  All  are  charming,  finished  ef- 
forts; the  music,  though  in  no  degree  com- 
monplace, is  clear,  easy  to  comprehend  and 
delightful  to  hear.  I  must  also  mention  the 
young  composer  Kalinnikov,  who  has  writ- 
ten two  symphonies  possessing  merit  and 
talent. 

Chamber  music — quintets,  quartets,  trios, 
sonatas, — has  been  cultivated  by  Rubinstein, 
Tschaikowsky,  Napravnik,  Taneieff,  Boro- 
din, Arensky  and  Glazounov.  Noteworthy 
achievements  in  this  branch  are  Gazounov's 
"Novelettes,"  Borodin's  two  very  winning 
quartets,  Arensky 's  trio,  almost  all  of 
Tschaikowsky 's  chamber  works,  especially  a 
superb  trio,  and  some  sonatas  by  Rubin- 
stein. 

As  regards  music  for  solo  instruments, 
only  Davidov  has  very  much  enriched  the 
cello  repertory.  Rubinstein,  Wieniawski, 
Tschaikowsky,  Glazounov  and  others  have 
written  concertos  for  the  violin,  and  Kussc- 
witzky  and  Zabel  for  the  contrabass  and 
the  harp. 

The  piano  has  fared  better.  Glinka 
wrote  some  graceful  compositions  ("Souve- 
nir de  Mazurka") ;  Dargomwirshky,  a  Sla- 
vonic tarantella  for  three  hands,  the  third 


A    HISTORICAL    SKETCH    OF    MUSIC    IN    RUSSIA 


325 


hand  playing  a  single  note  throughout. 
Balakirev  has  written  some  transcriptions 
revealing  a  master  hand — "The  Lark,"  on 
a  melody  by  Glinka — also  mazurkas,  piano 
sonatas,  and  the  Oriental  fantasy,  "Isla- 
mey, "  all  of  which  are  characterized  by  an 
admirable  sense  of  detail.  Tschaikowsky 
wrote  two  concertos,  one  in  B-flat  minor 
which  is  very  impressive,  besides  many  sep- 
arate numbers.  Rubinstein  wrote  five  piano 
concertos,  one  of  which,  in  D-minor,  is  a 
splendid  work,  and  numberless  separate 
pieces  and  several  barcarolles,  all  of  lovely 
quality.  He  was  a  pianist  of  genius  and 
wrote  well  for  the  instrument; 

Reference  must  again  be  made  to  Korsa- 
kov,  whose  piano  concerto  has  been  men- 
tioned, and  to  Arensky,  Stcherbachev,  Lia- 
dov  and  Scriabin,  who  have  produced  works 
of  delightful  elegance  and  daintiness.  Scri- 
abin, born  in  1871,  gives  abundant  promise. 

The  Russian  composer  who  enjoys  most*" 
popularity  and  whose  compositions  are  best 
known  is  Tschaikowsky.  This  is  quite  nat- 
ural ;  he  was  a  man  of  great  talent,  had 
written  much,  traveled  much,  and  this  has 
considerably  facilitated  an  extensive  public 
acquaintance  with  his  music.  Notwithstand- 
ing this,  the  exclusive  position  claimed  for 
Tschaikowsky  is  not  just.  First  of  all,  if 
Tschaikowsky  has  not  been  surpassed  by 
other  of  our  composers  in  sheer  force  of  tal- 
ent, he  has  been  surpassed  in  the  virility, 
the  variety  and  the  originality  of  their 
works.  Aside  from  this,  however,  it  would 


ALEXANDER    GLAZOUNOV 

After  a  drawing  by  Serov 

appear  that  the  strength  of  the  Russian 
school  resides  not  in  Tschaikowsky  alone, 
but  in  a  whole  group  of  admirably  and  vari- 
ously gifted  composers,  and  this  entire 
group  has  contributed  to  the  swift  and 
splendid  building  of  the  Russian  school,  and 
to  the  assigning  to  it  of  a  place  of  honor 
among  other  schools  of  music,  such  as,  rest- 
ing on  the  achievements  of  the  past,  per- 
mits a  bright  forecast  for  the  future. 


IN    THE    TRENCHES    AT    SHIPKA 
From  a  painting  by  Vereshchagin 


STATUS   OF   MUSIC   IN   RUSSIA   IMMEDIATELY  PRIOR 
TO  THE   GREAT   WAR 


THE  worthy  state  of  musical  composi- 
tion in  Russia  in  the  second  decade  of 
the  twentieth  century  embodies  adequate 
proof  that  Russia's  progress  did  not  stop  in 
1893,  with  the  untimely  death  of  Tschai- 
kowsky.  Rather  that  progress  had  been 
kept  alive  and  in  wholesome  growth  through 
several  phases  of  power.  Though  Russia 
had  not  produced  another  composer  in  the 
complete  dimension  of  Tschaikowsky's 
many-sided  genius,  the  orchestral  founda- 
tion laid  by  Tschaikowsky  himself,  and  the 
imposing  art  of  Rimsky-Korsakov  as  mas- 
ter and  teacher  of  instrumentation  have 
been  great  influences  in  holding  Russia  in 
a  high  place  in  the  world's  attention.  It 
may  be  that  the  art  attained  a  new  stage  of 
harmonic  and  orchestral  complexity  through 
the  genius  of  such  as  Alexander  Scriabin 
(1871-1915),  Leo  Ornstein,  M.  Steinberg, 
Prokoviev,  Stravinsky  and  Gnessin. 

Nevertheless  it  should  not  be  overlooked 
that  for  the  twentieth  century  decade  under 
326 


consideration  the  practice  of  colorful  and 
complex  instrumentation  was  a  free  and 
common  privilege  in  every  advanced  coun- 
try. A  true  chronology  of  influences  might 
show  that  the  German,  Richard  Strauss,  had 
taken  his  direction,  not  alone  from  Berlioz, 
Wagner  and  Liszt,  but  also  from  Tschai- 
kowsky. After  the  Strauss  revolutionary 
tendencies  in  orchestration  had  reached  a 
new  climax  in  1906,  with  his  opera  "Sa- 
lome," the  late  Gustav  Mahler,  building 
upon  all  those  and  upon  Anton  Bruckner, 
grew  to  be  as  radical  as  Strauss ;  and  at  the 
very  moment  of  his  death,  in  1911,  Vienna 
had  another  townsman  ready  to  take  his 
place — Arnold  Schonberg — even,  too,  the 
child,  Eric  Korngold,  then  just  fourteen 
years  old.  All  of  this  is  offered  in  direct 
support  of  the  assertion  that  the  art  of  in- 
strumentation had  come  to  be  common  prop- 
erty, in  which  period  Russia  had  one  of  the 
finest  of  all  orchestral  masters,  Rimsky- 
Korsakov,  besides  the  highly  accomplished 


STATUS    OP   MUSIC   IN   RUSSIA   BEFORE    THE    WAR 


327 


Alexander  Glazounov  and  Sergei  Taneiev. 
Somewhere  between  Tschaikowsky 's  sixth 
symphony  and  Scriabin's  "Prometheus," 
there  may  have  been  brief  periods  of  Rus- 
sian musical  calm,  yet  the  fine  output  of 
Moussorgsky  and  Rimsky-Korsakov,  the 
latent  and  to  this  day  still  unknown  power 
represented  by  the  Tschaikowsky  operas, 
the  still  uncovered  treasures  of  Russian 
folk  songs  would  have  kept  Russia  well  out 
of  danger  of  decline. 

There  will  be  many  to  inquire  why  Rus- 
sia, hardly  a  part  of  Asia  except  in  spirit, 
should  have  waited  so  long  before  awaken- 
ing in  her  own  national  musical  life.  Glinka 
was  born  in  1803  and  even  now  a  hundred 
years  are  more  than  ample  to  cover  the  di- 
rect history  of  Russian  music.  True,  the 
present  stage  of  the  Russian  literary  alpha- 
bet dates  back  hardly  more  than  two  cen- 
turies, and  Russian  literature  itself  only  a 
little  way  still  further  back,  but  the  thou-v 
sand  to  fifteen  hundred  miles  from  the  heart 
of  Russia  to  the  culture  of  Italy,  Germany, 
Netherlands,  France  and  England  should 
have  required  but  decades  rather  than  the 
centuries  which  Russia  has  occupied  for  the 
journey.  Then  there  is  the  inevitable  con- 
clusion that  the  delay  was  occasioned  by 
the  Russian  attitude  toward  learning — the 
Renaissance  and  the  Reformation  had  come 
short  of  the  power  to  disturb  the  ways  of 
the  Eastern  Church.  If  Russia,  through 
Glinka,  was  already  well  on  her  way  to  mu- 
sical nationalism  before  Protestant  Norway, 
through  Grieg,  was  coming  to  her  own,  that 
is  easily  understood  from  the  natural  limi- 
tation of  the  small  country's  economic  re- 
sources and  the  higher  probability  of  a  long 
wait  for  a  native  champion  such  as  Grieg 
proved  to  be.  For  the  rest,  Russia  had  in- 
fluences besides  those  of  her  own  govern- 
ment and  church  which  were  not  designed 
to  shorten  the  period  of  darkness.  There 
was  a  period  of  nearly  two  centuries  during 
which  Russia  paid  tribute  to  Asiatic  Mon- 
gols of  the  Golden  Horde,  and  as  for  the 
Byzantine  neighbor  at  the  south,  the  mid- 
dle of  the  nineteenth  century  found  her  face 
still  set  against  the  painter's  art,  a  Moslem 
tradition  proscribing  representation  of  the 
human  figure  on  canvas.  As  to  Russia's  di- 


rect delay  by  the  hand  of  the  Orthodox 
Church,  the  pianist,  Alexander  Siloti,  has 
told  how  certain  Tschaikowsky  composi- 
tions were  for  awhile  not  admitted,  though 
the  composer's  growing  fame  soon  proved 
powerful  enough  to  force  acceptance  of 
these  works.  Until  the  recent  overthrow  of 
the  Romanoff  dynasty  neither  musical  in- 
struments nor  women's  voices  were  per- 
mitted to  .assist  in  services  of  the  Russian 
Church.  And  yet  America's  start  in  musi- 
cal development  was  as  certainly  long 
delayed  by  the  opposed  though  related 
processes  of  Protestant  Puritanism.  Then 
finally  it  may  have  been  direct  hindrance 
by  the  Orthodox  Church,  combined  with  the 
proverbial  Russian  indifference,  which  so 
long  held  Russia  away  from  the  progres- 
sive art  influences  of  the  "Western  countries. 
When  Peter  the  Great  (1672-1725)  partly 
adopted  Western  ways  and  defied  the  wishes 
of  the  moralists  by  introducing  opera  into 
his  court,  he  accomplished  this  by  import- 
ing foreign  artists,  the  Italians.  Within 
the  succeeding  century  this  concession  was 
variously  contested  by  the  foreigners  them- 
selves, once  taking  the  form  of  the  French 
against  the  French.  Finally  it  was  an  Ital- 
ian, Catterino  Cavos  (1776-1840),  who  first 
broke  with  the  custom  of  writing  the  texts 
in  Italian,  French  and  Russian.  In  1815 
he  produced  an  opera,  "Susanyin, "  which 
was  insofar  Russian  national  that  the  text 
was  in  the  Russian  language  and  on  a  sub- 
ject from  Russian  history — the  well-known 
incident  of  the  "Life  for  the  Czar."  The 
Russian  composer,  Alexis  Verstovsky  (1799- 
1862),  was  another,  who,  like  Cavos  and  the 
still  earlier  Fomin  (1741-1800),  was  help- 
ful in  preparing  the  way  for  a  Glinka. 
Verstovsky  was  in  the  field  in  1828  with 
"Pan  Tvardovsky, "  which  was  followed  by 
five  others  to  1845.  His  "Askold's  Tomb" 
of  1835  seems  to  have  far  exceeded  the  value 
of  any  of  the  others  by  him,  as  indeed  it 
was  principally  his  lack  of  talent  which 
gave  him  relatively  small  place  in  Russia's 
musical  history.  And  yet  Glinka's  "Life 
for  the  Czar"  came  along  in  November, 
1836,  with  a  "Russian"  tendency  so  pro- 
nounced as  to  stand  entirely  apart  from 
anything  which  had  been  produced  up  to 


A    CHORUS    OF    DERVISHES 

From  a  painting  by  Vereshchagin 


that  time.  His  much  more  mature  and 
much  more  Russian  "Russian  and  Lud- 
mila"  had  first  performance  in  1842,  and 
was  so  thoroughly  misunderstood  as  first  to 
have  failed  of  public  success.  The  recep- 
tion accorded  this  work  threw  Glinka  into 
a  state  of  discouragement  and  he  went  to 
France,  where  he  met  Berlioz,  who  was  just 
then  having  the  same  troubles  with  his 
own  works  in  France.  Glinka  did  not  write 
another  opera,  but  he  wrote  iiicidental 
328 


music,  consisting  of  an  overture,  three 
songs  and  four  entra'actes  for  Count  Kou- 
kolnik's  tragedy,  "Prince  Kholmsky,"  and 
this  music  is  said  to  represent  Glinka's 
finest  result  on  the  side  of  symphonic  mu- 
sic, notwithstanding  his  overtures  of  "Jota 
Aragonese"  and  "Night  in  Madrid,"  and 
the  well-known  "Kamarinskaya"  orches- 
tral fantasia. 

A  discussion  of  Russia's  musical  history 
may    permit    digression    to    consider    the 


STATUS    OF    MUSIC    IN    RUSSIA    BEFORE    THE    WAR 


329 


purely  financial  or  music-economical  fabric 
during  the  brief  time  of  the  country's  ar- 
tistic evolution.  This  is  especially  in  point 
because  nearly  every  older  and  contempo- 
rary writer  on  Russia  has  neglected  it. 
Nevertheless,  a  survey  by  Eugene  E.  Simp- 
son, based  on  a  series  of  interviews  obtained 
in  Leipsic  in  1898,  and  published  in  the 
late  W.  S.  B.  Matthews'  magazine,  "Music," 
has  vital  interest  for  the  present  day. 
Under  the  title  of  "Musical  Conditions  in 
Russia,"  he  says: 

Observing  the  fact  that  during  a  musical  life 
properly  coming  within  a  space  of  forty  or  fifty 
years,  Russia  had  brought  forth  distinguished 
soloists  and  composers,  one  feels  possessed  of  a 
desire  to  know  more  of  the  present' internal  con- 
ditions and  the  influences  which  are  the  basis 
for  Russia's  future  artistic  attainments. 

As  the  most  interesting  and  best  available 
manner  of  getting  this  information,  we  chose 
that  of  conversation  with  those  of  her  distin- 
guished citizens  who  were  to  be  found  in  Leipsic. 
When  asked  how  many  Russian  cities  had  con- 
servatories, and  how  were  these  institutions  at- 
tended, Julius  Conus,  a  professor  of  violin  at 
the  Moscow  conservatory,  mentioned  St.  Peters- 
burg (Petrograd),  the  first  one,  founded  in  1862, 
and  Moscow,  founded  in  1864;  each  with  an  at- 
tendance in  1899  of  about  seven  hundred.  Tiflis 
in  Caucasia,  with  as  many  as  eight  hundred 
pupils;  Odessa  on  the  Black  Sea,  with  four  or 
five  hundred;  and  Kiev,  Charkov,  Samara  and 
Saratov,  with  attendance  of  from  two  to  four 
hundred  each;  while  within  the  last  two  years  a 
conservatory  has  been  founded  at  Irkutsk,  far 
over  in  Siberia. 

As  to  how  many  cities  outside  of  Moscow  and 
Petrograd  had  symphony  concerts,  the  reply  was 
that  about  all  of  the  conservatory  cities  had 
seasons  of  ten  concerts — with  their  public  re- 
hearsals making  twenty  such  performances  each 
year — the  orchestra  in  nearly  all  cases  drawn 
from  the  conservatories.  No  symphony  orches- 
tra ever  travels  in  Russia,  however,  because  the 
trains  go  too  slowly  and  the  distances  are  too 
great.  It  would  require  about  a  month  for  an 
orchestra  to  deliver  a  little  batch  of  ten  concerts 
to  the  people  of  as  many  different  towns.  This 
would  also  be  expensive,  for  the  musicians  are 
well  paid — seven  or  eight  dollars  for  a  rehearsal 
and  its  concert;  as  compared  to  Leipsic  where 
the  players  would  get  from  one  and  a  half  to 
five  dollars  for  the  same  work.  As  to  dance 
orchestras  for  small  towns,  no  such  thing  as  yet 
exists,  nor  does  Russia  have  an  instrumental 
folk  music.  According  to  Mr.  Conus,  the  people 
were  accustomed  to  sing  while  they  danced,  and 
to  perform  in  a  sort  of  harmonic  chorus,  but 


certainly  many  of  the  harmonies  would  have 
difficulty  passing  the  ears  of  a  cultivated  musi- 
cian. The  voices  were  not  often  found  to  be 
fine  from  an  artistic  standpoint,  but  many  were 
very  agreeable. 

In  his  expressions  of  confidence  in  the  worth 
of  the  Russian  music  schools,  he  ventured  the 
thought  that  neither  in  France  nor  Germany 
were  the  conservatories  so  seriovis  and  thorough- 
going in  their  work  as  in  his  own  land.  By  way 
of  illustration  he  stated  that,  even  where  violin 
is  the  student's  principal  instrument,  he  is  re- 
quired to  play  piano  for  four  years  and  to  com- 
plete the  entire  course  in  theory  and  composi- 


ALEXANDER    SCRIABIN 

tion,  as  indeed  every  student  is  required  to  do, 
whether  talent  for  composition  is  present  or  not. 
On  the  authority  of  Alexander  Siloti,  at  one 
time  a  resident  pianist  of  Leipsic,  but  later 
pianist  and  conductor  in  Petrograd,  it  can 
be  said  that  the  conservatories  of  the  whole 
country  are  properly  to  be  considered  depart- 
ments of  the  national  educational  system  as  it 
applies  to  music,  and  all  branches  are  more  or 
less  under  the  guidance  of  the  Imperial  Musical 
Society,  whose  headquarters  are  at  Petrograd. 
Each  of  the  smaller  institutions  receives  from 
the  government  a  yearly  sum  of  from  two 
to  five  thousand  roubles,  while  those  in  Moscow 
and  Petrograd  receive  twenty  thousand  roubles 
each.  The  course  of  instruction  is  outlined 
in  detail  and  is  divided  into  work  calcu- 
lated to  occupy  nine  years.  Each  pupil  may 
select  a  professor  to  teach  him  the  main  branch, 


GEORGIANS  FROM  THE  CAUCASUS  IN  THE  DANCE  "LEKURI" 


and  this  professor  is  kept  for  the  first  five 
years,  except  in  case  of  dissatisfaction,  when 
the  student  may  make  a  single  change.  Then 
the  privilege  of  selecting  the  last  master,  for  the 
sixth  to  the  ninth  years,  is  again  allowed,  but 
no  change  is  possible  when  this  professor  is  once 
selected.  If  a  pupil  be  unusually  talented  and 
industrious,  promotions  may  be  made  as  soon  as 
the  work  is  creditably  finished,  whether  the  year 
is  gone  or  not. 

As  to  what  service  was  rendered  to  the  musi- 
cal cause  by  the  Russian  Church,  it  developed 
that,  aside  from  a  certain  degree  of  vocal  in- 
struction imparted  by  the  priests  to  the  boys  of 
their  respective  choirs,  the  influence  was  to  be 
rated  at  zero.  The  organ  is  not  allowed  in  the 
churches,  so  orchestras  are,  of  course,  out  of  the 
question.  Congregational  singing  is  absolutely 
unknown.  Female  voices  are  never  admitted 
to  the  choirs,  which  completely  denies  to  woman 
the  privilege  of  worship  in  song.  Siloti  related 
how  Tschaikowsky  wrote  a  mass  for  church 
chorus  alone,  which  the  government  authorities 
prohibited,  because  they  found  in  the  compo- 
sition some  chords  which  were  too  modern  for 
sacred  use.  The  chords — and  Tschaikowsky's 
influence — grew  rapidly  in  age,  however,  and 
the  composition  was  finally  admitted.  The 
hymns  ordinarily  used  are  versions  of  the  old 
Gregorian. 

330 


On  the  subject  of  amateurs  and  non-profes- 
sional enthusiasts  in  music,  who  are  such  an 
important  factor  in  every  wave  of  progress,  Mr. 
Siloti  said  that  Russian  amateurs  are  kindly 
looked  upon.  In  Moscow  there  is  a  theatre 
which  is  devoted  entirely  to  performances  by 
non-professional  actors,  the  house  maintained 
by  a  wealthy  patron  of  this  branch  of  art.  In- . 
deed  the  modern  musical  history  of  Russia,  as 
of  all  lands,  began  in  the  way  of  the  enthusiast, 
and  in  Russia  it  was  hardly  more  than  a  half 
century  ago. 

At  about  the  time  Rubinstein  began  to  be  a 
public  performer  he  had  difficulty  in  finding  a 
regular  concert  audience.  It  had  been  the  cus- 
tom to  have  entertainments  at  which  a  bad  or- 
chestra would  sometimes  play  an  overture  to  an 
Italian  opera,  some  one  would  give  a  reading, 
an  amateur  play  might  be  given,  added  to  which 
a  piano  solo  was  generally  sufficient  to  complete 
the  evening's  program.  So  it  happened  that 
when  Rubinstein  began  to  give  concerts  his 
audiences  seldom  numbered  a  hundred.  To 
Rubinstein  then  the  present  musical  Russia  is 
almost  wholly  responsible,  for  he  first  created 
the  interest,  and  he  had  acumen  enough  to  out- 
line the  course  of  its  future  development. 

By  way  of  bringing  these  impressions  up 
to  the  beginning  of  the  great  war,  one  may 


STATUS    OF    MUSIC    IN    RUSSIA    BEFORE    THE    WAR 


331 


add  that  other  conservatory  branches  had 
been  established  at  Nijni  Novgorod,  Kasan, 
Simbirsk,  probably  Astrakhan,  besides  Ros- 
tov-Don, Kishinev,  Zhitomir  and  possibly 
still  other  Russian  and  Siberian  cities.  Also 
the  practical  difficulty  and  former  impossi- 
bility of  taking  an  orchestra  on  tour  of  Rus- 
sia was  overcome  on  at  least  two  notable 
occasions,  in  1910  and  1912,  if  only  for  the 
immediate  Volga  territory  from  Tver,  north 
of  Moscow,  down  the  entire  length  of  the 
Volga,  to  Astrakhan  on  the  Caspian  Sea. 
This  was  possible  by  the  great  wealth  and 
artistic  enthusiasm  of  the  contrabass  vir- 
tuoso, composer  and  conductor,  Sergei  Kus- 
sewitzky,  who  each  time  chartered  one  of 
the  Volga  steamers  for  the  trip.  As  the 
party  was  accompanied  by  distinguished 
and  representative  soloists,  it  was  their  priv- 
ilege to  bring  high  class  symphony  to  a  num- 
ber of  cities  which  had  had  no  previous 
opportunity  of  becoming  acquainted  witlh 
music  in  these  forms.  In  the  matter  of  solo 
recitals  for  the  widely  separated  cities  oc- 
cupied by  the  branch  schools  under  the  Im- 
perial Society,  there  was  great  practical  ad- 
vantage in  the  unity  that  could  be  attained 
by  a  single  managerial  bureau,  and  a  cer- 
tain uniformity  in  the  excellence  of  the  re- 
citals was  obtained  by  engaging  the  year's 
artists  in  the  very  centers  where  their  attain- 
ments were  best  known  and  proven.  That 
was  in  fact  the  manner  of  securing  talent. 
Continuing  the  study  of  forces  which  con- 
tribute to  Russia's  musical  progress,  one  of 
the  most  notable  of  earlier  agencies  was  an 
assembling  of  the  country's  untold  wealth 
of  folk  song.  As  early  as  1877,  Rimsky- 
Korsakov  had  notated  and  published  a 
book  of  one  hundred  Russian  folk  songs, 
and  in  1882  he  issued  forty  more.  Later  the 
Imperial  Geographical  Society  commissioned 
Mill  Balakirev,  Sergei  Liapounov  and  Ana- 
tol  Liadov  to  make  research  in  various  dis- 
tricts. In  1893  Liapounov  visited  the  prov- 
inces of  Vologda,  Viatka  and  Kostroma, 
and  issued  thirty-five  of  those  national  songs 
with  piano.  Liadov  issued  a  total  of  one 
hundred  and  thirty.  Some  years  later  L.  D. 
Malashkin  brought  out  an  especially  fine 
collection  of  the  people's  songs  from  Minor 
Russia,  or  the  Ukraine  country. 


To  get  some  idea  of  the  relative  stage  of 
completeness  to  which  the  assembling  of  folk 
songs  has  arrived,  as  late  as  1912  Alexander 
Glazounov,  then  Chairman  of  the  Imperial 
Music  Society  for  all  Russia,  and  Director 
of  the  Petrograd  Conservatory,  stated  his 
opinion  that  the  treasures  of  Russia 's  native 
song  were  not  yet  exhausted.  Particularly 
the  Lower  Volga  country  and  the  Crimea 
would  show  melodies  still  not  yet  recorded. 
Meantime  the  Russian  publishers  kept  up 
their  activity,  and  one  firm  had  already 
brought  out  five  hundred  of  the  songs  from 
Minor  Russia  and  the  undefined  territory 
roamed  over  by  the  South  European  Gyp- 
sies. 

As  to  the  Russian  tendencies  of  recent 
years,  the  suspicion  of  musical  revolution 
first  fell  upon  Scriabin,  though  not  until  he 
had  written  his  seventh  piano  sonata  and 
at  least  four  works  in  symphonic  form.  His 
second  symphony  was  not  only  non-revolu- 
tioj.ary  but  showed  distinct  leaning  upon 
Wagnerian  mood.  Through  all  the  years  of 
his  apprenticeship,  lasting  until  three  or 
four  years  before  his  death,  his  piano  com- 
por.itions  had  been  written  in  extraordinary 
mood  and  technical  affinity  with  Chopin. 
With  the  third  of  his  symphonic  works  he 
had  departed  far  enough  from  convention  to 
ascribe  the  title  "Poeme  Divine";  for  the 


IGOR    STRAVINSKY 


STATUS    OF    MUSIC    IN    RUSSIA    BEFORE    THE    WAR 


VLADIMIR    RKRIKOV 

fourth,  far  more  radical  in  harmonic  texture 
and  instrumentation,  he  found  the  title 
"Poeme  Extase. "  Still  other  orchestral 
works  in  the  new  manner  were  the  "Poem 
of  Fire,"  and  "Prometheus."  He  was  ex- 
pecting a  great  culmination  of  years  of  re- 
flection in  Oriental  or  religious  mysticism 
with  his  "Mystere, "  but  his  death  cut  that 
short  in  1915,  after  he  had  written  the  text 
and  begun  composition  of  an  introductory 
section. 

Doubtless  the  future  will  prove  that 
permanent  value  attaches  to  many  of  the 
Scriabin  works,  yet  there  is  a  possibility 
that  they  will  fall  just  short  of  the  divinity 
the  composer  intended  for  them.  This 
shortcoming  could  arise-  from  the  fact  that 
Scriabin 's  nature  was  not  one  supremely 
endowed  on  the  side  of  poetry  and  mood. 
Their  appeal  to  the  intellect  would  be  less 
likely  to  fail. 

Next  after  Scriabin  in  the  role  of  musical 
extremist  comes  Igor  Stravinsky  (1882 — ) 
whose  great  talents  are  mainly  applied  to 
the  enrichment  of  the  ballet  literature.  In 
that  Stravinsky  is  also  largely  responsible 
for  the  scenarios  of  these  ballets,  he  takes 
occasion  at  the  same  time  to  renew  and  more 


firmly  establish  the  validity  of  a  number  of 
Old  Russian  rites  and  traditions.  To  the 
present,  the  world  is  already  acquainted 
with  his  three-movement  "Faun  and  Shep- 
herdess ' '  for  female  voice  and  orchestra ; 
the  three  ballets,  "Fire  Bird"  (1910), 
"Petroushka"  (1911),  "Rite  of  Spring"; 
a  sacred  cantata  "  Zviezdoliky, "  a  Rus- 
sian traditional  "Svadyebka"  (Wedding); 
"Three  Japanese  Lyrics"  with  miniature 
orchestra,  and  the  three-act,  lyric  tale  "The 
Nightingale"  (1914).  The  ballet,  "Rite  of 
Spring,"  is  described  as  one  of  the  most 
modernistic  of  all,  notwithstanding  its  pur- 
pose to  revive  a  picture  of  Russian  prehis- 
toric worship,  through  the  dance.  From 
a  recent  American  performance  of  the  song 
scene,  "Faun  and  Shepherdess,"  written  in 
the  composer's  earlier  style,  it  was  observed 
that  the  work  was  only  employing  the  most 
wholesome  means,  as  by  a  composer  of  the 
utmost  sanity  and  direct  power. 

Whatever  else  of  the  hyper-modern  there 
may  be  in  the  writings  of  the  present  Rus- 
sian school  will  be  found  in  the  works  of 
Vladimir  Rebikov  (1866—),  Michael  Gnes- 
sin  (1883—),  Maximilian  Steinberg  (1883 
— ),  Sergei  Prokoviev-  (1891 — ),  and  Leo 
Ornstein  (1895 — ).  Of  all  these,  Ornstein 
has  proved  to  be  the  most  radical,  yet  his 
writing  has  been  mainly  for  piano,  except 
in  an  unperformed  symphonic  poem,  "The 
Fog,"  and  a  suite,  "The  Life  of  Man," 
never  yet  thrown  upon  the  larger  canvas 
which  the  orchestra  affords.  It  may  be  that 
the  effects  he  now  conceives  for  piano  may 
remain  purely  pianistic,  or  unpianistic,  ac- 
cording to  the  point  of  view,  and  will  not 
allow  successful  translation  into  an  orches- 
tral idiom. 

Rebikov  has  given  great  attention  to  har- 
monic problems,  very  especially  to  the 
music-psychological,  and  yet  some  one 
rightly  remarks  that  he  lacks  in .  those 
qualities  of  the  poetic  and  artistic  which 
could  have  given  his  compositions  far 
greater  value.  His  list  includes,  under 
various  descriptions  of  the  music  psycho- 
logical, the  stage  pieces  of  "The  Christmas 
Tree,"  "The  Abyss,"  the  four-act  "Thea," 
two-act  "The  Storm,"  the  two-act  "Alpha 
and  Omega,"  and  "Bondage  and  Liberty," 


STATUS    OF    MUSIC    IN    RUSSIA    BEFORE    THE    WAR 


333 


besides  songs  and  numerous  pieces  for  the 
piano. 

Gnessin's  orchestral  works  are  a  sym- 
phonic fragment  after  Shelley,  and  a  sym- 
phonic "Dithyramb."  A  cello  sonata  of 
the  year  1910  was  of  sufficient  modernity  to 
be  cordially  hissed  upon  its  first  perform- 
ance in  Moscow.  Other  known  works  by 
Gnessin  are  a  tone  poem  for  tenor  and 
orchestra  and  numerous  songs.  The  com- 
poser, a  native  of  Rostov-on-Don,  has  been 
for  years  under  the  protection  of  the  Mos- 
cow house  of  Joergenson,  a  contract  with 
them  permitting  freedom  from-  financial 
worries  while  exclusively  pursuing  the 
career  of  a  composer. 

Steinberg  wrote  two  symphonies,  an 
orchestral  dramatic  fantasy,  the  ballet, 
"Midas,"  a  string  quartet  and  a  highly 
effective  orchestral  setting  of  the  Bach 
Chaconne.  Prokoviev,  represented  to  bov 


one  of  the  most  radical  among  them,  is 
credited  with  the  stage  pieces  "The  Gam- 
bler" and  "The  Ugly  Duckling";  for 
orchestra  there  are  a  "Scythian  Suite"  and 
a  "  Sinf onietta-, "  while  piano  literature  has 
been  enriched  by  two  concertos  and  two 
sonatas. 

Besides  the  above  mentioned  orchestral 
suite  and  symphonic  poem,  Ornstein  has 
written  "Three  Russian-  Impressions"  and 
two  sonatas  for  violin  and  piano;  a  piano 
concerto;  four  "Impressions  of  Switzer- 
land," for  piano  four-hands,  quartet  and 
chorus ;  a  string  quartet ;  a  piano  quintet ; 
a  miniature  string  quartet ;  four  sonatas  for 
cello  and  piano;  two  sonatinas  for  violin 
and  piano.  The  piano  works  embrace  a 
sonata,  a  "Pigmy  Suite,"  nine  Miniatures, 
six  Lyric  Fancies,  a  "Russian  Suite,"  a 
Sonatina,  two  "Impressions  of  Notre- 
Dame,"  "Impressions  of  the  Thames," 


SERGEI    RACHMANINOV 


334 


STATUS   OF   MUSIC   IN   RUSSIA    BEFORE    THE    WAR 


"Silhouettes,"  numerous  Preludes,  "Three 
Moods,"  "Three  Burlesques,"  eleven  short 
pieces,  seven  Fantasy  Pieces,  a  "Suite  of 
the  Gnomes,"  and  a  "Belgium  Suite." 

Others  of  the  younger  Russians  are 
Eugene  Gunst  (1877 — ),  with  two  piano 
sonatas;  Gregory  Krein  (1880 — ),  with  a 
violin  sonata  and  piano  pieces ;  his  brother, 
Alexander  Krein  (1883 — ),  author  of  a  sym- 
phonic poem,  "Salome,"  and  two  series  of 
"Hebrew  Sketches"  for  piano.  Nicholas 
Myaskovsky  (1881 — )  composed  three  sym- 
phonic poems,  one  of  which  is  on  Poe's 
fable  ' '  Silence ' ' ;  also  a  cello  sonata  and  two 
piano  sonatas.  Leonid  Sabanyeyev  (1881 
— )  wrote  a  piano  trio,  a  violin  sonata, 
piano  pieces  and  "Four  Fragments." 
Nicholas  Roslavets  set  Verlaine  poems  in 
song,  composed  a  quartet,  a  violin  sonata 
and  a  nocturne  for  harp,  oboe,  violas  and 
cello.  Great  hopes  were  aroused  for  Alexis 
Stanchinsky  (1888-1914)  on  the  appear- 
ance of  two  piano  sonatas  and  eight 
sketches,  while  recently  New  York  has 
heard  a  remarkably  intense  and  poetic  or- 
chestral movement,  called  ' '  The  Phantoms, ' ' 
by  one  Jurrasovsky,  about  whose  career 
it  has  been  impossible  to  ascertain  any 
details. 

Vladimir  Senilof  (1875 — )  has  written 
three  operas,  three  quartets,  four  sym- 
phonic poems  and  a  number  of  songs,  of 
which  output  only  the  fine  songs  have  come 
to  the  attention  of  the  public.  Feodor  Aki- 
menko  (1876 — )  has  a  symphony  and  a 
"Poeme  Nocturne"  for  orchestra,  a  cello 
concerto  and  a  violin  sonata.  George  Ca- 
toire  wrote  a  symphony,  a  symphonic  poem, 
the  cantata  "Russalka,"  piano  trio,  piano 
quintet,  violin  sonata  and  piano  concerto. 
Sergei  Vassilenko  (1872 — )  has  two  sym- 
phonies, a  symphonic  suite,  "To  the  Sun," 
symphonic  poem,  "The  Witches,"  and 
many  songs.  Reinhold  Gliere  (1875 — ) 
has  been  very  prolific,  with  three  sympho- 
nies, a  symphonic  poem,  ' '  The  Sirens, ' '  two 
string  quartets;  a  sextet;  octet  for  strings, 
many  pieces  for  two  pianos  and  solo  works 
for  nearly  every  instrument.  Alexander 
Kastalsky  industriously  assembled  folk 
songs,  then  gave  his  routine  to  the  writing  of 
church  music,  which  includes  a  Requiem. 


Nicholas  Medtner  (1879 — )  has  written  a 
"Sonata-Triad,"  a  "Sonata  Story,"  other 
sonatas  for  piano,  nocturnes  for  violin  and 
piano,  a  number  of  piano  "Mood  Pictures," 
and  upward  of  sixty  songs.  Alexander 
Gretchaninov  (1864 — ),  composed  a  sym- 
phony, the  operas  "Dobrinya  Nikitich"  and 
"Sister  Beatrice,"  music  to  two  parts  of 
Alexis  Tolstoi's  "Troublous  Times,"  music 
for  Ostrovsky's  "Snow  Maiden,"  two  quar- 
tets, a  piano  trio  and  many  songs.  One  of  the 
most  prolific  of  all  contemporary  Russians 
is  Nicholas  Tcherepnin  (1873 — ).  Among 
his  works  are  the  music-dramatic  ballets 
"Pavilion  of  Armida, "  "Narcissus," 
"Masque  of  the  Red  Death,"  after  Poe;  a 
gavotte  for  small  orchestra,  orchestral  pre- 
lude to  "Princess  Lointaine, "  a  symphonic 
poem  "Macbeth,"  orchestral  suite  "En- 
chanted Garden,"  orchestral  sketch  on  the 
"Fire  Bird"  tradition,  dramatic  fantasia 
"Land  to  Land,"  a  string  quartet,  six 
quartets  for  horns,  and  many  piano  pieces, 
including  six  on  "The  Fisherman  and  the 
Fish,"  and  fourteen  sketches  called  "The 
Alphabet  in  Pictures." 

Aside  from  the  younger  group  of  Rus- 
sians, there  remain  a  number  of  standard 
and  even  better  known  composers  who  have 
not  been  directly  associated  with  modern- 
ism. They  include  one  of  the  most  prolific 
of  the  world's  composers,  Alexander  Gla- 
zounov  (1865 — ).  The  others  are  the  late 
Anton  Arensky  (1861-1906),  Anatol  Lia- 
dov  (1855 — ),  and  Sergei  Rachmaninov 
(1873—). 

Arensky  wrote  two  symphonies,  an  Inter- 
mezzo for  strings,  Variations  for  orchestra, 
a  fantasy  for  orchestra  and  piano,  a  violin 
concerto,  piano  concerto,  piano  quintet, 
piano  trio,  two  string  quartets,  the  three 
opei'as,  "A  Dream  on  the  Volga,"  the  one- 
act  "Raphael,"  and  one-act  "Nal  and 
Damayanti,"  besides  the  ballet  "Egyptian 
Night,"  and  upward  of  a  hundred  piano 
pieces  and  studies  for  the  instrument.  For 
orchestra  he  wrote  a  scherzo,  a  scena,  a 
polonaise  in  memory  of  Pushkin;  a  move- 
ment from  Schiller's  "Bride  of  Messina," 
for  mixed  chorus  and  orchestra ;  a  "  Slava ' ' 
for  female  voices,  two  harps  and  two  pianos ; 
also  other  female  choruses. 


A    KIRGHIS    FROM    SOUTHWESTERN    SIBERIA 
PLAYING    THE    DOMBRA 


Alexander  Glazounov  as  Chairman  of  the 
Imperial  Russian  Music  Society  and  Direc- 
tor of  Petrograd  Conservatory,  has  long 
held  a  high  place  in  public  esteem.  His 
first  symphony  was  completed  when  he  was 
sixteen  years  old,  and  his  talent  and  early 
accomplishment  admitted  him  to  the  friend- 
ship and  the  councils  of  the  coterie  which 
gathered  around  the  publisher,  Belaiev. 
There  were  Balakirev,  Cui,  Borodin,  Mous- 
sorsky,  Anton  Rubinstein  and  Rimsky- 
Korsakov,  and  it  was  Glazounov 's  privilege 
to  know  Tschaikowsky  and,  Nicholas  Rubin- 
stein. Fortunately,  there  was  that  in  Gla- 
zounov's  nature  which  permitted  him  to  go 
among  all  these  without  participating  in  the 
violent  partisanships  which  continued  for  a 
number  of  years.  The  composer  was  able 
to  adopt  this  attitude  as  successfully  in 


political  as  in  musical  circles,  so  that  he 
always  escaped  unharmed,  no  matter  what 
the  particular  contention. 

If  in  Glazounov 's  vast  musical  product 
there  is  seldom  evidence  of  the  greatest  in- 
spirational intensity,  the  works  maintain  a 
most  commendable  degree  of  classical  excel- 
lence, and  though  many  of  these  composi- 
tions are  written  with  programmatic  intent, 
the  classic  elements  of  structure  are  never 
abandoned. 

This  large  scope  of  Glazounov 's  writing 
may  be  seen,  not  alone  from  nine  sym- 
phonies, but  nearly,  or  quite,  thirty  other 
works  for  orchestra,  mostly  of  pretentious 
outline.  Then  there  are  also  five  string 
quartets,  one  quartet  suite,  five  quartet 
Novelettes,  quartet  for  brass  instruments, 
a  piano  concerto,  violin  concerto,  three 

335 


330 


STATUS    OP    MUSIC    IN    RUSSIA    BEFORE    THE    WAR 


overtures,  of  which  two  are  on  Greek 
themes.  The  other  orchestral  works  include 
a  serenade,  a  character  suite,  an  elegy, 
serenade  for  small  orchestra,  lyric  poem  for 
orchestra,  symphonic  poem  ' '  Stenka  Razin, ' ' 
"Idylle  and  Reverie  Orientale,"  mazurka, 
"The  Forest"  fantasy,  a  wedding  march,  a 
symphonic  sketch,  a  fantasy  "The  Sea"; 
Oriental  rhapsody;  a  "Kremlin"  symphonic 
picture,  an  orchestral  sketch  "Spring";  a 
triumphal  march,  ' '  Carnival ' '  overture,  con- 
cert waltzes  Nos.  1  and  2;  Cortege  solen- 
nelle;  orchestral  suite  of  ballet  scenes;  a 
fantasy,  Op.  53 ;  ballet  ' '  Raymonda, ' '  bal- 
let ' '  Ruses  d  'Amour,  "a"  Pas  de  caractere, ' ' 
intermezzo  romantico,  orchestral  suite, 
"From  the  Middle  Ages,"  and  ballet  suite, 
"The  Seasons." 

The  foregoing  remark  concerning  the 
degree  of  Glazounov's  talent  applies  exactly 
to  Rachmaninov,  yet  the  work  of  the  latter 
by  no  means  represents  the  uniform  excel- 
lence of  Glazounov,  considered  either  from 
the  technical  or  the  inspirational  view.  The 
symphony  which  Glazounov  wrote  when  six- 
teen years  old  is  said  to  have  been  reorches- 
trated  by  him  four,  or  five  times  before  it 
was  finally  published  as  his  Opus  5.  But 
that  procedure  has  not  been  necessary  in 
his  mature  years.  As  to  Rachmaninov,  he 
is  said  to  have  rewritten  his  first  symphony ; 
his  first  piano  concerto  was  so  uneven  as 
later  to  have  caused  the  composer  much 


embarrassment,  and  he  regretted  that  a 
well-known  pianist  persisted  in  performing 
it  in  the  first  orchestration.  His  second 
piano  concerto,  though  immensely  engaging 
on  the  whole,  is  also  unevenly  inspired,  and 
doubtless  the  composer's  other  works  will 
show  occasional  lapses  from  inspiration  and 
the  best  workmanship.  Nevertheless  Rach- 
maninov's  second  symphony  is  one  of  very 
great  value,  and  in  its  present  form  shows 
no  weakness  of  any  kind.  Of  Rachmaninov 's 
other  known  compositions,  there  are  a  third 
symphony,  a  cello  sonata,  fantasy  for  pianos 
for  four  hands,  a  piano  sonata,  piano  suite,, 
an  orchestral  "Gypsy  Caprice,"  a  choral 
work  after  Poe's  "The  Bells,"  the  sym- 
phonic poems,  "The  Rock"  and  "Isle  of 
Death";  the  operas  "Francesca  da  Rimi- 
ni," and  the  one-act  "Aleko,"  and  one-act 
"Miser  Knight." 

When  the  present  world  war  is  at  an  end, 
it  may  be  found  that  the  Russian  composers 
did  not  entirely  suspend  their  writing,  for 
there  have  been  reports  of  considerable 
activity  in  the  giving  of  opera  and  concerts. 
But  those  who  have  depended  upon  Belaiev 
for  publication  may  prove  to  have,  suffered 
the  greater  inconvenience  and  delay,  since 
nearly  all  engraving  for  the  firm  had  been 
done  at  Leipsic.  Only  the  great  house  of 
Joergenson  at  Moscow  maintained  an  en- 
graving and  printing  plant  in  any  way  ade- 
quate to  their  own  needs. 


PETER   ILYITCH  TSCHAIKOWSKY 


BY 


DANIEL    GREGORY    MASON 


ONE  of  the  constant  temptations  of  the 
biographer  is  that  of  seizing  on  some 
salient  trait  in  his  subject,  magnifying  it 
beyond  all  relation  to  others  which  supple- 
ment or  modify  it,  and  portraying  an  etv 
centric  rather  than  a  rounded  personality, 
a  monster  rather  than-  a  man.  Human  na- 
ture is  complex,  many-sided,  even  self- 
contradictory  to  any  but  the  most  penetra- 
tive view ;  and  so  slender  are  the  resources  of 
literature  for  dealing  with  such  a  paradox 
as  a  man,  that  writers,  resorting  to  simpli- 
fication, sacrifice  fulness  to  intelligibility. 
In  books,  Napoleon  is  apt  to  be  denied  all 
scruples,  Keats  all  virility,  Marcus  Aurc- 
lius  all  engaging  folly ;  the  real  men  were 
probably  not  so  simple.  It  is  certain,  at  any 
rate,  that  Tschaikowsky,  the  greatest  of 
Russian  musicians,  one  of  the  two  greatest 
of  all  composers  since  Wagner,  cannot  have 
been  the  mere  incarnation-  of  concentrated 
gloom  that  his  critics  have  drawn.  Some 
worthier  powers  than  that  of  eloquent  la- 
menting must  have  contributed  to  mold 
him.  He  was  not  simply  a-  sort  of  neuras- 
thenic Jeremiah-  with  a  faculty  for  orches- 
tration. 

It  is  only  too  easy  and  plausible,  to  be 
sure,  to  label  him  with  one  of  those  insidi- 
ously blighting  epithets,  "neurasthenic," 
"decadent,"  or  "morbid."  He  was,  in 
fact,  of  an  unfortunate  heredity ;  his  grand- 
father was  epileptic,  and  his  own  symptoms 
pointed  to  an  inherited  nervous  irritabil- 
ity. He  was  troubled  more  or  less,  all  his 
life,  by  sleeplessness,  fatigue,  depression; 


and  in-  his  thirty-seventh  year  had  a  com- 
plete nervous  collapse.  But  to  discredit  a 
man's  insight  by  pointing  out  his  physical 
misfortunes  is  as  misleading  as  it  is  unkind. 
The  fact  that  Schopenhauer,  with  whose 
temperament  Tschaikowsky 's  had  much  in 
common,  had  some  insane  and  idiotic  an- 
cestors, and  suffered  much  from  his  own 
unusual  sensitiveness,  does  not  in  the  least 
abate  the  truth  of  his  philosophic  teach- 
ing, though  it  may  call  attention-  to  its  one- 
sidedness.  And  so  with  the  musician ; 
knowledge  of  his  personal  twist  ought  not 
to  make  us  deaf  to  whatever  is  universal  in 
his  utterance.  We  may  remember  that  he 
reports  but  one  aspect  of  the  truth;  but  if 
he  reports  that  truly,  we  may  supply  the 
other,  and  need  not  carp  at  the  way  he  got 
his  information.  And  indeed  is  it  not,  after 
all,  an  artificial  circumscription  of  life  to 
ignore  its  sadder  verities,  however  moral 
Pharisees  may  stigmatize  the  perception  of 
them  as  "morbid"?  Has  not  disease  as 
well  as  health,  its  relation  to  our  fortunes? 
Is  not  man's  weakness  an-  organic  part  of 
his  strength,  his  fear  of  his  courage,  his 
doubt  of  his  faith?  That  mere  facile  op- 
timism which  smiles  blandly  at  all  experi- 
ence, with  unseeing  eyes,  is  as  partial  and 
false  as  the  unrelieved  pessimism  into  which 
the  contemplation  of  it  sometimes  drives 
the  sensitive.  The  world  is  no  more  all 
light  than  it  is  all  shadow.  All  human 
life,  with  its  suffering  as  well  as  its  happi- 
ness, is  one,  and  every  sincere  human  ex- 
perience has  its  own  weight.  And  so 

337 


338 


PETER   ILYITCH    TSCHAIKOWSKY 


Tschaikowsky,  in  spite  of  grandfathers  and 
symptoms,  has  a  right  to  be  respectfully 
heard. 

The  tendency  to  depreciate  men  like 
Tschaikowsky  and  Schopenhauer  generally 
rests  on  a  confusion  between  what  may  be 
called  sentimental  and  rational  pessimism. 
The  sentimental  pessimist,  the  weak  mal- 
content, who  sees  everything  through  the 
blue  spectacles  of  egotism,  or,  like  the  cut- 
tlefish, muddies  his  world  with  a  black  hu- 
mor of  his  own,  deserves  indeed  nothing 
better  than' a  shrug.  Like  all  other  forms 
of  sentimentality,  his  pessimism  is  based 
on  selfishness.  It  is  an  emanation,  not  an 
insight.  It  is  that  form  of  colic,  to  use 
the  figure  of  Thoreau,  which  makes  him 
discover  that  the  world  has  been  eating 
green  apples.  Quite  different  from  such 
a  sentimentalist,  however,  is  the  sensitive 
man  who  feels  impersonally  the  real  evils 
of  life.  Such  a  man's  experience  is  viewed 
by  him  not  as  the  end,  but  as  the  means,  of 
insight.  His  own  pains,  however  keen,  ap- 
pear to  him  but  as  symbols  of  the  uni- 
versal suffering  of  humanity,  and  however 
much  his  view  may  be  subjectively 
jaundiced,  it  does  not  terminate  in,  but 
only  begins  with,  the  petty  self.  He  is  not 
a  devotee  of  the  luxury  of  woe.  "A  very 
noble  character,"  says  Schopenhauer,  "we 
always  conceive  with  a  certain  tinge  of 
melancholy  in  it — a  melancholy  that  is  any- 
thing but  a  continual  peevishness  in  view 
of  the  daily  vexations  of  life,  for  such 
peevishness  is  an  ignoble  trait  and  arouses 
suspicions  of  maliciousness,  but  rather  a 
melancholy  that  comes  from  an  insight  into 
the  vanity  of  all  joys,  and  the  sorrowful- 
ness of  all  living,  not  alone  of  one's  own 
fortune."  And  Tschaikowsky,  in  describ- 
ing Beethoven's  Choral  Symphony,  writes, 
one  can  see,  from  precisely  the  same  stand- 
point: "Such  joy  is  not  of  this  earth.  It 
is  something  ideal  and  unrealizable;  it  has 
nothing  in  common  with  this  life,  but  is 
only  a  momentary  aspiration  of  humanity 
toward  the  holiness  which  exists  only  in 
the  world  of  art  and  beauty  afterward,  this 
vale  of  earth,  with  its  endless  sorrow,  its 
agony  of  doubt  and  unsatisfied  hopes,  seems 
still  more  gloomy  and  without  issue.  In 


the  Ninth  Symphony  we  hear  the  despair- 
ing cry  of  a  great  genius  who,  having  irrev- 
ocably lost  faith  in  happiness,  escapes  for 
a  time  into  the  world  of  unrealizable  hopes, 
into  the  realm  of  broken-winged  ideals." 
Now  undoubtedly  these  passages,  especially 
the  latter,  are  guilty  of  false  emphasis; 
undoubtedly  one  can  truly  reply  to  Tschai- 
kowsky that  the  ideal  is  necessarily  fairer 
than  reality,  as  the  flower  is  fairer  than 
the  soil  from  which  it  springs,  that  "this 
vale  of  earth"  is  not  "without  issue," 
however  gloomy,  since  it  does  in  fact  pro- 
duce the  ideal  world  of  art  and  beauty,  and 
that  it  is  precisely  the  glory  of  hopes  that 
they  are  unrealizable,  and  of  happiness 
that  it  exists  only  on  a  level  higher  than 
that  of  finite  life.  But,  however  one-sided 
may  be  the  opinions  expressed,  the  attitude 
of  mind  is  free  from  the  taint  of  petty  self- 
ishness; it  is  frank,  open-eyed,  and  manly. 
Such  utterances  proceed  only  from  natures 
nobly  human,  however  burdened  with  a 
greater  sensibility  than  is  common  among 
men. 

Of  the  extraordinary  sensibility  of 
Tschaikowsky,  his  emotional  intensity  and 
impetuosity,  which,  discerning  truly,  critics 
have  so  often  falsely  interpreted,  there  can 
be  no  doubt.  He  was  the  subject  and  in 
some  ways  the  victim,  of  hereditary  instabil- 
ity, a  tendency,  so  to  speak,  to  go  off  at 
half-cock.  In  his  life  no  trait  comes  out 
more  conspicuously,  and  its  association  with 
his  powerful  intellect,  with  which  it  was 
always  at  odds,  goes  far  to  explain  the 
anomalies  and  paradoxes  of  his  music.  We 
see  it  constantly  in  his  acts,  where,  if  we 
always  remember  that  we  are  studying  a 
great  nature,  which  must  be  analyzed 
respectfully  and  without  vulgar  curiosity, 
we  may  learn  much  from  observing  it. 

Peter  Ilyitch  Tschaikowsky  was  born  in 
a  small  Russian  town  in  1840.  As  a  very 
small  boy  he  showed  his  ardent  patriotism 
by  kissing  the  map  of  Russia,  in  his  atlas, 
and  spitting  at  the  rest  of  Europe.  When 
his  French  nurse  remonstrated,  he  ex- 
plained that  he  had  been  careful  to  cover 
France  with  his  hand.  There  already  is 
his  temperament — passionate  and  tender. 
The  Tschaikowsky  family  early  moved  to 


PETER    ILYITCH    TSCHAIKOWSKY 


339 


Petrograd,  where  Peter  at  first  entered  the 
School  of  Jurisprudence,  and  later  obtained 
a  post  in  the  Ministry  of  Justice.  All 
through  his  youth  he  was  indolent,  popular, 
fond  of  society,  a  graceful  amateur  who 
played  salon  pieces  at  evening  parties. 
That  his  serious  interest  in  music  was  first 
aroused  by  his  cousin's  showing  him  how 
to  "modulate"  is  rather  amusing  when  we 
remember  the  virtuosity  and  daring  of  his 
mature  harmonic  style.  "My  cousin  said 
it  was  possible  to  modulate  from  one  key 
to  another,"  he  says,  "without  using  more 
than  three  chords.  This  excited  my  curi- 
osity, and  to  my  astonishment  I  found  that 
he  improvised  whatever  modulations  I  sug- 
gested, even  from  quite  extraneous  keys." 
In  1861  he  wrote  to  his  sister  that  he  was 
meditating  a  musical  career,  but  was  still 
in  doubt  whether  he  could  pursue  it  suc- 
cessfully. "Perhaps  idleness  may  take  pc>s- 
session  of  me,  and  I  may  not  persevere." 
But  a  little  later  all  doubts  vanished,  he 
had  given  up  his  official  work,  withdrawn 
from  society,  and  thrown  himself  with 
characteristic  ardor  into  his  studies.  He 
now  sometimes  sat  up  all  night  working, 
and  Rubinstein,  his  composition  teacher  at 
the  Conservatory,  tells  how  on  one  occasion 
he  submitted  no  less  than  two  hundred 
variations  on  a  single  theme.  He  made 
such  good  progress  that  in  1866,  a  few 
years  after  his  graduation,  he  was  ap- 
pointed professor  of  harmony  in  the  Mos- 
cow Conservatory. 

From  about  this  time,  date  his  first  im- 
portant compositions.  "When  first  he 
came  to  live  in  Moscow,"  writes  his  friend 
M.  Kashkin,  ' '  although  he  was  then  six-and- 
twenty,  he  was  still  inexperienced  and 
young  in  many  things,  especially  in  the 
material  questions  of  life;  but  in  all  that 
concerned  his  work  he  was  already  mature, 
with  a  particularly  elaborate  method  of 
work,  in  which  all  was  foreseen  with  ad- 
mirable judgment,  and  manipulated  with 
the  exactitude  of  the  surgeon  in  operating. ' ' 
M.  Kashkin 's  testimony  is  a  valuable  cor- 
rective to  the  widespread  impression  that 
Tschaikowsky  composed  in  a  mad  frenzy 
of  passion.  No  good  work  in  art,  any  more 
than  in  science,  is  done  without  that  calm 


deliberation  which  his  strong  mental  grasp 
made  possible  to  him.  His  early  composi- 
tions were  for  the  most  part  operas,  and, 
it  must  be  added,  unsuccessful  operas. 
"The  Voievoda,"  written  in  1866,  did  not 
satisfy  him,  and  he  burned  the  score.  ' '  Un- 
dine,"  composed  in  1870,  was  not  accepted 
by  the  theatrical  authorities,  who  moreover 
mislaid  the  manuscript;  Tschaikowsky, 
years  later,  recovered  and  destroyed  it.  In 
1873  "  Snegourotchka, "  a  ballet,  in  spite 
of  some  musical  beauty,  failed  for  lack  of 
dramatic  interest.  The  success  of  "Kouz- 
netz  Vakoula, "  produced  a  year  later,  was 
ephemeral.  Thus  it  was  not  until  "The 
Oprichnik, "  which  still  holds  the  stage  in 
Russia,  was  brought  out,  when  Tschaikow- 
sky was  thirty-four,  that  he  made  a  pro- 
nounced success.  The  persistence  with 
which  he  continued  to  labor  during  these 
years  seems  to  be  overlooked  by  those  who 
consider  him  a  mere  prophet  of  lassitude 
and  discouragement.  Nor  would  such  a 
man  have  undertaken  and  discharged  the 
drudgery  of  journalistic  criticism  as  did 
Tschaikowsky  in  the  four  years  from  1872 
to  1876,  when  he  was  writing  critiques  for 
the  Moscow  papers.  Whatever  fluctuations 
of  mood  he  may  have  undergone  in  these 
early  years,  and  we  may  be  sure  they  were 
manjr,  his  outward  life  was  an  example  of 
equability,  diligence  and  patience. 

In  1877,  however,  there  was  some  sort  of 
tragic  happening.  That  it  was  somehow 
connected  with  an  unhappy  marriage,  that 
it  resulted  in  a  complete  nervous  break- 
down, these  things  we  know.  It  is  unneces- 
sary to  probe  for  more  specific  details;  it 
is  enough  to  note  that  for  a  long  time  he 
was  broken  and  despairing,  that  through 
all  the  rest  of  his  life  his  mental  temper, 
never  bright,  was  shadowed  with  a  patho- 
logical gloom.  He  left  the  Conservatory 
suddenly,  and  was  abroad  a  year.  He 
wrote  one  of  his  friends,  "On  the  whole, 
I  am  robust;  but  as  regards  my  soul,  there 
is  a  wound  there  that  will  never  heal.  I 
think  I  am  homme  fini  .  .  .  Something 
is  broken  in  me;  my  wings  are  cut  and  I 
shall  never  fly  very  high  again."  He  says 
that  had  he  remained  a  day  longer  in  Mos- 
cow he  should  have  drowned  himself,  and 


340 


PETER    ILYITCH    TSCHAIKOWSKY 


it  is  said  that  he  did  go  so  far,  in  his  ter- 
rible depression,  as  to  stand  up  to  his  chest 
in  the  river  one  frosty  September  night,  ' '  in 
the  hope  of  literally  catching  his  death  of 
cold,  and  getting  rid  of  his  troubles  without 
scandal. ' ' 

But  he  took  the  better  way;  indeed,  the 
best  years,  the  quietest  and  most  fruitful 
years,  of  his  life  were  yet  before  him.  As 
robust  in  character  as  he  was  sensitive  and 
impetuous  in  temperament,  he  pulled  him- 
self together,  and  wrote  in  the  next  year 
his  masterly  Fourth  Symphony,  his  best 
opera,  "Eugene  Oniegin,"  said  to  be  the 
second  most  popular  opera  in  Russia,  and 
many  other  strong  works.  He  returned 
also,  in  the  fall  of  1878,  to  his  post  at  the 
Conservatory,  but,  by  the  generosity  of  an 
anonymous  lady,  was  soon  enabled  to  give 
up  teaching  and  devote  himself  entirely  to 
composition.  From  this  time  on,  except  for 
a  conducting  tour  through  western  Europe 
in  1888,  and  one  to  America  a  few  years 
later,  he  stayed  chiefly  in  the  country,  in 
studious  solitude.  His  mode  of  life  at 
Maidanova,  a  little  village  where  in  1885 
he  took  a  house,  has  been  described  by  M. 
Kashkin,  who  often  visited  him.  After 
working  all  the  morning  and  taking  a  sim- 
ple but  well-cooked  dinner,  Tschaikowsky 
always  went  for  a  long  walk,  no  matter 
what  the  weather.  "Many  of  his  works 
were  planned  and  his  themes  invented,"  we 
are  told,  "in  these  long  rambles  across 
country."  After  tea  he  worked  again  until 
supper-time,  and  after  supper  the  two 
friends,  ordering  a  bottle  of  wine  and  dis- 
missing the  servant,  would  devote  them- 
selves to  playing  four-hand  music.  M. 
Kashkin  tells  one  or  two  interesting  stories 
of  Tschaikowsky  at  this  period.  His  impul- 
siveness it  seems,  took  the  form  in  money 
matters  of  a  fairly  reckless  generosity.  So 
lavishly  did  he  shower  coppers  on  all  the 
peasant  children  in  the  neighborhood,  that 
he  could  not  go  for  his  walk  without  being 
surrounded  by  them.  In  one  afternoon  he 
is  said  to  have  dispensed  fourteen  shillings 
of  his  own  and  all  of  M.  Kashkin  'a  small 
change.  A  friend  once  asked  him  where 
he  "invested  his  capital."  Convulsed  with 
laughter,  he  answered  that  his  last  invest- 


ment of  capital  had  been  in  a  Moscow 
hotel,  and  that  where  his  next  would  be  he 
did  not  know. 

The  events  of  his  tour  in  1888  he  has 
himself  narrated  with  characteristic  mod- 
esty and  charm,  in  a  fragment  of  diary. 
One  can  read  between  the  lines  that  he  was 
everywhere  the  center  of  admiring  interest, 
but  with  fine  literary  instinct  he  constantly 
subordinates  himself  to  the  people,  and 
events  through  which  he  moved.  How  lov- 
able are  his  vainly  continued  efforts  to  en- 
joy the  music  of  Brahms,  his  eagerness  to 
record  the  little  kindnesses  of  his  friends, 
his  dignified  reticence  about  his  enemies, 
his  hearty  appreciation  of  work  far  inferior 
to  his  own!  "I  trust,"  he  says,  "that  it 
will  not  appear  like  self-glorification  that 
my  dithyramb  in  praise  of  Grieg  precedes 
the  statement  that  our  natures  are  closely 
allied.  Speaking  of  Grieg's  high  qualities, 
I  do  not  at  all  wish  to  impress  my  readers 
with  the  notion  that  I  am  endowed  with  an 
equal  share  of  them.  I  leave  it  to  others 
to  decide  how  far  I  am  lacking  in  all  that 
Grieg  possesses  in  such  abundance."  This 
warm  appreciation  of  others,  combined  with 
so  pathetic  a  lack  of  self-confidence  that  on 
more  than  one  occasion  he  burned  the  score 
of  a  work  which  was  coldly  received,  was 
so  extreme  in  Tschaikowsky  that  one  of  his 
friends  pronounced  him  the  least  conceited 
of  composers.  Like  all  sensitive  people,  in- 
deed, he  was  painfully  conscious  of  social 
bonds ;  what  was  due  him  from  others,  and 
what  in  turn  was  due  them  from  him — 
these  intangibles,  so  easily  forgotten  by  most 
men,  were  to  him  stern  realities.  It  is 
touching  to  see  how  dependent  he  was  on 
the  friendliness  of  the  orchestra  he  was 
leading,  and  he  was  so  impressible  by  criti- 
cism that  long  after  his  fame  was  estab- 
lished he  could  repeat  word  for  word  Hans- 
lick's  and  Cui's  early  attacks  upon  him. 
On  the  other  hand,  M.  Kashkin  says  that 
when  he  was  conducting  the  works  of  others 
he  was  so  sensible  of  his  responsibility  that 
his  face  wore  a  look  of  physical  pain.  When 
he  was  dying  of  cholera,  in  terrible  agony, 
he  thanked  all  about  his  bedside  for  the 
consideration  they  showed  him  and  his  last 
remark  reminds  one  of  Charles  the  Second's 


PETER    ILYITCH    TSCHAIKOWSKY 


341 


"I  am  afraid,  gentlemen,  I  am  an  uncon- 
scionable time  a-dying."  He  turned  to  his 
nephews  after  an  unusually  severe  attack 
of  nausea  with  the  exclamation,  "What  a 
state  I  am  in!  You  will  have  but  little 
respect  for  your  uncle  when  you  think  of 
him  in  such  a  state  as  this!"  He  died  at 
Petrograd,  in  October,  1893. 

By  this  time  it  will  be  clear  enough  that 
this  was  no  puling  complainer,  but  a  deli- 
cate, high  nature  of  great  emotional  inten- 
sity, subjected  to  a  cruel  interaction  of 
temperament  and  circumstances,  and  yet 
capable  of  nobly  constructive  artistic  work. 
His  life,  candidly  examined,  reveals  mod- 
esty, dignity,  elevation  of  ideal  and  of 
character.  Yet  it  does  illustrate,  too,  in 
many  ways,  that  lack  of  emotional  balance 
which  underlies  the  peculiar  quality  of  his 
music. 

His  mere  method  of  approaching  his  art, 
in  the  first  place,  is  significant.  All  hifr 
early  efforts,  as  we  have  seen,  were  operas ; 
he  wrote  altogether  ten  operas,  and  the 
Pathetic  Symphony  is  the  last  fruit  of  a 
genius  dramatic  rather  than  symphonic. 
At  thirty  Tschaikowsky  was  unable  to  read 
orchestral  scores  with  ease,  and  preferred 
to  study  the  classics  through  four-hand 
arrangements,  while  his  distaste  for  the 
purest  form  of  music  was  so  great  that  he 
protested  he  could  hardly  keep  awake 
through  the  performance  of  the  masterly 
A-minor  Quartet  of  Beethoven.  This  atti- 
tude toward  the  string  quartet,  which  is  in 
music  what  engraving  or  etching  is  in  rep- 
resentative art,  is  very  anomalous  in  a 
young  composer,  and  shows  so  dispropor- 
tionate an  interest  in  the  merely  expressive 
side  of  music  that  it  is  hard  to  understand 
how  Tschaikowsky  ever  became  so  great  a 
plastic  master  as  his  last  two  symphonies, 
for  all  their  freight  of  passion,  show  him 
to  be. 

He  never,  in  fact,  wholly  outgrew  certain 
peculiarities  which  are  direct  results  of  his 
emotional  instability,  his  slavery  to  mood. 
His  persistent  use  of  minor  keys,  for  ex- 
ample, is,  as  the  doctors  say,  symptomatic. 
The  minor  is  naturally  the  medium  of 
vague,  subjective  moods  and  fantasies,  of 
aspiration,  longing,  and  doubt;  it  is  the 


vehicle  of  morbidly  self-bounded  thoughts, 
whose  depressing  gloom  is  equalled  only  by 
their  seductive  and  malign  beauty.  Such 
thoughts  we  find  too  often  in  Chopin, 
Grieg,  and,  it  must  be  added  in  Tschaikow- 
sky. Of  the  first  thirty  songs  he  wrote, 
seventeen  are  in  the  minor  mode.  Of  course 
too  much  should  not  be  argued  from  a  detail 
of  this  sort,  but  the  major  system  is  so 
naturally  the  medium  of  vigorously  objec- 
tive thought  that  we  instinctively  suspect 
the  health  of  a  mind  which  harps  continu- 
ally upon  the  minor.  By  a  somewhat  simi- 
lar tendency  toward  self-involution,  the 
natural  result  of  intense  emotionality, 
Tschaikowsky  inclines  to  monotony  of 
rhythm;  he  gets  hypnotized,  as  it  were,  by 
the  regular  pulsation  of  some  recurring 
meter,  and  he  continues  it  to  the  verge  of 
trance.  An  example  is  the  long  pedal-point 
on  D,  in  the  curious  5-4  measure  of  the  sec- 
ond movement  of  the  Pathetic  Symphony. 
This  is  like  the  wailing  and  rocking  of  the 
women  of  a  savage  tribe  over  the  death  of 
a  warrior;  it  is  at  once  wild  and  sinister. 
But  perhaps  the  most  striking  evidence  of 
this  servitude  to  passion  we  are  trying  to 
trace  in  Tschaikowsky  is  his  constant  use 
of  climax.  It  seems  to  be  quite  impossible 
for  him  to  preserve  a  mean-tone;  he  is 
always  lashing  himself  into  a  fury,  boiling 
up  into  a  frenetic  fortissimo,  after  which 
he  lapses  into  coma  until  some  phrase  of 
melody  or  impulse  of  rhythm  jostles  his 
imagination  again,  and  he  presses  on 
toward  a  new  crisis.  The  effect  of  these 
cumulative  whirlwinds  of  passion  is  often 
tremendous,  is  unique,  indeed,  in  music ; 
yet  one  longs  sometimes  in  the  midst  of 
them  for  a  less  turbulent  attitude,  for  the 
equable  beauty  of  Bach  or  Mozart.  The 
atmosphere  is  surcharged.  One  feels  that 
this  noble  but  willful  spirit  has  sat  too  long 
in  the  close  chamber  of  personal  feeling, 
that  one  must  throw  wide  the  windows  and 
let  in  the  fresh  winds  of  general  human 
existence. 

Yet,  after  all,  the  imperfections  of 
Tschaikowsky 's  music  are  due  rather  to 
the  overwhelming  richness  of  his  emotions 
than  to  any  shortcomings  of  mind;  his  case 
is  an  artistic  embarrassment  of  riches,  and 


PETER   ILYITCH    TSCHAIKOWSKY 


his  critic  must  avoid  the  fallacy  of  suppos- 
ing, because  his  constructive  power  is  some- 
times inadequate,  that  it  is  ever  meager.  On 
the  contrary,  he  is  a  man  of  great  intel- 
lectual force.  It  is  too  bad  to  be  so  busy 
with  Tschaikowsky  the  pessimist  that  one 
forgets  Tschaikowsky  the  artist.  His  melo- 
dic fertility  alone  is  enough  to  rank  him 
with  the  great  constructive  musicians.  His 
devotion  to  Mozart,  and  to  the  Italian 
opera-writers,  was  no  accident ;  by  the  spon- 
taneity and  beauty  of  his  melodies  he  has 
"approved  himself  their  worthy  brother." 
Few  more  inspiring  tunes  can  be  found 
anywhere  than  the  opening  theme  of  his 
B-flat  minor  Piano  Concerto,  with  its 
splendid  and  tireless  vigor,  or  the  broad, 
constantly  unfolding  cantilena  of  the  sec- 
ond theme  in  the  Fifth  Symphony.  His 
pages  are  plentifully  scattered  with  phrases 
of  rare  grace,  of  a  fresh  and  original  charm. 
Jlis  harmony,  too,  for  all  its  radicalism,  is 
generally  firm  and  well  controlled,  and  his 
rhythm,  however  monotonous  at  times,  is 
never  vague. 

In  polyphony  he  is  a  powerful  master, 
as  anyone  may  see  by  examining,  for  ex- 
ample, the  masterly  variations  in  his  Orches- 
tral Suite,  Opus  55.  He  is  probably,  on 
the  whole,  a  greater  master  of  general  con- 
struction than  any  of  his  contemporaries 
except  Brahms. 

It  is  evident,  then,  that  this  curiously 
paradoxical  personality  was  gifted  with  an 
intellectual  strength  that  went  far  toward 
dominating  the  turbulent  passions  which, 


on  the  whole,  it  could  not  quite  dominate. 
But  one  needs,  after  all,  no  careful  statis- 
tical proof  of  the  rationality  of  Tschaikow- 
sky  's  music.    The  fact  that  it  survives,  that 
it  is  widely  listened  to  and  loved,  proves 
a  priori  that,  however  tinged  it  may  be  with 
personal   melancholy,   it   is   not  ultimately 
pcssimistical  or  destructive  in  effect.     For 
it  is  the  happy  fortune  of  art  it  cannot  fully 
voice  the  destructive  forces  of  anarchy  and 
despair.    Its  nature  precludes  the  possibil- 
ity, for  anarchy  is  chaos,   despair  is  con- 
fusion, and  neither  can  be  the  subject  of 
that  clearly  organic  order  which  is  art.   The 
artist  may,  of  course,  express  sadness;  his 
work,  if  it  is  to  be  comprehensively  human, 
must  be  reflective  of  the  ebb  as  well  as  the 
flow  of  vital  power.     But  it  cannot  mirror 
complete   dejection,   the   absolute   lapse   of 
power ;  for  without  power  there  is  no  organ- 
ization, and  without  organization  there  is 
no   art.     The  melodic   invention,   the   har- 
monic grasp,  the  rhythmic  vigor,  in  a  word 
the   powerful   musical   articulation,   every- 
where present  in  Tschaikowsky 's  best  work, 
remove  it  far  from  the  inarticulate  mean- 
ings of  despair.     Such  faculties  as  his  are 
anything   but   disintegrating   or   decadent; 
however  much  individual  sadness  may  at- 
tend their  exercise,  they  are  upbuilding  and 
creative.     Tschaikowsky  commands  our  ad- 
miration more  than  our  pity  because,   in 
spite  of  the  burdens  of  his  temperament  and 
the  misfortunes  of  his  experience,  he  con- 
tributed to  beauty,  and  beauty  is  the  stand- 
ing confutation  of  evil. 


A  STUDY  OF  TSCHAIKOWSKY 


BY 

ERNEST   NEWMAN 


WE  are  probably  too  close  in  time  to  the 
new  Russian  music  to  pass  anything 
like  final  judgment  upon  its  value,  or  even 
to  estimate  accurately  the  forces  that  have 
brought  it  into  being.  All  we  can  do  at 
present  is  to  rejoice  exceedingly  at  this  in- 
trusion of  a  new  spirit  into  our  Western 
conceptions  of  music,  just  at  the  time  when 
the  art,  in  some  departments,  was  returning 
upon  its  own  steps  for  lack  of  power  to 
strike  out  into  fresh  territory.  The  pecu- 
liar thing  is  that  while  the  previous  move- 
ments by  which  music  has  been  lifted  bodily 
from  an  old  into  a  new  path  have  been  not 
so  much  national  as  individual  outbursts, — 
Gluck  and  Wagner  in  opera,  Beethoven  in 
the  symphony,  Chopin  and  Schumann  in 
personal  piano  music,  Berlioz  and  Liszt  in 
program  music, — the  Russian  renaissance  is 
clearly  due  not  so  much  to  any  particular 
individual  as  to  a  general  move  in  one  direc- 
tion by  Russian  musicians  as  a  whole.  There 
are  minor  differences  of  style  and  idea  ob- 
servable among  them,  but  the  general  broad 
resemblances  between  them  are  more  than 
sufficient  to  counterbalance  these.  And  with- 
out falling  into  the  facile  error,  now  so 


prevalent,  of  lumping  all  Russians  together 
and  attributing  to  them  certain  character- 
istics supposed  to  be  typical  of  that  mysteri- 
ous entity,  "the  Slav,"  we  can  roughly  dis- 
tinguish a  physiognomy  in  the  new  music  to 
which  the  generic-description  of  "Russian" 
may  safely  be  applied. 

It  is  perhaps  because  we  have  this  broad 
concept  of  a  body  of  music  exhibiting 
national  characteristics  that  mark  it  off 
from  Western  art,  that  Tschaikowsky  has 
come  to  occupy  the  place  he  now  holds.  That 
Russians  in  general  think  him  more  West- 
ern, less  "Russian,"  than  other  of  their  na- 
tive composers  in  no  way  disturbs  our  vision 
of  him  as  typically  Russian ;  for  the  Russia 
we  think  of  in  connection  with  art  is  a  prod- 
uct of  the  grafting  of  Western  culture  upon 
the  native  growths.  Turgeniev  and  Tolstoi 
undoubtedly  owe  their  force  and  range  pre- 
cisely to  this  crossing  of  cultures;  and 
though  Dostoyeski's  genius  is  of  a  more 
naive  order,  making  its  tremendous  effect  by 
sheer  unconscious  power  of  the  intuitive 
imagination,  he  also  appeals  to  us  as  less 
"native"  than  the  earlier  and  minor  novel- 
ists and  poets.  In  Tschaikowsky  the  blend 

343 


HOUSE  IN  WHICH  TSCHAIKOWSKY  LIVED  AT  FROLOVSKOE. 


of  East  and  West  is  the  very  essence  of  the 
man  and  of  the  artist.  On  the  one  side  he 
seems  to  trace  his  descent  from  the  most 
modern  of  our  pessimists  of  the  imagination, 
from  the  men,  like  Amiel,  who  find  their  will 
to  act  paralyzed,  and  who  stand  aghast  at 
the  spectacle  of  the  insignificance  of  the  mere 
individual  in  this  complex  world.  On  the 
other  side  there  is  the  strong  Oriental  strain 
in  Tschaikowsky ;  one  sees  it  in  his  turbulent 
rhythms,  his  love  of  gorgeous  color  for  its 
own  sake,  and  his  occasional  naivete  of 
design.  The  crossing  of  these  two  spirits 
has  made  the  Tschaikowsky  we  know.  Not 
only  are  the  fusion  and  interpenetration  of 
them  visible  in  almost  all  his  works,  but  they 
can  frequently  be  seen  in  separation,  treading 
one  upon  the  heels  of  the  other.  It  is  then 
that  we  get  those  disturbing  transitions  of 
feeling  that  always  impress  and  sometimes 
perplex  us  in  his  music.  A  phrase  of  such  pro- 
found melancholy  that  one  could  believe  it  to 
have  come  straight  from  the  heart  of  the 
most  refined  and  sensitive  of  modern  Eu- 
ropeans is  followed,  almost  without  warning, 
by  a  swirl  of  primeval  passion  that  takes  us 
back  at  once  a  thousand  years  in  ancestry; 

84* 


the  speech  of-  civilized  cities  seems  to  be 
swept  away  by  a  volcanic  outburst  of  almost 
speechless  wrath  or  anguish  or  despair. 

A  nature  such  as  this  was  hardly  likely  to 
be  amenable  to  all  the  classical  canons  of  the 
art;  and  Tschaikowsky  necessarily  diverged 
very  widely  from  the  forms,  as  from  the 
moods,  of  the  Western  musical  world.  While 
men  like  Brahms,  in  the  clutch  of  the  old 
tradition,  were  vainly  trying  to  find  ex- 
pression in  a  symphonic  form  that  was 
clearly  not  suited  to  them,  Tchaikovski  and 
his  fellow-Russians  frankly  embraced  the 
poetic  element  in  music,  feeling  that  this 
gave  them  an  opportunity  for  the  utterance 
of  their  strongest  emotions,  which  were 
bound  to  remain  dumb  within  the  limits  of 
"absolute  music."  One  has  only  to  glance 
down  a  catalogue  of  the  works  of  Russian 
composers  to  see  how  large  a  part  the  poet- 
ical or  literary  suggestion  plays  in  their 
music.  Almost  unconsciously,  they  seem  to 
have  decided  unanimously  that  the  program 
form  is  the  modern  form  par  excellence  ;  and 
as  they  have  all  been  men  of  culture  as  well 
as  good  musicians,  they  have  steered  clear  of 
some  of  the  traps  that  threaten  to  make  an 


A    STUDY    OF    TSCHAIKOWSKY 


345 


end  of  the  earlier  European  programists. 
This  unanimity  of  aim  on  their  part  is  prob- 
ably due  on  the  one  hand  to  the  Western 
influence  in  them  making  for  directness  and 
reality  of  expression,  and  on  the  other  hand 
to  the  fact  that  Russian  music  grew  up  in 
comparative  freedom  from  the  German  tra- 
dition. Its  devotees  had  gone  to  school  to 
the  great  Teutons,  but  had  not  been  crammed 
with  dead  lore.  They  were  consequently 
free,  both  as  regards  their  training  and  their 
public,  to  write  very  much  as  they  pleased ; 
and  the  program  form  being  most  suitable 
for  what  they  had  to  say,  they  set  to  work  on 
it  without  feeling  any  necessity  to  apologize 
for  their  existence,  as  a  Western  musician 
would  have  done.  In  Tschaikowsky's  music 
the  appropriateness  of  the  program  form  to 
his  imagination  is  visible  at  almost  every 
point.  Not  that  he  was  unable  to  work  within 
the  limits  of  the  older  forms  and  still  write 
fine  music ;  only  one  feels  that  where  he  is*- 
successful  here  it  is  by  dint  of  sheer  musical 
skill  and  inventiveness,  and  that  he  worked 
more  naturally,  more  continuously,  when  he 
was  free  to  follow,  in  a  pseudo-dramatic  way, 
the  lead  of  the  poetic  element.  He  began  by 


The  great  "Trio"  (Op. 
"Manfred"  symphony  (Op.  58), 
"Hamlet"  overture  (Op.  67)  are 


writing  absolute  and  program  music  at  the 
same  time  and  with  seeming  impartiality; 
but  if  we  compare,  say,  his  second  symphony 
(Op.  17)  with  his  "Fantaisie"  on  Shak- 
spere's  "  Tempest"  (Op.  18),  we  can  see  how 
much  more  congenial  the  form  of  the  latter 
really  is  to  him.  In  spite  of  the  beauty  and 
the  brilliance  of  the  fourth  symphony  (Op. 
36),  again,  he  seems  to  speak  more  directly, 
more  poignantly,  in  the  "  Francesca  da  Ri- 
mini" (Op.  32). 
50),  the 
and  the 

frankly  programist  in  form;  while  between 
the  two  last-named  works  came  the  fifth 
symphony  (Op.  64),  in  which  Tschaikowsky 
seems  to  be  making  a  curious  effort  to  blend 
the  two  forms,  to  inject  the  life-blood  of  the 
poetic  or  dramatic  suggestion  into  the  veins 
of  the  older  form  of  symphony.  In  the 
"  Pathetique"  the  dramatic  idea  is  so  palpa- 
,bly  the  very  essence  of  the  work  that  the 
h'ii^j  instructed  hearer  becomes  conscious  of 
it  at  once.  This  sixth  symphony,  I  think, 
puts  the  final  seal  upon  program  music  ;  and 
the  triumph  of  the  form  is  all  the  greater  by 
reason  of  the  fact  that  Tschaikowsky  gives 


SUMMER  HOME  OF  TSCHAIKOWSKY  AT  MAIDANOWA. 


346 


ANTON    RUBINSTEIN 


us  no  clue  to  the  "  story."  Working  with  no 
extraneous  material,  with  nothing  more  than 
the  ordinary  forms  and  colors  of  orchestral 
music,  he  has  succeeded  in  making  one  of 
the  most  poignant  dramas  of  struggle,  defeat, 
and  despair  that  even  literature  can  point  to. 
And  the  "  Pathe'tique  "  is  really  Russian,  in 
the  sense  that  Turgeniev's  work  is  Russian, 
— in  its  exquisite  sadness,  its  philosophical 
hopelessness  of  outlook,  its  amalgam  of 
Oriental  fatalism  with  an  Occidental  logic 
of  expression.  So  that  although  Tschai- 


kowsky's  compatriots  may  say  of  him,  as 
their  fathers  said  of  Turgeniev,  that  he  is 
not  really  Russian,  and  though  the  sudden 
spread  of  his  fame,  on  the  strength  of  the 
"  Pathetique,"  has  been  rather  prejudicial  to 
the  hearing  of  other  and  more  "  native"  com- 
posers, the  foreign  student  of  Russian  lit- 
erature and  music  will  probably,  for  a  long 
time  to  come,  look  upon  him  as  the  symbol 
of  the  union  of  East  and  West  in  music,  as 
Tolstoi  and  Turgeniev  are  the  symbols  of 
that  union  in  fiction. 


A  VILLAGE  DRAM-SHOP  IN  POLAND. 


ANTON  RUBINSTEIN 


HUGO  RIEMANN 

"  Zwei  Seelen  wohnen,  ach,  in  meiner  Brust, 
Die  eine  will  sich  von  der  anderen  trennen." 

GOETHE,  "  Faust." 


THERE  is  a  strain  of  the  Faust-nature  in 
this  artist  whom  the  world  honors  and 
loves  under  the  name  of  Anton  Rubinstein 
—  an  eternally  unf ulfilled  longing,  discontent 
with  success,  and  striving  after  the  unat- 
tainable. This  Faust-like  longing  has  en- 
graved deep  furrows  in  that  iron  face,  sur- 
rounded by  dark  hair,  which  recalls  to  us,  as 
hardly  another  does,  the  great  Beethoven. 
"A  second  Beethoven!"  How  often  may 
this  comparison  have  sounded  in  his  ears  to 
stimulate  his  eagerness  to  the  utmost  in  the 
never-ending  pursuit  of  the  highest  artistic 
fame.  "  A  second  Beethoven ! "  The  wild 


chase  is  now  at  an  end ;  for  six  years  has 
this  great  heart  ceased  to  beat,  and  the 
mighty  Conqueror  of  all  earthly  woes  has 
given  to  him  for  his  portion  that  peace 
which  he  sought  and  could  not  find.  But 
he  was  not  like  Faust  in  that  hour  in  which 
Faust,  rapt  in  beautiful  enchantment,  said 
to  his  vision :  "  Stay,  O  moment,  thou  art  so 
beautiful ! "  No,  he  remained  to  the  end 
a  real  Faust,  seeking,  striving.  Whoever 
has  heard  him  entice  from  the  instrument 
whose  mighty  master  he  was,  soulful  lamen- 
tations and  sweet  callings  of  passion,  or 
pressing  its  voice  into  frightful  threatenings 


ANTON   RUBINSTEIN 


347 


and  consuming  wrath,  and  recognized  in  him 
the  irresistible  impelling  power  of  a  demon, 
will  be  grieved  the  deeper  to  learn  that  this 
king  among  musicians,  this  mighty  one  in 
the  kingdom  of  tone,  did  not  end  his  days  in 
sweet  enjoyment  of  his  artist's  fame,  but 
went  out  of  the  world  with  a  torn  heart, 
discontented  with  everything.  Rubinstein's 
gloomy  countenance,  seldom  lighted  by  a 
smile,  was  not  a  mask,  but  the  natural  ex- 
pression of  the  attuning  of  his  soul,  and  when 
he  mourned  or  grieved  at  the  piano,  it  was 
not  merely  artistic  expression,  but  dead  ear- 
nest. The  published  writings  which  sprang 
from  the  last  years  of  his  life — "Music  and 
her  Masters,"  "  The  Remembrances  of  Fifty 
Years,"  "A  Basket  of  Thankofferings" — gave 
to  posterity  a  glance  into  his  darkened  and 
embittered  soul,  and  laid  bare  the  inner  dis- 
cord which  would  not  allow  him  the  quiet 
enjoyment  of  life.  The  hardness  and  injus- 
tice of  his  judgment  of  his  contemporaries 
are  witnesses  of  his  extreme  artistic  loneli 
ness  and  friendlessness  in  the  evening  of  his 
famous  and  deedful  life.  At  odds  with  him- 
self and  the  world,  the  gray-haired  master 
stands  before  the  wilting  laurels  that  lie  upon 
the  ruins  of  his  ideals,  and  disputes  with 
those  who,  as  he  thinks,  stand  hindering  in 
his  way. 

There  was  a  time  when  this  gloomy  eye 
looked  gaily  and  hopefully  into  the  future, 
but  this  lies  far  back.  Rubinstein  was  a 
musical  wonder-child.  He  was  born  in  a 
little  village,  Vikhvatinetz,  in  Bessarabia,  on 
the  28th  of  November,  1829,  the  son  of  a  mer- 
chant. His  cradle  was  between  the  Ukraine 
and  the  Carpathians,  and  there  sounded  over 
him  the  melancholy  folk-songs  of  the  south- 
ern Slavs.  His  mother,  well  instructed  in 
music,  cultivated  the  musical  instincts  of 
the  child  in  his  tenderest  age,  and  taught 
the  little  Anton  singing  and  piano-play- 
ing. In  1835,  on  account  of  the  unhappy 
change  in  their  fortunes,  the  family  moved 
to  Moscow,  where  the  father  built  a  pencil- 
factory  with  the  remainder  of  his  means. 
Anton  now  became  a  pupil  of  the  excellent 
piano-teacher  Alexander  Villoing,  of  French 
extraction,  who  undertook  the  education 
of  this  quick-developing  talent.  Before  he 
had  finished  his  twelfth  year  the  boy  ap- 
peared in  a  charity  concert,  and  was  hailed 
as  a  wonder.  Now  there  is  no  more  holding 


back.  He  must  go  out  into  the  world,  and 
certainly  his  mother  has  a  sore  heart  when 
she  sends  him  with  his  teacher  to  Paris,  in 
1840,  where  he  is  to  receive  the  criticisms  of 
the  greatest  authorities  upon  his  talent. 
Liszt,  Chopin,  Kalkbrenner  are  enraptured. 
But  Liszt  earnestly  advises  that  the  child 
receive,  first  of  all,  a  thorough  grounding 
in  theory.  The  boy  shall  take  a  long 
concert-tour  through  Holland,  Germany, 
Sweden,  and  Norway,  however,  so  that  he 
may  enjoy  the  nectar  perfume  of  artistic 
celebrity  before  he  binds  himself  down  to 
new,  earnest  work  in  his  home.  In  1844  he 
embraces  his  father  in  parting,  not  thinking 
that  he  will  never  see  him  again.  His 
mother,  however,  journeys  to  Berlin  with  him, 
taking  his  younger  brother  Nicolaus  (born  in 
1835),  who,  meantime,  has  also  shown  strik- 
ing musical  gifts.  There  the  boys  were 
placed  with  a  strict  teacher  of  counterpoint, 
the  learned  Siegfried  Dehn,  who  not  long 
before  had  had,  among  his  pupils  in  Russia, 
the  celebrated  Michael  Glinka.  Nicolaus  was 
at  the  same  time  a  pupil  of  Theodor  Kullak. 
Anton,  on  the  contrary,  was  already  a  finished 
piano-player.  He  needed  no  more  teaching. 
A  whole  series  of  little  compositions  by 
Anton  (piano-pieces  and  songs — Op.  1-10) 
was  printed  at  that  time.  But,  after  finish- 
ing his  studies  with  Dehn,  Anton  threw  them 
to  one  side  and  commenced  again  with  a  new 
Opus  1. 

Anton  buried  himself  with  eai'nest  eager- 
ness in  the  secrets  of  art-learning,  and  his 
manuscripts  heaped  themselves  up  on  his 
desk.  Then  the  hand  of  fate  gripped  hard 
into  his  life.  In  1846  his  father  died,  and  it 
appeared  that  nothing  was  left  of  his  former 
fortune.  The  mother  hastened  with  little 
Nicolaus  back  to  Moscow  to  settle  the  estate, 
but  Anton  journeyed  quite  alone  farther  into 
the  world,  determined  more  firmly  to  seek 
his  own  living.  Dehn  advised  him  to  go  to 
Vienna.  There,  living  in  a  garret-chamber, 
he  painfully  earned  his  daily  bread  by  giving 
lessons.  The  wonder-boy  was  now  ranged 
among  the  youths  upon  whom  the  world 
made  sterner  demands,  and  a  severe  battle 
began.  His  experiences  in  concerts  left  him 
no  doubt  on  that  head,  and  his  compositions 
only  now  and  then  found  a  purchaser.  But 
he  worked  on  with  iron  energy  to  make  a 
wonder-man  out  of  the  wonder-boy,  and  truly 


348 


ANTON   RUBINSTEIN 


lie  succeeded  well.  When  the  revolution 
(1848)  drove  him  out  of  Vienna  he  settled 
happily  in  St.  Petersburg  in  1849  after  many 
adventures  and  only  the  loss  of  the  trunk 
containing  his  MSS.  He  was  already  an  ex- 
pert master  of  the  piano.  He  found  pro- 
tectors in  the  Princess  Helene  and  the  Count 
Wielhorski,  who  gave  him  a  joyful  welcome. 
After  he  had  made  himself  a  recognized  place 
as  the  kammervirtuoso  to  the  princess,  and 
had  also  brought  out  two  Russian  operas  with 
success  ("Dmitri  Donskoi,"1852;  "Fomkadu- 
rachok,"1853),  he  entered  upon  a  newand  great 
concert  trip,  fully  furnished  with  the  neces- 
sary means  (1854).  This  laid  the  foundation 
of  his  fame.  A  great  number  of  compositions 
—  symphonies,  chamber  music,  piano  pieces, 
and  songs  —  quickly  followed  each  other, 
and  in  1858  he  returned  as  a  laurel-crowned 
conqueror  to  St.  Petersburg,  where  he  was 
named  court  pianist  to  the  Czarina  and  impe- 
rial chapel-master.  The  founding  of  a  concert 
institute  of  the  first  rank,  the  Imperial  Russian 
Musical  Society  (1859),  and  also  the  St.  Peters- 
burg Conservatory  (1862),  which  bloomed  rap- 
idly into  success,  opened  to  him  a  wider  range 
of  work.  At  the  same  time  he  raised  the  stan- 
dard of  music  of  his  fatherland,  which  before 
had  not  been  very  great.  In  this  his  brother 
Nicolaus  lent  him  a  helping  hand  when  he 
called  into  existence  an  Imperial  Russian  Mu- 
sical Society  in  Moscow,  and  also,  in  1864,  a 
Conservatory. 

In  1865  Anton  married  a  well-to-do  resi- 
dent of  St.  Petersburg,  Vyera  Tchikonanov, 
and  established  for  himself  a  comfortable 
home  in  his  own  villa  at  Peterhof.  For  a 
common  mortal  who  did  not  carry  a  demon 
in  his  bosom  this  would  have  been  the  end  of 
all  his  seeking  and  wandering.  Not  so  Rubin- 
stein. Now  began  to  develop  in  him  that 
puzzling  impulse,  that  Faust-like  longing, 
which  never  again  allowed  him  quiet  enjoy- 
ment and  peaceful  pleasure  of  life.  In  such 
a  frame  of  mind  a  comfortable  burgher-like 
existence  was  unbearable,  and  in  the  year 
1867,  to  the  wonderment  of  the  world  and 
the  head-shakings  of  his  nearest  friends,  he 
suddenly  laid  down  the  direction  of  the  Con- 
servatory and  the  music  society,  and  hastened 
into  the  wide  world,  seeking  the  iinknown. 
Was  it  the  phantom  of  fame  alone  which  left 
him  no  rest  and  enticed  him  away  with  magic 
power  ?  At  all  events,  it  was  not  the  phantom 


of  the  fame  of  a  virtuoso  only.  As  piano- 
playt-r  he  stood  undeniably  in  the  first  rank, 
and  he  carried  his  reputation  (1872 -73)  to 
America.  In  comparison  with  his  only  re- 
maining rival,  Hans  von  Biilow  (Tausig  had 
died  in  1871),  he  found  the  majority  on  his 
side.  The  striking  naturalness  of  his  playing, 
with  its  glowing  and  uplifting  inspiration, 
always  made  more  impression  upon  the  great 
public  than  the  careful,  perfect,  and  correct 
art  of  Biilow ;  but  Rubinstein  was  no  longer 
satisfied  with  the  fame  of  a  virtuoso  •  he 
wished  recognition  also  —  full  recognition  — 
as  a  composer  by  God's  grace,  as  one  of  the 
greatest  in  the  kingdom  of  music.  His  vir- 
tuosity was  for  him  more  and  more  a  means 
of  reaching  this  higher  point.  The  concert- 
hall  and  theater  which  everywhere  welcomed 
the  piano-player  must  now  open  for  the  com- 
poser. Already  he  himself  began  to  belittle 
his  mastership  of  the  piano  in  looking  for- 
ward to  the  crown  of  a  creative  artist,  toward 
which  he  was  longingly  stretching  out  his 
hands.  The  slowness  with  which  his  works 
made  their  way  in  comparison  with  the  fast- 
rolling  wave  of  his  fame  as  a  player  made  him 
impatient,  and  more  and  more  strengthened 
that  inward  haste  which  finally  destroyed 
him.  His  quick  temperament  did  not  allow 
him  quiet  reflection.  Had  he  but  considered 
how  long  it  was  before  the  works  of  his 
exemplar  Beethoven  were  widely  known ! 
This  same  haste  and  violence  of  tempera- 
ment which  made  that  long  development 
of  his  fame  unbearable  showed  themselves, 
alas !  in  the  art  of  his  production.  If  he  had 
possessed  the  gift  of  working  like  Beethoven, 
he  would  certainly  have  overcome  the  chief 
obstacle  which  stood  in  his  way  as  a  success- 
ful composer. 

The  reason  why  Rubinstein's  compositions 
do  not  hold  their  favor  where  they  are  once 
known  has  its  foundation  in  the  inequality 
of  his  composition,  the  want  of  thoroughly 
working  over  and  slowly  ripening  his  ideas. 
This  has  always  been  the  instinctive  judg- 
ment of  his  true  artist  friends.  His  works 
interested,  but  did  not  impress.  They  won 
a  quick  victory,  but  they  could  not  hold  their 
place.  It  also  happened  that  his  efforts  for 
fame  as  a  composer  fell  at  a  time  when  new 
tendencies,  sharp  and  distinct,  were  develop- 
ing ;  on  one  side  was  Wagner,  with  his  as- 
tonishingly successful  reform  in  dramatic 


^^r**t*ffrr2/  «> 

S^rf7' 
^t&t**'?*/^ 


music,  which,  with  its  quick  attainment  of 
an  entirely  new  style,  made  all  other  en- 
deavors in  the  kingdom  of  stage  composi- 
tion colorless ;  on  the  other  hand  were  Liszt 
and  his  school,  with  their  program  music, 
which  offered  entirely  new  standards  for  the 
worth  or  unworth  of  instrumental  works. 
Receptive  to  every  influence  around  him, 
Rubinstein  felt  that  of  Wagner  and  Liszt 
without  enlisting  under  their  banners.  The 
result,  wanting  a  thorough  art  of  his  own 
which  with  iron  diligence  and  persistent  en- 


ergy would  penetrate  all  obstacles,  could  be 
only  an  eclecticism  which  would  bring  him 
cpen  friendship  and  encouragement  neither 
from  the  side  of  the  new  school  nor  from 
those  holding  fast  to  the  old  classical  tradi- 
tions. The  great  success  and  real  popularity 
of  exceptional  works,  particularly  the  piano 
compositions  and  songs,  and  his  B  major 
trio  and  D  major  cello  sonata,  must  indeed 
only  have  misled  and  deceived  him  as  to  the 
worth  of  his  compositions,  because  he  be- 
lieved himself  justified  in  demanding  the 

349 


350 


ANTON   RUBINSTEIN 


same  and  more  for  his  greater  works.  His 
Ocean  Symphony  (Op.  42,  C  major),  and  the 
Dramatic  Symphony  (Opus  95,  D  minor), 
seemed  for  a  time  to  justify  and  make  good 
his  claim.  But  this  hope  finally  showed 
itself  deceptive;  the  valley  followed  the 
height. 

Following  the  example  of  his  countrymen 
Borodin,  Balakirev,  and  Rimski-Korsakov,  he 
made  successful  excursions  into  the  land  of 
Russ-national  composition  (Fifth  symphony 
in  G  minor,  Op.  107;  A  minor  symphony,  Op. 
Ill),  but  for  all  that,  they  did  not  quite  recog- 
nize him  as  one  of  themselves.  The  Russ-na- 
tional appears  in  his  work  only  as  something 
among  a  numerous  crowd  of  different  ele- 
ments, without  entirely  permeatin  g  them .  So 
he  swung,  without  being  clear  himself,  with- 
out conscious  intention,  between  the  national 
and  the  international,  between  the  classic  and 
the  new  German,  while  the  number  of  his 
friends  became  ever  fewer  and  his  own  em- 
bitterment  ever  greater.  He  sought  many 
times,  as  director,  to  win  an  influence  over 
the  development  of  his  fame  in  composition. 
In  1871-72  he  undertook  for  a  season  the  di- 
rection of  the  Vienna  Music  Society  concerts. 
He  also  eagerly  grasped  again  the  director- 
ship of  the  Conservatory  in  St.  Petersburg 
(which  Carl  Davidov  had  suddenly  laid  down 
in  1887),  and  continued  it  till  1890.  Moreover, 
he  enjoyed  as  before  the  very  highest  estima- 
tion in  St.  Petersburg,  whither  he  returned 
(to  Peterhof)  every  summer. 

He  was  there  named  an  imperial  "  Staats- 
rat "  and  raised  to  the  hereditary  nobility.  He 
received  also  the  rare  distinction  of  the  Prus- 
sian Order  of  Merit.  But  all  that  did  not 
suffice  to  give  him  the  inner  rest  which  he  so 
imperatively  needed  for  the  real  crowning 
of  his  life's  work.  Instead  of  that,  he  wan- 
dered hither  and  thither,  staying  now  here 
and  now  there,  and  pulled  every  possible 
lever  to  bring  his  great  stage-works  before 
the  public.  His  Russian  operas  came  out 
collectively  in  St.  Petersburg  ("  The  Demon," 
1875 ;  "  Kalashnikov,  the  Merchant  of  Mos- 
cow," 1880 ;  "  Gorzusha,"  1889).  The  German 
operas,  on  the  contrary,  were  separated  and 
scattered  over  all  Germany.  First  Liszt 
brought  out,  in  1854,  in  Weimar,  "  Die 
Sibirischen  Jager."  Vienna  brought  out, 
in  1861,  "Die  Kinder  der  Haide";  Dres- 
den, in  1863,  "Feramors"  ("Lalla  Rookh"); 


Berlin,  in  1875,  "  Die  Maccabaer " ;  Ham- 
burg, in  1879,  "Nero"  and,  in  1883,  two 
one-act  operas, ''  Unter  Riiubern  "  and  "  Sula- 
mith."  Of  all  these  only  the  lyric-romantic 
"  Feramors  "  has  attained  to  frequent  repre- 
sentation, and  this  it  owes  principally  to  its 
beautiful  ballet  music.  In  vain  did  Rubin- 
stein make  frequent  attempts  to  establish  a 
religious-opera  stage,  for  which  he  intended 
his  religious  operas  (not  his  oratorios).  With 
the  exception  of  his  last  work  in  this  style, 
"  Moses,"  which  was  really  produced  with 
scenery  in  1895,  in  the  Stadt  Theater  of  Bre- 
men, these  religious  operas  are  only  occa- 
sionally heard  as  oratorios  in  a  concert-hall 
("  Das  Verlorene  Paradies,"  for  example,  in 
Weimar,  in  1855,  under  Liszt ;  "  Der  Thurm 
von  Babel "  at  the  music  festival  in  Diissel- 
dorf  in  1872,  under  Rubinstein's  direction ; 
and  "  Moses  "  for  the  first  time  in  Prague  in 
1894). 

Rubinstein's  death  occurred  unexpectedly, 
without  previous  illness,  from  heart  failure, 
November  20,  1894,  in  his  villa  at  Peter- 
hof. Will  posterity  give  him  in  richer  mea- 
sure that  fame  as  a  composer  which  his 
contemporaries  vouchsafed  so  sparingly? 
Weighty  doubts,  alas,  stand  in  the  way  of 
such  a  hope.  Rubinstein  is  certainly  one  of 
the  most  remarkable  manifestations  of  the 
artistic  creative  power  of  the  nineteenth  cen- 
tury. The  strong,  impulsive  nature,  which 
gave  to  the  piano-player  Rubinstein  his 
peculiar  place  among  his  contemporaries, 
makes  itself  felt  also  in  his  compositions, 
which  are  rich  in  intense  moments  of  passion- 
ate feeling.  But  he  had  in  his  method  of 
expression  too  little  individuality  to  make  a 
real  need  of  bringing  out  again  his  works, 
earlier  heard,  but  now  laid  by.  Rubinstein 
stands  worst  in  the  eyes  of  the  program  mu- 
sician. He  with  whom  the  reproduction  of 
a  classical  composition  always  took  on  the 
character  of  an  improvisation,  the  inspiration 
of  a  moment,  could  write  only  music  which 
was  pure  impressionism.  His  symphonic 
poems,  or  character  pictures  for  the  orchestra, 
"Faust,"  "Ivan IV,"  and  "Don  Quixote," 
are  not  free-born  creations,  but  painful  en- 
deavors to  mingle  with  others  in  the  territory 
of  picturesque  music.  The  chamber  music 
of  Rubinstein  is  possible  only  when  the 
piano  is  a  co-worker.  That  fine  flexibility 
which  is  brought  out  by  string  instruments 


ANTON   RUBINSTEIN 


351 


only  was  not  his  strong  point  in  real  chamber 
music.  This  demands  from  the  composer  a 
•world-renouncing  self-inwardness  (or  a  power 
to  reduce  the  works  of  every  time  into  a  mi- 
crocosm of  the  time),  of  which  Rubinstein 
was  not  capable.  Not  minutiro,  but  painting 
with  a  full  brush — creating  life-size — was  his 


not  suffered  loss  in  his  capability  of  expres- 
sion, his  colors  are  still  bright,  while  the 
once  piercing  glitter  of  some  of  his  contem- 
poraries is  quite  extinguished  (Raff,  Hiller). 
But  there  is  danger  in  delay.  Only  so  long 
as  the  consciousness  of  his  personality  and 
of  the  individuality  of  his  virtuosity  is  yet 


1 


A  CARTOON  OF  RUBINSTEIN. 


affair.  Even  in  German  songs,  where  Ru- 
binstein won  his  purest  triumphs  and  where 
he  will  be  the  longest  treasured,  this  will  be 
found  to  be  true.  Excepting  perhaps  the 
"Asra,"  which  inclined  to  the  epic  and  is 
drawn  gray  in  gray,  Rubinstein  worked  in 
his  songs  also  through  the  mighty  throw,  the 
elastic  swing  of  melody  rather  than  through 
careful,  refined  detail.  Rubinstein  as  yet  has 


living  will  it  be  possible  to  bring  out  the  real 
value  of  the  great  mass  of  those  compositions 
in  which  these  qualities  of  his  are  mirrored. 
Later  the  picture  will  vanish  and  one  will 
recognize  in  his  works  only  reflections  of  the 
time,  single  features  of  other  individualities, 
which,  in  spite  of  time,  have  remained  liv- 
ing. Therefore,  play  Rubinstein  before  it 
is  too  late. 


No.  5  RUE  TRONCHET,  NEAR  THE  MADELEINE, 
WHERE  CHOPIN  LIVED  IN   1839. 


THE   POLES 


MUSIC 


BY 


JAROSLAW  DE  ZIELINSKI 


T1HE  Poles,  the  Czechs,  the  Lithuanians, 
Rutheuiaiis,  Servians,  Croatians,  Carin- 
thians,  Illyrians,  and  Vends  are  all  members 
of  the  great  Slavonic  race  to  which  the  prog- 
ress of  events  is  beginning  to  call  attention. 
History  is  repeating  itself,  for  as  early  as  the 
beginning  of  the  sixth  century  we  find  the 
Sclavini,  also  the  Venedi  and  Antes,  advanc- 
ing upon  Constantinople  after  having  de- 
feated the  Byzantine  troops.  Repulsed  by 
Belisarius,  these  people  settled  on  the  Danube, 

352 


and  having  made  a  treaty  with  Heraclius  to 
expel  the  Avars  from  Illyria,  we  watch  them 
spreading  over  many  of  the  Byzantine 
provinces,  not  as  enemies,  but  as  allies. 
Eventually  the  descendants  of  the  original 
Slavonians  began  to  unite  and  to  establish 
governments  known  as  Bulgaria,  Moravia, 
Bohemia,  Servia,  Poland,  and  Ruthenia,  and 
this  union  was  with  the  view  of  defending 
themselves  against  their  neighbors  in  the 
west  — Germanic — andin  the  south —  Byzan- 


THE  POLES   IN   MUSIC 


353 


tine.  The  Germans,  seeking  after  advance- 
ment financial  and  otherwise  which  they  could 
not  obtain  under  their  own  paternal  govern- 
ment, crowded  the  Polish  cities  as  mechanics 
and  traders,  filled  the  monasteries  which  from 
the  eleventh  to  the  sixteenth  century  were 
important  educational  institutions,  and  as  in- 
structors of  the  young  nobles  exerted  a  bane- 
ful influence  in  general,  and  in  particular 
prejudiced  their  pupils  against  the  Polish 
language.  A  people  known  as  Muscovites, 
who  claim  to  be  Great  Russians,  are  some- 
times included  among  the  Slavonians.  They 
in  reality  are  a  Tatar  race,  whose  language 
is  an  admixture  of  Finnish  and  many  Eastern 
words  imported  during  the  Tataric  domina- 
tion of  over  two  centuries  (1241-1477). 

THE  POLES   A   CULTURED   RACE 

NOTWITHSTANDING  the  more  or  less  turbu- 
lent state  which  prevailed  in  Poland,  espe- 
cially during  the  last  two  centuries  of  its 
political  existence,  it  has  always  been  a 
country  rich  in  historical  works  and  memoirs, 
and  to-day  more  than  ever  Poland  possesses 
eminent  writers  in  all  styles  —  poetry,  ro- 
mance, drama,  critique,  history,  and  philoso- 
phy, as  well  as  musicians  and  painters  whose 
genius  is  recognized  in  all  parts  of  the  world. 
Rich  material  for  song  has  been  furnished 
by  the  dramatic  history  of  Poland,  so  full  of 
activity,  splendor,  and  military  glory.  These 
songs,  which  go  back  to  the  early  legends  of 
the  fifth  and  sixth  centuries,  reveal  the  poetic 
fantasy  of  the  Polish  people.  Lacking  dur- 
ing their  early  history  what  is  peculiar  to 
some  other  nations,  that  musical  ear  which 
is  sensitive  to  harmony,  they  were  blessed 
with  temperament,  which,  when  cultivated, 
brought  forth  such  men  as  Szamotulski,  Go- 
m61ka,  Moniuszko,  Kurpiiiski,  Dobrzyriski, 
Lipiriski,  and  Radziwill.  The  work  of  the 
early  Polish  masters  did  not  surpass  in  value 
that  of  other  composers.  Poland,  in  compari- 
son with  other  nations,  did  not  possess  in  the 
sixteenth  century  many  prominent  musicians; 
but  the  few  that  it  had  surpassed  in  origi- 
nality of  form,  melody,  and  even  harmony 
the  contemporary  composers  of  other  nation- 
alities. Musical  students,  for  example,  are 
well  aware  that  Monteverde  (born  at  Cre- 
mona in  1568),  the  Wagner  of  the  sixteenth 
century,  is  spoken  of  as  having  been  the  first 
to  introduce  the  bold  effects  of  unprepared 


sevenths  and  ninths,  exciting  thereby  the 
wrath  of  the  orthodox  composers  of  that  day ; 
but  they  do  not  know  that  this  innocent 
modern  chord  was  known  and  used  by  Polish 
musicians  a  score  of  years  prior  to  Monte- 
verde, as  can  be  gleaned  from  the  works  of 
Szamotulski  and  Gom61ka.  It  has  been 
justly  said  that  "  the  '  discovery '  of  Monte- 
verde had  indeed  a  great  future  behind  it ! " 

PECULIAR   CHARACTERISTICS   OF 
POLISH   MUSIC 

WHILE  the  Poles  sang  in  heroic  tones  of  vic- 
tories over  Tatars,  Cossacks,  Swedes,  or 
Muscovites,  the  events  of  the  last  century, 
ever  since  the  first  iniquitous  partition  of 
Poland  amongst  Austria,  Russia,  and  Prussia, 
have  naturally  saddened  the  voice  of  the  peo- 
ple, the  portrayal  of  whose  mental  arid  emo- 
tional life  by  Polish  composers  has  invited 
imitation  and  appropriation  by  other  nation- 
alities. This  inner  life  and  emotion,  so  dis- 
tinctively different  from  what  has  been 
expressed  by  other  composers,  is  a  character- 
istic of  the  Slavonic  type,  and  it  dominates 
the  master-works  of  the  Poles.  Three  musi- 
cal elements  enter  into  this  characteristic, 
namely,  melody,  harmony,  and  rhythm;  for- 
bidden progressions  of  intervals,  such  as 
augmented  seconds,  diminished  thirds,  aug- 
mented fourths,  diminished  sevenths,  minor 
ninths,  etc.,  are  of  common  occurrence ;  the 
harmony  is  distinguished  by  successions  of 
chords  presenting  no  logical  contradiction, 
and  yet  at  variance  with  established  usage ; 
while  the  melodic  construction  (from  move- 
ment to  rest)  is  exactly  the  reverse  of  that 
practised  in  other  lands.  It  is  evident,  there- 
fore, that  the  formulas  prescribed  by  the  tra- 
dition of  the  middle  ages  were  not  acceptable 
to  the  Polish  composers,  for  the  temperament 
of  the  Slav  does  not  tolerate  oppression  nor 
even  constraint ;  hence,  while  the  attention  of 
music  students  in  other  countries  was  cen- 
tered on  the  artificial  application  of  the  prin- 
ciples of  harmony,  Polish  musicians,  without 
disdaining  the  rules  of  counterpoint,  showed 
a  freedom  of  form  and  variety  of  rhythm 
exclusively  Slavonic  and  particularly  Polish. 

ROYAL   PATRONAGE  OF 
POLISH  MUSIC 

WACLAW(VASLAV)  SZAMOTULSKI,  A.M.,  Ph.D., 
was  born  about  1529  and  died 'in  1572;  he 


354 


THE   POLES   IN  MUSIC 


lived  during  the  reign  of  Sigismund  I  and 
that  of  his  son,  Sigismund  Augustus,  for 
whose  wedding  with  Catherine  of  Austria  he 
wrote,  in  1553,  the  music.  This  is  preserved, 
with  other  of  his  sacred  compositions,  in  the 
library  of  Ossolinski  at  Lemberg.  Toward 


at  Wittenberg,  by  resisting  the  sale  of  indul- 
gences (1517),  opposed  the  supreme  spiritual 
power  of  the  Pope ;  while  Francis  I  and  the 
newly  elected  king  of  Poland  were  the  only 
two  who  at  that  time  opposed  the  preten- 
sions to  universal  dominion  of  Charles  V. 


CHOPIN  AT  TWENTY-NINE. 

After  the  portrait  l>y  Ary  Scheffer. 


the  end  of  the  fifteenth  century  modern  no- 
tation was  adopted  for  all  secular  music ; 
this  notation  was  the  invention  of  Jean  de 
Mouris,  who  lived  in  the  thirteenth  century. 
On  May  15,  1501,  Ottaviano  Petrucci,  who 
had  solved  the  problem  of  musical  typog- 
raphy, issued  from  his  press  in  Venice  the 
first  proofs  of  printed  music.  It  is  interest- 
ing to  note  here  that  Alexander,  who  reigned 
(1501-1506)  prior  to  his  brother  Sigismund 
I,  was  so  partial  to  music,  and  his  prodigal- 
ity toward  its  interpreters  was  such,  that  a 
law  called  "  Statutum  Alexandrinum "  was 
passed,  prohibiting  his  raising  any  money  or 
using  the  revenue  without  the  consent  of  the 
Diet.  The  reign  of  Sigismund  I,  who  suc- 
ceeded him  in  1506,  began  about  the  time 
when  Europe  was  breaking  the  fetters  of  the 
middle  ages.  Luther,  professor  of  philosophy 


Sigismund  I  had  the  same  love  of  art  as  his 
brother.  He  continued  to  maintain  a  fine 
court  band,  said  to  equal  in  every  respect 
that  of  Louis  XII ;  and  when,  in  1515,  the 
Polish  king  met,  at  Presburg,  Ladislas,  king 
of  Hungary ;  Ludwig,  king  of  Bohemia ;  and 
Maximilian,  emperor  of  Austria,  the  vocal 
and  instrumental  music  furnished  by  a  chorus 
and  orchestra  of  nearly  two  hundred  people, 
brought  from  Lithuania,  caused  no  small 
amount  of  surprise  among  the  Italians  and 
Germans  present.  The  latter  were  accus- 
tomed to  make  merry  at  the  court  of  Maxi- 
milian I  in  Vienna,  to  drum  and  Swiss  fife 
(querpfeife,  or  piffaro,  a  small  kind  of  flute 
with  six  holes  but  no  keys),  the  drum  mark- 
ing the  rhythm,  while  the  fife  played  the 
tune.  This  combination  still  furnishes  the 
music  to  the  farandole. 


THE  POLES   IN  MUSIC 


355 


THE  WORKS  OF  SZAMOTULSKI 

MOST  of  Szamotulski's  works  have  been  re- 
printed in  numerous  collections  of  canticles, 
and  even  as  late  as  1868  his  hymn  "0  My 
Heavenly  Father  "  appeared  in  a  little  volume 
collected  by  G.  Doring,  published  in  Leip- 
sic  under  the  title  of  "Dreissig  Slavische 
Geistliche  Melodien  aus  16  und  17  Jahrhun- 


who  lived  about  the  same  time  and  was  sec- 
retary to  Hetman  Chodkiewicz  of  Lithuania. 

MICHAEL  GOMOLKA  (born  about  1564  in  Cra- 
cow) may  be  looked  upon  as  a  successor  of 
Szamotulski.  He  lived  at  the  time  of  Pales- 
trina,  Filippo  Neri,  and  Vittoria,  and  while 
studyinginltaly  no  doubt  imbibed  the  theories 
of  these  masters,  profiting  by  them  in  a  man- 


CHOPIN  AND  FERDINAND  HILLtR. 
Medal  struck  at  Paris  in  1848. 


dert."  Unfortunately,  with  the  exception  of 
three  numbers  which  are  given  with  their 
original  harmonies,  all  the  canticles  have 
been  harmonized  after  the  latest  style,  and 
numbers  19,  20,  and  25,  though  attributed  to 
Gom61ka,  are  of  an  entirely  different  origin. 
Cabazon  of  Spain,  Willaert  of  Flanders,  and 
Mouton  (Jean  de  Hollinque,  who  by  the  way 
was  a  member  of  the  band  of  Louis  XII)  were 
contemporaries  of  Szamotulski ;  but  a  careful 
comparison  of  their  respective  styles  will  re- 
veal the  independent  spirit  and  decided  talent 
of  this  early  Polish  composer,  who  must  not 
be  confounded  with  a  poet  of  the  same  name 


ner  peculiar  to  great  talent.  His  style,  differ- 
ent from  that  of  his  contemporaries,  and  unlike 
the  prevailing  ecclesiastic  type  of  that  day, 
was  strongly  local,  pulsating  with  rhythmic 
life,  and  very  melodious.  Well  grounded  in 
the  grammar  of  music  —  for  who  was  not  in 
those  days  1  —  his  compositions  show  careful 
elaboration  in  counterpoint,  imitation,  canon, 
fugue,  etc. ;  but  more  than  all,  Gom61ka  was 
among  the  first  of  his  day  to  practise  mo- 
nodic  music,  and  to  show  a  feeling  of  strong 
sympathy  for  the  use  of  chords  as  regards 
their  relation  to  each  other.  Several  collec- 
tions of  his  psalms  (including  numerous  er- 


356 


THE  POLES  IN   MUSIC 


rors)  have  been  published,  the  first  in  1580, 
and  some  others  as  late  as  1850.  Goin61ka 
lived  during;  an  epoch  full  of  luster,  justly 
called  a  century  of  golden  literature  and  art 
in  Poland ;  for  some  of  her  most  distinguished 
poets,  speakers,  mathematicians,  and  musi- 
cians formed  at  that  time  a  group  of  men 
who  were  honored  throughout  Europe.  Un- 
der the  prudent,  patriotic,  and  just  gov- 
ernment of  Sigismund  Augustus  (1548-70), 
Poland  was  enjoying  the  results  of  complete* 
religious  liberty ;  for  in  1562,  while  France 
was  being  torn  asunder  by  religious  factions, 
the  Polish  episcopal  tribunals  were  shorn  of 
their  power.  The  doctrines  of  the  Reforma- 
tion found  great  favor  among  the  nobility, 
and  even  the  boldest  theological  skeptics  — 
the  exiled  Italians  Lelio  and  Pausto  Socini, 
uncle  and  nephew  —  found  an  asylum  there. 
Inl530,Copernicus(1473-1543),aPole  by  birth, 
the  great  precursor  of  Newton,  made  known 
his  system  of  the  world ;  the  Cracow  Univer- 
sity, founded  in  700  and  restored  in  1364,  was 
the  center  of  learning  which  gave  the  nation 
eminent  philosophers,  writers,  orators,  and 
musicians ;  and  it  is  not  surprising  that  a 
French  writer  observes  that  among  a  hun- 
dred Polish  noblemen  who  came  to  Paris  to 
offer  Henry  of  Valois  the  crown  of  Poland, 
hardly  two  could  be  found  who  did  not  speak 
fluently  Latin,  French,  German,  and  Italian. 
The  country  was  rich,  and  the  trades  flour- 
ished to  such  an  extent  that  over  3200  Jews 
employed  9600  artisans  in  working  gold,  sil- 
ver, etc.,  and  in  manufacturing  cloths  which 
were  of  the  costliest  character,  and  surpassed 
by  far  those  worn  at  the  courts  of  France  or 
Spain.  An  exact  description  of  the  geogra- 
phy, history,  and  commerce  of  Poland  is 
accurately  given  in  a  curious  Italian  manu- 
script in  the  Harleian  Collection,  entitled 
"  Relazione  di  Polonia  " ;  its  author  was  am- 
bassador from  Venice  to  Poland  during  the 
reign  of  Sigismund  Augustus. 

Two  other  distinguished  musicians  belong 
to  this  epoch:  SEBASTIAN  FULSZTYNSKI,  a 
scholar  and  learned  theoretician,  and  his 
talented  pupil,  MARTIN  LWOWCZYK  (Martinus 
Leopolitis),  who  died  in  1589.  Some  equally 
famous  men  of  the  sixteenth  century  are 
spoken  of  by  Starowolski  in  the  fifty-sixth 
chapter  of  his  "  In  elogiis  centum  illustrium 
Poloniae  scriptorum."  Many  valuable  manu- 
scripts, including  a  number  of  works  of  the 


above-named  musicians,  were  to  be  found 
prior  to  1831  in  the  library  of  Pultawy ;  but 
.since  then  it  would  be  much  easier  to  find 
them  in  that  of  St.  Petersburg. 

During  the  reigns  of  Sigismund  III  (1587- 
1632)  and  that  of  his  sons,  Ladislas  Vasa  and 
Casimir  IV,  many  foreign  musicians  found 
their  way  into  Poland,  some  of  whom  en- 
tered the  royal  band.  They  came  from  Italy, 
from  France,  from  Germany,  and  still  others 
from  Denmark,  where  Christian  IV  had  as 
late  as  1619  a  splendid  band  composed  of 
thirty-one  singers,  sixteen  trumpeters,  and 
thirty  instrumentalists.  His  unfortunate  par- 
ticipation in  the  Thirty  Years'  War  necessi- 
tated economy,  and  the  once  famous  court 
band  was  finally  reduced  to  eight  instruments 
and  seven  singers.  Among  those  who  came 
at  that  time  to  Warsaw  was  one  Paul  Siefert, 
a  quarrelsome  fellow,  born  of  German  parents 
in  Gdansk  (Dantzic),  then  a  Polish  city.  The 
director  of  the  Polish  royal  band  was  Aprilio 
Pacelli,  who  came  from  Italy  in  1602,  and 
continued  at  his  post  till  he  died  in  1623.  As 
Siefert  was  also  a  composer,  he  never  failed 
to  complain  of  the  Italian  director  when  his 
works  were  not  appreciated.  Who  would 
have  thought  that  three  centuries  later  the 
same  scenes  would  be  enacted  elsewhere ! 

Succeeding  the  reign  (1632-1648)  of  Ladis- 
las IV,  who  was  not  only  a  patron  of  art,  but 
also  a  musical  amateur  of  no  small  merit, 
came,  during  the  reigns  of  Wisniowiecki  and 
Sobieski,  a  time  of  musical  depression  when, 
under  the  supervision  of  the  Jesuits,  enter- 
tainments became  gradually  mere  musical 
dialogues.  When  there  was  a  question  of 
church  services,  however,  this  order,  with 
enormous  resources  at  its  command,  did  not 
spare  efforts  to  increase  the  pomp  of  the 
ceremonies  by  every  means  possible,  and  es- 
pecially so  by  the  aid  of  good  music.  For 
this  purpose  the  Jesuits  built  large  organs  in 
their  churches,  formed  large  orchestras,  and 
increased  their  musical  archives.  Especially 
celebrated  was  their  college  at  Polock,  on 
account  of  the  orchestra  and  the  large  organ 
of  sixty  registers,  with  three  manuals  and 
pedals,  built  by  an  Italian,  Casparini.  After 
the  college  was  suppressed,  the  organ  was 
removed  to  Wilno,  thanks  to  the  efforts  of 
Moniuszko,  where  it  was  placed  in  the  Church 
of  St.  John ;  its  value  is  estimated  to  be  at 
least  twenty  thousand  dollars. 


THE  POLES   IN  MUSIC 


357 


With  the  reigns  of  Frederick  Augustus 
I,  Stanislas  I,  and  Frederick  Augustus  II 
(from  1697  to  1763)  came  a  change  for  the 
better,  and  rapid  strides  in  the  development 
of  music  were  unquestionably  due  to  the  in- 
troduction of  masterful  works  by  such  com- 
posers as  Torelli,  Balbi,  Cambert,  and  Lulli. 
Frederick  Augustus  II,  especially,  was  a 
great  lover  of  the  theater  and  of  the  opera, 
and  when  he  found  that  the  opera  evenings 
were  greeted  time  after  time  with  empty 
benches,  he  went  so  far  as  to  compel  atten- 
dance by  sending  out  deputies  into  highways 
and  byways  to  catch  people  and  bring  them 
to  the  play.  These  plays  were  frequently 
accompanied  by  an  orchestra  of  over  a  hun- 
dred musicians,  made  up  from  the  private 
bands  of  men  like  Wielhorski,  Prince  Czar- 
toryski,  and  other  nobles.  This  anxiety  on 
the  part  of  the  court  to  adopt  music  as  one 
of  its  favorite  amusements  had  a  happy  in- 
fluence on  the  progress  of  that  art,  for  royal 
favor  was  generously  bestowed  on  those  who 
tried  to  develop  among  the  people  a  taste  for 
musical  assemblies,  in  which  the  works  of 
Bach,  Hasse,  Couperin,  and  other  composers, 
foreign  as  well  as  native,  received  splendid 
interpretation  by  the  large  orchestras  and 
choruses  which  were  supported  by  wealthy 
magnates.  These  nobles  were,  no  doubt,  glad 
to  add  to  their  force  of  musicians  the  players 
that  continually  came  into  Poland,  including 
some  of  those  that  had  formed  the  celebrated 
band  of  twenty-four  violins  of  the  French 
king,  which  had  been  dissolved  in  1761  by  an 
edict  issued  August  22,  by  order  of  Louis  XV. 

Just  here  may  be  mentioned  GORCZYCKI, 
a  distinguished  ecclesiastic  and  director  of 
music  at  the  Cracow  cathedral,  who  lived  at 
the  end  of  the  seventeenth  and  the  beginning 
of  the  eighteenth  century,  when  old  traditions 
were  broken  and  new  systems  introduced  in 
life  as  well  as  government.  In  painting,  the 
pernicious  style  of  Pietro  da  Cortona  has- 
tened the  decay  of  the  Eclectic  school  in  Italy, 
while,  on  the  other  hand,  the  Netherlanders 
returned  once  more  to  realistic  forms  of  ex- 
pression. In  music,  among  instruments,  the 
violoncello  took  on  an  independent  form, 
and  soon  dropped  the  fifth  string;  the  oboe 
d'amore  made  its  appearance,  and  pedals  were 
introduced  in  the  harp  (1720) ;  the  modern 
piano  was  first  manufactured  in  1730,  and  the 
orchestra  became  alive  with  trumpets,  oboes, 


bassoons,  cymbals,  castanets,  and  drums, 
besides  the  strings  and  trombones  which  al- 
ready were  in  use.  Of  more  importance  than 
all  this,  however,  is  the  fact  that  the  efforts 
of  individual  composers  to  break  away  from 
the  influence  of  the  old  ecclesiastical  system 
commenced  to  bear  fruit,  and  the  first  prin- 
ciples of  the  new  secular  school  were  formu- 
lated. Gorczycki  left  quite  a  number  of 
sacred  compositions  which  are  used  to  this 
day,  proof  sufficient  of  his  great  talent. 

THE  COMPOSITION   OF  THE  FIRST 
POLISH  OPERA 

THE  heroic  measures  of  Frederick  Augustus 
II,  whose  reign  covered  thirty  years,  could 
not  fail  to  revive  the  musical  spirit  of  the 
nation;  and  passing  over  some  of  the  minor 
composers,  we  come  to  MATHEW  KAMIENSKI 
(born  in  1734),  whose  first  opera,  "The 
Wretched  Made  Happy,"  forms  an  epoch  in 
t  the  history  of  Polish  music.  Kamieriski  was 
forty  four  years  old  when  this  work  was 
produced  under  the  patronage  of  Stanislas 
Augustus  Poniatowski,  the  last  king  of  Po- 
land. It  was  in  1776  that  the  king,  learning 
that  a  number  of  cadets  in  his  corps  had 
good  voices  and  could  sing  acceptably,  ex- 
pressed a  desire  to  hear  them.  To  satisfy 
his  wish,  a  well-known  writer,  Rev.  Bohomo- 
lec,  wrote  a  one-act  comedy,  "  The  Wretched 
Made  Happy,"  in  which  some  of  the  numbers 
were  to  be  sung.  For  some  reason  the 
comedy  was  not  played,  but  appeared  in 
print  and  fell  into  the  hands  of  Kamieriski, 
who,  after  writing  the  music  to  the  songs, 
decided  to  have  it  produced.  Montbrun,  an 
operatic  manager  to  whom  the  work  was 
submitted,  recognized  its  value,  but  would 
not  undertake  to  place  it  on  the  stage  till  it 
was  enlarged  to  the  size  of  a  two-act  oper- 
etta; this  was  done  by  Boguslawski,  while 
Kamieriski  wrote  the  additional  musical  num- 
bers. May  11,  1778,  therefore,  witnessed  the 
production  of  the  first  Polish  opera. 

Kamieriski  made  use  of  many  national 
rhythms,  and  though  the  spirit  of  the  Italian 
school  is  strongly  marked  throughout  his 
works,  the  impression  is,  on  the  whole,  de- 
cidedly national.  Other  works  of  his  are 
"Sophy;  or,  Country  Wooing,"  a  favorite 
which  was  played  in  many  cities ;  "  Virtuous 
Simplicity,"  "  A  Country  Ball,"  "  The  Night- 
ingale," "  Tradition  Realized,"  and  two  operas 


358 


THE   POLES   IN   MUSIC 


in  German — "Sultan  Wampum"  and  "Anton 
and  Antonetta" — which  were  never  produced, 
the  first  owing  to  political,  and  the  second 
to  personal  reasons.  Besides  a  number  of 
smaller  pieces,  he  wrote  also  a  cantata  in 
honor  of  John  Sobieski,  which  was  sung  on 
September  14,  1788,  the  public  joining  in  the 


king;  and  such  was  his  anxiety  to  get  to 
Warsaw,  that  in  company  witli  eight  other 
musicians  he  undertook  the  journey  over  the 
Carpathian  Mountains  in  January.  All  ar- 
rived at  Warsaw  on  February  2,  1771 ;  and 
the  talented  young  composer,  who  on  this 
journey  had  listened  attentively  to  the  songs 


BUST  OF  CHOPIN. 

Modeled  in  gypsum  by  Jan  Woydyg.     Exhibited  at  St.  Jobn's  Cathedral,  Warsaw, 
during  divine  service,  October  17,  1899. 


choruses.  The  national  rhythms  of  these 
works  are  still  interesting,  but  public  taste 
no  longer  requires  plentiful  skips  of  large 
intervals,  runs,  trills,  and  embellishments. 
Taste  changes  in  music  as  it  does  in  litera- 
ture, sculpture,  dress,  and  language ;  and  the 
style  of  former  days  fails  to  charm,  though 
it  may  continue  to  surprise.  Kamienski  died 
at  Warsaw  on  January  26, 1821,  aged  eighty- 
seven. 

JOHN  STEFANI  (born  in  1746),  court  musi- 
cian to  Joseph  II  of  Austria,  left  that  popu- 
lar monarch  to  enter  the  service  of  the  Polish 


of  the  people  and  had  absorbed  the  peculiar 
charms  of  mountaineer  melodies,  was  at  once 
made  famous  by  the  polonaises  which  he 
wrote  in  a  national  spirit.  This  Polish  dance 
(Taniec  Polski,  the  polonaise)  dates  back  to 
1574,  when,  at  a  reception  given  at  Cracow, 
the  nobles,  with  their  ladies,  passed  in  mea- 
sured tread  before  the  throne  of  Henri  de 
Valois  (son  of  Catharine  de'  Medici),  who  the 
year  before  had  been  elected  king  of  Poland. 
This  was  the  prince  who  at  the  very  moment 
of  his  election  to  the  throne  of  Poland  was 
besieging  Rochelle  in  France,  defended  by 


THE  POLES  IN   MUSIC 


359 


the  Huguenots,  but  who,  notwithstanding  the  aliens,  in  their  attempts  at  writing  the  polo 
influence  of  Rome  and  the  opposition  of  the  naise,  have  ever  succeeded  in  evolving  more 
bishops,  took,  before  being  crowned,  the  oath  than  hideous  caricatures. 


MANUSCRIPT  OF  A  CHOPIN  IMPROMPTU. 

From  the  Royal  Library,  Berlin. 


of  toleration  toward  all  dissenters  and  secta- 
rians. This  was  in  1573.  Shortly  after  the 
reception  described  above,  he  was  informed  of 
the  death  of  his  brother  Charles  IX,  king  of 
Prance,  and  not  choosing  to  forfeit  his  right 
to  the  French  throne,  he  ran  away,  and  though 
overtaken,  refused  absolutely  to  return.  With 
the  return  of  Henri  de  Valois  (Henry  III)  to 
France,  the  fame  of  the  polonaise  spread 
over  all  western  Europe,  and  its  rhythm  as 
well  as  its  spirit  has  been  successfully  cul- 
tivated by  many  Polish  composers.  Few 


THE    FIGURES   OF   THE    POLONAISE 

CASIMIR  BRODZINSKI,  who  is  considered  one 
of  the  founders  of  the  modern  Romantic 
school  in  Poland,  and  who  went  in  1822  to 
the  Cracow  University  to  fill  the  chair  of  lit- 
erature, writes :  "  The  polonaise  is  the  only 
dance  which  suits  mature  age  and  is  not  un- 
becoming to  persons  of  high  rank ;  it  is  the 
dance  of  kings,  heroes,  and  even  old  men; 
it  alone  suits  the  martial  dress.  It  does  not 
breathe  any  passion,  but  is  rather  an  expres- 


360 


THE   POLES  IN  MUSIC 


sion  of  chivalrous  and  polite  manners.  A 
solemn  gravity  presides  always  at  the  polo- 
naise, which,  perhaps,  alone  neither  recalls 
the  fire  of  primitive  manners  nor  the  gal- 
lantry of  more  civilized  bnt  more  enervated 
ages.  Besides  these  principal  characteristics, 
the  polonaise  bears  a  singularly  national  and 
historical  impress,  for  its  laws  recall  an  aris- 
tocratic republic  with  a  disposition  to  anarchy 
flowing  less  from  the  character  of  the  people 
than  from  its  particular  legislation. 

"In  the  olden  times  the  polonaise  was  a 
kind  of  solemn  ceremony.  The  king,  holding 
by  the  hand  the  most  distinguished  person 
of  the  assembly,  marched  at  the  head  of  a 
numerous  train  of  couples  composed  of  men 
alone.  This  dance,  made  more  effective  by 
the  splendor  of  the  costumes  of  chivalry,  was, 
strictly  speaking,  only  a  triumphal  march. 
If  a  lady  was  the  object  of  the  festival,  it  was 
her  privilege  to  open  the  march,  holding  by 
the  hand  another  lady.  All  the  others  fol- 
lowed, until  the  queen  of  the  ball,  having 
offered  her  hand  to  one  of  the  men  standing 
round  the  room,  set  the  example  for  the  other 
ladies  to  follow. 

''The  ordinary  polonaise  is  opened  by  the 
most  distinguished  person  of  the  assembly, 
whose  privilege  it  is  to  conduct  the  whole  file 
of  the  dancers,  or  to  break  it  up ;  this  is  called 
in  Polish  rej  ivodzic  —  figuratively,  to  be  the 
leader,  in  some  sort  the  king  (from  the  Latin 
rex).  The  dancer  at  the  head  was  also  called 
the  marshal,  on  account  of  the  privileges  of 
a  marshal  at  the  Diets.  The  whole  of  this 
form  is  connected  with  the  memories  and 
customs  of  raising  the  militia,  or  rather  of 
the  gathering  of  the  national  assemblies 
(rzecz  pospolita)  in  Poland.  Hence,  notwith- 
standing the  deference  paid  to  the  leaders, 
who  have  the  privilege  of  conducting  at  will 
the  chain  of  dancers,  it  is  allowable,  by  a 
singular  practice  made  into  a  law,  to  de- 
throne a  leader  every  time  any  bold  person 
calls  out  odbijanego,  which  means  'retaken 
by  force  or  reconquered.'  He  who  pro- 
nounces this  word  is  supposed  to  wish  to 
reconquer  the  hand  of  the  first  lady  and  the 
direction  of  the  dance ;  it  is  a  sort  of  liberum 
veto,  to  which  every  one  is  obliged  to  give 
way.  The  leader  then  abandons  the  hand  of 
his  lady  to  the  new  pretender ;  every  cavalier 
dances  with  the  lady  of  the  following  couple, 
and  it  is  only  the  cavalier  of  the  last  couple 


who  finds  himself  definitely  ousted  if  he  has 
not  the  boldness  to  insist  likewise  on  his 
privilege  of  equality  by  demanding  odbija- 
nego,  and  of  placing  himself  at  the  head.  But 
as  a  privilege  of  this  nature  too  often  em- 
ployed would  throw  the  whole  ball  ii:to  com- 
plete anarchy,  two  ways  are  established  to 
obviate  such  an  abuse  —  namely,  the  leader 
makes  use  of  his  right  to  terminate  the  polo- 
naise, in  imitation  of  a  king  or  marshal  dis- 
solving a  Diet,  or  else,  according  to  the  pre- 
dominating wish,  all  the  cavaliers  leave  the 
ladies  alone  in  the  middle  of  the  ball-room 
to  choose  new  partners  and  contimie  the 
dance.  This  excludes  the  disturbers  and  dis- 
contented, which  recalls  the  confederations 
that  were  formed  for  the  purpose  of  enforc- 
ing the  will  of  the  majority. 

"The  polonaise  breathes  and  paints  the 
whole  national  character;  the  music  of  this 
dance,  while  admitting  much  art,  combines 
something  martial  with  a  sweetness  marked 
by  the  simplicity  of  manners  of  an  agri- 
cultural people.  Foreigners  have  distorted 
this  character  of  the  polonaise;  the  natives 
themselves  preserve  it  less  in  our  day,  in  con- 
sequence of  the  frequent  employment  of  mo- 
tives drawn  from  modern  operas.  As  to  the 
dance  itself,  the  polonaise  has  become  a  kind 
of  promenade  which  has  little  charm  for  the 
young,  and  is  but  a  scene  of  etiquette  for 
those  of  a  riper  age.  Our  fathers  danced 
it  with  a  marvelous  ability  and  a  gravity 
full  of  nobleness.  The  dancer,  making  glid- 
ing steps  with  energy,  but  without  skips, 
and  caressing  his  mustache,  varied  his  move- 
ments by  the  position  of  his  saber,  of  his 
cap,  and  of  his  tucked-up  coat-sleeves,  dis- 
tinctive signs  of  a  free  man  and  warlike 
citizen.  Whoever  has  seen  a  Pole  of  the  old 
school  dance  the  polonaise  in  the  national 
costume  will  confess  without  hesitation  that 
this  dance  is  the  triumph  of  an  aristocrat 
with  a  noble  and  proud  tournure  and  with 
an  air  at  once  manly  and  gay." 

Furnished  with  a  good  libretto,  Stefani 
wrote  his  first  opera,  "  Cracoviacs  and  Moun- 
taineers," which  was  produced  March  1, 1794. 
It  was  received  with  immense  favor,  has 
been  applauded  for  a  century,  and  serves  to 
this  day  as  a  model  to  composers.  Stefani 
seized  upon  the  example  set  by  Kamienski, 
made  use  of  the  incisive  rhythms  of  the  kra- 
kowiak,  the  noble  strains  of  the  polonaise, 


THE  POLES   IN   MUSIC 


361 


the  merry  swing  of  the  mazurek,  or  the  ten- 
der rustic  wedding-song,  and  by  imbuing  his 
own  works  with  a  thoroughly  local  spirit, 
surpassed  by  far  his  predecessor.  In  order 
to  occupy  the  stage  an  entire  evening,  the 
libretto  to  "  Cracoviacs  and  Mountaineers," 
which  was  originally  a  one-act  opera,  was 
extended  to  cover  a  second  act,  and  even- 
tually a  third.  The  music  to  the  second  act 
was  written  by  Kurpiriski  (born  in  1785),  a 
composer  of  great  creative  ability,  and  a 
master  of  orchestral  coloring,  whose  works,  if 
influenced  somewhat  by  Rossini,  are  never- 
theless of  high  dramatic  merit.  The  third 
act  was  composed  by  Casimir  Hofmann,  of 
whom  mention  will  be  made  hereafter. 

THE  GENIUS  OF  THE  MAZURKA 

THE  mazurka,  or  mazurek,  comes  from  the 
palatinate  of  Mazovia,  in  which  Warsaw  is 
situated;  some  of  the  mazurkas  are  sung  only; 
others  serve  for  dancing,  in  which  case  one 
couple  follows  another  ad  infinitum,  all  exe- 
cuting figures  as  suggested  by  the  first  pair. 
Like  the  polonaise,  krakowiak,  or  kolomyjka, 
it  requires  room  and  plastic  grace.  People 
with  sordid  dispositions  and  ruffled  tempers 
have  no  business  to  dance  it ;  for,  aside  from 
grace,  it  calls  for  dash,  heroism,  chivalry,  till 
it  becomes  a  soul-thrilling  poem.  This  dance 
found  its  way  to  Russia,  where  it  is  danced 
by  four  or  eight  couples,  and  generally  by 
people  who  know  how  to  dance  it.  It  went 
also  to  Germany,  France,  and  England,  where 
it  lost  little  by  little  its  true  character.  The  J 
tempo  of  the  mazurka  is  full  of  caprice  and 
gaiety ;  the  rhythm,  which  calls  for  quicker 
notes  on  the  first  count,  is  punctuated  by  the 
clinking  and  clattering  of  spurs  as  heel 
clashes  with  heel  in  mid-air.  The  strong  ac- 
cent of  the  second  beat  is  emphasized  by  the 
loud  thud  of  boots  striking  the  ground, 
which  is  followed  by  a  sibilant  slide  along 
the  polished  floor  as  the  partners  rush  for- 
ward. Add  to  this  "  the  swift  springs  and 
sudden  bounds,  the  whirling  gyrations  and 
dizzy  evolutions,  the  graceful  genuflections 
and  quick  embracing,"  and  you  have  a  dance 
which,  clothed  in  its  national  grace,  cannot  be 
seen  outside  of  a  Polish  salon. 

THE  KRAKOWIAK 

THE  krakowiak  is  a  lively  dance  in  f  time,  in 
which  the  principal  rhythmic  accent  falls  on 


the  unaccented  beat  of  the  second  measure. 
The  following  is  Brodziri  ski's  description  of 
it :  "  The  boldest  and  strongest  takes  the 
position  of  leader  and  conducts  the  dance ; 
he  sings,  the  others  join  in  chorus ;  he  dances, 
they  imitate  him.  Often  also  the  krakowiak 
represents,  in  a  kind  of  little  ballet,  the  sim- 
ple course  of  a  love  affair.  One  sees  a  young 
couple  place  themselves  before  the  orchestra ; 
the  young  man  looks  proud,  presumptuous, 
preoccupied  with  his  costume  and  beauty. 
Before  long  he  becomes  meditative,  and 
seeks  inspiration  to  improvise  verses  which 
the  exclamations  of  his  companions  request, 
and  which  the  time  beaten  by  them  provokes, 
as  well  as  does  the  manceuver  of  the  young 
girl,  who  is  impatient  to  dance.  Returning 
before  the  orchestra  after  making  a  round, 
the  dancer  generally  takes  the  liberty  of 
singing  a  refrain  which  makes  the  young 
girl  blush ;  she  runs  away,  and  it  is  in  pur- 
suing her  that  the  young  man  displays  all  his 
agility .  At  the  last  round  it  is  the  young 
man  who  pretends  to  run  away  from  his 
partner;  she  tries  to  seize  his  arm,  after 
which  they  dance  together  until  the  ritour- 
nelle  puts  an  end  to  the  pleasure."  This 
dance  was  introduced  on  the  European  stage 
by  Fanny  Elssler,  who  danced  it  to  the  music 
of  one  of  the  most  famous  krakowiaks  in 
existence. 

Stefani  wrote  a  number  of  other  operas 
("Grateful  Subjects,"  "Enchanted  Tree," 
"  Old  Hunter,"  etc.),  but  none  of  them  was 
received  with  the  same  favor  as  his  first ;  he 
died  in  1829,  having  lived  and  worked  in  Po- 
land for  over  fifty-eight  years. 

A  GROUP  OF  COURT  MUSICIANS 

AN  important  personage  who  should  be 
noticed  in  this  connection  was  Hetman 
MICHAEL  CASIMIR  OGINSKI  (born  in  1731),  de- 
scendant of  an  illustrious  Lithuanian  family, 
and  at  one  time  aspirant  to  the  throne  of 
Poland.  Disappointed  in  his  expectations,  he 
retired  to  his  estates  and  devoted  himself  to 
art  and  science ;  it  was  then  that  he  built,  at 
his  own  expense,  the  large  canal  between  the 
Baltic  and  the  North  Sea  at  Kiel,  which  was 
to  benefit  Lithuania ;  it  was  opened  in  1785, 
and  bore  his  name  till  it  was  appropriated  a 
few  years  ago  by  the  Germans.  Ogiriski  was 
an  accomplished  musician,  for  he  had  studied 
the  violin  with  Viotti  and  Baillot,  and  had 


362 


THE  POLES  IN  MUSIC 


often  played  in  quartets  with  the  latter,  be- 
sides playing  with  the  first  violins  of  his 
own  band  (composed  of  some  forty  musicians), 
which  he  maintained  at  his  own  expense, 
together  with  the  theater  at  his  castle  in 
Slonim.  Many  an  artist  was  heard  in  solo 


CLEOPHAS  OGINSKI,  born  in  1765,  also  a 
wealthy  magnate,  celebrated  for  his  popular 
polonaises.  These  bear  the  stamp  of  the  spirit 
of  their  day,  and  though  their  form  is  not  as 
complete  as  modern  views  require,  they  carry 
the  listener  back  to  that  gloomy  time  when 


CHOPIN  AT  THIRTY-FOUR. 
After  a  contemporary  lithograph. 


and  ensemble  music  there,  and  always  car- 
ried away  a  munificent  reward.  Ogiriski 
owned  a  Stradivarius  which  became  famous 
in  Lithuania,  and  in  time  passed  into  the 
hands  of  the  distinguished  French  virtuoso 
Charles  Lafont;  he  was  also  a  skilled  per- 
former on  the  harp,  to  which  he  added  in  1766 
three  pedals  in  addition  to  the  four  invented 
in  1720  by  Hochbriicker,  giving  it  practically 
the  form  it  has  to-day ;  four  years  later,  in 
1770,  it  was  introduced  into  France  by  a 
German  named  Stecht,  who  claimed  the  ad- 
ditional pedals  as  his  own  improvement.  A 
nephew  of  Michael  Casimir  was  MICHAEL 


the  political  horizon  of  Poland  was  gathering 
dark  clouds  of  melancholy,  sadness,  and  sor- 
row, which  have  ever  since  permeated  the 
works  of  Poland's  best  masters. 

Ogiriski's  teacher  was  JOSEPH  KOZLOWSKI, 
born  in  1757  at  Warsaw,  where  he  served 
his  musical  apprenticeship  as  choir  boy  in 
the  Cathedral  of  St.  John.  While  on  a  trip  to 
Russia,  where  a  war  was  waging  against  Tur- 
key, he  entered  the  army  as  aide-de-camp  to 
Prince  Dolgorouky;  soon  after  he  became 
known  to  Patiomkine,  who  from  1774  to  1776 
had  been  the  accredited  lover  of  Catherine 
II.  The  prime  minister  was  greatly  im- 


THE  POLES   IN   MUSIC 


363 


pressed  by  the  flue  presence  and  the  musical 
voice  and  talent  of  Kozlowski.  Patiomkine, 
who  was  always  more  or  less  jealous  of  his 
successors  in  the  favors  of  his  ex-mistress, 
got  Kozlowski  attached  to  his  service  and 
took  him  to  St.  Petersburg,  where  the  latter 
made  his  debut  as  conductor  of  an  orchestra 
of  four  hundred  musicians  at  a  festival  which 
Patiomkine  gave  in  honor  of  the  empress  in 
the  palace  of  the  Orloffs.  The  polonaise 
written  by  Kozlowski  for  the  occasion  fairly 
lifted  the  audience  to  its  feet,  and  made  the 
reputation  of  the  composer.  In  1791,  imme- 
diately after  the  death  of  Patiomkine,  Koz- 
lowski was  attached  to  the  court  as  director 
of  music  at  the  imperial  theaters,  which 
post  he  occupied  during  the  reigns  of  Paul 
and  Alexander  I.  A  stroke  of  apoplexy  in 
1821  obliged  him  to  retire  with  a  pension; 
he  died  March  17,  1831.  Kozlowski  was  a 
prolific  writer,  as  is  generally  the  case  with 
people  in  similar  positions.  His  best  work  it»v 
a  requiem  which  was  sung  at  the  obsequies 
of  Stanislas  Augustus  Poniatowski,  who 
ended  his  unhappy  and  dishonorable  life  in 
St.  Petersburg,  February  12,  1798. 

Another  court  musician  to  Stanislas  Au- 
gustus was  FELIX  JANIEWICZ,  a  pupil  of 
Viotti,  who  went  about  1770  to  Paris, 
afterward  concertized  throughout  Italy,  and 
finally  settled  in  1786  in  London,  where  he 
became  conductor  of  the  Italian  opera.  His 
violin  concertos,  ensemble  pieces,  etc.,  which 
were  published  in  Paris,  do  not  differ  from 
the  then  prevailing  style. 

We  come  now  to  JOSEPH  ELSNEB  (born 
1769),  Chopin's  teacher  in  harmony  and  com- 
position, who  in  1792  became  director  of  music 
at  Lemberg,  and  seven  years  later  went  to 
Warsaw,  where  he  settled  permanently,  dying 
at  the  age  of  eighty-five  (in  1854).  He  wrote  ex- 
tensively,—  entr'actes,  ballets,  cantatas,  cham- 
ber music,  operas,  masses,  symphonies  and 
other  orchestral  works,  concertos  for  various 
instruments,  songs,  etc., —  but  his  greatest 
work  is  an  oratorio,  "  The  Passion  of  Our  Sa- 
viour," which  has  been  often  sung  in  Europe. 
He  was  also  the  author  of  several  essays,  one 
of  which,"  The  Meters  and  Rhythms  of  the  Po- 
lish Language,"  is  of  exceptional  value  to  stu- 
dents. Eisner  had  many  pupils,  a  number 
of  whom  —  Joseph  Stefani,  Nidecki,  Nowa- 
kowski,  Orlowski,  Fontana,  Kazyriski,  Kro- 
golski,  Chopin,  and  Dobrzyriski  —  spread  his 


fame  beyond  the  confines  of  the  kingdom. 
He  was  the  first  director  of  the  Warsaw 
Conservatory  of  Music,  founded  in  1821,  but 
closed  in  1830.  The  first  teachers  who  were 
associated  with  him  in  this  institution  were : 
for  vocal  music,  Weinert,  Kratzer,  and  Zylin- 
ski;  brass  instruments,  Bailly;  wood- wind, 
Winen ;  violin,  Bielowski ;  piano,  Stolpe  and 
Weinert,  Jr. ;  thorough-bass,  Wiirfell ;  coun- 
terpoint, Eisner ;  Polish  langiiage,  Stefanski ; 
Italian,  Rinaldi ;  French,  Wolski ;  and  decla- 
mation, Kudlicz. 

Of  these  KAMIENSKI,  who  was  born  at  Oden- 
burg,  Hungary,  across  the  Austrian  frontier, 
is  of  Slavonic  origin,  since  his  family  were 
Czechs ;  so  was  Stefani, born  in  Prague;  while 
Eisner  was  born  at  Grotk6w,  in  Silesia,  a 
former  province  of  Poland.  These  men 
spent  there  the  best  part  of  their  lives,  and 
are  all  of  a  type  which  for  many  centuries 
was  closely  welded  to  a  nation  rich  in  folk- 
)ore  and  folk-music,  and  whose  activity  in 
art  ^and  literature  was  checked  only  by  the 
events  which  made  of  its  noblest  sons  pris- 
oners, exiles,  or  corpses. 

We  come  now  to  Prince  ANTON  HENRY 
RADZIWILL,  born  in  the  duchy  of  Poseu  in 
1775,  descendant  of  an  illustrious  family. 
His  musical  work  may  be  classed  as  impres- 
sionistic. Radziwill  was  a  great  friend  and 
admirer  of  Chopin  as  well  as  of  Goethe ;  he 
was  an  exceptionally  fine  violoncellist,  and  he 
also  composed  songs,  piano  pieces,  and  some 
orchestral  works,  the  best  of  which  is  the 
music  to  Goethe's  "  Faust,"  published  in  1835, 
two  years  after  his  death.  This  work,  an- 
ticipating in  many  respects  the  theories  of 
Wagner,  and  highly  prized  by  connoisseurs, 
has  been  often  heard  in  Weimar,  Prague, 
Leipsic,  Berlin,  and  other  cities  of  Europe. 

THE  COMPOSERS  OF 
THE  NINETEENTH  CENTURY 

THE  last  quarter  of  the  eighteenth  century 
shews  Poland  struggling  to  maintain  its  in- 
dependence against  the  courts  of  Berlin  and 
St.  Petersburg,  which  were  determined  to  ap- 
propriate some  of  the  Polish  provinces,  its 
society  torn  asunder  by  Muscovite  agents, 
well-fed  priests,  fanatical  peasants,  and  a  no- 
bility divided  among  itself.  With  the  en£ 
of  the  eighteenth  and  the  beginning  of  the 
nineteenth  century,  we  find  the  Poles  deprived 
of  nearly  all  civil  and  even  of  many  social 


CHOPIN'S  MONUMENT 
At  Reinerz.     Erected  at  the  expense  of  Wiktor  Magims  in  1897. 


privileges ;  the  universities  of  Warsaw  and 
Wiluo  were  broken  up ;  the  rich  libraries  of 
these  and  other  public  as  well  as  private 
institutions  were  carried  to  St.  Petersburg; 
while  Suvaroff,  in  his  attempt  to  annihilate 
the  Polish  nationality  by  metamorphosing  it 
into  a  Russian  people,  enforced  the  wishes  of 
his  mistress,  Catherine  II,  and  anticipated 
those  of  her  successors,  Paul,  Alexander, 
and  Nicholas.  It  was  at  this  time  (1800- 
1825)  that  Marshal  Rokicki  had  on  his  estate, 
in  the  government  of  Miiisk,  in  Lithuania, 
an  orchestra  of  forty  well-trained  musicians, 
under  the  direction  of  JOSEPH  DESZCZYNSKI. 
The  latter  talented  composer  was  bom  in 
Wilno  in  1781,  and  among  his  best. works 
may  be  included  two  requiem  masses,  several 
comic  operas,  a  polonaise  for  four  hands,  a 
piano  quartet  in  A  minor,  and  a  sextet  for 
two  violins,  alto,  two  cellos,  and  a  double- 
bass.  Under  the  direction  of  Deszczyriski 
the  orchestra  became  famous,  and  played  not 
only  the  works  of  Polish  composers,  but  also 
those  of  Haydn,  Mozart,  and  Beethoven.  No 
wonder  that  amateurs  came  from  far  and 
near  to  the  castle  of  Rokicki,  who  was  a 
M4 


talented  violinist  and  pupil  of  Viotti,  and 
often  played  with  the  first  violins,  and  devoted 
also  much  time  to  the  practice  of  quartets 
by  Haydn  and  Beethoven.  Rokicki  was  the 
owner  of  three  Stradivarii —  two  violins  and 
one  violoncello.  When  officiating  as  marshal 
at  Minsk  he  took  his  orchestra  with  him,  and 
repeatedly  gave  concerts  for  benevolent  and 
other  purposes,  while  on  several  occasions 
arrangements  were  perfected  for  operatic 
productions  on  a  grand  scale.  Soloists  were 
brought  from  Wilno,  the  assistance  of  local 
professionals  and  amateurs  was  enlisted,  and 
the  orchestra  increased  to  sixty  performers. 
"  Axur,"  by  Salieri,  and  "La  Dame  Blanche," 
by  Boieldieu,  as  well  as  other  operas,  were 
given  thus  with  splendid  success. 

An  artist  and  composer  of  superior  ability, 
greatly  admired  by  Paganini,  with  whom  he 
played  in  two  concerts  at  Placentia,  was 
CHARLES  LIPINSKI,  born  at  Rad/in  in  1790. 
Lipiriski  first  studied  the  violoncello,  but  later 
gave  it  up  for  the  violin.  When  twenty-two 
years  of  age  he  was  chosen  director  of  the 
orchestra  at  the  theater  in  Lemberg,  which 
post  he  resigned  after  two  years,  in  order  to 


THE  POLES   IN   MUSIC 


365 


devote  himself  to  further  study  and  to  con- 
certizing.  In  1825  he  visited  St.  Petersburg. 
When  Spohr  had  been  there  twenty-four  years 
before,  according  to  the  testimony  of  this  great 
German  musician,  washing  was  so  expensive 
that  one  day  lie  found  Clement!  and  Field 
with  upturned  sleeves  at  the  wash-tub,  wash- 
ing their  stockings !  This  was  during  the 
reign  of  Alexander  I.  In  1839  Lipiuski 
settled  in  Dresden,  but  retired,  some  twenty 
years  later,  to  his  estate  of  Orl6w,  where  he 
died  December  16,  1861.  From  among  a 
goodly  number  of  his  compositions,  written 
mostly  for  the  violin,  may  be  enumerated,  as 
especially  valuable,  two  trios  for  two  violins 
and  cello  (Op.  8  and  Op.  12),  "  Concerto  Mili- 
taire"  (Op.  21),  and  a  collection  of  Galiciau 
folk-songs  with  piano  accompaniment  (two 
volumes),  in  the  issue  of  which  he  was  assisted 
by  Venceslas  Zalewski,  a  litterateur  of  dis- 
tinction. 

Among  the  contemporaries  of  Lipinsk' 
were  FRANCIS  MIBECKI,  born  in  1794  at  Cru- 
cow,  composer  of  sonatas,  chamber  trios, 
symphonies,  oratorios,  etc.,  besides  several 
operas  ("  The  Gipsies,"  "  The  Castle  of  Kenil- 
worth,"  "  A  Night  in  the  Apennines,"  etc.) ; 
SAMSON  JAKUBOWSKI,  born  at  Kowno  in  1801, 
inventor  of  the  xylophone  (known  in  Ger- 
many under  the  name  of  strohfiedel),  on  which 
instrument  he  conccrtized  in  Denmark,  Nor- 
way, Sweden,  and  England  (about  1832  he 
settled  in  Paris,  whence,  under  the  patron- 
age of  the  Countess  de  Spara,  who  assisted 
at  his  concerts  with  her  beautiful  voice,  his 
fame  as  a  virtuoso  spread  far  and  wide) ; 
and  ALBERT  SOWINSKI,  born  in  1805,  edu- 
cated in  Vienna  and  in  Italy,  and  settled  in 
Paris  in  1830,  where  he  died  on  March  5, 
1880 :  a  pianist,  litterateur,  and  composer  of 
some  chamber  music,  a  symphony,  piano 
pieces,  songs,  and  two  oratorios. 

IGNACE  FELIX  DOBRZYNSKI,  born  in  1807 
at  Romanow  in  Volbynia,  did  not  possess  the 
genius  of  Chopin,  who  was  born  two  years 
later.  Both  lads  studied  under  the  same 
master,  but  such  were  Dobrzyn ski's  strength 
of  will  and  energy  of  character,  his  devo- 
tion to  the  art,  and  his  incessant  study,  that 
his  works  reveal  a  knowledge  of  orchestral 
resources,  fugue,  counterpoint,  figuration, 
etc.,  which  makes  them  still  of  great  impor- 
tance. Dobrzyhski's  father  was  a  skilled  vio- 
linist and  director  of  the  opera  on  the  princely 


estates  of  Senator  Iliuski,  who  spent  over 
three  hundred  thousand  dollars  a  year  for 
the  support  of  an  opera,  ballet,  and  a  large 
orchestra.  In  1825  Ignace  journeyed  to  War- 
saw, where  he  went  to  Eisner  to  take  lessons 
in  theory,  counterpoint,  and  composition ; 
great  poverty  prevented,  him  from  taking 
more  than  thirty-six  lessons,  after  which  he 
dug  for  himself  in  works  on  theory  and  in- 
strumentation, with  the  result  above  given 
An  incident  which  occurred  in  1835  shows 
how  often  the  opinion  of  the  greatest  critics 
may  miscarry.  A  prize  of  one  hundred  and 
fifty  thalers  for  the  best  symphony  was  an- 
nounced in  Vienna,  and  seven  judges  were 
to  pass  upon  the  fifty-three  works  that  had 
been  sent  in  from  all  corners  of  Europe.  At 
the  advice  of  Eisner,  Dobrzyriski  sent  his 
symphony  in  C  minor,  which  he  had  finished 
several  years  before,  but  the  judges  awarded 
the  first  prize  to  Franz  Lachner,  at  that  time 
orchestral  director  at  the  court  of  the  Duke 
of  Mannheim ;  the  second  prize  went  to  Joseph 
Strauss,  court  conductor  to  the  Grand  Duke 
of  Baden,  while  Dobrzyn  ski's  work  received 
honorable  mention.  The  public,  however, 
had  something  to  say  in  the  matter,  and  while 
the  paucity  of  interesting  themes,  coupled 
with  the  length  of  Lacliner's  symphony, 
wearied  the  Dresden,  Leipsic,  and  Munich 
audiences,  the  shorter  work  of  Dobrzyn  ski 
fascinated  by  its  melodic  wealth  and  dis- 
tinctively Polish  rhythms.  He  lived  a  num- 
ber of  years  in  Posen,  went  in  1852  to  War- 
saw, where  he  founded  a  musical  institute 
in  1859,  and  died  October  9, 1867,  three  years 
after  the  first  production  of  his  opera  "Mont- 
bar."  A  prolific  writer,  his  compositions 
cover  every  style,  from  the  simplest  piano 
solos  to  operas  and  oratorios,  including  solos 
for  nearly  every  instrument. 

VICTOR  KAZYNSKI,  born  at  Wilno  in  1812, 
and  educated  at  the  university  of  that  city, 
studied  with  Eisner,  and  became  known 
through  his  romantic  opera,  "  The  Wander- 
ing Jew,"  produced  in  his  native  city  as  well 
as  in  Warsaw  in  1842.  Shortly  after  he 
went  to  live  in  St.  Petersburg,  and  two  years 
later  visited  Berlin,  Leipsic,  Dresden,  Prague, 
and  Vienna,  in  company  with  Alexis  Lvoff, 
who,  aside  from  being  a  general  in  the  Rus- 
sian service,  held  also  the  post  of  director  at 
the  imperial  chapel,  and  that  of  superinten- 
dent of  court  music  in  general  to  Nicholas, 


THE  POLES  IN  MUSIC 


It  was  during  the  reign  of  Nicholas  that  the 
question  of  a  national  anthem  came  up,  and 
in  answer  to  an  invitation  to  the  few  then 
existing  Russian  composers,  a  number  of 
marches,  hymns,  and  anthems  were  sent  in. 
Among  the  lot  was  a  distinctively  Russian 
work  by  Glinka  which  pleased  the  critics  and 
connoisseurs.  The  important  part  played  by 
Lvoflfs  trumpets  and  drums  of  course  turned 
Nicholas's  military  instincts  in  its  favor.  The 
fact  that  Glinka's  "Hymn  of  Triumph"  was 
not  chosen  as  the  national  anthem  by  the 
emperor  was  sufficient  to  have  it  accepted  as 
such  by  the  Slavophils  and  malcontents  in 
general ;  it  is  introduced  in  the  epilogue  (last 
scene)  to  Glinka's  "  Life  for  the  Tsar,"  and  is 
certainly  thoroughly  Russian.  Lvoffshymn, 
which  appears  in  many  hymnals,  is  really 
made  up  of  the  well-known  "  Sicilian  Mariner's 
Hymn  "  and  Haynes  Bayly's  "  I  'd  be  a  Butter- 
fly." It  is  told  that  the  Holy  Synod,  in  an 
address  to  Nicholas,  pointed  out  that  the 
Russians  prayed  for  the  dead,  but  did  not  be- 
lieve in  purgatory,  asking  whether,  according 
to  the  doctrine  of  the  Russian  Church,  pur- 
gatory did  exist?  He  wrote  at  once  across 
the  address,  "  No  purgatory,"  with  as  much 
knowledge  of  that  subject  as  he  had  of  the 
merits  of  the  two  anthems ! 

Back  from  his  foreign  travels,  where  he 
had  been  well  received,  Kazyuski  published 
a  journal  in  book  form  which  met  with  a 
large  sale  and  made  him  known  as  an  able 
writer;  this  book  went  through  several  edi- 
tions. In  1845  he  obtained  the  appointment 
of  orchestral  director  at  the  imperial  thea- 
ter of  Alexander,  a  kind  of  work  in  which  he 
specially  excelled. 

Two  important  characters  at  that  time 
were  the  brothers  WIELHOBSKI,  MICHAEL  and 
JOSEPH,  born  in  Volhynia  toward  the  end  of 
the  eighteenth  century.  The  elder,  a  pupil 
of  Kiesewetter  on  the  violin  and  of  Miiller  in 
harmony,  went  to  Paris  in  1808,  shortly  after 
the  treaty  of  Tilsit,  and  afterward  to  Vienna, 
where  he  became  a  warm  friend  of  Bee- 
thoven. He  soon  returned  to  Poland,  and  at 
the  invitation  of  the  Russian  government 
went  to  reside  in  St.  Petersburg,  where  his 
salon  was  a  gathering-place  for  the  nobility 
as  well  as  for  artists  and  litterateurs,  promi- 
nent figures  among  whom  were  Henselt, 
Schumann,  Liszt,  Lipinski,  and  Von  Lenz. 
After  retiring  to  his  estates  in  Volhynia, 


where  he  maintained  a  splendid  orchestra 
under  the  direction  of  Ostrowski,  he  devoted 
himself  to  composition,  and  wrote  a  sym- 
phony, choruses  with  accompaniments,  songs, 
etc.,  leaving  at  his  death  in  1856  an  incom- 
plete opera,  "The  Gipsies."  His  brother 
Joseph  was  a  composer  of  no  small  merit, 
and  a  highly  talented  pianist  and  cellist. 

We  come  now  to  STANISLAS  MONIUSZKO, 
born  on  May  5, 1819,  in  a  little  village  (Ubiel) 
in  the  government  of  Minsk,  whose  mother, 
an  accomplished  musician,  cradled  the  child 
with  the  historic  songs  of  Niemcewicz,  and 
gave  him  his  first  lessons  on  the  piano.  His 
musical  education  was  continued  under  Au- 
gust Preyer,  Stefanowicz,  and  Rungenhagen. 
After  having  visited  Paris,  Weimar  (where  he 
formed  a  close  friendship  with  Liszt),  Vienna, 
and  other  Continental  cities,  he  settled  in 
Warsaw,  where  his  first  opera,  "  Halka,"  was 
produced  in  1846.  Moniuszko  loved  the  sim- 
ple strains  of  the  people  as  he  loved  every- 
thing belonging  to  Poland,  and  he  introduced 
the  songs  of  the  peasants  into  his  composi- 
tions. These  show  how  evenly  his  intellect 
and  imagination  were  balanced,  and  excel  in 
variety  of  rhythmical  forms,  piquant  melodic 
progressions  and  modulations.  With  a  skill 
peculiarly  his  own,  he  produced  effects  with 
so  light  and  yet  so  firm  a  hand  that  the  pro- 
ductions of  his  operas  "  Halka,"  "  Flis,"  and 
"  The  Gipsies  "  called  forth  great  enthusiasm. 
He  also  wrote  a  number  of  choral,  orchestral, 
vocal,  and  piano  works,  and  a  setting  of 
"  Laudate  Dominum "  for  two  voices,  all  of 
which  emphasize  his  reputation  as  an  erudite 
musician.  His  musical  settings  of  the  third 
part  of  "  Dziady  "  ("  Forefathers  "),  a  historical 
poem  by  Adam  Mickiewicz,  and  of  "  The  Lute- 
player,"  by  the  same  poet,  show  many  new 
paths  which  he  opened  in  his  music  composed 
to  historical  and  allegorical  poems.  Com- 
pared with  the  restraint  and  classic  serenity 
of  his  contemporary  Mendelssohn,  there  is  an 
emotional  intensity,  a  glow  and  stir  of  roman- 
ticism, which  bespeaks  Moniuszko's  beautiful 
and  significant  individuality. 

FREDERIC  CHOPIN  was  born  March  2, 1809, 
in  Zelazowa-Wola,  near  Warsaw.  While 
Chopin  reflects  in  his  works  Bach's  tendency 
to  polyphony, —  a  highly  commendable  and 
correct  inclination  on  the  part  of  the  com- 
poser,—  the  elegance  and  grace  of  Mozart  and 
the  chivalrous  romance  of  Weber  had  been  a 


*•£ 

K  .a 

.  £ 


a  a 

H    o 


TOMB  OF  CHOPIN  AT  PERE-LA-CHA1SE,  PARIS. 

Monument  by  CISsinger. 


part  of  his  nature  long  before  he  could  have 
been  impressed  with  the  importance  of  the 
Viennese  school.  We  owe  to  the  erudite 
musician  and  litterateur  Oscar  Kolberg  and 
his  friend,  a  young  lawyer,  Gervais,  some 
definite  information  about  Chopin's  ancestors, 
who,  according  to  the  following  account,  must 
have  been  Poles :  "  When,  after  a  reign  of  five 
years  (1704-09),  Leszczyiiski  left  Poland,  re- 
signing all  pretensions  to  the  crown,  which 
had  been  seized  by  the  Saxon  Frederick 
Augustus,  he  retired  to  the  little  duchy  of 
Deux-Ponts  (Zweibriicken),  presented  to  him 
by  Charles  XII  of  Sweden,  who  possessed  it 
by  inheritance.  After  the  death  (1718)  of 
this  king,  the  duchy  of  Lorraine  was  given  to 


Leszczynski  for  life,  and  thither  he  went  to 
live, — in  Luneville,  which  was  the  residence 
of  the  dukes  of  Lorraine, — followed  by  a  num- 
ber of  Polish  courtiers,  among  whom  were 
two  natives  of  Kalisz,  Jean  Kowalski  and 
Nicholas  Szop.  With  the  consent  and  support 
of  the  ex-king,  these  two  opened  a  wine-house 
at  Nancy,  a  large  town,  the  capital  of  Lor- 
raine, situated  on  the  Meurthe  some  twenty 
miles  from  Luneville.  No  doubt  to  facili- 
tate business  intercourse,  the  two  names  were 
changed  to  Ferrand  and  Chopin.  Other 
Polish  families  who  settled  in  Lorraine  at 
that  time  did  likewise.  Be  this  as  it  may, 
the  junior  partner  of  the  firm  had  a  son  Jean 
Jacques,  who  appears  under  the  name  of 

367 


368 


THE  POLES  IN  MUSIC 


Chopin,  aud  who  gave  up  the  trade,  which 
was  not  to  his  liking,  in  order  to  devote  him- 
self to  teaching.  He  married  the  widow  Des- 
marets  (or  Desmarais)  of  Metz,  whei-e  he 
taught  for  a  while,  afterward  filling  similar 
positions  in  Nancy  and  Strasbourg.  They  had 
four  children  —  three  sons  and  a  daughter ; 
the  latter  married  young,  went  to  .live  in 
Luneville,  and  died  before  the  French  Revo- 
lution. Of  the  three  sons,  the  eldest  took  or- 
ders, became  canon,  and  died  at  Nancy  during 
the  first  part  of  this  century  ;  the  second  son 
died  without  issue ;  while  the  youngest,  Nicho- 
las, migrated  to  Poland  and  was  the  father  of 
Frederic.  The  best  portraits  of  Chopin,  bas- 
ing the  statement  on  the  opinion  of  those 
who  knew  him  personally,  and  not  on  that  of 
fantastic  idealists,  are  the  one  taken  on  May 
2,  1847,  by  Winterhalter ;  one  by  Kwiat- 
kowski ;  one  by  Ary  Scheffer,  which  remained 
till  1863  in  the  possession  of  Chopin's  sister 
Isabelle  Barcinska ;  and  one  in  the  palace  of 
Anton  Radziwill. 

OSCAE  KOLBERG,  mentioned  above,  was 
born  at  Radom  in  1814,  studied  music  from  his 
childhood,  took  lessons  in  harmony  and  com- 
position in  Berlin  from  Rungenhagen,  who 
became  successor  to  Zelter  and  was  at  that 
time  the  leading  theoretician.  Kolberg,  who 
settled  in  Warsaw  till  1869,  when  he  moved 
into  the  neighborhood  of  Cracow,  wrote  some 
studies,  national  dances,  songs,  and  an  oper- 
etta or  two;  but  the  magnum  opus,  the  work 
to  which  he  has  devoted  over  seventy  years 
of  his  life,  is  his  collection  of  songs  of  the 
Polish  people  ("  Piesni  ludu  polskiego  "),  the 
first  volume  of  which  —  a  book  of  four  hun- 
dred and  fifty  pages  —  appeared  in  1857,  and 
contains  about  one  thousand  songs  and 
dances,  besides  drawings  of  costumes  of  the 
people.  Further  material  has  been  issued  in 
parts  by  the  author,  with  the  assistance  of 
the  Cracow  Academy  of  Sciences,  under  the 
general  name:  "The  people,  its  customs, 
manner  ,of  living,  language,  legends,  prov- 
erbs, ceremonies,  airs,  plays,  songs,  music, 
and  dances"  ("  Lud,  jego,  zwyczaje,  spos6b 
zycia,  mova,  podania,  przyslowia,  obrzedy, 
gusta,  zabawy,  piesni,  muzyka  i  tancy ").  Com- 
pared with  similar  works  by  other  writers,  it 
towers  above  them  by  its  completeness  and 
erudition,  and  appeals  to  scholars  bent  on 
studies  or  researches,  but  unfortunately  does 
not  interest  the  amateur  writer  on  musical 


subjects, — which  class  is  multiplying  rapidly, 
—  hence  possibly  the  reason  why  it  has  not 
found  its  way  into  the  important  libraries  in 
this  country. 

Additional  prominent  composers,  artists, 
and  litterateurs  born  in  the  beginning  of  the 
nineteenth  century  are  the  four  brothers 
KONTSKI  (CHARLES,  a  violinist ;  ANTON  and 
STANISLAS,  pianists;  and  APOLLINARIUS,  a 
violin  virtuoso  of  great  renown) ;  STANISLAS 
SZCZEPANOWSKI,  born  in  1814,  a  distinguished 
violoncellist  and  a  most  remarkable  virtuoso 
on  the  guitar ;  AUGUST  ROGUSKI  ;  ALEXANDER 
ZARZYCKI,  who  was  director  of  the  Wargaw 
Conservatory  from  1879  till  his  death  in  1895 ; 
JOSEPH  KROGOLSKI,  ADAM,  MUNCHHEIMER, 
JULIUS  KLEMCZYNSKI,  VINCENT  STUDZINSKI. 
ANTON  KOCIPINSKI,  JOSEPH  WASIELEWSKI, 
HENRY  KOMAN,  HENRY  and  JOSEPH  WIE- 
NIAWSKI;  also  a  pupil  of  Chopin,  CHARLES 
MIKULI,  born  in  Bukowiua  in  1821,  and  re- 
cently (1897)  deceased,  whose  edition  of 
Chopin's  works  is  most  valuable  to  students. 

CONTEMPORARY  COMPOSERS 

WE  come  now  to  the  last  group,  men  who 
have  already  received  recognition  and  those 
who  are  trying  with  all  their  might  to  attain 
it.  On  these,  both  as  to  the  form  and  sub- 
stance of  their  work,  weighs  the  influence  of 
Wagner,  harmful  in  part,  because  it  overlies 
national  sincerity ;  useful,  in  that  it  imposes 
greater  care  as  regards  the  modern  views 
which  require  a  relation  of  words  to  a  music 
which  reveals  in  all  its  force  the  situation 
depicted.  Louis  GROSSMAN,  born  in  1835  in 
the  government  of  Kalisz,  excels  in  his  fa- 
cility of  invention  and  clever  orchestration. 
His  overtures,  "  King  Lear,"  "  Marie  "  (after 
the  famous  poem  of  Malczewski  —  a  touching 
family  legend  of  the  Potockis,  transposed 
from  Volhynia  to  Ukraina),  a  piano  concerto 
in  C  major,  etc.,  have  been  heard  often  in 
public ;  while  his  three-act  opera,  "  The  Fish- 
erman of  Palermo,"  first  produced  in  War- 
saw (1867)  by  an  Italian  opera  company,  and 
"  The  Wojewoda's  Ghost,"  also  in  three  acts, 
written  in  1872,  have  met  with  success  in  the 
chief  cities  of  Europe.  LADISLAS  ZELENSKI, 
who  succeeded  Moniuszko  as  teacher  of  coun- 
terpoint and  composition,  and  Zarzycki  as 
director  of  the  Warsaw  Conservatory,  was 
born  July  6,  1837,  in  a  village  (Grodkowice) 
of  Galicia.  He  has  written  extensively,  ex- 


THE  POLES   IN   MUSIC 


369 


celling  in  originality,  which,  however,  is 
marred  at  times  by  pedantry.  His  operas, 
"Conrad  Wallenrod,"  "  Janek,"  and  "  Goplana," 
have  received  successful  and  repeated  pro- 
ductions; while  several  overtures,  a  string- 
quartet  (Op.  28),  a  trio  in  E  major,  a  piano 
and  violin  sonata  (Op.  30),  besides  a  mass  for 
chorus,  organ,  and  orchestra,  deserve  the 
widest  possible  recognitioii.  .  Count  GUSTAVE 
PLATER,  born  in  1841  in  Lithuania,  should  be 
mentioned  here  not  only  on  account  of  his 
1  musical  talent,  which  attracted  notice  when 
he  was  but  nine  years  of  age,  but  because  he 
did  much  for  the  advancement  of  art  among 
his  own  people  on  his  estate,  where  he  kept  a 
large  orchestra,  and  was  also  initiator  as  well 
as  financial  backer  of  the  first  musical  ex- 
position held,  in  1888,  at  Warsaw.  Composi- 
tions known  from  his  pen  are  a  symphony, 
string  quartet,  violin  concerto,  studies,  and 
one  opera.  SIGISMUND  NOSKOWSKI,  born 
May  2,  1846,  in  Warsaw,  where  he  entered 
the  Conservatory  when  nineteen  years  t*£ 
age  and  afterward  studied  with  Kiel  of 
Berlin,  has  written  several  symphonies,  a 
piano  quartet,  some  string  quartets,  over- 
tures, songs,  and  piano  soli.  HENRI  JARECKI, 
born  in  Warsaw  in  1846,  director  of  the 
opera  at  Lemberg,  composer  of  songs,  cham- 
ber music,  symphonic  poems,  etc.,  is  best 
known  by  his  operas,  among  which  are 
"Wanda,"  "Hedwidge,"  "Barbara  Radzi- 
will,"  etc.  JEAN  Louis  NICODE,  born  in  1853 
in  the  duchy  of  Posen,  a  brilliant  pianist  with 
an  enormous  technic,  has  written  mostly 
for  the  piano,  but  also  a  few  songs  and 
some  choral  and  orchestral  numbers.  Mo- 
RITZ  MOSZKOWSKI,  born  in  Wroclaw  (Bres- 
lau),  Silesia,  August  23,  1854,  is  a  brilliant 
pianist  and  composer  residing  now  in  Paris. 
Besides  these,  IGNACE  JAN  PADEREWSKI, 
born  November  6,  1859,  near  Lublin,  a  pupil 
of  the  Conservatory  at  Warsaw,  one  of  the 
most  distinguished  piano  virtuosi  of  to-day, 
has  written  principally  for  the  piano,  but 
also  a  violin  sonata  (Op.  13),  a  violin  con- 
certo (Op.  18),  and  an  opera,  "  Manru." 
HENRY  PACHULSKI,  a  piano  virtuoso,  born 
October  4,  1859,  and  also  a  pupil  of  the 
Warsaw  Conservatory,  is  a  talented  composer 
of  piano  pieces,  an  orchestral  suite  (Op.  13), 
some  excellent  transcriptions,  etc.  He  is  at 
present  professor  at  the  Conservatory  of 
Moscow.  ALEXANDER  MARTIN  was  a  tal- 


ented writer  of  two  operas,  whose  promising 
career  was  cut  short  by  death  when  only 
thirty-one  years  of  age.  CASIMIR  HOFMAN, 
born  in  1842  at  Cracow,  whose  real  name  is 
Wyszkowski,  will  interest  us  a  moment  by 
his  extraordinary  talent  as  pianist,  which  he 
exhibited  to  the  Viennese  in  1851,  and  which 
has  been  inherited  by  his  son  Josef.  He 
has  written  a  number  of  operettas  wherein 
characteristic  instrumentation  goes  hand  in 
hand  with  a  brilliant  development  of  musical 
ideas.  In  his  opera  "  Children  of  a  Siren," 
two  numbers — a  polonaise  with  chorus,  and 
a  chorus  of  seamstresses  working  on  sewing- 
machines —  made  an  unprecedented  hit,  the 
last-named  chorus  having  been  imitated  by 
Sir  Arthur  Sullivan  in  a  number  of  his 
works.  PAUL  KUCZYNSKI,  born  in  1846,  at- 
tracts attention  by  his  excellent  orchestral 
and  choral  works,  notably  the  cantata  "  Ari- 
adne," which  met  with  a  great  success  at  its 
first  production  in  Berlin,  March,  1880.  He 
was  a  pupil  of  Von  Billow  and  a  personal 
I'i .  id  of  Liszt,  Wagner,  and  Jensen.  The 
last-named  wrote  his  celebrated  "Wedding 
Music ''  for  the  betrothal  of  Kuczyriski  to  a 
pupil  of  Tausig.  The  brothers  SCHARWENKA 
(PHILIPP,  born  February  16, 1847,  and  XAVER, 
born  January  6,  1850)  may  be  included  in 
this  list,  for  though  not  Poles,  they  are  of 
Slavonic  origin.  This  Bohemian  family  mi- 
grated from  Prague  to  Prussia  during  the 
reign  of  Frederick  the  Great,  changing  the 
original  Czechish  name  Czerwanka  to  Schar- 
wenka.  The  mother  of  these  two  talented 
musicians  is  Polish,  which  explains  the  na- 
tional spirit  that  permeates  their  composi- 
tions. To  the  younger  artists  belong  MICHAEL 

BlERNACKI ;    THADEUS  JOTEIKO  ;    PETER  MA- 

szYNSKi;  N.  V.  LYSIENKO;  HENRY  MELCER, 
whose  second  piano  concerto  received  the 
Paderewski  prize  in  Leipsic ;  EMIL  MLYNAR- 
SKI,  born  in  1870,  a  talented  violinist  and 
composer,  present  director  of  the  opera  at 
Warsaw ;  ROMAN  STATKOWSKI,  born  in  1863, 
w!io  excels  in  clothing  his  original  themes  in 
modern  forms;  STANISLAS  NIEWIADOMSKI ; 
two  women,  LEOCADIA  WOJCIECHOWSKA  and 
HALINA  KRZYZANOWSKA,  the  latter  a  pupil  of 
Marmontel  and  Guiraud;  also  RAYMOND  BA- 
CZYNSKI,  EUGENE  PANKIEWICZ,  JULES  ZA- 
REMBSKI,  VENCESLAS  KARLOWICZ,  WOJCIECH 
GAWRONSKI,  VLADIMIR  PUCHALSKI,  and  TITO 
ERNESTI. 


370 


THE   POLES   IN   MUSIC 


It  has  been  shown  that  an  intimate  relation 
exists  between  the  music  and  the  customs  of 
the  Polish  people,  whose  annals,  like  those  of 
many  other  nations,  teem  witli  strange  and 
improbable  events.  Music  gained  no  real 
position  among  the  Slavonians  much  before 
the  tenth  century,  when  from  pastoral  it  be- 
came religious,  owing  to  the  gradual  devel- 
opment of  harmony  and  the  support  given 
by  the  church.  Later  it  became  martial,  pul- 
sating in  concord  with  the  conquests  of  its 
people.  Wise  and  brilliant  was  the  epoch  that 
followed  (and  here— in  the  eighteenth  cen- 
tury— the  Germans  enter  into  music  as 
palpable  factors),  while  its  culture  suffered 
a  visible  decline  following  the  last  partition 


of  Poland :  home-rnusic  culture  was  neg- 
lected, native  talent,  excepting  very  few 
instances,  languished,  while  importation  of 
foreign  artists  flourished.  Notwithstanding 
all  this,  the  inherent  love  of  the  people  for 
music  was  such  that  a  reaction  set  in,  and 
after  a  brief  period  of  hyperestheticism, —  a 
sort  of  imitation  of  Chopin  (which  imitation, 
however,  lacked  both  sparkle  and  sub- 
stance),—  a  school  of  composers  has  come 
to  the  front  whose  virile,  bracing,  vigorous, 
style  has  vitality  in  every  note,  and,  logically 
enough,  appeals  wholly,  directly,  and  at  once 
to  the  better  heart  feelings ;  freed  of  the 
bonds  of  artificiality,  it  is  music  full  of  soul, 
speaking  truth  and  conviction. 


BUST  OF  PADEREWSKI,  MADE  BY  ALFRED  NOSS1G  (1899). 


GOLD   MEDAL    (MADE    BY  ANTON    SCHARFF      GIVEN    TO   CARL   OOLDMARX 
ON   HIS   SEVENTIETH    BIRTHDAY. 


CARL   GOLDMARK 


THEODOR  HELM 

CARL  GOLDMARK,  one  of  the  most  important  composers  of  Hungary 
(though  by  training  and  influence  a  German),  was  born  May  18,  1830, 
at  Keszthely,  on  the  Plattensee,  and  he  died  in  Vienna  on  January  2,  1905. 
He  was  the  son  of  the  prayer-reciter  in  the  Israelite  congregation  of  that 
place,  Simon  Reuben  Goldmark,  who  had  won  great  fame  as  a  synagogue 
singer.  Accordingly,  the  first  musical  impressions  of  the  boy  Carl  were 
ritualistic  and  religious,  and  they  entered  into  him  so  deeply  that  many 
years  later  he  wrote  his  first  and  principal  opera  under  their  influence, 
with  such  earnestness  and  warm  artistic  feeling  that  listeners  of  other 
faiths  were  filled  with  sympathy  and  respect. 

Goldmark  received  his  first  systematic  instruction  in  music,  on  the 
violin,  in  1843,  in  the  "Oedenburger  Musikverein,"  and  his  rapid  progress 
induced  his  parents  to  dedicate  him  entirely  to  this  art.  The  boy  went, 
in  1844,  to  Vienna  for  further  study,  and  enjoyed  the  excellent  instruction 
of  the  violin-master  Jansa.  In  1847-48  he  frequented  the  conservatory 
class  for  harmony  and  composition  under  Professor  Gottfried  Preyer,  who 
until  his  death  in  1901,  at  the  age  of  ninety-two,  was  Domkapellmeister  at  the 
Cathedral  of  St.  Stephen.  Goldmark  further  improved  his  violin-playing 
under  Professor  Joseph  Bohm.  It  is  a  pity  that  this  fruitful  instruction 
lasted  but  a  few  months;  the  stormy  days  of  the  revolution  in  March,  1848, 
broke  off  all  further  study  for  a  long  period. 

During  the  revolution  young  Goldmark  stayed  at  home  in  his  father's 
house  in  Deutsch-Kreuz  in  Hungary,  where  his  parents  had  settled. 

3T1 


CARL  GOLDMARK  AT  THIRTY. 
From  a  photograph  by  Jagerspacher,  Gmiinden,  Austria. 


After  the  revolution  he  returned  to  Vienna  to  earn  his  living  with  the  vio- 
lin. He  worked  fully  seven  years  as  first  violin  in  the  orchestra  of  the 
Carl  Theater  of  Vienna,  with  a  salary  of  eighteen  gulden  a  month  ;  he  then 
served  two  years  in  the  orchestra  of  the  .Arena  in  Ofen,  during  which 
time  he  composed  Jewish  temple  songs  for  the  Alt  Ofen  prayer-leader, 
Wahrman,  the  manuscripts  of  which,  unfortunately,  are  lost. 

Settled  again  in  Vienna,  Goldmark  turned  to  eager  study  of  the  piano, 
and  soon  became  one  of  the  most  popular  teachers  of  this  instrument. 
Besides  this,  he  acted  as  music  reporter  of  the  prominent  political  paper 
of  Vienna,  the  "  Konstitutionelle  Oesterreichische  Zeitung." 


372 


CARL   GOLDMARK 


373 


Now  at  last  Goldmark  was  nearing  his  real  life-calling  —  the  creation 
of  music.  Following  an  irresistible  impulse  to  create,  he  had  been  com- 
posing, mostly  for  the  violin,  ever  isince  his  earliest  youth,  although 
without  much  knowledge  of  the  science 
of  composition  or  of  classical  literature. 
In  1854  he  had  been  greatly  impressed 
by  some  works  of  Mendelssohn,  and, 
like  so  many  of  his  fellow-workers,  he 
went  through  the  following  years  com- 
pletely under  his  influence.  In  1857 
Goldmark  appeared  in  Vienna,  for  the 
first  time,  in  his  own  concert,  and 
produced  several  large  compositions, 
a  piano  quartet,  a  psalm  for  chorus, 
solos,  and  orchestra,  and  an  overture. 

In  1858  he  went  to  Budapest,  and 
there  in  strict  retirement  led  the  life  of 
a  most  earnest  musical  student.  Tiie 
thorough  study  of  Bach's  works  (which 
up  to  that  time  had  been  almost  un- 
known to  our  artist),  the  tone-poems 
of  Robert  Schumann,  the  "Lohengrin" 
of  Richard  Wagner,  and  the  last  works 
of  Beethoven  had  a  mighty  effect  upon 
Goldmark,  and,  as  he  said  in  a  letter  to 

the  writer  of  these  lines,  they  tore  him  out  of  his  one-sided  adherence  to 
Mendelssohn,  persisted  in  up  to  that  time,  and  with  one  stroke  placed  him 
upon  his  own  feet.  The  Piano  Trio  (Op.  4)  and  the  piano  pieces  "  Sturm 
und  Drang  "  indicate  and  belong  to  this  period. 

In  1859  Goldmark  gave  another  concert  of  his  own  compositions  in 
Budapest ;  but  in  the  next  year,  1860,  the  need  of  greater  artistic  recog- 
nition led  him  back  to  Vienna,  where  he  settled  permanently.  His 
summer  vacations,  however,  were  spent  in  later  times  in  the  friendly 
surroundings  of  the  upper  Austrian  Traunsee. 

In  Vienna,  Goldmark  wrote  his  String  Quartet  in  B  major  (Op.  8), 
which  he  still  regards  as  one  of  his  most  successful  works.  He  introduced 
this  and  other  pieces  in  his  concert  given  in  1861. 

From  this  time  dates  the  active  part  taken  by  Joseph  Hellmesberger, 
afterward  director  of  the  Vienna  Conservatory,  and  a  famous  violin  virtuoso, 
in  introducing  Goldmark's  new  works.  Almost  yearly  Hellmesberger,  who 
died  in  1893,  brought  one  out,  or  at  least  repeated  one  in  his  quartet  soirees. 

An  influential  connection  was  formed  also  by  Goldmark  with  Otto 
Dessoff,  the  court  opera-  and  chapel-master  and  the  director,  from  1860  to 
1875,  of  the  newly  formed  Philharmonic. 


THEODOR  HELM. 
From  a  photograph  by  Margit,  Vienna. 


374  CARL   GOLDMARK 

It  was  through  Hellmesberger  that  the  public  became  acquainted  with 
Goldmark's  first  suite  for  violin  and  piano.  His  "  Sakuntala "  over- 
ture was  introduced  by  Dessoff.  These  are  the  compositions  which  in  the 
composer's  middle  life  carried  his  fame  into  the  furthest  musical  circles, 
even  across  the  ocean.  The  "Sakuntala"  overture  particularly  has  every- 
where received  an  enthusiastic  reception,  and  even  the  critics  have  ac- 
knowledged that  the  composer  has  chosen  well  from  the  gifts  received 
from  his  musical  nature  and  created  a  masterpiece  for  the  modern 
orchestra.  The  free  and  yet  firm  form  of  composition,  the  freshness 
of  thought,  the  original  local  coloring,  the  truly  splendid  instrumenta- 
tion, which  of  course  nowhere  conceals  its  Wagnerian  prototype  —  all 
these  together  betokened  the  most  decided  talent  for  orchestral  writing, 
particularly  for  dramatic  works.  This  resulted  therefore  in  arousing 
the  most  wide-spread  expectations  of  his  great  opera  "Die  Konigin 
von  Saba,"  upon  which  it  was  known  he  had  worked  zealously  for 
years.  Nor  were  such  expectations  disappointed  when  the  first  represen- 
tation of  this  work  took  place  on  March  10,  1875,  in  the  Vienna  Court 
Opera-house. 

It  was  evident  that  with  "Die  Konigin  von  Saba"  Groldmark  had 
entered  upon  his  true  artistic  career,  and  had  placed  himself  in  the  first 
rank  of  dramatic  composers.  After  its  debut  with  stormy  applause  at 
Vienna,  "  Die  Konigin  von  Saba"  took  possession  of  almost  all  the  great 
stages  in  Europe ;  moreover,  it  belongs  to  the  very  few  operas  written 
originally  in  German  which  are  brought  out  in  Italy.  In  Berlin,  where  it 
has  been  given  already  over  .  a  hundred  times,  as  also  in  Dresden  and 
Hamburg,  it  is  one  of  the  favorite  operas  in  the  repertory  and  draws  ex- 
tremely well. 

Groldmark's  next  grand  opera,  "Merlin,"  the  first  appearance  of  which 
was  in  the  Court  Opera-house  in  Vienna,  November  19, 1886,  did  not  gain 
quite  the  same  popularity.  The  material  for  this  work  was  derived  from 
the  traditions  of  the  Middle  Ages. 

Goldmark's  muse  now  made  a  surprising  transition  from  the  pranking 
splendor  of  the  Land  of  the  Morning  and  of  the  Old  Testament,  and  the 
enchanting  romances  of  the  knights  of  the  Middle  Ages,  to  the  little 
village-like  sphere  where  the  scene  of  the  artist's  next  opera,  "Das 
Heimchen  am  Herd"  (The  Cricket  on  the  Hearth),  was  laid  (first  appear- 
ance in  the  Court  Opera-house  in  Vienna,  March  21,  1896),  its  text  being 
taken  from  a  well-known  tale  of  Dickens.  And  the  daring  leap  succeeded 
beyond  all  expectation. 

"  Das  Heimchen,"  meeting  so  well  a  prominent  demand  of  the  times, 
that  desire  of  the  public  for  musical  household  tales,  which  had  been 
awakened  by  Humperdinck,  almost  equals  the  drawing  power  of  "Die 
Konigin  von  Saba,"  and  its  greater  adaptability  to  the  stage  has  aided  it  in 
establishing  itself  in  a  larger  number  of  opera-houses.  It  has  even  found  a 


GOLDMARK'S  BIRTHPLACE  IN  KESZTHELY,  HUNGARY. 

home  in  the  little  theaters  of  the  provinces.  The  composer's  next  work, 
"  Die  Kriegsgefangene,"  on  the  contrary,  in  which  he  returned  to  material 
entirely  different  from  that  of  "Das  Heimchen"  and  such  as  he  chose 
originally,  namely,  the  antique  world  of  Homer's  "Iliad,"  meets  respectful 
recognition  principally  from  the  critics  and  from  a  minority  of  the  public. 
Its  first  appearance  was  in  the  Court  Opera  in  Vienna,  January  17, 1899. 

Nothing  daunted  by  the  doubtful  success  of  the  last-named  production, 
Goldmark  wrote  three  more  operas,  "Gotz  von  Berlichingen, "  "Ein  Win- 
termarchen,"  and  "Der  Fremdling."  The  first  was  given  at  Budapest  in  1902, 
and  in  revised  form  at  Vienna  in  1910;  the  second,  completed  in  1908,  did  not 
meet  the  favor  of  the  Vienna  Opera  authorities;  the  third,  "Der  Fremdling," 
was  finished  not  long  before  the  composer's  death. 

As  already  indicated,  the  most  important  of  Goldmark's  artistic  crea- 
tions are  decidedly  dramatic — the  operas;  and  of  these,  in  the  opinion 
of  the  writer,  his  earliest  work,  with  which  he  conquered  the  stage,  "  Die 
Konigin  von  Saba,"  holds  its  place  as  the  best  and  the  most  remarkable. 
Entirely  different  from  the  great  and  truly  German  music-dramas  of 
Wagner  as  is  this  national  opera  of  the  Jews,  as  "  Die  Konigin  von  Saba  " 
has  been  fittingly  called,  it  yet  possesses  in  common  with  those  immortal 
creations  of  genius  one  important  feature  —  it  does  not  appear  as  if  put 
together  in  a  formally  artistic  way,  but  as  if  it  were  the  unrestrainable 

375 


CARL  GOLDMARK. 
From  a  photograph  by  Jagerspacher,  Gmiinden,  Austria. 

expression  of  inner  feeling  and  personal  experience ;  and,  except  in  some 
more  superficial  parts,  it  has  this  effect  upon  the  unprejudiced  listener 
In  none  of  his  works  is  Goldmark  more  himself  as  a  musician  than  in 
this  one.  He  has  given  such  free,  convincing  expression  of  his  own 
peculiar  genius  —  a  genius  which  shows  itself  particularly  in  his  exotic, 
heavy  harmony  and  firm,  passionate  climaxes  —  in  no  other  as  in  this,  his 
great  opera  of  the  East,  which  stands  unequaled  in  its  consistent  local 
coloring. 

I  have  already  said  that  Groldmark  most  happily  revived  the  religious 

376 


CARL   GOLDMARK  377 

memories  of  his  youth  in  the  great  temple  scenes  and  in  other  ritual- 
istic passages  of  the  work.  While  "Die  Konigin  von  Saba,"  distinguished 
throughout  as  it  is  by  splendid  knowledge  of  technic,  stands  with  the  great 
public  on  the  same  level  as  to  style  as  Wagner's  early  operas  ("  Tannhauser  " 
and  "Lohengrin"),  Goldmark's  opera  "Merlin"  is  recognizably  under  the 
influence  of  the  later  works  of  the  poet-composer  of  "  Tristan,"  "  Parsifal," 
and  "  Das  Nibelungen  Lied."  This  is  frequently  evident  in  Herr  Sieg- 
fried Lipiner's  book  of  words,  in  which  he  has  striven  to  afford  ground 
for  a  highly  symbolized  and  effective  musical  drama  in  the  spirit  of 
Wagner, —  a  pity  that  it  is  only  with  doubtful  success;  while  the  librettist 
of  "  Die  Konigin  von  Saba,"  Dr.  S.  Mosenthal,  on  the  contrary,  never 
transgresses  the  customary  bounds  of  grand  opera. 

In  comparison  to  the  "  Saba  "  music,  that  of  "  Merlin  "  appears  greatly 
ennobled  and  refined,  and  it  is  a  step  forward  in  respect  to  its  power  of 
orchestral  expression ;  but  the  forceful,  original  impression  of  the  earlier 
opera  is  missing,  and  it  seems  as  if  the  composer  was  not  quite  at  home 
among  his  new  surroundings  before  the  Round  Table  of  King  Arthur's 
knights,  and  hardly  moved  with  th*  «ame  freedom  and  grace  as  in  the 
gold-decked  palace  of  King  Solomon  and  in  the  Temple  of  Jerusalem. 

There  is  a  striking  contrast  between  his  first  two  operas  conceived  in 
such  dramatic  style  and  the  third  following,  "  Das  Heimchen  am  Herd," 
the  text  of  which  is  by  A.  M.  Willner  of  Vienna.  Though  the  music  of 
the  latter  cannot  be  called  free  from  a  certain  unstilted,  gaily  checkered 
coloring,  its  impression  is  otherwise  pleasing ;  and  precisely  because  its 
lighter  style  is  better  suited  to  the  older  style  of  representation  it  has 
become  much  beloved  on  many  boards. 

However,  as  if  the  composer  had  sorely  repented  thus  letting  himself 
down  to  the  taste  of  the  crowd,  he  turns  again  with  all  earnestness 
toward  his  ideal  in  his  next  and,  at  present,  his  latest  work  for  the  stage, 
the  two-act  opera,  "  Die  Kriegsgefangene "  (text  from  Homer  by  Emil 
Schlicht,  pseudonym  of  the  Protestant  preacher  Formey),  and  is  not  only 
Wagner-like,  but  resembles  almost  more  the  old  master  Christopher  Gluck. 
There  is  an  astonishing  likeness  to  Gluck's  severe  grandeur  in  the  intro- 
ductory scene  of  the  opera ;  it  seems  like  an  echo  from  "  Orpheus." 

With  regard  to  its  singing  capabilities,  "  Die  Kriegsgefangene "  is 
certainly  somewhat  cold.  On  this  account,  and  perhaps  more  because 
of  its  poorly  conceived  text-book,  it  has  not  made  itself  a  home  on 
any  stage. 

Goldmark's  great  concert  overtures,  " Penthesilea,"  "Sappho,"  and 
"Der  Gefesselte  Prometheus"  (after  .ZEschylus),  are  best  placed  beside  his 
"Iliad"  opera,  since  all  three  have  to  do  with  antique  material,  although 
the  first  two  offer  only  a  reflection  through  the  later  German  poets  Von 
Kleist  and  Grillparzer.  Conceded  masterpieces,  they  are  so  dry,  often  so 
severe,  in  character  that  they  have  never  quite  won  the  universal  favor  of 

25 


378 


CARL   GOLDMARK 


. 


vj  t  7-          vj  H 


v  »U  W*<        j^^~ 


A  MANUSCRIPT  OF  GOLDMARK. 


the  splendid  "Sakuntala"  overture,  which  has  been  already  described. 
The  composer  has,  however,  scored  a  similar  success  with  an  attractive 
concert  overture  entitled  "  Im  Friihling,"  which  is  much  more  friendly  in 
spirit,  and  is  particularly  rich  in  tone-painting. 

As  a  composer  for  the  orchestra  Goldmark  has  also  distinguished  him- 
self by  a  piquant,  formal,  and  masterly  scherzo,  and  two  symphonies,  of 


BY  PERMISSION  Of    BRAUN,  CLEMENT  *  CO.,  NEW  YORK. 


MUSIC  THROUGH   THE   AGES. 

CEILING  DECORATION  OF  THE  H6TEL  DE  VILLE,  PARIS. 
PAINTED  BY  H.  CERVEX. 


CARL   GOLDMARK 


379 


which  the  first,  entitled  "  Landliche  Hochzeit,"  the  numbers  of  which  are 
provided  with  subtitles,  became  the  greater  favorite  in  spite  of  its  belong- 
ing to  the  domain  of  the  classical  suite  rather  than  to  that  of  modern 
program  music. 

Goldmark's  violin  concerto  is  a  much  played  work  quite  as  grateful  to 
the  soloist  as  to  the  orchestra,  for  which  it  is  richly  conceived. 


GOLDMARK'S  HOME  IN  GMUNDEN,  AUSTRIA. 

In  the  kingdom  of  chamber  music  Goldmark  followed  up  the  charac- 
teristic string  quartet,  already  mentioned,  with  a  series  of  remarkable 
tone  creations :  a  string  quintet  (A  minor),  a  violin  sonata,  a  trio,  and  a 
piano  quintet  in  B  major,  which  is  particularly  popular  on  account  of 
its  fullness  of  penetrating  tone  and  feeling.  He  has  also  enriched  the 
concert-hall  with  various  interesting  works  for  chorus,  spiritual  as  well 
as  secular,  a  cappella  and  with  orchestral  accompaniment,  and  also  with 
many  original  piano  pieces. 

Among  his  songs,  which  are  comparatively  few,  "Quelle,"  so  musically 
fresh  and  fountainlike,  is  the  most  often  sung. 

It  was  through  the  chamber-singer  Waltus,  a  master  of  his  craft, 
that  Goldmark's  song  scene,  "  Fata  Morgana,"  had  its  great  success  in 
Vienna.  It  bears  the  impress  of  the  composer's  individuality  and  is 
full  of  feeling. 


^-^/vv^v-v  :••••;••;-.  •-  .—  -si         _         .. 


MAX   REGER 


BY 

EUGENE    E.    SIMPSON* 


MAX  REGER,  born  at  Brand,  Bavaria, 
March  19,  1873,  the  son  of  a  poorly 
paid  school  teacher,  became  at  least  a  phe- 
nomenon of  musical  productivity  and  died 
at  Leipsic,  on  May  11,  1916,  at  the  age  of 
forty-three  years.  Among  his  vast  output 
there  will  be  found  many  works  whose  po- 
tentiality may  well  remain  absolute  through- 
out the  ages,  yet  in  estimating  the  technical 
means  he  employed,  at  the  end  of  his  life 
he  would  hardly  have  claimed  to  anything 
but  to  have  modernized  and  highly  intensi- 
fied the  harmonic  code  of  Palestrina  and 
Haydn  and  cast  it  in  musical  forms  which 
had  been  evolved  by  others  on  the  way  from 
Bach  to  Schumann.  It  is  especially  note- 
worthy that  at  the  time  of  Reger's  young 
musicianship,  when  Brahms  was  just  clos- 
ing his  divine  song  as  post-Beethoven  sym- 
phonist,  the  musical  world  was  entering 
upon  a  period  of  absolute  domination  by 
the  highly  wrought  discourse  of  Richard 
Strauss,  who  was  just  following  and  enlarg- 

*  EDITOR'S  NOTE — The  author  of  this  article  was 
most  fortunate  and  opportune  in  an  eight  years' 
residence  at  Leipsic,  1906-14.  That  period  embraced 
Reger's  removal  there  from  Munich,  and  permitted 
at  least  four  years'  close  observation  of  the  impor- 
tant connection  of  Reger  with  Lauterbach  &  Kuhn, 
who  were  practically  his  sole  publishers  from  1901 
to  1910. 

Mr.  Simpson,  whose  work  at  Leipsic  was  solely 
as  a  music  critic,  deems  it  his  good  luck  to  have 
become  immediately  convinced  of  Reger's  great 
380 


ing  upon  Tschaikowsky  and  Wagner  in 
orchestral  paths  laid  out  by  Berlioz  and 
Liszt.  Reger  thus  became  the  more  remark- 
able as  a  great  classic  force  to  carry  on 
against  that  which  w.as  falsely  termed  the 
decadent  output  of  Strauss  and  his  imita- 
tors. And  it  would  have  been  far  from  the 
character  of  Reger,  either  as  man  or  musi- 
cian, to  assume  the  classic  direction  for 
other  reason  than  to  follow  the  bent  im- 
posed upon  him  by  his  early  environment, 
his  training — and  above  all,  the  innate  ten- 
dency of  his  mood. 

In  connection  with  the  foregoing  allusion 
to  Palestrina  and  Haydn,  one  which  was 
particularly  heard  from  the  composer's 
own  lips  while  analyzing  the  string  quartet, 
Op.  109,  the  layman  should  be  forewarned, 
for  the  average  Reger  composition  was  so 
highly  thickened,  and  colored  to  the  modern 
tone,  that  musicians  as  well  as  laymen  had 
to  be  extraordinarily  wary,  and  in  a  man- 
ner routined  to  intense  hearing,  before  they 

genius,  and  to  have  gone  on  record  through  his  cor- 
respondence to  THE  MUSICAL  COURIER  at  a  time 
when  leading  Germans  and  nearly  the  whole  English 
speaking  world  were  vigorously  dissenting.  Mr. 
Simpson  was  the  only  foreign  correspondent  present 
at  the  first  Reger  festival,  held  at  Dortmund,  May 
7,  8,  and  9,  1910.  Toward  the  preparation  of  this 
article  THE  MUSICAL  COURIER  has  extended  the 
courtesy  of  their  files  and  permission  for  the  use  of 
considerable  material,  particularly  that  bearing 
upon  the  Dortmund  festival. 


MAX    REGER 


381 


could  come  to  consider  it  a  musical  discourse 
at  all.  So  it  happened  that  in  the  early 
years  of  Reger's  more  important  creative 
period  the  new  appearances  from  his  pen 
were  met  by  much  controversy. 

Just  here  for  a  moment  one  may  entirely 
excuse  the  casual  hearer  and  record  two 
trains  of  thought  which  prevailed  among 
musicians  themselves.  In  view  of  the 
strange  impression  taken  from  first  hear- 
ings of  so  dense  harmonic  life,  the  one  mu- 
sician, without  holding  the  musical  score, 
was  at  first  likely  to  overestimate  the 
originality  in  relation  to  its  predecessors 
and  contemporaries.  The  other  musician, 
the  analyst,  who  found  so  little  of  the 
revolutionary  in  its  harmonic  means,  vastly 
underestimated  the  importance  of  the  dis- 
course, though  finally  having  to  admit  that 
the  inner  simplicity  was  illusory  and  that 
the  effect  in  performance  was  strangeiy 
different  from  that  which  the  eye  so  easily 
discerned. 

Reger's  career  will  be  best  understood 
from  a  few  memoranda  as  to  his  youthful 
study.  When  he  was  one  year  old  his 
father  moved  from  Brand  to  Weiden.  There 
he  was  given  first  musical  instruction  by 
his  father  and  by  the  village  organist, 
Lindner.  In  1890  he  was  sent  to  Sonders- 
hausen  as  a  theory  and  piano  pupil  of  Hugo 
Riemann,  for  whom  the  Leipsic  University 
afterward  created  a  formal  chair  of  music. 
Reger  continued  under  Riemann,  following 
the  latter  to  Wiesbaden,  where  the  pupil 
also  taught,  1895-96,  before  going  to  the 
accustomed  military  service  of  the  land. 
Before  leaving  Riemann  it  should  be 
recorded  that  after  twenty  years  of  their 
association,  when  Reger  had  arrived  at  the 
big  period  of  his  Op.  iOO  or  thereabouts, 
the  preceptor  was  no  longer  able  to  ap- 
prove, and  in  a  public  exchange  of  letters 
the  master  formally  announced  the  end  of 
his  allegiance  to  the  pupil.  Reger's  reply, 
with  characteristic  acumen,  showed  his  com- 
plete independence  and  the  confidence  he 
felt,  at  the  same  time  acclaiming  respect 
for  his  master  as  the  greatest  musical 
authority  since  Rameau  in  the  special  field 
of  acoustics. 

From    musicians    who    knew    Reger    at 


Weiden,  one  hears  that  an  infectious  illness 
once  kept  the  composer  for  a  long  time  in 
the  hospital,  and  nearly  resulted  fatally. 
All  this  time  the  Reger  financial  outlook 
was  gloomy.  On  the  direct  authority  of  a 
music  publisher's  assistant  who  grew  up  at 
Weiden,  it  is  stated  that  Reger  once  entered 
into  a  life  contract  to  compose  music  at  a 
fee  of  one  mark  and  sixty  pfennigs  (forty 
cents)  per  page.  Thus  Reger  thought  to  in- 
sure himself  an  existence  while  being  per- 
mitted to  compose  as  much  as  he  liked.  But 
the  contract  soon  dissolved  itself  because 
the  publisher  had  insufficient  means  and 
could  not  bring  out  the  Reger  output. 
Fortunately,  in  the  last  few  years  of  Reger 's 
life  his  compositions  produced  an  income 
thought  to  be  second  only  to  that  of  Richard 
Strauss,  yet  this  evidence  of  his  early  pov- 
erty and  poor  outlook  retains  its  element  of 
the  pathetic. 

Reger  finally  came  to  his  destiny  through 
connections  he  was  enabled  to  establish 
while  at  Munich,  to  which  place  he  had 
moved  in  1901.  For  an  understanding  of 
Munich's  musical  attitude  at  that  time,  it 
is  well  to  observe  that  the  city  had  come  into 
a  state  of  positive  idolatry  for  Richard 
Wagner.  That  great  master's  close  asso- 
ciation and  his  death  had  been  a  too  recent 
experience  to  allow  a  right  perspective, 
particularly  with  regard  to  the  final  and 
proper  relation  which  Wagner's  music 
dramas  should  occupy  in  excerpts  for  con- 
cert performance.  Thus  it  came  about  that 
Munich  was  extreme,  and  was  still  withhold- 
ing the  full  sympathy  that  rightly  belonged 
to  two  very  great  contemporaries — Johannes 
Brahms  and  Richard  Strauss.  Affecting 
but  little  regard  for  these  composers.  Mu- 
nich was  still  depending  on  the  classics,  ex- 
cept for  a  small  modern  coterie  probably 
led  by  the  accomplished  Josef  Rhein- 
berger,  Ludwig  Thuille  and  a  few  kindred 
spirits  in  Austria  and  Switzerland.  For 
this  Munich  attitude  toward  Brahms  and 
Strauss,  the  latter  composer  employed  one 
of  the  fine  gems  of  his  early  maturity,  the 
opera  "Feuersnot,"  to  chastise  them  in 
satire.  But  Brahms  did  not  live  to  wear 
a  halo  made  in  Munich,  and  though  he  died 
in  1897,  Munich  waited  some  fifteen  years 


,382 


MAX    REGER 


before    giving    an    entire    festival    in    his 
honor. 

It  was  some  years  before  Reger's  removal 
to  Munich  that  he  had  found  in  South 
Germany  the  organist  Karl  Straube,  who 
was  one  of  his  first  great  connoisseurs  and 
promoters.  Yet  it  was  in  Munich  that 
Reger  secured  the  all  wise  publisher  and 
business  man,  Dr.  Max  Kuhn,  who  had 
taken  his  degree  after  study  with  one  of 
the  finest  music-literary  masters,  Hermann 
Kretschmar  of  Leipsic  University.  Reger's 
first  works  had  been  published  in  London, 
1893,  by  Augener.  The  violin  and  piano 
sonata,  Op.  1,  showing  strong  influence  of 
Brahms  and  nothing  of  the  ponderous  later 
style,  met  favorable  reviewing.  The  late 
Arthur  Smolian,  of  Leipsic,  was  among  the 
first  critics  to  proclaim  Reger,  and  Smolian 
remained  in  sympathy  until  the  advent  of 
the  violin  concerto,  Op.  101,  when  he  felt 
that  he  must  "secede."  Four  years  after 
the  first  London  publication,  Karl  Straube, 
already  one  of  the  greatest  organists  in 
Germany,  played  Reger's  organ  suite,  Op. 
16,  in  the  Dreifaltigkeitskirche,  Berlin. 
That  was  in  March,  1897.  He  played  the 
same  suite  at  Prankfort-am-Main  in 
March,  1898.  At  Wesel,  Westphalia,  Sep- 
tember, 1898,  Straube  played  the  first  entire 
Reger  program  ever  given.  These  works,  as 
yet  all  manuscript,  were  the  following: 

Fantasy,  Op.  27,  on  "Ein  feste  Burg." 
Fantasy,  "Freue  dieh  sehr,  0  meina  Seele." 
Adagio  and  passacaglia  from  Suite,  Op.  16. 

The  next  entire  concert  of  Reger  works, 
also  given  by  Straube,  was  in  Munich, 
March  5,  1901,  with  a  list  including  the  F- 
sharp  minor  sonata,  Op.  33;  the  B-A-C-H 
fantasy  and  fugue,  Op.  46,  with  which 
Straube  nine  years  later  began  the  Reger 
festival  at  Dortmund;  and  three  choral 
fantasies,  "Ein  feste  Burg,"  "Straf  mich 
nicht  in  deinem  Zorn, "  and  "Wie  schoen 
leuchtet  der  Morgenstern, "  the  last  two 
constituting  the  Op.  40. 

It  was  about  the  time  of  Straube 's  Mu- 
nich recital  that  Dr.  Kuhn  became  aware  of 
the  possibilities  that  might  attend  proper 
exploitation  of  the  Reger  works.  Very  soon 
after,  at  Leipsic,  was  established  the  firm 


of  Lauterbach  &  Kuhn,  almost  exclusively 
for  Reger  and  Hugo  Wolf.  This  firm  ren- 
dered historical  service.  They  caused  the 
Reger  works  to  be  played  all  over  the  Con- 
tinent while  they  were  new,  and  in  such 
proper  interpretation  as  the  composer  him- 
self was  able  to  afford  as  gifted  pianist  and 
conductor.  In  this  connection  the  Lauter- 
bach &  Kuhn  contract  is  said  to  have  called 
for  only  a  small  sum,  so  that  when  these 
men  sold  their  Reger  compositions  in  1908 
they  were  thought  to  have  earned  $50,000 
pure  money  on  a  total  sale  of  $60,000. 
However  that  may  be,  the  Lauterbach  & 
Kuhn  association  brought  Reger  to  market 
some  ten  to  thirty  years  sooner  than  could 
have  been  otherwise  possible,  so  that  in  view 
of  Reger's  later  very  large  earnings  and 
universal  recognition  at  the  age  of  only 
thirty-seven  years,  at  the  time  of  the  Dort- 
mund festival,  none  may  say  that  those 
publishers  were  not  entitled  to  their  profit. 
As  to  the  artist  Straube,  he  remained  a 
stanch  and  helpful  friend  and  connois- 
seur. Among  other  things,  he  did  not  hesi- 
tate to  say  that  Reger's  " Sinf onietta, " 
which  was  so  unanimously  misunderstood 
and  condemned  in  1905-06,  was  one  of  the 
composer's  very  great  works  and  that  it 
would  some  time  come  to  life  again. 

The  intellectual  life  of  every  giant  has 
also  its  early  period  of  creating  the  conven- 
tional, during  whicli  it  can  only  follow  its 
predecessors,  not  yet  having  the  vision  and 
the  power  to  go  forward  into  new  fields. 
How  plainly  even  Beethoven  was  eon- 
strained  to  follow  Mozart  and  Haydn  before 
coming  fully  to  his  own  voice  is  seen  in  his 
early  symphonies,  his  piano  sonatas,  con- 
certos and  chamber  music.  Wagner  had  to 
experience  a  time  of  direct  leaning  upon 
Beethoven  and  Weber,  as  is  easily  shown  in 
a  youthful  symphony  and  a  number  of  con- 
cert overtures  written  while  conducting 
opera  at  Magdeburg,  Koenigsberg  and  Riga. 
Even  Richard  Strauss,  as  a  less  potent 
genius  than  those,  frequently  encroached 
upon  Wagner  for  his  mature  works,  and  as 
late  as  1912  was  cai'eless  enough  to  go  di- 
rectly back  to  Weber  for  the  melodic  "in- 
spiration" of  his  pretentious  "Fest  Prae- 
ludium"  for  orchestra. 


MAX    REGER 


383 


Speaking  of  influences  in  this  connection, 
let  it  be  explained  what  were  the  forces 
upon  which  Max  Reger  leaned.  In  the  first 
place,  his  early  life  as  an  organist  may 
have  accentuated  his  belief  in  Bach.  Later, 
Wagner's  "Parsifal,"  heard  as  a  youth  of 
some  fifteen  years,  was  his  first  great  re- 
vealing experience  of  the  concert  life,  and 
yet  it  was  not  until  after  the  vast  output 
leading  up  to  his  Op.  108,  the  great  orches- 
tral prologue  to  a  tragedy,  that  he  finally 
permitted  himself,  whether  consciously  or 
not,  to  follow  the  Wagnerian  mood.  This 
he  plainly  did,  and  connoisseurs  are  in- 
clined to  ascribe  this  relation  to  "Tristan 
and  Isolde."  Again,  in  his  great  secular 
cantata  of  "The  Nuns,"  Op.  113,  it  is 
thought  that  the  relation  is  to  "Parsifal." 

Notwithstanding  all  of  this  it  was 
Brahms  whose  influence  Reger  found  it 
most  difficult  to  evade.  Reger  has  frankly  ^ 
said  that  there  were  at  least  seven  years 
during  which,  on  account  of  Brahms'  in- 
fluence, his  musical  discourse  was  not  all 
his  own.  This  influence  doubtless  showed 
in  nearly  all  of  the  early  chamber  music 
works,  in  a  great  number  of  his  most  beauti- 
ful songs,  and  again  most  pronouncedly  in 
the  massive  and  revolutionary  concerto  for 
violin,  Op.  101.  The  sonatas  for  violin 
alone,  of  which  there  is  an  astonishing  total 
of  fifteen:  four  in  the  Op.  42,  four  in  Op. 
49,  and  seven  in  Op.  91 ;  show  Reger  almost 
continuously  in  a  technical  and  musical 
idiom  much  nearer  to  Bach.  The  same 
would  probably  hold  in  the  numerous  works 
for  organ  and  the  many  dozens  of  uncom- 
monly beautiful  choruses  for  church  and 
secular  song. 

Since  Reger 's  earliest  training  was  pre- 
eminently dependent  upon  the  organ,  this 
fact  may  also  explain  why  the  composer  first 
attained  to  a  relative  maturity  in  works 
composed  for  that  instrument.  Thus 
Straube  still  found  the  B-A-C-H  organ  fan- 
tasie  and  fugue  of  so  early  a  period  as  Op. 
46  a  very  powerful  medium  with  which  to 
begin  the  impressive  festival  at  Dortmund. 

Though  there  is  in  nowise  an  intention 
here  to  deny  to  Reger  the  prime  right  to 
his  own  works,  a  discussion  of  relations  and 
influences  is  not  complete  without  refer- 


ence to  Robert  Schumann,  to  whom  Reger 
is,  in  a  measure,  closer  related  than  to  any 
other.  The  Reger-Schumann  analogy  ex- 
tends beyond  considerations  of  music,  in 
that  Reger,  like  Schumann,  was  one  of  the 
most  generous  and  infallible  of  critics,  and 
very  probably  the  greatest  since  the  time 
of  Schumann  and  Brahms.  Even  in  the 
period  of  most  intense  activity,  when  from 
many  sides  Reger  was  cheerfully  assailed 
for  the  supposed  shortcomings  of  his  own 


MAX    REGER 

works,  there  was  not  heard  the  faintest 
rumor  of  his  having  falsely  estimated  or 
evidenced  a  lack  of  respect  for  any  worthy 
classic  or  modern  composition. 

Reger 's  musical  kinship  with  Schumann 
rested  not  only  in  an  occasional  approach  to 
the  Schumann  spirit  but  pronouncedly  in 
the  structural  plan  of  his  works,  the  man- 
ner in  which  he  assembled  musical  phrases 
to  evolve  the  intended  forms.  A  specific 
common  relation  was  the  seeming  shortness 
of  phrase,  which  incited  the  critics  to  call 
the  Reger  works  "short-breathed  and 
choppy." 


384 


MAX    REGER 


The  usual  Reger  composition  in  large  or 
short  form  also  strongly  reflected  the  com- 
poser's most  characteristic  trait  as  inter- 
preter, in  that  a  performance  by  him  was 
an  unending  succession  of  climaxes  and 
diminuendos,  never  for  very  long  remaining 
at  any  one  dynamic  stage.  This  unusual, 
not  to  say  undesirable  procedure,  was  still 
present  in  its  most  pronounced  form  as  late 
as  the  creation  of  the  orchestral  prologue  to 
a  tragedy,  Op.  108,  where,  in  the  course  of 
thirty-five  minutes  of  playing,  the  composi- 
tional sections  rose  and  fell  in  noticeable 
regularity,  at  intervals  of  from  five  to 
seven  minutes.  Because  of  this  the  com- 
poser himself  later  advised  conductors  to 
make  one  large  elision  in  the  work.  Some 
conductors  advised  two  such  elisions,  but 
although  one  fine  connoisseur  still  advo- 
cates playing  the  work  entire,  a  certain 
New  York  conductor  is  said  to  have  elided 
so  liberally  as  to  occupy  but  nineteen  min- 
utes for  its  performance  instead  of  the 
thirty-six  needed  for  the  complete  published 
form. 

The  foregoing  statement  of  Reger 's  man- 
ner of  interpretation,  while  a  case  in  point 
with  reference  to  the  plan  by  which  he  co- 
ordinated the  materials  of  his  compositions, 
should  not  be  allowed  to  stand  without  the 
qualifying  statement  that  he  was  a  most 
impressive  interpreter,  either  at  the  piano  or 
as  conductor,  of  his  own  and  other  classic 
works.  Well-known  piano  virtuosi  of  the 
period  have  been  heard  to  say  that  despite 
Reger 's  jocular  principle  that  it  was  "in- 
artistic to  practice,"  he  was  one  of  the 
greatest  of  pianists.  Likewise  as  conductor, 
if  his  may  have  been  a  nature  less  sensation- 
ally magnetic  than  some  of  the  "virtuoso" 
conductors  of  the  day,  there  were  certainly 
.  none  who  could  present  a  Brahms  overture 
or  symphony  in  clearer  perspective  and 
finer  wealth  of  all  its  inspirational  elements. 
His  superb  musicianship  was  a  great  factor 
in  the  growing  success  which  the  publishers, 
Lauterbach  &  Kuhn,  were  enabled  to 
achieve  with  the  compositions.  He  was  al- 
ways eager  to  assist  a  singer  to  present  a 
program  or  a  couple  of  groups  of  his  songs, 
and  the  publishers  were  highly  enterprising 
in  arranging  performances  in  all  the  lead- 


ing concert  centers  of  Europe.  The  United 
States  was  made  acquainted  with  the  "Sin- 
fonietta"  in  1905,  solely  through  the  alert- 
ness of  these  publishers,  for  Reger  never 
made  the  trip  to  America.  Other  large 
works  by  Reger  were  performed  in  America 
but  not  with  such  frequency  as  was  easily 
possible  in  Germany. 

With  the  composer's  arrival  upon  the 
era  of  his  more  profound  style,  it  was  in- 
evitable that  the  larger 'works  would  be  no 
longer  understood  or  enjoyed  by  the  major- 
ity. Then  it  is  well  to  inquire  who  were 
those  of  sufficient  faith  to  stand  by,  and 
continue  to  bring  these  most  significant  of 
his  compositions  before  the  public.  At 
random  one  may  observe  that  the  venerable 
violinist,  Hugo  Heermann,  and  his  quartet, 
of  Frankfort-am-Main,  held  upward  of 
twenty-eight  rehearsals  for  the  presenta- 
tion of  the  D  minor  quartet,  Op.  74.  The 
violin  and  piano  sonata,  Op.  72,  already 
advanced  enough  to  arouse  opposing  opin- 
ions, had  one  of  its  best  promoters  in  Hen- 
ri Marteau.  This  artist  also  had  the  honor 
of  the  first  performance  of  the  monu- 
mental concerto,  Op.  101,  under  Arthur 
Nikisch  at  the  Leipsic  Gewandhaus,  and  he 
was  one  of  the  most  energetic  leaders  in 
the  movement  which  culminated  in  the 
first  of  all  Reger  festivals,  the  one  at  Dort- 
mund, May  7,  8  and  9,  1910. 

The  highly  revolutionary  piano  concerto, 
wherein  Reger  connoisseurs  for  the  first 
time  sensed  the  composer's  turning  back  to 
the  broad  and  staid  manner  of  Beethoven, 
was  also  first  produced  in  the  Gewandhaus 
under  Arthur  Nikisch,  the  piano  part 
played  by  the  very  gifted  Frau  Frieda 
Kwast  (born  Hodapp).  This  great  woman 
pianist  played  the  concerto  a  few  days  later 
in  Berlin,  but  as  with  Marteau,  it  was  not 
her  first  nor  latest  service  in  the  Reger 
cause.  She  and  her  distinguished  husband, 
the  splendid  piano  educator  and  virtuoso, 
Friedrich  Kwast,  gave  some  years  of  worthy 
enthusiasm  to  a  rational  promotion  of 
Reger 's  works.  In  connection  with  Arthur 
Nikisch  and  the  Gewandhaus,  it  is  noted 
that  this  universally  gifted  conductor  was 
also  continually  in  the  forefront  as  a  pro- 
ducer of  the  composer's  new  orchestral 


MAX    KEGER 


385 


works.  If  the  Gewandhaus  did  not  get  the 
first  production  of  one  of  these,  it  was 
often  due  to  priority  assigned  another  dis- 
tinguished representative  of  the  Reger  cult, 
Fritz  Steinbach,  of  Cologne,  one  time  suc- 
cessor to  the  Brahms  place  with  the  Mein- 
ingen  orchestra,  a  place  to  which  Reger 
himself  also  rightfully  succeeded  some 
years  before  his  death. 

Among  the  important  premiers,  or  near 
premiers,  before  and  after  Steinbach,  Ni- 
kisch  first  introduced  the  imposing  varia- 
tions and  fugue,  Op.  100,  on  a  Hiller  theme; 
the  orchestral  prologue  to  a  tragedy,  Op. 
108;  the  serenade,  Op.  95;  the  romantic 
suite,  Op.  125;  the  ballet  suite,  Op.  130; 
the  secular  cantata,  "The  Nuns, ".Op.  112, 
and  various  other  works  representing  the 
composer  in  his  most  advanced  thought. 
Another  consistent  adherent  of  the  Reger 
cause  was  the  conductor,  Georg  Huettne^, 
whose  privilege  it  was  to  have  the  principal 
orchestral  numbers  at  the  Dortmund  festi- 
val. This  assignment  was  wholly  appro- 
priate because  of  Huettner's  good  musician- 
ship and  his  unswerving  allegiance  in  what- 
ever seemed  a  rational  propaganda. 

A  consideration  of  stanch  and  useful 
Reger  adherents  should  not  omit  notice  of 
two  foreigners  who  were  making  Leipsic 
and  Berlin  their  residence;  the  pianist- 
conductor  Leonid  Kreutzer  and  his  friend, 
the  remarkable  violinist  Alexander  Schmul- 
ler,  who  became  the  first  to  play  the  violin 
concerto  from  memory.  This  pair  of  Rus- 
sians had  been  life-long  friends,  at  times 
under  the  ever  friendly  disposition  of  Alex- 
ander Glazounov.  Besides  their  early  reali- 
zation of  the  potentiality  in  the  Reger  voice, 
they  were  consistent  promoters  of  other 
good  modern  music,  such  as  the  Scriabin 
second  symphony,  the  Glazounov  eighth 
symphony,  the  Glazounov  and  Goldmark 
violin  concertos,  and  many  sonatas  for  piano 
and  violin.  On  their  programs  Reger  works 
alternated  with  those  of  Ludwig  Thuille, 
Karg-Elert,  and  that  extreme  young  Rus- 
sian, Michael  Gnessin,  whose  cello  sonata 
was  performed  with  the  assistance  of  Julius 
Klengel. 

Schmuller  was  one  of  the  first  musicians 
to  remark,  in  a  discussion  of  the  Brahms 


and  other  influences  upon  Reger,  that  there 
were  times  when  the  Reger  composer  voice 
was  more  imposing  than  that  of  Brahms 
himself.  In  view  of  the  time  required  to 
perform  the  concerto,  of  from  fifty-seven  to 
sixty-three  minutes,  according  to  actual 
tempos  and  waits  between  the  movements, 
Schmuller 's  courage  and  musicianship  in 
playing  the  work  from  memory  cannot  be 
too  highly  estimated. 

The    natural    difficulties    which    Reger 's 
larger  works  imposed  upon  the  understand- 


IIUGO    RIEMANN 

Roger's  teacher 

ing  of  concert-goers  were  greatly  augmented 
by  the  composer's  own  lack  of  skill  in  or- 
chestration. Particularly  suffering  from 
this  bad  fortune  was  his  great  "Gesang  der 
Verklaerten,"  Op.  71,  wherein  he  continu- 
ously orchestrated  against  the  unaccompa- 
nied voices,  thereby  making  the  composition 
all  but  impossible  of  performance.  When, 
after  five  years  of  its  first  universal  failure 
and  neglect,  this  beautiful  composition  was 
revived  by  conductor  Richard  Hagel  for  a 
performance  in  the  Leipsic  Albert  Halle, 
Hagel  and  the  composer  spent  many  hours 
together  readapting  the  orchestration  and 
correcting  purely  typographical  errors  of 
the  published  parts  and  score.  When  one 
further  considers,  according  to  the  com- 
poser's own  words,  that  in  seventeen  hours 
one  Palm  Sunday  he  planned  and  scored 


380 


MAX    REGER 


the  volcanic  fugue  which  follows  the  Hillcr 
variations,  Op.  100,  it  will  be  easy  to  sus- 
pect the  instrumentation  was  not  given  the 
highest  polish. 

Doubtless  the  sudden  failure  on  two  con- 
tinents of  the  "Sinfonietta,"  Op.  90,  which 
Straube  says  is  one  of  the  composer's 
very  potent  discourses,  owes  much  of  its 
misfortune  to  just  such  hurried  and  hapless 
orchestration.  Indeed  the  strongest  ad- 
herents to  Reger  were  constrained  to  ac- 
knowledge the  inconvenience  imposed  by 
the  poor  and  hurried  instrumentation  of 
works  composed  prior  to  his  incumbency  as 
conductor  at  Meiningen,  which  began  about 
December,  1911.  Some  of  the  earliest  pieces 
to  profit  by  this  daily  orchestral  association 
at  Meiningen  were  the  comedy  overture, 
the  Boecklin  and  ballet  suites,  in  probable 
opus  numbers  from  125  to  130. 

The  artists  who  elected  to  perform 
Reger 's  piano  compositions  had  a  far  easier 


problem,  though  they  also  were  not  entirely 
without  cause  for  misgiving.  Professor 
Robert  Teichmuller,  of  the  Leipsic  Conserva- 
tory, to  whom  Lauterbach  &  Kuhn  entrusted 
all  the  editing  of  phrasing  and  fingering  in 
the  piano  works,  has  especially  remarked 
his  first  impressions  of  the  Introduction, 
Passacaglia  and  Fugue,  Op.  96,  for  two 
pianos.  When  Teichmuller  and  his  accom- 
plished pupil,  Georg  Zscherneck,  of  Leipsic, 
began  the  rehearsing  of  this  opus  for  its 
premier  rendition  with  the  composer,  they 
fully  believed  the  composer  had  overstepped 
all  legitimate  bounds.  Nevertheless  they 
kept  to  the  task,  and  after  a  number  of 
repetitions  they  began  to  see  that  the  work 
might  prove  possible  of  performance  under 
the  best  of  conditions.  But  the  wary 
instructor  was  already  acquainted  with 
Roger's  tumultuous  manner  as  an  inter- 
preter and  he  required  Zscherneck  to  mem- 
orize his  part,  so  that  no  untoward  accident 


A    CORNER    OF    THE    GEWANDHAUS    IN   LEIPSIC 


MAX    REGER 


387 


with  the  notes  could  interrupt  the  voyage. 
On  one  occasion  the  young  Zscherneck 
further  distinguished  himself  by  playing 
the  Variations  and  Fugue  on  a  Bach  theme, 
and  this  also  was  a  work  of  revolutionary 
dimensions  and  content,  the  rendition  re- 
quiring some  twenty-five  minutes,  or  there- 
abouts. The  same  program  contained  the 
F-sharp  minor  sonata,  Op.  84,  beautifully 
played  by  the  composer  and  concertmaster, 
Carl  Wendling,  of  the  Stuttgart  orchestra. 

Simple  historical  justice  prompts  the 
statement  that  through  most  of  the  years  of 
Reger's  growing  power  the  musicians  of 
Berlin  were  the  most  persistent  in  their 
refusal  to  recognize  him.  When  finally  the 
violin  concerto,  the-  Hiller  variations,  and 
still  later,  the  orchestral  prologue,  were 
given  there,  both  critics  and  musicians 
looked  upon  them  coldly.  One  critic 
doubly  distinguished  himself  by  slurring,. 
Schubert  and  Reger  in  one.  His  remark 
was  that  the  Reger  prologue,  like  the  big 
C  major  symphony  by  Schubert,  were  to  be 
considered  only  as  entertaining  music  (eine 
Unterhaltungsmusik) .  When  this  critique 
came  to  Reger's  attention  he  did  not  let  it 
annoy  him,  but  he  was  particularly  amused 
at  so  careless  an  estimate  of  the  Schubert 
symphony. 

Reger's  respect  and  faithful  allegiance 
to  the  best  traditions  of  the  classicists  were 
never  more  in  evidence  than  in  his  de- 
votion to  the  composition  classes  of  Leip- 
sic  conservatory,  years  after  his  removal  to 
Meiningen.  These  classes  could  not  be  main- 
tained without  considerable  sacrifice  in  time 
and  the  inconveniences  of  some  hours' 
travel.  Yet  a  number  of  his  pupils  were 
enabled  to  bring  out  their  works  each  year  at 
the  regular  public  examinations,  and  every 
composition  produced  under  his  eye  was 
characterized,  not  by  wild  and  revolution- 
ary experiments,  but  by  the  most  commend- 
able adherence  to  wholesome  ideals.  Be- 
sides this  attitude  in  appreciation  of  the 
academic,  the  one  other  important  principle 
in  his  advice  was  that  of  extreme  industry. 
" Er  soil  nur  immer  fleissig  komponieren" 
was  the  dictum  he  felt  necessary  for  a 
talented  pupil. 

The  Dortmund  festival  of  1910  came  to 


a  great  climax  of  enthusiasm  and  conviction 
as  to  the  inherent  power  of  the  Reger  cause. 
Upon  the  exclusion  of  the  last  concert 
some  hundreds  of  musicians,  including 
those  who  performed  at  the  festival,  drove 
to  the  city  hall,  where,  upon  special  invita- 
tion from  the  city  council,  a  banquet  was 
held.  Dr.  Schmieding,  the  mayor  of  Dort- 
mund, made  a  fine  address,  in  which  he  gave 
credit  for  the  labor  and  the  art  involved  in 
the  festival,  and  finally  he  proposed  the 
health  of  Max  Reger.  The  composer,  deeply 
moved  by  the  honor  accorded,  spoke  splen- 
didly and  created  a  stir  of  approval  by 
naming  the  great  masters  whom  he  acknowl- 
edged as  his  preceptors.  The  sensation 
arose  through  his  acknowledgment  of 
Richard  Strauss  in  connection  with  Richard 
Wagner,  Bach,  Palestrina  and  the  rest. 
The  musicians  were  all  unaware  what  a 
bond  of  sympathy  actually  existed  between 
Straoiss  and  Reger,  although  the  writer  had 
shortly  before  seen  a  Reger  letter  of  1898, 
wherein  Reger.  wrote  a  friend  to  the  effect 
that  "Strauss  must  have  recommended  me 
extravagantly  to  Publisher  Aibl  (Vienna), 
judging  by  the  number  of  manuscripts  he 
has  purchased  of  me."  Strauss  had  also 
brought  Reger  into  connection  with  Pub- 
lisher Forberg,  of  Leipsic,  and  one  does  not 
know  what  other  valuable  influence  he  may 
have  exerted  from  time  to  time  for  his  great 
contemporary.  So  in  his  speech  at  Dort- 
mund, after  naming  Strauss  as  one  from 
whom  he  had  learned  much,  he  added  with 
the  deepest  earnestness  that  he  would  be  a 
very  ordinary  person  indeed  if  he  should 
fail  to  grant  this  credit. 

Coming  directly  to  the  Reger  composi- 
tions performed  at  Dortmund,  it  will  be  ob- 
served that  on  the  five  formal  programs 
given  from  Saturday  night  to  Monday 
afternoon,  at  least  ten  works  reached  stages 
of  the  greatest  importance,  not  to  speak  of 
numberless  valuable  songs  with  piano,  and 
it  was  especially  noted  that  Reger  is  a  writer 
of  magnificent  choral  works,  whether  with 
or  without  accompaniment.  A  Leipsic  per- 
formance of  his  early  and  very  imperfectly 
orchestrated  "Gesang  der  Verklaerten, " 
Op.  71,  showed  some  months  before  what 
revolutionary  beauty  could  be  found  in  his 


388 


MAX    REGKR 


choral  music,  and  the  Dortmund  festival 
brought  for  the  very  first  time  anywhere  a 
new  composition  of  extraordinary  beauty, 
"Die  Nonnen,"  Op.  113,  for  chorus  and 
orchestra.  The  motet,  "Mein  Odem  ist 
schwach,"  Op.  110,  sung  on  the  first  pro- 
gram, is  also  a  composition  of  rare  beauty. 
Other  high  stages  reached  during  the  festi- 
val were  in  such  as  the  Chaconne  which 
concluded  the  seventh  violin  sonata  of  Op. 
91,  the  B-A-C-H  organ  fantasy  and  fugue, 
Op.  46 ;  the  string  quartet  Op.  74 ;  the  Beet- 
hoven variations  for  two  pianos,  Op.  86; 
the  Orchestral  Prologue,  Op.  108,  thought 
by  some  to  be  Eeger's  greatest  work,  not- 
withstanding its  imperfect  compositional 
arrangement ;  the  four  movement  Orchestral 
Serenade,  Op.  95;  the  String  Quartet,  Op. 
109  the  Cello  Sonata,  Op.  78;  the  Violin 
Concerto,  Op.  101,  and  the  entire  Hiller 
Orchestral  Variations  with  Fugue,  Op.  100. 
The  Bach  Variations  and  Fugue  for  piano, 
played  by  Frau  Kwast,  are  among  the  com- 
poser's great  works,  but  they  were  played 
only  in  the  preliminary  meeting  of  welcome. 

The  Violin  Concerto  is  a  work  of  deep 
musical  content,  often  following  closely  on 
the  mood  and  rhythmic  motion  of  the 
Brahms  Violin  Concerto,  in  the  first  move- 
ment; and  still  closer  to  the  Brahms  D 
minor  Piano  Concerto  in  the  last  movement, 
the  largo  representing  one  of  the  greatest, 
most  independent,  and  most  tragic  messages 
Reger  has  yet  given,  especially  by  reason 
of  the  ponderous  orchestration.  In  keeping 
with  the  fitness  of  things,  the  last  movement 
is  many  times  lighter  in  spirit  than  the 
largo  or  the  first  movement.  The  auditor 
not  accustomed  to  hearing  Reger  composi- 
tions is  solemnly  informed  hereby  that  for 
the  first  couple  of  hearings  of  the  concerto 
he  will  have  enough  to  do  to  tell  whether 
the  composition  is  related  to  anything  at 
all,  or  whether  it  is  even  to  be  classified  as 
music.  But  one  should  not  let  that  worry 
him,  for  it  will  all  grow  perfectly  clear  if 
one  but  hears  it  often  enough  and  fast 
enough. 

The  Hiller  Variations  and  Fugue  remain 
one  of  the  most  practically  successful  works 
of  all.  The  Variations  which  once  seemed 
unnecessarily  long,  aroused  the  steadiest  in- 


terest at  this  Festival  and  the  Fugue  again 
proved  to  be  the  volcanic  disturbance  that 
it  had  been  under  Nikisch  on  three  previous 
occasions  in  the  Leipsic  Gewandhaus.  Seven- 
teen hours  Sunday  work  by  the  composer — 
he  himself  says  that  he  sketched  and  planned 
the  entire  fugue  between  6  a.m.  and  11  p.m. 
of  a  single  day — and  a  great  joy  for  con- 
ductors and  musicians  forever. 

Continuing  the  citation  of  material  which 
may  help  one  to  feel  the  character  of 
Reger 's  work  one  may  quote  from  a  dis- 
cussion in  connection  with  the  premier  on 
July  6,  1910,  of  Reger 's  "Psalm  C,"  Op. 
106: 

The  Reger  composition  begins  in  a  sensa- 
tional effect  of  low  string  contrabasses  and 
kettle  drums,  arousing  an  impression  of  the 
truly  unearthly,  and  this  thrilling  device  is 
continued  for  many  measures  after  the  chorus 
sets  in.  It  is  renewed  for  the  close  of  the  first 
division,  and  again  at  the  close  of  the  fourth 
and  last  division.  The  second  section  of  the 
work  is  an  Andante  Sostenuto  of  great  musical 
value;  the  third  section  is  a  graceful  Allegretto, 
the  entire  composition  going  without  pause  be- 
tween the  sections.  On  the  two  hearings  per- 
mitted by  the  public  rehearsal  and  the  regular 
concert,  there  seems  to  be  great  musical  con- 
tent in  the  first  and  second  divisions.  The 
third  division  is  in  brighter  vein.  The  grand 
question  mark  is  thrown  up  by  the  thick  writ- 
ing of  the  last  section.  Here  the  composer  has 
set  up  two  heavy  Fugues  at  once,  one  for  either 
of  two  choral  bodies,  and  furthermore  employed 
the  orchestra  as  if  he  intended  the  men  to  earn 
their  salaries.  One  who  hears  this,  even  for  a 
second  time,  must  confess  that  the  writing  for 
double  chorus  and  orchestra  is  so  thick  as  to 
leave  no  possibility  of  distinguishing  the  lead- 
ing of  the  voices.  The  ears  are  only  conscious 
of  a  great  tumult,  finally  with  a  trumpet  corps 
lustily  blowing  the  hymn,  "Em  feste  Burg." 
Now  anyone  who  knows  Roger's  doctrine  of 
composition  is  not  justified  in  saying  that  the 
composer  was  trying  for  anything  but  a  high 
class,  strictly  up-to-date  tumult,  all  brought  to- 
gether in  the  order  and  skill  of  a  great  fugue 
maker  nevertheless. 

For  nearly  a  half  century  after  Robert  Schu- 
mann's death,  Schumann's  true  friend  and  wor- 
shipper, the  late  Carl  Reinecke,  was  accus- 
tomed to  strike  out  a  few  notes  from  a  number 
of  the  Schumann  piano  compositions.  There 
were  simply  more  notes  than  he  thought  could 
belong  there,  though  his  late  beloved  friend 
Schumann  had  written  them.  But  Max  Reger 
is  banking  firmly  upon  the  principle  that  the 
composition  of  the  future  must  be  closer  woven 


MAX    REGER 


389 


than  the  composition  of  the  present,  and  any 
student  who  comes  to  his  composition  class  will 
become  convinced  of  that,  if  of  nothing  else. 
Hence  a  reviewer  is  taking  his  life  in  his  hands 
when  setting  up  the  claim  that  any  Reger  com- 
position is  too  thick.  Meantime  those  students 
who  do  not  yet  know  what  stand  to  take,  may 
have  more  food  for  thought  by  going  to  a  pro- 
duction of  the  "Meistersinger"  vorspiel,  then 
reporting  whether  or  not  they  heard  all  the 
notes.  Under  the  best  balanced  performance 
the  chances  will  be  against  them,  and  under 
commonplace  conducting  an  entire  orchestral 
corps  may  get  lost  in  the  hubbub.  As  to  the 
Reger  psalm  again,  aside  from  the  general  ten- 
dencies as  discussed  above,  the  orchestra  is 
frequently  employed  to  accompany,  in  a  dis- 
tinctly Bach-like  rhythm  of  strongly  marked 
eighth  notes;  and  finally  summarizing  on  the 
composition  as  a  whole,  it  seems  to  embody 
enough,  both  of  inspirational  and  structural 
excellence,  to  live  a  useful  life  for  some  time 
to  come. 

For  America  there  has  been  relatively  w 
small  opportunity  to  become  acquainted 
with  the  Reger  muse,  yet  here  and  there 
one  finds  one  of  Reger 's  representative 
pupils.  One  of  these,  Mortimer  Wilson,  al- 
ready composer  of  five  symphonies,  three 
sonatas,  for  piano  and  violin,  besides  other 
chamber  music  and  many  smaller  forms, 
has  written  the  following  estimate  of  his 
former  master: 

He  has  been  called  "the  greatest  classic  talent 
since    Schubert."      Though    his    followers    in 


Europe  and  America  seem  to  be  few  enough  at 
the  present  time,  an  interest  in  his  works  will 
in  time  no  doubt  come  to  be  general,  in  keep- 
ing with  the  usual  custom  of  strewing  flowers 
upon  a  hero's  grave.  But  this  condition  will 
materialize  only  after  a  great  deal  of  "listen- 
ing" and  thoughtful  study  on  the  part  of  spe- 
cialist and  layman  alike.  As  Americans,  we 
are  accused  of  embracing  every  opportunity  we 
may  have  for  lauding  the  personages  and  ef- 
forts of  the  old-world  artist;  but  strange  to 
say,  we  stand  in  the  case  of  Reger,  either  silent 
or  nonplussed.  He  has  been  decried  by  some 
of  our  best  musicians,  and  "taken  up"  for  a 
time  by  others.  His  heartiest  supporters  in 
this  country  have,  for  the  moment,  been  brave; 
but  in  the  face  of  the  public's  usual  determina- 
tion to  be  amused  without  exerting  too  much 
mental  energy,  they  have  been  forced  to  post- 
pone protracted  campaigns  in  Reger's  behalf. 

How  then  should  we  get  at  the  matter?  Is 
the  composer,  or  are  we,  at  fault?  One  must 
decide  either  that  he  is  a  humbug,  or  that  we 
are  inadequate  to  his  needs  as  an  audience.  We 
might  refer  to  Beecher's  trite  remark,  "When 
the  Lord  calls  a  minister,  he  also  calls  an  audi- 
ence to  listen  to  him."  We  doubt  that  the 
fundamental  tenets  of  religion  and  the  technics 
of  modern  composition  and  appreciation  have 
much  in  common,  unless  we  take  the  standpoint 
that  Reger  is  a  minister  with  a  new  gospel — 
which  is  not  the  case  at  all.  I  fancy  the  final 
understanding  will  come  when  Mozart,  Beet- 
hoven, Schubert,  Brahms,  Schumann,  Strauss, 
Debussy,  Tschaikowsky,  are  really  appre- 
ciated. The  path  to  Reger  will  then  be  hewn; 
for,  in  truth,  this  master  is  a  composite  picture 
of  Handel,  Haydn — even  of  Palestrina — Bach, 


AUTOGRAPH    OF    MAX    REGER 


MAX    REGER    AT   THE    PIANO 


Wagner,  and  all  their  line.  To  this  is  added  a 
molding  force  born  of  modern  personality  and 
ideals;  a  most  exhaustive  digest  and  apprecia- 
tion of  all  that  is,  or  was,  the  best  in  art;  a 
pathetic  respect  for  tradition;  a  musical  ideal- 
ism always  adequate;  and  to  top  it  all,  a  keen 
sense  of  humor.  Reger's  pride  was  as  childish 
as  that  of  most  of  us;  his  ambition  of  such  a 
nature  that  it  fairly  radiated  from  him  and 
encompassed  all  who  came  near  him.  He  wrote 
always  from  pleasure,  not  from  a  sense  of  duty, 
and  while  his  published  works  are  profuse  in 
number,  they  represent  only  one  for  every  two 
composed — the  extras  having  been  abandoned, 
often  for  the  writing  of  another  work  which 
"buzzed"  and  superseded  the  one  then  in  hand. 
As  he  never  was  without  "buzzings,"  he  never 
had  time  to  return  to  works  he  had  left  un- 
finished. 

What  then  shall  we  make  of  all  this?  Must 
we  conclude  that  another  Cervantes  creation 
has  come  among  us?  Or  are  we  really  the  Don 
Quixote?  As  an  "anarchist"  his  classification 
would  be  a  failure,  for  he  has  done  nothing 
which  Haydn  might  not  have  done  had  there 
been  ears  at  that  time  to  hear.  As  a  "mur- 
derer" of  the  musical  material  one  can  never 
accuse  him — his  consummate  mastery  would 
preclude  this,  even  if  his  taste  were  not  un- 
assailable. Neither  was  he  a  "lunatic" — his 
daily  life,  and  unselfish  interests  prove  this. 
As  a  "prophet"  he  can  lay  no  claim.  Is  he 
then  to  be  classed,  as  Wagner's  modesty  pro- 
voked him  to  classify  himself,  as  one  who  ac- 
complished a  combination  of  the  arts;  those 
390 


arts  combining  the  technic  of  former  masters, 
their  systems  of  workmanship,  ideals  and  imagi- 
nations brought  down  to  the  present  time  plus 
an  enormous  talent  and  poetic  insight? 

Viewed  from  this  standpoint,  Max  Eeger  be- 
comes as  lucid  as  a  Mozart  sonata.  In  Max 
Reger's  reckoning,  to  be  "commonplace"  was 
the  greatest  sin — -the  "beaten  path"  never  to  be 
trod.  Though  probably  everything  had  been 
said  by  Bach  and  his  followers,  there  were, 
nevertheless,  new  ears  to  hear,  since  the  older 
classicists  had  ceased  to  speak,  and  these  ears 
must  have  advanced.  Consequently  the  prep- 
aration for  an  appreciation  of  Reger  is  based 
upon  a  simple  process — one's  ability  to  hear 
fast  enough.  His  works  will  need  no  defense 
after  that.  The  solidity  is  not  as  supposed 
cumbersome,  but  most  natural  and  easy-flowing. 
When  one  realizes  that  any  anticipation  of 
what  is  to  follow  will  be  usually  wrong,  one 
has  found  whence  the  trouble  comes,  since — it 
is  not  "the  beaten  path."  An  open  mind,  as 
well  as  an  open  ear,  is  then  needed,  for  the 
idiom  becomes  apparent  only  in  this  way. 

It  is  perhaps  too  early  definitely  to  place  this 
man;  but  when  his  position  shall  have  been 
assigned,  assuredly  it  will  be  a  high  one  and 
unshakably  grounded.  His  influence  upon  the 
future  must  be  reckoned  with  just  so  long  as 
the  purity  of  counterpoint  in  its  absoluteness 
is  a  factor  in  art  forms;  and  may  God  save  the 
day  when  it  is  not! 

Following  up  Mr.  Wilson's  unusually 
lucid  estimate,  in  which  he  recognizes  that 


THE   ISLE     OF    DEATH 
Painting  by   Arnold  Bocklin,  used  by  Reger  as  the  basis  of  a  symphonic  poem. 


. 

"the  ears  to  hear"  constitute  the  ma*u 
problem,  a  portion  of  a  paper  on  "Max 
Reger, ' '  sent  by  the  writer  to  the  New  York 
State  Music  Teachers'  Convention  at  Syra- 
cuse in  1910,  may  reinforce  a  point  on 
which  both  agree. 

The  opportunity  to  send  a  message  on  the 
work  and  tendencies  of  composer  Max  Reger  is 
an  especially  agreeable  one.  It  is  the  duty  of 
every  person  leading  the  life  of  a  purveyor  of 
news,  not  only  to  chronicle  affairs  as  they  pass, 
but  also  to  see  with  the  vision  of  a  prophet,  if 
he  can.  Now  the  art  of  Max  Reger  is  unavoid- 
ably a  subject  for  prophecy  to  the  uninitiated, 
for  it  simply  will  not  stand  revealed  of  itself. 

With  Reger,  as  with  no  other  composer  since 
Wagner,  to  acquire  true  appreciation  is  analo- 
gous to  acquiring  a  religious  faith  in  that  it 
is  a  personal  matter  with  every  auditor.  In 
this  it  is  necessary,  sooner  or  later,  that  every 
one  must  have  worked  out  his  own  salvation. 
The  Reger  product  cannot  be  accepted  and  en- 
joyed on  the  recommendation  of  any  of  the 
powers.  To  all  ears  of  the  first  decade  of  the 
twentieth  century  the  full  appreciation  of 
Reger  has  had  to  be  acquired  by  much  hearing. 
There  was  no  appeal  from  the  ruling,  and  the 
law  is  destined  to  stand  unless  hammered  down 
by  other  strange  tonalities  of  his  contempo- 
raries or  his  imitators. 

It  will  be  fatal  to  any  who  say,  in  conse- 
quence, that  they  will  wish  to  know  nothing  of 
a  composition  that  cannot  immediately  speak 
for  itself,  in  terms  intelligible  to  all.  On  such 
policy  we  would  have  never  yet  accepted  Wag- 


ner or  Brahms,  neither  the  Joharm  Sebastian 
Eijcb.  of  two  centuries  ago.  The  compositional 
art  of  Bach  did  slumber  through  a  full  century 
following  the  death  of  that  great  master,  and 
in  Leipsic  itself,  where  Mendelssohn  stood  so 
strongly  for  his  cause,  it  has  been  now  only  a 
couple  of  decades  since  the  public  actually  en- 
joyed any  but  Bach's  plainer  and  more  tuneful 
works.  It  was  even  the  happy  fate  of  the  sup- 
posed discords  of  a  Wagner  to  arrive  in  good 
time  still  to  prepare  the  ears  for  Johann  Sebas- 
tian Bach,  in  the  universality  of  his  genius. 
Likewise,  the  strange  tonality  which  prevails  in 
the  modern  French  school  does  not  oppose  the 
Reger  cause,  but  is  making  a  school  for  Reger 
as  fast  as  it  can.  And  whoever  comes  to  the 
right  capacity  for  hearing  will  find  that  the 
Bavarian  is  writing  far  the  greatest  message 
of  all. 

Before  leaving  the  topic  it  may  be  pertinent 
to  inquire  just  how  much  hearing  of  Reger 
may  be  necessary  for  final  musical  redemption. 
In  the  personal  case  of  the  writer,  he  had  kept 
on  his  stand  for  four  years  the  seven  Sonatas, 
Op.  91,  for  violin  alone;  had  heard  the  Beet- 
hoven two-piano  Variations  four  times;  the 
Violin  Concerto  seven  times;  the  Orchestral 
Prologue  twice;  the  Orchestral  Serenade  twice; 
the  two-piano  Introduction,  Passacaglia  and 
Fugue  three  times;  the  Bach  Piano  Variations 
and  Fugue  twice,  as  also  the  choral  "Gesang 
der  Verklaerten,"  "Die  Nonne"  and  the  Cello 
Sonata,  Op.  78,  once  each;  the  B-A-C-H  Organ 
Fantasy  and  Fugue  twice;  the  Hiller  Varia- 
tions and  Fugue  five  times;  the  quartet,  Op. 
109,  three  times;  the  F-sharp  minor  Violin  and 
Piano  Sonata  four  times;  the  Clarinet  Sonata 

391 


392 


MAX    REGER 


twice;  the  D  minor  String  Quartet,  Op.  74, 
twice;  the  String  Trio,  Op.  77b,  twice;  the 
Violin  Suite  in  Old  Style  twice. 

With  the  exception  of  the  five  programs  of 
the  Dortmund  festival,  all  of  this  music  was 
heard  during  four  years  of  the  usual  concert 
life  of  Leipsic,  industriously  attending  all  avail- 
able public  and  private  rehearsals. 

For  the  progressive  appreciation  of  the  above, 
continual  playing  of  the  seven  violin  sonatas, 
Op.  91,  as  well  as  the  many  examples  of  piano 
modulations  included  in  Reger's  "Key  to  Modu- 
lation" may  have  constituted  the  most  inten- 
sive means  of  acquiring  a  feeling  for  the 


tonalities.  With  the  "willingness  to  hear"  con- 
ceded from  the  very  first  attendance  upon  a 
Reger  program,  it  was  possible  greatly  to  ap- 
preciate first  performances  of  some  of  the 
greatest  of  these  works,  as  the  Hiller  Varia- 
tions and  the  Orchestral  Prologue.  In  the  case 
of  the  concertos  for  violin  and  for  piano,  that 
was  not  nearly  possible,  but  finally,  at  the  end 
of  eight  years  one  was  amply  able  to  hear 
and  enjoy  a  new  Reger  composition  with  about 
the  same  complacency  that  one  hears  one  of 
the  lesser  known  chamber  music  compositions 
of  Beethoven,  or  of  any  other  of  the  accepted 
polyphonic  and  symphonic  masters. 


•i 


BRUCKNER,   MAHLER  AND  THEIR  SUCCESSORS 


BY 


EUGENE    E.    SIMPSON 


IN  any  consideration  of  the  works  of  An- 
toii  Bruckner  (1824-1896),  his  pupil, 
Gustav  Mahler  (1860-1911),  and  their  suc- 
cessors, there  is  little  need  this  late  day  to 
discuss  the  texture  of  their  product,  but  it 
is  pertinent  to  speculate  upon  the  place 
which  the  world  may  grant  them  in  the 
future.  There  is  no  problem  as  to  the  ab- 
stract value  which  their  compositions  repre- 
sent, since  those  are  seen  to  be  wholly  sin- 
cere and  wholly  worthy  of  a  high  place 
among  the  many  forms  of  human  discourse. 
There  exists  only  the  practical  problem  of 
the  changing  fashions  in  the  concert  life  of 
the  world — whether  these  composers  and 
their  strong  contemporaries  like  Reger, 
Schonberg  and  Korngold  will  prove  to  be 
needed  in  future  repertories.  If  among  the 
thousands  of  prolific  composers  of  the  last 
two  centuries  the  present  day  repertory 
holds  fast  only  to  Bach,  Beethoven,  Cho- 
pin, Liszt,  Schumann,  Tschaikowsky,  and 
Brahms,  with  a  little  of  Scarlatti,  Tartini, 
Gluck,  Mozart,  Weber,  Berlioz,  Mendels- 
sohn and  Grieg,  then  one  may  easily  ques- 
tion who  it  is  that  will  remain  as  casual 
and  welcome  guest,  and  who  may  become 
the  indispensable  member  of  the  household. 
Even  now  it  should  be  confessed  that 
without  regard  to  the  exact  degree  of  one's 
individual  love  for  this  music,  there  is  dan- 


ger in  any  direct  answer,  because  as  a  fu- 
turity the  matter  is  subject  to  all  the  musi- 
cal world's  vagaries,  and  in  the  past  those 
have  been  legion.  Nevertheless  there  is  one 
strong  premise  which  may  be  offered  un- 
qualifiedly— that  the  eighteen  symphonies, 
and  the  usual  choral  by-products  of  these  two 
composers,  represent  the  greatest  and  most 
homogeneous  of  all  repositories  of  music- 
religious  mysticism.  That  statement  is  in 
nowise  affected  by  the  circumstance  that 
Bruckner's  works  are  strongly  dominated 
by  Richard  Wagner,  while  Mahler,  as  a 
veritable  stylistic  omnibus,  was  enabled  to 
carry  influences,  not  alone  of  Bruckner  and 
Wagner,  but  of  all  the  world's  other  im- 
portant music-dialectic  sources,  not  even 
scorning  those  of  the  older  Italian  operas. 
Also,  that  Bruckner  was  a  singularly  devout 
adherent  to  the  Catholic  faith  and  that 
Mahler  was  a  Jew  alters  nothing  in  the 
premise,  for  their  thought  in  music  was  con- 
tinually directed  toward  the  celestial  and 
the  more  somber  relations  of  life,  and  it 
might  seem  that  the  technic  of  symphonic 
discourse  did  not  yet  differentiate  the 
creeds. 

For  a  broader  understanding  of  the  life 
currents  which  drove  these  men  to  the  pro- 
fuse expression  of  their  moods,  one  should 
look  briefly  into  the  details  of  their  musical 

393 


394 


BRUCKNER,    MAHL"ER    AND    THEIR    SUCCESSORS 


training  and  their  environment.  Without 
wishing  in  any  way  to  exaggerate  the  pic- 
ture, it  is  shown  that  Bruckner  was  the  son 
of  a  poor  Austrian  schoolmaster,  as  indeed 
all  Austrian  schoolmasters  are  poor.  Upon 
the  early  death  of  his  father,  he  became  a 
chorister  in  a  collegiate  church,  then  suc- 
ceeded his  father  in  the  needy  profession 
of  an  assistant  schoolmaster  at  Windhag, 
near  Freistadt.  Almost  wholly  through 
self-help,  Bruckner  gradually  raised  his 
musical  knowledge  to  take  part  in  an  organ- 
ist competition  at  Linz.  This  was  in  1855, 
when  he  was  thirty-one  years  old.  The 
next  twelve  years  of  his  homely  yet  potent 
genius,  with  a  bit  of  study  in  trips  to 
Vienna,  sufficed  to  raise  him  to  the  organ- 
ist post  of  the  Vienna  Court  Opera  and 
a  teacher's  post  at  the  Imperial  Music  In- 
stitute, while  the  eleventh  of  those  years  had 
marked  the  creation  of  his  first  symphony. 
Henceforth  his  life  was  comparatively  easy, 
still  always  marked  by  his  great  religious 
sincerity,  marked  modesty  and  a  personal 
simplicity  in  perfect  keeping  with  his 
homely  beginning. 

In  the  life  of  Mahler,  who  was  born  in 
the  Bohemian  town  of  Kalischt,  the  tem- 
poral conditions  surrounding  his  youth 
seem  not  to  have  been  severe,  for  he  was  at 
least  enabled  to  attend  the  usual  high 
school  (Gymnasium)  of  the  time,  and  even 
to  study  at  Vienna  University  while  carry- 
ing on  music-theoretic  training  under 
Bruckner.  It  does  not  matter  that  the  per- 
sonal details  of  his  early  life  are  less  known 
than  the  musical,  for  the  world  long  since 
has  come  to  see  in  the  mere  fact  of  his  race 
sufficient  basis  for  the  idealistic  in  his  music, 
with  the  tragic  outlook  upon  life. 

Going  somewhat  deeper  into  the  posi- 
tion which  Bruckner  held  in  the  world,  the 
most  salient  group  of  circumstances  is  in- 
separable from  those  which  touched  the 
progress  of  Richard  Wagner  and  Johannes 
Brahms,  since  all  three  of  these  composers 
came  simultaneously  to  their  finest  periods 
of  productivity.  Typifying  the  arrival  of 
nearly  every  great  master  of  the  musical 
world,  each  of  these  became  the  center  of 
heated  controversy.  As  usual,  the  various 
approbations  and  dissensions  were  not  con- 


fined to  the  merits  of  any  composer  alone — 
his  friends  invariably  assaulted  some  other 
artistic  citadel,  as  if  the  right  place  to  build 
a  temple  would  be  upon  the  ruins  of  the 
old. 

As  to  the  nonsensical  rivalries  of  those 
times,  it  availed  nothing  that  Wagner  was 
solely  a  music-dramatist  and  Brahms  solely 
a  symphonist ;  their  friends  still  projected 
these  cross  relations  into  a  semblance  of  op- 
posing interests.  The  direct  result  upon 
the  affairs  of  Brahms  was,  that  for  about 
two  generations  his  great  symphonies  re- 
mained coldly  withheld  from  the  highly 
important  concert  life  of  Munich,  which 
city  was  for  many  years  thus  wildly  em- 
ployed in  an  exclusive  idolization  of  Wag- 
ner. In  the  same  connection,  the  Max 
Reger  article  in  the  present  volume  inci- 
dentally remarks  that  it  was  fifteen  years 
after  Brahms'  death  when  Munich  gave 
this  great  master  the  belated  honor  of  a  fes- 
tival of  his  works. 

From  the  innocent  occurrence  that  out 
of  the  artistic  turmoil  which  prevailed  in 
the  musical  world,  Bruckner's  convictions 
could  make  him.'  nothing  but  a  pronounced 
champion  of  the  complete  Wagner,  and 
that  he  was  either  unable  or  unwilling  to 
prevent  his  own  symphonies  from  partak- 
ing strikingly  of  the  orchestral  color  and 
the  very  mood  of  the  Wagner  music 
dramas,  it  was  inevitable  that  Bruckner  was 
also  projected  into  a  false  rivalry  with 
Brahms.  Though  neither  of  these  com- 
posers is  thought  to  have  had  part  in  the 
agitation,  there  was  at  least  a  more  reason- 
able ground  for  a  contest,  since  symphony 
could  be  posed  against  symphony.  In  final 
judgment  of  such  rivalries,  after  forty 
years  it  is  difficult  to  say  whether  the  world 
lost  or  gained.  Had  it  not  been  for  the  in- 
tensification thus  afforded,  any  one  of  the 
three  composers  mentioned  might  have 
waited  much  longer  for  recognition  than  he 
did,  since  nothing  in  art  kills  so  surely  as 
lethargy. 

Before  going  further  into  the  affairs  of 
Bruckner,  Mahler  and  those  who  grew  up 
after  them,  it  may  be  helpful  briefly  to  indi- 
cate the  character  of  some  of  their  compo- 
sitions, through  the  specific  medium  of  con- 


BRUCKNER,    MAHLER    AND    THEIR    SUCCESSORS 


395 


temporary    concert    reports.      As    concerns 
the  Bruckner  eighth  symphony: 

The  Bruckner  second  symphony  was  conceived 
in  much  beauty,  if  already  with  the  composer 
mannerisms  that  remained  with  Bruckner 
through  his  nine  symphonies;  hut  the  second 
proved  to  be  of  the  lightest  spiritual  power  of 
all,  and  required  but  fifty  minutes  to  play,  while 
the  eighth  symphony  has  shown  some  of  the 
finest  inspiration,  often  in  the  highest  degree 
Wagnerian,  also  fully  withstanding  the  Wag- 
nerian  endurance  test,  and  playing  for  an  hour 
and  fourteen  minutes,  in  the  authoritative 
Nikisch  tempos.  The  Wagnerian  relation  was 
but  barely  noticeable  in  the  first  movement, 
where  there  was  some  particularly  intense  and 
noble  inspiration  in  evidence.  Strangely  enough, 
the  main  figure  of  the  second  movement  Scherzo 
would  have  been  entirely  impossible  without  the 
Mendelssohn  "Midsummer  Night's  Dream" 
overture  as  forerunner,  yet  this  strong  Scherzo 
picture  had  for  a  contrasting  theme,  one  of  the 
slow,  half-funereal  moods  which  had  so  large 
a  part  in  the  Bruckner  life.  In  the  succeeding 
Adagio,  which  alone  played  for  twenty-five  min- 
utes, it  was  impossible  to  disassociate  Wagner, 
since  his  influence  was  in  evidence  in  the  musi- 
cal texture  and  still  more  the  typical  use  of  the 
horns,  the  low  strings  of  violins  and  violas, 
finally  employing  much  tremolo  and  concluding 
in  pronounced  "Waldweben"  writing.  The 
fourth  movement  came  in  large  array  of  Bruck- 
ner's own  use  of  the  horns,  a  beautiful  and  very 
individual  assignment  for  the  violins,  the  ever- 
recurring  pizzicato  of  the  contrabasses,  and  the 
most  vigorous  hammering  of  kettle  drums  in  a 
long  climax  which  again  faded  away  to  a  close. 

And  summarizing  on  the  composer's  great 
E  minor  mass: 

It  is  doubtful  if  any  one  of  the  Bruckner 
symphonies  can  show  the  composer's  real  genius 
more  clearly  than  it  is  shown  in  this  mass, 
where  every  contrapuntal  line  for  orchestra  is 
thrown  upon  the  canvas  with  the  sharpness  of  a 
steel  engraving.  Here  it  is  once  more  the  genius 
for  simplicity,  for  a  single  clarinet  or  horn 
above  the  chorus  may  be  responsible  for  the  en- 
tire color.  At  any  rate,  an  intellect  of  the 
highest  power  is  necessary  to  the  creation  of  so 
noble  music  in  so  plastic  means,  and  the  whole 
effect  of  the  mass  is  therefore  one  of  most 
striking  individuality  and  sublime  musical  con- 
tent. 

In  direct  comparison  with  Bruckner,  the 
following  on  Mahler's  ninth  symphony  is 
to  the  point : 

The  symphony  was  first  brought  to  the  pub- 
lic ear  at  the  Vienna  festival  in  1912.  thirteen 


months  after  the  death  of  the  composer.  In 
nearly  all  its  hour  and  thirteen  minutes. actual 
playing  length,  it  has  exactly  the  element  which 
is  ever  absent  in  Bruckner,  and  that  is  the  one 
idea  of  logic  and  dogged  devotion  to  treatment 
of  the  fixed  thematic  materials.  In  view  of  the 
sturdy  type  of  work,  which  is  the  ideal  type  for 
all  symphonic  forms,  Mahler's  ninth  symphony 
will  have  that  much  with  which  to  furnish  pleas- 
ure to  many  who  have  not  yet  felt  sympathy  for 
the  strange,  the  Oriental  or  transcendental  mood 
worlds  in  which  he  moved  about  through  long 
episodes  of  his  symphonies.  Nevertheless,  there 
is  in  his  ninth  symphony  a  feature  tending  to 


ANTON    BRUCKNER 

disturb  the  idea  of  homogeneity  first  secured  by 
industrious  work  in  thematics.  The  fault  lies 
in  the  unending  stopping  and  starting,  as  if  the 
movement  were  once  complete,  but  that  some 
other  member  of  the  orchestra  had  begged  for 
one  more  chance  to  play.  The  first  movement  suf- 
fers perceptibly  from  this  unfinished,  eleventh- 
hour  gossiping  by  every  player  who  may 
happen  to  straggle  in,  so  that  the  last  few  min- 
utes of  the  movement  are  in  thus  far  disturbing 
to  the  effect  once  gained  from  the  beautiful  ma- 
terials employed. 

The  fault  is  likewise  a  specialty  of  another 
gifted  composer  who  writes  long  works,  and  that 
is  Max  Reger.  But  in  this,  Beethoven  was  also 
an  offender  long  before  their  time.  Both  the 
Reger  interpreting  art  and  composing  art  con- 


39G 


BRUCKNER,  MAHLER  AND  THEIR  SUCCESSORS 


tribute  to  the  disturbance,  just  as  Mr.  Walter's 
interpreting  art  failed  to  read  out  such  false 
closes  in  the  Mahler  symphony.  The  musical 
content  of  this  symphony  is  about  that  of  any 
of  his  other  works  and  that  often  represents 
high  mood  power,  invariably  taking  expression 
in  a  very  plain,  at  times  homely,  often  borrowed 
dialect.  Nobody  who  has  heard  Mahler's  other 
symphonies  will  go  wrong  in  surmise  of  the 
strange  and  wonderfully  effective  devices  in- 
vented and  employed,  but  there  is  one  thing 
more  to  report  as  an  item  of  progress.  The 
strange  effects  here  employed  are  not  of  such 


GUSTAV    MAHLER 

nature  as  to  annoy,  as  was  true  of  those  in 
every  other  symphony,  even  including  his  im- 
mensely impressive  eighth. 

Mahler's  style  may  be  further  judged 
from  a  discussion  of  his  six-movement 
"Lied  der  Erde"  for  solo  and  chorus  voices 
with  orchestra: 

The  three  tenor  numbers  are  by  far  the  less 
earnest  in  content,  as  they  also  require  only  a 
total  of  seventeen  minutes  to  give.  The  three 
numbers  for  contralto  are  of  very  great  beauty, 
and  it  may  be  that  the  last  section,  requiring 
just  thirty  minutes  to  perform,  is  among  the 
greatest  mood  monuments  that  has  ever  been 
set  in  tone.  The  musician  can  never  forget  the 
one  reservation,  and  that  is  that  Mahler's  mu- 


sical dialect  is  always  one  of  the  utmost  sim- 
plicity, sometimes  directly  commonplace;  yet  in 
the  dialect  at  his  command,  the  composer  had 
extraordinary  impulses  to  convey.  The  con- 
tralto's first  solo  is  already  a  picture  of  great 
power.  Her  second  solo  sings  of  beauty  and 
grace,  in  many  Oriental  colors.  The  long  finale 
sings  of  parting,  and  there  is  lyric  tragedy  of 
overwhelming  intensity.  Mahler  has  then 
brought  to  the  orchestral  palette  some  of  his 
most  wonderful  colors. 

Of  the  extreme  elements  which  may  have 
arisen  after  Bruckner  and  Mahler  to  con- 
tinue or  still  further  involve  the  harmonic 
and  orchestral  fabric  of  composition,  the 
contemporaneous  composers  of  Russia  and 
France  have  been  already  considered  in 
special  articles  in  the  present  series.  Par- 
ticularly in  the  general  article  on  Russia, 
there  is  set  forth  the  fact  that  at  the  first 
and  second  decades  of  the  twentieth  cen- 
tury, the  art  of  complex  instrumentation 
and  great  harmonic  intensity  was  property 
common  to  all.  Then  for  Central  Europe, 
and  most  directly  associated  with  the  tradi- 
tions and  the  territory  of  Bruckner  and 
Mahler,  there  were  coming  forward  just  at 
the  death  of  Mahler,  Arnold  Schonberg 
(1874—)  and  Eric  Korngold  (1897—). 

The  boy  Korngold  had  come  into  public 
notice  with  a  stage  pantomime,  ' '  The  Snow- 
man, ' '  written  when  he  was  about  ten  years 
old.  There  was  still  a  great  deal  of  Vien- 
nese operetta  spirit  in  the  music,  though 
still  an  extraordinary  performance  for  a 
child.  Besides  fantastic  piano  pieces,  a 
piano  trio,  and  two  sonatas  for  piano,  when 
he  was  fourteen  years  old  Korngold  wrote 
an  "Overture  to  a  Drama"  (Schauspiel), 
which  was  of  the  largest  modern  orchestral 
scope,  but  was  even  more  remarkable  be- 
cause written  entirely  in  complete  score  or 
partitur — that  is,  entirely  without  sketches 
of  any  kind.  It  was  simply  a  free  discourse 
on  which  he  wrote  a  page  or  two  of  score 
every  day  through  the  summer  vacation  of 
1911.  Again  quoting  from  a  concert  re- 
port: 

The  Korngold  overture  plays  for  thirteen  min- 
utes in  heavy  modern  scoring  of  great  tonal 
brilliancy  and  polish.  The  present  state  of  the 
boy's  uncommon  genius  manifests  itself  in  oc- 
casional rare  touches,  rather  than  in  the  main 


BRUCKNER,  MAHLER  AND  THEIR  SUCCESSORS 


397 


character  of  the  musical  dialect  employed.  Thus 
one  would  have  to  classify  this  work  as  one 
often  related  to  the  Richard  Strauss  type  of 
phrase  building,  and  it  has  the  occasional  ec- 
static, lyric  content  of  nearly  every  Strauss  com- 
position. Though  these  general  features  are 
perfectly  easy  of  identification,  the  overture  is 
none  the  less  a  remarkable  example  of  beautiful 
music,  written  in  steady  inspiration  and  perfect 
sequence. 

Among  characteristics  that  one  first  hears  in 
the  Korngold  overture  are  the  strange  throbbing 
effects  produced  by  some  mordent  or  short  trill 
of  the  muted  violins.  The  horns  come  into 
heavy  modern  operatic  sighing  to  harp  accom- 
paniment, and  the  interrupted  throbbing  re- 
sumes over  muffled  horn,  in  beautiful  slow  song. 
After  some  kind  of  proclamation  over  the  whole 
orchestra,  the  Strauss  relation  first  becomes 
strongly  apparent  in  the  large  episode  directly 
ensuing.  There  is  further  a  very  beautiful  piece 
in  modern  operatic  spirit,  played  quietly  by 
clarinet,  then  soon  reinforced  by  the  entire  or- 
chestra. A  short,  broad  waltz,  in  full  dance 
manner,  is  introduced  and  still  later  repeated. 
There  is  a  good  deal  of  the  Strauss  spirit  again 
until  near  the  close. 

The  Korngold  music  may  be  further  in- 
dicated by  discussion  of  his  other  works. 

The  progress  from  the  piano  trio  to  the  sonata 
was  very  marked,  with  frequent  strange  har- 
monic effects  in  going  by.  For  the  composing 
of  these  works  the  boy  had  also  employed  the 
dominating  musical  dialect  of  his  time,  and 
that  was  the  poorer  dialect  of  phrase-building 
modeled  after  the  operas  and  the  symphonic 
poems,  rather  than  after  the  better  rhythmic 
and  canonic  type,  of  Beethoven  and  the  rest  of 
the  symphonic  classics.  However  unlucky  may 
have  been  the  choice,  one  must  never  forget 
that  the  boy  still  represents  an  individuality  of 
the  highest  rank,  which  is  still  more  abundantly 
shown  in  the  rare  freedom  of  the  fairy  pictures. 
The  proverbial  wildness  of  youth  is  shown  here 
in  full  bloom,  and  no  musician  is  able  to  sit 
through  a  recital  of  these  works  without  feel- 
ing himself  in  the  presence  of  a  unique  gift, 
still  manifesting  itself  in  reasonable  health  and 
order. 

Among  the  first  occasions .  011  which  the 
musical  world  began  hearing  of  Arnold 
Schonberg  as  a  modern  apparition,  was 
when  the  great  master  and  critic,  Ferruccio 
Busoni,  wrote  that  here  was  a  composer  who 
would  have  to  be  considered  in  future  cal- 
culations. At  about  the  same  time,  musi- 
cians were  hearing  of  some  very  vague 
piano  pieces,  and  almost  simultaneously  a 


committee  of  Schonberg  pupils  and  ad- 
mirers were  taking  definite  steps  toward 
having  some  of  the  composer's  larger  or- 
chestral works  performed.  Then  Schon- 
berg changed  his  residence  from  Vienna  to 
Berlin,  and  received  pupils  while  giving  a 
series  of  lectures  in  which  he  discussed  his 
own  views  of  composition. 

In  the  Schonberg  piano  pieces  earliest 
heard,  their  tonal  complications  were  in 
part  exaggerated  by  their  reflective,  11011- 


ARNOLD    SCHOXBERG 

rhythmic  playing  manner.  The  composer's 
early  string  sextet,  "Transcendent  Night" 
(Verklarte  Nacht),  on  a  title  of  a  Dehnel 
poem,  was  found  to  be  a  work  of  very  great 
beauty,  possibly  in  the  mood  of  Wagner's 
"Tristan,"  where  the  ever  firm  harmonic 
fabric  was  a  highly  satisfying  feature. 
Hcwever,  his  orchestral  "Chamber  Sym- 
phonie, ' '  and  the  string  quartet,  Op.  7,  soon 
arrived,  in  such  revolutionary  intricacy  as 
to  vex  the  conservatives  and  cause  even 
some  of  the  strong  admirers  of  Schonberg 's 
former  works  to  hesitate. 

When  the  public  doubt  thus  aroused  was 
at  its  highest,  there  came  a  series  of  reas- 
suring performances  of  the  very  beautiful 
"  Gurrelieder, "  comprising  an  all  evening 


398 


BRUCKNER,    MAHLER   AND    THEIR    SUCCESSORS 


entertainment  for  orchestra,  chorus  and  vo- 
cal soloists.  The  composer  had  begun  these 
some  years  before,  had  laid  them  aside,  then 
completed  them  at  a  time  when  his  style 
had  undergone  a  decided  change.  The  dif- 
ference was  apparent  to  their  composer  and 
to  the  average  gifted  amateur  who  studied 
them,  yet  to  the  ordinary  concert  visitor 
they  still  constituted  an  imposing  entertain- 
ment. The  work  is  divided  into  twenty 
parts,  to  require  about  two  hours  and  a  half 
for  performance.  The  chorus  has  nothing 
to  do  but  look  on  for  the  first  two  hours,  an 
intermission  having  occupied  twenty-five 
minutes  between  the  first  and  second  large 
divisions.  Quoting  further: 

Proceeding  at  once  to  a  consideration  of  the 
music,  it  is  only  fair  to  say  that  throughout  the 
•work  it  is  seldom  possible  to  forget  Richard 
Wagner,  either  for  the  actual  musical  feeling 
or  the  main  school  and  color  of  the  instrumen- 
tation. Notwithstanding  an  overwhelming 
amount  of  Wagnerian  music,  there  is  still  an 
overwhelming  amount  of  the  purest  Schonberg. 
The  phenomenon  is  felt  at  its  highest,  while 
observing  how  remarkably  the  Schonberg  in- 
strumentation springs  up  out  of  the  sublime 
reflection  and  the  depth  of  the  Schonberg  in- 
spiration. In  this  stated  spirit  and  strongly 
Wagnerian  type  of  instrumentation,  Schonberg 
goes  much  further  and  calls  up  fabulously  in- 
teresting and  fanciful  mood  and  tone  pictures 
of  forest  and  field.  On  the  purely  musical  side 
he  has  written  for  the  solo  voices  a  material 
often  representing  the  highest  attainable  stage 
of  concert  repose  and  poetic  reflection. 

The  Jacobsen  poem  on  which  the  songs  t\re 
written  depicts  King  Waldemar's  journey  to  the 
Gurre  Island,  to  visit  the  maid  Tove  Lille. 
Later  the  forest  dove  proclaims  Tove's  death, 
which  was  brought  about  through  the  Queen's 
revenge.  Because  of  the  loss  of  Tove,  Waldemar 
blasphemes  the  Lord,  and  he  becomes  a  type  of 
the  wandering  huntsman  of  Northern  legend. 

In  the  Schonberg  composition  these  choruses 
are  employed  to  depict  the  wild  hunting  scenes 
of  the  dead.  The  first  two  sections  predominate 
in  music  of  the  forest  and  the  many  phases  of 
the  deeply  inspired  love  scenes.  Notwithstand- 
ing Schonberg's  abstract  musical  talent,  the  first 
ten  songs  occasionally  lapse  to  modern  romantic 
conventional,  and  the  auditor  instinctively 
wishes  again  for  the  wild  instrumentation  and 
rhythmic  change  which  are  then  later  delivered 
in  plenty.  Whoever  finds  it  difficult  to  under- 
stand how  so  much  true  Wagner  can  mix  with 
so  much  true  Schonberg  may  find  voluminous 
precedent  in  the  Mozart -Haydn  of  Beethoven; 


the  Mozart-Schumann  of  Tsehaikowsky ;  the 
Wagner-Liszt-Tschaikowsky  of  Richard  Strauss, 
and  the  Bach-Schumann-Brahnis-Palestrina  of 
Max  Reger — all  noble  combinations  which  have 
given  out  prodigally  of  that  which  inspires  and 
elevates. 

As  to  the  Schonberg  string  quartet,  Op. 
7,  it  required  fifty-one  minutes  for  perform- 
ance, given  without  pause.  It  was  music  of 
extraordinary  beauty  and  individuality,  if 
also  suffering  the  public  disadvantage  which 
every  long  work  under-goes  at  a  first  hear- 
ing. In  all  the  discussion  for  and  against 
and  about  Schonberg,  there  will  be  this 
much  permanently  valid — that  he  is  a  com- 
poser of  very  unusual  musical  gift  and  great 
accomplishment. 

The  very  strange  ' '  Chamber  Symphony, ' ' 
following  the  performance  of  a  Richard 
Strauss  orchestral  preludium,  is  said  to 
have  ushered  in  real  guessing.  It  was  so 
radical  as  actually  to  have  angered  many 
of  the  auditors,  so  that  there  was  hissing 
with  right  good  will, — and  still  the  hissing 
could  not  affect  the  large  musical  value  of 
the  work.  Compared  with  the  quartet,  the 
chamber  symphony  is  in  slightly  easier 
hearing,  on  account  of  the  broader  canvas, 
yet  this  work  had  incidents  which  were 
really  difficult  for  the  ear  to  take.  Never- 
theless, when  the  music  had  proceeded  for 
some  minutes,  it  was  possible  to  feel  that  in 
instrumentation  Schonberg  was  not  very 
many  leagues  in  advance  of  his  near  con- 
temporaries, Strauss,  Bruckner  and  Mahler. 
The  art  of  instrumentation,  even  in  its  most 
striking  forms,  had  become  indeed  uni- 
versal. 

Returning  briefly  to  speculate  upon  the 
possible  future  of  Bruckner  and  Mahler's 
vast  fund  of  musical  mysticism,  one  must 
restate  the  conviction  that  the  world's  liter- 
ature furnishes  as  yet  absolutely  no  coun- 
terpart. There  was  hope  that  a  similar 
fund  might  rest  in  the  works  of  Scriabin, 
who  was  cut  off  in  a  comparative  youth  of 
forty-four  years.  Certainly  Scriabin  was 
avowedly  seeking  exactly  that  whicli  Bruck- 
ner and  Mahler  sought,  and  it  must  be  said 
that  the  outward  conditions  of  success  were 
largely  on  his  side.  If,  in  fact,  many  of  his 
piano  works  in  the  larger  classic  forms  still 


BRUCKNER,    MAHLER   AND    THEIR    SUCCESSORS 


399 


partook  slightly  of  the  nature  of  miniature, 
his  orchestral  writing  in  such  as  the 
"Poeme  Divine,"  "Poeme  Extase"  and 
"Prometheus"  was  infinitely  more  concise 
and  compact  in  form  than  the  massive  cre- 
ations of  the  two  music-religious  Austrians. 
Notwithstanding  all  this  in  his  favor,  as 


WAGNER    AND    BRUCKNER 

Cartoon   by    Becker 

has  been  already  suggested  in  the  paper  on 
Modern  Russian  Music,  in  the  present  vol- 
ume, Scriabin  might  still  have  failed  be- 
cause time  may  prove  that  he  lacked  in 
those  qualities  of  poetic  grace  and  mood 
necessary  to  move  the  musical  public.  On 
the  other  hand,  if  Bruckner  and  Mahler  had 
possessed  the  acumen  to  create  their  works 
in  the  practical  logic  and  conciseness  of 
their  sublime  contemporary,  Brahms,  they 
would  have  been  occupying  ere  now  the 
place  of  the  choicest  strongholds  in  the 
world's  music  repertories. 


For  the  rest,  there  remains  the  question, 
whether  in  the  usual  evolutions  of  practical 
fashion  in  concert  going,  the  public  may 
occasionally  revert  to  a  condition  of  will- 
ingness to  sit  all  evening  at  an  entertain- 
ment. As  yet  the  extremes,  aside  from  the 
Bruckner  and  Mahler  symphonies,  have 
been  found  in  the  Wagner  operas  of  ' '  Sieg- 
fried," "Gotterdammerung"  and  "Die 
Meistersmger, "  each  of  which  requires 
from  four  and  a  half  to  five  hours.  It  is 
certain  that  upon  the  appearance  of  the 
Strauss  one-act  operas,  "Salome"  and 
"Elektra,"  each  occupying  a  single  period 
of  an  hour  and  forty  minutes,  that  length 
of  entertainment  was  ideally  gauged  to  the 
hurried  spirit  of  the  time ;  yet  in  theory 
one  should  welcome  the  principle  that  nearly 
any  length  were  justifiable  if  only  the  dis- 
course were  of  such  consistent  and  unbroken 
power  as  to  command  attention,  while  pro- 
viding at  the  same  time  the  most  necessary 
and  rational  elements  of  relief. 

Finally  it  is  not  entirely  impossible  to 
discern  a  saviour  in  the  future  Schonberg. 
Korngold  is  as  yet  too  well  at  home  in  the 
ways  of  youth  to  have  begun  bothering  with 
religious  and  philosophical  problems  of  life. 
Schonberg  may  be  just  now  at  the  age  of 
his  greatest  desire  for  technical  complexity, 
and  in  the  usual  history  of  an  art  mental- 
ity, age  tempers  and  clears  up  the  intellect. 
It  is  at  least  true  that  his  past  performances 
in  mood  and  abstract  musical  beauty  are 
voluminous  proof  of  his  great  gifts.  Possi- 
bly the  succeeding  years  will  allow  him  to 
create  a  large  and  useful  repertory  in  fields 
related  to  those  already  powerfully  touched 
by  Bruckner  and  Mahler.  Meantime  the 
world's  concert  map  shows  here  and  there 
a  bit  of  territory  long  since  strongly  occu- 
pied by  these  two  great  spirits,  and  time 
may  increase  their  power. 


RICHARD  STRAUSS 

BY 

ROMAIN   ROLLAND 


RICHARD  STRAUSS  was  born  in 
Munich  on  June  2,  1864.  His  father, 
a  well-known  virtuoso,  was  first  horn  in  the 
Royal  orchestra,  and  his  mother  was  a 
daughter  of  the  brewer  Pschorr.  He  was 
brought  up  among  musical  surroundings. 
At  four  years  old  he  played  the  piano,  and 
at  six  he  composed  little  dances,  Lieder, 
sonatas,  and  even  overtures  for  the  orches- 
tra. Perhaps  this  extreme  artistic  precocity 
has  had  something  to  do  with  the  feverish 
character  of  his  talents  by  keeping  his 
nerves  in  a  state  of  tension  and  unduly  ex- 
citing his  mind.  At  school  he  composed 
choruses  for  some  of  Sophocles'  tragedies. 
In  1881,  Hermann  Levi  had  one  of  the 
young  collegian's  symphonies  performed  by 
his  orchestra.  At  the  University  he  spent 
his  time  in  writing  instrumental  music. 
Then  Billow  and  Radecke  made  him  play  in 
Berlin;  and  Billow,  who  became  very  fond 
of  him,  had  him  brought  to  Meiningen  as 
Musikdirector.  Prom  1886  to  1889  he  held 
the  same  post  at  the  Hoftheater  in  Munich. 
From  1889  to  1894  he  was  Kapellmeister 
at  the  Hoftheater  in  Weimar.  He  returned 
to  Munich  in  1894  as  Hofkapellmeister,  and 
.in  1896  succeeded  Hermann  Levi.  Finally 
he  left  Munich  for  Berlin,  where  at  present 
he  conducts  the  orchestra  of  the  Royal 
Opera. 

400 


Two  things  should  be  particularly  noted 
in  his  life :  the  influence  of  Alexander  Ritter 
— to  whom  he  has  shown  much  gratitude — 
and  his  travels  in  the  south  of  Europe.  He 
made  Ritter 's  acquaintance  in  1885.  This 
musician  was  a  nephew  of  Wagner's,  and 
died  some  years  ago.  His  music  is  prac- 
tically unknown  outside  of  Germany, 
though  he  wrote  two  well-known  operas, 
"Fauler  Hans"  and  "Wem  die  Krone?" 
and  was  the  first  composer,  according  to 
Strauss,  to  introduce  Wagnerian  methods 
into  the  Lied.  He  is  often  discussed  in 
Billow's  and  Liszt's  letters.  "Before  I  met 
him, ' '  says  Strauss,  ' '  I  had  been  brought  up 
on  strictly  classical  lines;  I  had  lived  en- 
tirely on  Haydn,  Mozart  and  Beethoven, 
and  had  just  been  studying  Mendelssohn, 
Chopin,  Schumann  and  Brahms.  It  is  to 
Ritter  alone  I  am  indebted  for  my  knowl- 
edge of  Lis^t  and  Wagner;  it  was  he  who 
showed  me  the  importance  of  the  writings 
and  works  of  these  two  masters  in  the  his- 
tory of  art.  It  was  he  who  by  years  of 
lessons  and  kindly  counsel  made  me  a  Zu- 
kunftsmusiker,  and  set  my  feet  on  a  road 
where  now  I  can  walk  unaided  and  alone. 
It  was  he  also  who  initiated  me  into  Scho- 
penhauer's philosophy." 

The  second  influence,  that  of  the  South, 
dates  from  April,  1886,  and  seems  to  have 


RICHARD    STRAUSS 


401 


left  an  indelible  impression  upon  Strauss. 
He  visited  Rome  and  Naples  for  the  first 
time,  and  came  back  with  a  symphonic 
fantasia  called  "Aus  Italien. "  In  the 
spring  of  1892,  after  a  sharp  attack  of 
pneumonia,  he  traveled  for  a  year  and  a 
half  in  Greece,  Egypt  and  Sicily.  The 
tranquillity  of  these  favored  countries  filled 
him  with  never-ending  regret.  The  North 
has  depressed  him  since  then,  "The  eternal 
gray  of  the  North  and  its  phantom  shadows 
without  a  sun."  When  I  saw  him  at  Char- 
lottenburg  one  chilly  April  day,  he  told  me 
with  a  sigh  that  he  could  compose  nothing 
in  winter,  and  that  he  longed  for  the 
warmth  and  light  of  Italy.  His  music  is 
infected  by  that  longing;  and  it  makes  one 
feel  how  his  spirit  suffers  in  the  gloom  of 
Germany,  and  ever  yearns  for  the  colors 
and  laughter  and  the  joy  of  the  South. 
Like  the  musician  that  Nietzsche  dreamed! 
of,*  he  seems  "to  hear  ringing  in  his  eaiM 
the  prelude  of  a  deeper,  stronger  music,  per- 
haps a  more  wayward  and  mysterious 
music ;  a  music  that  is  super-German,  which, 
unlike  other  music,  would  not  die  away,  nor 
pale,  nor  grow  dull  beside  the  blue  and  wan- 
ton sea  and  the  clear  Mediterranean  sky;  a 
music  super-European,  which  would  hold 
its  own  even  by  the  dark  sunsets  of  the 
desert;  a  music  whose  soul  is  akin  to  the 
palm-trees;  a  music  that  knows  how  to  live 
and  move  among  great  beasts  of  prey, 
beautifv.1  and  solitary;  a  music  whose  su- 
preme charm  is  its  ifjnorance  of  good  and 
evil.  Only  from  time  to  time  perhaps  there 
would  flit  over  it  the  longing  of  the  sailor 
for  home,  golden  shadows,  and  gentle  weak- 
nesses; and'  toward  it  would  come  flying 
from  afar  the  thousand  tints  of  the  setting 
of  a  moral  world  that  men  no  longer  under- 
stood; and  to  these  belated  fugitives  it 
would  extend  its  hospitality  and  sympathy. ' ' 
But  it  is  always  the  North,  the  melancholy 
of  the  North,  and  "all  the  sadness  of  man- 
kind," mental  anguish,  the  thought  of 
death,  and  the  tyranny  of  life,  that  come 
and  weigh  down  afresh  his  spirit  hungering 

*  "Beyond  Good  and  Evil,"  1886.  I  hope  I  may 
be  excused  for  introducing  Nietzsche  here,  but  his 
thoughts  seem  constantly  to  be  reflected  in  Strauss, 
and  to  throw  much  light  on  the  soul  of  modern 
Germany. 


for  light,  and  force  it  into  feverish  specula- 
tion and  bitter  argument.  Perhaps  it  is 
better  so. 

Richard  Strauss  is  both  a  poet  and  a 
musician.  These  two  natures  live  together 
in  him,  and  each  strives  to  get  the  better  of 
the  other.  The  balance  is  not  always  well 
maintained;  but  when  he  does  succeed  in 
keeping  it  by  sheer  force  of  will  the  union 
of  these  -two  talents,  directed  to  the  same 
end,  produces  an  effect  more  powerful  than 


RICHARD    STRAUSS 

any  known  since  Wagner's  time.  Both  na- 
tures have  their  source  in  a  mind  filled  with 
heroic  thoughts,  a  rarer  possession,  I  con- 
sider, than  a  talent  for  either  music  or 
poetry.  There  are  other  great  musicians  in 
Europe,  but  Strauss  is  something  more 
than  a  great  musician,  for  he  is  able  to 
create  a  hero. 

When  one  talks  of  heroes  one  is  thinking 
of  drama.  Dramatic  art  is  everywhere  in 
Strauss 's  music,  even  in  works  that  seem 
least  adapted  to  it,  such  as  his  Lieder  and 
compositions  of  pure  music.  It  is  most  evi- 
dent in  his  symphonic  poems,  which  are  the 
most  important  part  of  his  work.  These 


402 


RICHARD    STRAUSS 


poems  are:  "Aus  Italien"  (1886),  "Mac- 
beth" (1887),  "Don  Juan"  (1888),  "Tod 
und  Verklarung"  (1889),  "Till  Eulen- 
spiegel"  (1894),  "Also  Sprach  Zarathus- 
tra"  (1895),  "Don  Quixote"  (1897), 
"Heldenleben"  (1898),  "Symphonia  Do- 
mestica"  (1904),  and  "Natursymphonie" 
(1915). 

I  shall  not  say  much  about  the  earlier 
works,  where  the  mind  and  manner  of  the 
artist  is  taking  shape.  The  "Wanderer's 
Sturmlied, "  the  song  of  a  traveler  during 
a  storm,  op.  14,  is  a  vocal  sextette  with  an 
orchestral  accompaniment,  whose  subject  is 
taken  from  a  poem  of  Goethe's.  It  was 
written  before  Strauss  met  Ritter,  and  its 
construction  is  after  the  manner  of  Brahms 
and  shows  a  rather  affected  thought  and 
style.  "Aus  Italien"  (op.  16)  is  an  exuber- 
ant picture  of  impressions  of  his  tour  in 
Italy,  of  the  ruins  at  Rome,  the  seashore 
at  Sorrento,  and  the  life  of  the  Italian 
people.  "Macbeth"  (op.  23)  gives  us  a 
rather  undistinguished  series  of  musical  in- 
terpretations of  poetical  subjects.  "Don 
Juan"  (op.  20)  is  much  finer,  and  translates 
Lenau's  poem  into  music  with  bombastic 
vigor,  showing  us  the  hero  who  dreams  of 
grasping  all  the  joy  of  the  world,  and  how 
he  fails,  and  dies  after  he  has  lost  faith 
in  everything. 

"Tod  und  Verklarung"  ("Death  and 
Transfiguration,"  op.  24)  *  marks  consid- 
erable progress  in  Strauss 's  thought  and 
style.  It  is  still  one  of  the  most  stirring 
of  Strauss 's  works,  and  the  one  that  is  con- 
ceived with  the  most  perfect  unity.  It  was 
inspired  by  a  poem  of  Alexander  Ritter 's, 
and  I  will  give  you  an  idea  of  its  subject. 

In  a  wretched  room,  lit  only  by  a  night- 
light,  a  sick  man  lies  in  bed.  Death  draws 
near  him  in  the  midst  of  awe-inspiring 
silence.  The  unhappy  man  seems  to  wander 
in  his  mind  at  times,  and  to  find  comfort  in 
past  memories.  His  life  passes  before  his 
eyes;  his  innocent  childhood,  his  happy 
youth,  the  struggles  of  middle  age,  and  his 
efforts  to  attain  the  splendid  goal  of  his  de- 
sires, which  always  eludes  him.  He  had  been 
striving  all  his  life  for  this  goal,  and  at  last 

*  Composed  in  1889.  and  performed  for  the  first 
time  at  Eisenach  in  1890. 


though  it  was  within  reach,  when  Death,  in 
a  voice  of  thunder,  cries  suddenly,  "Stop!" 
And  even  now  in  his  agony  he  struggles  des- 
perately, being  set  upon  realizing  his 
dream;  but  the  hand  of  Death  is  crushing 
life  out  of  his  body,  and  night  is  creeping 
on.  Then  resounds  in  the  heavens  the  prom- 
ise of  that  happiness  which  he  had  vainly 
sought  for  on  earth — Redemption  and 
Transfiguration. 

Richard  Strauss 's  friends  protested  vig- 
orously against  this  orthodox  ending,  and 
Seidl,  Jorisenne  and  Wilhelm  Mauke  pre- 
tended that  the  subject  was  something  loft- 
ier, that  it  was  the  eternal  struggle  of  the 
soul  against  its  lower  self  and  its  deliver- 
ance by  means  of  art.  I  shall  not  enter 
into  that  discussion,  though  I  think  that 
such  a  cold  and  commonplace  symbolism  is 
much  less  interesting  than  the  struggle  with 
death,  which  one  feels  in  every  note  of  the 
composition.  It  is  a  classical  work,  compar- 
atively speaking;  broad  and  majestic  and 
almost  like  Beethoven  in  style.  The  realism 
of  the  subject  in  the  hallucinations  of  the 
dying  man,  the  shiverings  of  fever,  the 
throbbing  of  the  veins,  and  the  despairing 
agony,  is  transfigured  by  the  purity  of  the 
form  in  which  it  is  cast.  It  is  realism  after 
the  manner  of  the  symphony  in  C  minor, 
where  Beethoven  argues  with  Destiny.  If 
all  suggestion  of  a  program  is  taken 
away,  the  symphony  still  remains  intelli- 
gible and  impressive  by  its  harmonious  ex- 
pression of  feeling.  Many  German  musi- 
cians think  that  Strauss  has  reached  the 
highest  point  of  his  work  in  ' '  Tod  und  Ver- 
klarung."  But  I  am  far  from  agreeing 
with  them,  and  believe  myself  that  his  art 
has  developed  enormously  as  the  result  of 
it.  It  is  true  it  is  the  summit  of  one  period 
of  his  life,  containing  the  essence  of  all  that 
is  best  in  it;  but  "Heldenleben"  marks  the 
second  period,  and  is  its  corner  stone.  How 
the  force  and  fullness  of  his  feeling  has 
grown  since  that  first  period!  But  he  has 
never  refound  the  delicate  and  melodious 
purity  of  soul  and  youthful  grace  of  his 
earlier  work,  which  still  shines  out  in  ' '  Gun- 
tram,"  and  is  then  effaced. 

Strauss  directed  Wagner's  dramas  at 
Weimar  from  1889.  While  breathing  their 


RICHARD    STRAUSS 


403 


atmosphere  he  turned  his  attention  to  the 
theatre,  and  wrote  the  libretto  of  his  opera 
•" '  Guntrani. "  Illness  interrupted  his  work, 
and  he  was  in  Egypt  when  he  took  it  up 
again.  The  music  of  the  first  act  was  writ- 
ten between  December,  1892,  and  February, 
1893,  while  traveling  between  Cairo  and 
Luxor;  the  second  act  was  finished  in  June, 
1893,  in  Sicily,  and  the  third  act  early  in 
September,  1893,  in  Bavaria.  There  is, 
however,  no  trace  of  an  oriental  atmosphere 
in  this  music.  We  find  rather  the  melodies 
of  Italy,  the  reflections  of  a  mellow  light, 
and  a  resigned  calm.  I  feel  in  it  the  languid 
mind  of  the  convalescent,  almost  the  heart 
of  a  young  girl  whose  tears  are  ready  to 
flow,  though  she  is  smiling  a  little  at  her 
own  sad  dreams.  It  seems  to  me  that  Strauss 
must  have  a  sacred  affection  for  this  work, 
which  owes  its  inspiration  to  the  undefinable 
impressions  of  convalescence.  His  fever  feii 
asleep  in  it,  and  certain  passages  are  full 
of  the  caressing  touch  of  nature,  and  recall 
Berlioz's  "Les  Troyens."  But  too  often 
the  music  is  superficial  and  conventional, 
and  the  tyranny  of  Wagner  makes  itself 
felt — a  rare  enough  occurrence  in  Strauss 's 
other  works.  The  poem  is  interesting; 
Strauss  has  put  much  of  himself  into  it, 
and  one  is  conscious  of  the  crisis  that  un- 
settled his  broad-minded  but  often  self- 
satisfied  and  inconsistent  ideas. 

"Guntram"  was  the  cause  of  bitter  dis- 
appointment to  its  author.  He  did  not  suc- 
ceed in  getting  it  produced  at  Munich,  for 
the  orchestra  and  singers  declared  that  the 
music  could  not  be  performed.  It  is  even 
said  that  they  got  an  eminent  critic  to  draw 
up  a  formal  document,  which  they  sent  to 
Strauss,  certifying,  that  "Guntram"  was 
not  meant  to  be  sung.  The  chief  difficulty 
was  the  length  of  the  principal  part,  which 
took  up  by  itself,  in  its  musings  and  dis- 
courses, the  equivalent  of  an  act  and  a  half. 
Some  of  its  monologues,  like  the  song  in 
the  second  act,  last  half  an  hour  on  end. 
Nevertheless,  "Guntram"  was  performed  at 
Weimar  on  May  16,  1894.  A  little  while 
afterward  Strauss  married  the  singer  who 
played  Freihild,  Pauline  de  Ahna,  who  had 
also  created  Elizabeth  in  "Tannhauser"  at 
Bayreuth,  and  who  has  since  devoted  her- 


self to  the  interpretation  of  her  husband's 
Lieder. 

But  the  rancor  of  his  failure  at  the 
theatre  still  remained  with  Strauss,  and  he 
turned  his  attention  again  to  the  symphonic 
poem,  in  which  he  showed  more  and  more 
marked  dramatic  tendencies,  and  a  soul 
which  daily  grew  prouder  and  more  scorn- 
ful. You  should  hear  him  speak  in  cold  dis- 
dain of 'the  theatre-going  public — "that  col- 
lection of  bankers  and  tradespeople  and 
miserable  seekers  after  pleasure" — to  know 
the  sore  that  this  triumphant  artist  hides. 
For  not  only  was  the  theatre  long  closed  to 
him,  but  by  an  additional  irony  he  was 
obliged  to  conduct  musical  rubbish  at  the 
opera  in  Berlin  on  account  of  the  poor  taste 
in  music — really  of  Royal  origin — that  pre- 
vailed there. 

The  first  great  symphony  of  this  new 
period  was  "Till  Euleiispiegel's  lustige 
Sbeiche,  nach  alter  Schelmenweise,  in  Ron- 
deauform"  ("Till  Euleiispiegel's  Merry 
Pranks,  according  to  an  old  legend,  in  ron- 
deau form"),  op.  28.*  Here  his  disdain  is 
as  yet  only  expressed  by  witty  bantering, 
which  scoffs  at  the  world's  conventions. 
This  figure  of  Till,  this  devil  of  a  joker,  the 
legendary  hero  of  Germany  and  Flanders, 
is  little  known  to  non-Teutonic  peoples.  And 
so  Strauss 's  music  loses  much  of  its  point, 
for  it  claims  to  recall  a  series  of  adventures 
which  we  know  nothing  about — Till  cross- 
ing the  market-place  and  smacking  his  whip 
at  the  good  women  there ;  Till  in  priestly 
attire  delivering  a  homely  sermon ;  Till 
making  a  fool  of  the  pedants ;  Till  tried  and 
hung.  Strauss 's  liking  to  present,  by  musi- 
cal pictures,  sometimes  a  character,  some- 
times a  dialogue,  or  a  situation,  or  a  land- 
scape, or  an  idea — that  is  to  say,  the  most 
volatile  and  varied  impressions  of  his  capri- 
cious spirit — is  very  marked  here.  It  is 
true  that  he  falls  back  on  several  popular 
subjects,  whose  meaning  would  be  very 
easily  grasped  in  German}7 ;  and  that  he  de- 
velops them  not  quite  in  the  strict  form  of 
a  rondeau,  as  he  pretends,  but  still  with  a 
certain  method,  so  that  apart  from  a  few 
frolics,  which  are  unintelligible  without 

*  Composed  in  1894-05,  and  played  for  the  first 
time  at  Cologne  in  1895. 


By  PERMISSION  OF  ZEDLER  A  VOQfL,  DARMSTADT. 


THE    WEIMAR    HOFTHEATER 
Where  "Guntram"  was  first  produced. 


a  program,  the  while  has  real  musical 
unity.  This  symphony,  which  is  a  great 
favorite  in  Germany,  seems  to  me  less  orig- 
inal than  some  of  his  other  compositions.  It 
sounds  rather  like  a  refined  piece  of  Men- 
delssohn's, with  curious  harmonies  and 
very  complicated  instrumentation. 

There  is  much  more  grandeur  and  origi- 
nality in  his  "Also  Sprach  Zarathustra, 
Tondichtung  frei  nach  Nietzsche"  ("Thus 
spake  Zarathustra,  a  free  Tone-poem,  after 
Nietzsche"),  opus  30.*  Its  sentiments  are 
more  broadly  human,  and  the  program 
that  Strauss  has  followed  never  loses  itself 
in  picturesque  or  anecdotic  details,  but  is 
planned  on  expressive  and  noble  lines. 
Strauss  protests  his  own  liberty  in  the  face 
of  Nietzsche's.  He  wishes  to  represent  the 
different  stages  of  development  that  a  free 
spirit  passes  through  in  order  to  arrive  at 
that  of  Super-man.  These  ideas  are  purely 
personal  and  are  not  part  of  some  system 
of  philosophy.  The  sub-titles  of  the  work 

*  Composed  in  1895-96,  and  performed  for  the 
first  time  at  Frankfort-on-Main  in  November,  1896. 

404 


are:  "Von  den  Hinterweltern "  (Of  Re- 
ligious Ideas),  "Von  der  grossen  Sehn- 
sucht"  (Of  Supreme  Aspiration),  "Von  den 
Preuden  und  Leidenschaften "  (Of  Joys 
and  Passions),  "Das  Grablied"  (The  Grave 
Song),  "Von  der  Wissenschaf  t "  (Of 
Knowledge),  "Der  Genesende"  (The  Con- 
valescent— the  soul  delivered  of  its  desires) , 
"Das  Tanzlied"  (Dancing  Song),  "Nacht- 
lied"  (Night  Song).  We  are  shown  a  man 
who,  worn  out  by  trying  to  solve  the  riddle 
of  the  universe,  seeks  refuge  in  religion. 
Then  he  revolts  against  ascetic  ideas  and 
gives  way  madly  to  his  passions.  But  he 
is  quickly  sated  and  disgusted  and,  weary 
to  death,  he  tries  science,  but  rejects  it 
again,  and  succeeds  in  ridding  himself  of 
the  uneasiness  its  knowledge  brings  by 
laughter — the  master  of  the  universe — and 
the  merry  dance,  that  dance  of  the  universe 
where  all  the  human  sentiments  enter  hand- 
in-hand — religious  beliefs,  unsatisfied  de- 
sires, passions,  disgust  and  joy.  "Lift  up 
your  hearts  on  high,  my  brothers!  Higher 
still!  And  mind  you,  don't  forget  your 


RICHAKD    STRAUSS 


405 


legs.  I  have  canonized  laughter.*  You 
super-men,  learn  to  laugh ! ' '  And  the  dance 
dies  away  and  is  lost  in  ethereal  regions, 
and  Zarathustra  is  lost  to  sight  while  danc- 
ing in  distant  worlds.  But  if  he  has  solved 
the  riddle  of  the  universe  for  himself,  he 
has  not  solved  it  for  other  men;  and  so,  in 
contrast  to  the  confident  knowledge  which 
fills  the  music,  we  get  the  sad  note  of  inter- 
rogation at  the  end. 

There  are  few  subjects  that  offer  richer 
material  for  musical  expression.  Strauss  has 
treated  it  with  power  and  dexterity ;  he  has 
preserved  unity  in  this  chaos  of  passions  by 
contrasting  the  SehnsucJit  of  man  with  the 
impassive  strength  of  nature.  As  for  the 
boldness  of  his  conceptions,  I  need  hardly 
remind  those  who  heard  the  poem  of  the  in- 
tricate "Fugue  of  Knowledge,"  the  trills 
of  the  woodwind  and  the  trumpets  that 
voice  Zarathustra 's  laugh,  the  dance  of  th<?- 
universe  and  the  audacity  of  the  conclu- 
sion which,  in  the  key  of  B  major,  finishes 
up  with  a  note  of  interrogation  in  C  natural, 
repeated  three  times. 

I  am  far  from  thinking  that  the  sym- 
phony is  without  a  fault.  The  themes  are 
of  unequal  value:  Some  are  quite  common- 
place; and,  in  a  general  way,  the  working 
up  of  the  composition  is  superior  to  its  un- 
dei'lying  thought.  I  shall  come  back  later 
on  to  certain  faults  in  Strauss 's  music ;  here 
I  only  want  to  consider  the  overflowing  life 
and  feverish  joy  that  set  these  worlds  spin- 
ning. 

"Zarathustra"  shows  the  progress  of 
scornful  individualism  in  Strauss — "the 
spirit  that  hates  the  dogs  of  the  populace 
and  all  that  abortive  and  gloomy  breed;  the 
spirit  of  wild  laughter  that  dances  like  a 
tempest  as  gaily  on  marshes  and  sadness 
as  it  does  in  fields. ' '  f  That  spirit  laughs 
at  itself  and  at  its  idealism  in  the  "Don 
Quixote"  of  1897,  "fantastische  Varia- 
tionen  iiber  ein  Thema  ritterlichen  Charak- 
ters"  (Don  Quixote,  fantastic  variations 
on  a  theme  of  knightly  character) ,  opus  35 ; 
and  that  symphony  marks,  I  think,  the 
extreme  point  to  which  program  music  may 
be  carried.  In  no  other  work  does  Strauss 

*  Nietzsche. 

f  Nietzsche,  "Zarathustra." 


give  better  proof  of  his  prodigious  clever- 
ness, intelligence,  and  wit ;  and  I  say  sin- 
cerely that  there  is  not  a  work  where  so 
much  force  is  expended  with  so  great  a  loss 
for  the  sake  of  a  game  and  a  musical  joke 
which  lasts  forty-five  minutes,  and  has  given 
the  author,  the  executants,  and  the  public 
a  good  deal  of  tiring  work.  These  sym- 
phonic poems  are  most  difficult  to  play  on 
account  of  the  complexity,  the  independ- 
ence and  the  fantastic  caprices  of  the  dif- 
ferent parts.  Judge  for  yourself  what  the 
author  expects  to  get  out  of  the  music  by 
these  few  extracts  from  the  program. 

The  introduction  represents  Don  Quixote 
buried  in  books  of  chivalrous  romance ; 
and  we  have  to  see  in  the  music,  as  we  do 
in  little  Flemish  and  Dutch  pictures,  not 
only  Don  Quixote's  features,  but  the 
words  of  the  books  he  reads.  Sometimes  it 
is  the  story  of  a  knight  who  is  fighting  a 
giaul,  sometimes  the  adventures  of  a  knight- 
errant  who  has  dedicated  himself  to  the  serv- 
ices of  a  lady,  sometimes  it  is  a  nobleman 
who  has  given  his  life  in  fulfilment  of  a 
vow  to  atone  for  his  sins.  Don  Quixote's 
mind  becomes  confused  (and  our  own  with 
it)  over  all  these  stories;  he  is  quite  dis- 
tracted. He  leaves  home  in  company  with 
his  squire.  The  two  figures  are  drawn  with 
great  spirit;  the  one  is  an  old  Spaniard, 
stiff,  languishing,  distrustful,  a  bit  of  a 
poet,  rather  undecided  in  his  opinions  but 
obstinate  when  his  mind  is  once  made  up ; 
the  other  is  a  fat,  jovial  peasant,  a  cunning 
fellow,  given  to  repeating  himself  in  a  wag- 
gish way  and  quoting  droll  proverbs — 
translated  in  the  music  by  short-winded 
phrases  that  always  return  to  the  point 
they  started  from.  The  adventures  begin. 
Here  are  the  windmills  (trills  from  the 
violins  and  woodwind),  and  the  bleating 
army  of  the  grand  emperor,  Alifanfaron 
(tremolos  from  the  woodwind)  ;  and  here, 
in  the  third  variation,  is  a  dialogue  between 
the  knight  and  his  squire,  from  which  we 
are  to  guess  that  Sancho  questions  his  mas- 
ter on  the  advantages  of  a  chivalrous  life, 
for  they  seem  to  him  doubtful.  Don  Quixote 
talks  to  him  of  glory  and  honor,  but  Sancho 
has  no  thought  for  it.  In  reply  to  these 
grand  words  he  urges  the  superiority  of 


400 


RICHARD    STRAUSS 


sure  profits,  fat  meals,  and  sounding 
money.  Then  the  adventures  begin  again. 
The  two  companions  fly  through  the  air  on 
wooden  horses;  and  the  illusion  of  this 
giddy  voyage  is  given  by  chromatic  pas- 
sages on  the  flutes,  harps,  kettledrums,  and 
a  "  windmachine, "  while  "the  tremolo  of 
the  double  basses  on  the  keynote  shows  that 
the  horses  have  never  left  the  earth."  * 

But  I  must  stop.  I  have  said  enough  to 
show  the  fun  the  author  is  indulging  in. 
When  one  hears  the  work  one  cannot  help 


RICHARD    STRAUSS 

Charcoal  drawing  by  Farrago 

admiring  the  composer's  technical  knowl- 
edge, skill  in  orchestration,  and  sense  of 
humor,  and  one  is  all  the  more  surprised 
that  he  confines  himself  to  the  illustration 
of  texts  f  when  he  is  so  capable  of  creating 
comic  and  dramatic  matter  without  it. 
Although  "Don  Quixote"  is  a  marvel  of 
skill  and  a  very  wonderful  work,  in  which 
Strauss  has  developed  a  suppler  and  richer 
style,  it  marks,  to  my  mind,  a  progress  in 
his  technic  and  a  backward  step  in  his 

•Arthur  Hahn,  Der  Musikfuhrer :  Don  Quixote, 
Frankfort. 

f  At  the  head  of  each  variation  Strauss  has 
marked  on  the  score  the  chapter  of  "Don  Quixote" 
that  he  is  interpreting. 


mind,  for  he  seems  to  have  adopted  the  de- 
cadent conceptions  of  an  art  suited  to  play- 
things and  trinkets  to  please  a  frivolous 
and  affected  society. 

In  "Heldenleben"  (The  Life  of  a  Hero), 
opus  40,  J  he  recovers  himself  and  with  a 
stroke  of  his  wings  reaches  the  summits. 
Here  there  is  no  foreign  text  for  the  music 
to  study  or  illustrate  or  transcribe.  In- 
stead, there  is  lofty  passion  and  an  heroic 
will  gradually  developing  itself  and  break- 
ing down  all  obstacles.  Without  doubt, 
Strauss  had  a  program  in  his  mind,  but 
he  said  to  me  himself:  "You  have  no  need 
to  read  it.  It  is  enough  to  know  that  the 
hero  is  there  fighting  against  his  enemies." 
I  do  not  know  how  far  that  is  true,  or  if 
parts  of  the  symphony  would  not  be  rather 
obscure  to  anyone  who  followed  it  without 
the  text;  but  this  speech  seems  to  prove 
that  he  has  understood  the  dangers  of  the 
literary  symphony  and  that  he  is  striving 
for  pure  music. 

"Heldenleben"  is  divided  into  six  chap- 
ters: The  Hero,  the  Hero's  Adversaries, 
the  Hero's  Companion,  the  Field  of  Battle, 
the  Peaceful  Labors  of  the  Hero,  the  Hero 's 
Retirement  from  the  World  and  the 
Achievement  of  his  Ideal.  It  is  an  extraor- 
dinary work,  drunk  with  heroism,  colossal, 
half-barbaric,  trivial,  and  sublime.  An 
Homeric  hero  struggles  among  the  sneers  of 
a  stupid  crowd,  a  herd  of  brawling  and 
hobbling  ninnies.  A  violin  solo,  in  a  sort 
of  concerto,  describes  the  seductions,  the 
coquetry,  and  the  degraded  wickedness  of 
woman.  Then  strident  trumpet-blasts  sound 
the  attack;  and  it  is  beyond  me  to  give  an 
idea  of  the  terrible  charge  of  cavalry  that 
follows,  which  makes  the  earth  tremble  and 
our  hearts  leap ;  nor  can  I  describe  how  an 
iron  determination  leads  to  the  storming  of 
towns,  and  all  the  tumultuous  din  and  up- 
roar of  battle — the  most  splendid  battle  that 
has  ever  been  painted  in  music.  At  its  first 
performance  in  Germany  I  saw  people 
tremble  as  they  listened  to  it,  and  some  rose 
up  suddenly  and  made  violent  gestures 
quite  unconsciously.  I  myself  had  a  strange 
feeling  of  giddiness,  as  if  an  ocean  had  been 

t  Finished  in  December,  1808.  Performed  for  the 
first  time  at  Frankfort-on-Main  on  March  3,  1899. 
Published  by  Leuckart. 


KICHARD    STRAUSS 


407 


upheaved,  and  I  thought  that  for  the  first 
time  for  thirty  years  Germany  had  found 
a  poet  of  victory. 

' '  Heldenleben "  would  be  in  every  way 
one  of  the  masterpieces  of  musical  composi- 
tion if  a  literary  error  had  not  suddenly 
cut  short  the  soaring  flight  of  its  most  im- 
passioned pages  at  the  supreme  point  of  in- 
terest in  the  movement,  in  order  to  follow 
the  program;  though,  besides  this,  a  cer- 


tain coldness,  perhaps  weariness,  creeps  in 
toward  the  end.  The  victorious  hero  per- 
ceives that  he  has  conquered  in  vain :  the 
baseness  and  stupidity  of  men  have  re- 
mained unaltered.  He  stifles  his  anger,  and 
scornfully  accepts  the  situation.  Then  he 
seeks  refuge  in  the  peace  of  nature.  The 
creative  force  within  him  flows  out  in  imag- 
inative works;  and  here  Richard  Strauss, 
with  a  daring  warranted  only  by  his  genius, 


MANUSCRIPT    OF    THE    FIRST   PAGE    OF    THE    SCORE    OF    "SALOME" 


408 


RICHARD    STRAUSS 


represents  these  works  by  reminiscence  of 
his  own  compositions,  and  "Don  Juan," 
"Macbeth,"  "Tod  und  Verklarung, " 
"Till,"  "Zarathustra,"  "Don  Quixote," 
"Guntram,"  and  even  his  Lieder,  associate 
themselves  with  the  hero  whose  story  he  is 
telling.  At  times  a  storm  will  remind  this 
hero  of  his  combats;  but  he  also  remembers 
his  moments  of  love  and  happiness,  and  his 
soul  is  quieted.  Then  the  music  unfolds 
itself  serenely,  and  rises  with  calm  strength 
to  the  closing  chord  of  triumph,  which  is 
placed  like  a  crown  of  glory  on  the  hero's 
head. 

There  is  no  doubt  that  Beethoven's  ideas 
have  often  inspired,  stimulated  and  guided 
Strauss 's  own  ideas.  One  feels  an  indescrib- 
able reflection  of  the  first  "Heroic"  and  of 
the  "Ode  to  Joy"  in  the  key  of  the  first 
part,  E-flat,  and  the  last  part  recalls,  even 
more  forcibly,  certain  of  Beethoven's  Lieder. 
But  the  heroes  of  the  two  composers  are 
very  different.  Strauss 's  hero  is  more 
concerned  with  the  exterior  world  and  his 
enemies,  his  conquests  are  achieved  with 
greater  difficulty,  and  his  triumph  is  wilder 
in  consequence-  If  that  good  Oulibicheff 
pretends  to  see  the  burning  of  Moscow  in 
a  discord  in  the  first  "Heroic,"  what  would 
he  find  here?  What  scenes  of  burning 
towns,  what  battle-fields !  Besides  that  there 
is  cutting  scorn  and  a  mischievous  laughter 
in  "  Heldenleben "  that  is  never  heard  in 
Beethoven.  There  is,  in  fact,  little  kindness 
in  Strauss 's  work;  it  is  the  work  of  a  dis- 
dainful hero. 

In  considering  Strauss 's  music  as  a  whole, 
one  is  at  first  struck  by  the  diversity  of  his 
style.  The  North  and  the  South  mingle,  and 
in  his  melodies  one  feels  the  attraction  of 
the  sun.  Something  Italian  had  crept  into 
"Tristan";  but  how  much  more  of  Italy 
there  is  in  the  work  of  this  disciple  of  Nietz- 
sche. The  phrases  are  often  Italian  and 
their  harmonies  ultra-Germanic.  Perhaps 
one  of  the  greatest  charms  of  Strauss 's  art 
is  that  we  are  able  to  watch  the  rent  in  the 
dark  clouds  of  German  polyphony,  and  see 
shining  through  it  the  smiling  line  of  an 
Italian  coast  and  the  gay  dancers  on  its 
shore.  This  is  not  merely  a  vague  analogy. 
It  would  be  easy,  if  idle,  to  notice  unmistak- 


able reminiscences  of  France  and  Italy  even 
in  Strauss 's  most  advanced  works,  such  as 
"Zarathustra"  and  "Heldenleben."  Men- 
delssohn, Gounod,  Wagner,  Rossini  and 
Mascagni  elbow  one  another  strangely.  But 
these  disparate  elements  have  a  softer  out- 
line when  the  work  is  taken  as  a  whole,  for 
they  have  been  absorbed  and  controlled  by 
the  composer's  imagination. 

His  orchestra  is  not  less  composite.  It  is 
not  a  compact  and  serried  mass  like  Wag- 
ner's Macedonian  phalanxes;  it  is  parcelled 
out  and  as  divided  as  possible.  Each  part 
aims  at  independence  and  works  as  it  thinks 
best,  without  apparently  troubling  about 
the  other  parts.  Sometimes  it  seems,  as  it 
did  when  reading  Berlioz,  that  the  execu- 
tion must  result  in  incoherence,  and  weaken 
the  effect.  But  somehow  the  result  is  very 
satisfying.  "Now,  doesn't  that  sound 
well?"  said  Strauss  to  me,  with  a  smile,  just 
after  he  had  finished  conducting  "Helden- 
leben."* 

But  it  is  especially  in  Strauss 's  subjects 
that  caprice  and  a  disordered  imagination, 
the  enemy  of  all  reason,  seem  to  reign.  We 
have  seen  that  these  poems  try  to  express  in 
turn,  or  even  simultaneously,  literary  texts, 
pictures,  anecdotes,  philosophical  ideas,  and 
the  personal  sentiments  of  the  composer. 
What  unity  is  there  in  the  adventures  of 
Don  Quixote  or  Till  Eulenspiegel  ?  And  yet 
unity  is  there,  not  in  the  subjects,  but  in 
the  mind  that  deals  with  them.  And  these 
descriptive  symphonies  with  their  very  dif- 
fuse literary  life  are  vindicated  by  their 
musical  life,  which  is  much  more  logical  and 
concentrated.  The  caprices  of  the  poet  are 
held  in  rein  by  the  musician.  The  whimsical 
Till  disports  himself  "after  the  old  form  of 
rondeau,"  and  the  folly  of  Don  Quixote  is 
told  in  "ten  variations  on  a  chivalrous 
theme,  with  an  introduction  and  finale."  In 
this  way  Strauss 's  art,  one  of  the  most 

*  The  composition  of  the  orchestra  in  Strauss's 
later  works  is  as  follows:  In  "Zarathustra":  One 
piccolo,  three  flutes,  three  oboes,  one  English  horn, 
one  clarinet  in  E  flat,  two  clarinets  in  B,  one  bass- 
clarinet  in  B,  three  bassoons,  one  double-bassoon,  six 
horns  in  F,  four  trumpets  in  C,  three  trombones, 
three  bass-tuba,  kettledrums,  big  drum,  cymbals, 
triangle,  chime  of  bells,  bell  in  E,  organ,  two  harps. 
and  strings.  In  "Heldenleben":  Eight  horns  instead 
of  six,  five  trumpets  instead  of  four  (two  in  E  flat, 
three  in  B)  :  and,  in  addition,  military  drums. 


RICHARD    STRAUSS 


409 


literary  and  descriptive  in  existence,  is 
strongly  distinguished  from  others  of  the 
same  kind  by  the  solidarity  of  its  musical 
fabric,  in  which  one  feels  the  true  musician 
— a  musi«ian  brought  up  on  the  great  mas- 
ters, and  a  classic  in  spite  of  everything. 

And  so  throughout  that  music  a  strong 
unity  is  felt  among  the  unruly  and  often  in- 
congruous elements.  It  is  the  reflection,  so 
it  seems  to  me,  of  the  soul  of  the  composer. 
Its  unity  is  not  a  matter  of  what  he  feels, 
but  a  matter  of  what  he  wishes.  His  emo- 
tion is  much  less  interesting  to  him  than  his 
will,  and  it  is  less  intense,  and  often  quite 
devoid  of  any  personal  character.  His  rest- 
lessness seems  to  come  from  Schumann,  his 
religious  feeling  from  Mendelssohn,  his  vo- 
luptuousness from  Gounod  or  the  Italian 
masters,  his  passion  from  Wagner.*  But  his 
will  is  heroic,  dominating,  eager  and  power- 
ful to  a  sublime  degree.  And  that  is  MThy 
Richard  Strauss  is  noble  and,  at  present, 
quite  unique.  One  feels  in  him  a  force  that 
has  dominion  over  men. 

It  is  through  this  heroic  side  that  he  may 
be  considered  as  an  inheritor  of  some  of 
Beethoven's  and  Wagner's  thoughts.  It  is 
this  heroic  side  which  makes  him  a  poet — 
one  of  the  greatest,  perhaps,  in  modern  Ger- 
many, who  sees  herself  reflected  in  him  and 
in  his  hero.  Let  us  consider  this  hero. 

He  is  an  idealist  with  unbounded  faith  in 
the  power  of  the  mind  and  the  liberating 
virtue  of  art.  This  idealism  is  at  first  re- 
ligious, as  in  "Tod  und  Verkla rung, "  and 
tender  and  compassionate  as  a  woman,  and 
full  of  youthful  illusions,  as  in  "Guntram." 
Then  it  becomes  vexed  and  indignant  with 
the  baseness  of  the  world  and  the  difficulties 
it  encounters.  Its  scorn  increases  and  be- 
comes sarcastic  in  "Till  Eulenspiegel " ;  it 
is  exasperated  with  years  of  conflict,  and,  in 
increasing  bitterness,  develops  into  a  con- 
temptuous heroism.  How  Strauss 's  laugh 
whips  and  stings  us  in  "  Zarathustra ! " 
How  his  will  bruises  and  cuts  us  in  "  Helden- 
leben ! ' '  Now  that  he  has  proved  his  power 
by  victory,  his  pride  knows  no  limit;  he  is 
elated  and  is  unable  to  see  that  his  lofty 

*  In  "Guntram"  one  could  even  believe  that  he  had 
made  up  his  mind  to  use  a  phrase  in  "Tristan,"  as 
if  he  *>uld  not  find  anything  better  to  express  pas- 
sionate desire. 


visions  have  become  realities.  But  the  peo- 
ple whose  spirit  he  reflects  see  it.  There  are 
germs  of  morbidity  in  Germany  to-day,  a 
frenzy  of  pride,  a  belief  in  self  and  a  scorn 
for  others  that  recalls  France  in  the  seven- 
teenth century.  "Dem  Deutschen  gehb'rt 
die  Welt"  (Germany  possesses  the  world) 
calmly  say  the  prints  displayed  in  the  shop 
windows  in  Berlin.  But  when  one  arrives 
at  this  point  the  mind  becomes  delirious. 
All  genius  of  many  contemporary  Germany 
artists  is  an  aggressive  thing,  and  is  char- 
acterized by  its  destructive  antagonism. 
The  idealist  who  "possesses  the  world"  is 
liable  to  dizziness.  He  was  made  to  rule 
over  an  interior  world.  The  splendor  of 
the  exterior  images  that  he  is  called  upon 
to  govern  dazzles  him;  and,  like  Cassar,  he 
goes  astray.  Germany  had  hardly  attained 
the  position  of  empire  of  the  world  when 
she  found  Nietzsche's  voice  and  that  of  the 
dc'uded  artists  of  the  Deutsches  Theater 
and  the  Secession.  Now  there  is  the  gran- 
diose music  of  Richard  Strauss. 

APPENDIX 

In  the  above  article,  by  Remain  Rolland, 
Strauss  is  treated  essentially  as  a  sym- 
phonist.  In  recent  years  the  composer  has, 
however,  devoted  himself  more  especially  to 
the  composition  of  music  dramas,  which  sig- 
nalize a  radical  departure  from  his  earlier 
ideals  as  exemplified  in  "Guntram,"  above 
described.  The  first  of  these,  "Feuersnot" 
(Fire  Famine),  the  text  of  which  was  writ- 
ten by  Hans  von  Wolzogen,  and  which  was 
first  produced  in  Dresden  in  1901,  rep- 
resents a  transition  to  his  later  style.  It 
adopts  the  concise  one-act  form  to  which  he 
adheres  in  the  two  subsequent  works,  but 
does  not  abandon  the  spirit  of  romanticism 
which  pervades  the  earlier  work.  It  is,  in 
fact,  a  poetic  episode  based  on  a  simple 
mediaeval  folk  tale,  and  is  aptly  called 
by  its  composer  a  "  Singgedicht, "  or  song- 
poem. 

But  in  the  next  work,  "Salome,"  pro- 
duced in  1905,  Strauss  adopts  an  unpre- 
cedented kind  of  musical  realism,  amply 
suggested  by  the  text,  which  is  an  almost 
literal  translation  of  Oscar  Wilde's  drama. 
There  are  in  this  work  passages  of  great 


THE  BERLIN  ROYAL  OPERA  HOUSE 


beauty,  but  the  love  music  of  "Salome"  is 
frankly  passionate  and  sensual,  and  the 
brutality  of  her  blood-orgy  is  pictured  forth 
with  all  the  resources  of  modern  orchestral 
tone-painting  of  which  Strauss  is  master. 
This  work  established  the  composer's  repu- 
tation as  a  musical  dramatist,  and  was  fol- 
lowed in  1909  by  another  one-act  opera  of 
very  similar  character,  ' '  Elektra, ' '  based  on 
the  drama  of  Sophocles,  rearranged  by 
Hugo  von  Hofmannsthal.  In  the  musical 
portrayal  of  the  psychological  phenomenon 
of  hate  Strauss  here  uses  even  more  complex 
and  cacophonous  means  than  in  "Salome." 
Yet,  if  he  sets  himself  no  limits  in  the  pro- 
duction of  sheer  ugliness  to  reach  realistic 
effects,  he  also  reaches  heights  of  beauty 
rarely  attained  in  his  previous  works. 

A  reaction  from  these  expressions  of  pas- 
sion and  violence  is  represented  by  the  com- 
paratively romantic,  sensuously  beautiful 
and  often  frankly  melodious  "Rosenkava- 
lier."  This  three-act  work,  also  a  setting 
of  a  Hofmannsthal  libretto,  was  first  pro- 
duced in  1911  and  has  already  become  a 
favorite  almost  the  world  over.  There  are 
in  it  scenes  of  pictorial  charm  and  of  his- 
torical interest,  impressions  of  eighteenth 
century  life  which  ring  true  in  spite  of  in- 
herent anachronisms.  There  is  love  music 
of  supreme  beauty,  tone-painting  of  the  ut- 
terest  raffinement,  and,  most  important  per- 
410 


haps,  a  true  inwardness  of  conception,  a  fine 
portrayal  of  the  nobility  of  a  human  char- 
acter capable  of  renunciation,  a  portrayal 
of  the  kind  in  which  Wagner  was  master. 
"Rosenkavalier"  has  not  unjustly  been 
hailed  as  a  worthy  successor  to  "Die  Meis- 
tersinger. ' ' 

In  his  next  work,  "Ariadne  auf  Naxos," 
Strauss  has  made  the  somewhat  dubious  ex- 
periment of  providing  a  sort  of  Italian  in- 
termede  to  be  sung  with  a  condensed  version 
of  Moliere's  "Bourgeois  Gentilhomme. " 
This  piece  has  not  had  the  success  of  its 
predecessors.  A  still  later  opera,  "Die 
Frau  ohne  Schatten,"  has  been  completed 
since  the  outbreak  of  the  war  and  is  un- 
known outside  of  Germany. 

Meantime  Strauss,  stirred  by  the  success 
of  the  Diaghilev  Russian  Ballet,  has  writ- 
ten "The  Legend  of  Joseph,"  a  ballet  pan- 
tomime, which,  produced  in  Paris  and  Lon- 
don, does  not  seem  to  have  added  to  the 
composer's  reputation.  The  same  may  be 
said  of  his  most  recent  essay  in  the  sym- 
phonic field,  the  "  Natursymphonie, "  a  re- 
alistic portrayal  of  the  scenery  of  the  Alps, 
the  beauty  of  which  has  presumably  made  a 
deep  impression  on  the  composer,  whose 
summer  home  is  in  Switzerland.  In  its  re- 
flective moods  this  work  has  moments  of 
beauty  which  recall  in  a  measure  Strauss 's 
more  youthful  inspiration.  C.  S. 


SA1NT-SAENS  IN  1846. 
From  "  I/Illustration  "  in  1846. 


CAMILLE    SAINT-SAENS 


BY 


PIERRE   LALO 

WORTHY  persons  sometimes  regret  that  men  of  the  present  period 
reveal  an  ever-increasing  tendency  to  confine  themselves  to  the 
study  of  one  single  art  or  one  single  science,  and  despair  of  ever  again 
beholding  a  Michelangelo  or  a  Leonardo  da  Vinci.  It  must  lighten 
their  sorrows  to  think  of  M.  Saint-Saens,  for  he  is  possessed  of  genius  of 
marvelous  diversity.  He  has  been,  with  somewhat  unequal  success,  a 
poet,  a  dramatist,  a  mathematician,  a  naturalist,  a  philosopher,  a  critic, 
and  a  musician.  His  music  itself  —  limiting  one's  self  thereunto  —  is  as 
varied  as  is  his  mind.  There  is  no  style  that  has  not  allured  him :  he  has 
produced  piano  compositions,  melodies,  vocal  numbers,  symphonies,  sym- 
phonic poems,  concertos  for  all  sorts  of  instruments,  oratorios,  cantatas, 
and  operas.  If  one  seeks  to  define  his  artistic  personality,  one  is  promptly 
embarrassed  by  contradictory  qualities  and  defects.  M.  Saint-Saens  is 
classical  by  race  and  education :  the  firmness  of  his  style,  the  strength  of 
his  architecture,  the  poise  of  his  development,  at  once  proclaim  it.  And 
yet  the  classicist  readily  expends  himself  in  capricious  fancies :  he  is  the 
author  of  several  celebrated  harmonic  acerbities,  and  his  finest  symphony 


411 


r 


(iV    PERMISSION   OF   THE   PHaTOCHrtOM   COMPANY,    LIMITED. 


LAS  PALMAS,  GRAND  CANARY, 
Where  Saiut-Saens  has  a  summer  home. 


has  scarcely  any  tonal  scheme.  Many  of  his  works,  in  their  perfect  precision 
and  clearness,  suggest  something  petty,  thin,  cramped.  But  who  can  deny 
the  grandeur  and  power  of  the  symphony  in  C  minor,  or  of  "  Samson  et 
Dalila  "  I  The  latter  achievement  is  admirable  through  its  broad  lines  and 
its  free  motion,  but  nothing  can  be  more  fragmentary,  more  sautillant  or 
skippy,  than  "  Proserpine "  or  "  Ascanio."  M.  Saint-Saens  has  melodic 
ideas  which  are  not  devoid  of  savor,  and  others  in  which  neither  substance 
nor  character  is  discoverable.  But  —  and  herein  the  contradictions  are 
effaced  —  he  presents  these  melodies  of  unequal  worth  with  the  most  even 
and  sure-handed  art ;  develops  and  renovates  them  with  the  rarest  abun- 
dance of  resource,  with  the  most  subtle  fecundity  of  imagination ;  shades 
them,  varies  them,  transfigures  them  through  the  medium  of  instrumenta- 
tion of  prodigious  suppleness  and  wealth.  No  one  knows  more  than  he, 
or  better  than  he,  how  to  use  his  skill.  He  can  impart  charm  and  bril- 
liancy to  the  most  ordinary  things ;  of  this  he  is,  perhaps,  too  well  aware. 
And  all  these  qualities  and  defects  make  up  one  of  the  most  complex  and 
brilliant  characters  that  France  has  ever  possessed. 

A  study  of  all  the  works  of  M.  Saint-Saens  could  not  be  accomplished 
within  the  limits  of  the  present  article  ;  a  whole  volume  would  not  suffice. 

412 


CAMILLE  SAINT-SAtSNS 


413 


I  must  confine  myself  to  viewing  his  most  significant  and  representative 
productions  —  those  that  will  best  serve  to  define  the  nature  of  his  art  and 
embody  the  most  marked  traits  of  his  personality.     To  that  end,  I  shall 
not  busy  myself  with  his  songs.    Although  M.  Saint-Saens  has  composed 
a  large   number   of   melodies, 
many  of  which  are   beautiful 
and  graceful,  they  in  no  way 
occupy  the  place  melody  holds 
in  the  work  of  a  Schumann,  a 
Schubert,  or,  to  speak  of  a  con- 
temporary and  a  Frenchman, 
in  that  of  M.  Gabriel   Faure. 
The  melodies  form  no   essen- 
tial part  of  M.    Saint-Saens's 
talent ;    they  add  nothing  to 
it.     Nor  shall  I  take  into  con- 
sideration his  compositions  for 
piano;   although  they  are  nu- 
merous, and  written  with  ex- 
treme dexterity,  and  with  the 
surety  and  perfect  knowledge 
of  the  instrument  one  can  ex- 
pect from  such  a  virtuoso,  they 
are  not  sufficiently  character- 
istic to  exact  much  attention. 
The   composer's   chamber  mu- 
sic  claims   closer  observation, 
though  it  does  not  contain  any 
of  his  master  works.  In  France 
M.  Saint-Saens  was  one  of  the 
first  artists  that  undertook  to 
revive    the    cult    of    chamber 
music,  suppressed  during  more 
than  half  a  century  by  the  ex- 
clusive   predominance   of   the 
opera.     He    is  the   author   of 
several  sonatas,  trios,  and  quartets,  of  a  quintet,  and  of  a  septet ;  most  of 
these  are  excellent  works,  solidly  constructed,  skilfully  developed,  and 
conforming  in  the  most  legitimate  manner  to  classical  tradition.     These 
excellent  works,  however,  have  not   generally   much  breadth  or  force  ; 
they  are  somewhat  superficial;  their  musical  substance  is  light  and  defi- 
cient in  richness  and  density. 

Summary  as  this  review  may  be,  it  prompts  one  observation  and  con- 
clusion :  in  works  of  this  sort,  intended  for  the  voice,  for  one  instrument  or 


SAINT-SAENS  IN  TRAVELING  COSTUME,   1809. 


414  CAMILLE  SAINT-SAENS 

a  few  instruments,  or  written  for  "  chamber"  performance,  in  the  produc- 
tion of  which  the  composer's  resources  are  limited,  M.  Saint-Saens  is  not 
wholly  himself,  and  is  not  revealed  in  his  entirety.  In  order  that  his 
talents  may  develop  in  all  freedom,  he  requires  more  abundant  and  com- 
plicated media :  he  needs  the  orchestra. 


SAINT-SAENS'S  ROOM  IN  THE   MUSEUM  AT  DIEPPE. 

Presented  to  the  museum  by  the  composer. 

When  the  orchestra  is  at  his  disposal  the  situation  changes.  Look  at 
the  second  part  of  the  oratorio  "Le  Deluge"  —  the  division  describing  the 
covering  of  the  earth  by  the  waters.  Here  is  nothing  of  pettiness, 
frailty,  or  lightness ;  the  vast  and  mighty  picture  is  adequate  to  the  sub- 
ject that  inspired  it;  it  is  grandiose  and  formidable,  and,  despite  the 
amplitude  of  its  proportions,  one  never  feels  that  the  musician  has  ex- 
ceeded his  resources.  This  is  proved  by  the  ease  with  which  he  produces, 
varies,  and  renews  his  effects.  The  richness  and  might  of  the  picture  are 
really  admirable.  Of  what,  however,  is  "  Le  Deluge  "  fashioned  ?  One 
can  scarcely  discern  in  it  a  melodic  idea  worthy  the  name,  a  theme  that 
impresses  itself  upon  the  listener,  or  a  decisive  and  impressive  rhythmical 
form,  such  as  often  sufficed  Beethoven  for  the  construction  of  a  whole 
division  of  a  symphony.  There  is  nothing  in  this  entire  long  section  but 
the  orchestra.  The  orchestra  gives  the  variety  and  imparts  the  grandeur , 


CAMILLE  SAINT-SABNS  415 

the  orchestra,  inexhaustible  iu  felicitous  "finds"  and  novel  contributions 
of  timbres,  sustains  to  the  end  the  full  weight  of  the  task. 

One  might  suspect  that  the  composer  was  striving  to  win  a  wager ; 
how  few  musicians  could  carry  the  feat  to  a  victorious  conclusion !  "  Le 
Deluge  "  is  unquestionably  the  most  brilliant  and  significant  of  M.  Saint- 
Saens's  triumphs  of  this  sort ;  it  is  by  no  means  the  only  one  to  his  credit. 
The  instrumental  works  of  M.  Saint-Saens  include  concertos,  symphonic 
poems,  and  symphonies.  One  need  not  dwell  upon  the  concertos,  although 
they  are  certainly  among  the  best  that  have  been  written  since  Beethoven, 
reconciling,  too,  very  ingeniously  the  requirements  of  virtuosity,  which 
must  be  considered  in  efforts  of  this  description,  with  those  of  musical 
interest. 

On  the  other  hand,  the  symphonic  poems  merit  special  attention.  The 
friendship  and  admiration  that  M.  Saint-Saens  has  always  proclaimed  for 
Liszt  have  from  the  first  inclined  him  to  follow  the  example  set  by  the 
Hungarian  celebrity,  and  impeUed  him  to  compose  symphonic  poems.  It 
were  useless  to  enumerate  .the  drawbacks  and  defects  of  "program 
music  " ;  the  works  of  many  contemporary  composers  have  proved  with 
sufficient  clearness  that  by  following  a  literary  program  too  closely 
symphonic  music  loses  its  special  form  and  worth,  and  ends  by  consisting 
of  a  series  of  disconnected  fragments  only.  Liszt's  own  symphonic  poems 
are  not  free  from  this  defect,  and  many  are,  as  to  structure,  vague  and 
incoherent.  M.  Saint-Saens,  whose  musical  nature  is  not  as  exuberant  as 
was  Liszt's,  but  who  possesses  more  taste,  more  poise,  and  a  nicer  sense 
of  proportion,  has  in  his  works  avoided  excess.  His  four  symphonic 
poems,  composed  upon  very  simple  subjects,  are  from  a  musical  stand- 
point constructed  with  great  vigor.  Literature  does  not  direct  or  lead 
astray  their  music ;  it  inspires  it  only,  endows  it  with  a  special  pictur- 
esque and  poetic  color,  and  opens  new  vistas  to  the  auditor's  imagination. 
"  Program  music,"  thus  understood,  escapes  the  slightest  charge  that 
may  be  brought  against  it.  Its  rights  are  established,  in  M.  Saint-Saens's 
performances,  by  perfection  of  detail,  clearness  and  skill  in  the  writing, 
and  incomparable  spirit  and  brilliancy  in  the  instrumentation.  "  La 
Danse  Macabre  "  is  particularly  admirable  through  the  finesse,  the  supple 
lightness,  and  the  brilliant  vivacity  of  its  build,  as  also  through  its  logic 
and  unity  as  a  composition.  It  needs  no  program,  and  may  be  listened  to 
as  a  division  of  a  symphony. 

Symphony.  This  word  leads  us  to  a  still  more  important  work,  to  one 
of  M.  Saint-Saens's  essential  productions :  the  symphony  in  C  minor. 
M.  Saint-Saens  has  composed  five  symphonies.  Of  the  first  four,  two 
have  not  been  published,  and  two  others  appear  to  have  been  neglected 
and  disparaged  by  the  composer  himself.  The  fifth  survives,  and  makes 
M.  Saint-Saens  glorious  in  this  domain.  The  formidable  words  "  C 
minor"  do  not  overwhelm  the  composer,  and  if  his  work  must  yield  pre- 


416  CAMILLE  SAINT-SAENS 

cedence  to  its  immortal  rival,  it  is  at  least  worthy  of 'folio  wing  in  its  path. 
In  point  of  form  it  is  divided,  in  classical  fashion,  into  four  parts,  con- 
nected two  by  two,  thus  concealing  the  traditional  order.  This,  however, 
is  but  a  superficial  indication.  The  most  remarkable  characteristic  of  the 
score  is  that  it  grows,  in  its  entirety,  out  of  the  expansion  and  transfor- 
mations of  a  single  fundamental  theme,  which  serves  as  a  center  for  the 
four  divisions,  and  about  which  accessory  ideas  gravitate.  The  theme  in 
question,  uneasy  and  sorrowful  as  first  presented  by  the  quartet,  enters 
into  the  most  diverse  symphonic  and  instrumental  combinations.  It 
mingles  with  the  reverie  of  the  adagio,  sometimes  passing  from  instru- 
mental group  to  instrumental  group,  sometimes  veiled  beneath  transparent 
variations.  It  is  metamorphosed  to  take  part  in  the  fanciful  scherzo,  and 
again  spreads  out  in  flights  and  showers  of  brilliant  tones.  Then  the 
finale  commences,  and  a  new  change  of  rhythm  makes  of  the  original 
theme  a  chant.  It  is  divided,  broken  up  into  fragments  once  more,  and 
then  brought  together  and  gradually  broadened  out,  while  the  vibrant 
blasts  of  the  brass  appear  to  acclaim  its  triumph.  In  its  first  form,  this 
theme,  like  many  other  themes  of  M.  Saint-Saens's,  impresses  one  as 
quite  indifferent ;  but  it  is  varied,  developed,  and  adorned  by  an  imagina- 
tion so  abundant  and  fecund  that  it  takes  on  unexpected  savor  and  worth ; 
through  its  numerous  transfigurations  it  assumes  splendor,  significance, 
almost  grandeur.  Instrumentation  is  in  this  instance,  as  usual,  M.  Saint- 
Saens's  mightiest  and  most  precious  ally ;  the  soft  richness,  the  clear 
solidity,  the  supple  dexterity,  and  the  sparkling  diversity  of  the  com- 
poser's orchestration  cannot  be  too  loudly  eulogized.  Two  new  elements 
add  to  its  resources :  the  piano,  employed  as  an  orchestral  instrument, 
and  the  organ.  M.  Saint-Saens  introduces  them  resolutely  into  the 
symphony,  and  does  well,  for  they  produce  special  effects,  the  piano  by 
legato  passages  for  two  and  four  hands,  impracticable  for  the  harp,  and 
the  organ  by  sustained  tones  and  sudden  and  magnificent  reinforcements 
of  orchestral  sonority.  Through  its  magical  instrumentation,  and  its 
supple,  ingenious,  and  elegant  architecture,  the  C  minor  symphony  is  the 
most  important  of  French  symphonies,  and  one  of  the  most  memorable 
works  of  that  order  written  in  any  land  since  the  death  of  Beethoven. 

The  vocal  and  instrumental  works  of  M.  Saint-Saens  are  of  two  kinds : 
oratorios  and  operas.  The  most  noteworthy  of  the  oratorios,  with  "  Le 
Deluge  "  already  mentioned,  is  undoubtedly  "  La  Lyre  et  la  Harpe,"  a 
very  noble  and  fascinating  score,  which  may  be  regarded  as  one  of  the 
composer's  best  works. 

In  our  musician's  productions  in  the  dramatic  genre  one  marks  the 
most  obvious  contradictions  as  characteristic  of  his  talent.  The  list 
includes  five  or  six  achievements  such  as  "Proserpine,"  "Ascanio," 
"  Henri  VIII,"  and  "  Etienne  Marcel,"  all  cleverly  written  works,  no 
doubt,  but  inconsistent,  divided  into  numerous  small  and  ill-matched 


CAMILLE   SAINT-SAENS 


417 


fragments,  treated  in  different  fashions,  and  leaving  upon  the  auditor  a 
confused  impression.  It  includes,  too,  a  masterpiece  in  point  of  symmetry, 
breadth,  and  unity  :  "  Samson  et  Dalila."  The  strange  fondness  that  M. 


FROM  A  PHOTOGRAPH  BY  HOLLVER. 


SAMSON. 
Prom  the  painting  by  G.  F.  Watts. 


Saint-Saens  has  usually  shown  for  historical  and  melodramatic  librettos 
may  have  some  bearing  on  this  contradictory  condition  of  things.  Either 
through  natural  inclination,  or  in  order  to  array  himself  in  opposition  to 
the  Wagnerian  theory  as  to  the  need  of  simple  legendary  subjects  in 


418  CAMILLE  SAINT-SAENS 

which  the  feelings  and  passions  are  dominant,  M.  Saint-Saens  has  always 
insisted  upon  transforming  into  operas  romances  of  adventure  or  chapters 
from  Trench  or  English  history ;  in  other  words,  upon  setting  to  music 
many  things  that  are  not  suited  to  music.  Only  once  has  he  happened 
upon  a  good  libretto,  and  on  this  he  wrote  "  Samson  et  Dalila."  The 
book  of  this  opera,  whatever  may  be  said  upon  the  subject,  is  a  good 
lyric  book.  Music  requires  action  rather  than  a  plot,  and  especially  in- 
ternal action,  bringing  into  conflict  essential  feelings.  These  must  not  be 
too  numerous  or  complicated ;  they  need  only  be  profound.  Such  are  the 
principal  conditions  of  a  good  opera  book.  They  are  found  in  the  story  of 
Samson ;  in  the  example  —  one  of  the  oldest  and  most  pathetic  known  — 
of  female  treachery.  M.  Saint-Saens  has  made  admirable  use  of  it. 
"  Samson  et  Dalila  "  is  -about  twenty -five  years  old.  It  was  disregarded 
for  a  long  time,  then  came  forth  at  the  Eden  Theater,  and  was  transferred 
two  years  later  to  the  Grand  Opera.  Time  has  neither  enfeebled  nor 
aged  it ;  the  flight  of  years  has  not  lessened  the  respectful  admiration  it 
commanded  from  the  first.  It  is,  in  truth,  one  of  the  most  substantial, 
earnest,  and  noble  efforts  that  modern  lyric  art  has  produced ;  it  is  one  of 
the  most  classic,  too,  if  the  qualities  of  a  classic  work  are  order,  propor- 
tion, regularity,  clarity,  and  reason.  It  may  be  somewhat  deficient  in 
passion ;  or,  rather,  the  passion  expressed  is  less  violent,  less  savage,  in  its 
accents  than  might  be  expected  of  a  Delilah.  But  if  passion  is  now  and 
then  lacking,  the  work  is  never  wanting  in  style,  and  the  style  is  superbly 
beautiful  and  elevated,  always  eloquent,  always  forceful,  and  of  equal 
might  in  the  expression  of  all  sentiments.  There  are  few  feeble  points  in 
"  Samson  et  Dalila,"  and  the  habitual  weakness  of  the  composer  in  respect 
to  melodic  invention  is  less  apparent  than  in  his  other  works ;  M.  Saint- 
Saens's  most  striking  themes  are  found  in  "Samson  et  Dalila." 

Such  is,  to  our  vision,  in  its  most  characteristic  traits,  the  musical 
personality  of  M.  Saint-Saens.  He  is  one  of  the  greatest  of  French,  one 
of  the  greatest  of  modern  musicians.  If  he  has  not  the  steady  nobleness 
and  the  depth  of  Caesar  Franck,  the  sensual  ardor  and  melodic  grace  of 
M.  Massenet,  or  the  concentrated  force  and  rigorous  scholasticism  of 
Johannes  Brahms,  he  has  more  suppleness,  ease,  and  dexterity  than  has 
any  one  of  these  musicians ;  his  genius  has  more  resource  and  fancy.  I 
use  the  word  "  genius"  intentionally :  for  a  long  while  many  persons,  because 
M.  Saint-Saens's  melodic  imagination  often  lacks  definiteness  or  personal- 
ity, have  affected  to  deny  him  the  innate  qualities  of  inspiration,  and 
recognized  in  him  only  the  qualities  acquired  by  study  and  knowledge. 
This  because,  for  the  masses,  melody  proceeds  only  from  inspiration,  and 
ah1  else  in  musical  art  is  the  product  of  the  musician's  trade.  There  pre- 
vails no  more  erroneous  opinion.  The  musician  invents  not  only  in  the 
realm  of  melody,  but  in  that  of  harmony  and  of  the  orchestra ;  there  is, 
too,  invention  in  rhythm,  and  invention  —  which  I  almost  incline  to  pro- 


CAMILLE   SAINT-SAENS 


419 


claim  the  noblest,  most  precious,  and  rarest  —  in  the  realm  of  musical 
development,  construction,  and  architecture.  One  does  not  learn  to  com- 
pose beautiful  harmonies,  beautifiil  orchestral  sonorities,  ingenious  or 
impressive  rhythms,  or  vast  and  mighty  symphonic  structures,  any  more 
than  one  learns  how  to  find  pleasing  melodies.  None  of  these  things,  in 
its  essence,  is  the  outcome  of  knowledge  or  of  a  trade;  all  are  the  offspring 
of  art  and  inspiration.  And  melody,  in  the  totality  of  music,  is  not  a 
much  more  considerable  element  than  are  its  other  components.  It  is,  of 
course,  the  most  easily  comprehended ;  but  it  enjoys  no  privileges  of 
divine  right,  and  harmony,  rhythm,  orchestration,  and  structure  are 
equally  important  factors  in  the  art  of  sounds,  and  equally  useful  for  the 
greatness  of  an  artist.  M.  Saint-Saens  possesses  in  an  eminent  degree  at 
least  two  of  the  essential  qualities :  he  has  orchestral  inspiration  and 
"  architectural "  inspiration,  if  I  may  so  put  it ;  these  are  sufficient  for 
his  glory. 


-v 


THE  FIFTIETH  ANNIVERSARY  OF  SAINT-SAENS'S  FIRST  CONCERT. 

Festival-concert  given  at  the  Salle  Pleyel.  June  2,  1896,  by  C.  Saint-Sae'ns,  with  the  assistance  of  MM.  M.  P.  Sarasate 
and  P.  Taffanel.    M.  Saint-Saens's  first  concert  was  in  the  Salle  Pleyel  in  1846. 


A  DANCE   OF   BOY  ANGELS. 
In  the  Salon  at  Houghton. 


CESAR  FRANCE 


VINCENT   D'INDY 


9th  of  November,  1890,  there  died,  in 
the  full  vigor  of  his  talent,  an  artist  of 
genius,  whose  name  was  then  almost  ignored 
by  those  we  know  as  the  "  great  public."  This 
name  has  gained  little  by  little  in  celebrity, 
and  now  commands  the  respect  and  admira- 
tion of  all  musicians,  in  an  equality  with  those 
of  our  greatest  masters. 

His  obsequies  were  as  simple  as  his  life : 
no  official  delegation  from  the  ministry  or 
from  the  administration  of  the  Beaux  Arts 
accompanied  his  remains  to  their  last  resting- 
place.  Even  the  Conservatory  of  Music,  al- 
though he  had  belonged  to  its  corps  of  in- 

420 


structors,— the  Conservatory,  whose  directors 
were  accustomed  to  make  it  a  duty  to  recite 
dithyrambics  over  the  graves  of  empirical 
professors  of  singing  or  of  obscure  monitors 
of  solfeggi!, — was  not  represented  at  the  fu- 
neral ceremony  of  this  organ-professor,  whose 
"advanced"  theories  had  been  reported  dan- 
gerous to  the  tranquillity  of  the  official  es- 
tablishment. 

Only  his  many  pupils,  and  the  musicians 
whom  his  boundless  affability  had  attracted 
to  him,  formed  a  crown  of  reverent  admira- 
tion around  the  bier  of  this  lamented  master ; 
for  Cesar  Franck,  dying,  had  left  to  his 


CESAR  FRANCE 


421 


adopted  country  a  school  of  symphony,  alive 
indeed,  and  of  such  vigorous  constitution  as 
France  had  never  before  produced. 

To  obtain  a  good  idea  of  the  character  of 
this  great  musician  we  should  study  him  from 
three  points  of  view — as  man,  as  artist,  and 
as  educator ;  in  other  words,  should  consider 
his  life,  his  work,  and  his  instruction. 

I.     THE   MAN 

CESAR  AUGUSTS  FRANCK  was  born  at  Liege, 
Belgium,  on  the  10th  of  December,  1822.  A 
few  lines  sum  up  his  biography,  because  his 
career  was  without  shocks  or  romantic  convul- 
sions, but  flowed  along  in  such  calm  of  inces- 
sant labor  as  one  loves  to  think  of  as  belong- 
ing to  the  lives  of  the  great  artist-workmen 
in  that  beautiful  time  when  art  itself  was  new 
—lives  to  which  that  of  Franck  bore  more 
than  a  resemblance. 

Without  fortune,  brought  up  by  a  father 
whose  extreme  severity  bordered  upon  ego- 
tistical cruelty,  Cesar  habituated  himself  from 
infancy  not  to  remain  unoccupied  a  single 
moment.  At  fifteen  he  had  finished  his 
studies  in  the  school  of  music  in  his  native 
city  and  entered  the  Conservatory  of  Paris, 
where  he  won  in  a  few  years  the  prizes  for 
piano,  fugue,  and  organ,  the  last  under  pecu- 
liar circumstances  which  deserve  to  be  related. 

The  competition  for  the  organ  prize  in- 
cludes, among  other  tests,  a  fugue  upon  a 
subject  furnished  by  one  of  the  members  of 
the  jury,  and  an  improvisation  in  a  free  style 
upon  a  given  theme. 

Cesar  Franck,  having  observed  that  the 
two  subjects  admitted  of  being  treated  si- 
multaneously, improvised  a  double  fugue  in 
which  he  led  as  second  subject  progressing 
with  the  other,  the  theme  to  be  treated  in 
free  style,  thus  forming  combinations  for 
which  the  examiners  were  in  no  wise  pre- 
pared. This  might  have  ended  badly  for  him, 
since  members  of  this  jury,  for  all  that  it  was 
presided  over  by  the  aged  Cherubini,  under- 
stood nothing  of  this  tour  de  force,  accus- 
tomed as  they  were  to  the  methods  of  the 
Conservatory,  and  it  was  necessary  for  Be- 
noist,  the  titulaire  of  the  class,  to  explain  the 
matter  to  his  colleagues  in  person,  after  which 
they  decided  to  award  to  the  young  contes- 
tant the  second  organ  prize ! 


It  was  perhaps  from  this  moment  that  to 
those  in  office  Cesar  Franck  became  "  suspect." 

After  a  short  stay  in  Belgium,  where  he 
went  to  offer  to  King  Leopold  I  his  first  trios, 
without  obtaining  any  mark  of  thanks  for  the 
same,  not  even  the  traditional  snuff-box  in 
silver-gilt,  he  returned  to  Paris,  where  from 
that  time  he  commenced  that  career  of  organ- 
ist and  professor  which  he  carried  on  without 
cessation  until  his  death.  Thus  it  happened 
that  from  the  beginning  of  the  year  1859  the 
church  (newly  built)  of  Ste.  Clotilde  saw  him 
every  Friday  morning  and  all  day  Sunday 


VINCENT    D'INDY. 
From  a  photograph  by  Reutlinger,  Palis. 

seated  on  the  tribune  of  the  organ.  Those 
whom  the  kindness  of  the  master  authorized 
to  assist  at  these  offices  will  never  forget  the 
great  artistic  pleasure  which  they  received 
from  his  inspired  improvisations. 

In  1872  Franck  succeeded  his  old  master 
Benoist  as  titulaire  of  the  organ  class  in  the 
Conservatory ;  but  never  did  the  majority  of 
his  colleagues  consider  as  one  of  themselves 
this  instructor  who  saw  other  things  in  art 
besides  a  profession.  They  made  him  suffer 
much. 

Franck  was,  as  I  have  already  said,  a 
worker ;  winter  and  summer  he  was  on  foot 
at  six  o'clock  in  the  morning.  He  consecrated 
his  first  two  hours  to  composition,  which  he 
called  working  for  himself.  At  eight  o'clock 
he  took  a  light  repast,  and  departed  immedi- 
ately afterward  to  give  his  lessons  in  all  the 
corners  of  the  capital,  because,  up  to  the  end 
of  his  life,  this  great  man  used  the  greater 


422 


CESAR  FRANCK 


part  of  his  day  in  educating  amateurs  in  the 
piano,  even  pupils  in  the  pensions  for  young 
girls.  He  did  not  ordinarily  reeuter  his  home 
until  supper-time,  and  then,  though  his  even- 
ings were  disposed  of  in  favor  of  his  organ 
or  composition  pupils,  he  still  found  time  to 
copy  parts  for  the  orchestra.  Thus  it  was 
that  during  only  two  hours  of  morning  work 
and  a  few  weeks  of  vacation  he  thought  out 
and  wrote  his  most  beautiful  compositions. 

If  Franck  was  a  worker,  he  was  also  a 
modest  man.  Never  did  he  strive  after  honor 
and  distinctions;  never,  for  example,  did  it 
occur  to  him  to  canvass  for  a  place  as  member 
of  the  Institute ;  not  because,  like  a  Puvis  de 
Chavannes,  he  disdained  this  title,  but  because 
'  he  did  not  consider  that  he  had  done  enough 
to  merit  it,  even  though  at  this  epoch  the 
Institute  counted  in  its  ranks  a  number  of 
musicians  whose  worth  was  very  contestable, 
and  certainly  infinitely  inferior  to  his  own. 

His  modesty,  however,  did  not  preclude 
confidence  in  himself,  a  primordial  quality  for 
a  creative  musician  when  it  is  supported  by  a 
healthy  judgment  and  exempt  from  vanity. 
When,  at  the  opening  of  the  course,  the  mas- 
ter, with  his  face  illumined  by  his  great  smile, 
would  say  to  us,  "  I  have  worked  u-ell  during 
the  vacation,  you  will  see,  you  will  see ;  I 
think  that  you  will  be  content,"  we  were  cer- 
tain that  a  chef-d'oeuvre  would  soon  come  to 
light. 

It  was  his  pleasure  to  find  in  his  busy  life 
a  few  leisure  hours,— a  thing  not  easy  to  ac- 
complish,—when  he  would  assemble  around 
him  his  favorite  pupils,  Henri  Duparc,  Ca- 
mille  Benoit,  Ernest  Chaussou,  and  him  who 
writes  these  lines ;  to  them  he  would  play  on 
the  piano  some  work  which  had  been  latelv 
finished,  singing  all  the  vocal  parts  with  a 
Voice  as  grotesque  as  painful.  And  it  did  not 
appear  to  him  below  his  dignity  not  only  to 
ask  our  advice,  but  to  conform  to  it  if  our 
criticisms  appeared  to  him  just  and  well 
grounded. 

The  foundation  of  Franck's  character  was 
goodness,  calm  and  serene  goodness,  and  his 
nickname  pater  seraphicus  was  just.  His  soul 
could  not  conceive  of  evil ;  he  never  believed 
the  low  jealousies  which  his  talent  had  excited 
in  the  minds  of  his  colleagues.  He  passed 
through  life  with  eyes  elevated  toward  a  high 


ideal,  without  suspecting  the  inherent  base- 
ness of  human  nature  — baseness  from  which, 
alas !  artists  are  far  from  free. 

This  disposition  was  intensified  in  him  to 
such  an  extent  that  he  never  perceived  that 
his  works  were  much  too  elevated  and  were 
conceived  on  too  high  a  plane  to  be  under- 
stood by  his  contemporaries ;  and  that  they 
were  not  comprehended  when  he  brought 
them  before  the  public.  The  applause  of  his 
friends,  scattered  here  and  there  through  the 
audience,  produced  on  him  the  effect  of  unani- 
mous approbation ;  and  delighted  at  having 
procured  them  the  pleasure  of  hearing  his 
own  works  played  by  himself,  he  never  failed 
to  bow  profoundly  to  an  assembly  which,  if 
not  hostile,  was  at  least  indifferent,  because 
it  had  been  forced  out  of  its  usual  habit  of 
mind. 

In  the  summer  of  1890,  during  one  of  his 
daily  walks  in  the  streets  of  Paris,  the  master, 
absorbed,  no  doubt,  in  the  inception  of  a 
musical  idea,  did  not  awake  in  time  to  save 
himself  from  the  shock  of  an  omnibus,  the 
pole  of  which  struck-  him  violently  on  the 
side.  Indifferent  to  physical  pain  and  unac- 
customed to  worry  about  himself,  he  made  no 
break  in  his  ordinary  life  of  labor  and  fatigue. 
But  soon  pleurisy  set  in ;  he  was  forced  to 
take  to  his  bed,  and  not  long  after  succumbed. 

Such  was  the  man. 

As  to  physique,  any  one  who  had  encoun- 
tered this  being  in  the  street,  with  his  coat 
too  large,  his  trousers  too  short,  his  grimacing 
and  preoccupied  face  framed  in  his  somewhat 
gray  whiskers,  would  not  have  believed  in  the 
transfiguration  which  took  place  when,  at  the 
piano,  he  explained  and  commented  on  a 
beautiful  work  of  art,  or  when,  at  the  organ, 
he  put  forth  one  of  his  inspired  improvisa- 
tions. Then  the  music  enveloped  him  like  an 
aureole ;  then  one  could  not  fail  to  be  struck 
by  the  conscious  will  expressed  in  the  mouth 
and  chin,  by  the  almost  superhuman  know- 
ledge in  his  glance ;  then  only  would  one 
observe  the  nearly  perfect  likeness  of  his 
large  forehead  to  that  of  Beethoven ;  and 
then  one  would  feel  subdued  and  almost 
frightened  by  the  palpable  presence  which 
reigned  around  the  noblest  and  greatest 
musician  which  France  has  produced  since 
Rameau. 


CESAR    FRANCK. 
From  a  photograph  Ijy  Pierre  Petit,  Paris,  made  in  1888. 


II.     THE   ARTIST 

To  leave  an  enduring  milestone  on  the  path- 
way of  art,  which  stretches  out  to  infinity, 
all  the  poetry  of  thought,  of  color,  of  form,  or 
of  sound  must  add  to  invention  and  science, 
those  two  pillars  of  an  artistic  monument,  a 
quality  more  rare  than  all  others— sincerity. 

In  music,  for  example,  it  is  incontestable 
that  the  great  works  which  time  has  not  de- 
prived of  value,  from  the  "  Selectissimae 
Modulationes  de  Vittoria"  to  the  "Ninth 
Symphony  "  of  Beethoven,  and  including  the 
chorals  and  the  "Passions"  of  J.  S.  Bach, 
have  emanated,  all  of  them,  from  artists  sin- 
cerely expressing  their  inmost  thoughts  with- 
out considering  glory  and  immediate  success. 
The  dramas  of  Gluck  which  will  remain  im- 


mortal are  those  he  wrote  after  his  evolution 
toward  the  expression  of  truth.  "Iphigeiiie  en 
Tauride  "  has  aged  less  than  many  an  opera 
composed  in  our  day ;  but  one  now  can  no 
longer  read  the  "Artamene"  or  "La  Chute  des 
Geants"  by  the  same  composer.  And  it  is 
curious  to  observe,  in  regard  to  the  philosophy 
of  art,  that  some  thousands  of  operas  in  the 
Italian  school,  since  Scarlatti, — a  school  which 
despotically  ruled  all  the  theaters  of  Europe 
during  the  greater  part  of  the  eighteenth  cen- 
tury,—have  fallen  into  a  profound  abyss— a 
fate  the  more  merited  because  these  mediocre 
works  were  composed  with  an  eye  to  fashion, 
effect,  and  virtuosity  only.  This  school  contin- 
ued through  the  beginning  of  the  nineteenth 
century,  contemporaneously  with  the  pernici- 
ousJewish  school,  and  lived  almost  entirely  be- 

423 


424 


CESAR  FRANCE 


cause  of  its  pecuniary  success  with  the  public. 
The  operas  of  Halevy  are  now  insupportable  to 
the  listener;  it  will  soon  be  the  same  with 
those  of  Meyerbeer. 

Sincerity  is  the  necessary  condition  for  the 
endurance  of  all  manifestations  of  art,  and  it 
is  the  most  important  of  all  the  qualities  of  a 


the  choruses  of  the  unjust  and  the  rebels  in 
"  Les  Beatitudes,"  also  the  role  of  Satan  in 
the  same  work. 

It  is  then  entirely  natural  that,  besides  com- 
posing pure  music,  wherein  he  excelled,  Cesar 
Pranck  was  impelled  by  a  talent,  which  his 
sincerity  rendered  conformable  to  his  charac- 


ADOLPHE  JULLIEN.       E.  BOIS8EAU.       C 
EMMANUEL   CHABRIER 


CENT    D'INDY. 

AM-OEE    PIG  t  Of*. 


"AROUND   THE    PIANO." 

The  friends  of  Cesar  Franck.     From  a  painting  by  Fantin-Latour  (Salon  ot  1883),  belonging  to  M.  Adolphe  Jullien. 

Reproduced  by  his  permission. 


creative  artist.  No  modern  artist  has  been 
more  sincere  in  his  life  and  in  his  works  than 
Cesar  Franck,  and  none  has  possessed  a  higher 
degree  of  that  touchstone  of  genius,  artistic 
conscience.  We  may  find  in  many  works  of 
this  master  the  proof  of  this  assertion. 

An  artist  truly  worthy  of  the  name  ex- 
presses well  only  what  he  has  felt  himself, 
and  finds  it  difficult  to  reproduce  sentiments 
foreign  to  his  nature.  Thus  it  is  remarkable 
that  purely  on  account  of  his  disposition,  too 
noble  to  suspect  evil,  Franck  never  succeeded 
in  satisfactorily  depicting  human  perversity. 
In  each  of  his  works  those  parts  where  he 
was  forced  to  represent  sentiments  like  hatred, 
injustice, — in  a  word,  to  express  evil, — were 
incontestably  the  most  feeble.  In  proof,  read 


ter,  into  the  depicting  of  Biblical  and  Evan- 
gelical scenes  ("  Ruth,"  "  Rebecca,"  "  Redemp- 
tion," "Les  Beatitudes,"  "L'Ange  et  1'En- 
fant,"  "La  Procession,"  "La  Vierge  a  la 
Creche  "),  in  which  radiant  throngs  of  angels, 
such  as  a  Lippi  or  an  Angelico  might  have 
dreamed  of,  mingled  charmingly  with  one 
another  to  chant  together  the  praises  of  the 
Most  High. 

Even  when  he  was  treating  profane  sub- 
jects, Franck  could  not  depart  from  this,  so 
to  speak,  angelic  conception.  "  Psyche,"  in 
which  he  endeavored  to  paraphrase  the  an- 
tique myth,  has  a  peculiar  interest  on  this 
account.  The  work  is  divided  into  choral 
parts,  in  which  the  voices  recite  the  fable 
while  recounting  and  commenting  upon  it; 


CESAR   FRANCE 


425 


and  into  parts  for  the  orchestra  only,  little 
symphonic  poems  designed  to  express  the 
drama  which  ensued  between  Psyche  and 
Eros.  Now,  without  speaking  of  its  charming 
descriptive  parts*  like  the  carrying  away  of 
Psyche  by  the  Zephyrs,  or  the  enchantment 
of  the  gardens  of  Eros,  the  principal  piece, 
the  love  scene,  if  I  may  be  allowed  to  say  so, 
never  seemed  to  me  anything  but  an  ethereal 
dialogue  between  a  soul,  such  as  the  mystic 
author  of  the  "  Imitation  of  Christ "  conceived 
of,  and  a  seraph,  descended  from  heaven  to 
instruct  her.  Other  French  masters,  Sairit- 
Saens  and  Massenet,  for  example,  if  called 
upon  to  illustrate  this  same  subject  musically, 
would  infallibly  have  endeavored  to  depict, 
the  one,  physical  love  in  its  most  realistic 
aspect  (vide  "  Le  Rouet  d'Omphale "),  the 
other,  discreet  erotism,  very  much  a  la  mode 
in  certain  salons  of  the  Quartier  Monceau 
(compare  "  Eve  "  and  •'  La  Vierge  ").  I  think « 
that  Franck  chose  the  better  part,  and  I  even 
dare  affirm  that,  in  acting  thus  almost  uncon- 
sciously, he  has  come  the  nearest  to  seizing 
the  real  significance  of  that  ancient  symbol 
which  has  received  so  many  expositions  in 
medieval  and  even  in  modern  times,  in  a  series 
which  reaches  up  to  and  comprehends  "  Lo- 
hengrin." 

It  is  perhaps  because  of  this  tendency  of 
his  talent  toward  the  purely  mystic  that  the 
two  operas  "  Hulda"  and  "  Ghisele,"  although 
containing  very  beautiful  music,  are  far  from 
being  as  perfect  works  as  Franck's  vocal  and 
instrumental  pieces. 

Passing  to  a  point  of  view  more  especially 
musical,  the  real  character  of  Franck's  music 
arises  from  three  very  well  handled  proper- 
ties :  the  expressive  nobleness  of  the  melodic 
phrasing,  the  originality  of  harmony,  and  the 
unattackable  solidity  of  the  synthetic;  concep- 
tion. 

Cesar  Franck  was  a  melodist  in  the  highest 
meaning  of  the  word ;  with  him  everything 
sings,  and  sings  constantly.  He  could  no 
more  conceive  music  without  melodic  line 
carefully  denning  the  contours  obtained  by  it 
and  very  clean,  than  Ingres  could  imagine  a 
painting  without  impeccable  drawing.  And 
this  melody  derived  a  great  deal  of  its  ex- 
pressive charm  from  the  skill  shown  in  the 
grand  variation,  such  as  only  Bach,  in  his 


chorals  d'orgne,  and  Beethoven,  in  his  last 
quartets,  have  known  how  to  write. 

To  the  abundance  of  his  melodic  vein 
Franck's  harmony  owes  its  peculiarly  original 
quality,  because  he  considered  music  horizon- 
tally, following  the  fecond  principles  of  the 
contrapuntists  of  the  sixteenth  century,  and 
not  merely  vertically,  as  do  the  composers  of 
the  harmonic  epoch.  The  contours  of  his 
melodic  phrases  give,  by  their  superposition, 
aggregations  of  notes  which  produce  a  style 
that  is  interesting  for  other  qualities  than 
are  displayed  by  the  banal  or  incoherent  suites 
of  chords  written  by  those  who  have  only  har- 
mony as  objective. 

It  is  principally,  however,  in  the  domain  of 
musical  architecture,  the  basis  of  all  composi- 
tion, that  the  innovating  genius  of  Franck 
knew  how  to  create  a  place  absolutely  apart. 
He  was  the  first  to  consider  the  works  of 
Beethoven  from  the  point  of  view  of  a  cyclic 
stylo  (works  which  no  successor  of  the  father 
of  the  noble  symphonic  form  had  dared  to  as- 
similate), and  to  employ  a  new  mode  of  con- 
struction according  to  orderly  and  logical 
principles.  In  1841,  at  the  age  of  nineteen, 
he  built  his  first  work,  the  Trio  in  F  Sharp,  on 
two  generating  themes,  which,  combining 
with  the  special  themes  of  each  number,  were 
enlarged  according  to  and  in  the  measure  of 
their  successive  expositions,  and  thus  formed 
a  solid  foundation  for  the  whole  musical 
cycle. 

Furthermore,  the  preoccupation  of  his  whole 
artistic  life  was  to  find  new  forms,  while  al- 
ways respecting  in  the  highest  degree  the 
immutable  principles  of  tonal  construction 
laid  down  by  his  predecessors.  For  the  rest, 
it  is  almost  impossible  to  explain  by  a  literary 
medium,  satisfactorily  and  clearly,  in  what 
his  innovations  consisted,  and  one  will  be 
more  easily  convinced  of  the  progress  which 
the  Master  of  Liege  accomplished  in  imisical 
art  by  reading  his  music  than  by  description. 
I  should  like  to  dwell  for  a  moment,  however, 
on  certain  compositions  which  merit  particu- 
lar mention  and  study. 

"  REDEMPTION  " 

"  REDEMPTION,"  a  symphonic  poem  in  two 
parts  and  an  intermezzo,  was  the  first  work 
in  which  the  genius  of  Franck  clearly  dem- 


426 


CESAR  FRANCE 


onstrated  itself.  As  I  assisted  intimately  at 
the  evolution  of  this  oratorio,  as  different 
from  a  classical  oratorio  as  is  a  poeme  of 
Liszt  from  a  symphony  of  Mozart,  I  subjoin 
some  details  not  to  be  found  in  the  biogra- 
phies of  the  master. 

The  poem  is  simple.  Part  first:  people 
moving  about  in  the  shadows,  which  are  the 
evil  passions  engendered  by  paganism ;  sud- 
denly a  flight  of  angels  illumines  space,  an 
archangel  announces  the  coming  upon  earth 
of  a  redeeming  Saviour,  and  the  people,  filled 
with  enthusiasm  by  this  promise,  repudiate 
their  hatreds  and  unite  their  voices  in  a 
Christmas  chant. 

Part  second :  humanity,  having  forgotten 
the  precepts  and  benefits  of  the  Redeemer, 
delivers  itself  afresh  to  its  evil  ways,  but 
cries  out  its  misery  to  the  Christ;  the 
angels  veil  their  faces  with  their  wings  so  as 
not  to  see  the  crimes  of  the  people ;  then  comes 
the  archangel,  prophesying  in  a  graver  tone 
than  before  a  new  redemption  for  the  repen- 
tant, and  the  quieted  people  chant  in  a  can- 
ticle the  union  of  love  and  mercy. 

Between  the  two  parts  an  intermezzo  for  or- 
chestra serves  to  synthesize  the  new  evolution 
of  humanity,  proclaiming  by  an  enlargement 
of  the  prophetic  theme  the  final  triumph  of 
sublime  love. 

In  order  to  express  by  music  this  progress 
toward  the  light,  Pranck  imagined  it  as  begin- 
ning in  a  neuter  tone,  A  minor,  symbolizing 
pagan  darkness;  then  rising  little  by  little 
into  the  exceedingly  clear  tonalities  of  E  and 
B  major,  he  used  in  a  unique  way  sharpened 
notes  through  the  length  of  the  work.  The 
effect  of  gradual  illumination  due  to  this 
tonal  disposition  is  magical. 

Long  was  the  elaboration  of  this  beautiful 
poem  into  music,  into  the  expression  of  which 
the  master  put  all  his  heart  and  all  of  his 
naive  and  pious  enthusiasm ;  it  was  com- 
menced before  the  war  of  1870,  but  not  fin- 
ished until  1872,  and  suffered  a  large  number 
of  successive  remodelings. 

Originally  the  first  part  ended  in  F  sharp 
major,  but  at  the  first  performance  the  vio- 
linists, according  to  a  tradition  dear  to  or- 
chestral artists  which  happily  shows  a  ten- 
dency to  disappear,  having  declared  that  this 


unaccustomed  tonality  rendered  their  part 
unplayable,  Frauck  felt  himself  obliged— a 
little,  too,  because  of  our  advice  (we  were  sorry 
for  it  afterward)— to  transpose  to  E  major 
the  fulgurous  air  of  the  archangel  and  the 
final  chorus.  This,  although  it  facilitated  the 
execution,  diminished  the  luminous  effect  as 
it  was  dreamed  of  by  the  master. 

The  intermezzo  of  the  orchestra  was  also 
subjected  to  retouches  so  numerous  and  im- 
portant that  the  second  version  bears  scarcely 
any  relation  to  the  first.  This  complete  mak- 
ing over  of  a  long  symphonic  movement, 
which  was-  already  finished  and  engraved,  is 
a  very  interesting  example  of  an  artist's  con- 
science ;  but  it  is  to  this  conscience  that  we 
owe  the  blooming  of  the  superb  melody 
which  constitutes  the  principal  idea  of  this 
intermezzo. 

Finally,  a  chorus,  somber  in  its  very  strik- 
ing harmonies,  was  added  to  the  commence- 
ment of  the  second  part  to  make  a  contrast  to 
the  brightness  of  its  close.  The  first  hearing 
of  this  composition,  so  novel  in  all  respects, 
took  place  in  the  theater  of  the  Odeon,  on  Holy 
Thursday  of  the  year  1872,  under  the  direc- 
tion of  Colonne,  who  at  the  same  time  made 
his  debut  as  leader  of  the  orchestra ;  but  as 
Massenet,  whose  sensual  opera,  "Marie  Ma- 
deleine," was  on  the  same  program,  absorbed 
to  his  profit  the  major  part  of  the  applause, 
the  performance  of  "  Redemption  "  was  medi- 
ocre and  made  no  impression  upon  the  audi- 
ence, who  waited  impatiently  for  the  mystico- 
sensual  sweets  then  so  much  a  la  mode. 

"LES  BEATITUDES" 

WE  touch  here  upon  one  of  the  crowning 
works  of  Franck,  one  of  those  splendid  edi- 
fices which  range  themselves  on  the  highway 
of  art  as  if  to  show  the  charm  of  a  new  de- 
parture, and  which  disdainfully  withstand  the 
injuries  of  man  and  time. 

A  paraphrase  of  the  Sermon  on  the 
Mount,  this  oratorio,  a  concise  expression  of 
the  moralitiesof  the  Evangelist,  is  divided  nat- 
urally into  eight  parts,  each  one  representing 
antithetically  a  double  tableau ;  for  example, 
the  violent  and  the  gentle,  the  simple  and  the 
proud,  the  cruel  and  the  charitable.  Toward 
the  end  of  every  part  a  song  arises,  calm  and 


CfiSAR  FRANCE 


427 


grand ;  it  hovers  over  the  miseries  of  mankind. 
It  is  the  voice  of  Christ  which  we  hear,  com- 
menting briefly  upon  the  text  of  the  beati- 
tude. This  divine  melody,  so  intensely 
expressive  that  one  cannot  forget  it  from 
the  moment  that  it  appears  in  the  prologue, 
does  not  attain  to  its  complete  development 
until  the  end, "but  it  becomes  then  so  sublime 
that  when  one  hears  it  rolling  out  so  majesti- 
cally it  is  as  if  one  saw  the  clouds  of  incense 
mounting  up  under  the  vaults  of  a  cathedral, 
veritably  assisting  the  radiant  ascension  of 
happy  souls  to  the  celestial  mansions. 

Notwithstanding  these  dazzling  splendors, 
it  is  permissible  to  make  a  few  reservations  in 
considering  this  colossal  work.  It  presents, 
in  fact,  inequalities  of  style  which  are  some- 
times shocking.  Thus,  as  I  have  already  in- 
dicated, when  it  is  necessary  to  depict  the 
climax  of  evil  the  characters  of  tyrants,  of 
the  cruel,  and  even  of  Satan  himself,  arevi 
little  conventional.  Franck,  not  being  able 
to  find  in  himself  the  power  of  expressing 
what  he  does  not  understand  at  all,  borrows 
from  Meyerbeer's  opera  style,  which  makes  a 
truly  unpleasant  contrast  to  the  rest  of  the 
work. 

Although  it  contains  these  few  feeble  points, 
"  Les  Beatitudes  "  is,  none  the  less,  the  most 
noteworthy  musical  monument,  in  the  genre 
of  religious  concerted  music,  which  has  been 
created  since  Beethoven's  "  Missa  Solemnis," 
and  this  lofty  and  expi'essive  work  makes  up 
for  the  emphatic  bombast  which  certain 
modern  composers,  with  an  eye  to  effect,  have 
heaped  up  under  the  disguise  of  sacred  drama. 

So  great  was  the  modesty  of  the  author  of 
this  beautiful  commentary  on  the  Evangelist 
that  he  never  imagined  the  work  capable  of 
being  brought  out  otherwise  than  in  frag- 
ments, and  it  was  not  until  1893,  three  years 
after  his  death,  that  it  was  given  in  its  entirety 
at  the  Concerts  dn  Chdtelet,  under  the  direction 
of  Colonne.  It  made  such  a  profound  sen- 
sation in  its  ensemble  that  it  was  immediately 
adopted  by  most  of  the  concert  societies, 
French,  Belgian,  and  Dutch,  and  still  re- 
mains in  their  repertories. 

THE   QUARTET   IN   D 

THE  first  movement  in  this  Quatuor,  for  two 
violins,  alto,  and  violoncello,  is  certainly  the 


most  astonishing  piece  of  symphonic  composi- 
tion since  the  last  quartets  of  Beethoven. 
The  essentially  novel  form  of  the  first  move- 
ment consists  of  two  pieces  of  music,  each 
living  its  own  life  and  possessing  a  complete 
organism,  which  mutually  penetrate  each 
other,  without  confusion,  thanks  to  the  abso- 
lutely perfect  ordering  of  their  various  parts. 

All  the  composers  who  follow  the  Beethoven 
epoch  keep,  as  to  form,  to  the  types  already 
established  in  the  eighteenth  century ;  neither 
a  Mendelssohn,  nor  a  Schumann,  nor  a  Brahms 
dared  to  take  the  twelfth  or  the  fourteenth 
quartet  of  Beethoven  for  a  point  of  departure, 
and  even  Richard  Wagner  based  his  entire 
symphonic  system  upon  the  imperishable 
Ninth  Symphony.  It  took  an  architect  of 
sound  as  sure  of  himself  as  was  Cesar  Frauck 
to  undertake  a  renovation  of  forms,  while 
preserving  in  the  movement  a  general  clas- 
sical style. 

.Finally,  the  Quintet  in  F  Minor,  and  the 
superb  "Violin  Sonata  which  Ysaye  has  made 
popular,  are  constructed,  like  the  Quatuor,  by 
the  aid  of  a  generative  theme  which  becomes 
the  germ  of  expression  in  the  musical  cycle ; 
but  nothing  in  Franck's  work,  nor  in  that  of 
his  predecessors,  equals  in  harmonious  and 
audacious  beauty  the  Quartet  in  D,  a  type  of 
chamber  music  unique,  not  only  in  the  merit 
and  elevation  of  its  ideas,  but  also  in  its 
esthetic  perfection  and  its  novelty  of  form. 

THE  LAST  THREE  ORGAN  CHORALS 

I  WILL  pass  rapidly  over  these  chefs-d'oeuvre 
of  Franck,  which  were,  as  I  have  said,  the 
last  emanation  of  his  genius,  and  the  registra- 
tion of  which,  though  already  in  the  grasp  of 
the  disease  which  was  to  carry  him  off,  he 
fixed  at  his  organ  in  Ste.  Clotilde  some 
days  before  taking  to  his  bed,  never  to  rise 
again.  These  chorals  are  written  in  the  form 
of  the  amplified  variation  created  by  Bach 
and  taken  up  again  by  Beethoven ;  but  two  of 
them,  at  least,  have  the  peculiarity  that  the 
theme,  though  at  first  hardly  more  than  a 
sketch,  is  the  germ  from  which  the  variations 
develop,  and  which,  at  the  end  of  the  piece, 
brightens  into  triumphant  completeness. 

I  will  not  speak  of  the  other  poems, 
"  Ruth,"  "  Rebecca,"  "  Psyche  " ;  the  two  operas 
"  Hulda  "  and  "  Ghisele  " ;  the  two  morceaux 


428 


CESAR  FRANCK 


for  the  orchestra,  "  Les  Bolides "  and  "  Le 
Chasseur  Maudit" ;  the  very  beautiful  "  Sym- 
phonic en  D";  the  compositions  for  piano 
with  and  without  orchestra;  the  nine  great 
pieces  for  the  organ  ;  and  the  religious  melo- 
dies. I  will  pass  to  the  third  aspect  of  the 
master,  that  of  instructor. 

III.    THE   INSTRUCTOR 

CESAR  FRANCK  was,  to  all  of  the  generation 
who  had  the  happiness  of  being  nourished  by 
his  healthy  and  solid  principles,  not  only  a 
clear-sighted  and  sure  instructor,  but  also  a 
father  in  art.  I  do  not  fear  to  use  this  name 
to  characterize  him  who  gave  the  light  of  day 
to  the  French  symphonic  school,  because  all 
of  us,  the  artists  who  came  in  contact  with 
him  as  well  as  his  scholars,  have  always 
called  him  unanimously,  and  with  one,  though 
uucoucei'ted,  accord,  Father  Franck. 

While  the  professors  of  the  conservatories, 
especially  of  the  Conservatory  of  France,  to 
which  one  hardly  applies  except  to  compete 
for  the  first  prizes,  obtained  as  a  result  of 
their  system  of  competition  young  people 
who  were  veritable  rivals  in  their  classes,  and 
who  often  therefore  became  genuine  enemies, 
Father  Franck  studied  only  to  form  artists 
truly  worthy  of  this  beautiful  and  liberal 
name.  He  radiated  such  an  atmosphere  of 
love  that  his  scholars  not  only  loved  him  as  a 
father,  but,  which  is  more,  through  him,  they 
loved  one  another,  and  during  the  eleven 
years  that  the  good  master  has  no  longer 
been  with  us,  his  beneficent  influence  has  so 
perpetuated  itself  that  all  his  disciples  have 
continued  intimately  connected,  without  a 
cloud  to  darken  their  friendly  relations. 

Yes,  what  an  admirable  professor  of  com- 
position was  Cesar  Franck  !  What  sincerity, 
what  integrity,  what  conscience,  did  he  carry 
to  the  examination  of  the  sketches  which  we 
presented  to  him !  Unpitying  toward  vices 
of  construction,  he  knew  without  hesitation 
where  to  place  his  finger,  and  when  in  the 
process  of  correction  he  arrived  at  passages 
which  we  ourselves  would  consider  doubtful 
(though  we  took  good  care  not  to  show  it), 
instantly  his  large  mouth  would  become  seri- 
ous, his  forehead  would  wrinkle,  his  attitude 
express  suffering,  and  after  playing  the  pas- 


sage at  the  bar  two  or  three  times  on  the  piano, 
he  would  look  at  us  and  let  escape  the  fatal 
"Je  n'aime  pas."  But  if  in  our  stutterings 
we  had  chanced  upon  some  harmony  new  and 
logically  treated,  some  trial  of  an  interesting 
form,  then,  satisfied  and  smiling,  he  would 
lean  toward  us,  murmuring,  "  J'aime,  j'aime." 
And  he  was  as  happy  to  give  us  this  appro 
bation  as  we  were  to  merit  it. 

Permit  me  to  add  a  personal  anecdote  rel- 
ative to  the  manner  in  which  I  made  the 
acquaintance  of  Father  Franck. 

After  having  ended  my  course  in  harmony 
and  having  aligned  some  troublesome  coun- 
terpoints, without  having  studied  either  fugue 
or  composition,  I  fancied  that  I  was  suffi- 
ciently-instructed to  write,  and  having  with 
great  trouble  placed  iipon  music-paper  a 
quintet  for  piano  and  string  instruments, 
I  begged  my  friend  Henri  Duparc,  one  of  the 
oldest  of  the  master's  scholars,  to  present  me 
to  the  great  artist  whom  I  revered  without 
knowing,  in  the  firm  belief  that  my  work 
could  not  fail  to  win  his  felicitations. 

When  I  had  played  the  quintet  to  him,  he 
remained  silent  a  moment,  then  turning  to 
me  with  a  sorrowful  air,  he  said  these  words, 
which  I  have  never  forgotten,  because  they 
had  a  decisive  influence  upon  my  life :  "  There 
are  some  good  things ;  the  ideas  would  not 
be  bad,  but— you  don't  know  anything  at 
all!"  Then,  seeing  that  I  was  much  morti- 
fied by  this  judgment,  which,  I  confess,  I  had 
not  in  the  least  expected,  he  added,  with  a 
corrective  intention :  "  If  you  wish  that  we 
should  work  together,  I  could  teach  you  com- 
position." 

While  returning  home  that  night,— for  this 
interview  had  taken  place  at  a  late  hour, — I 
said  to  myself,  smarting  with  wounded  vanity : 
"  Certainly  Franck  is  a  spirit  of  the  past ;  he 
understands  nothing  of  the  beauties  of  my 
work."  Nevertheless,  in  a  calmer  mood  the 
next  morning,  and  re-reading  this  unhappy 
quintet  and  recalling  the  remarks  the  master 
had  made  to  me  while  underlining,  according 
to  his  habit,  words  in  pencil,  like  arabesques, 
upon  the  manuscript,  I  was  forced  to  own 
to  myself  that  he  was  absolutely  right:  I 
did  not  know  anything.  So,  almost  trembling, 
I  went  to  beg  him  to  be  so  good  as  to  admit 
me  to  the  number  of  his  pupils,  and  he  placed 


g  / 

i  *<  /"  /y 


A  MANUSCRIPT   OF   CESAR    FRANCK. 

Nocturne  for  the  Voice,  taken  from  the  collection  of  M.  Ch.  Malherbe,  in  charge  of  the  archives  of  the 
Paris  Opera.     Copy  made  by  Cesar  Franek  for  jr.  Malherbe. 


me  in  the  organ  class  to  which  he  had  just 
been  assigned  as  professor. 

This  organ  class,  of  which  I  retain  a  vivid 
memory,  was  for  a  long  time  the  real  center 
of  the  study  of  composition  in  the  Conserva- 
tory. At  this  epoch  (I  am  speaking  of  the 
years  1872-73),  the  three  courses  called  "  ad- 
vanced composition  of  music  "  (courses  which 
hardly  received  actual  instruction,  but  which 


led  to  the  writing  of  a  cantata  for  the  prix  de 
Rome)  had  for  professors :  Victor  Masse,  a 
composer  of  the  second  rank,  having  no  lean- 
ings toward  symphony,  absorbed  as  he  was 
all  his  life  in  the  perpetration  of  mediocre 
operas  comiques:  Henri  Reber,  a  musician 
advancing  in  years,  narrow  and  behind  the 
times ;  and,  finally,  Francois  Bazin,  author  of 
some  vulgar  operettas,  and  also  of  a  treatise 


420 


STUDY  FOR  THE  MONUMENT  TO  BE  ERECTED  BY  SUBSCRIPTION 
TO  THE  MEMORY  OF  CESAR  FRANCK 

In  the  Square  Ste.  Clotilde  in  Paris.     The  work  of  Alfred  Lenoir.     Reproduced  by  permission. ' 


on  the  fugue,  a  strange  thing  from  a  man 
who,  as  I  can  testify,  was  not  capable  of  dis- 
cerning whether  a  response  in  a  fugue  was 
false  or  exact. 

1  The  monument  to  the  memory  of  C<5sar  Franck,  the 
work  of  M.  Alfred  Lenoir,  is  to  be  erected  in  the 
Square  Ste.  Clotilde,  in  Paris.  Subscriptions  have 
been  received  from  many  French,  Belgian,  and  Ger- 
man artists,  and  from  the  admirers  and  friends  of 
C6sar  Franck.  Additional  subscriptions  may  be  sent 
to  M.  Vincent  d'Indy,  treasurer  of  the  Ce'sar  Franck 
Committee,  7  Avenue  de  Villars,  Paris. 
430 


It  is  not  astonishing,  then,  that  the  noble 
instruction  of  Cesar  Franck,  founded  upon 
Bach  and  Beethoven,  but  admitting  all  the 
passions,  all  the  novel  and  generous  aspira- 
tions, drew  to  him  all  the  youthful  spirits 
endowed  with  elevated  ideas  and  really  de- 
voted to  their  art. 

One  of  the  precious  peculiarities  of  Franck's 
lesson  was  the  demonstration  by  example. 
When  we  found  ourselves  embarrassed  in  the 
construction  of  a  musical  idea  or  in  the  course 


CESAR    FRANCE 


431 


of  its  development,  the  master  would  at  once 
go  to  the  library  to  search  out  some  work  of 
Beethoven,  Schumann,  Mendelssohn,  or  Wag- 
ner. "  See,"  he  would  say  to  us,  "  this  author 
found  himself  in  the  same  situation  in  which 
you  are.  Read  attentively  the  manner  in 
which  he  got  out  of  it;  and  while  guarding 
carefully  lest  you  imitate  him,  receive  the 
inspiration  which  will  aid  you  to  correct  the 
fault  in  your  work." 

It  is  thus  that  unconsciously  the  master 
drained,  so  to  speak,  all  the  sincerely  artistic 
forces  which  were  scattered  through  the  dif- 
ferent classes  of  the  Conservatory,  without 
counting  the  scholars  from  outside,  who  took 
their  lessons  in  a  quiet  salon  on  the  Boule- 
vard St.  Michel,  where  large  windows  opened 
upon  a  garden  full  of  shade,  a  rare  thing 
in  Paris.  It  was  there  that  we  assembled 
once  a  week,  because  Father  Franck,  not  con- 
tent with  instructing  us  in  the  science  of 
counterpoint,  fugue,  and  improvisation  in  hi» 
class  at  the  Conservatory,  made  those  of  us 
whom  he  considered  worthy  of  particular  in- 
struction come  to  him.  This  was  absolutely 
disinterested,  and  not  the  ordinary  rule  with 
the  professors  of  the  official  establishment,  in 
which  instruction  is  inscribed  at  least  in  the 
rules  as  gratuitous,  though  it  is,  alas !  far 
from  being  so  in  reality. 

When  one  had  finished  with  Franck  the 
study  of  counterpoint,  which  he  wished  to  be 
always  intelligent  and  melodic,  and  that  of 
the  fugue,  in  which  he  allowed  a  wide  liberty 
of  expression,  then  one  undertook  the  study 
of  composition,  based  entirely,  according  to 
him,  upon  tonal  construction. 

No  art,  in  fact,  has  a  nearer  connection  with 
music  than  architecture.  To  build  an  edifice 
it  is  necessary  at  the  very  beginning  to  choose 
the  materials  and  to  have  them  of  good  qual- 
ity ;  it  is  the  same  with  musical  ideas,  in  the 
choice  of  which  the  composer  must  take  in- 
finite pains  if  he  wishes  his  work  to  be  of 
value. 

But  it  is  not  sufficient  to  employ  good  and 
beautiful  materials  in  construction ;  there 
must  follow  the  knowledge  how  to  dispose  of 
them  so  that  they  will  act  together  powerfully 
and  harmoniously.  Stones,  carefully  chiseled, 
but  put  simply  in  juxtaposition  without 
order,  will  not  constitute  a  monument ;  nor 


will  musical  phrases,  however  beautiful  each 
may  be,  added  together  end  to  end  make  a 
piece  of  music.  It  is  necessary  that  their 
place  and  their  connection  be  regulated  by  an 
ordering  sure  and  logical ;  at  this  price  only 
will  the  monument  endure ;  thus,  if  its  ele- 
ments be  beautiful,  and  the  synthetic  order 
harmoniously  combined,  the  work  will  be  solid 
and  lasting.  The  composition  of  music  in- 
volves nothing  but  this. 

This  is  what  Franck,  and  he  alone  at  this 
time,  knew  so  well  how  to  convey  to  his  dis- 
ciples. Accordingly,  though  for  the  first 
three  quarters  of  the  nineteenth  century  the 
symphonic  production  in  France  had  been 
absolutely  nil,  there  has  been  seen  aris- 
ing, suddenly,  in  the  last  thirty  years, 
a  new  French  school,  full  of  creative  vigor 
and  daring,  expert  in  the  symphonic  art  and 
in  chamber  music,  and  surpassing  artisti- 
cally, by  its  solidity  of  construction,  its  clear- 
ftM8  of  form,  and  even  its  ideas,  the  sym- 
phonic school  of  Germany  of  the  same  period, 
which  still  drags  along  in  the  rut  marked 
out  by  Mendelssohn.  Father  Franck's  be- 
neficent influence  did  not  confine  itself  to 
the  musicians  who  worked  especially  under 
his  direction.  It  made  itself  felt  also  upon 
those  scholars  of  the  Conservatory  who  re- 
ceived his  advice  in  the  organ  class :  Sam- 
uel Rousseau,  G.  Piern6,  A.  Chapuis,  Paul 
Vidal,  G.  Marty,  Dallier,  Dutacq,  Mahaut, 
Galeotti,  and  others ;  upon  the  virtuosos  who 
came  in  contact  with  him,  among  whom  I 
will  cite  only  the  incomparable  violinist  Eu- 
gene Ysaye,  to  whom  he  dedicated  the  cele- 
brated Sonata  for  Violin  in  A ;  and  also  upon 
those  artists  who,  without  being  precisely  his 
pupils,  yet  felt  from  contact  with  him  the 
ascendancy  of  his  probity  and  of  his  artistic 
sincerity:  for  example,  Gabriel  Faure,  Paul 
Du  Kas,  the  illustrious  organist  Alexandre 
Guilmant,  and  Emmanuel  Chabrier,  who,  in 
thj  name  of  the  Societe  Nationale  de  Musique, 
of  which  Franck  had  been  president,  gave  an 
address  full  of  feeling  at  the  tomb  of  the 
master. 

The  principal  disciples  who  had  the  happi- 
ness of  receiving  directly  this  precious  in- 
struction were,  in  chronological  order :  Henri 
Duparc,  the  successor  of  Schubert  and  Schu- 
mann in  the  genre  of  song ;  Arthur  Coquard ; 


CESAR  FRANCK  AT  THE  ORGAN  OF  STE.  CLOTILDE. 

From  the  painting  by  Mile.  Jeanne  Rougier,  made  in  1888. 
Reproduced  by  permission  of  the  owner,  Georges  Franck. 


Albert  Cahen ;  Alexis  de  Castillon,  who  died 
in  1873,  at  the  age  of  thii-ty-six  years,  and 
who,  after  having  received  for  many  years 
lessons  from  Victor  Masse  (who  seemed  to 
try  to  annihilate  the  marvelous  gifts  of  this 
beautiful  nature),  had  the  courage  to  recom- 
mence his  entire  musical  education  with 
Franck,  and,  having  destroyed  all  his  pre- 
vious essays,  wrote  a  great  amount  of 

432 


symphonic  and  chamber  music  of  the  first 
order;  Vincent  d'Indy,  the  writer  of  this 
study;  Camille  Benoit;  Madame  Augusta 
Holmes;  Ernest  Chausson,  author  of  "Le 
Roi  Arthus,"  a  lyric  drama,  and  of  very  beau- 
tiful symphonies  (he  was  prematurely  taken 
away  from  the  affection  of  his  friends  in  1899) ; 
the  delicate  worker  Pierre  de  Bre'ville ;  Paul 
de  Wailly ;  Henri  Kunkelmann ;  Louis  de 


CfiSAR  FRANCE 


433 


Serres;  Charles  Bordes,  the  young  and  al- 
ready celebrated  director  of  "  Les  Chan  tears 
de  Saint  Gervais,"  who  are  reviving  in  France 
the  knowledge  of  real  religious  music ;  Guy 
Ropartz,  now  the  director  of  the  Conserva- 
tory of  Nancy,  to  whom  we  owe  some  very  re- 
markable symphonic  compositions ;  Fernand 
Le  Borne ;  Gaston  Valliu ;  and,  finally,  poor 
Guillaume  LeKeu,who  died  at  twenty,  leaving 
a  considerable  legacy  of  works  of  an  intensity 
and  expression  almost  amounting  to  genius. 
It  was  principally  to  continue  instruction 
such  as  Franck's  and  to  perpetuate  it  that 
three  men,  scholars  or  admirers  of  this  la- 
mented master,  Alexandre  Guilmaut,  Charles 
Bordes,  and  Vincent  d'Indy,  founded,  now 
some  years  since,  La  Schola  Cantorum,  a 
school  of  music  whose  principles  are  uniquely 
grounded  upon  love  and  veneration  of  art, 


without  other  prejudice.  But  even  if  pious 
friends  had  not  been  found  to  continue  the 
work  of  didactic  propaganda,  nothing  could 
have  hindered  the  healthy  and  honest  doc- 
trine of  Cesar  Franck  from  fructifying  and 
spreading  from  one  to  another,  because  it  is 
the  verity  of  art. 

Besides,  nothing  will  prevent  the  produc- 
tions of  the  master's  genius  from  living  in 
the  future ;  and  while  the  names  of  certain 
composers,  who  worked  only  for  glory  or  for 
money/  and  strove  for  immediate  success  as 
their  most  desired  good,  are  even  now  com- 
mencing to  retire  to  the  shadows  from  which 
they  will  never  again  emerge,  the  seraphic 
figure  of  the  author  of  "Les  Beatitudes" 
floats  high  and  ever  higher  in  the  light 
toward  which,  without  compromises  or  fa- 
tigue, he  strove  all  his  life. 


ST.  PAUL'S  CATHEDRAL,  LONDON. 

DRAWN  BY  JOSEPH  PENNELL. 
THE  FUNERAL  SERVICES  OF  SIR  ARTHUR  SULLIVAN  WERE  HELD  IN  ST.  PAUL'S. 


434 


THE  MUSIC  OF  MODERN   FRANCE 


THE  century  of  alternation  in  lethargy 
and  turmoil  which  evolved  the  ex- 
quisite musical  art  of  Modern  Prance  pre- 
sents interesting  aspects  that  are  wholly  of 
France,  besides  many  that  are  interwoven 
with  musical  progress  in  other  countries. 
Of  the  historical  features  involved,  none  are 
more  striking  than  those  of  asylum  occasion- 
ally furnished  to  gifted  foreigners  while 
blindly  ignoring,  even  opposing,  some  of 
the  most  gifted  of  her  own.  Neither  Chopin, 
Liszt,  Thalberg,  nor  Gottschalk  was  native 
to  France,  yet  they  were  all  taken  up  as 
would  have  been  becoming  to  her  own  chil- 
dren. At  times,  between  1839  and  1861, 
even  Richard  Wagner  found  a  few  friends 
there.  Then  the  great  neglect  of  Berlioz — 
in  a  smaller  degree  also  the  fine  genius  of 
such  composers  as  Alkan  and  Bizet,  came 
with  just  so  much  force  against  the  French 
spirit  which  could  hate  as  violently  as  it 
could  love. 

The  history  of  music  in  France  for  the 
nineteenth  century  also  shows  some  strange 
analogies,  principal  among  which  is  that 
between  Glinka  and  Berlioz.  Both  were 
born  in  1803  and  their  respective  master- 
pieces for  Russia  and  France  were  produced 
within  the  half  decade  beginning  about 
1835.  The  latter  year  marked  the  arrival 
of  Berlioz's  great  opera,  "Benvenuto  Cel- 


lini," followed  in  two-year  intervals  by  the 
"Requiem"  and  the  "Romeo  and  Juliette" 
symphony.  Glinka's  "Life  for  the  Czar," 
composed  in  1834  and  1835,  was  first  given 
in  1836,  and  his  much  more  even  and  potent 
"Russian  and  Ludmilla"  came  to  the  pub- 
lic in  1842.  Upon  the  failure  which  was 
the  temporary  fate  of  "Russian,"  Glinka 
went  out  into  the  world,  and  in  Paris  found 
Berlioz,  whose  own  battles  for  recognition 
allowed  him  to  sympathize  to  the  highest 
degree.  Berlioz  helped  Glinka  to  secure 
performance  for  some  of  his  works,  and  life 
for  the  stranger  became  much  more  endura- 
ble. Within  a  short  time,  Berlioz  also  went 
out  into  foreign  lands  to  find  the  success 
which  was  wrongfully  denied  in  France, 
and  in  Austria  and  Russia  he  found  some 
of  the  comfort  which  Glinka  had  secured  in 
France  and  Spain. 

At  the  beginning  of  the  nineteenth  cen- 
tury music  in  France  was  at  a  very  enthu- 
siastic stage  through  the  recent  organization 
of  the  Paris  Conservatory,  a  distinctively 
Republican  institution  as  against  the  old 
Monarchical  institution  of  the  Grand  Opera. 
Violin  playing  especially  was  in  high  fame 
there  through  the  co-operation  of  Rode, 
Kreutzer  and  Baillot.  The  newest  sym- 
phonies by  the  young  Beethoven  were  being 
given  in  Paris  with  the  most  creditable 

435 


436 


THE    MUSIC    OP    MODERN    FRANCE 


promptness.  On  that  general  momentum 
French  musical  life  proceeded  at  a  good 
pace  for  a  couple  of  decades,  until  Meyer- 
beer and  Halevy  appeared  and  attained 
a  popularity  which  for  a  time  obscured  not 
only  Berlioz,  but  the  young  Wagner  of  ' '  The 
Flying  Dutchman"  and  " Taimhauser. " 
Wagner's  earlier  "Rienzi"  had  been  very 
well  received  at  Dresden  in  1842,  but  his 
succeeding  operas  were  to  meet  with  diffi- 
culties, both  in  securing  performance  and 
the  understanding  of  the  people. 

Henceforth  France  was  to  settle  down  into 
a  lethargy  of  thirty  years,  until  the  death 
of  Berlioz  in  1869  and  the  first  full  realiza- 
tion of  his  genius  through  Reyer's  festival 
of  March,  1870.  In  our  present  view  of  the 
evolution,  we  know  positively  that  the  neg- 
lect of  Berlioz  in  those  years  was  paralleled 
by  that  accorded  his  own  countryman,  Ch. 
V.  Alkan  (1813-1888),  who  modestly  pre- 
ferred the  career  of  a  teacher-composer  to 
that  of  the  piano  virtuoso,  at  a  time  when 
Paris  was  largely  occupied  with  Chopin  and 
Liszt.  Meantime  Alkan  was  composing 
works  of  so  great  content  and  character  as 
to  represent  a  complete  revolution  in  the 
piano  literature  of  that  day,  just  as  they 


EMMANUEL    CHABRIER 


have  in  part  a  potent  meaning  for  ears  of 
the  twentieth  century.  As  to  Wagner,  he 
lived  in  Paris  for  three  years,  1839  to  1842, 
struggling  against  poverty.  In  1849,  upon 
his  flight  to  Paris  from  Germany,  the  city 
was  at  a  low  ebb  musically  and  there  was  no 
encouragement.  He  went  to  Zurich.  He 
was  in  Paris  again  from  September,  1859, 
until  the  failure  of  his  ' '  Tannhauser, ' '  after 
three  renditions,  in  March,  1861.  Though 
he  had  the  close  friendship  and  artistic  ap- 
preciation of  many  musicians  and  literary 
celebrities,  the  public  would  not  yet  follow. 
Then  for  the  thirty  years  before  the  war 
with  Germany,  only  the  pianists  Liszt  and 
Chopin,  re-enforced  in  1841  by  the  coming 
of  Gottschalk,  had  enjoyed  the  great  popu- 
larity which  was  denied  the  genius  of  Alkan 
and  Berlioz,  although  deserved.  From 
1835,  for  a  few  seasons,  the  Swiss,  Sigis- 
mund  Thalberg  had  already  shared  the 
popularity  of  Chopin  and  Liszt. 

The  history  of  musical  progress  in  France 
for  the  period  since  1870  has  other  aspects 
of  the  greatest  moment  and  they  should 
never  be  overlooked,  since  they  are  of  a 
type  likely  to  mark  the  history  of  every 
nation's  progress.  The  prime  lesson  therein 
is  this — that  having  had  for  a  time  no  active 
art  of  her  own,  she  borrowed  from  the  fur- 
thermost parts  of  the  world  .until  her  own 
gifted  sons  came  forward  with  an  art 
wholly  individual,  and  the  peer  of  any.  In 
France  the  war  of  1870  aroused  the  people 
to  a  sense  of  nationalism  which  was  willing 
to  accept  Berlioz  in  his  most  extreme  flights. 
It  was  the  later  combination  of  Berlioz  and 
Wagner,  adding  a  bit  of  Tschaikowsky  and 
Grieg  with  the  intense  classicism  of  Franck, 
which  prepared  France  for  the  peaceful 
revolution  accomplished  in  1902  by  De- 
bussy's "Pelleas  et  Melisande. " 

Direct  proof  of  the  educative  power  and 
the  occasional  need  of  foreign  influences 
is  seen  in  the  unfortunate  experience  of 
Bizet 's  ' '  Carmen. ' '  From  1870  to  1875,  the 
five  years  of  willingness  in  musical  nation- 
alism, and  the  important  success  of  the 
"Arlesienne  suite,"  in  1872,  were  yet  in- 
sufficient in  public  education  to  save  the 
finest  fruit  of  the  life,  which  from  earli- 
est childhood,  Bizet  had  given  devotedly  to 


THE    MUSIC    OP    MODERN    FRANCE 


437 


music.  But  when  the  hatred  which  war 
engendered  had,  by  1882,  receded  far 
enough  to  permit  Lamoureux's  playing  of 
Wagner,  "Carmen"  also  came  into  the 
esteem  and  full  understanding  which  should 
have  been  accorded  while  the  composer  still 
lived,  in  1875. 

Nevertheless  the  extraordinary  progress 
which  musical  France  made  after  1870  had 
not  been  possible  either  to  foreign  or  domes- 
tic influences  alone;  rather  it  was  accom- 
plished through  the  most  intense  application 
of  every  imaginable  force  which  could  lead, 
coax  or  educate  the  French  public  to  the 
acceptance  of  new  and  extreme  conditions 
in  music. 

As  early  as  1851,  Jules  Pasdeloup  had 
made  an  attempt  to  improve  and  intensify 
Parisian  concert  life  by  establishing  the 
"Society  of  Young  Conservatory  Artists." 
After  some  success  and  many  vicissitudes  iif- 
this  concert  giving,  he  was  enabled  ten 
years  later  to  reorganize  for  the  famous 
"Concerts  Populaires, "  which  rather  hap- 
pily existed  until  the  outbreak  of  war. 
Meantime,  in  1869,  during  a  brief  director- 
ship of  the  Theatre  Lyrique,  Pasdeloup 
had  given  Wagner's  "Rienzi,"  though 
under  conditions  of  heavy  financial  loss. 
After  the  war  he  was  enabled  to  resume 
concert-giving  by  the  aid  of  an  annual  gov- 
ernment subsidy  of  twenty-five  thousand 
francs,  and  his  activity  thus  extended  to 
1884,  when  the  competition  long  since  arisen 
through  the  finer  artistic  results  of  the 
Colonne  and  the  Lamoreux  concerts,  made 
it  no  longer  necessary  nor  advisable  to  con- 
tinue. 

Before  proceeding  to  notice  the  activity 
of  various  other  organizations  which 
strongly  contributed  to  progress,  it  should 
be  observed  that  before  1870  there  was  no 
place  where  a  modern  composer  could  get 
a  hearing  for  his  works,  except  by  hiring 
his  own  orchestra  and  'hall.  Even  Berlioz 
and  Wagner  were  constrained  to  undergo 
this  responsibility  and  in  nearly  every  in- 
stance with  heavy  loss.  Then  aside  from 
Pasdeloup 's  earliest  concert-giving  by  con- 
servatory students,  the  one  other  important 
organized  attempt  at  concert  culture  had 
been  Emile  Lemoine's  Society  for  Chamber 


r 


VINCENT   D'INDY 

Music,  established  in  1860,  which  had  but  a. 
short  existence. 

Briefly  stated,  the  most  potent  organiza- 
tions and  forces  contributing  to  the  final 
redemption  of  musical  France,  were  the 
Societe  Nationale  of  1871,  and  the  "Con- 
certs de  1 'Association  artistique,"  founded 
in  1873  by  Colonne,  and  where  honor  to 
Berlioz  reached  its  highest  in  about  1880. 
The  Lamoreux  concerts  also  began  in  1882 
a  brisk  promotion  of  the  public  acquaint- 
ance with  Wagner,  and,  after  the  .usual 
years  of  contention,  by  1885  the  Wagnerian 
philosophy  dominated  all  discussions  of 
art  and  literature  in  Paris;  by  the  year 
1890,  when  Cesar  Franck  died,  the  time 
had  come  to  rebel  against  so  much  Wagner, 
and  there  were  introduced  new  elements 
represented  by  such  as  Tschaikowsky  and 
Grieg.  In  1892  the  "Chanteurs  de  St.  Ger- 
vair"  were  organized  to  perpetuate  the 
Cesar  Franck  traditions  in  the  new-classi- 
cism. The  Schola  Cantorum,  in  further 
opposition  to  Wagnerian  influences,  was 
organized  in  1894,  by  Vincent  d'Indy  and 
Charles  Bordes.  Within  the  next  ten  or 
eleven  years,  there  came  also  the  "Ecole 
superieure  de  Musique, "  under  d'Indy;  the 
"Nouvelle  Societe  Philharmonique  de 
Paris,"  under  Emanuel  Rey,  and  in  1905 


438 


THE    MUSIC    OF    MODERN    FRANCE 


Victor  Charpentier  's  series  of  free  concerts 
known  as  "L'Orchestre." 

All  of  the  above  named  activities  had 
been  unavailing  but  for  the  powerful  and 
all-permeating  agencies  enlisted  for  the 
enlightenment  of  the  masses.  In  1871 
music  lectures  were  instituted  at  the  Con- 
servatory of  Paris,  and  in  1893  the  presenta- 
tion of  musical  theses  was  begun  at  the 
Sorbonne.  In  1889  the  French  Government 
sent  Charles  Bordes  to  assemble  the  folk 
songs  of  the  Basque  country  and  he  issued 
a  highly  valuable  report  entitled  "Archives 
de  la  Tradition  Basque,"  besides  giving 
modern  orchestral  setting  in  a  "Fantaisie" 
and  a  "Rhapsodie  Basque."  In  1895  valu- 
able collections  of  French  folk  songs  were 
distributed  to  the  pupils  of  the  common 
schools  of  the  Republic.  From  1900  to  1906 
Maurice  Buchor  was  busily  engaged  in  the 
revolutionary  and  quasi-vandalistic  process 
of  setting  the  great  German  choral  classics 
to  modern,  French-nationalistic  poems.  In 
this  radical  manner  he  soon  had  children  all 
over  France  singing  the  choruses  from  Beet- 
hoven's "Fidelio,"  Schumann's  "Faust" 
and  Handel's  "Messiah."  The  years  1903- 
1904  found  the  national  attitude  so  changed 
that  the  music  periodicals  were  presenting 
such  topics  as  "Influence  of  German  Music 
on  France"  and  "Present  Conditions  of 
Music  in  France."  Nevertheless,  at  any 
time  within  the  two  decades  just  preceding 
those  years,  one  might  have  found  music- 
literary  discussions  by  such  strong  leaders 
as  Saint  -  Saens,  d'Indy  and  the  much 
younger  Debussy,  all  lending  the  most  valu- 
able aid  through  the  technical  and  daily 
press. 

Ignoring  for  awhile  the  history  of  public 
prejudice  and  gradual  conversion  as  indi- 
cated in  the  foregoing  exposition,  it  will  be 
of  interest  to  examine  the  inner  character 
of  compositions  which  emanated  from  the 
different  schools  within  the  French  nation 
itself.  For  it  is  certain  that  on  the  way 
from  Berlioz  to  Cesar  Franck,  music  har- 
monic texture  had  a  long  journey,  and  from 
Franck  to  the  Debussy  of  "Pelleas  et  Meli- 
sande,"  lay  another  great  stretch  in  evolu- 
tion, though  in  chronology  it  was  but  little 
more  than  a  decade. 


Going  back  to  the  Berlioz  of  1840,  the 
texture  and  the  message  he  had  to  convey  in 
music  was  sufficiently  new  to  repel  the 
French  public,  yet  it  was  not  in  advance  of 
his  contemporary,  Robert  Schumann ;  and 
though  Berlioz  could  not  succeed  in  his  na- 
tive land,  he  was  promptly  taken  up  in  Cen- 
tral and  Eastern  Europe,  just  as  Schumann 
was  also  enabled  to  bring  his  works  before 
the  German  public  with  seldom  a  delay  or  a 
disappointment.  Furthermore,  Schumann 
had  the  power  greatly  to  influence  Tschai- 
kowsky  and  Rubinstein,  not  to  speak  of  the 
horde  of  his  own  countrymen  who  drank  at 
the  same  fount.  Doubtless  the  Berlioz  in- 
fluence upon  the  instrumentation  of  Wagner 
and  Liszt,  still  further  upon  that  of  Bruck- 
ner, and  yet  a  full  half-century  later  upon 
Gustav  Mahler,  was  ultimately  as  great  as 
Schumann's,  but  Berlioz  did  not  live  to 
receive  credit,  either  in  honor  or  in  this 
world's  goods. 

As  for  Bizet,  there  was  no  valid  excuse 
for  the  failure  of  his  "Carmen,"  except 
that  as  drama  the  moral  status  of  the  hero- 
ine may  have  been  given  consideration  over 
all  other  problems  of  music  or  tragedy; 
thirty  years  later  the  tremendous  musical 
and  dramatic  inspiration  of  the  Richard 
Strauss  "Salome"  was  put  to  the  same  test, 
but  the  great  lyric  beauty  of  the  music  and 
the  better  education  of  the  public  rightly 
prevailed,  and  the  work  ran  to  hundreds  of 
performances  throughout  Europe.  Judged 
for  the  respective  modernity  in  the  periods 
of  their  creation,  and  for  the  innate  power 
of  their  messages,  there  is  hardly  anything 
to  choose  between  them,  and  they  should 
both  maintain  themselves  for  long  genera- 
tions to  come. 

One  of  the  most  striking  of  all  aspects  in 
the  late  nineteenth  century  of  music  history 
in  France  is  the  suddenness  with  which 
Cesar  Franek  (1822-1890),  as  a  radical  har- 
monist, was  superseded  by  Debussy;  for 
within  three  years  after  the  death  of  the 
old  master,  the  very  year  in  which  "The 
Beatitudes"  was  first  heard,  Debussy  was 
already  occupying  the  ground  with  his  much 
more  radical  string  quartet,  and  only  one 
year  later  there  appeared  his  high  color 
"Afternoon  of  a  Faun."  In  the  quarter  of 


CLAUDE    DEBUSSY 


a  century  that  lias  elapsed  since  the  appear- 
ance of  those  works  the  world  has  witnessed 
a  veritable  succession  of  other  fine  music- 
revolutionary  feats,  and  still  one  feels  a 
sense  of  amazement  that  compositions  of 
such  intricate  texture  were  in  existence  so 
long  ago.  This  impression  is  all  the  stronger 
for  the  fact  that,  notwithstanding  the  still 
more  evanescent  "Pelleas  et  Melisande,"  of 
1902,  the  outer  world  came  to  its  highest 
point  in  Debussy  worship  only  within  the 
five  years  which  began  at  about  1905. 
Through  all  such  circumstances  as  the  above, 


Cesar  Franck's  fine  place  in  history  stands 
wholly  unaffected,  for  he  exerted  a  timely 
and  a  tremendous  force  in  diverting  French 
thought  away  from  the  general  operatic  and 
"Wagnerian  exclusiveness,  back  to  the  endur- 
ing uses  of  symphonic  and  chamber  forms. 
Added  to  it  all,  there  is  the  permanent  fund 
of  beautiful  and  vital  discourse  represented 
in  his  own  compositions.  There  is  further 
the  rich  fund  of  characterful  and  enduring 
compositions  that  have  been  written  by  his 
pupils,  as  by  d'Indy,  Chausson,  Ravel, 
Dukas,  Chabrier  and  de  Ropartz. 

439 


440 


THE    MUSIC    OP    MODERN    FRANCE 


Looking  for  a  moment  to  the  externals  of 
Parisian  concert  life,  up  to  the  beginning 
of  the  world  war,  the  French  capital  was 
showing  a  very  large  vogue  in  the  appreci- 
ation of  the  Brahms  Lieder.  Simulta- 
neously the  great  German  lyricist  was 
similarly  honored  throughout  the  intense 
musical  life  of  Russia ;  now  there  have  been 
thoughtful  musicians  who  were  in  fullest 
sympathy  with  these  various  elements  of 
Russian  and  French  geography  and  German 
music,  who  felt  that  the  Brahms  cult  could 
have  only  a  brief  existence  in  those  lands, 
since  the  psychology  of  the  peoples  was  so 
unlike  that  of  Brahms.  At  first  flush  that 
argument  seemed  plausible,  yet  time  may 
prove  it  erroneous,  since  the  Brahms  nature 
was  pre-eminently  lyric,  and  there  has  never 
been  a  time  when  either  the  Russians  or  the 
French  were  not  susceptible  to  lyric  beauty 
when  presented  in  a  language  whose  technic 
they  understood. 


In  final  comment  upon  phases  of  French 
music  history  for  the  nineteenth  century, 
there  appears  a  very  striking  fact  relating 
to  the  particular  nativity  of  the  nation's 
composers — in  effect,  that  among  a  mere 
thirty  of  the  most  gifted  and  best  known, 
fully  thirteen  were  born  in  the  one  city  of 
Paris.  In  the  study  of  the  nativity  of  the 
world's  other  composers,  this  grouping 
within  one  city  the  birth  of  so  large  a  per- 
centage of  the  entire  nation's  gifted  sons 
is  an  instance  wholly  unparalleled.  It  is  a 
crushing  argument  against  the  French  sys- 
tems of  education  in  vogue  for  that  century 
— the  lack  of  opportunity,  not  alone  for 
Berlioz,  Alkaii,  Bizet  and  Franck,  but  of  the 
thousands  who  happened  to  be  born  away 
from  the  metropolis.  For  it  is  simply  un- 
believable that  during  the  period  in  which 
Paris  produced  thirteen,  the  rest  of  the  na- 
tion gave  birth  to  no  more  than  the  twenty 
who  were  permitted  to  come  to  maturity. 


SIGNATURE    OF    DEBUSSY 


BY  PERMISSION. 


THE  DANCE  OF  THE  MUSES.     BY  E.  FROMENT. 


THE   LEGACY  (Jt   THE  CENTURY 

THE  EVOLUTION  OF  MUSIC   FROM    THE  ITALIAN    STANDPOINT 


PIETRO  MASCAGNI 


AT  the  mere  thought  of  my  broad  and 
-£*-  varied  field  a  spontaneous  enthusiasm 
incites  me  to  the  expression  of  ideas  that 
have  long  tenaciously  beset  me  —  ideas  by 
which  I  guide  myself  in  that  infinite  realm 
of  art  wherein  the  soul  vainly  seeks  peace 
and  rest.  I  shall  be  sincere,  but  it  is  not  my 
aim  to  diffuse  dissatisfaction. 

Let  us  consider  the  matter.  "  The  Legacy 
of  the  Century  "  is  the  gift  of  the  dying  age 
to  a  new  era,  with  no  indication  whatever  as 
to  whether  we  stand  face  to  face  with  the 
dead  or  with  the  heir.  I  firmly  believe  that 
the  new  century  will  accept  the  inheritance  of 
its  predecessor  in  bulk  and  without  reserve, 
because,  as  a  whole,  it  is  by  no  means  a  bad 
one.  But  if  we  of  the  new  school  (so  called) 
desire  .to  draw  up  an  inventory  of  the  be- 
quest, how  should  we  proceed  ?  May  we  not 
be  taxed  with  having  sought  to  squander 
the  patrimony  of  our  grandparents,  of  our 
ancestors  —  treasures  of  rarest  worth,  re- 
splendent with  gems  of  "  purest  ray  serene  "  ? 
Happily,  our  guide  into  the  new  century  is 
our  great-grandfather  Giuseppe  Verdi ;  he 


holds  us  by  the  hand:  our  inheritance  is 
safe. 

ROSSINI  AND  VERDI  THE  UNBROKEN 

LINE  OF   GENIUS  THROUGH 

THE   CENTURY 

I  LOOK  back,  and  to  my  searching  gaze  ap- 
pears a  vision  of  clearest  light ;  one  single 
line,  unbroken,  scarcely  knotted,  midway,  by 
the  impact  of  genius,  encircles  the  nineteenth 
century.  Rossini,  Verdi :  behold  the  sym- 
bolic vision  of  the  century  of  melody,  and 
beneath  it,  beneath  that  luminous  heaven, 
see  how  numerous  the  other  names  of  ge- 
nius, how  marked  a  continuity  in  the  evolu- 
tion of  music. 

I  purpose  to  deal  with  our  Italian  art,  es- 
pecially the  art  melo-dramatic,  neglecting 
nothing  cognate  to  the  general  evolution 
of  music,  but  giving  prominence  to  the 
Italian  melo-drama  which  in  the  nineteenth 
century  has  been  the  lever  of  all  musical 
activity.  1  cannot  imagine  an  Italian  musi- 
cian that  is  not  a  writer  of  melo-dramatic 
music ;  the  blood  of  the  symphonists  courses 

441 


442 


MASCAGNI   ON   THE  LEGACY   OF  THE  CENTURY 


not  in  his  veins,  but  the  need  of  produc- 
ing raelo-drama  impresses  me  as  natural, 
as  imperative,  to  any  composer  born  under 
our  fair  skies.  There  can  be  but  two  kinds 


as  in  the  trio  and  in  the  quartet  one  en- 
counters the  forms  and  developments  of  the 
classic  symphony,  so  one  always  finds  in  the 
romance  and  in  the  duet  the  germ  of  melo- 


IR1S. 

From  the  painting  by  George  Frederick  Watts. 


of  music,  melo-dramatic  and  symphonic. 
Chamber-music  always  belongs  to  one  sort 
or  to  the  other ;  the  romance,  the  duet,  the 
quartet,  slender  though  the  tie  may  be,  can 
never  be  isolated  from  the  parent  root ;  and 


drama.  The  construction  of  the  symphony 
involves  few  ideas  connected  and  developed 
by  science;  the  melo-drama,  on  the  other 
hand,  requires  many  ideas  and  little  science. 
One  readily  comprehends  why  the  Italian,  by 


MASCAGNI  ON  THE  LEGACY  OF  THE  CENTURY 


443 


his  geniality  and  volubility,  should  naturally 
incline  to  melo-drama.  No  one  will  deny, 
that  Italians  have  always  had  an  abundance 
of  ideas. 

These  two  radical  characteristics  of  musi- 
cal composition  appear  in  accordance  with  the 
character  of  each  several  nation.  The  Latin 
races,  in  general,  neglect  and  despise  science 
in  art;  the  Northern  and  Teutonic  races 
make  science  the  basis  of  art. 

The  nineteenth  century  has  beheld  the 
efflorescence  of  a  new  musical  culture  in 
Northern  lauds ;  it  has  christened  and  con- 
firmed Russian,  Swedish,  and  Norwegian 
composei's,  but  the  appearance  of  these  new 
and  valiant  champions  in  the  field  of  music 
has  been  greeted  by  the  homage  exclusively 
due  to  the  will  and  power  of  science.  Eng- 
land, on  the  other  hand,  has  felt  the  influence 
of  the  French  and  Italian  schools,  and  has 
sent  forth  operas  and  operettas  impressed  l>v 
the  elegance  and  volubility  of  the  form?*r 
•4nd  the  geniality  of  the  latter. 

ENGLISH  MUSIC  EXOTIC 

A  STRANGE  country  is  England,  considered 
from  the  musical  standpoint.  She  has  pro- 
duced excellent  composers,  but  without  ever 
expressing  a  distinctly  national  character  in 
her  style  of  music.  The  invasion  of  German, 
French,  and  Italian  musicians  into  the 
wealthy  British  Isles,  undertaken  unquestion- 
ably rather  at  the  call  of  the  lira  sterlimi  than 
of  the  lira  musicale,  may  account  for  the  fact. 

I  witnessed  in  London  the  astounding  suc- 
cess of  a  sort  of  operetta  written  by  an  Eng- 
lish composer,  who,  in  a  twinkling,  had 
scaled  the  heights  of  fame.  The  composer 
in  reference,  encouraged  by  his  triumph, 
composed  a  serious  melo-drama,  a  genuine 
one.  Queen  Victoria,  desiring  to  have  the 
new  work  performed  in  Berlin,  wrote  a  brief 
note  to  her  grandson,  the  Emperor  William, 
warmly  commending  the  effort  of  her  favor- 
ite composer.  One  can  easily  imagine  the 
care  and  pains  with  which  the  new  opera 
was  made  ready  and  the  importance  given 
the  first  performance.  I  had  the  good  for- 
tune to  be  a  spectator.  This  work  met  with 
complete  failure. 

It  seemed  to  me,  as  I  thought  over  the  case 
of  English  musical  evolution,  that  the  Eng- 
lish musician  seeks  to  force  himself  be- 
yond the  limit  of  his  powers,  and  that  under 


the  influence  of  foreign  maestri  to  whom  lie 
has  given  hospitality,  and  encouraged  by  the 
success  of  artists  from  other  lauds,  who  are ' 
always  admirably  received  in  London,  he 
does  not  measure  his  steps.  Thus  it  comes 
that  the  music  of  the  English  people  faces 
the  new  century  void  of  any  special  character 
and  with  no  definite  goal  assigned  to  its  un- 
steady and  sinuous  course. 

THE  OTHER  NORTHERN  NATIONS 
EXHIBIT   WELL-DEFINED  SCHOOLS 

ON  the  other  hand,  the  other  Northern  na- 
tions present  themselves  with  strength  and 
compactness  and  with  a  definite  purpose ; 
they  already  tread  a  well-marked  path.  And 
why  f  Because  their  music  takes  its  origin 
in  their  national  folk-songs.  In  Russia.  Den- 
mark, Norway,  the  basis  of  musical  culture 
is  popular  melody.  I  am  thoroughly  awake 
to  the  great  influence  of  folk-song  upon  the 
musical  development  of  nations.  Music  is  a 
universal  language;  its  purpose  is  to  be  un- 
derstood by  the  people.  It  must,  therefore, 
be  born  of  the  people's  feelings,  must  be  peo- 
ple's music. 

A  distinguished  authority,  writing  in  1765, 
in  the  journal  "  II  Caffe,"  then  published 
in  Milan,  observed  that  almost  no  nation 
of  the  world  found  pleasure  in  music  for- 
eign to  it.  How  much  of  nationality,  how 
much  of  popularity,  lies  in  these  words ! 
I  do  not  refer  to  such  symphonic  or  melo- 
dramatic music  as  requires  for  its  compre- 
hension a  certain  intelligence  common  to  all 
nations.  I  mean  music  imbued  with  popular 
sentiment,  with  national  spirit ;  music  that, 
freed  from  all  discipline  and  formula,  aims 
exclusively  at  uplifting  the  hearts  of  the  peo- 
ple ;  music  that  must  be  the  foundation,  the 
principle,  the  affirmation  of  any  school. 

I  have  not  time  to  consider  the  influence 
that  popular  music  has  had  upon  the  artistic 
and  intellectual  evolution  of  such  countries 
as  Scotland,  Russia,  Denmark,  Poland,  and 
Bohemia.  The  development  and  progress  of 
that  musical  culture,  always  based  upon 
their  folk-song,  may  some  day  be  a  potent 
factor  in  their  artistic  development.  The 
theme  is  admirably  suited  to  bear  out  the 
assertion  that  all  principles  of  music  must 
originate  in  the  spontaneous  expression  of 
the  people.  Pietro  Lichtenthal,  in  his  golden 
dictionary  of  music,  says  that  if  in  war-time 


444 


MASCAGNI   ON  THE   LEGACY  OF  THE  CENTURY 


soldiers  were  led  to  battle  singing  their  folk- 
songs in  chorus,  victory  would  be  secure.  In 
the  soul  of  every  warrior  the  enthusiasm 
aroused  by  the  familiar  melody  would  have 
no  limits ;  national  melody  would  make  each 
man  a  hero.  We  recall  the  ancient  Spartans 


I  do  know  that  the  music  of  each  is  born  of 
the  same  feeling. 

ITALIAN  MUSIC 

I   WAS   in   Venice   a  few  years   ago.     The 
weather  was  lovely,  the  skies  were  glorious, 


A  MEMORY  OF  VENICE. 

Drawn  by  Robert  Blum. 


following  limping  Tyrtaeus,  the  Athenian. 
In  Italy,  at  least,  the  monotonous  and  anti- 
melodious  drums  have,  in  the  nineteenth 
century,  been  done  away  with,  and  a  broad 
and  vigorous  impulse  has  been  given  in  our 
regiments  to  the  bands,  which  are  among 
the  most  beautiful  and  efficient  expressions 
of  patriotic,  national,  and  popular  feeling. 

ITALY,  SPAIN,  AND    HUNGARY,    THE 
THREE    COUNTRIES   WHERE    POP- 
ULAR MUSIC  BEST  FLOURISHES 

THERE  are,  in  Europe,  three  countries  in 
which  popular  music  flourishes  with  particu- 
lar luxuriance:  Italy,  Spain,  and  Hungary. 
The  three  differ  from  each  other  in  respect 
to  manners  and  customs,  and  one  is  unlike 
the  other  two  in  point  of  race,  and  yet  in 
their  people's  music  there  is  something  that 
imparts  the  same  attractiveness  and  awakens 
the  same  enthusiasm.  Does  it  lie  in  the  ex- 
pression, in  the  rhythm  ?  I  know  not ;  but 


the  laguna  was  fraught  with  ineffable  charm. 
I  was  to  depart  by  the  evening  train ;  a  gon- 
dola awaited  me  on  the  Canal  Grande,  in 
front  of  the  Grand  Hotel.  I  hastily  bade 
farewell  to  a  few  friends,  for  I  wished  to  be 
alone.  I  felt,  I  know  not  why,  strangely  im- 
pressed. Perhaps  I  was  grieved  at  leaving 
all  this  enchantment  of  art  and  nature.  The 
gondola  glided  noiselessly  over  the  middle 
waters  of  the  Canal  Grande,  whose  exquisite 
airy  walls  gradually  passed  from  my  ecstatic 
vision.  The  moon  diffused  its  white  and 
misty  light,  bestowing  new  colors  and  new 
shapes  upon  the  dark  waves  and  their  mar- 
velous surroundings.  The  cadence  of  the 
oar  marked  every  instant  of  delight  that 
swept  past  the  heart  as  the  indescribable 
picture  unfolded.  A  soft  harmony,  gentle 
and  suave  as  a  caress,  fell  upon  my  ear  from 
afar.  I  listened  attentively ;  yonder,  in  the 
Canal  Grande,  they  were  singing  a  popular 
song,  one  of  those  sentimental  Venetian  mel- 


MASCAGNI  ON  THE  LEGACY  OP  THE  CENTURY 


445 


odies  that  draw  their  inspiration  from  the 
beautiful  and  amorous  eyes  of  the  women 
of  the  people.  My  heart  overflowed ;  I 
sought  about  me  for  some  object  that  should 
divert  my  attention,  that  might  quickly 
arouse  me  from  the  ecstasy  of  body  and  soul. 
In  vain,  in  vain  !  Everything  was  beautiful 
and  sublime,  everything  added  to  my  emo- 
tion. The  sweet  song  continued;  my  eyes 
were  full  of  tears.  Oh,  fascinating  might  of 
popular  melody!  How  thou  dost  stir  the 
soul  to  its  depths  and  arouse  a  sentiment 
of  pain  almost  physical !  I  have  never  es- 
caped it  while  listening  to  a  canzone  of  Piedi- 
grotta's,  a  bolero,  or  a  Tzigane  "  elegy." 

THE  POTENCY  OF  POPULAR  MELODY 
AMONG  ITS  OWN  PEOPLE 

LET  no  one  reproach  me  with  my  cosmo- 
politan enthusiasm  by  quoting  an  adverse 


sis,  will  always  remain  incomprehensible  to 
the  foreigner  who  seeks  to  study  it  technically. 
The  enjoyment  of  a  people  in  the  music  of 
its  own  land  is,  according  to  my  own  obser- 
vation, far  superior  to  that  which  can  be 
given  it  by  any  foreign  music.  The  Vene- 
tian canzone  and  barcarole  instantly  render 
the  most  ferocious  Venetian  gentle,  soft,  and 
kindly,  though  they  would  not  even  attract 
the  attention  of  a  slave-dealer.  A  Neapoli- 
tan melodia  may  be  potent  to  arrange  the 
marriage  of  a  native  pair,  though  it  might 
pass  unnoticed  by  the  watchers  of  a  seraglio. 
A  dulcet  Spanish  dance  has  power  to  dissolve 
a  throng  of  Spaniards  into  the  abandon  of  a 
Southern  siesta,  but  to  the  ears  of  the  Chinese 
opium-smoker  it  would  remain  but  a  noise. 

HUNGARIAN   MUSIC 
THE  effect  of  Hungarian  national  and  popu- 


axiom.     The  feeling  that  a  people  displays      lar  music  is  strange  and  intense.     It  may  be 


MUSIC  IN  A  PUBLIC  GARDEN,  BUDAPEST. 

Drawn  by  Joseph  Pennell. 


in  its  character,  its  habits,  its  nature,  and 
thus  creates  an-  ever-privileged  type  of  music, 
may  be  apprehended  by  a  foreign  spirit  which 
has  become  accustomed  to  the  usages  and  ex- 
pressions common  to  that  particular  people. 
But  popular  music,  void  of  any  scientific  ba- 


defined  as  the  gentlest  of  spasms,  as  agonizing 
suavity,  as  voluptuous  pain.  To  comprehend 
this  clearly  one  must  have  been  in  one  of 
those  night  taverns  of  Budapest,  when  the 
Tzigane  band  madly  strikes  up  a  patriotic 
song,  or  tearfully  sighs  out  a  popular  elegy 


446 


MASCAGNI   ON   THE  LEGACY  OF  THE  CENTURY 


The  first  violin  sings  in  strange  and  pene- 
trating accents;  the  seconds,  the  violas,  the 
cellos,  and  the  double  bass  accompany  capri- 
ciously and  fancifully;  the  clarionet  trills; 
the  cymbalon  compasses  the  whole  gamut  of 
sound  and  whirls  it  madly  up  and  down, 


violin,  sees,  feels,  imagines  which  of  the  au- 
ditors is  the  most  stirred,  the  most  ecstatic; 
he  turns  to  him  when  he  reaches  the  cadenza 
of  the  elegy  and  kisses  his  brow.  The  lis- 
tener closes  his  eyes ;  perhaps  he  faints  away. 
The  players  strike  up  the  csardas  with  iu- 


SONTAG. 

From  :i  lithograph  published  in  Kii|(lnml  in  IK2K. 


welding  and  completing  the  characteristic 
polyphony  into  a  natural  and  lovely  har- 
mony. 

Thus  the  band  sadly  intones  the  "  Hallgato 
nota."  The  few  listeners  drink  no  more ; 
they  seem  to  drowse ;  really,  they  think,  with 
half-closed  eyes,  of  their  ideal ;  they  behold 
a  vision  of  the  loved  object,  feel  the  delight 
of  the  coveted  kiss,  the  shudder  of  the  fancied 
embrace.  The  leader  of  the  band,  the  first 


credible  slancio.  The  listeners  are  roused ; 
their  eyes  open  wide ;  their  hands  clutch  the 
locks  of  hair  about  their  ears ;  their  bodies 
are  irresistibly  convulsed.  The  music  has 
changed,  the  scene  has  shifted,  the  feeling  is 
transformed  for  the  dance.  Oh,  the  magni- 
ficent power  of  these  expressions  ! 

While  I  was  in  Budapest  with  an  Italian 
friend,  a  Southerner  from  Bari,  we  dined  at 
a  hotel  celebrated  for  its  band.  The  drawing- 


MASCAGNI  ON  THE  LEGACY  OF  THE  CENTURY 


447 


room  was  nearly  filled  by  a  distinguished  and 
richly  attired  throng;  the  band  was  tuning 
its  instruments.  I  observed  to  my  com- 
panion :  "  You  will  soon  be  able  to  determine 
which  are  the  Hungarians  and  which  the 
foreigners."  My  friend,  like  a  true  South- 
erner, silently  expressed  more  by  a  motion 
of  the  head  than  words  could  say.  The  band 
was  sighing  forth  a  mournful  chant.  We 
beheld,  with  surprise,  a  part  of  the  hearers, 
who  were  slowly  laying  knives  and  forks  upon 
the  table-cloth,  almost  imperceptibly  raising 
their  heads  and  closing  their  eyes  in  ecstatic 
sensuous  indolence,while  the  remainder  of  the 
guests  tranquilly  and  indifferently  continued 
their  repast.  My  friend  understood  at  once ; 
touching  my  elb'ow  and  smiling,  he  asked : 
"  What,  you  ?  Are  you,  too,  perchance  a 
Hungarian  ?  "  He  was  right ;  the  sweetness 
of  the  strains  had  overcome  me  also.  When, 
according  to  usage,  the  youngest  of  the  band 
walked  around  the  dining-room  to  take  up 
the  collection,  which  constitutes  the  only 
salary  of  Tzigane  musicians,  in  gratitude 
for  the  heavenly  delight  given  me  I  offered 
something  more  than  the  usual  fee.  To  my 
surprise,  the  Tzigane  withdrew  the  plate  and 
would  take  nothing.  A  waiter,  acting  as  in- 
terpreter, explained  the  motive  of  his  refusal. 
"  We  cannot  accept  anything  from  a  col- 
league." How  happy  I  felt  over  the  title 
conferred  on  me  with  so  much  sincerity  by 
the  generous  Tzigane !  My  bosom  swelled 
with  pride.  Would  to  heaven  I  could  find 
the  rare  song,  could  create  the  phenix-like 
melody  that  could,  like  popular  Hungarian 
music,  conjure  such  triumphs  of  enthusiasm  ! 
But  I  awoke  to  a  sad  disillusion.  The  Tzi- 
gane had  used  the  word  "colleague"  in  its 
closest,  narrowest  sense.  A  few  nights  pre- 
vious he  had  beheld  me,  in  a  tavern,  blindly 
whirled  along  in  the  vortex  of  a  maddening 
csardas,  snatch  the  violin  from  a  musician 
and  join  furiously,  despairingly,  in  the  per- 
formance of  music  that  has,  in  truth,  been 
familiar  to  me  since  early  childhood. 

Must  not  popular  and  national  melody  of 
such  strength  and  potency  have  tremendous 
influence  upon  the  development  and  evolu- 
tion of  music  ? 

I  confess,  however,  that  this  germ  which 
could  produce  other  and  far  more  savory 
fruit  has  been  too  little  cultivated.  Hungary, 
compared  with  Spain  and  Italy,  has  received 


most  from  its  popular  melodies,  inasmuch  as 
the  national  Hungarian  opera,  first  created 
in  the  nineteenth  century, —  to  be  precise, 
by  Kuzsieska,  in  1826, —  may  be  said  to  be 
the  genuine  outcome  of  folk-music.  Erkel,the 
most  celebrated  Hungarian  composer  of  the 
age,  and  regarded  in  his  native  land  as  the 
true  creator  of  the  national  opera,  has  even 
employed  in  his  works  popular  instruments 
such  as  the  cymbalon  and  the  tilinko,  the 
latter  a  sort  of  piffero.  I  do  not  think  I  am 
wrong  in  asserting  Erkel  to  be  the  most  cele- 
brated Hungarian  composer  of  the  century. 
Hungary  has  given  other  illustrious  musi- 
cians, such  as  Hummel,  Heller,  Liszt,  and 
Goldmark,  but  none  of  these  is  a  national 
composer.  It  is  impossible  to  find  any  in- 
fluence of  race  or  land  in  Heller's  music,  or, 
if  we  except  the  adagio  of  the  "  Sonata  in  A 
Flat,"  anything  of  genuine  Hungarian  char- 
acter in  Hummel's  compositions.  Goldmark 
discloses  only  the  characteristics  of  the  Ger- 
I)],.  school,  and  Liszt  himself,  in  spite  of  the 
famous  Hungarian  rhapsodies,  cannot,  in  my 
opinion,  be  included  in  the  array  of  national 
Hungarian  composers.  Nor  will  his  less  cele 
brated  and  familiar  efforts,  such  as  "  Le  Car- 
naval  de  Pesth,"  "  The  Legend  of  St.  Elizabeth 
of  Hungary,"  or  the  symphonic  poem,  "  Hun- 
gary," admit  Liszt  into  the  national  Hunga- 
rian school.  Without  attempting  a  critical 
study  of  the  genre  of  his  music,  and  speaking 
of  the  evolution  of  art  and  its  necessary  in- 
fluences only,  I  must  ask  how  it  comes  that 
Liszt  has  had  no  influence  upon  the  musical 
evolution  of  his  country,  or,  I  might  add, 
upon  that  of  any  other  nation  ?  What  trace 
has  his  music  left  in  the  history  of  art? 
What  mile-stones  has  his  art  erected  on  the 
long  road  the  musician  traversed?  I  see 
nothing.  There  remains  of  Liszt  the  fasci- 
nating echo  of  the  exceptional,  well-nigh  in- 
credible executant.  It  may  be  said  of  Liszt, 
in  the  words  of  Albert  Soubies,  that  "  he  be- 
longed to  no  school  and  held  in  art  a  unique 
position."  By  a  courteous  concession  to  the 
author  of  the  "  History  of  Music,"  he  may  be 
proclaimed  a  gtnie  d  part — a  separate  and 
isolated  genius ;  but  this  does  not  make  me 
discover  in  Liszt  —  it  rather  implies  the  re- 
verse—  any  element  of  influence  upon  the 
musical  evolution  of  the  century.  His  Hun- 
garian rhapsodies  are  nothing  but  artful 
acrobatism  gyrating  around  original  Hunga- 


448 


MASCAGNI   ON   THE  LEGACY   OF  THE  CENTURY 


rian  themes  which  completely  lose  their  char- 
acter in  the  composer's  skilful  paraphrases. 
When  one  has  once  heard  this  music  per- 
formed in  its  original  form  one  can  never  adapt 
it  to  the  oleographic  paraphrases  of  Liszt. 

Per  contra,  how  admirably  has  Brahms 
known  how  to  preserve  the  genuine  national 
character  of  his  Hungarian  dances,  and  what 


an  art  epoch  which,  as  the  result  of  the  evo- 
lution ot  genius,  becomes  historical. 

SCIENTIFIC  MUSIC  NOT  FRUITFUL 

A  DISTINCTION  might,  perhaps,  be  made : 
admit  that  artistic  evolution  implies  a  tech- 
nical progress  for  which  no  genius  is  required, 
but  rnerelv  a  studious  musician  skilled  in 


GOLDMARK  IN  HIS  STUDY. 
From  an  amateur  photograph  lent  by  Mr.  Adolph  Goldmark  of  Xew  York. 


a  monument  of  perfect  reproduction  is  offered 
by  Berlioz  in  the  superb  Rakoczy  march  in 
"The  Damnation  of  Faust,"  that  imperish- 
able national  march  which  Hungarian  patri- 
otic spirit  and  the  imagination  of  the  people 
made  a  woman  sing  as  she  traversed  Hun- 
gary to  awake  the  populace  and  summon  it 
to  the  rescue,  to  the  redemption,  of  their  land  ! 
But  Brahms  and  Berlioz  were  not  two  sepa- 
rate geniuses ;  they  were  men  of  real  and 
authentic  genius  who  brought  an  incalculable 
contribution  to  the  musical  evolution  of  the 
century.  Isolated  and  barren  genius  is  in- 
admissible ;  genius,  if  it  be  genius,  naturally 
and  unconsciously  finds  the  light  not  only  in 
the  shape  of  works  that  spontaneously  ger- 
minate from  its  seed,  but  through  the  influ- 
ence which  these  works  themselves  diffuse  in 


writing  canons.  I  mention  this  distinction 
because  nowadays  one  beholds  a  great  many 
learned  men,  exalted  in  high  positions  and 
greatly  honored,  who  would  persuade  people 
that  art  can  be  manufactured  by  scientific 
dogma.  Poor  visionaries !  These  very  dog- 
mas, these  canons  that  are  your  sole  means  of 
creation,  have  been  dug  out  of  and  scraped  off 
from  true  works  of  art.  No  theory  has  ever 
been  invented  that  can  create  art ;  but  art  in 
its  development,  in  its  evolutions,  its  new 
creations,  produces  the  new  theories  that 
you,  step  by  step,  exhume  and  scratch  off. 
You  contribute  to  history  your  studies  of  art 
works,  analyses,  coordinations,  lists  of  re- 
covered formulas,  but  to  art  itself  you  tender 
nothing.  Genius  has  been  the  sole  donor  to 
art  and  to  history. 


MASCAGNI   ON   THE  LEGACY  OF  THE  CENTURY 


449 


HUNGARY    POSSESSES  A  NATIONAL 

OPERA,   BUT  IS   THREATENED   BY 

GERMAN  INFLUENCE 

THE  nineteenth  century  has  witnessed  the 
dawu  of  Hungarian  opera,  which  has  un- 
dergone a  notable  evolution  through  the  ef- 
forts of  the  composers  Ruzsieska,  Erkel, 
the  brothers  Doppler,  Albert,  Francois,  and 
others,  down  to  Mosounyi,  who  may  justly 
be  cited  as  the  most  faithful  interpreter  of 
popular  Hungarian  sentiment.  I  recall  the 
fact  that  many  foreign  composers  have  found 
inspiration  in  popular  and  national  Hun- 
garian music.  The  magical  influence  exer- 
cised upon  the  souls  of  artists  by  this 
characteristic  music  may,  when  it  is  more 
generally  studied  and  cultivated,  bear  un- 
expected fruit.  The  balance-sheet  of  the 
century  in  Hungary,  however,  does  not 
arouse  much  hope.  German  influence  be- 
gins to  exert  itself  even  in  that  broad  a\d 
typical  land,  and  Conductor  Mikalovich,  the 
present  director  of  the  Budapest  Opera 
House,  represents,  perhaps,  the  great  danger 
menacing  national  Hungarian  music.  May 
the  evil  omen  be  averted !  May  strong  and 
noble  Hungary  decisively  cut  itself  away 
from  all  foreign  schools  and  affirm  itself 
anew  in  its  glorious  national  music  ! 

FOREIGN  ART  CANNOT  BE  GRAFTED 
UPON  A  COUNTRY 

I  HAVE  written  at  length  of  Hungary,  while 
I  have  been  brief  in  dealing  with  Spain  and 
Italy.  It  is  not  sufficient  for  the  national 
character  of  a  country  to  raise  a  bolero  or 
a  siciliana  to  the  dignity  of  a  recognized 
poem  in  order  to  establish  the  influence  of 
popular  music  in  the  evolution  of  art  —  I 
refer  to  periods  preceding  the  nineteenth 
century;  otherwise,  what  could  be  said  of 
the  polacca,  which  in  its  season  of  popularity 
invaded  even  Germany,  France,  and  Italy? 
The  history  of  art  awaits  far  different  fruits 
from  the  influence  of  national  music.  No- 
thing is  more  useless  to  the  artistic  evolution 
of  a  country  than  foreign  influence.  In  so 
far  as  genius  imposes  itself  upon  the  whole 
world,  it  is  true  that  art  has  no  country; 
but  the  production  congenial  to  one  country, 
informed  with  its  personal  and  natural  char- 
acter and  bearing  the  stamp  of  its  origin  and 
race,  will  always  exercise  a  negative  influ- 


ence upon  a  land  foreign  to  it.  Such  lands 
will  submit  to  its  potency  with  effort  and 
reluctance.  I  do  not  admit  that  grafting 
can  be  practised  in  art.  Each  nation  must 
progress  and  develop  itself  through  its  own 
forces  and  germinate  from  its  own  seed. 

MUSIC  IN  SPAIN 

I  DEPLORE  the  ill-prepared  and  disjointed 
conditions  which  England  presents  to  the 
new  century,  and,  similarly,  I  observe  that 
Spain  has  submitted  to  the  absolute  domin- 
ion of  Italian  music  during  the  entire  nine- 
teenth century,  giving  no  sign  of  a  desire  to 
shake  off  the  yoke  or  to  gather  strength  for 
freedom  in  the  memories  of  her  glorious 
musical  past.  In  the  words  of  Albert  Sou- 
bies,  "  her  once  vigorous  national  art  which 
formerly  produced  masterpieces  has  been 
replaced  by  a  superficial  and  conventional 
Italianism."  I  see  no  reason  to  be  proud  of 
this  Italian  invasion.  I  have  already  pro- 
claimed Rossini  to  be  the  most  celebrated 
man  in  Europe,  from  Naples  to  St.  Peters- 
burg. In  Spain  his  influence  was  so  great 
that  he  found  imitators  even  among  the  com- 
posers of  church  music.  While  his  incursion 
never  took  very  deep  root,  we  find  few  indi. 
cations  during  the  nineteenth  century  of  the 
return  of  Spanish  music  to  its  national  color', 
and  these  consist  exclusively  of  works  of 
buffo  character.  The  apathy  of  Spain  is 
quite  incomprehensible  in  view  of  the  glori- 
ous past  of  her  national  music.  Even  as  we 
must  inscribe  a  few  names  on  the  credit  side 
of  England's  balance-sheet  (I  include  among 
them  that  of  Mackenzie,  a  Scotchman),  names 
that  do  honor  to  the  art  of  their  native  land 
and  will  have  no  slight  influence  upon  the 
development  of  its  national  music,  so  I  am 
glad  to  place  upon  the  credit  side  of  Spain's 
account  the  name  of  Pedrell.  Pedrell  has 
been  almost  alone  in  point  of  influence  upon 
the  evolution  of  music  in  Spain,  but  he  stands 
well  prepared,  well  schooled,  and  self-reliant. 
His  spirit  is  wholly  national,  and  he  does 
battle  for  the  complete  artistic  redemption 
of  his  country.  I  can  only  express  my  sin- 
cere and  reverent  feelings  of  admiration  for 
his  noble  work,  without  foreshadowing  what 
fruits  his  sacred  campaign  may  bear.  I  can, 
however,  speak"  of  his  preparation  and  of  the 
music  he  purposes  to  employ  to  attain  the 
ideal  he  has  set  himself. 


450 


MASCAGNI   ON   THE   LEGACY   OF   THE   CENTURY 


ON   THE  NORTHERN   SCHOOL 

BUT  here  a  digression,  and  not  too  brief  a 
one,  is  apposite.  At  the  beginning  of  this 
paper,  referring  to  Northern  musicians,  I  ob- 
served that  their  achievements  had  been 
greeted  with  the  exalted  honors  due  to  sci- 


qualities.  Hi-re  again  I  make  use  of  an 
odious  term,  "  art  system,"  as  though  artistic 
production  could  be  subordinated  to  a  sys- 
tem —  to  a  series  of  formulas ;  yet,  speaking 
of  Northern  music,  the  term  impresses  me 
as  fitting.  Be  it  as  it  may,  it  came  to  me 
spontaneously. 


ANTONIO  TAMBURINI. 

Celebrated  bass-baritone  (1800-1876).     Sane  with  Grisi,  Rubini,  and  Lablache  at  the 
Theatre  Italien.  Paris,  during  1831-42. 


ence.  I  have  been  perhaps  too  absolute  and 
too  sweeping  in  my  statement,  for  throngs 
of  listeners  have  had  opportunities  to  admire 
the  genial  and  melodious  compositions  of 
Tschaikowsky,  Grieg,  and  Rubinstein.  The 
uncompromising  character  of  my  opinion  is, 
however,  strengthened  as  to  the  opinion  it- 
self. I  did  not  speak  with  reference  to  a 
special  case.  I  intended  to  embrace  a  whole 
art  system  that,  from  my  point  of  view,  is 
appreciable  only  for  its  theoretico-seientific 


I  except  Norway,  with  Svendsen,  a  pure 
and  masterly  symphonist;  and  Grieg,  the 
suave,  amorous  poet,  the  eternal  singer  of 
the  soft  language  of  his  fatherland.  I  ex- 
cept Denmark,  with  Hartmann  and  Gade. 
I  come  to  Russia,  which,  abandoning  what- 
ever influence  might  be  exerted  by  the  Polish 
music  of  Eisner,  Kurpinsky,  and  Glinka,  dur- 
ing the  nineteenth  century  founded  the 
"new  school"  with  the  composers  Cui  and 
Balakirev/. 


MASCAGNI   ON   THE   LEGACY   OF  THE  CENTURY 


451 


THE  NEW  RUSSIAN  SCHOOL 

I  REVERE  Russian  music  when  it  is  the  ex- 
pression of  national  sentiment  —  when  its 
vibrant  and  expansive  accents  penetrate  my 
heart  and  seek  its  most  responsive  fiber. 
Then  I  feel  that  this  music  has  something  to 
express.  But  what  place  can'  Russian  music 
(and  there  is  much  of  it)  hope  to  occupy  when 
desperately  void  of  all  ideal  or  inspiration! 


GIOVANNI   BATIISTA  RUBINI. 

A  famous  Italian  tenor  (1795-IS54).  Oirettor  of  Sinning  in 
Russia.     From  a  French  lithograph. 

It  may  be  argued  that  it  is  well  written,  but 
this  convinces  me  the  more  that  it  is  utterly 
useless  and,  therefore,  harmful  to  the  artistic 
development  of  its  native  land.  I  am  certain 
that  the  young  Russian  school  has  had  from 
its  origin  that  defect  the  reverse  of  which 
would  have  been  its  greatest  merit  —  com- 
plete preparation.  The  new  school  entered 
the  lists  armed  cap-a-pie  with  formulated  dog- 
mas, canons,  systems,  and  perhaps  even 
weights  and  measures. 

I  recently  attended  the  concert  of  Russian 
music  given  in  Rome,  under  the  conductor- 
ship  of  the  director  of  the  Conservatory  of 
Music  of  Moscow.  I  except  from  the  pro- 
gram a  symphony  of  Tschaikowsky  and  a 
movement  of  a  quartet  of  Rubinstein.  De- 
spite my  uncompromising  views,  I  admit  the 


existence  of  exceptions,  and  how  eloquent 
were  the  exceptions  in  this  instance!  But 
during  the  remainder  of  "the  program  the 
most  recondite  and  extravagant  harmonic 
and  polyphonic  combinations  succeeded  one 
another  without  rest,  without  a  ray  of  light. 
Every  instrument  was  used  in  the  strangest 
positions,  to  bring  forth  tones  least  familiar, 
the  intervals  least  frequent,  the  modulations 
least  in  use.  It  was  a  very  pandemonium 
of  sounds,  now  fearfully  acute  and  again  bel- 
lowing in  the  depths  of  madly  plunging  dis- 
sonances and  wildly  distorted  rhythms.  All 
this  was  fashioned  with  art,  with  great  art, 
but  with  that  studied  astuteness  that  gives  to 
art,  in  Italian,  the  name  of  artifice.  Let  us 
admire  and  praise  this  artifice.  But  where 
is  the  ideal,  where  the  inspiration,  where  the 
strength  of  influence  upon  the  artistic  awaken- 
ing? It  has  been  said  that  the  young  Rus- 
sian school  was  founded  on  an  independent 
.  basis,  without  puerile  regulations,  and  with 
full  freedom  for  its  composers  to  choose  and 
follow  their  own  paths,  while  always  keeping 
in  view  a  goal  where  all  were  to  meet  to  estab- 
lish a  new  objective  point,  and  then  continue 
their  individual  advance.  The  idea  is  a  grace- 
ful and  seductive  one ;  but  we  wonder  whether 
in  their  progress  somebody  has  not  lost  his 
reckoning.  The  new  Russian  school,  in  my 
opinion,  is  imbued  with  all  the  evils  of  tech- 
nic  and  science  —  evils  which,  in  its  abundant 
productiveness,  it  keeps  on  developing  to 
exaggeration  and  excess. 

It  is  easy  to  talk  of  choosing  the  path  of 
one's  preference  ;  but  following  such  a  path 
implies  advance,  unless  we  are  to  find  the  last 
stage  of  the  journey,  the  final  ideal  to  be 
attained,  at  the  limits  of  the  technical  and 
mechanical  methods  that  the  Russian  school 
apparently  wishes  to  master.  If  so,  let  her 
give  over  this  forced  march ;  whether  she 
reaches  the  goal  set,  or  not,  her  progress  will 
mark  no  point  of  importance  in  the  intellec- 
tual evolution  of  the  nations.  Par  different 
is  the  ideal  which  Russian  music,  possessed 
of  much  natural  strength  in  itself,  in  its 
people,  in  the  glory  of  its  past,  must  finally 
attain.  And  if  the  limit  assigned  it  by  its 
own  desire  appears  too  close,  let  the  gaze  ex- 
tend beyond  the  slender  boundary  line  and 
behold  the  deep  oases  that  attract  the  far- 
reaching  and  luminous  vision.  Let  the  mind 
recur  to  its  true  goal,  its  final  stage ;  at  the 


452 


MASCAGNI  ON  THE   LEGACY  OF  THE  CENTURY 


sight  of  the  splendid  vision  of  life  and  seren- 
ity which  awaits  it,  let  not  the  soul  sink  in 
despair;  let  it  break  forth  in  a  spontaneous, 
irresistible  aspiration  toward  the  sublime 
ideal.  A  pale  and  gentle  presence  stands 
silent  and  sorrowful  in  the  midst  of  the  iri- 
descent oasis.  It  is  Chopin  —  Chopin,  the 
great  poet  of  music,  the  most  lyrical  of  the 
lyrists  of  the  century,  as  Sanzacchi  has  said. 
Hush !  He  sings  —  sings  the  woes  of  his 
oppressed  Poland,  though  he  seems  to  sing 
the  sorrows  of  all  suffering  lands  and  all 
bleeding  hearts.  Chopin !  Chopin !  What 
a  guide  for  the  new  school !  what  a  future ! 
what  an  aspiration !  In  Chopin's  name  I 
embody  the  evolution,  the  redemption,  of 
Russian  music.  I  trust  that  the  first  period 
of  the  existence  of  the  new  school  will  have 
for  its  sole  object  the  extirpation  of  all  for- 
eign influence  upon  the  nation.  Russia  can, 
and  must,  aspire  to  a  great  musical  future. 

SPANISH  MUSIC,  LIKE  RUSSIAN, 
TOO   LABORED 

HERE  I  bring  to  a  close  this  long  digression, 
with  the  preconceived  idea  of  wondering 
whether  Pedrell  did  not  appear  in  the  arena 
armed  with  weapons  identical  with  those  of 
the  new  Russian  school.  In  all  his  admirable 
esthetic  studies  Pedrell  distinctly  reveals  a 
strong  sympathy  for  the  theories  of  the 
young  Russians.  Like  them,  he  aims  with 
great  energy  at  emancipating  his  country 
from  foreign  influence.  But  one  must  re- 
mark that  if  foreign,  and  especially  Italian, 
influences  only  retarded  in  Russia  (perhaps 
by  exacting  it)  the  birth  of  a  national  art, 
which  was  still  groping  in  the  obscure  con- 
science of  the  nation  and  had  not  yet  issued 
from  the  prehistoric  limbo,  the  same  influ- 
ence in  Spain  reduced  to  submission  —  liter- 
ally put  to  sleep  —  the  national  art  once  so 
proud  and  great.  Hence  the  double  merit  of 
Pedrell  if  he  succeeds  in  the  task  he  has  set 
himself. 

Soubies,  who  has  written  intelligently  and 
industriously  of  the  music  of  the  different 
countries,  offers  a  characteristic  comparison 
between  Pedrell  and  the  new  Russian  school. 
He  thinks  that  Pedrell  follows  C6sar  Cui, 
one  of  the  founders  of  the  new  Russian 
school,  in  his  reservation  in  respect  to  Wag- 
ner. Pedrell  would  have  what  is  sung  by 


the  characters  on  the  stage  well  in  the  fore- 
ground, not  covered  by  the  orchestra  and 
eclipsed  by  the  complicated  polyphony  of 
the  instrumentation.  As  to  the  leit-motif, 
he  accepts  it,  but  not  without  resorting  to  all 
kinds  of  precautions  and  restrictions.  Wag- 
ner has  composed  the  German  lyric  drama ; 
Russia,  declining  to  Germanize  itself,  seeks, 
above  all,  to  be  Russian.  Even  so,  Pedrell, 
in  the  presence  of  the  German  masterpieces, 
sustains  the  rights  of  the  Southern  races. 
Face  to  face  with  the  works  of  the  artists  of 
the  North,  he  invokes  the  names  of  Calderon 
and  Lope  de  Vega. 

These  are  fine  words,  unquestionably,  but 
to  me  they  appear  as  so  many  systems  that 
can  add  no  power  to  the  influence  that  should 
agitate  an  artistic  evolution  impelled  solely 
by  the  breath  of  a  creative  and  innovating 
spirit.  May  the  genius  of  art  assist  Pedrell ! 
Musical  Spain  to-day  awaits  everything  from 
him.  Happy  am  I  to  send  him  a  greeting 
from  that  fair  Venice  that  was  first  to  listen 
to  "  The  Pyrenees,"  with  which  Pedrell  has 
endeavored  to  realize  the  ideal  of  his  esthetic 
study,  of  his  protracted  aspiration. 

ITALIAN  SACRED  MUSIC 

I  HAVE  not  yet  reached  the  kernel  of  my  sub- 
ject. A  special  episode  in  the  evolution  of 
music  claims  consideration.  '  I  cannot  neglect 
nor  hint  incidentally  at  the  evolution  of  sacred 
music.  I  shall  not  ask  why  Italy  has  had  but 
few  and  barren  examples  of  great  perform- 
ances of  the  classic  oratorios  of  celebrated 
composers  when  during  the  entire  century 
Germany  and  England  have  admired  them. 
In  reaching  the  logical  conclusion  I  purpose  to 
establish,  I  shall  deal  exclusively  with  Italy 
itself,  which  offers  a  remarkable  and  charac- 
teristic example  of  evolution. 

Sacred  music  has  been  treated  in  Italy, 
during  almost  the  entire  century,  with  gen- 
eral and  unpardonable  neglect.  Despite  the 
influence  of  Cherubini,  even  his  contempo- 
raries began  to  write  church  music  that  sa- 
vored too  much  of  the  theater.  Perhaps  the 
faithful  may  have  derived  enjoyment  and 
religion  may  have  profited ;  but  the  error 
grew  to  such  proportions  that  the  temples 
of  God  often  sank  below  the  plane  of  the 
lowest  and  most  trivial  playhouses. 

Pacini  himself,  Mercadante  even,  could  not 


MASCAGNI   ON   THE  LEGACY  OF  THE  CENTURY 


453 


stem  the  tide.  A  few  glimpses  of  clearing 
skies  followed  those  lightning-flashes  of 
genius  —  Rossini's  "  Stabat  Mater  "  and  his 
Mass.  But  the  foundation  of  the  religious 
music  of  the  period  was  theatrical.  Ros- 
sini, perhaps,  felt  this  with  the  intuition  of 
his  great  mind,  when,  on  the  last  page  of 
his  Mass,  he  asks  of  the  Buon  Dio  whether 
his  music  was  sacred  or  damned,  words 
that  in  French  constitute  a  witty  bisticcio, 
one  of  those  "final  conceits"  to  which  Ros- 
sini cheerfully  sacrificed  even  his  "  Petite 
Messe." 

What,  I  may  be  asked,  do  I  understand  by 
the  term  "sacred  music."  Music,  I  reply, 
which  satisfies  the  requirements  of  Lichten- 
thal: 

"  First :  THE  CANTILENA  OR  MELODY  should 
be  simple  and  dignified  in  a  high  degree,  free 
from  all  frivolous  motion  (rhythm).  Its 
character,  be  it  gay  or  sad,  should  always 
be  noble ;  hence  the  forms  peculiar  to  dance*- 
music  should  be  avoided. 

"Second:  THE  HARMONY  should  be  so 
chosen  as  to  produce  the  effect  of  solemnity, 
grandeur,  and  simplicity.  Rapid  and  start- 
ling transitions,  marked  digressions,  should 
occur  only  where  the  text  expresses  strong 
contrast.  The  legato  style  is  preferable,  be- 
cause, while  possessing  most  importance  and 
variety,  it  serves  at  the  same  time  to  express 
the  sublime,  which  must  have  the  first  place 
in  sacred  music.  Choruses  and  numbers  for 
several  voices  acquire  much  greater  impres- 
siveness  when  the  counterpoint,  of  which  the 
fugue  is  the  capital  portion,  is  adequately 
handled. 

"  Third :  THE  SONG,  besides  being  simple, 
should  contain  no  difficult  or  far-fetched  pas- 
sages, nor  vain  and  useless  ornaments. 

"  Fourth :  THE  INSTRUMENTATION  should 
bear  a  due  proportion  to  the  character  of 
church  music ;  for  the  gay,  brilliant  orches- 
tration; for  the  serious  and  sad,  less  lively 
measures." 

The  quotation  is  somewhat  long,  but  it  is 
the  foundation  for  my  whole  argument.  Ob- 
serve, for  the  sort  of  music  intended  for  the 
admiration  and  praise  of  the  omnipotence 
and  goodness  of  God,  as  Lichtenthal  defines 
sacred  music,  are  needed  all  the  things  which 
on  the  surface  appear  to  be  formulas  and  sys- 
tems, but  which  are  really  esthetic  indica- 
tions of  an  ideal  sentiment.  When  he  speaks 


of  melody  and  of  the  style  suited  to  the  ex- 
pression of  the  sublime,  which  in  sacred 
music  must  have  first  place,  there  is  no  sys- 
tem in  question ;  we  are  clearly  in  the  domain 
of  genial  creativeness.  Since  in  the  class  of 
sacred  music  to  which  I  first  referred  there 
is  nothing  of  sublimity,  either  in  the  style  or 
melody,  and  as  we  find  ourselves  in  its  form 
at  the  very  antipodes  of  the  esthetic  ideas  of 
Lichtenthal,  in  which  I  concur,  I  must  piti- 
lessly condemn  the  whole  production,  as  hurt- 
ful as  it  is  enormous,  that  has  marked  the 
finest  part  of  the  nineteenth  century.  And 
let  it  not  be  thought  that  the  morbid  influ- 
ence of  this  sort  of  music  has  completely  ex- 
hausted itself  in  Italy.  If  in  some  provinces 
it  has  weakened,  in  others  it  still  proudly 
wields  power,  and  it  is  painful  to  concede 
that  in  some  ecclesiastical  institutions  con- 
nected with  the  government  the  sacred  caba- 
letta l  still  reigns. 

In  1888.  when  I  was  maestro  at  Cerignola, 
I  was  summoned  to  try  a  new  church  organ. 
I  went  to  ihe  place  at  night ;  the  church  was 
closed  to  the  public  and  dimly  lighted  with  a 
few  wax  tapers  set  in  old  discarded  cande- 
labra, placed  on  sundry  impedimenta  to  pre- 
vent my  breaking  a  limb  in  my  progress. 
Equipped  with  the  contract  and  the  detailed 
description  of  the  instrument  I  was  to  test, 
I  climbed  into  the  organ-loft,  accompanied  by 
the  blower  and  the  builder  of  the  organ. 
The  builder  was  somewhat  excited.  He 
never  wearied  of  telling  me  that  he  had  added 
a  stop  to  the  number  agreed  upon,  and  that 
there  were  four  reeds  more  than  the  contract 
called  for ;  and  he  explained  the  matter  with 
a  wealth  of  gesture  and  such  an  expenditure 
of  melted  wax  from  the  taper  in  his  hand  that 
I  bore  home  the  most  unpleasant  of  impres- 
sions, represented  by  numerous  spots  on  my 
poor  garments.  The  tone  of  his  voice,  too, 
astonished  me ;  he  shouted  like  a  maniac 
when  he  assured  me  that  he  had  made  sacri- 
fices innumerable  out  of  deference  to  his 
most  reverend  patrons.  All  of  a  sudden  he 
said  to  me,  in  a  whisper,  that  he  would  not 
forget  me  if  my  report  were  to  his  complete 
satisfaction. 

I  was  beginning  to  understand,  but  mean- 
while my  mind  was  turning  from  material 

1  "  A  song  in  rondo  form,  with  variations,  often  hav- 
ing an  accompaniment  in  triplets,  intended  to  imi- 
tate the  galloping  of  a  horse." 


LUCRETIA  BORGIA'S  FAMILY. 
From  a  painting  by  Dante  Gabriel  Rossetti. 


and  mechanical  considerations.  Perhaps  it 
was  the  surroundings,  new  to  me,  in  the  soft, 
religious  light;  perhaps  the  darkness  that 
weirdly  enlarged  the  arches  and  made  promi- 
nent in  the  gloom  many  golden,  glittering 
objects ;  perhaps  the  ever-lighted  lamps  that 
burned  more  than  dimly  before  the  high 
altar ;  perhaps  the  scene  as  a  whole  as  beheld 
from  the  organ-loft :  the  fact  remains  that  a 
feeling  of  soft,  devout  contemplation  had 
stolen  into  my  heart.  Almost  unconscious 
of  what  I  was  doing,  I  seated  myself  at  the 
organ,  drew  out  the  principal  stops,  and 
began  to  prelude,  with  my  thoughts  still 
beset  by  celestial  visions.  I  know  not,  and 
knew  not  then,  what  I  played.  Perhaps  I 
followed,  without  overtaking  it,  an  idea  that 

454 


then  appeared,  for  the  first  time,  on  the  hori- 
zon of  my  mind ;  perhaps  my  fingers  pursued 
it  in  its  meandering,  unending  course.  I  im- 
provised— I  dreamed.  I  was  aroused  by  a 
sonorous  barytone  voice ;  it  was  that  of  a 
handsome,  stout,  and  jovial  chaplain,  who  had 
ascended  to  tell  me  that  what  I  was  playing 
was  tedious  and  put  people  to  sleep,  and  that 
something  lively  was  expected  of  me,  some- 
thing from  an  opera  or  operetta.  Confound 
it!  The  worthy  reverend  had  issued  invita- 
tions ;  there  was  a  throng  of  intelligent  peo- 
ple below ;  no  need  of  boring  them !  The 
dream,  the  vision,  vanished  as  by  enchant- 
ment. Reality  in  its  limpid  clearness  entered 
my  mind.  The  jovial  chaplain  had  been  too 
kind ;  he  might  have  added  that,  while  I  was 


MASCAGNI   ON   THE  LEGACY   OF   THE  CENTURY 


455 


paid  to  try  the  organ,  I  was  especially  en- 
gaged to  entertain  the  guests.  I  turned  me- 
chanically toward  the  builder,  who  stood 
transfixed  at  my  right,  taper  in  hand,  anx- 
iously awaiting  the  moment  when,  at  a  sign 
from  me,  he  should  loose  all  the  forces  of  his 
instrument.  His  expression  was  that  of  a 
man  under  sentence  of  death ;  his  face  was 
pallid,  his  eyes  and  lips  were  tremulously 
suppliant ;  his  hand  was  dripping  with  wax, 
and  his  brow  damp  with  perspiration.  I 
took  pity  on  the  poor  devil,  who,  as  soon 
as  the  chaplain  disappeared  down  the  little 
stairway,  said  to  me  with  tears  in  his  voice, 
"  You  are  ruining  me ! " 

He  was  right.  Away  with  the  dreams, 
away  with  the  visions ;  out  with  the  stops, 
the  clarionet,  the  octave  flute,  the  cornet,  the 
bombarda,  the  bells ;  let  loose  the  delights  of 
the  joyous,  shrill,  and  sonorous  voices,  and 
all  the  powers  of  the  mighty  fabric !  "  There 
are  still  the  cymbals  and  the  big  drum** 
suggested  the  builder.  Capital !  Excellent ! 
Hurrah  for  the  tempest  of  sound ! 

The  trial  was  a  magnificent  success  for  the 
organ,  and  also  for  myself.  How  ashamed  I 
felt  when  I  descended  the  stairs,  followed  by 
the  enthusiastic  builder,  and  when  the  good 
priests  marveled  at  my  skill  and,  deeply 
moved,  thanked  me !  On  the  plea  of  being 
overheated,  I  turned  up  the  collar  of  my  coat 
as  high  as  possible,  and  blessed  the  gloom 
that  concealed  my  crimson  blushes.  One 
more  disconsolate  look  at  the  high  arches,  at 
the  lamp  always  lighted  in  front  of  the  Ma- 
donna, and  I  departed,  contrite  and  crushed. 
I  pause  at  this  incident,  which  amply  illus- 
trates to  what  a  depth  a  class  of  music  that 
should  aspire  to  sublimity  lias  fallen. 

A  NEW   SCHOOL   OF  REFORM 

IN  CHURCH  MUSIC  NOT 

SUCCESSFUL 

BUT  the  evolution  commenced.  A  few  stu- 
dious youths  stood  forth  with  a  firm  deter- 
mination to  check  the  sacrilegious  invasion, 
and  restore  to  Italy  the  splendor  of  her  past 
glory  in  sacred  music.  How  grand  the  cohort 
which,  in  serried  ranks,  gathers  under  the 
holy  banner !  Observe  the  weapons  of  com- 
bat. Lo,  the  error — the  same  error !  Draw- 
ing their  inspiration  from  the  German  school 
of  Regensburg,  they  enter  the  lists  with  for- 


mulas, canons,  and  systems ;  they  seek  to 
attain  their  ideal  by  means  of  a  revival  of 
liturgic  music,  of  the  Gregorian  chant  and 
the  ecclesiastical  modes.  What  profit  shall 
they  derive?  Is  the  evolution,  the  awaken- 
ing, the  progress  of  art,  brought  about  by 
making  it  retrace  its  steps,  glorious  though 
they  may  be?  No;  art  always  needs  new 
vitality,  new  force  to  accomplish  its  ascent. 
Art  requires  the  lightning-flash,  the  flame  of 
creative  genius.  Let  us  respect  the  patri- 
mony of  long  study  and  great  culture,  but 
hope  not  for  victory  without  the  aid  of  the 
spirit  of  genius.  Out  from  this  band  of  dar- 
ing spirits  no  genius  wings  its  upward  way, 
and  if  some  timid  trial  of  wings  is  essayed, 
the  oppressing  weight  of  theory  at  once  bears 
them  down.  Thence  it  comes  that  no  ef- 
fort of  these  young  men  has  achieved  aught 
save  the  partial  destruction  of  pernicious 
prejudices  which  permitted  the  diffusion 
of  sacred  music  that  ministered  too  much 
to  '  profane  delight  without  inspiring  the 
devotion  which  informs  those  mysteries 
of  i-eligion  that  dwell  in  the  temples  of 
God. 

From  one  excess  we  have  fallen  into  an- 
other ;  from  sacred  expression  fashioned  out 
of  motivetti  we  have  passed  to  the  manufac- 
ture of  counterpoint.  I  ask  not,  where  is 
the  sublime,  for  no  one  would  undei-staud 
me ;  I  inquire  only,  where  is  sincerity.  Dili- 
gent study  and  extended  culture  may  be 
proved  by  ingenious  combinations  of  notes, 
but  these  will  never  convey  to  us  that  con- 
templative and  spiritual  enjoyment  which 
the  interpretation  of  the  sacred  mystery 
should  always  instil  into  the  souls  of  the 
faithful. 

Musical  expression  in  its  spontaneous  in- 
terpretation should  correspond  with  the  sen- 
timent of  the  hearer,  whether  a  word  or  an 
idea,  the  human  verb  or  the  divine  Word,  if 
concerned.  Only  then  does  art,  the  pure  ana 
exclusive  emanation  of  genius,  exist.  Other- 
wise we  have  another  example  of  science 
which  has  nothing  to  do  with  art,  and  no 
place  whatever  in  any  period  of  its  evolution. 
The  new  students  have  simply  offered  us  an  at- 
tempt at  a  fair  reproduction  of  set  forms— this, 
and  nothing  more.  Verdi  himself  sought  to 
demonstrate  the  error  of  the  new  school  of 
music  by  freely  interpreting  the  words  of 
the  "  Stabat  Mater  "  and  the  "  Te  Deum  "  as 


456 


MASCAGNI   ON   THE  LEGACY   OF  THE  CENTURY 


though  to  give  rise  to  a  musical  polemic 
between  barren  doctrine  and  creative  genius. 

PEROSI,  THE  TRUE  GENIUS 

THE  close  of  the  century,  however,  has 
brought  us  a  moment  really  important  in  the 
evolution  of  sacred  music.  A  slight,  timid 


ence  on  the  musical  evolution  of  the  century 
exerted  by  the  three  great  countries,  France, 
Germany,  Italy.  The  theme  would  furnish 
material  for  ten  lectures.  But  melo-dramatic 
music  will  mainly  occupy  my  attention,  for 
melo-drama  constitutes  the  real  musical 
charm  of  the  century.  When  I  said,  at  the 


PEROSI. 
From  a  photograph  by  Guigoni  &  Bossi,  Milan. 


figure  has  appeared  alone,  unarmed,  to  com- 
bat for  the  ideal.  He  has  conquered  the  soul 
of  the  throng  by  wondering  admiration,  has 
thrown  down  all  obstacles,  and  gathered 
the  palms  of  victory.  What  secret  weapons 
aided  him  1  What  concealed  shield  protected 
him?  Who  were  the  invisible  heroes  that 
watched  over  him  ?  He  fought  unaided  with 
the  unbidden  might  of  genius. 

THE  RESPECTIVE  INFLUENCE  OF 

FRANCE  AND   GERMANY  AND 

ITALY  UPON  MUSIC 

I  ENTER  upon  the  final  division  of  my  paper 
with  an  examination  into  the  artistic  influ- 


outset  of  this  paper,  that  I  could  never  ima- 
gine an  Italian  musician  who  was  not  a 
composer  of  melo-drama,  I  might  have  added 
that  all  musicians  of  all  nations  are  subject 
to  the  attraction,  to  the  suggestion,  of  mel- 
ody. Melo-drama  arrived  betimes  to  the 
waiting  army  of  musicians,  vainly  panting 
for  an  ideal. 

Farewell,  Symphony!  Farewell,  Sonata! 
Farewell,  Quartet !  All  are  wiped  out  in  the 
great  dedication  to  that  temple  of  melo- 
drama, the  theater.  From  the  Rossinian  pe- 
riod to  the  present  the  influence  of  theatrical 
music  on  symphonic  music  during  the  nine- 
teenth century  has  been  enormous.  Were 


MASCAGNI   ON   THE  LEGACY  OF  THE  CENTURY 


457 


there  not  at  hand  eloquent  exceptions,  fore- 
most among  which,  great  and  admirable,  is 
Brahms's  music,  it  might  be  affirmed  that 
no  composer  who  could  aspire  to  melo-drama 
has  composed  symphonic  works. 

BRAHMS,  THE   GREATEST   FIGURE 

OF   THE   CENTURY   IN 

GERMAN  MUSIC 

BRAHMS,  standing  alone,  represents  a  whole 
and  glorious  epoch  of  symphonic  music. 
Brahms,  in  my  judgment,  is  the  greatest  of 


LUIGl  LABLACHE. 

A  famous  bass  opera-singer.    His  most  noted  part  was  LeporeUo 

in  "  Din  Giovanni. "     1794-1858.     Drawn  from  life 
by  F.  Sairtbert.     Reproduced  from  a  Preuch  lithograph. 

the  German  musicians  of  the  age,  and  the  in- 
fluence of  his  work  will  be  imperishable  011 
the  future  of  musical  history.  Persisting  in 
my  impenitent  affection  for  the  melo-drama, 
how  can  I  refrain  from  deploring  that  Brahms 
was  never  willing  to  compose  anything  for 
the  stage?  For  what  hidden  reason  did  he 
decline  to  attempt  melo-drama,  though  living 
in  a  period  that  most  flourished  through  mu- 
sic of  this  genre?  Brahms,  when  handling 
voices  with  the  orchestra,  has  furnished  us 
genial,  powerful,  and  perfect  creations,  of 
which  his  celebrated  "  German  Requiem  "  is 
the  most  luminous  example.  Of  vocal  com- 
positions of  precious  quality,  he  has  also 
brought  forth  an  infinite  number.  Why, 


then,  his  obstinate  ostracism  of  melo-drama? 
He  felt,  perhaps,  the  full  individual  strength 
of  his  genius  to  be  able  victoriously  to  resist 
the  impetuous  current  which  hurried  along 
so  many  strong  men  and  swept  away  so  many 
weaklings.  Or  did  he,  unconsciously,  follow 
the  dictate  of  some  higher  power  in  a  secret 
resolution  to  behold  the  classical  and  purest 
of  eras,  inaugurated  by  Haydn,  Mozart,  and 
Beethoven,  continued  and  made  eternal  ? 

A   REVIEW  OF  MELO -DRAMATISTS 

To  reach  the  kernel  of  my  discourse,  let  us 
return  to  the  symbolic  vision  of  the  school  of 
melody — to  that  bright  and  uninterrupted 
line  that,  beginning  with  Rossini,  awaited 
from  Verdi  the  supreme  moment  of  its  con- 
nection, under  garlands  of  roses,  with  the 
new  century. 

It  has  been  affirmed  that  the  Rossinian 
melo-drama,  the  natural  root  of  the  great  evo- 
lution of  the  century,  decisively  marked  the 
end  of  classicism.  Be  it  so.  I  note  the  date, 
and  now  address  myself  exclusively  to  the 
task  of  considering  the  romantic  melo-drama, 
as  it  has  been  called  in  opposition  to  classic 
music.  This  constrains  me  to  neglect  the 
great  maestri  who,  while  living  in  the  century 
of  romanticism,  have  kept  intact  their  faith 
in  the  classicism  of  their  fathers.  But  ob- 
serve that,  because  the  influence  of  the  ro- 
mantic drama  has  been  preponderant  upon 
all  schools  and  nations,  Germany  included, 
the  number  of  pure  symphonists  is  relatively 
small.  Tschaikowsky,  Rubinstein,  Raff,  Gold- 
mark,  Dvorak,  D'Indy,and  other  symphonists, 
in  the  fullest  sense  of  the  term,  have  paid  their 
tribute  to  melo-drama.  Not  even  Richard 
Strausshas  withstood  the  temptation.  Strauss, 
respected  for  the  style  of  his  instrumental 
music,  appears  bent  upon  reviving  the  glories 
of  his  forebears.  The  sublime  duel  between 
Gluck  and  Piccini  shall  not  detain  me  in  Paris 
for  an  instant,  not  even  to  note  the  first  steps 
of  the  centennial  evolution  of  dramatic  music 
that  received  its  earliest  impulse  from  these 
two  worthies ;  that  gathered  from  illustrious 
legions  the  continuous  and  mighty  motion 
which  conducted  it,  ever  quickening,  to  the 
present  period — a  motion  which  now  forces  it 
onward,  enwrapped  in  the  gloom  of  the  fu- 
ture, in  its  irresistible  and  fatal  course. 

Nor  shall  I  be  delayed  by  the  important 
melo-drama  of  Mozart,  nor  be  turned  from  my 


458 


MASCAGNI  ON  THE  LEGACY  OF  THE  CENTURY 


path  by  the  Neapolitan  school,  originated 
by  Scarlatti,  and  developed  and  exalted  by 
Cimarosa  and  Paisiello;  nor  shall  my  progress 
be  retarded  by  Cherubini,  Spontini,  Mayer, 
Paer,  Flotow,  Paresi,  or  Generate;  nor  by 
Goldmark,  powerful  and  original ;  nor  by  the 
Czech  Smetana ;  nor  shall  the  musical  drama 
of  Weber,  the  last  classical  resistance  in  the 
domain  of  the  stage,  turn  me  from  my  pur- 
pose; nor  even  my  passion  for  Schubert 
and  Mendelssohn,  gentle  and  melodious,  nor 
for  Schumann,  the  ever  divine. 

The  heart  cannot  withstand  the  memories 
of  all  these  soft,  undying  sensations ;  the 
mind  sways  and  loses  its  track.  All  mental 
strength  weakens  and  ebbs  away  in  this  pain- 
ful abandonment.  I  need  assistance.  Oh, 
for  the  supreme  vision  that  shall  arouse  me 
from  a  contemplation  that  fills  me  with  long- 
ing desire  —  the  supreme  vision,  the  ideal, 
the  purpose ! 

GERMANY   AND   ITALY   CONTEST 
THE  FIELD 

THE  faculty  and  the  potency  revive;  the 
supreme  vision  is  disclosed,  the  struggle  be- 
tween the  two  great  schools,  Italy  and  Ger- 
many. France  almost  disappears  in  compar- 
ison with  the  two  Titanic;  forces  which,  in  a 
superbly  heroic  contest,  give  to  history  the 
most  beautiful  period  of  the  artistic  evolution 
of  the  nineteenth  century.  The  struggle  to- 
day is  confined  to  the  two  strong  races,  the 
German  and  the  Latin,  the  latter  represented 
by  the  array  of  soldiers  first  led  by  Rossini 
and  since  marshaled  by  Verdi ;  the  former 
represented  by  one  combatant  —  by  one  man, 
Wagner.  Every  other  nation,  every  other 
school  in  the  present  struggle,  bows  to  one 
or  the  other  of  these  forces.  And  it  is  most 
regrettable  that  France  should  be  absent 
from  this  Homeric  battle  of  art. 

REVIEW  OF  FRENCH  MUSIC 
FRANCE  —  how  many  geniuses  did  the  nine- 
teenth century  behold  rising  from  her  fruit- 
ful soil!  The  glorious  light  they  brought 
forth  is  indeed  light  —  sunlight ;  but  in  her 
splendid  and  glowing  course  there  has  been 
no  fecundity,  no  imparting  of  fire  or  warmth, 
where  her  planets,  in  their  own  splendor,  re- 
main motionless  and  isolated. 

France  reveals  to  us  an  admirable  array  of 
the  elect,  a  splendid  continuity  of  purely  ge- 


nial art,  but  no  well-defined  movement  of  evo- 
lution. Where  are  the  followers  of  Berlioz, 
founder  of  a  school  that  could  be  and  should 
be  the  opulent  and  coveted  inheritance  of 
national  art?  Berlioz  opened  to  the  world 
the  new  paths  of  instrumental  music  which 
before  his  days  had  never  been  explored.  He 
is  the  son  of  a  laud  that  had  ijo  symphonists 
in  the  eighteenth  century.  Berlioz  is  the 
creator  of  a  new  style  of  composition  that  is 
even  now  much  discussed,  and  still  appears 
too  modern.  Berlioz  is  the  true  genius,  mis- 
understood in  his  day,  and  perhaps  not  un- 
derstood even  in  ours.  But  Berlioz  is  a 
genius,  and  will  his  work  remain  barren  ? 
I  behold  already  a  youthful  cohort  proudly 
advancing  to  do  battle  in  his  name.  In  the 
valinnt  group  I  recognize  Messager,  D'Indy, 
Laborne.  Courage,  brave  youths !  It  is  late, 
but  Berlioz's  art  has  lost  none  of  its  power. 

And  Gounod  1  From  the  clearness  of  his 
sentiment,  whence  the  national"  spirit  is  ever 
soaring,  it  would  seem  as  though  he  desired 
to  bring  forth  a  shadow  of  the  art  of  Weber 
and  Wagner.  But  where  are  the  fruits  of 
his  school  ?  Bizet,  too,  stands  isolated  in  his 
country  —  the  great,  the  mighty  Bizet,  who 
has  given  so  much  development  to  the  mod- 
ern Italian  musical  drama,  the  victorious 
course  of  which  has  even  tempted  the  Ger- 
manic race.  And  Meyerbeer  himself,  who, 
though  born  in  Berlin,  must  be  regarded  as 
a  French  composer,  what  effect  has  he  pro- 
duced upon  the  musical  century  beyond  ex- 
citing admiration  for  his  own  power,  shown 
in  the  progress  of  instrumentation,  and  the 
genial  and  mighty  creativeness  that  has  fur- 
nished one  of  the  best  exemplars  of  genera- 
tive romanticism  in  the  new  dramatic  music  ? 
France,  in  the  nineteenth  century,  has  given 
a  garden  to  each  of  her  flowers.  From  Me"hul 
and  Auber,  from  Harold  and  Halevy,  through 
Reyer,  and  Saint-Saens  the  worshiper  of 
classicism,  one  reaches  sentimental  Massenet 
and  the  throng  of  new  youths,  a  constellation 
of  brilliant  and  generous  minds,  but  each 
separated,  distinct,  and  isolated.  How  great 
a  future  might  be  in  store  for  France  if  all 
the  richness  of  her  art  could  have  that  com- 
plete development  which  has  been  till  now 
too  limited !  Its  very  opulence  and  exuber- 
ance of  power  constrains  it.  How  great 
the  future  of  the  quickening  action  of  the 
germs  of  genius  if  these  had  not  been  scat- 


MASCAGNI   ON   THE  LEGACY   OF  THE  CENTURY 


459 


tered,  but  strewed  broadcast,  in  the  nineteenth 
century ! 

At  the  opening  of  the  new  century,  how- 
ever, the  world  takes  a  passionate  interest  in 
the  struggle  between  Italy  and  Germany 
only,  and  France  herself  offers,  in  lordly  and 
disinterested  fashion,  the  most  favorable 
battle-field  while  seeking  to  renew  the  epic 
and  memorable  war  between  Gluck  and 
Piccini,  who,  on  the  same  field,  breathed 
the  first  breath  of  life  into  the  great  era  of 
dramatic  music. 

I  shall  forget  Flotow,  who,  like  Meyerbeer, 
might  well  be  credited  to  the  French  school; 
and  Nicolai  and  Marshner,  and  the  Alsatian 
Adam,  and  the  Austrian  Kienzl,  and  Reinecke 
and  Max  Bruch  and  Martin  Roeder  and 
Humperdinck.  I  shall  forget  them  all,  to 
dwell  upon  great  and  resplendent  Wagner. 

In  the  Italian  school  I  shall  attempt  no 
elimination :  our  opera- writers  are  all  equally 
Italian  (I  do  not  include  the  so-called  youi^ 
school),  and  form  that  admirable  melo-dra- 
matic  world,  the  luminous  poles  of  which  are 
Rossini  and  Verdi.  A  single  exception  among 
these  Italian  musicians  should  be  noted. 

BOlTO,  AN  ISOLATED  GENIUS  IN 
MODERN  ITALIAN  MUSIC 

AT  the  moment  of  the  great  efflorescence, 
the  complete  ripeness,  of  Italian  melo-drama, 
conceived  and  developed  by  Rossini  and  en- 
larged by  Bellini,  Donizetti,  Verdi,  and  Pon- 
chielli,  a  young  maestro  presents  himself  to 
public  opinion,  and  it  seems  as  though  he 
would  defy,  with  new  forms  and  new  acts  of 
boldness,  the  tastes  and  habits  of  the  multi- 
tude. Was  his  opera  the  spontaneous  out- 
come of  his  creative  genius?  was  it  the  fruit  of 
his  vast  and  admirable  culture?  was  it  the 
product  of  the  musical  and  dramatic  reforms 
of  Wagner  ?  The  opera  failed,  the  public  hurl- 
ing the  wildest  imprecations  at  the  rash  com- 
poser, but  the  maestro  remained  calm  ;  faith 
strengthened  his  spirit;  the  vision  of  the 
future  sustained  him.  His  work,  burning 
with  powerful  originality,  was  beheld  anew, 
and  resumed  its  course  so  suddenly  and  bru- 
tally interrupted.  It  continued  in  its  path, 
now  freely  opened  to  it,  until  it  won  the  lau- 
rels with  which  a  glorious  span  of  thirty 
years  is  crowned.  What  fair,  fallacious 
hopes  were  centered  in  that  bold  and  genial 
maestro!  And  art  awaited  anxiously  and 


long;  it  still  awaits  the  new  opera  of  Arrigo 

Boi'to. 

THE  ITALIAN   SCHOOL 

I  HAVE  reached  the  last  stage.  Before  us 
are  the  two  schools  in  combat :  here  Wagner, 
there  Rossini  and  Verdi,  with  the  legion  that 
has  come  into  existence  and  grown  in  their 
great  shadow.  I  need  not  give  the  biogra- 
phy of  all  our  great  composers  ;  it  would  be 
irreverent  to  speak  of  Donizetti,  of  Bellini, 
incidentally  and  laconically.  Each  of  our 
great  masters  merits  for  himself  not  merely 
an  essay,  but  whole  volumes.  The  individual 
genius  of  those  great  men  that  first  followed 
Rossini  glowed  with  the  splendor  of  its  own 
light,  but  did  not  depart  from  a  renewed 
style  ;  rather  strengthened  this,  by  a  great 
creative  power;  amplified,  developed,  modi- 
fied it,  little  by  little,  naturally,  involuntarily, 
through  its  own  genial  creativeness.  Thus 
was  born  the  magnificent  and  perfect  opera ; 
the  final  outcome  of  that  Italian  school  of 
melo-drama  which  is  the  fairest  artistic  page 
of  the  nineteenth  century. 

Hence  no  more  names ;  the  two  only  na- 
tions, the  two  only  schools,  that  contend  with 
each  other,  that  struggle  frantically  for  —  for 
—  for  what  ? 

In  Italy  all  is  excitement ;  they  write  and 
repeat  that  Germany  is  winning  from  us  su- 
premacy in  respect  to  melo-drama ;  that  we 
have  indeed  lost  it ;  and  some  rejoice,  and 
others  weep.  On  one  side  men  deplore  the 
complete  exhaustion  of  Italian  genius  ;  on  the 
other  the  triumph  of  the  German  opera  is 
acclaimed.  They  prate  of  preponderating  in- 
fluence, of  depraved  taste,  of  discarded  forms, 
of  progress  and  decadence,  of  the  past  and  of 
the  future,  of  glory  and  of  obscurity.  Pas- 
sions are  kindled,  the  fancy  is  stimulated , 
men  rack  their  brains,  and  the  national  liter- 
ature is  enriched  with  strange  books,  witli 
stranger  ideas,  and  with  the  strangest  of 
opinions.  To  what  end  all  this  tumult? 
Wherefore  this  pandemonium,  this  obsession  1 
I  see  nothing  beyond  the  natural  movement 
of  an  ascending  period  of  the  evolution  of 
music.  New  Italy,  the  new  school, —  one 
must  perforce  speak  of  it, —  now  that  it  is  in 
the  mood,  lovingly  studies  the  Waguerian 
music-drama.  It  studies  it  from  the  stand- 
point of  form,  of  the  technical  progress  that 
it  yields,  and  also,  if  you  will,  from  the  point 
of  view  of  the  whole  and  perfect  musical  con- 


460 


MASCAGNI  ON  THE  LEGACY  OF  THE  CENTURY 


ception ;  but  in  Wagner's  music-drama  the 
feeling  itself  cannot  be  studied,  for  the  feel- 
ing is  in  the  blood  of  the  artist,  and  in  Wag- 
ner one  cannot  study  the  idea,  because  in  art 
the  idea  is  the  spontaneous  and  unconscious 
expression  of  genius  in  the  act  of  creation. 


SHALL  ITALIAN  MUSIC  BE 
GERMANIZED  ? 

WHY  are  we  not  willing  to  permit  the 
Italian  school  to  study  the  new  models  of 
melo-drama  calmly,  and  why  do  we  grow 


RICHARD  STRAUSS. 
Prom  a  photograph  by  Fr.  Miiller,  Munich.    Published  by  Jos.  Aibl. 


Let  us  consider  Wagner.  Born  of  the 
germination  of  Gluck  and  of  that  of  the  first 
romantic  period,  he  stood  forth  with  all  the 
most  manifest  signs  of  the  originative  influ- 
ence, and  in  his  first  efforts  revealed  himself 
a  follower  of  that  romanticism  which  in 
France  had  Meyerbeer  for  its  high  priest. 
Wagner  was  great,  but  not  sincere.  Then 
his  disposition  and  nature  led  him  into  other 
paths,  and  Wagner  gave  to  his  country  the 
melo-dramatic  theater.  I  shall  not  stop  to 
discuss  whether  his  genius  — for  Wagner  is 
a  real  genius  —  was,  in  the  continuance  of 
his  work,  sacrificed  to  systems  and  pro- 
grams, nor  do  I  wish  to  investigate  whether 
in  his  last  work  he  sought,  as  it  were,  to 
change  his  belief.  I  aver  that  Wagner  in 
making  the  German  lyric  drama  was  sincere. 

71 


weary  of  proving  that  the  Italian  lyric  drama 
must  make  way  for  the  German  opera  ?  Do  we 
seek  to  convince  ourselves  that  the  Italian  lyric 
drama  of  Rossini,  Bellini,  and  Donizetti  has 
aged  in  comparison  with  the  new  German 
melo-drama  ?  But  does  genius  grow  old  f  Do 
the  melodies  that  moved  our  fathers  and 
grandparents  no  longer  stir  us  as  deeply,  even 
through  the  medium  of  that  sad  and  un- 
truthful interpretation  that  appears  to  de- 
light in  slighting  our  masterpieces  ?  Do  we 
wish  to  prove  that  the  great  Italian  lyric 
drama  has  grown  old  as  to  form  ?  Then  let 
us  put  our  treasures  in  safe  places ;  let  us 
remove  them  from  modern  profanation  ;  let 
them  be  kept  intact  for  future  generations, 
when  spirits  tired  and  exhausted  by  vain 
Byzantine  strife  shall  seek  consolation,  rest, 


MASCAGNI   ON   THE   LEGACY  OF  THE  CENTURY 


461 


and  light  in  true  and  pure  art.  If,  however, 
it  is  form  which  we  would  renew,  let  us  allow 
our  youths  to  study ;  let  us  permit  them  to 
traverse  freely  the  new  period  of  evolution 
they  themselves  have  begun.  Now  they 
grope,  they  stumble  in  the  dark,  they  clutch 
at  things  hither  and  thither.  Let  us  leave 
them  in  peace ;  it  is  the  acute  period  of  the 
evolution.  Who  knows  but  they  may  give  to 
Italy  the  melo-drama  renewed  in  form,  but 
in  substance  and  idea  ever  and  sincerely 
Italian.  Verdi  lived  through  the  epoch  of  the 
evolution,  and  upon  each  period  left  the  in- 
delible impress  of  his  genius,  but,  through  all 
influences,  he  remained  marvelously  Italian. 
In  his  famous  book  entitled  "  Opera  and 
Drama,"  Wagner  wrote  that  the  ancient 
melo-drama  was  founded  upon  an  equivoca- 
tion, because  the  drama  serves  for  writing 
the  music.  I  do  not  quote  the  phrase  with 
the  thought  of  bringing  it  into  discussion, 
but  only  to  show  that  all  the  movement  ca£- 
ried  on  about  Wagner  rests  on  this  aphorism. 
We  note  more  ostentation  than  sincerity  in 
Italian  appreciation  of  Wagner's  music ;  and 
persons  that  have  never  comprehended  the 
easiest  and  most  melodious  canzonetta  have 
felt  the  need  of  understanding  at  sight  all 
the  vast  achievements  of  Wagner,  in  whose 
formula  they  have  fancied  that  they  discov- 
ered the  real  cause  of  their  intellectual  in- 
feriority. To  this  day  they  know  nothing  of 
music,  but  they  can  grasp,  with  tolerable 
facility,  the  reasons  for  this  or  that  fragment 
or  prelude,  aided  in  their  wearying  diligence 
by  a  guide,  a  sort  of  railway  time-table, 
which  has  for  some  time  seemed  indispensa- 
ble to  the  enjoyment  of  Wagner's  operas. 

THE  MISCHIEVOUS 
MODERN  CRITIC 

POOR  unfortunates !  That  which  you  ap- 
prehend and  appreciate  is  but  the  program 
of  Wagner.  Would  that  it  were  even  the 
esthetic  purpose  of  his  work  1  The  best  of 
Wagner,  represented  by  the  whole  genial 
creation,  admits  of  no  system ;  you,  perhaps, 
regret  and  despise  it,  being  unable  to  under- 
stand it  and  not  finding  it  mentioned  among 
the  stations  in  your  time-table.  And  this 
ostentation,  this  simulation  of  intelligence 
and  competence,  has  made  possible  the  un- 
wholesome efflorescence  of  those  musical 
critics  that,  with  ferocious  facility,  seek  to 


destroy  in  an  hour's  work  what  has  cost  the 
assiduous  mind  years  and  years  of  effort. 

Contemporary  criticism — what  a  task  it 
would  be  to  enumerate  its  blunders !  Criti- 
cism, in  my  opinion,  can  exist  after  the  his- 
toric period  only,  when  its  duty  is  much 
simplified,  because  the  goal  has  been  reached 
by  works  only  that  are  sound,  vital,  and  bear- 
ing the  seal  of  genius.  Weak  and  false 
achievements  cannot  outlive  their  age.  But 
contemporary  criticism  in  every  artistic  evo- 
lution is  always  a  venomous  reptile.  The 
deviation  of  the  artist,  the  ruin  of  the  mind, 
the  persistence  of  error,  are  sometimes  due 
to  its  influence. 

And  if  the  Italian  school  now  advances  with 
uncertain  and  faltering  steps,  it  is  largely 
attributable  to  certain  pseudo-artists  that 
vainly  endeavor  to  direct  its  course.  Our 
young  musicians  would  have  felt  the  influ- 
ence of  Wagner's  art  far  differently  if  they 
had  not  been  deafened  and  misled  by  so 
,/mny  false  theories.  Let  us  leave  our  young 
writers  to  think  and  write  in  peace.  We 
know  not  yet  whether  their  performances 
may  not  survive  and  bear  to  the  history  of 
art  their  share  of  the  worthy  part  of  its  evo- 
lution. Your  work,  ye  critics,  in  any  case, 
will  always  remain  unfruitful,  for  it  will 
never  represent  aught  but  your  pretentious 
and  not  dispassionate  personal  opinion.  De- 
scend from  the  pulpit  and  sit  ye  down  on  the 
stool  of  the  reporter.  There,  at  least,  you 
will  be  sincere  and  true  and  of  some  service 
to  the  future. 

The  appearance  which  the  great  struggle 
between  the  two  great  schools  presents  to 
me,  in  the  opinion  that  long  ago  shaped  itself 
spontaneously  in  my  thoughts,  will  not  coin- 
cide with  every  one's  views.  No  absolute 
conquest  is  reserved  for  one  party  or  for  the 
other,  no  influence  will  change  the  nature  of 
a  people,  no  human  power  sterilize  the  root 
of  a  national  art.  The  German  lyric  drama, 
in  its  highest  ascension,  is  now  victorious. 
But  I  do  not  see  how,  in  the  future,  it  can 
have  development  and  continuation.  Wag- 
ner began  it,  and  Wagner  completed  it.  It 
seems  to  me  impossible  to  carry  it  on  on  a 
different  basis  and  to  make  it  progress  by 
other  paths.  Its  track  is  too  clearly  defined. 
It  is  alike  impossible  to  follow  it  or  to  imi- 
tate it.  This  would  be  the  profanation  of 
opera,  the  degradation  of  the  type.  Wagner 


4(52 


MASCAGNI  ON  THE  LEGACY  OF  THE  CENTURY 


accomplished  his  work  and  made  it  perfect.  Because  the  great  Italian  public,  blinded  by 
The  grandiose  period  of  Wagner's  achieve-  the  reforming  art  of  Wagner,  no  more  sees 
mentwill  endure,  an  everlasting  and  glorious  its  past  glories,  and  has  no  faith  in  the  pyg- 


token  «)»  the  highest  point  of  the  parabola  in 
German  >  Iramatic  music,  which  must  fatally 
follow  its  descending  course. 

ITALIAN  MUSIC  WILL   PROGRESS 
WHY,  on  the  other  hand,  does  the   Italian 
school    uow  appear    overcome,  prostrated? 


mies  that,  scattered  and  uncertain,  are  en- 
gaged in  combat.  But  Italian  art  will  be 
born  anew ;  it  will  live  again,  strengthened 
by  the  influence  of  the  evolutionary  period 
that  now  witnesses  its  slavery.  Italy  awaits 
her  coming  genius;  and  that  genius  will  come. 
The  soul  of  Giuseppe  Verdi  awaits  him,  to 


MASCAGNI  ON   THE  LEGACY   OF  THE  CENTURY 


463 


tender  to  him  the  chain  of  laurels  and  flowers 
that  Rossini  intrusted  to  him,  and  that  will 
stretch  through  all  future  ages,  to  perpetuate 
the  supreme  glory  of  music.  This  will  be  the 
luminous  continuation  of  the  work  made 
perfect  by  our  great  men.  But  the  perfec- 
tion of  Italian  art  lies  not  in  form.  It  lies 
wholly  in  ideal  creativeness,  and  every  new 
work  that  derives  its  inspiration  from  this 
liquid  font  increases  the  flow  of  its  invading 
tide. 

WAGNERISM    THE   DANGER   OF 
ITALIAN  MUSIC 

I  WOULD  fain  close  with  this  expression  of 
a  sincere  and  roseate  wish,  but  reality  sum- 
mons me.  A  great  peril  threatens.  The  youth 
of  the  period  have  gone  astray,  and,  persist- 
ing in  the  error  into  which  they  have  been 
led  by  evil  counsel,  will  end  by  completely 
destroying  Italian  melo-drama.  Disconcerted 
by  criticism  and  by  the  fickle  taste  of  th<^ 
public,  assailed  in  every  direction,  they  have 
sought  salvation  by  clutching  desperately  at 
the  Wagnerian  formula.  But  they  have 
grasped  it  at  its  weakest  point.  They  have 
thought :  "  Wagner  reproaches  the  old  opera 
with  having  used  the  drama  to  make  music  ; 
this  means  that  we  shall  use  music  to  make 
the  drama."  And,  because  of  their  Italian 
nature  and  because  of  the  nature  of  the  germ 
that  created  them,  they  can  never  conceive 
of  composing  music  such  as  Wagner  has 
poured  forth  in  his  Northern  legends.  They 
will  exaggerate  the  formula  and  use  little 
music  to  make  much  drama.  I  do  not  dis- 
cuss the  genus,  but  I  say  that,  keeping  up 
the  pace,  we  may  reach  the  stage  when  the 
violin  will  calmly  accompany  a  sentimental 
song  recited  by  Eleanora  Duse.  This  will 
not  be  wanting  in  emotion,  nor  will  tears  be 
lacking ;  but  the  melo-drama  will  be  missed, 
and  the  music  and  the  word,  the  two  sister 
arts  that  have  been  locked  in  one  embrace 
since  the  days  of  ancient  Greece,  will  be 
parted,  and  one  will  be  the  humble  slave 
of  the  other.  In  the  presence  of  such  an 
intensely  dramatic  and  touching  scene  as 


that  in  which  William  Tell  is  bidden  to 
shoot  the  apple  from  the  head  of  his  son, 
our  young  composer  will  find  the  situation 
so  interesting  in  itself  as  to  need  no  added 
music.  A  simple  roll  of  the  kettle-drums 
will  suffice,  instead  of  which  Rossini  (how 
ingenuously!),  stirred  by  the  incident,  dic- 
tated that  sublime  page,  "Jemmy,  pense  a 
ta  mere ! ''  that  makes  one  weep  even  when 
one  hears  it  sung  by  a  barytone  in  a  black 
dress-coat  and  a  white  tie. 

Back  to  the  faith  of  our  fathers,  back  to 
the  purity  of  our  origin !  Let  us  be  Italians 
once  more.  Let  the  new  genius,  the  genius  we 
await,  stand  forth  to  marshal  us  again  in  the 
path  that  leads  to  all  conquests.  In  the  en- 
thusiasm of  invocation  and  of  joyful  hope 
the  mind  pursues  an  immense  vision,  that 
seems  an  ideal  synthesis  of  our  dreams  —  the 
vision  of  a  great  evolution  accomplished  in 
the  splendid  triumph  of  our  dramatic  and  our 
popular  music. 

POPULAR  MELODY  THE  SOLUTION 

OF  OUR  ENIGMA 

INSPIRATION  and  strength !  The  latter  is  be- 
stowed with  largesse  by  the  production  of 
our  great  masters ;  the  former  flows  freely 
from  the  songs  of  our  people,  the  songs  that 
are  the  pride  of  our  honest  and  cheerful  na- 
tional instinct,  and  that  we  allow  to  languish 
and  disappear  through  neglectful  desertion. 
Let  us  keep  intact  this  art  patrimony  of  the 
nation  ;  keep  it  for  future  generations ;  keep 
it  to  transmit  to  new  ages  in  the  purest  and 
most  expressive  language  the  glories  of  the 
epoch,  the  modern  story  of  our  redemption, 
and  the  glorious  narrative  of  the  Italian  re- 
vival. Oh,  how  marvelously  shall  our  popu- 
lar music  relate  to  the  youth  of  the  future 
the  enterprises  of  their  grandparents,  and 
how  the  national  and  patriotic  songs  shall 
carry  the  pride  of  the  race  into  the  hearts  of 
future  nations  !  How  our  songs  shall  express 
the  glad  and  scornful  feelings  of  so  many 
historical  episodes !  How  our  melodramatic 
stage  shall  represent  the  whole  heroic  drama 
of  the  epoch  of  fable  ! 


THE  LAST  PHOTOGRAPH  OF  SIR  ARTHUR  SULLIVAN. 
From  a  photograph  by  Elliott  &  Pry,  London. 


ARTHUR  SEYMOUR  SULLIVAN 


CHARLES  MACLEAN 


SULLIVAN  was  born  to  show  that  the 
gods  have  not  grown  old.  Through  a 
side-venue  he  has  given  his  country  a  share 
in  the  romantic  tendencies  of  the  music  of 
the  last  half-century.  More  specifically  he 
has  built  on  the  foundations  of  English 
national  sentiment  and  laid  more  than  one 
course  in  the  edifice  of  a  new  national  mu- 
sical style. 

That  Sullivan  was  a  genius,  and  one  of  a 

very  high  order,  no  one  can  doubt  who  either 

has  instinct  to  see  in  a  flash  or  will  survey 

the  facts.     Simple  natural  melodies  revolved 

464 


incessantly  in  his  brain,  and  could  be  evoked 
at  any  moment.  His  sense  of  adjusting 
labor  to  imagination  was  as  keen  as  a  knife- 
edge.  In  the  transmutation  of  unpromising 
material  so  as  to  adapt  it  to  subtle  art  (a 
theme  which  is  the  basis  of  the  present 
article),  he  more  than  in  any  other  respect 
showed  his  genius.  As  to  Sullivan's  roman- 
ticism, it  was  only  of  that  class  which  yokes 
together  sentiment  and  the  precepts  of  art  on 
equal  terms.  He  had  nothing  to  do  with 
esthetic  whims  about  the  "  ulterior  mean- 
ings" of  music;  he  was  with  the  stanch 


ARTHUR    SEYMOUR    SULLIVAN 


465 


Hanslick,  who  attacked  "vision-producing 
medicines,"  and  with  Schumann,  who  said, 
"  Critics  always  wish  to  know  what  the  com- 
poser himself  cannot  tell  them."  He  was 
romantic  because  his  own  personal  feelings 
were  intense,  but  his  products  remained  law- 
abiding  and  wholly  sane.  As  Ruskin  in  his 
"  Queen  of  the  Air  "  puts  it,  "  Music  is  thus, 
in  her  health,  the  teacher  of  perfect  order ;  it 
is  the  voice  of  the  obedience  of  the  angels, 
and  the  companion  of  the  course  of  the 
spheres  of  heaven."  As  to  Sullivan's  partly 
unconscious  function  of  building  up  national 
material  into  a  style,  his  merit  is  in  propor- 
tion to  the  extraordinary  difficulty  of  his 
task:  a  matter  which  has  perhaps  not  yet 
been  sufficiently  considered.  And  this  must 
be  spoken  of  in  detail. 

Ever  since  the  mouodic  style  in  music 
made  its  first  effectual  inroads  upon  the 
purely  contrapuntal  style,  the  national  art- 
style  of  each  particular  country  has  mo^ 
and  more  been  determined  in  the  last  resoit 
by  the  character  of  its  folk-songs.  One 
might  cite  a  number  of  examples,  as  for  in- 
stance in  Russia,  where  short  phrases,  very 
free  rhythms,  a  tendency  to  Lydian  and 
Dorian  scales  of  melody,  and  in  general  an 
absence  of  the  feeling  for  tonality  which  we 
at  the  present  day  are  disposed  to  regard  as 
indispensable,  have  been  transferred  from 
the  folk-songs  to  the  art  products.  But  it  is 
enough  to  consider  the  case  of  the  Colossus 
which  has  stridden  from  the  Rhine  to  the 
Danube,  and  which  even  now  wields  almost 
undisputed  authority  in  music.  The  German 
Volkslied  (in  which  are  included  patriotic 
songs,  students'  songs,  and  soldiers'  songs) 
originated  in  the  fourteenth  century,  came 
to  its  zenith  in  the  fifteenth  and  sixteenth^ 
declined  under  the  influence  of  the  Thirty 
Years'  War,  was  revived  in  the  eighteenth 
century,  and  is  still  persistent.  It  rivaled 
the  Gregorian  chant ;  it  went  to  school  with 
and  was  molded  by  the  congregational  hymn 
of  the  Catholic  and  Protestant  churches. 
Above  all,  the  natural  capacity  of  the  Ger- 
mans for  singing  in  parts  governed  its 
growth.  In  structure  it  has  always  con- 
sisted of  thesis  and  antithesis ;  the  former 
generally  moving  harmonically  to  dominant, 
less  frequently  to  subdominant  or  relative 
minor.  This,  in  combination  with  the  strophic 
and  tripartite  principles  of  meter  as  acces- 


sories, is  the  protoplasm  out  of  which  the 
whole  of  the  great  modern  Teutonic  art  has 
been  formed.  So  far  has  this  been  carried 
that  in  Brahms,  the  last  of  the  great  German 
masters,  the  use  of  the  set  forms  has  been 
extended  to  all  choral  and  vocal  works,  most 
of  which  had  hitherto  been  thought  exempt. 

When  Sullivan  opened  his  career  the 
English  art  world,  even  apart  from  the  Men- 
delssohnian  prepossession,  was  wholly  dom- 
inated by  the  influence  of  the  German 
masters.  All  good  music  (so  esteemed)  fol- 
lowed such  models  as  a  matter  of  course. 
Sterndale  Bennett  broke  away  once  in  his 
eminently  beautiful  and  successful  and  thor- 
oughly English  "May  Queen," — but  once 
only.  But  this  state  of  things  was  utterly 
powerless  to  develop  a  national  style ;  and  a 
composer  like  Sullivan,  whose  instincts  and 
career  led  him  to  appeal  to  the  heart  of  the 
people,  had  perforce  to  turn  to  native  ma- 
terial. 

Of  what,  then,  did  this  consist?  English 
national  airs  were  terribly  tampered  with  in 
an  earlier  part  of  the  nineteenth  century. 
Their  distinctive  modes  —  Dorian,  D  to  D ; 
Mixolydian,  G  to  G ;  and  JEolian,  A  to  A  — 
were  "  majored  "  and  "  minored  " ;  they  were 
fitted  with  accompaniments  having  no  affinity 
whatsoever  to  them,  and  merely  reflecting 
the  harmonies  taught  in  the  thorough-bass 
handbooks  of  the  period  ;  even  their  rhythms 
were  mangled  and  cut  down  to  uniform  four- 
measure  periods.  This  unintelligent  treat- 
ment created  almost  a  jungle.  Yet  the  orig- 
inal plants  are  still  discernible,  and  certain 
broad  statements  as  to  our  national  material 
can  be  made.  The  English  love  a  simple 
sentiment,  particularly  in  the  shape  of  their 
ballads  and  hymn-tunes,  although  these  do 
not  possess  the  German  strength  of  form. 
Their  national  airs,  not  excluding  Irish, 
Scottish,  and  Welsh,  fail  to  show  thesis  and 
antithesis  as  in  the  Volkslied  ;  and  in  so  far 
as  they  betray  any  decided  harmonic  attri- 
bute, for  they  were  not  adapted  for  singing 
in  parts,  they  hug  the  tonic.  During  a  con- 
siderable period,  since  the  Elizabethan  era, 
the  semi-national  tunes  composed  by  musi- 
cians have  shown  a  cross  between  an  amor- 
phic  madrigal  and  a  metrical  air.  This  was 
the  material  which  our  Mendelssohn  Scholar, 
educated  in  Tenterden  street  and  at  Leipsic, 
had  at  his  back  in  his  native  country;  and 


466 


ARTHUR    SEYMOUR    SULLIVAN 


until  its  utter  incongruity  with  the  dominant 
German  art  is  realized,  no  point  in  his  career 
can  be  understood,  nor  can  his  greatness  as 
a  musician  be  in  the  least  appreciated.  If  a 
single  concrete  example  is  wanted,  let  it  be 
considered  that  the  English  populace  proper 
of  the  nineteenth  century  were  brought  up 
on  such  airs  as  "Pretty  Polly  Oliver,"  "The 
Keel  Row,"  "  The  Girl  I  Ve  Left  Behind  Me," 
'•  Hearts  of  Oak,"  and  "  Rule  Britannia" ;  and 
however  excellent  these  things  may  be  in 
their  way,  they  have  naught  in  common  with 
"  sonata  form "  or  any  other  form  of  the 
Teutonic  art.  The  more  the  matter  is  con- 
sidered technically,  the  more  it  will  be  seen 
that  in  the  heights  to  which  he  raised  his 
purely  national  art  Sullivan  achieved  that 
which  very  few  musicians  in  the  world  have 
done  in  a  single  lifetime. 

It  must  not  be  supposed  that  Sullivan  ac- 
complished his  task  without  opposition.  He 
was  the  richest  composer,  enriched  by  his 
own  labor,  who  ever  lived.  For  the  last 
twenty  years  of  his  life,  at  least,  he  was  wor- 
shiped by  the  people  at  large.  Yet  though 
there  were  not  two  actual  camps  proclaimed, 
though  there  was  no  Delphi  answering  Do- 
dona,  nevei-theless  a  considerable  body  of 
opinion  among  the  cultivated  classes  harassed 
him  with  well-meant  but  ignorant  sugges- 
tions that  he  was  abusing  his  talents  in  the 
particular  line  in  which  he  did  the  most 
work.  When  his  body  was  scarcely  cold  the 
ordinary  leader-writer  lectured  him  on  this 
head  in  terms  quite  fatuous.  This  might  be 
ignored,  but  that  it  exactly  focussed  a  cant 
long  prevailing  among  irresponsible  dilettanti 
and  seldom  checked ;  and  it  exactly  focnssed 
the  inner  trouble  of  Sullivan's  mind.  There 
were  many  who,  while  adulating  Sullivan,  in- 
timated that  they  knew  more  about  the  func- 
tions of  art  than  he  did.  He  said  nothing; 
he  set  his  back  against  the  wall.  What  he 
might  have  said  was:  "This  is  a  national 
matter,  in  which  it  is  better  to  level  up  what 
we  have  than  to  ape  the  inaccessible." 

The  history  of  Sullivan's  art  career,  the 
history  of  the  development  of  his  talent,  may 
be  divided  for  convenience  into  five  sections : 
the  period  of  his  pupilage,  till  he  was  twenty- 
one  years  old ;  the  period  when  he  was  form- 
ing his  general  individual  style,  or  about  seven 
years,  till  he  was  twenty-eight;  the  period 
when  he  was  grappling  with  the  comic-opera 


problem,  or  about  fifteen  years,  till  he  was 
forty-three j  the  period  of  further  development 
of  the  same,  or  about  seven  years,  till  he  was 
fifty ;  and  the  period  of  his  restful  maturity, 
or  the  last  eight  years  of  life.  It  will  be  seen 
that  this  division  falls  into  groups  of  seven 
years,  though  that  has  not  been  intentional. 

The  father's  father  of  Sullivan  was  an  im- 
poverished Irish  squireen  and  a  soldier  in 
the  army.  His  father  was  from  1845  to  1856 
bandmaster  of  the  small  band  at  the  Military 
College,  Sandhurst,  thirty-five  miles  from 
London  ;  and  from  1856  till  his  death  in  1866 
clarinet  professor  at  the  Bandmaster's  School, 
Kneller  Hall,  Hounslow,  not  far  from  Lon- 
don. The  mother's  maiden  name  was  Cogh- 
lan,and  that  of  her  mother  was  Righi  (Italian), 
Sullivan  was  thus  a  slightly  Italianized  Celt. 

Sir  Arthur  Sullivan  was  born  May  13, 1842, 
in  London,  and  was  from  the  age  of  three 
till  the  age  of  eight  at  Sandhurst,  being  then 
sent  to  a  school  at  Bayswater,  but  spending 
his  holidays  still  at  Sandhurst.  When  nearly 
twelve  he  obtained  a  choristership  (which 
means  board  and  lodging)  in  the  Chapel 
Royal,  St.  James's.  When  he  was  fourteen 
the  family  moved  into  Pimlico,  on  the  fa- 
ther's appointment  to  Kneller  Hall.  Thus 
till  the  age  of  fourteen  he  had  constant  or 
occasional  access  to  the  Sandhurst  military 
band,  and  he  showed  a  child's  quickness  in 
learning  to  play  the  different  wind-instru- 
ments there.  Otherwise  he  has  not  been 
claimed  as  a  musical  prodigy.  In  1856  the 
trustees  of  the  "  English  Mendelssohn  Schol- 
arship," who  had  been  collecting  money  for 
the  preceding  ten  years,  announced  a  com- 
petition. There  were  seventeen  candidates, 
and  Sullivan,  the  youngest,  tied  with  Joseph 
Barnby,  the  eldest,  but  was  preferred  to  him 
at  the  final  examination.  The  trustees  kej  t 
him  at  the  Chapel  Royal  till  his  voice  broke, 
but  sent  him  meanwhile  to  take  lessons  at 
the  Royal  Academy;  in  1858  they  sent  him 
to  Leipsic  to  attend  the  Conservatorium, 
which  he  did  for  four  years.  His  output  in 
composition  during  this  seven  years  of  direct 
tuition  was  nothing  extraordinary  in  quan- 
tity or  quality  (a  concert  overture  at  the 
Academy,  and  a  "  Lalla  Rookh  "  overture  and 
romanza  for  string  quartet  at  the  Conser- 
vatorium), until  he  made  his  final  and  great 
effort  with  the  incidental  music  to  the  "  Tem- 
pest." He  was  then  twenty  years  of  age 


HERBERT   SULUVAI 


THE  EARLIEST  KNOWN   PORTRAIT  OF  SULLIVAN. 

Sir  Arthur  Sullivan  standing.  John  Henry  Baruett  seated.     A  photograph  made  just 
after  entrance  to  Chapel  Roynl. 


No  great  individuality  is  noticeable  in  the 
"Tempest"  music,  but  it  showed  the  per- 
fected musician  and  it  hit  the  Mendelssohn- 
ian  taste  in.  London.  The  handsome  youth 
had  won  his  spurs,  and  was  much  feted. 

If  during  the  above  period  his  talent  was 
not  unhealthily  pressed  either  by  others  or 
by  himself,  the  following  septenniuin  was  of 
extraordinary  importance  in  the  history  of 
English  music  and  of  some  brilliance  in  his 
personal  career.  He  lived  in  his  father's 
house,  and  made  a  small  income  as  a  church 
organist  at  St.  Michael's  in  Chester  Square ; 
but  the  publishers  captured  him  to  write 
songs, and  he  at  once  developed  that  English 
quality  which  was  his  characteristic  for  the 
rest  of  his  life.  In  18(54  his  secular  cantata 
"  Kenilworth  "  was  accepted  for  the  Birming- 
ham Festival,  the  subject  being  a  supposed 
pageant  before  Queen  Elizabeth.  The  music 


was  most  delightfully  fresh  and  rhythmic, 
and  more  English  in  vein  than  anything 
since  Bennett's  "  May  Queen "  of  six  years 
previous.  The  work  constituted  Sullivan's 
debut  as  a  national  composer,  and  it  is 
strangely  and  unwisely  neglected.  Mean- 
while, Costa  allowed  him  to  act  as  organist 
behind  the  scenes  at  Covent  Garden,  and  he 
wrote  a  ballet  for  the  company.  In  1866 
Sullivan  was  commissioned  to  write  for  the 
Norwich  Festival,  and,  his  father  dying,  he 
prepared  an  overture,  "  In  Memoriam."  This 
overture  has  much  analogy  to  Wagner's 
"  Faust "  Overture,  a  work  of  which  Sullivan 
as  likely  as  not  had  never  heard,  though  it 
had  been  written  before  he  was  born.  In 
each  case  the  sonata  form  is  nominally  re- 
tained, but  rather  as  a  scaffolding  for  the 
exhibition  of  certain  melodies  entirely  char- 
acteristic of  the  composer,  which  appear  in 

467 


41.8 


ARTHUR    SEYMOUR    SULLIVAN 


the  situation  of  the  "second  subject"  con- 
secutively and  without  much  cohesion.  The 
"first  subject,"  especially  with  Sullivan, 
shows  little  development,  and  is  not  much 
more  than  necessary  "business"  for  main- 
taining the  sonata  form.  The  end  justifies 
the  means  in  each  case,  and  each  is  a  master- 
piece in  its  respective  national  style.  With 
Wagner  the  "second-subject"  themes  are 
just  such  as  might  appear  in  "Lohengrin"; 
with  Sullivan  they  are  simply  Sullivauesque 
hymn-themes.  In  the  Sullivan  overture  the 
introduction  and  coda  are  an  English  hymn 
(not  chorale)  played  straight  through. 


SULLIVAN  AT  EIGHTEEN. 

This  photograph  was  taken  in  I860  at  Leipsic,  where  he 
composed  the  music  for  "  The  Tempest." 

With  very  unnecessary  diffidence  the  com- 
poser did  not  publish  his  perfectly  indi- 
vidual "  Symphony  in  E  minor,"  also  brought 
out  in  1866.  In  this  same  memorable  year 
he  wrote  with  F.  C.  Burnand  the  comic  "  Cox 
and  Box,  a  new  Triumviretta,"  from  a  busi- 
ness point  of  view  the  germ  of  his  subsequent 
career  in  operetta.  Viewed  as  a  creation,  it 
is  only  a  facile  parody  of  Cimarosa,  though 
very  delightful  to  listen  to.  In  1869  he  wrote 
an  oratorio,  "The  Prodigal  Son,"  for  the 
Worcester  Festival.  Here  the  Mendelssohnian 
tendencies  of  the  day  were  too  much  for  him, 
and  the  result  is  not  invigorating.  In  1870, 


at  the  Birmingham  Festival,  he  again  ex- 
hibited his  own  proper  style  in  the  "Di 
Ballo  "  overture.  On  the  whole,  he  was  now 
still  poor  in  pocket,  but  he  had  made  his 
style. 

In  1871  Sullivan  met  W.  S.  Gilbert,  destined 
to  play  Scribe  to  his  Auber,  and  wrote  with 
him  the  unpublished  "  Thespis"  for  Hollings- 
head  at  the  Gaiety.  Gilbert,  a  civil  servant, 
barrister,  militia  captain,  etc.,  was  an  ex- 
tremely prosperous  comedy  dramatist.  In 
1875  R.  D'Oyly  Carte,  manager  of  Selina 
Dolaro's  Royalty  Theatre,  commissioned  the 
pair  to  write  "  Trial  by  Jury,"  a  skit  on  the 
law-courts ;  and  from  this  point  the  London 
comic  stage  bifurcated  decisively  from  the 
old  "  burlesque  "  into  "  operetta. "  on  the  one 
side  and  "variety  entertainment"  on  the 
other.  The  vein  which  had  run  out  in  Vienna 
with  Johann  Strauss  reappeared  not  in  Italy, 
but  in  London.  At  the  end  of  1877  a  "  com- 
edy-opera syndicate,"  composed  of  a  few 
music-publishers  and  men  of  means  and 
managed  by  D'Oyly  Carte,  brought  out  "  The 
Sorcerer"  at  the  Opera  Comique  Theatre  ir 
the  Strand.  By  this  time  Sullivan  had  com- 
pletely abandoned  the  quasi-classical  stage 
style,  and  was  writing  in  his  own  vein.  In 
1881  the  Savoy  Theatre  was  built  specially  for 
the  Gilbert  and  Sullivan  operetta.  Briefly,  in 
the  fifteen  years  from  1870  to  1885,  the  pair 
wrote  "  Trial  by  Jury,"  "  The  Sorcerer,"  "  Pin- 
afore," "The  Pirates  of  Peuzance,"  "Pa- 
tience," "  lolanthe,"  "  Princess  Ida,"  and  "  The 
Mikado,"  the  last  being  high-water  mark. 
All  this  time  Sullivan  was  wrestling  with  the 
style  of  the  Savoy,  to  purge  it  from  the  dross 
incidental  to  an  appeal  to  the  masses,  and  to 
bring  it  into  the  domain  of  pure  music,  Gil- 
bert's words  neither  helping  nor  marring  him 
in  this  aim,  for  he  was  by  far  the  dominant 
partner. 

Meanwhile  he  developed  his  powers  else- 
where. In  1873  he  wrote  for  Birmingham 
the  oratorio  "  The  Light  of  the  World,"  an  ad- 
vance on  "The  Prodigal  Son,"  though  much  in 
the  same  style.  In  1880,  succeeding  Costa  as 
conductor  at  Leeds,  he  wrote  "  The  Martyr  of 
Antioch,"  which  the  elect  said  was  too  frivo- 
lous, but  which  in  point  of  fact  was  much 
better  music  than  either  of  its  predecessors . 
In  1883  his  general  reputation  was  such  thai- 
he  was  knighted. 

The  next  septennium  opened  with  that  ex- 


ARTHUR    SEYMOUR    SULLIVAN 


469 


traordinary  work,  the  cantata  "  The  Golden 
Legend  "  (Joseph  Bennett  from  Longfellow), 
and  closed  with  the  grand  opera  "  Ivanhoe " 
(Julian  Sturgis).  The  new  version  of  "  Der 
arme  Heinrich"  has  no  vogue  in  Germany, 
because  the  long,  formless  stretches  are  filled 
up  with  English  and  riot  with  Teutonic  senti- 
ment. It  was  sketched  by  Sullivan  in  his 
former  house  at  Sandhurst,  where  he  took 
lodging.  Space  forbids  a  detailed  analysis, 
but  in  short  Sullivan  here  finally  threw  over 
Mendelssohnianism  in  the  concert-room  and 
relied  on  his  own  vein,  bringing  up  purely 
English  art  to  a  level  never  dreamed  of  be- 
fore. To  a  mind  not  over-warped  in  favor 
of  German  art  the  whole  will  appear  very 
beautiful ;  and  one  may  say  of  it,  with  An- 
drew Marvell : 


Then  Music,  the  mosaic  of  the  air, 
Did  of  all  these  a  solemn  noise  prepare, 
With  which  she  gained  the  Empire  of  the  ear, 
Including  all  between  the  earth  and  sphere. 

Technically  it  is  a  gorgeous  production,  and 
Sullivan  handled  the  orchestra  as  he  never 
did  before.  A  well-known  example  is  in  the 
introduction :  the  slow  chromatic  sequence 
of  chords  of  the  seventh  (f ),  accompanied  in 
turn  by  rushing  chromatic  sequences  of  other 
chords  of  the  seventh  (£),  the  whole  giving 
the  surge  of  the  tempest  through  the  steeple. 
Of  this,  by  the  by,  a  learned  critic  once  said 
that  the  "  Golden  Legend "  "  opened  with  a 
chord  of  the  seventh,"  a  primitive  description 
certainly.  Another  well-known  instance  is 
where  Lucifer  offers  the  draught,  analogous 
to,  without  actually  resembling,  the  Flacker- 
lohe  in  the  "  Valkyrie." 

"  Ivanhoe  "  was  written  when  opera  in  Eng- 
lish, beginning  with  Cambert's  "Ariadne," 
was  just  two  hundred  years  old.  It  was  the 
immediate  successor  of  such  works  as  Cowen's 
"Pauline,"  Goring  Thomas's  "Esmeralda" 
and  "  Nadeshda,"  Stanford's  "  Canterbury 
Pilgrims,"  Mackenzie's  "Colomba"  and 
"  Troubadour,"  and  Corder's  "  Nordisa."  An 
English  opera-house  was  built  for  it  i;i  Cam- 
bridge Circus,  and  it  had  a  long  run.  It  just 
missed  being  strong  enough  to  create  an 
English  operatic  style.  Sullivan  would  have 
been  a  miracle  if  he  had  built  equally  high 
in  each  department  which  he  essayed.  This 
period  saw,  in  operetta.  "  Ruddigore,"  "  The 


Yeomen  of  the  Guard,"  and  "The  Gondo- 
liers," after  which  last  Gilbert's  long-sus- 
tained powers  appeared  to  wane. 

The  final  period  began  with  "  The  Fores- 
ters," an  utterly  delightful  lyric  piece  to 
Tenhyson's  words,  written  for  Daly's  Thea- 


AN  EARLY  PORTRAIT  OF  SULLIVAN. 
From  a  photograph  by  H.  M.  King. 

tre,  New  York.  This  period  included  "  Had- 
don  Hall"  (Grundy),  "Utopia"  (Gilbert), 
"The  Grand  Duke"  (Gilbert),  "The  Beauty 
Stone"  (Pinero),  and  "The  Victoria  Bal- 
let" for  the  Alhambra.  The  first  three 
were  moderate  successes;  "The  Beauty 
Stone,"  a  serious  play  with  a  comic  devil, 
was  a  dead  failure.  The  period  ended  with 
Sullivan's  comic  masterpiece,  "  The  Rose  of 
Persia"  (Basil  Hood).  In  the  biography  of 
Sullivan  published  not  long  before  his  death 
it  was  stated  that  the  musical  style  was  iden- 
tical in  all  the  Savoy  operettas.  If  that  were 
so,  there  would  be  little  point  in  the  present 
article.  On  the  contrary,  most  distinct  stages 
of  purely  musical  development  are  shown  at 
the  points  indicated  by  "  Pinafore,"  "  Mikado," 
"  Gondoliers,"  and  "  Rose  of  Persia  "  respect- 
ively. Sullivan  at  the  time  of  his  death 
had  in  hand  an  Irish  operetta  (Basil  Hood), 
which  is  to  be  finished  by  Edward  German 
and  produced  in  usual  course  at  the  Savoy. 


470 


ARTHUR    SEYMOUR    SULLIVAN 


Sullivan  was  essentially  a  melodist,  and 
succeeded  best  lyrically.  His  vocal  melody 
was  based  on  an  intense  study  of  the  meter 
of  the  words.  His  harmony  was  the  simplest 
flowing,  without  anything  of  what  has  been 
called  "  akkordegoismus."  His  counterpoint 
was  clean  and  clear;  his  orchestration  just 
sufficient  to  be  pointed,  and  never  extrava- 
gant. His  products  seem  very  simple  and 
obvious  until  an  attempt  is  made  to  imitate 
them.  His  processes  in  "sketching'1  were 
known  only  to  himself,  but  it  is  plain  that  in 
scoring  he  was  extremely  rapid.  His  musical 
handwriting  was  very  distinct  and  rather 
formal,  and  apparently  there  was  little  era- 
sure. All  the  Savoy  operettas  were  experi- 
mentally rehearsed  on  the  skeleton  score 
principle,  and  orchestrated  when  all  was  set- 
tled at  the  last  moment,  to  save  labor  in 
scoring  and  to  avoid  piracy.  In  his  national 
position  Sullivan  most  resembled  the  Bohe- 
mian Priedrich  Smetana.  The  works  by 
which  he  has  most  specifically  raised  the 
level  of  English  music  would  seem  to  be: 


many  songs;  the  two  concert  overtures  and 
the  symphony ;  "  Kcnihvorth,''  "  The  Golden 
Legend."  and  -'The  Foresters";  "The  Mi- 
kado,'' '•  The  Yeomen  of  the  Guard,"  "  The 
Gondoliers,"  and  "  The  Rose  of  Persia."  Like 
many  composers,  he  knew  very  little  about 
other  people's  music,  and  scarcely  ever  went 
to  a  concert.  He  had  no  personal  patrons  — 
no  Maecenas,  Lorenzo  de'  Medici,  or  Karl 
August  of  Weimar.  He  did  not  marry,  and 
might  have  said  with  Michelangelo,  "I 
have  espoused  my  art,  and  it  occasions  me 
sufficient  domestic  cares."  He  must  have  had 
an  income  at  one  time  of  over  £20,000  a  year, 
but  he  spent  or  lost  the  greater  part  of  his 
fortune.  He  had  suffered  half  his  life  from 
gall-stones,  and  lie  died,  worn  out,  on  Novem- 
ber 22,  1900.  He  left  the  residue  of  his  for- 
tune—  some  £35,000,  and  rights  which  may 
yet  bring  in  several  thousands  a  year —  to  an 
adopted  nephew,  a  young  stockbroker.  His 
personal  character  was  absolutely  lovable. 
Grossmith  the  actor  lately  offered  in  print 
an  unaffected  tribute  to  it. 


LENT  BY  MR.   HERBtRT  SULLIV 


THE  ROOM  IN  WHICH  SIR  ARTHUR  SULLIVAN  DIED. 

As  it  was  when  lie  died.     It  has  since  been  dismantled. 


SAMUEL  COLERIDGE-TAYLOR* 


THE  life  of  Coleridge-Taylor  is  inevita- 
bly sprinkled  with  references  to  his  con- 
nection with  his  own  race,  and  any  notice 
of  the  man  would  be  inadequate  as  well  as 
unjust  which  did  not  recognize  his  relation 
to  the  Negro  and  his  accomplishment  for 
him.  Pride  in  and  his  championship  for 
his  people  developed  with  his  manhood. 
The  little  dark-skinned  lad  who  played  the 
fiddle  to  his  white  schoolmates  was  perhaps 
scarcely  conscious  of  the  gulf  which  tradi- 
tion had  endeavored  to  place  between  him- 
self and  them ;  but  the  student  at  the  Royal 
College  had  all  the  passionate  irritability 
of  genius,  combined  with  an  inordinate  sen- 
sitiveness, and  he  seemed  to  look  upon  his 
color  as  an  added  tragedy,  without  which 
his  cup  was  already  overfull.  He  hated  the 
early  criticisms  which  dealt  equally  with 
his  skin  and  his  music;  so  much  so  that  he 
told  Colonel  Walters  that  he  was  a  British 
musician  with  an  English  education,  and 
that  he  desired  to  be  estimated  in  his  rela- 
tion to  music  and  not  to  the  music  of  the 
Negro  only.  Later  on,  the  atmosphere  of 
the  Royal  College,  his  growing  success,  and 

This  article  is  based  on  W.  C.  Berwick  Sayers' 
"Samuel  Coleridge-Taylor,  Musician,"  published  by 
Cassell&  Co.,  Ltd. 


the  interest  aroused  through  actual  contact 
with  his  own  people,  combined  in  early 
manhood  to  show  him  the  nobler  course  of 
accepting  the  will  of  Providence  and  of  de- 
voting himself  to  the  uplift  of  the  colored 
race  in  so  far  as  his  art  allowed.  Once 
taken,  the  resolution  became  one  of  the  pas- 
sions of  his  life. 

Its  expression  was  both  subjective  and 
objective,  conscious  and  unconscious.  It 
was  not  merely  fancy  which  discovered  to 
the  critics  a  strain  of  barbaric  splendor  in 
these  early  works  which  in  their  intention 
had  no  relation  to  the  barbaric ;  the  barbaric 
note  was  undoubtedly  there,  just  as  much 
as  the  barbaric  splendor  is  generally  pres- 
ent in  the  imagination  of  the  older  Dumas. 
It  came  out  not  only  in  the  rich,  unusual 
character  of  his  orchestration,  his  short, 
often  staccato,  musical  phrasing  and  new 
rhythms.  It  was  even  more  apparent  in  an 
atmosphere  which  is  peculiarly  his  own,  and 
is  undoubtedly  racial.  A  facet  of  this  race 
characteristic  is  his  love  of  queer-sounding 
names,  such  as  he  found  early  in  "Zara's 
Ear-rings"  and  in  Longfellow's  "Hia- 
watha," and  ultimately  in  Alfred  Noyes's 
"A  Tale  of  Old  Japan,"  where,  as  was  the 
case  with  "Hiawatha,"  the  strange  names 

471 


472 


SAMUEL    COLERIDGE-TAYLOR 


Yoichi-Tenko,  Sawara,  0  Kimi  San,  were 
the  first  factor  of  attraction  in  the  poem. 
A  cursory  study  of  the  Negro  shows  how 
true  this  is  to  his  temperament,  and  a  glance 
at  a  list  of  the  names  chosen  for  themselves 
by  Negroes  will  increase  the  assurance. 
These  works  are  not  our  concern  at  the  mo- 
ment, so  much  as  those  which  are  con- 
sciously upon  Negro  subjects. 

"The  production  of  such  men  as  Mr. 
"Washington,  Mr.  Dunbar,  and  Mr.  Taylor 
by  the  Negroid  race  gives  a  new  complexion 
to  the  problem  of  black  and  white."  This 
declaration  of  a  well-known  London  jour- 
nal illustrates  the  point  of  view  which  was 
gradually  developing  in  Coleridge-Taylor; 
and  his  earliest  conscious  connection  with 
his  race  as  a  musician  was  his  collaboration 
with  Paul  Laurence  Dunbar  as  early  as 
1897  in  the  series  of  songs,  "The  Corn 
Song,"  "At  Candle  Lighting  Time,"  and 
the  "African  Romances,"  which  first  se- 
cured him  an  audience  as  a  song  writer 
whose  work  could  not  be  neglected ;  as,  also, 
in  "The  Dream  Lovers,"  the  slender  but 
interesting  operetta  which  was  their  joint 
work  in  1898.  The  whole  significance  of 
Dunbar  lies  in  his  expression  of  the  "souls 
of  black  folk,"  and  Coleridge-Taylor  recog- 
nizes and  utters  his  affinity  with  him  in  his 
music. 

His  earliest  orchestral  piece  on  a  more 
ambitious  scale  which  was  consciously  di- 
rected to  the  expression  of  Negro  ideas  was 
also  inspired  by  a  poem  of  Dunbar 's.  This 
was  "Danse  Negre,"  which  was  afterward 
to  be  incorporated  into  what  is  one  of  the 
most  important  compositions  of  our  times, 
partly  because  of  its  own  musical  quality, 
but  more  because  it  represents  the  success- 
ful entering  of  the  highest  field  of  creative 
music  by  the  Negro — the  "African  Suite." 
His  rhythms  were  deliberately  drawn  from 
the  folk  music  of  his  people;  and  "Danse 
Negre"  has  a  general  resemblance  to  its 
source,  but  in  its  fulfilment  it  is  upon  a 
much  more  advanced  plane,  as  is  natural  to 
the  composer  who  is  familiar  with  all  the 
resources  of  modern  harmony  and  the  mod- 
ern orchestra. 

The  "African  Suite,"  the  appearance  of 
which  was  the  unique  event  in  music  in  the 


last  generation,  was  published  in  1898.  It 
consists  of  four  numbers,  "Introduction," 
"A  Negro  Love  Song,"  "Valse,"  and 
"Danse  Negre,"  and  is  scored  for  full  or- 
chestra. The  suite  exhibits  in  miniature 
many  of  the  characteristics  of  Coleridge- 
Taylor's  work  as  a  whole,  and  it  is  rather 
remarkable  that  this  suite,  which  is  a  mi- 
crocosm of  his  methods,  and  which  is  worthy 
of  comparison  with  the  "Peer  Gynt  Suite" 
in  its  strange  and  peculiar  beauty,  is  not 
heard  far  more  frequently  at  concerts  than 
is  the  case. 

The  idea  of  doing  for  Negro  music — to 
quote  his  own  words — "what  Brahms  has 
done  for  Hungarian  folk  music,  Dvorak  for 
the  Bohemian,  and  Grieg  for  the  Nor- 
wegian," came  early  into  his  mind.  In 
common  with  Dvorak  he  held  that  great 
racial  music  is  to  be  found  in  germ  in  the 
folk  songs  of  a  people.  Classical  forms  are 
highly  civilized,  and  therefore  largely  arti- 
ficial developments,  and  the  new  race,  imag- 
ining such  there  be,  that  begins  its  higher 
musical  expression  with  these,  is  of  neces- 
sity unoriginal  and  imitative  merely.  The 
elements  of  all  that  differentiates  it  from 
the  well-defined  schools  of  other  races  are 
to  be  found  in  the  everyday  utterances  of 
the  people  nearest  to  their  mother  earth. 
Like  Dvorak,  therefore,  he  turned  to  the 
folk  music  of  his  race,  and  found  valuable 
material  in  the  Jubilee  Songs  which  had 
been  collected  in  the  seventies  by  Theodore 
F.  Seward. 

Among  the  Jubilee  Singers  who  visited 
England  in  1875  was  Frederick  J.  Loudin. 
He  came  again  to  England  in  the  late  nine- 
ties with  a  new  generation  of  Fisk  Jubilee 
Singers,  who  revived  the  tradition  of  the 
old  choir  in  London  and  in  the  larger  Brit- 
ish towns.  Coleridge-Taylor  attended  some 
of  the  Jubilee  concerts,  and  was  deeply  af- 
fected by  the  singing;  the  airs,  indeed, 
struck  a  chord  responsive  in  him;  but  in 
particular  it  was  the  quality  of  the  voices 
that  impressed  him.  The  traditional  reedy 
singing  voice,  which  it  is  admitted  was  con- 
spicuous in  himself  in  later  years,  was  ab- 
sent, and  the  purity  of  the  tenor  tones  and 
the  deep  forward  tones  of  the  bass,  united 
with  the  power  of  using  them  to  convey  the 


SAMUEL    COLERIDGE-TAYLOR 


473 


whole  range  of  emotion,  were  marked  char- 
acteristics. Thereafter  Negro  themes  occur 
frequently  in  his  work.  After  the  ' '  African 
Suite,"  which  is  Negro  in  intention  rather 
than  its  direct  use  of  Negro  themes,  the 
most  important  early  work  in  which  such 
a  theme  was  used  deliberately  was  the 
"Overture"  to  the  "Song  of  Hiawatha." 
This  is  built  up  upon  the  Jubilee  song,  ' '  No- 
body Knows  the  Trouble  I  See,  Lord!"  A 
curious  choice,  and  one  which  removes  the 
resultant  work  in  character  from  the  pagan 
Indian  cantatas  to  which  it  is  ostensibly  the 
introduction.  It  is  very  undesirable,  how- 
ever, to  press  the  importance  of  the  origi- 
nating theme  too  far.  The  hymn  is  of  the 
most  primitive  character  and  very  limited 
in  range;  the  "Overture,"  on  the  other 
hand,  is  the  work  of  the  highly  conscious, 
fully  equipped  artist,  who  has  at  his  dis- 
posal and  employs  every  modern  medium. 
It  is  doubtful  whether  or  not  the  slaves  who 
sang  the  hymn  at  their  camp  revival  meet- 
ings would  recognize  their  old  favorite  in 
its  highly  civilized  form.  Be  that  as  it  may, 
his  employment  of  the  theme  at  the  mo- 
ment when  his  reputation  was  at  its  high- 
est point  is  significant  of  his  attitude. 

His  symphonic  poem,  ' '  Toussaint  1  'Ouver- 
ture,"  written  in  1901,  is  again  directly  the 
outcome  of  his  racial  sympathies.  The  mu- 
sic was  designed  to  interpret  and  illustrate 
the  character  and  tragedy  of  one  of  the 
most  striking  personalities  that  the  Negro 
race  has  given  to  the  world.  Whether  this 
composition  is  based  upon  original  themes 
or  themes  derived  from  Negro  folk  songs  is 
not  certain.  It  is  a  subjective  study  of 
"Toussaint  1'Ouverture's"  character,  his 
warlike  prowess,  and  his  strong  family  af- 
fections. The  first  theme  and  its  acces- 
sories illustrate  his  sterner  virtues,  the  sec- 
ond his  gentler  qualities. 

Brief  mention  must  be  made  of  his  rela- 
tions with  the  Samuel  Coleridge-Taylor  So- 
ciety, in  the  founding  of  which  his  race 
laid  special  claim  to  him,  a  claim  which  had 
his  ready  acquiescence.  It  was  natural, 
when  he  was  asked  to  contribute  something 
original  to  the  Washington  Festival  in  1904, 
that  he  should  choose  a  subject  closely 
linked  with  the  mutual  race  of  himself  and 


the  Coleridge-Taylor  Society.  The  descend- 
ants of  slaves  could  not  but  be  interested  in 
Longfellow's  "Songs  of  Slavery,"  from 
which  Coleridge-Taylor  drew  the  words  of 
his  "Five  Choral  Ballads,"  three  of  which 
were  presented  at  Washington.  His  treat- 
ment of  these  songs  is  of  the  simplest;  his 
own  idiomatic  phrasings  and  repetitions 
with  slight  harmonic  variations  are  present, 
but  there  is  that  remarkable  restraint  in  his 
use  of  material  and  in  his  orchestration 
which  only  the  master-hand  shows. 

It  was  in  connection  with  his  first  visit  to 
America  that  he  received  an  invitation  from 
a  publisher  to  arrange  a  volume  of  "Negro 
Melodies  Transcribed  for  the  Piano,"  pub- 
lished in  1905,  in  which  he  attempted  to 
show  the  main  currents  of  native  negro  mu- 
sic, and  which  was,  according  to  Dr.  Booker 
T.  Washington,  who  contributed  a  prefa- 
tory appreciation,  "the  most  complete  ex- 
pression of  Mr.  Coleridge-Taylor's  native 
bent  Lnd  power."  "Using,"  continues  Dr. 
Washington,  "some  of  the  native  songs  of 
Africa  and  the  West  Indies  with  songs  that 
came  into  being  in  America  during  the 
slavery  regime,  he  has  in  handling  these 
melodies  preserved  their  distinctive  traits 
and  individuality,  at  the  same  time  giving 
them  an  art  form  fully  imbued  with  their 
essential  spirit.  It  is  especially  gratifying 
that  at  this  time,  when  interest  in  the  plan- 
tation songs  seems  to  be  dying  out  with  the 
generation  that  gave  them  birth,  when  the 
Negro  song  is  in  too  many  minds  associated 
with  the  'rag'  music  and  the  more  repre- 
hensible 'coon'  song,  that  the  most  culti- 
vated musician  of  his  race,  a  man  of  the 
highest  aesthetic  ideals,  should  seek  to  give 
permanence  to  the  folk  songs  of  his  people 
by  giving  them  a  new  interpretation  and 
an  added  dignity. ' ' 

He  also  employed  Negro  melodies  for  the 
theme  of  a  work  which  he  considered  better, 
"stronger  and  more  modern  altogether" 
than  "Hiawatha."  This  was  his  "Sym- 
phonic Variations  on  an  African  Air," 
which  formed  the  first  item,  on  the  program 
of  the  Philharmonic  Society  on  June  14th, 
1906,  and  the  air  is  "  I  'm  Troubled  in  Mind, ' ' 
another  Jubilee  song.  Although,  as  Cole- 
ridge-Taylor said  in  explaining  the  work, 


474 


SAMUEL    COLERIDGE-TAYLOR 


the  tune  is  well-known  in  America  in  con- 
nection with  the  plantation  hymn,  there  is 
reason  to  believe  that  it  consists  in  large 
part  of  a  much  older  native  Negro  melody. 
In  the  form  in  which  it  reached  the  com- 
poser, it  is  one  of  the  most  pathetic  num- 
bers in  Seward's  collection.  Those  who 
listen  to  Coleridge-Taylor's  work,  with  its 
great  range  of  pathos,  strength,  and  at  times 
almost  weird  beauty,  may  care  to  be  re- 
minded that  the  original  tune  was  taken 
from  the  lips  of  a  slave  in  Nashville,  who 
first  heard  it  from  her  father.  The  original 
tune  is  as  follows: 


and  at  the  outset,  without  alteration  of  note 
or  time,  but  with  a  simple  transposition, 
Coleridge-Taylor  uses  this  tune,  and  upon 
it  builds  a  series  of  variations  of  progres- 
sive complexity  and  beauty. 

Among  the  "Negro  Melodies"  was  the 
"Bamboula,"  a  West  Indian  dance,  and 
this  formed  the  groundwork  of  an  orches- 
tral rhapsody  which  he  wrote  in  the  early 
spring  of  1910,  and  which  he  conducted  at 
the  Litchfield  County  Choral  Union  at  Nor- 
folk, Connecticut,  on  his  third  and  last  visit 
to  America.  The  following  particulars  of 
the  origin  of  the  composition  are  from  the 
pen  of  Mr.  Carl  Stoeckel: 

I  saw  Coleridge-Taylor  in  London,  in  Sep- 
tember, 1909,  and  arranged  with  him  to  come 
over  and  conduct  his  "Indian  Music"  at  our 
recent  concert.  As  I  was  talking  with  him,  the 
thought  came  to  me  what  he  might  do  in  a  mu- 
sical way  in  his  mature  manhood,  as  compared 
with  the  "Indian  Music"  of  his  student  period. 
We  could  not  use  a  choral  work,  so  I  proposed 
that  he  compose  a  work  for  full  orchestra,  using 
as  a  basis  some  African  and  American  air,  such 
a  work  to  require  not  over  fifteen  minutes  for 
rendition,  to  be  brilliant  in  character,  and  suit- 
able for  a  "closing  piece"  for  our  concert. 
There  was  not  the  slightest  condition  about  all 
this;  it  was  only  a  suggestion  on  my  part — the 
only  stipulation  being  for  an  orchestral  work 
not  to  exceed  fifteen  minutes.  Coleridge-Taylor 
accepted  the  commission,  and  evidently  thought 
well  of  the  proposition,  for  in  the  spring  he 
wrote:  "The  orchestral  piece  is  finished.  .It 


is  a  rhapsody  dance  on  matter  contained  in  my 
'Bamboula,'  a  West  Indian  melody.  Of  course, 
it  is  very  much  amplified  and  enlarged  and,  in 
fact,  quite  different,  but  the  actual  four  bars 
of  the  motto  remain  the  same.  I  should  say  it 
will  take  ten  to  twelve  minutes  in  performance. 
It  is  very  brilliant  in  character,  as  you  will  see 
by  the  subject,  which  is  taken  from  my  collec- 
tion of  twenty-four  Negro  melodies.  The  work 
is  scored  for  full  orchestra,  and  is  dedicated 
to  Mr.  and  Mrs.  Stoeckel."  Coleridge-Taylor 
brought  the  score  and  parts  with  him  when  he 
came  to  America  in  May;  the  work  was  cor- 
rected on  the  steamship,  and  tried  for  first  re- 
hearsal at  Carnegie  Hall,  New  York,  May  27th, 
second  rehearsal  at  Norfolk,  June  2nd,  first  con- 
cert rendition  under  the  composer  the  same 
evening.  The  composer  was  much  impressed 
by  the  ability  of  our  players  to  give  such  a  fine 
rendition  after  only  two  rehearsals.  The  fBam- 
boula"  seemed  to  hit  the  fancy  of  the  musicians 
present  as  "the  best  thing  in  an  orchestral  way 
yet  done  by  the  composer." 

One  of  the  most  charming  works  of  his 
later  life,  his  "Fairy  Ballads,"  is  a  setting 
of  six  lyrics  by  Miss  Kathleen  Easmon,  a 
young  West  African  girl.  For  the  amuse- 
ment of  some  child  friends  Miss  Easmon 
had  written  little  verses,  enshrining  pretty 
conceits.  These  her  mother  showed  to  Mrs. 
Coleridge-Taylor,  who  in  turn  showed  them 
to  her  husband.  He  took  the  copy  without 
expressing  any  intention  in  regard  to  them, 
and  a  short  while  later  Miss  Easmon  was 
delighted  to  learn  that  he  had  clothed  them 
in  his  most  characteristic  style  in  some  of 
the  most  charming  of  recent  music.  Given 
a  skilled  accompanist,  they  are  peculiarly 
adapted  to  the  singing  of  little  children. 

The  last  considerable  work  produced  dur- 
ing his  lifetime,  the  "Violin  Concerto,"  was 
built  upon  Negro  tunes.  Mr.  Carl  Stoeckel 
gives  an  account  of  the  occasion  of  its  origin 
during  Coleridge-Taylor's  visit  to  conduct 
"Bamboula"  at  the  Norfolk  Music  Festival. 

After  supper  my  wife  went  into  the  library, 
and  Coleridge-Taylor  and  I  went  into  another 
room  to  have  a  smoke.  She  began  playing 
on  the  piano,  and  suddenly  Coleridge-Taylor 
dropped  his  cigarette,  jumped  to  his  feet,  and 
said,  "What  is  that  lively  melody?"  It  was  an 
African  slave  song  called  "Keep  Me  From  Sink- 
ing Down,  Good  Lord,"  which  has  never  been 
in  the  books,  as  it  was  taken  from  the  lips  of 
a  slave  directly  after  the  war  by  a  teacher  who 
went  South  and  who  gave  it  to  my  late  father- 


SAMUEL    COLERIDGE-TAYLOR 


475 


in-law,  Robbins  Battell.  Coleridge-Taylor  went 
into  the  library  and  asked  my  wife  to  play  it 
again,  which  she  did,  singing  the  melody  at  the 
same  time.  He  said,  "Do  let  me  take  it  down. 
I  will  use  it  some  time."  For  several  days  some 
of  the  violin  passages  in  the  "Bamboula"  rhap- 
sody had  been  running  in  my  head,  and  the 
thought  came  to  me  that  perhaps  Coleridge- 
Taylor  might  be  induced  to  write  a  violin  con- 
certo, using  this  African  melody  in  the  adagio 
movements.  I  proposed  the  matter  to  him  then 
and  there.  He  said  that  he  was  delighted  with 
the  idea,  and  would  undertake  it.  In  due  sea- 
son the  manuscript  of  the  violin  concerto 
reached  me.  I  took  it  at  once  to  Madam  Maud 
Powell,  as  the  work  was  dedicated  to  her,  and 
she  was  to  give  the  first  rendition.  My  original 
suggestion  to  Coleridge-Taylor  was  that  the 
concerto  should  be  founded  on  three  African 
melodies  characteristic  of  our  so-called  Southern 
Negro  airs.  When  we  went  over  the  concerto, 
we  found  that  the  second  movement  was  based 
on  an  African  melody,  but  not  on  "Keep  Me 
From  Sinking  Down,"  which  Coleridge-Taylor 
had  found  that  he  could  not  use,  and  he  hf  d 
substituted  "Many  Thousands  Gone"  for  this 
movement.  In  the  third  movement  he  had 
used  "Yankee  Doodle"  quite  frequently,  which, 
of  course,  is  not  an  African  melody.  We  agreed 
that  the  second  movement  of  the  concerto  was 
a  beautiful  piece  of  music,  but  both  the  first 
and  third  movements  seemed  to  us  rather 
sketchy  and  unsatisfactory.  While  I  was  con- 
sidering what  to  write  about  this  work  to 
Coleridge-Taylor,  I  received  a  letter  from  him, 
requesting  me  to  throw  it  into  the  fire;  and 
saying  that  he  had  written  an  entirely  new  and 
original  work,  all  the  melodies  being  his  own, 
and  that  it  was  a  hundred  times  better  than 
the  first  composition.  I  returned  his  first  com- 
position to  him  at  once,  as  it  seemed  a  pity 
to  lose  the  second  movement;  and  a  few  weeks 
later  the  score  of  the  second  concerto  arrived. 
It  was  tried  and  found  highly  satisfactory.  Its 
first  rendition  was  at  the  Norfolk  Festival  of 
1912,  by  Madam  Maud  Powell,  under  the  direc- 
torship of  Arthur  Mees. 

/ 

Almost  to  his  last  hour,  Coleridge-Taylor 
was  occupied  with  the  welfare  of  his  race; 
and  his  contribution  to  humanity  takes  its 
significance  from  his  book.  Other  and 
greater  musicians  have  lived,  but  he  was 
the  first  of  his  race  to  reach  recognition  as 
a  world  musician.  In  the  interval  between 
the  Negro  folk  songs  and  his  work  lie  only 
the  works  of  one  Negro  composer  of  con- 
sideration, W.  Marion  Cook,  whose  talents, 
however,  reach  mainly  in  the  direction  of 
musical  comedy,  which  in  modern  days  has 


not  been  rich  in  permanent  music.  Both  he 
and  Coleridge-Taylor's  friend,  Harry  T. 
Burleigh,  have  written  songs  which,  accord- 
ing to  Professor  B.  G.  Brawley,  "satisfy 
the  highest  standards  of  art,  as  well  as  those 
that  are  merely  popular  music."  But  to 
neither  does  criticism  award  a  place  ap- 
proaching that  held  by  Coleridge-Taylor, 
the  greatness  of  whose  style  is  only  equalled 
by  the  many  and  advanced  forms  in  which 
it  revealed  itself.  One  such  man  is  a  com- 
plete answer  to  all  the  biologists  who  gen- 
eralize on  the  limitations  of  the  Negro : 

Nations  unborn  shall  hear  his  forests  moan; 

Ages  unscanned  shall  hear  his  winds  lament, 
Hear  the  strange  grief  that  deepened  through 
his  own, 

The  vast  cry  of  a  buried  continent. 

Through  him,  his  race  a  moment  lifted  up 
Forests  of  hands  to  Beauty  as  in  prayer; 

Touched  through  his  lips  the  sacramental  Cup, 
And  then  sank  back — benumbed  in  our  bleak 
air. 

True  as  they  are,  the  beautiful  lines  of 
the  poet  speak  for  u"s  to-day  and  for  the 
past,  but  Coleridge-Taylor's  work  is  pro- 
phetic as  well.  He  has  shown  that  the 
"buried  continent"  is  capable  of  producing 
the  highest  in  at  least  one  art. 

In  any  future  discussion  of  his  possibili- 
ties, the  Negro  may  take  heart  in  remem- 
bering that  in  the  perfecting  within  itself 
of  the  race  physically,  morally,  and  intellec- 
tually, in  an  unswerving  devotion  to  the 
higher  human  ideals,  in  a  determination  to 
stand  upon  its  own  achievements,  lies  the 
justification  of  the  race.  In  the  songs  of  a 
Paul  Laurence  Dunbar,  the  eloquence  of 
a  DuBois,  the  practical  contributions  of  a 
Booker  Washington,  in  the  color  dreams  of 
a  Henry  Ossowas  Tanner,  in  the  world- 
embracing  genius  of  a  Dumas  or  a  Pushkin, 
and  perhaps  even  more  than  in  these,  in  the 
melodies  of  a  Coleridge-Taylor,  which  thrill 
the  heart-strings  of  mankind  irrespective  of 
creed,  caste,  or  color;  in  these  lies  the  ulti- 
mate triumph  of  the  oppressed  people. 
More  and  more  as  the  race  produces  exam- 
ples of  the  highest  human  genius  and 
achievement,  more  and  more  will  the  race 
be  lifted  to  the  level  of  those  who  until  now 
have  been  regarded  as  "more  advanced." 


AMERICA'S  POSITION   IN  MUSIC 


BY 


EUGENE    E.    SIMPSON 


FOR  more  than  a  generation,  in  discus- 
sions about  America's,  position,  in  mu- 
sic, it  has  been  the  fashion  to  hold  two  pro- 
nounced views :  the  one,  as  it  concerned  the 
problem  of  our  best  procedure  in  study ;  the 
other,  as  it  concerned  the  actual  potency  of 
our  elemental  forces,  compared  with  the 
elements  inherent  in  the  music  of  other 
lands.  During  all  that  time  both  of  those 
strongly  represented  views  have  been  er- 
roneous, as  we  will  show. 

The  two  errors  rested,  first,  in  the  asser- 
tion that  it  was  no  longer  necessary  to  go 
abroad  for  musical  study;  and  second,  that 
we  had  as  yet  no  truly  American  music. 
The  latter  view  has  even  persisted  in  face 
of  the  circumstance  that  for  full  twenty 
years  European  critics  have  been  decry- 
ing, sometimes  praising,  those  "American- 
isms" they  heard  in  musical  compositions. 
Fortunately,  also,  the  former  view  has  re- 
mained unheeded  by  some  thousands  of  mu- 
sical youth  who  have  annually  nocked  to 
Paris,  London,  Berlin,  Vienna,  even  to 
Leipsic,  Dresden,  Cologne,  Prague,  Petro- 
grad,  Munich,  Geneva,  Milan,  Florence  and 
Rome. 

The  habit  of  going  to  Europe  has  im- 
measurably intensified  our  step  and  inesti- 
mably shortened  the  period  of  our  appren- 
476 


ticeship.  The  whole  process  has  been  one 
of  continual  visiting  about,  plucking  the 
best  from  every  garden,  soon  discerning  to 
reject  all  that  had  become  antiquated  and 
unworthy.  With  the  possible  exception  of 
the  Russians,  in  less  degree  those  from 
Scandinavia  and  Finland,  who  visited  cen- 
tral and  western  Europe  rather  more  from 
necessity  than  from  choice,  the  youth  of  the 
other  European  countries  have  not  been  ac- 
customed thus  to  go  from  one  country  to 
another. 

Norway,  Sweden,  Denmark  and  Finland 
sent  their  musical  students  to  the  South 
purely  through  lack  of  advantages  at  home. 
The  case  of  the  young  Russians,  who  were 
overwhelmingly  of  Jewish  parentage, 
hinged  upon  the  two  powerful  forces  of 
poverty  and  the  restrictions  which  race  and 
religion  settled  upon  them  at  home.  Thus 
were  there  many  of  those  without  means  of 
the  barest  subsistence  who  went  westward, 
and,  by  force  of  their  great  talent,  often 
obtained  free  tuition  while  the  wealthy  of 
their  own  blood  helped  them  to  the  modest 
and  most  actual  necessaries  of  student  life. 

Meantime  peregrination  by  the  Ameri- 
cans resulted  not  only  in  finding  that  which 
was  directly  sought,  but  guaranteed  for  life 
the  attitude  and  habit  of  "the  open  mind." 


AMERICA'S    POSITION    IN    MUSIC 


477 


In  fact  their  very  presence  abroad  was  a 
flaming  and  indelible  sign  of  "the  open 
mind, ' '  and  for  its  influence  upon  the  whole 
course  of  an  intellectual  life,  that  was  of 
vastly  greater  importance  than  any  group 
of  technical  principles  that  could  be  assimi- 
lated during  the  years  spent  in  an  academy. 

America,  as  an  item  of  attention  in  inter- 
national musical  life,  may  have  begun  with 
the  work  of  Lowell  Mason,  who  was  born 
eleven  years  before  Michael  Glinka,  twenty- 
one  years  before  Richard  Wagner  and  sixty- 
nine  years  before  MacDowell.  At  about  the 
time  American  statesmen  were  setting  up 
the  international  policy  of  the  Monroe  Doc- 
trine, in  1821,  Mr.  Mason  was  issuing  the 
first  of  a  series  of  hymn  collections  which 
were  to  have  a  very  important  home  influ- 
ence for  the  succeeding  half  century,  be- 
sides earning  notice  and  the  profoimd 
respect  of  European  musicians.  Mr.  Maso*.- 
went  abroad  for  a  brief  stay  in  1837.  When 
his  son  William,  as  a  twenty-year  old  youth, 
went  to  Leipsic  Conservatory  in  1849, 
Hauptmann  received  him  cordially,  saying 
that  he  had  been  long  acquainted  with  the 
elder  Mason's  excellent  work. 

Four  years  before  this  modest  incident, 
Philadelphia  had  achieved  the  honor  of 
presenting  the  first  grand  opera  by  an 
American,  the  "Leonora"  by  William  H. 
Pry.  As  has  happened  to  many  other 
American  manuscripts  since  then,  the 
"Leonora"  next  waited  the  thirteen  years 
to  1858,  before  coming  into  the  quasi-inter- 
nationalism  implied  by  its  New  York  pres- 
entation in  the  Italian  language,  which  in 
1858,  as  in  A.  D.  1918,  was  the  prevailing 
operatic  language  in  New  York.  Though 
Pry's  "Leonora" 'and  his  later  masterpiece, 
"Notre  Dame  de  Paris"  (1864),  had  not 
the  vitality  to  earn  revival  in  any  American 
repertory,  they  gave  pleasure  through  nu- 
merous performances  accorded  them  in 
their  day. 

The  problem  of  native  opera  had  found 
other  mild  solution  in  1855,  by  George  F. 
Bristow's  setting  of  the  all-American  "Rip 
van  Winkle."  However,  there  is  no  record 
of  performance,  either  of  that  or  other 
operas  written  by  Bristow  in  the  long  life 
from  1825  to  1898,  yet  at  the  very  close  of 


his  life  he  witnessed  the  fine  success  of  his 
cantata  on  another  American  theme,  "Nia- 
gara. ' ' 

One  year  after  Pry's  American  "Leo- 
nora" had  been  promoted,  in  its  thirteenth 
year,  to  the  grade  of  a  New  York  opera  in 
Italian,  western  America  became  the  scene 
of  another  bit  of  musical  internationalism; 
this  time  in  a  Polish-Indian  combination, 
with  Milwaukee  as  a  background.  Prob- 
ably late  in  the  year  1858  there  came  to 
Milwaukee  the  Polish  conductor  and  com- 
poser, Edouard  Sobolewski,  who  immediately 
set  about  to  write  an  opera  on  the  Indian 
title,  "Mohega,  Flower  of  the  Forest."  The 
composer  is  thought  to  have  employed  some 
real  Indian  themes,  at  any  rate  the  work 
was  completed  and  given  performance  in 
Milwaukee  in  1859.  The  inaugural  per- 
formance is  said  to  have  been  met  with  a 
full  house,  the  second  by  empty  benches. 
The  composer  soon  gave  up  Milwaukee  for 
St.  Louis,  and  after  some  years  of  great  use- 
fulness and  partial  artistic  recognition,  he 
died  on  a  farm  near  St.  Louis  in  1872,  al- 
most wholly  unsung. 

At  this  late  day,  in  the  absence  of  Sobo- 
lewski's  scores,  and  he  had  various  others, 
there  may  stand  open  the  question  as  to 
whether  his  talent  was  sufficient  to  consti- 
tute him  a  true  martyr  to  a  new  world's 


LOWELL   MASON 


478 


AMERICA'S    POSITION    IX   MUSIC 


WILLIAM    H.    FRY 

unappreciativeness.  If  he  had  talcut,  then 
his  failure  in  the  pre-eminently  German 
colonies  of  Milwaukee  and  St.  Louis  stands 
as  a  permanent  indictment  against  the 
vaunted  musical  discernment  there.  The 
circumstance  might  have  remained  un- 
chroniclcd  except  to  prove  what  exaggera- 
tion the  German  attitude  constituted;  and 
this  particularly  in  view  of  the  fact  that 
Milwaukee  and  St.  Louis  were  among  the 
very  last  American  cities  of  long  standing 
commercial  importance  to  establish  sym- 
phony orchestras.  As  to  Sobolewski,  if  the 
qualities  of  his  genius  did  not  warrant  his 
expectation  of  a  first-class  future  in  the 
new  world,  they  had  at  least  attained  a 
first-class  past  in  the  old.  Upon  his  arri- 
val in  America,  at  the  age  of  fifty,  he 
brought  the  rich  tradition  of  a  student- 
ship under  Weber;  he  had  been  for  years 
conductor  of  opera  in  his  native  city  of 
Konigsberg,  and  from  1854  to  1858  at  Bre- 
men ;  his  opera  ' '  Comola ' '  had  been  honored 
with  production  at  Weimar  under  one  of 
the  greatest  of  connoisseurs,  Franz  Liszt. 
By  reason  of  his  residence  in  the  sti-ongly 
Russian  city  of  Konigsberg,  it  was  inevi- 
table that  he  had  viewed  at  close  range  the 


birth  of  Russian  tradition  in  musical 
art — the  production  of  Glinka's  "Life 
for  the  Czar"  (1836)  and  "Ruslan  and 
Ludmila"  (1842).  He  was  said  to  be  a 
Wagnerian,  which  would  have  been  a  most 
natural  circumstance  in  view  of  his  ac- 
quaintance with  Liszt  at  a  time  when  Wag- 
ner's works  had  not  passed  the  complexity 
of  "Lohengrin"  and  "The  Flying  Dutch- 
man. ' ' 

In  view  of  all  the  above,  it  is  seen  that 
if  Sobolewski 's  talent  had  been  only  of  the 
most  meager,  and  his  music  the  veriest 
"Kapellmeister"  product  of  the  day,  still 
his  opera  should  have  been  accorded  a 
worthy  place  for  the  delectation  and  the 
advancement  of  musical  life  in  the  new 
world. 

When,  in  1842,  the  American  Stephen  G. 
Foster's  first  song,  "Open  Thy  Lattice, 
Love,"  was  coming  into  print,  the  Euro- 
pean cult  which  had  already  grown  up 
around  the  artist  and  person,  Felix  Mendels- 
sohn, at  Leipsic,  was  of  an  enthusiasm  and 
good-will  almost  without  parallel.  Schu- 
mann was  also  present  there  and  in  his 
prime,  whole-heartedly  enjoying  the  suc- 
cess of  his  colleague  while  busily  composing 
his  own  works,  which  time  proves  to  have 
been  of  much  greater  individuality  and 
power.  Two  years  before  the  death  of 
Mendelssohn,  in  1847,  and  four  years  before 
the  death  of  Chopin,  Foster  had  further 
brought  his  "Oh,  Susannah"  and  "Old 
Uncle  Ned,"  to  be  followed  six  years  still 
later  by  "Old  Folks  at  Home."  In  view  of 
the  present  fashion  in  concert  literature,  it  is 
seen  not  only  that  those  first  Americanisms 
by  Fry,  Rristow  and  Sobolewski  have  suf- 
fered the  ignominy  of  the-  unused,  but  in  all 
reverence  to  a  great  artist  it  must  be  said 
also  that  in  the  seventy  years  since  the  death 
of  Mendelssohn  his  cause,  still  worthy,  has 
fallen  into  a  state  of  almost  complete  leth- 
argy. Thus  the  songs  of  Foster,  so  mod- 
estly conceived,  have  met  the  better  fate, 
since  their  hold  extends  to  this  day ;  they 
help  to  constitute  one  of  the  sturdy  elements 
of  Americanism  which  has  been  all  too 
long  occupied  in  stealing  into  our  critical 
vision. 

Let  us  further  see  how  affairs  of  the  mu- 


AMERICA'S    POSITION    IN    MUSIC 


479 


sical  world  invoke  patience.  Going  back 
again  to  the  time  of  the  Monroe  Doctrine 
and  Mason's  hymnal,  Johann  Sebastian 
Bach  had  been  dead  and  in  the  most  pro- 
nounced oblivion  for  seventy-one  years,  and 
eight  years  more  were  to  elapse  before  his 
rediscovery  and  Mendelssohn's  revival  of 
the  St.  Matthew  Passion.  Though  the  next 
few  years  saw  Mendelssohn's  enthusiasm 
rewarded  by  the  erection  of  a  small  Bach 
statue  near  the  Thomas  Schule  in  Leipsic, 
still  the  Bach  art  had  by  no  means  come 
into  its  own.  Professor  Robert  Teichmiil- 
ler  has  shown  that  nearly  up  to  the  last 
decades  of  the  nineteenth  century,  Bach 
was  not  played  in  Germany  except  through 
the  most  elementary  and  tuneful  of  his  pre- 
ludes and  fugues.  Thus  the  whole  depth 
of  appreciation  due  him  was  finally  attained 
through  the  radical  tonalities  of  Wagner 
and  the  musical  army  which  directly  suc-^ 
ceeded  him. 

In  1821  Weber  was  universally  recog- 
nized for  his  service  in  having  created  an 
operatic  Germanism,  not  alone  by  the 
potency  of  his  musical  fancy  but  in  the 
tradition  represented  in  the  texts,  and 
though  he  had  but  five  years  more  to  live, 
his  works  survived,  and  bore  still  greater 
fruit  in  the  inspiration  they  gave  to  Wag- 
ner. Beethoven  died  in  1827,  recognized  as 
a  great  personality  and  mentality,  yet  also 
not  nearly  understood  for  such  as  his  great 
violin  concerto  and  ninth  symphony.  For 
that  matter  the  Herculean  strength  of  his 
B-flat  sonata,  Op.  106,  has  not  come  to 
proper  appreciation  in  the  ninety  years,  to 
the  present  day.  Schubert,  only  thirty-one 
years  old,  died  a  year  after  Beethoven,  but 
miserably  poor  in  the  recognition  to  which 
we  now  see  his  genius  entitled.  His  luster 
as  song  writer  had  been  kept  strangely 
dimmed  by  the  popularity  of  a  contempo- 
rary— Carl  Loewe,  who  had  undoubted 
talent  and  produced  many  works  of  perma- 
nent value,  yet  in  nowise  could  those  few 
works  give  him  rank  with  a  giant  like  Schu- 
bert. Still  worse,  Schubert's  place  as  a 
symphonist  was  almost  entirely  unestab- 
lished,  and  the  greatest  of  his  eight  com- 
positions in  this  form,  the  one  in  C-major, 
was  not  even  known  to  exist  until  Schu- 


L_ 


GEORGE    F.    BRISTOW 


mann  found  the  score  in  1839,  eleven  years 
after  its  composer 's  death. 

There  is  particular  need  to  study  the 
musical  activity  of  Europe  for  the  period  of 
1820  to  1850,  because  of  the  extraordinary 
enthusiasm  with  which  the  art  went  forward 
there.  If  for  the  same  period  the  new 
America  was  not  yet  awake  and  following 
in  that  progress,  then  the  need  for  an  alibi 
is  by  just  so  much  the  greater. 

When  Mason's  hymnal  was  issued,  Pa- 
ganini,  fourteen  years  younger  than  Beet- 
hoven and  eight  years  older  than  Mason, 
was  thirty-five  years  old;  eight  more  years 
were  to  elapse  before  Paganini's  tour  into 
Germany  which  resulted  in  electrifying 
Schumann.  It  was  probably  still  later  that 
Paganini  cast  his  spell  over  Liszt.  For 
America,  the  time  of  Paganini's  death  in 
1840,  found  at  least  that  the  new  world  had 
already  had  a  couple  of  seasons'  portentous 
experiments  in  public  school  music,  in  Bos- 
ton. 

Whatever  may  be  recorded  of  the  whole 
time  necessary  for  America  to  have  found 
her  real  self  in  music,  those  Boston  classes 
likewise  stand  as  a  record  of  an  enduring 


480 


AMERICA'S   POSITION   IN   MUSIC 


wisdom.  The  eighty  years  of  usage  and 
experiment,  sometimes  of  violent  conten- 
tion, have  not  sufficed  to  prove  other  than 
that  the  theory  of  music  instruction  then 
laid  down  was  the  right  one.  The  ground 
principle  involved,  and  thus  long  ago  right- 
ly discovered,  was  that  the  teacher  in  every 
schoolroom  should  conduct  her  own  class 
in  the  daily  music  period,  regardless  of  any 
particular  talent  she  might  have  in  music. 
The  one  need  was  that  the  teacher  be  rightly 
and  effectively  routined  in  the  usual  proc- 
esses of  pedagogy.  The  music  classes 
would  then  progress  in  ratio  with  the 
other  branches. 

Briefly  sketching  further  on  the  picture 
of  music  in  Europe,  to  the  middle  of  the 
century,  the  Leipsic  cult  of  Mendelssohn 
and  Schumann  was  reinforced  by  the 
veteran  violinist,  Ferdinand  David,  and  the 
youthful  Joachim,  soon  to  be  followed  by 
the  greatest  of  them  all — Johannes  Brahms. 
However,  in  that  period  of  his  career 
Brahms  did  not  remain  indissolubly  asso- 
ciated with  Leipsic,  since  his  friends,  Rob- 
ert and  Clara  Schumann,  and  Joachim, 
spent  most  of  their  later  lives  in  other  cit- 
ies. Many  years  later  Brahms  was  often 
brought  to  Leipsic  through  his  extraordi- 
nary friendship  with  the  distinguished 
Leipsic  pair,  the  Von  Herzogenbergs ;  still 
later,  with  Arthur  and  Amelie  Nikisch. 
All  this  time  Nikisch  was  earning  a  partic- 
ularly strong  place  in  history,  as  well  for 
his  great  gifts  as  conductor,  but  even  more 
as  the  chief  of  all  apostles  of  the  Brahms 
symphonies. 

Shortly  before  Mendelssohn's  death,  in 
1847,  the  cult  had  absorbed  a  genial 
stranger,  the  Dane,  Niels  W.  Gade.  Inci- 
dentally, in  a  life  of  seventy-three  years, 
Gade  wrote  eight  symphonies,  but  in  view 
of  the  whole  world's  attention  which  Leip- 
sic's  activities  had  centered  upon  itself,  the 
more  difficult  attainment  was  the  honor  of 
conducting  some  years  at  the  Gewandhaus. 
However  little  value  the  world  now  places 
upon  the  Gade  symphonies,  the  Gewandhaus 
experience  stands  as  eloquent  testimony  to 
the  composer's  tact  among  strangers.  His 
tenure  there  might  have  extended  over 
other  years,  but  for  the  German-Danish 


political  difficulties  which  were  then  devel- 
oping. 

In  final  estimate  of  Leipsic 's  early  posi- 
tion, one  will  observe  that  of  the  numerous 
connections  with  the  Mendelssohnian  era, 
only  Schumann  and  Brahms  are  seen  to 
have  had  messages  of  power  enough  to  in- 
terest posterity.  Just  as  Weber's  own  po- 
tent compositions  bore  new  fruit  through 
their  influence  on  Wagner,  Schumann's  had 
the  honor  markedly  to  influence  Tschaikow- 
sky,  and  Brahms,  whose  four  symphonies 
are  in  themselves  a  rich  and  abundant  heri- 
tage to  the  world,  was  destined  to  exert  a 
most  tenacious  hold  on  Max  Reger,  who 
became  at  least  the  greatest  polyphonist 
born  in  the  nineteenth  century. 

One  should  not  forget  to  add  that  the 
peculiarly  strong  local  position  of  Leipsic 's 
classic  interests  in  music,  found  a  wonder- 
fully opportune  auxiliary  on  the  side  of 
comic  opera,  since  the  very  period  under 
discussion  witnessed  the  birth  there  of 
Lortzing's  most  beautiful  examples  in  comic 
opera.  They  may  well  lead  that  branch 
of  the  literature  for  the  nineteenth  century, 
and  eighty  years  have  not  sufficed  to  weaken 
them.  Lortzing  had  been  able  to  bring  him- 
self fully  into  the  writing  manner  and  the 
spirit  of  Mozart,  and  he  added  the  techni- 
cal routine  of  one  whose  life  was  spent  on 
the  stage. 

Before  returning  directly  to  the  work  of 
America's  native  composers,  one  is  re- 
minded that  against  Leipsic 's  final  tradi- 
tion of  Mendelssohn,  Schumann  and 
Brahms,  the  outer  world  had  still  Chopin, 
Berlioz,  Liszt  and  Wagner,  not  to  speak  of 
Spohr,  Paganini  and  Glinka.  Whatever 
may  be  the  exact  value  of  their  output, 
which  reaches  its  highest  in  Chopin  and 
Wagner,  the  combination  Berlioz-Liszt- 
Wagner  largely  monopolized  attention  at 
the  close  of  the  century  in  which  they  lived, 
especially  in  view  of  the  Wagnerian  con- 
tinuation through  Richard  Strauss,  and  in 
less  degree,  even  through  Bruckner  and 
Mahler. 

If  America's  chief  values  in  music  crea- 
tive activity  were  represented,  until  1850, 
by  Lowell  Mason  and  Stephen  C.  Foster, 
the  alibi  for  the  rest  is  found  in  many  valid 


AMERICA'S    POSITION    IN   MUSIC 


481 


details.  Up  to  the  time  that  the  Monroe 
Doctrine  was  born  into  the  family  of  inter- 
national councils,  but  forty  years  had 
elapsed  since  the  American  eagle  completed 
its  title  to  freedom.  In  1812  there  had  arisen 
the  need  and  the  successful  occasion  to  re- 
assert the  principle  of  liberty. 

Then,  happily,  the  Monroe  Doctrine 
proved  to  be  the  culmination,  rather  than 
the  beginning,  of  an  international  crisis,  and 
Americans  became  free  to  consider  grave 
problems  which  were  growing  up  at  home. 
In  direct  contrast,  the  very  year  of  setting 
out  the  above  principle  in  internationalism 
brought  the  Missouri  Compromise,  which 
proved  to  be,  not  the  culmination,  but  the 
beginning  of  a  crisis  which  grew  for  nearly 
forty  other  years  and  ended  in  our  War  of 
the  Rebellion.  Meantime  we  had  contro- 
verted the  individual  rights  of  states,  and 
on  an  entirely  different  set  of  causes,  havi 
fought  the  war  with  Mexico.  Then  who 
shall  not  say  that  the  finest  genius  for  the 
period  was  fully  employed,  once  for  all, 
at  tracing  out  in  blood  the  domestic  rela- 
tion which  each  should  forever  bear  to  the 
other. 

Since  1850  nearly  or  quite  a  half  hundred 
Americans  are  known  to  have  composed  mu- 
sic in  the  larger  symphonic  or  operatic 
forms.  About  fifteen  of  our  earliest  com- 
posers were  born  before  that  date.  Careful 
survey  of  the  works  by  the  younger  group 
will  show  that  individuals  from  among  the 
fifty,  not  only  employed  traditional  Ameri- 
can titles  but  made  desultory  use  of  actual 
Negro  or  Indian  themes.  Still  the  last 
quarter  of  the  century  was  more  than  half 
gone  before  there  was  issued  the  result  of 
any  organized  study  of  our  primitive  re- 
sources. 

It  remained  the  privilege  of  a  woman, 
Miss  Alice  M.  Fletcher,  to  inaugurate  the 
movement,  and  to  find  immediate  response 
in  a  widespread  interest  and  a  new  hope  of 
progress  in  American  nationalism.  Her 
first  report  on  the  music  of  the  aborigines 
was  a  monograph  on  "Omaha  Indian 
Songs."  This  was  made  in  1893  for  the 
Peabody  Museum  of  Cambridge,  Mass.  She 
followed  with  various  magazine  articles  and 
a  book  of  "Indian  Story  and  Song";  and 


finally  a  report  to  the  United  States  Ethno- 
graphic Bureau,  on  "The  Hako,  A  Pawnee 
Ceremony."  For  these  works  Miss  Flet- 
cher had  valuable  assistance  from  John  C. 
Fillmore,  who  added  harmonizations  and 
included  discussion  of  music  theoretical 
principles  involved. 

The  timeliness  of  Miss  Fletcher's  first 
study  was  accentuated  by  the  appearance 
in  the  same  year  of  Dvorak's  New  World 
symphony,  which  embodied  Negro  themes, 
the  first-fruit  of  the  Omaha  Indian  themes 
was  MacDowell's  Indian  Suite,  which  is 
thought  to  be  the  best  of  all  the  composer's 
orchestral  works.  In  the  numerous  subse- 
quent collections  and  discussions  of  Indian 
music,  doubtless  the  most  valuable  is  the 
late  Frederick  R.  Burton's  "American 
Primitive  Music,"  published  in  1909.  Mr. 
Burton  was  not  only  a  trained  composer, 
nn  ethnographic  expert  of  the  Chicago  Field 
Columbian  Museum  and  the  American  Mu- 
seum of  Natural  History  in  New  York,  but 
a  man  of  life-long  routine  as  a  litterateur; 
and  because  of  the  combination  in  talent 
and  routine,  his  work  will  not  be  easily  sur- 
passed. Nevertheless,  Miss  Nathalie  Cur- 
tis has  issued  a  remarkable  work  called 
"The  Indians'  Book,"  which  is  a  compen- 
dium of  songs  and  textual  interpretations 
assembled  from  among  eighteen  Indian 
tribes  of  the  Southwest. 

Aside,  yet  in  continuation  of  the  fore- 
going, at  least  three  other  musicians  have 
personally  gone  among  the  Indians  to 
study  for  their  highly  specialized  compos- 
ing on  Indian  themes.  These  were  Arthur 
Farwell,  a  native  of  St.  Paul;  Charles 
Wakefield  Cadman,  of  Pittsburgh;  and  the 
Kansas  City  Philharmonic  conductor,  the 
Dane,  Carl  Busch,  who  has  ever  held  a  good 
allegiance  both  to  his  native  and  to  his 
adopted  countries. 

Of  this  group,  Farwell  doubtless  has  the 
priority  in  time,  for  he  was  already  issuing 
Indian  compositions  at  the  turn  of  the  cen- 
tury, and  Cadman  began  in  1906.  The  lat- 
ter gave  out  "Four  Indian  Songs,"  and 
has  written  other  idealized  pieces  which 
have  had  a  very  wide  circulation,  yet  the 
first  great  climax  to  his  studies  probably 
will  be  found  to  rest  in  his  first  In- 


482 


AMERICA'S    POSITION    IN    MUSIC 


dian  opera  "Shanewis, "  wherein  he  has 
employed  some  forty  aboriginal  themes. 
Farwell  established,  in  1901,  the  Wa-Wan 
Press  at  Newton  Centre,  Massachusetts,  and 
at  about  that  time  issued  piano  pieces  called 
"Dawn,"  "Navajo  War  Dance,"  and 
"Pawnee  Horses."  He  has  also  set  Shel- 
ley 's  ' '  Indian  Serenade, ' '  has  made  various 


STEPHEN    FOSTER 

tours  lecturing  on  Indian  lore,  and  has 
recorded  Indian  folk  songs  of  the  South- 
west for  the  American  Institute  of  Archae- 
ology. 

More  than  twenty  years  ago,  Busch  had 
made  idealized  settings  of  American  home 
song,  as  the  "Old  Folks  at  Home,"  for 
string  oi-chestra,  and  an  American  rhap- 
sody, besides  having  given  much  orchestral 
and  choral  attention  to  subjects  from 
Tennyson.  His  later  specializing  on  Indian 
themes  came  to  their  most  comprehensive 
result  in  an  orchestral  five-movement  In- 
dian Suite,  which  he  tried  out  in  private 
hearing  at  Leipsic,  1906.  At  that  time  it 
was  strangely  noticed  that  of  all  the  move- 
ments, entitled  "Greeting  of  Hiawatha." 
"Chibiabos,"  "Omaha  Pu"p"nl  Proces- 


sion," "Indian  Love  Song,"  and  fantasia, 
variations  and  fugue  on  an  Indian  air,  the 
least  individual  of  the  five  was  one  in  whicli 
the  composer  had  kept  closest  to  the  orig- 
inal form  of  the  Indian  love  song.  The  ex- 
planation may  rest  in  the  fact  that  at  that 
point  in  the  entertainment  a  slower  move- 
ment was  needed,  and  the  composer  found 
greater  difficulty  in  obtaining  a  theme 
strong  enough  to  be  introduced.  Other  In- 
dian works  by  Busch  include  songs,  dances 
and  choruses,  besides  the  highly  important 
cantata  of  "The  Four  Winds." 

Other  musicians '  who  have  at  least  paid 
compliment  to  Indian  tradition,  without 
having  gone  deeply  into  it,  include  Hugo 
Kaun  (born  in  Berlin,  and  again  resident 
there),  who  wrote  symphonic  poems,  "Min- 
nehaha"  and  "Hiawatha";  Victor  Her- 
bert (born  in  Dublin),  represented  by  In- 
dian melody  in  his  opera,  ' '  Natoma ' ' ;  Gia- 
como  Puccini  (Italian),  who  used  Indian 
material  in  his  "Girl  of  the  Golden  West"; 
Rubin  Goldmark,  who  wrote  a  "Hiawatha" 
overture;  Louis  Adolf  Coerne,  with  a 
symphonic  poem,  "Hiawatha";  Ernest  R. 
Kroeger,  author  of  a  "  Hiawatha ' '  overture 
and  "Ten  American  Sketches."  S.  Cole- 
ridge-Taylor set  portions  of  Longfellow's 
"Hiawatha"  in  the  form  of  a  four-move- 
ment cantata.  As  to  Frederick  R.  Bur- 
ton's own  composing  in  Indian  materials, 
it  was  by  choice  largely  on  Ojibway  themes, 
his  most  comprehensive  work  represented 
by  the  dramatic  cantata  "Hiawatha,"  and 
many  Ojibway  songs. 

There  is  the  highest  probability  that 
much  other  youthful  enthusiasm,  accom- 
panied by  talent  and  routine,  may  exist 
without  yet  having  been  formally  intro- 
duced to  the  public.  An  example  of  this 
is  found  in  Israel  Amter's  three  opera  man- 
uscripts, all  on  his  own  texts  and  themes, 
at  least  one  of  which  is  on  an  Indian  sub- 
ject. Amter  was  reared  in  Colorado, 
though  previous  to  his  coming  to  New  York 
in  1914  he  had  spent  some  years  in  the  ut- 
most retirement  at  Leipsic,  partly  in  study, 
but  chiefly  in  the  quiet  he  desired  for  his  own 
writing.  Incidentally  his  young  wife  oc- 
cupied herself  with  painting,  and  without 
having  there  any  real  Indian  girl  for  model, 


AMERICA'S    POSITION    IN   MUSIC 


483 


she  utilized   an  Alsatian  friend  and  pro- 
duced good  "Indian"  results. 

Turning  for  awhile  from  consideration 
of  the  American  aboriginal,  the  Negro  ele- 
ment in  music  has  been  much  oftener  no- 
ticed by  composers,  and  American  bibli- 
ography shows  a  far  earlier  interest  in  the 
subject.  Since  the  Negroes,  unlike  the  In- 
dians, are  not  looked  upon  as  a  vanishing 
race,  there  has  been  no  occasion  for  our 
government  to  enter  upon  an  intensive 
musico-ethnographical  study  among  them. 
Meantime  the  stage  of  their  own  musical 
education  has  become  so  high  that  they 
easily  help  themselves.  Latterly  they  have 
realized  the  nature  of  the  change  which  an 
ever-moving  civilization,  and  their  own 
progress,  may  crowd  upon  their  traditional 
music,  and  at  least  six  of  their  higher  in- 
stitutions are  taking  care  to  gather  and 
record  the  whole  treasury  of  their  song.v 
These  schools  include  the  pioneer,  and  still 
most  active  among  them,  the  Fisk  Univer- 
sity of  Nashville,  Tennessee;  also  the 
Hampton  Institute,  Atlanta  University, 
Talladega  College,.  Tuskegee  Institute  and 
the  Calhoun  School. 

The  "Coal  Black  Rose"  of  1829  may 
have  marked  the  first  song  publication  on 
a  Negro  subject.  Continual  agitation  of  the 
slavery  question,  and  the  Dan  Rice  min- 
strels of  1834-35  greatly  popularized  the 
Negro  as  a  topic  for  treatment  on  the  stage, 
yet  the  literary  discussion  of  the  Negroes' 
music  seems  to  have  been  deferred  until  the 
time  of  the  war  which  so  largely  grew  out  of 
the  controversy  over  slavery.  Thus  Mr. 
Frank  Kidson's  chapter  for  Grove's  Dic- 
tionary suggests  Miss  McKim's  letter  in 
Dwight's  Journal  of  Nov.  8,  1862,  as  the 
first  which  called  public  attention  to  the 
slave  songs. 

For  the  first  artistic  elaboration  of  songs 
on  the  Negro  topic,  a  cursory  glance  falls 
upon  a  product  of  1850— F.  H.  Williams' 
"Petit  fantaisie  for  the  harp,  on  the  cel- 
ebrated Ethiopian  melodies  'Louisiana 
Belle,'  'Uncle  Ned,'  and  'Susanna.'  "  It 
may  be  looked  upon  as  a  noteworthy  coin- 
cidence that  in  the  retreatment  of  these 
three  songs,  Stephen  C.  Foster,  then  as 
ncfw,  was  promising  potentiality  as  one  who 


might  live  again  through  those  who  would 
come  after. 

In  the  next  important  steps  in  utilizing 
the  Negro  tone,  the  palm  for  priority  rests 
with  G.  W.  Chadwick  (1854—)  and  Henry 
Schoenefeld  (1857 — )  who  were  students 
together  at  Leipsic  conservatory,  in  the  late 
seventies.  The  Scherzo  of  Chadwick 's 
second  symphony  (1885)  is  the  first  exam- 
ple of  his  having  written  in  this  specific 
manner,  yet  the  title  of  his  public  exami- 
nation overture  of  1879,  "Rip  van  Winkle," 
indicates  that  thus  early  the  composer's 
glance  was  turned  toward  home.  Schoene- 
feld's  first  formal  essay  on  the  Negro  topic 
is  the  overture,  "In  Sunny  South,"  but  he 
had  already  touched  the  Southern  vein  with 
his  "Characteristic  Suite."  Hard  after 


LOUIS    MOREALi    GOTTSCHALK 

Chadwick  and  Schoenef eld's  Southern  ex- 
cursions, Maurice  Arnold  (1865 — )  takes 
credit  for  having  proposed  in  1883  to  em- 
body the  plantation  spirit  in  a  suite  which 
he  would  have  written  during  his  Berlin 
study  under  Urban.  If  Urban  then  advised 
against  it,  the  intention  came  to  maturity 
in  a  series  of  "Plantation  Dances,"  which 


484 


AMERICA'S   POSITION   IN   MUSIC 


Arnold  wrote  after  Dvorak's  coming  to 
New  York.  Just  as  in  Arnold's  later  use  of 
this  element  in  two  movements  of  a  sonata 
for  piano  and  violin,  these  dances  were  not 
written  directly  on  Negro  themes  but  they 
sought  to  find  the  spirit  of  the  South. 

Among  many  who  have  followed,  Harry 
T.  Burleigh,  himself  of  the  Negro  race,  has 
had  the  honor  to  centralize  his  people's  in- 
terest in  their  music,  and  as  a  pupil  of 
Dvorak  during  that  great  master's  sojourn 
here,  Burleigh  helped  to  find  the  materials 
which  were  embodied  in  the  New  World 
Symphony  and  the  string  Quartet,  Op.  96. 
Burleigh 's  own  efforts  were  greatly  aug- 
mented by  the  American  visits  of  the  Eng- 
lish subject,  S.  Coleridge-Taylor,  of  but  half 
Negro  blood,  yet  the  most  prolific  and 
powerful  composer  who  has  sprung  from 
the  race.  Doubtless  the  most  intensive 
study  of  the  music  of  the  Negro  race  is 
embodied  in  a  collection  of  songs  then 
transcribed  by  Coleridge-Taylor  and  issued 
as  brief  variations  for  piano,  with  each 
theme  first  separately  shown  in  its  aborig- 
inal form.  The  collection  was  accompa- 
nied by  Booker  T.  Washington's  Introduc- 
tion, and  the  composer  also  prefaced  the 
works  with  his  own  highly  authentic  dis- 
cussion of  the  related  character  of  the 
African  aboriginal  and  American  slave 
song.  Other  African  works  by  Coleridge- 
Taylor  were  a  set  of  orchestral  variations, 
an  orchestral  suite,  an  overture,  various 
other  songs,  and  a  number  of  dances  for 
violin  and  piano. 

The  two  distinguished,  wholly  non- 
American  composers,  Cyril  Scott  and 
Claude  Debussy,  have  complimented  the 
Negro  tradition,  while  the  late  Bruno  Oscar 
Klein,  a  native  of  Germany,  but  many  years 
a  citizen  of  New  York,  wrote  numerous  vio- 
lin, song  and  piano  pieces  in  which  he 
sought  the  spirit  of  the  American  South. 

MacDowell  wrote  a  suite,  "From  Uncle 
Remus";  John  Philip  Sousa  included 
"Darkest  Africa"  in  his  suite  of  "Quota- 
tions"; J.  A.  von  Brockhoven,  formerly  of 
Cincinnati,  wrote  an  orchestral  suite  on 
Creole  melodies ;  John  Powell,  of  Richmond, 
has  a  piano  suite,  "In  the  South";  E.  R. 
Kroeger  has  treated  the  South  in  his 


"American  Sketches";  Henry  K.  Hadley 
has  a  symphony  entitled  "North,  East, 
South  and  West";  Henry  F.  Gilbert  com- 
posed a  comedy  overture  on  Negro  themes ; 
and  most  recently,  the  New  York  woman, 
Mana  Zucca,  has  brought  out  a  short  but 
modern  and  immensely  effective  orchestral 
fughetto  on  "Dixie." 

For  some  years  the  spirit  of  the  South 
has  attracted  Mortimer  Wilson  (1876 — ) 
who  promises  to  qualify,  not  only  as  the 
strongest  composer  who  has  written  in  that 
tradition,  but  as  the  most  facile  and  power- 
ful symphonist  America  has  yet  afforded ; 
and  since  Wilson's  manuscripts  already  in- 
clude five  symphonies,  his  cause  is  seen  to 
exist,  not  in  the  uncertain  future,  but  in 
the  present.  His  output  is  even  now  ready 
for  adjudication- — there  remains  only  the 
problem  of  making  these  symphonies 
known. 

Though  Wilson  by  no  means  commits 
himself  to  write  solely  in  this  vein,  he  has 
lately  said  that  therein  he  was  coming  to 
feel  himself  at  his  best,  and  he  now  real- 
izes that  his  earlier  works  had  this  element 
even  before  he  knew.  As  yet  they  include 
a  four-movement  piano  suite,  "In  Geor- 
gia," a  half  dozen  piano  and  violin  en- 
sembles, called  "Suwanee  Sketches";  his 
third  sonata  for  piano  and  violin  is  the 
"Dixie";  while  this  intended  Southern 
manner  is  very  pronounced  in  the  last 
movement  of  the  G-minor  piano  trio,  Op. 
16,  and  the  last  movement  of  his  fourth 
symphony.  For  that  matter,  a  slight  rela- 
tion to  ragtime  rhythm  may  be  found  in 
any  of  his  compositions,  and  in  view  of  the 
composer's  considerable  attention  to  the 
subject,  it  will  be  of  interest  to  embody 
here  his  characteristic  position  with  regard 
to  it. 

"There  is  perhaps  no  more  distinct  tonal 
portrait  of  any  people  than  that  element 
of  American  national  music  which  suggests 
the  southern  portion  of  these  United  States. 
Not  that  the  Negro  is  to  be  considered  the 
originator  of  that  quaint  style  of  lyric 
song  which  is  inseparable  from  the  South ; 
but  rather,  he  is  the  temperamental  medium 
through  which  the  white  race  of  this  por- 
tion of  the  United  States  has  spoken,  and 


AMERICA'S   POSITION   IN   MUSIC 


485 


the  plantation  song  is  a  reflection  of  the 
white  race  through  the  voice  of  the 
darkey." 

After  the  aboriginal  and  the  Southern, 
there  remain  at  least  two  other  elements 
which  have  come  up  in  our  American  mu- 
sic. In  greater  degree  this  is  John  Philip 
Sousa's  influence  upon  the  nation's  music; 
in  the  smaller  degree,  two  very  intense  per- 
formances in  translating  American  bird 
song.  The  latter  include  Edgar  Stillman 
Kelley's  Andante  Pastorale  of  the  New 
England  Symphony,  and  W.  B.  Olds'  "25 
Bird  Songs,"  which  are  soon  to  be  followed 
by  about  fifteen  more.  Mr.  Kelley's  entire 
symphony  is  of  such  power  as  forever  to 
stand  well  among  the  world's  worthy  pro- 
ductions, and  still  a  particular  merit  rests 
with  this  fine  symphonization  after  the 
birds  he  heard  in  New  England.  Likewise, 
Mr.  Olds  has  given  the  finest  conscience1 
toward  the  translation  of  bird  song,  as  if 
truly  he  would  give  the  bird  the  first 
chance ;  but  because  he  had  not  yet  any  ini- 
tiation into  bird  philological  circles,  neither 
a  firm  hold  on  any  one  of  those  dialects,  he 
took  the  liberty  to  supply  his  own  texts  in 
English,  still  further  enriching  the  dis- 
course with  finely  conceived  imagery  for 
the  accompanying  piano. 

Mr.  Sousa's  influence  has  ramified  in  a 
number  of  directions,  and  while  the  public 
of  every  continent  is  first  taken  by  the  in- 
dividual rhythm  and  mood  of  his  melodies, 
the  musician  also  discovers  that  this  great 
favorite  of  the  people  has  been  a  real  in- 
novator in  the  technic  of  his  trade.  His 
earlier  marches  followed  the  old  form  of 
bringing  four  subjects  without  a  return  to 
either.  Later  he  established  the  precedent 
of  going  back  from  the  fourth  to  the  third 
material  and  ending  with  that.  This  form 
has  become  universal  among  all  writers  of 
the  practical  military  march.  Further- 
more, two  of  the  composers  above  cited  for 
their  work  in  Indian  and  Southern  vein, 
Charles  Wukefield  Cadman  and  Mortimer 
Wilson,  have  recently  thanked  Mr.  Sousa 
for  their  first  knowledge  of  instrumenta- 
tion, learned  from  his  scores  while  living  in 
Western  towns,  out  of  range  of  any  classes 
of  instruction. 


In  general  consideration  of  all  those  who 
have  particularized,  even  to  a  small  extent, 
in  the  nation's  own,  also  further  including 
about  a  hundred  others  who  may  have  com- 
posed in  the  larger  forms  without  any 
nationalistic  intent,  it  will  be  noted  that  not 
one  has  sought  the  harmonically  bizarre  or 
the  complex  for  its  own  sake.  The  work  of 
most  of  them  might  have  come  to  a  better 
longevity  if  they  had.  Nevertheless,  it 
should  be  chronicled  that  for  eleven  years 
there  has  lived  in  America  a  young  Rus- 
sian, Leo  Ornstein,  born  at  Kremyenchug, 
1895,  the  most  radical  tonalist  who  has  yet 
appeared  on  either  continent,  Schonberg, 
Korngold,  Stravinsky  and  Scriabin  not- 
withstanding. Brief  examination  of  Orn- 
stein's  cause  shows  at  least,  that  he  has 
already  the  appreciation  and  sympathy  of 
a  number  of  highly  capable  musicians  who 
have  carefully  examined  and  heard  many 
of  ais  most  radical  works.  As  in  every  in- 
stance of  art  or  other  intellectual  revolu- 
tion, or  progress,  there  is  a  much  greater 
army  of  violent  dissenters  than  of  those 
who,  in  a  small  measure,  understand.  At 
this  stage  one  may  grant  the  composer  the 
courtesy  of  his  own  word,  wherein  he  pro- 
fesses the  complete  sincerity  of  his  aims. 

With  respect  to  Ornstein 's  hitherto  un- 
known frequency  of  notes  employed  within 
the  chord,  termed  clusters  of  notes,  the 
composer  claims  them  as  a  means  for  ex- 
pressing color,  and  then  he  says:  "Strip 
the  color  elements  from  one  of  my  chords 
and  you  will  find  its  actual  structure  one 
of  Grecian  severity  of  outline;  but  it  re- 
quires study  to  distinguish  between  the 
fundamental  tones  and  those  purely  inci- 
dental." At  another  time  he  expresses  the 
belief  that  his  music  is  continually  under  the 
influence  of  the  Oriental  Church,  and  says: 
"There  is  hardty  a  composition  of  mine 
which  fails  to  offer  proof  of  the  lasting  im- 
pression which  Greek  ritual  music  and  the 
Asiatic  chant  have  made  upon  me,  though 
I  have  never  exploited  traditional  themes 
or  material."  The  above  quotations  are 
from  Frederick  H.  Martens'  book,  "Leo 
Ornstein,"  published  in  New  York,  1918. 

With  the  distinctive  elements  of  our 
primitive  and  nationalistic  traits  already 


486 


AMERICA'S    POSITION   IN   MUSIC 


under  view,  it  will  be  pertinent  to  suggest 
that  there  is  no  valid  reason  why  they  all 
should  not  dwell  here  and  increase,  like  one 
great  family,  each  individual  maintaining 
his  own  particular  interest  while  contribut- 
ing to  the  total  of  America's  musical  trea- 
sure. Yet  it  is  true  that,  even  within  recent 
date,  one  has  sometimes  inveighed  against 
the  other.  While  the  one  thought  that  the 
Indian  music  constituted  the  more  search- 
ing and  intimate  picture  of  the  daily  life  of 
a  race,  the  far  more  numerous  group  has  de- 
cried the  Indian  in  order  to  build  up  the 
cult  of  the  South.  Still  others  would  have 
nothing  to  do  with  either  of  those  elements, 
but  expected  that  a  musical  saviour  would 
some  time  arise  and  establish  our  Ameri- 
canism at  a  stroke. 

For  two  examples  of  the  most  authentic 
appeals  for  the  respective  nationalism  rep- 
resented by  the  Negro  and  Indian  mate- 
rials, we  may  review  Mr.  Burton's  above- 
mentioned  "American  Primitive  Music," 
and  J.  W.  Work's  "Polk  Song  of  the 
American  Negro."  The  latter  is  issued 
from  the  press  of  Fisk  University,  which, 
in  1871,  became  the  pioneer  in  the  promo- 
tion of  Negro  music,  and  which  still  holds 
an  advanced  position  in  the  same  interest. 
Mr.  Work,  a  Negro  professor  of  Latin  at 
the  university,  first  notes  that  the  Negro 
religious  music  had  been  always  their  best, 
while  their  secular  songs  had  been  poor. 
Then  he  directly  presents  the  claims  for 
five  of  the  Stephen  C.  Foster  songs  to  be 
accepted  as  the  secular  music  of  the  Negro, 
as  follows : 

"Sometimes  they  are  called  plantation 
melodies.  They  were  composed  by  a  white 
man,  and  therefore  cannot  be  placed  in  the 
catalogue  of  Negro  Folk  songs;  still  it  can 
be  correctly  stated  that  in  spirit  and  pathos 
they  bear  the  Negro  stamp,  and  it  is  not 
improbable  that  they  are  composed  of 
stories  and  airs  Mr.  Foster  learned  from  the 
Negroes  he  knew  so  well,  and  among  whom 
he  lived  during  the  days  of  slavery.  Con- 
sequently it  is  not  out  of  place  to  state  here 
the  paradox  that  these  are  the  finest  secular 
Negro  songs  in  existence.  There  have  been 
many  imitations  of  Negro  music  and  some 
of  it  has  been  enjoyable,  but  these  songs  of 


Stephen  Foster  stand  out  as  the  best  of  that 
class,  in  fact  they  stand  alone  in  a  class  be- 
tween all  other  imitations  and  the  genuine 
Negro  Folk  song." 

Mr.  Burton,  as  one  of  the  broadest  and 
most  liberal  of  all  those  who  have  written 
on  the  topic,  strongly  sets  forth  his  belief 
in  the  innate  power  of  the  Indian  music, 
and  further  believes  that  the  O  jib  ways  will 
be  proved  to  be  the  most  musical  of  all  the 
tribes.  And  still  he  presents  a  singularly 
charitable  view  toward  Foster,  when  in  re- 
viewing respective  arguments,  he  says,  "I 
am  still  more  in  sympathy  with  those  who 
would  approximate  as  closely  as  possible  to 
the  beginnings  of  an  American  Folk  song 
made  for  us  by  Stephen  C.  Foster." 

Other  phases  of  Mr.  Burton's  writing  on 
the  Indians  show  that  his  principal  study 
of  their  music  had  been  almost  wholly 
among  the  0  jib  ways,  and  only  the  fact  that 
he  needed  to  compare  with  music  of  other 
tribes  accounted  for  his  not  issuing  this 
book  as  an  Ojibway  special.  Primarily  his 
thought  was  to  notate  and  preserve  our 
primitive  music  while  it  was  still  in  the 
memory  of  Indian  singers.  He  believed 
that  the  songs  had  positive  art  value,  and 
not  to  make  a  statement  of  his  convictions 
would  be  lacking  in  courage.  In  selecting 
twenty-eight  Ojibway  songs  for  publication 
he  had  kept  a  respect  for  ethnology  by  set- 
ting down  also  the  crude  and  ugly,  and  he 
had  tried  to  give  an  exact  expression  of  In- 
dian thought.  Incidentally  he  noted  that 
archaeologists  were  recognizing  fifty-eight 
distinct  ethnic  families  of  American  aborig- 
ines living  north  of  our  Mexican  border. 
For  the  Indian  himself,  music  was  not  only 
an  important  but  an  essential  feature  of 
life.  It  entered  more  intimately  into  their 
lives  than  into  the  lives  of  any  white  nation. 
It  touched  every  phase  of  daily  life,  and  in 
that  the  vocally  gifted  Indian  youth  were 
taught  by  their  elders  he  thought  that  the 
people  of  no  nation  loved  music  as  did  the 
North  American  Indians. 

Finally  bringing  to  a  close  the  discussion 
of  America's  position  in  music,  it  remains 
to  be  stated  that  for  a  quarter  of  a  century 
there  has  been  at  least  an  American  longing, 
analogous  to  that  of  Chrysosthemis  in  the 


AMERICA'S   POSITION   IN   MUSIC 


487 


Strauss  "Elektra" — she  yearned  for  a  child 
of  her  own.  The  foregoing  evidence  dis- 
closes that  during  this  entire  period  of  long- 
ing, America  had  already,  not  one  but  sev- 
eral musical  children,  and  it  remained  only 
for  a  progressive  and  discerning  world  to 
legitimatize  them.  No  future  art  direction 
can  vary  the  inherent  merit  of  their  claims. 
For  a  last  word  in  behalf  of  those  nine- 
teenth century  Americans  who  are  now  seen 
to  have  written  large  musical  forms  without 
attaining  the  honor  of  performance  for 


their  works,  one  must  question  that  justice 
was  in  any  right  degree  accorded  them.  If, 
from  among  the  European  output  played  in 
America  during  this  long  period,  there  had 
not  been  included  vast  numbers  of  selec- 
tions of  no  permanent  worth,  then  the 
status  might  have  represented  a  semblance 
of  justice.  It  is  impossible  that  the  best  of 
the  American  music  has  been  less  valuable 
than  the  'poorest  from  abroad. 

May  the  future  soon  make  good  the  wrong 
which  has  been  too  long  standing. 


CHRONOLOGY 

For  the  convenience  of  those  who  may  not  have  facilities  for  finding  the  more  impor- 
tant American  composers  for  the  period  since  1820,  the  following  list  is  appended,  though 
it  is  inevitable  that  this,  too,  may  disclose  unintentional  omissions : 


LOWELL  MASON  1792-1872 

The  Handel  and  Haydn  Collection,  and  more  thar 
a  half  dozen  other  collections  of  anthems,  hymns 
and  songs. 

EDOUABD  SOBOLEWSKI  (Polish)  1808-1872 

Operas,  "Mohega,  Flower  of  the  Forest,"  "Imo- 
gen," "Velledo,"  "Salvator  Rosa";  symphony, 
"North  and  South";  cantatas  with  orchestra; 
choruses. 

WM.  H.  FRY  1813-1864 

An  overture;  operas,  "Leonora,"  "Notre  Dame 
de  Paris";  three  symphonies;  cantatas;  a  Stabat 
Mater  and  many  shorter  vocal  and  instrumental 
works. 

GEORGE  F.  BRISTOW  1825-1898 

Operas,  "Rip  Van  Winkle,"  "Columbus";  "Ar- 
cadian" symphony;  symphony  in  F-sharp  minor; 
two  oratorios;  two  cantatas  with  orchestra;  the 
descriptive  "Niagara"  for  chorus  and  orchestra; 
and  material  to  total  about  eighty  opus  numbers. 

STEPHEN  C.  FOSTEE  1826-1864 

Composed  about  one  hundred  and  seventy-five 
songs. 

Louis  M.  GOTTSCHALK  1829-1869 

The  symphony  "La  nuit  des  tropiques";  an  over- 
ture; a  triumphal  cantata;  an  unfinished  opera; 
also  for  orchestra,  "Montevideo,"  Grand  triumphal 
march,  Gran  marcha  solennelle,  "Escenas  cam- 
pestres  Cubanos,"  and  Gran  Tarantella,  besides 
many  pieces  for  solo-piano. 

C.  C.  CONVERSE  1832— 

Overtures,  "Hail  Columbia"  and  "In  Spring"; 
oratorio  "Captivity";  two  symphonies;  ten  so- 
natas; three  symphonic  poems,  and  other  works. 

B.  J.  LANG  1837-1909 

Symphonies;  overtures;  oratorio,  "David";  cham- 
ber music. 

SMITH  N.  PENFIELD  1837 — 

Overture;  orchestral  setting  of  "Psalm  XVIII"; 
string  quartet. 

JOHN  K.  PAINE  1839-1906 

Two  symphonies;  symphonic  poems,  "Tempest," 
"Island  Fantasy,"  "Lincoln"  (unfinished)  ;  opera, 


"Azara";  oratorio,  "St.  Peter";  Mass  in  D;  music 
to  "CEdipus";  duo  concertante  for  cello,  violin 
and  orchestra. 

DDULFY  BUCK  1839-1906 

Symphonic  overture,  "Marmion";  opera,  "Des- 
eret";  two  sonatas  for  organ;  cantatas,  "Don 
Munio,"  "Voyage  of  Columbus";  oratorios,  "Gold- 
en Legend,"  "Light  of  Asia,"  "Psalm  XLVI." 

GEORCK  E.  WHITING  1842 — 

Symphony;  overture;  piano  concerto;  one-act 
opera,  "Lenore";  cantatas,  "Tale  of  the  Viking," 
"Henry  of  Navarre,"  "March  of  Monks  of  Ban- 
gor,"  "Dream  Pictures,"  "Midnight." 

JOHN  C.  FILLMORE  1843-1898 

Collaborating  with  Miss  Fletcher  and  F.  La 
Fleshe,  one  of  the  first  to  study  music  of  the 
Indians. 

JOHN  NELSON  PATTISO.N  1845 — 

"Niagara"   symphony   and   piano   works. 

OTIS  B.  BOISE  1845-1912 

Symphony;  two  overtures;   piano  concerto. 

W.  W.  GILCHRIST  1840— 

Symphony;  quintet;  trio;  nonet  for  piano  and 
strings;  "Psalm  XLVI";  suite  for  piano  and  or- 
chestra; half  dozen  large  works  for  chorus  and 
orchestra;  about  two  hundred  songs. 

HOMER  N.  BARTLETT  1840 — 

Orchestral  Spanish  caprice;  concertstiick  for 
violin  and  orchestra;  cantata,  "Last  Chieftain"; 
opera  "Hinotito." 

SILAS  G.  PRATT  1846 — 

Two  symphonies;  symphonic  sketch,  "Magda- 
lena's  Lament";  operas,  "Antonio,"  "Triumph  of 
Columbus";  symphonic  suite,  "Tempest";  gro- 
tesque suite,  "Brownies";  serenade  and  canon  for 
strings;  orchestral,  "Paul  Revere's  Ride,"  "Battle 
Fantasia,"  "Battle  of  Manila";  cantata,  "The 
Last  Inca" ;  many  shorter  works  for  orchestra ; 
piano  pieces  and  songs. 

FREDERICK  GRANT  GLEASON  1848-1C03 

Operas,  "Otho  Visconti,"  "Montezuma"  and 
others,  sealed  by  his  will  until  fifty  years  after 


488 


AMERICA'S   POSITION   IN   MUSIC 


CHRONOLOGY— CONTINUED 


his  death;  three  piano  trios;  piano  concerto; 
triumphal  overture  for  organ;  symphonic  poem, 
"Edris";  half  dozen  large  odes  and  cantatas. 

JULES  JORDAN  1850 — 

Romantic  opera,  "Rip  Van  Winkle";  dramatic 
scene  "Joel"  for  soprano  and  orchestra;  three 
works  for  chorus  and  orchestra,  "Windswept 
Wheat,"  "  Night  Service,"  "Barbara  Frietchie." 

ALBEBT  A.  STANLEY  1851 — 

Symphony,  "Soul's  Awakening";  symphonic  poem, 
"Attis";  Ode  for  Providence  Centennial. 

JOHN  A.  BROECKHOVEN  1852 — 

Creole  Suite  for  orchestra;  "Columbia"  overture. 

ARTHUR  FOOTE  1853 — 

Suite  in  D-minor;  two  smaller  suites;  serenade 
for  strings;  symphonic  poem,  "Francesca  da 
Rimini";  overture,  "In  the  Mountains";  piano 
quintet;  piano  quartet;  two  piano  trios;  two 
string  quartets;  violin  sonata;  two  piano  suites; 
organ  suite;  many  large  choral  works  with  or- 
chestra. 

I-l!BCY  GOETSCHIUS  1853 

1-wo  orchestral  suites;  festival  overture;  piano 
sonata;  two  concert  fugues;  concert  allegro  for 
violin  and  piano,  and  many  MSS. 

G.  W.  CHADWICK  1854— 

Three  symphonies;  symphonietta ;  symphonic 
sketches;  a  Dedication  Ode;  symphonic  poem, 
"Cleopatra";  overtures,  "Rip  Van  Winkle." 
"Euterpe,"  "Melpomene,"  "Thalia,"  "The  Miller's 
Daughter";  much  chamber  music  and  numerous 
cantatas. 

CABL  V.  LACHMUND  1854 — 

Japanese  overture;  trio  for  harp,  violin  and 
cello. 

ADOLPH  M.  FOEBSTER  1854 — 

Orchestral  character  piece,  "Thusnelda";  prelude 
to  "Faust";  "Dedication  March";  two  piano 
quartets;  piano  trio;  piano  suite;  suite  for 
violin  and  piano;  many  piano  pieces  and  about 
one*  hundred  songs. 

GEO.  TEMPLETON  STRONG  1855 — 

Symphony,     "In     the  Mountains";     symphonic 

poems,  "Undine"  and  "Sintram";  many  other 
small  forms. 

JOHN  PHILIP  SOUSA  1856 — 

Symphonic  poem,  "Chariot  Race";  historical 
scene,  "Sheridan's  Ride";  the  suites  "Three  Quo- 
tations" and  "Last  Days  of  Pompeii";  eight  or 
more  comic  operas. 

JOHAN  BECK  1856 — 

Music  drama,  "Salammbo"  and  various  other 
orchestral  works. 

JOHN  HYATT  BBEWEB  1856 — 

Orchestral  suite,  "Lady  of  the  Lake";  sextet  for 
flute  and  strings;  cantatas,  "Hesperus,"  "Birth 
of  Love,"  and  numerous  others. 

EDWARD  STILLMAN  KELLEY  1857 — 

"New  England  symphony";  symphony,  "Gulliver 
in  Lilliput";  Chinese  suite;  orchestral  pictures, 
"Christmas  Eve  with  Alice";  melodramatic  music 
to  "Macbeth,"  "Jury  of  Fate"  and  "Ben  Hur"; 
piano  quintet;  string  quartet. 

H.  B.  PASMOBE  1857— 

Overture;  march;  Masses  and  other  works. 


BENJAMIN  CUTTER  1857-1910 

Cantata,  "Sir  Patrick  Spens";  a  Mass;  many 
smaller  works. 

HENRY  SCHOENEFELD  1857 — 

"Rural  Symphony";  ode,  "Three  Indians";  over- 
ture, "In  Sunny  South";  "Characteristic  Suite"; 
piano  concerto;  violin  concerto;  sonata  for  violin 
and  piano. 

F.  VAN  DEB  STUCKEN  1858 — 

Lyric  drama,  "Vlasda";  suites,  "The  Tempest," 
and  "Pagina  d'Amore";  a  festival  march;  sym- 
phonic prolog,  "William  Ratcliff";  orchestral, 
"Pax  Triumphans,"  and  many  songs. 

HARRY  ROWE  SHELLEY  1858 — 

Two  symphonies;  orchestral  suite;  symphonic 
poem,  "Crusaders";  fantasy,  piano  and  orchestra; 
dramatic  overture,  "Francesca  da  Rimini";  one- 
act  extravaganza;  opera,  "Leila." 

BRUNO  OSKAB  KLEIN  (German)  1858-1911 

Opera,  "Kenilworth";  orchestral  variations;  vio- 
lin sonata;  many  songs  and  piano  pieces  seeking 
American  folk  spirit. 

VICTOR  HERBERT   (Irish) 

Operas,  "Natoma"  and  "Madeleine";  symphonic 
poem,  "Hero  and  Leander";  orchestral  suites, 
"Woodland  Sketches"  and  "Columbus";  numerous 
comic  operas. 

REGINALD  DEKOVEN  1859 — 

Comic  operas,  "Robin  Hood,"  "Maid  Marian," 
"Don  Quixote,"  "Fencing  Master." 

GERRIT  SMITH  1859-1912 

Cantata,    "King    David";    ten-piece  piano    cycle, 

"Colorado  Summer";  twenty -five  "Song  Vig- 
nettes" for  children. 

HOMER  NORBIS  1860 — 

Overture,    "Zoroaster";  cantatas,     "Nain"     and 

"Flight  of  the  Eagle";  many  songs  and  small 
forms. 

ALFRED  G.  ROBYN  1860 — 


Four  string  quartets;  a  quintet;  piano  concerto; 
orchestral  suites;  a  Mass. 

E.  A.  MACDOWELL  1861-1908 

Numerous  orchestral  and  piano  suites;  two  piano 
concertos;  four  piano  sonatas;  symphonic  poems, 
"Hamlet,"  "Ophelia,"  "Launcelot  and  Elaine"; 
"Saracens,"  "The  Lovely  Alda";  many  pianc 
pieces  and  songs. 

FREDERICK  R.  BURTON  1861-1901 

"Inauguration  Ode";  dramatic  cantatas,  "Hia 
watha,"  "Legend  of  Sleepy  Hollow";  notatec 
and  issued  many  Ojibway  songs;  book  on  "Ameri- 
can Primitive  Music." 

ARTHUR  WHITING  1861 — 

Concert  overture;  suite  for  strings;  fantasia  for 
piano  and  orchestra;  piano  quintet;  piano  trio; 
sonata  piano  and  violin;  many  small  forms. 

ETHELBEBT  NEVIN  1862-1901 

Pantomime  for  piano  and  orchestra;  piano  suites, 
"May  in  Tuscany,"  "A  Day  in  Venice,"  "In 
Passing";  many  songs  and  piano  pieces. 

WALTER  DAMROSCH  1862 — 

Operas,  "Scarlet  Letter"  and  "Cyrano  de  Ber- 
gerac";  incidental  music  to  dramas  "Electra"  and 
"Medea." 


AMERICA'S    POSITION    IN    MUSIC 


489 


CHRONOLOGY— CONTINUED 


ERNEST  E.  KEOEGEB 


1862— 


Symphony,  symphonic  suite;  overtures,  "Endy- 
mion,"  "Thanatopsis,"  "Sardanapalus,"  "Hia- 
watha," "Atala";  piano  concerto;  three  string 
quartets;  two  piano  trios;  piano  quintet;  sonatas 
for  violin,  viola,  cello;  for  piano,  ten  "American 
Character  Sketches";  "American  Tone  Pictures"; 
"Twenty  Moods." 

CARL  BUSCH   (Danish)  1862 — 

Five-movement  orchestral  "Indian  Suite";  a  sym- 
phony; Indian  cantatas  after  Longfellow;  elegy 
for  strings;  American  rhapsody;  orchestral  pro- 
logue to  "Passing  of  Arthur,"  and  various  can- 
tatas after  Tennyson. 

HENBY  HOLDEN  Huss  1862 — 

"Idyl"  for  small  orchestra;  rhapsody  piano  and 
orchestra;  polonaise  violin  and  orchestra;  piano 
concerto;  violin  concerto;  festival  "Sanctus"  for 
chorus  and  orchestra;  festival  march,  organ  and 
orchestra;  string  quartet;  piano  trio;  violin 
sonata;  soprano  aria,  "Death  of  Cleopatra." 

JESSIE  L.  GAYNOR  1863 — 

Operettas,  "House  that  Jack  Built,"  "Toy  Shop," 
"First  Lieutenant,"  "Man  with  a  Wart,"  "Har- 
vest Time,"  "Christmas  Time,"  "Blossom  Time"; 
many  songs  for  children. 

HORATIO  PARKER  1 80?  — 

Opera,  "Mona" ;  an  operetta ;  a  symphony ;  string 
quartet;  overtures,  "Regulus,"  "Count  Robert  of 
Paris;"  two  concertos  for  organ;  choral  works 
"Hora  Novissima,"  "Psalm  XXIII,"  "St.  Chris- 
topher" and  others. 

HUGO  KAUN   (German)  1863— 

Symphonic    poems,    "Hiawatha,"  "Minnehaha"; 

festival  march,  "Star-Spangled  Banner,"  and 
various  symphonic  forms. 

FREDERICK  F.  BULLABD  1864-1904 

Melodrama  on  Tennyson's  "Six  Sisters";  three 
vocal  duets  in  canon  form;  many  songs  and  im- 
portant dramatic  ballads. 

HARVEY  WOBTHINGTON  LOOMIS  1865 — 

Piano  concerto;  an  MS.  opera;  burlesque  operas, 
"Maid  of  Athens,"  "Burglar's  Bride";  violin 
sonata;  melodramatic,  "Tragedy  of  Death"; 
"Norland  Epic"  for  piano;  nearly  five  hundred 
other  works. 

ALVIN  KBANICH  1865 — 

Fantasia  for  piano  and  orchestra;  opera,  "Doctor 
Eisenbart";  five  or  more  "American  Rhapsodies" 
for  orchestra. 

MAURICE  ARNOLD  (STROTHOTTE)  1865 — 

Symphony ;  "Plantation  Dances" ;  orchestra  works 
on  Oriental  topics ;  dramatic  overture ;  piano 
sonata;  violin  sonata;  cantata  "Wild  Chase"; 
tarantelle  for  strings;  six  duets  for  viola  and 
violin;  ballet  music;  two  comic  operas. 

NATHANIEL  CLIFFORD  PAGE  1866— 

Opera,  "First  Lieutenant";  an  Oriental  opera; 
music  to  the  play  "Moonlight  Blossom"  on  Jap- 
anese life,  with  overture  on  Japanese  themes; 
orchestral,  "Village  Fete,"  and  incidental  music 
to  "The  Japanese  Nightingale." 

ABTHUR  M.  CUBBY  1866— 

Symphonic  poem,  "Atala";  overture,  "Blomi- 
don";  an  elegiac  overture;  a  Celtic  legend,  "Win- 
ning of  Amarac"  for  chorus  and  orchestra. 


ROSSETTER  G.  COLE  1866— 

Orchestral  melodramas,  "King  Robert  of  Sicily," 
"Hiawatha's  Wooing";  cantata,  "Passing  of  Sum- 
mer"; violin  sonata;  ballade  for  cello  and  or- 
chestra. 

MRS.  H.  H.  A.  BEACH  1867— 

Gaelic  Symphony;  piano  quintet;  piano  concerto; 
violin  sonata;  a  Mass  for  organ  and  small  or- 
chestra; a  "Jubilate";  piano  variations  on  a  Bal- 
kan Theme,  a  French  Suite  and  four  Eskimo 
pieces  on  real  Eskimo  themes. 

MARGARET  RUTHVEN  LANG  1867 — 

Three  overtures;  two  arias;  many  piano  pieces 
and  songs. 

WILLIAM  E.  HAESCHE  1867 — 

Symphony;  symphonietta;  "Forest  Idyl"  for  or- 
chestra; tone  poem,  "The  South";  symphonic 
poem,  "Frith jof  Saga";  overture,  "Spring  Time"; 
two  orchestral  cantatas. 

HENRY  F.  GILBERT  1868 — 

Comedy  overture  on  Negro  themes;  orchestral 
"Legend"  and  "Negro  Episode";  "Negro  Rhap- 
sody," "Americanesque,"  symphonic  prologue, 
"Riders  to  the  Sea,"  for  orchestra;  ballet  panto- 
mime, "Dance  in  Place  Congo" ;  five  Indian  scenes 
for  piano. 

WILLIAM  HENRY  HUMISTON  1869 — 

Southern  Fantasy  for  orchestra;  overture  to 
"Twelfth  Night;"  dramatic  scene  for  soprano, 
chorus  and  orchestra;  songs. 

HOWARD  BBOCKWAY  1870 — 

Symphony;  a  scherzo  for  orchestra;  ballade  for 
orchestra;  orchestral,  "Sylvan  Suite";  cavatina 
for  violin  and  orchestra;  violin  sonata. 

Louis  A.  COEBNE  1870 — 

Operas,  "Woman  of  Marblehead,"  "Zenobia" ; 
fairy  ballet,  "Evadne";  tone  poems,  "Hiawatha," 
"Liebesfruhling,"  "George  Washington";  two 
overtures;  orchestral  fantasy;  suite  for  strings; 
organ  concerto;  double  concerto  for  cello  and 
violin. 

HENBY  K.  HADLEY  1871— 

Symphonies,  "Youth  and  Life,"  "Four  Seasons," 
"North,  East,  South,  West";  grand  opera, 
"Azora";  three  comic  operas;  three  ballet  suites; 
three  orchestral  suites;  symphonic  poems,  "Sa- 
lome," "Culprit  Fay";  overtures,  "Hector  and 
Andromache,"  "Bohemia,"  "Herod";  piano  quki- 
tet,  quartet,  trio ;  violin  sonata. 

FBEDEBICK  S.  CONVEBSE  1871 — 

Symphony;  symphonic  poems,  "Festival  of  Pan," 

1  "Endymion's  Narrative,"  "Ormazd,"  "Night," 
"Day";  overture,  "Youth";  two  string  quartets; 
violin  concerto;  violin  sonata;  one-act  opera, 
"Pipe  of  Desire,"  three-act,  "Sacrifice,"  fantastic, 
"Beauty  and  the  Beast,"  music  to  "Joan  of  Arc." 

PERCY  LKE  ATHERTON  1871— 

Tone  poem,  "Noon  in  the  Forest";  various  sym- 
phonic movements;  two  violin  sonatas;  violin 
suite;  comic  operas,  "Maharajah,"  "Heir-Appa- 
rent." 

ABTHUR  NEVIN  1871 — 

Operas,  "Poia,"  "Daughter  of  the  Forest";  or- 
chestral suites,  "Lorna  Doone,"  "Love  Dreams." 

ABTHUR  V.  FARWELL  1872 — 

Orchestral  pictures,  "Dawn,"  "Domain  of  Hura- 
han,"  "Navajo  War  Dance";  "Cornell"  overture; 
a  setting  of  Shelley's  "Indian  Serenade";  many 
songs  and  piano  pieces  utilizing  Indian  themes. 


490 


AMKUICA'S    POSITION"    IN    MUSIC 


CHRONOLOGY— CONTINUED 


RUBIN  GOI.DMAKK 
Orchestral    theme    and 


variations; 


1872— 
"Hiawatha" 


overture;  symphonic  poem,  "Samson  et  Dalilah"; 
cantata,  "Pilgrimage  to  Kevlaar";  piano  trio; 
violin  sonata. 

EDWIN  F.  SCHNEIDER  1872 — 

Symphony,  "Autumn  Time";  "Triumph  of  Bo- 
hemia" for  chorus  and  orchestra. 

EDWABU  BUBLINOAME  HILL  1872 — 

Three  piano  sonatas;  two  orchestral  pantomimes; 
many  works  fop  piano. 

DANIEL  GREGORY  MASON  1873 — 
Symphony;  orchestral  music  for  Cape  Cod  Pa- 
geant; piano  quartet;  Pastorale  for  clarinet, 
violin  and  piano;  violin  sonata. 

ARNE  OLDHERC  1874 — 

Four  symphonies;  variations  for  orchestra;  festi- 
val overture  and  overture,  "Paola  and  Fran- 
cesca";  piano  concerto;  horn  concerto;  organ 
concerto;  string  quartet;  string  quintet;  quintet, 
piano  and  woodwind;  piano  quintet:  many  other 
large  forms  written  in  youth. 

JOSEPH  HENIUS  1874-1912 

Symphony;  sonata,  piano  and  violin. 

Louis  CAMPBELL-TIPTON  1874 — 

Piano  sonatas,  "Eroica,"  "Romantic":  pastoral 
suite  for  violin  and  piano;  piano  suite,  "Four 
Seasons";  many  piano  pieces  and  songs. 

ERNEST  SCHELLINO  1876 — 

Symphony;  two-movement  symphonic  legend; 
ballet  divertissement;  fantastic  suite,  piano  and 
orchestra;  piano  theme  and  variations;  violin 
sonata. 

FREDERICK  AYRES  1876 — 

Piano  trio;  piano  fugues;  piano  pieces  and  songs. 

MOBTIMEB  WILSON  1876 — 

Symphonic  suite;  four  symphonies;  piano  trio; 
three  sonatas  for  violin  and  piano:  eight  orches- 
tral miniatures,  "From  My  Youth";  six  chamber 
sketches  for  violin  and  piano;  four-movement  or- 
chestral suite,  "In  Georgia";  forty  "Mother 
Goose"  song  settings;  quartet  forms  for  unaccom- 
panied violins. 

JOHN  ALDEN  CARPENTER  1870 — 

Orchestral,  "Adventures  in  a  Perambulator"; 
piano  sonata;  violin  sonata;  many  songs. 


LUvin  STAM.KY  SMITH  1877 — 

Symphony;  symphonic  ballad;  symphonic  sketch, 
"Prince  Hal";  fugue  for  orchestra  and  organ; 
overture,  "Joyeuse";  orchestral  allegro  giocoso; 
orchestral,  "L'AlU'ero,"  "II  Penwroso" ;  music  to 
"Robin  Hood";  string  quartet;  piano  trio. 

BENJAMIN  LAMBOBU  1879-11)15 

Opera  "Woodstock";  symphonic  overture:  piano 
trio;  piano  pieces;  songs  with  orchestra;  "Verses 
from  Omar"  for  chorus  and  orchestra ;  part-songs ; 
songs. 

ARTHUR  SHEPHERD  1880 — 

Overtures,  "Joyeuse,"  "Nuptials  of  Attila";  or- 
chestral cantata,  "City  in  the  Sea";  symphonic 
poem,  "Marsyas";  humoresque  for  piano  and  or- 
chestra; piano  theme  and  variations. 

CHARLES  WAKEFIEI.D  CADMAN  1881  — 

Opera,  "Shanewis";  numerous  Indian  songs,  and 
son°rs  on  Persian,  Japanese  and  South  Sea  Island 
topics. 

EDWIN  GRASSE  1884 — 

Symphony;  s-iite;  two  piano  trios;  violin  con- 
certo. 

JOHN  POWELL  1884 — 

Violin  sonata;  two  piano  sonatas;  piano  suite: 
variations  and  double  fugue  for  piano;  orchestral 
suite;  string  quart' t. 

ALEXANDER  HULL  1887 — 

Symphony ;  orchestral  suite ;  "Java"  for  piano 
and  orchestra;  piano  sonata;  operas,  "Paola  and 
Francesca,"  "Merlin  and  Vivien." 

PHILIP  G.  C'LAPP  1888 — 
Symphony;  tone  poem,  "Norge";  orchestral  pre- 
lude, "Summer";  string  quartet;  dramatic  poem 
for  trombone  and  orchestra.  • 

JOHN  BEACH  1890 — 

One-act  opera  "Pippa";  string  quartets;  piano 
pieces;  pieces  for  wind  instruments. 

LEO  OBNSTEIN  1895 — 

Piano  pieces;  string  quartet;  orchestral  pieces; 
violin  pieces. 

LEO  SOWERBY  1895 — 

•  Violin  concerto;  piano  concerto;  symphonic 
sketch ;  violin  sonatas,  organ  sonata ;  sonata  a 
tre;  violin  suites;  chorale  preludes,  etc. 


JOHN   KNOWLES    PAINE 


THE   COMPOSERS  OF  AMERICA 


BY 


FREDERICK    II.    MARTENS 


AMERICA  is  the  latest  comer  into  the  ' 
circle  of  musical  nations,  and  its  com- 
posers, in  contrast  to  the  racially  unified 
representatives  of  European  countries,  rep- 
resent a  variety  of  diverging  individual 
trends  and  tendencies.  The  fact  that  our 
nation  embodies  a  great  number  of  race  fac- 
tors and  mental  viewpoints,  and  that  the 
European  influence  has  until  recently — and 
quite  naturally — dominated  our  creative 
spirits,  has  delayed  the  unfolding  of  a  truly 
national  style,  such  as  we  find  in  the  older 
countries.  But  by  the  use  of  localized  folk 
material,  such  as  the  negro  spirituals,  the 
melodies  of  the  Indian  aborigines,  the  songs 
of  the  cowboys  of  the  West,  and  the  Appa- 
lachian mountaineers,  we  have  now  begun 
491 


to  develop  the  approaches  to  a  national  idiom 
which  by  the  fusion  with  other  cosmopolitan 
elements  bids  fair  to  become  the  foundation 
of  a  distinctively  American  school  of  mu- 
sical art. 

THE    PIONEERS 

Ever  since  William  Billings,  the  Boston 
tanner  (d.  1800),  wrote  his  hymn-tunes, 
there  has  been  a  «teady  processional,  on- 
ward and  upward,  of  Americans  who  have 
felt  the  creative  urge,  and  whose  work  and 
activities  have  laid  the  foundation  for  much 
of  the  subsequent  effort  and  accomplish- 
ment which  in  our  own  day  has  given  the 
American  composer  standing,  far  beyond  the 
confines  of  his  own  land.  The  most  strikin" 


4U2 


THE    COMPOSERS    OF    AMERICA 


exponents  of  individualism  in  American 
music  during  the  first  half  of  the  nineteenth 
century  are  Stephen  Collins  Foster  (1826- 
1864),  and  Louis  Moreau  Gottschalk  (1829- 
1869).  Stephen  Foster,  a  composer  whose 
simple,  touching  melodies  have  in  the  course 
of  time  come  to  be  looked  upon  as  a  species 
of  genuine  American  folk  song,  still  lives  in 
the  unaffected  music  of  "Old  Folks  at 
Home,"  "Old  Black  Joe,"  "Nellie  Ely," 


GEORGE    W.    CHADWICK 

and  their  like.  Gottschalk 's  Creole  tem- 
perament and  emotional  gift  gave  his  piano 
pieces  and  transcriptions  an  expressive 
quality  which,  as  in  the  case  of  the  Foster 
songs,  lent  them  a  vitality  which  carried 
them  along  into  another  age. 

John  K.  Paine  (1839-1906),  who  has  been 
called  "the  dean  of  American  music,"  was 
a  composer  of  another  type.  Born  in  Port- 
land, Me.,  he  studied  in  Berlin,  and  after 
his  return  to  his  native  land  became  pro- 
fessor of  music  at  Harvard.  His  symphonic 
and  large  choral  works,  his  incidental  music 
for  plays  of  Sophocles  and  Aristophanes,  his 


grand  opera,  "Azara,"  show  dignity,  lofty 
concept  and  the  soundest  musicianship. 
But  they  have  not  survived  as  have  the  more 
"popular"  compositions  of  Foster  and 
Gottschalk. 

Besides  Paine  other  American  composers 
experimented  with  grand  opera  in  these 
•early  days.  William  Henry  Fry  (1813- 
1864)  wrote  "Leonora"  and  "Notre 
Dame  de  Paris";  George  F.  Bristow  (1825- 
1898)  composed  "Rip  Van  Winkle,"  and 
Frederick  Grant  Gleason  (1848-1903),  be- 
sides his  symphonic  poem,  "Edris,"  and 
works  in  other  forms,  also  wrote  the  roman- 
tic grand  operas  "Otho  Visconti"  and 
"Montezuma."  W.  W.  Gilchrist  (b.  1846) 
is  known  as  the  composer  of  many  impor- 
tant choral  works,  including  a  cantata, 
"The  Rose,"  songs  and  instrumental  music. 
Templeton  Strong  (b.  1855),  Otis  B.  Boise 
(b.  1845)  and  Henry  Schoenefeld  (b.  1857), 
Adolph  M.  Foerster  (b.  1854),  Charles 
Crozat  Converse  (b.  1832)  and  Frank  van 
der  Stucken  (b.  1858),  have  also  written 
much  for  orchestra  and  for  chorus.  Silas 
G.  Pratt  (1848-1916)  has  contributed  sym- 
phonies, symphonic  suites,  an  opera-cantata, 
and  two  operas,  "Zenobia"  and  "Lucille," 
to  the  record  of  senior  accomplishment. 
Dudley  Buck  (1839-1909)  is  best  known  as 
a  composer  of  church  music.  His  numerous 
and  effective  anthems,  cantatas  and  sacred 
songs,  very  melodic  in  style,  though  they 
have  been  largely  supplanted  by  more  re- 
cent compositions,  still  hold  their  own  to  a 
degree.  With  Dudley  Buck  might  be  men- 
tioned his  pupil,  Harry  Rowe  Shelley,  who 
has  written  symphonies,  symphonic  poems, 
instrumental  pieces  and  much  popular 
church  music.  Buck  also  wrote  much  for 
the  organ,  and  in  this  connection  the  names 
of  George  E.  Whiting,  Samuel  B.  Whitney, 
Samuel  P.  Warren  (who  made  a  number  of 
admirable  Wagner  transcripts  for  his  in- 
strument), George  B.  Warren,  W.  R.  Bris- 
tow, Gerrit  Smith,  Henry  M.  Dunham  and 
George  B.  Nevin  should  also  be  instanced. 
William  Mason  (1829-1908),  and  William 
H.  Sherwood  (b.  1854)  are  prominent  among 
those  Americans  who  wrote  chiefly  for  the 
piano.  The  former,  a  native  of  Boston, 
Mass.,  was  a  pupil  of  Hauptmann  and 


THE    COMPOSERS    OP    AMERICA 


493 


Kichter  in  theory  and  such  famous  keyboard 
artists  as  Moscheles,  Dreyschoek  and  Liszt, 
after  a  European  and  American  career  as 
a  concert  pianist,  established  himself  in  New 
York  as  a  teacher  in  1855,  and  in  addition 
to  "Touch  and  Technic,"  a  method  for  ar- 
tistic piano  playing,  and  other  pedagogic 
works,  issued  various  pieces  rich  in  pianistic 
effect.  Of  these  his  "Silver  Spring"  and 
"Spring  Dawn"  are  justly  considered  to  be 
among  his  best.  The  religious  hymn-tunes 
of  Bradbury,  Sudds,  Ira  B.  Sankey  and 
Danks,  have,  strictly  speaking,  little  mu- 
sical value,  and  now  that  their  day  is  done, 
are  chiefly  interesting  as  a  passing  phase 
in  the  growth  of  religious  musical  apprecia- 
tion in  the  United  States.  Representing  per- 
manent national  ideals,  Dan  Emmett's 
"Dixie,"  George  P.  Root's  "Battle  Cry 
of  Freedom"  and  Henry  Clay  Work's 
' '  Marching  Through  Georgia, ' '  however,  are 
patriotic  songs  which  will  live  as  long  as. 
the  land  which  inspired  them.  Meantime, 
John  Philip  Sousa,  "the  march  king,"  and 
other  composers  have  done  excellent  work 
in  the  lighter  vein. 

In  this  brief  mention  of  the  best  known 
Americans  who  were  active  as  composers 
before  MacDowell,  whose  works  may  be  said 
to  represent  the  highest  point  reached  in 
original  composition  in  this  country,  and 
who  will  be  considered  in  a  separate  article. 
Many  of  MacDowell 's  most  distinguished 
elder  contemporaries  have  not  been  in- 
cluded. These  will  now  be  considered. 

iiACDO WELL'S  CONTEMPORARIES 

Foremost  among  those  who,  though  his 
seniors,  have  outlived  him,  are  Arthur 
Poote,  George  W.  Chadwick  and  Edgar 
Stillman-Kelley — all  New  Englanders. 
Foote,  though  of  American  training,  was 
reared  in  the  "classic"  traditions  by  his 
teachers,  Stephen  A.  Emery  and  J.  K. 
Paine.  He  is  most  successful  in  chamber 
music,  piano  music  and  songs,  of  which 
some,  giving  evidence  of  a  truly  lyric  talent, 
have  met  with  wide  popularity,  even  in 
Europe. 

Chadwick,  a  product  of  the  scholarly 
education  of  the  Leipsic  and  Munich  con- 
servatories, has  given  expression  to  a  con- 


servative but  increasingly  modernistic 
tendency  in  a  series  of  programmatic 
symphonic  works,  chiefly  distinguished  by 
musicianly  workmanship,  a  rather  severe 
formalism  and  at  times  a  remarkable  dra- 
matic power  and  pleasing  orchestral  color. 
His  more  recent  works,  "Adonis,"  "Eu- 
terpe," "Cleopatra,"  "Aphrodite"  and 
"Tarn  O'Shanter"  (a  symphonic  ballad), 
are  distinctly  modern,  though  untouched  by 
French  impressionism  and  similar  tenden- 
cies. 

Edgar  Stillman-Kelley,  too,  was  reared 
in  the  traditions  of  the  German  school,  and 
his  early  successes  were  achieved  in  Berlin, 
which  he  had  made  his  residence.  Never- 


KDGAR    STILLMAN-KELLEY 

theless,  a  hint  as  to  his  personal  sympathies 
is  given  by  his  championship  of  Tschai- 
kowsky,  and  his  highly  appreciative  study 
of  Chopin,  recently  published.  Kelley  has 
to  his  credit  a  number  of  highly  imagina- 
tive works  for  orchestra.  There  is  a  suite, 
"Aladdin,"  of  highly  sophisticated  orches- 
tral texture,  in  which  he  uses  Chinese 
themes ;  an  earlier  suite  arranged  from  in- 
cidental music  to  "Macbeth,"  and  a  "New 
England  Symphony,"  in  which  he  has 
sought  to  embody  "something  of  the  ex- 
periences, ambitions  and  inspirations  of  our 


THE    COMPOSERS    OF    AMERICA 


Puritan  ancestors."  Kcllcy's  clear  and 
logical  style  is  especially  successful  in  cham- 
ber music,  and  in  this  field  his  piano  quar- 
tet is  best  known. 

To  be  included  in  this  earlier  group, 
though  born  after  MacDowcll,  are  Horatio 
Parker  (b.  1863)  and  Arthur  Whiting  (b. 
]861).  The  former  has  done  his  best  work 
in  the  field  of  choral  music,  his  "Hora 
Novissima"  being  a  standard  number  in  the 
repertory  of  American  and  English  choral 
societies.  His  operas  "Mona"  and  "Fairy- 
land" are  chiefly  important  in  a  historical 
sense,  since  both  won  prizes  as  the  best 
American  opera  submitted,  the  first  in  New 
York  in  1911,  the  second  in  San  Francisco 
in  1915.  His  consummate  skill  in  vocal 
polyphony,  which  have  made  his  choral 
works  effective,  could  hardly  be  applied  with 
success  to  opera,  and  his  scholarly  and  lofty, 
though  often  unemotional  style  were  bound 
to  militate  against  a  gripping  dramatic  ex- 
pression. Parker  nevertheless  represents  a 
worthy  conservative  force  in  our  native 
music. 

Arthur   Whiting   represents   an   increas- 


HORATTO    PARKER 


ingly  potent  element  in  American  composi- 
tion, namely,  the  influence  of  Brahms,  not 
in  the  narrow  musical  sense,  but  in  the  mat- 
ter of  general  tendency,  in  the  direction  of 
a  higher  intellectuality  and  the  preference 
for  abstract  musical  thought.  His  works 
are  chiefly  for  the  piano  and  in  the  smaller 
forms,  though  a  Fantasie  for  piano  and 
orchestra,  vocal  quartets  and  songs  give 
variety  to  the  list. 

William  Harold  Neidlinger  (b.  1863),  a 
pupil  of  Dudley  Buck  and  Miiller,  has  been 
active  successively  as  a  composer  and 
teacher  of  singing  in  Paris,  Chicago  and 
New  York.  Though  the  author  of  a  mass 
and  various  deservedly  popular  collections 
of  children's  ditties,  he  is  best  known  as  a 
song  composer.  The  easy  lyric  spontaneity 
of  his  style  is  well  exemplified  in  his  ' '  Sweet 
Miss  Mary"  and  "The  Weary  Hours." 
Neidlinger  was  born  in  Boston  and  now 
lives  in  New  Jersey. 

Standing  aside  from  all  these,  yet  not 
without  influence  upon  the  general  course 
of  musical  development  in  America,  stand 
the  works  of  Ethelbert  Nevin.  Essentially  a 
lyricist,  unschooled  in  the  more  sophisti- 
cated forms  of  musical  composition,  Nevin 's 
appeal  is  directly  to  the  hearts  of  his 
hearers  and  the  genuine  feeling  which  re- 
sides in  such  popular  songs  as  "The  Ro- 
sary" and  "Mighty  Lak'  a  Rose,"  or  such 
pieces  as  "Narcissus,"  from  the  "Water 
Scenes,"  and  other  numbers  from  his  vari- 
ous suites  have  given  them  a  large  place 
in  the  affections  of  the  people.  Among  the 
least  educated  of  American  composers, 
Nevin  was  nevertheless  one  of  the  most 
gifted,  and  under  other  circumstances  and 
at  a  later  time  could  have  produced  works 
of  real  lasting  value. 

MACDOWELL'S  SUCCESSORS 

In  considering  the  younger  contempo- 
raries and  the  successors  of  MacDowell  we 
are  confronted  by  such  a  large  number  of 
names  that  merit  attention,  that  we  are 
forced  to  adopt  some  form  of  classification 
in  order  to  systematize  in  our  minds,  to 
some  extent,  the  musical  activity  that  is  now 
going  forward  in  America.  It  is,  of  course, 
too  carlv  to  arrive  at  anv  sort  of  ultimate 


AE^HUR    FOOTE 


judgment  or  to  assay  the  relative  value  of 
this  extraordinary  output. 

This  present-day  endeavor  may  be  di- 
vided into  two  classes,  according  to  the 
avowed  purposes  of  the  composers  them- 
selves. On  the  one  hand  we  have  those  who 
aim  to  avail  themselves  of  the  native  ma- 
terial which  has  been  and  is  still  being  re- 
claimed, in  order  to  give  their  work  a  dis- 
tinctly national  character.  On  the  other 
hand  there  are  all  those  who  either  ignore 
these  native  elements,  though  frequently 
they  cannot  forego  at  least  an  unconscious 
reflection  of  them,  and  are  content  to  fol- 
low the  traditions  of  sorie  European  coun- 
try, or  to  achieve  the  amalgamation  of  sev- 
eral. These  eclectics,  as  we  may  call  them 
in  contradistinction  to  nationalists,  are 
again  to  be  divided  according  to  their  in- 
fluences. There  are  those  who  follow  the 
classic  traditions  of  pure  music,  eschewing 
the  radical  realism  and  impressionistic  in- 
fluences of  more  recent  origin.  Then  there 
are  what  we  may  simply  call  the  roman- 
ticists, and  finally  those  who  adhere  to  the 
modernistic  and  ultra-modern  tendencies  of 
the  present  day. 

Prominent  among  the  neo-classicists  is 
Arne  Oldberg  (b.  1874),  an  Ohioan  of 


Norse  extraction.  A  pupil  of  Rheinberger, 
he  has  kept  aloof  both  from  the  harmonic 
and  polyphonic  sophistications  of  the  ultra- 
modern Germans,  and  from  the  impression- 
ism of  the  modern  French  school.  His 
works,  cast  from  the  most  part  in  the 
cyclic  forms,  are,  in  the  phrase  of  Arthur 
Farwell,  "bafflingly  absolute."  Devoid  of 
technical  complications,  they  are  neverthe- 
less modern  in  spirit  and  show  a  complete 
mastery  of  means.  A  string  quartet,  two 
piano  quintets,  a  woodwind  quartet,  two 
symphonies,  overtures  and  other  works  con- 
stitute his  output  to 'date. 

Rubin  Goldmark,  a  nephew  of  the  Hun- 
garian composer  Carl  Goldmark,  also  fol- 
lows the  German  tradition  in  the  main, 
though  he  was  largely  influenced  by  Dvorak, 
whose  pupil  he  was  during  that  master's 
sojourn  in  America.  His  works,  including 
a  "Hiawatha  Overture,"  a  tone  poem, 
' '  Samson, ' '  a  trio,  and  string  quartet,  which 
won  the  Paderewski  prize,  are  character- 
ized by  warm  harmony,  fluent  melodic  line 
and  rhythmic  distinction. 

Another  composer  who  betrays  his  al- 
legiance to  classical  ideals  is  Howard  Brock- 
way  (b.  1870).  He  produced  a  symphony 
before  he  returned  from  his  studies  in  Ger- 

495 


THE    COMPOSEES    OP    AMERICA 


many,  and  subsequently  composed  a  piano 
quintet,  a  'cello  and  piano  sonata,  and  a 
piano  concerto,  besides  many  piano  pieces 
and  songs.  A  ballade  and  suite  for  orches- 
tra and  a  cantata,  "Sir  Olaf, "  are  among 
his  larger  works;  and  recently  he  has 
achieved  a  popular  success*  with  some  rather 
modernistic  settings  of  American  moun- 
taineer songs,  published  under  the  title  of 
"Lonesome  Tunes." 

A  composer  who  worships  a  severely  clas- 
sic ideal  and  whose  finely  wrought  works 
embody  a  protest  against  the  sensational 
tendencies  of  the  present,  is  Daniel  Gregory 


ETHELBERT   NEVIN 


Mason  (b.  1873),  a  nephew  of  William  Ma- 
son, the  distinguished  piano  pedagogue.  His 
most  potent  influences  are  Brahms,  Cesar 
Franck  and  Vincent  d'Indy,  with  whom  he 
studied  for  a  time.  Most  important  among 
his  larger  works  are  his  Sonata  in  G  minor, 
a  string  quartet  and  a  piano  sonata,  all  of 
which  show  great  ingenuity  in  thematic  de- 
velopment, more  than  ordinary  technical 
mastery,  and  adherence  to  the  highest  forms 
of  modern  musical  thought. 

Frank  Ward  (b.  1877),  a  pupil  of  Mac- 
Dowell,  is  another  of  those  who  prefer  the 
classic  forms.  His  recently  published  string 
quartet  won  the  prize  of  the  National  Fed- 


eration of  Musical  Clubs,  and  his  sacred 
cantatas,  "The  Divine  Birth"  and  "Saviour 
of  the  World,"  are  frequently  heard  in 
churches.  Among  his  works  there  is  also 
an  orchestral  suite,  a  piano  sonata,  pieces 
for  piano  and  organ  as  well  as  much  church 
music. 

The  senior  member  of  the  group  which 
we  may,  for  want  of  a  better  term,  call  the 
romanticists,  is  Homer  A.  Bartlett  (b. 
1846),  whose  output  has  been  enormous  and 
ranges  from  salon  music  to  opera.  Genre 
pieces  for  the  piano,  Nocturnes,  Reveries, 
Romances,  etc.,  perhaps  reveal  his  true 
metier,  though  he  has  been  successful  also 
in  songs,  violin  pieces,  organ  pieces  and 
choral  works. 

Henry  K.  Hadley,  a  native  of  Massachu- 
setts (b.  1871),  must  be  classed  among  the 
romanticists,  though  he  still  adheres  to  clas- 
sical forms  in  many  of  his  works,  notably 
in  four  symphonies  and  three  overtures, 
which  have  been  heard  in  many  places  here 
and  abroad.  A  pupil  of  Chadwick  and  of 
Mandycewski  in  Vienna,  he  has  worked 
rather  in  the  direction  of  the  modern  school 
of  which  Strauss  is  a  leading  representative, 
though  he  has  not  altogether  yielded  to  the 
realistic  tendencies  of  that  school.  His 
recently  produced  opera,  "Azora,"  has 
aroused  much  divergent  criticism,  and  his 
best  work  is  thought  by  many  to  be  an 
earlier  tone  poem,  "Salome."  A  more  re- 
cent and  successful  example  of  this  form  is 
his  "Lucifer,"  first  produced  in  1914. 

Frederick  S.  Converse,  a  pupil  of  J.  K. 
Paine  and  Rheinberger,  follows  somewhat 
similar  tendencies,  though  he  abandoned 
classic  forms  rather  early  in  his  career.  A 
symphony,  a  piano  sonata  and  a  string 
quartet  must  be  regarded  as  works  of  his 
formative  period.  His  orchestral  romance, 
"The  Festival  of  Pan,"  and  the  tone  poems, 
"Endymion's  Vision,"  "The  Mystic 
Trumpeter,"  after  Whitman,  and  "Or- 
mazd,"  betray  his  romantic  leanings.  Two 
operas,  "The  Pipe  of  Desire"  and  "The 
Sacrifice,"  have  been  produced  in  Boston, 
the  first  also  in  New  York,  and  a  more  re- 
cent essay  of  large  dimensions  is  the  music 
for  the  Pageant  and  Masque  of  St.  Louis, 
performed  in  that  city  in  1914. 


THE    COMPOSERS    OF    AMERICA 


497 


Reared  in  the  Germanic  traditions, 
Ernest  R.  Kroeger,  of  St.  Louis  (b.  1862), 
has  given  expression  to  a  distinctly  roman- 
tic imagination  in  several  overtures  and  a 
suite,  "Lalla  Rookh, "  in  which  he  uses 
Oriental  color  with  considerable  effect.  A 
number  of  pieces,  piano  pieces,  organ  pieces 
and  songs  have  also  been  published. 

THE    MODERNISTS 

Composers  of  more  outspokenly  modern- 
istic tendencies  may  be  considered  in  two 
classes:  those  following  the  ideals  of  the 
modern  German  school  on  the  one  hand,  and 
those  the  followers  of  French  impression- 
ism on  the  other.  This  classification  must, 
however,  be  accepted  with  reservation;  as 
in  most  of  these  composers'  works  the  fusion 
of  both  elements  is  discernible  and  usually 
also  an  admixture  of  other,  largely  individ- 
ualistic, elements. 

Among  outspoken  nationalists,  A-y^hur 
Farwell  (b.  1872)  occupies  the  position  of 
a  pioneer.  As  the  founder  of  the  Wa-Wan 
Press  he  was  among  the  first  to  encourage 
Americanesque  tendencies  among  native 
composers,  and  himself  made  some  notable 
contributions  to  our  nationalistic  musical 
literature.  Among  these  is  a.  set  of  ' '  Ameri- 
can Indian  Melodies,"  "Dawn,"  "Ichibuz- 
zi"  and  "The  Domain  of  Hurakan,"  also  a 
"Navajo  War  Dance,"  as  well  as  harmoni- 
zations of  negro  spirituals  and  cowboy 
songs.  Notable  among  his  larger  works  are 
the  "Symbolic  Sketches,"  described  by  the 
composer  as  "program"  music  in  which  the 
program  is  merely  suggested."  Among  his 
songs  "A  Ruined  Garden,"  with  orchestra, 
is  especially  effective.  Recently  Mr.  Far- 
well  has  devoted  himself  to  a  large  extent 
in  the  writing  of  music  for  various  commu- 
nity pageants,  and  he  has  espoused  the 
cause  of  community  music  with  remarkable 
results. 

The  most  assertive  and  uncompromising 
as  well  as  one  of  the  most  successful  na- 
tionalists is  Henry  F.  Gilbert.  While  a 
pupil  of  MacDowell,  he  owes  little  to  the 
influence  of  his  master,  and,  indeed,  recog- 
nizes no  school  but  that  of  his  own  experi- 
ence. His  frank  admiration  of  Richard 
Wagner  and  his  preference  for  the  more 


picturesque  and  characteristic  elements  of 
modern  music,  as  exemplified  in  the  works 
of  Chabrier,  Rimsky-Korsakov  and  Grieg 
nevertheless  betrays  his  true  sympathies, 
and  it  is  significant  that  after  the  rough- 
and-tumble  existence  of  his  earlier  years,  in 
which  there  was  no  definite  artistic  purpose, 
a  hearing  of  Charpentier 's  "Louise"  de- 
termined his  future  career  as  that  of  a  com- 
poser. A  rugged  sincerity  is  the  keynote 
of  Gilbert's  music.  His  inspiration,  though 
objective,  finds  its  sources  in  close  personal 
associations.  Thus  an  early  attachment  to 
the  Irish  literary  revival,  based  on  racial 
grounds,  is  reflected  in  a  number  of  works 
that  have  an  unmistakably  Celtic  flavor ;  his 
enthusiasm  for  Poe's  fanciful  verses  found 
inspiration  in  a  beautifully  atmospheric 
piano  piece,  "The  Island  of  the  Fay,"  and 
his  genuine  love  for  the  songs  of  the  Ameri- 
can negroes  led  him  to  embody  a  number  of 
such  folk  themes  in  a  series  of  orchestral 
compositions  which  thus  far  constitutes  the 
most  important  section  of  his  works.  These 
include  a  "Comedy  Overture  on  Negro 
Themes,"  a  "Negro  Rhapsody"  and  "The 
Dance  in  Place  Congo,"  recently  produced 
as  a  ballet-pantomime  at  the  Metropolitan 
Opera  House.  Equally  vigorous  in  its 


ARTHUR    FARWELL 


4!)8 


THE    COMPOSERS    OF    AMERICA 


HENRY    F.    GILBERT 

Americanism  are  the  "Humoresque  on  Ne- 
gro Minstrel  Tunes,"  an  earlier  "Negro 
Episode,"  a  series  of  "Negro  Dances"  for 
piano,  and  a  set  of  "Indian  Scenes."  The 
Celtic  element  in  the  composer's  racial 
makeup  has  found  expression  in  a  sym- 
phonic prologue  to  Synge's  "Riders  to  the 
Sea,"  a  set  of  very  individual  "Celtic 
Studies,"  for  voice  a:iJ  piano,  and  "The 
Lament  of  Deirdre. ' '  Equally  characteristic 
is  the  setting  of  Stevenson's  "Pirate  Song," 
made  popular  by  David  Bispham,  and  an- 
other of  Manley's  "Fish  Wharf  Rhapsody" 
— a  bit  of  Whitmanesque  savagery  that 
savors  of  real  personal  experience.  What- 
ever the  ultimate  judgment  of  Gilbert's 
music  may  be  it  is  in  a  very  special  sense 
American,  and  will  endure  as  an  ethno- 
graphic record  of  unquestioned  authen- 
ticity. The  fact  that  Gilbert  commands  all 
the  resources  of  modern  harmony  and  or- 
chestration appears  as  an  unimportant  de- 
tail in  comparison. 

Not  so  with  the  music  of  John  Powell. 
Equally  suffused  with  Americanism,  this 
music  appeals  to  us  first  of  all  as  ultra- 
modern in  spirit  and  technic.  The  basic 
matter  is  not  only  American,  but  often  more 


especially  Virginian.  Powell  uses  negro 
tunes  and  other  folk  material,  clothes  them 
in  modern  harmonies  and  develops  them  ac- 
cording to  the  most  sophisticated  methods  of 
modern  music.  While  discarding  classic 
thematic  styles  he  still  retains  the  cyclical 
forms.  The  "Sonata  Virginianesque"  for 
violin  and  piano,  the  "Sonata  Noble"  for 
piano,  two  suites  for  piano,  "In  the  South" 
and  "At  the  Fair,"  and  a  string  quartet, 
are  all  derived  from  the  soil  of  America. 
Among  other  works,  the  "Sonata  Teuton- 
ica, "  and  a  set  of  variations  and  double 
fugue  on  a  theme  of  F.  C.  Hahr,  are  im- 
portant. 

The  nationalism  of  Charles  Wakefield 
Cadman  is  of  a  more  obvious  sort.  Ameri- 
can Indian  tunes  are  his  particular  pen- 
chant, but  in  the  diatonic  and  rather  simple 
harmonic  garb  which  he  gives  them  they 
retain  little  of  their  original  savage  flavor. 
His  distinctly  lyric  talent  welds  these  ma- 
terials into  a  pleasing,  facile  style  which 
sometimes  borders  on  the  banal,  but  fre- 
quently attains  a  delicate  charm,  as  in  the 
popular  "Land  of  the  Sky-Blue  Water." 
His  recently  produced  opera  "Shanewis" 
is  based  on  an  Indian  subject,  and  in  it  he 
utilizes  some  Indian  material  effectively,  but 
the  work  as  a  whole  is  lyric  rather  than 
dramatic  in  quality.  Among  other  avowed 
nationalists  mention  must  be  made  of  Henry 
Schoenefeld  with  his  "American  Flag," 
"In  the  Sunny  South"  and  "Rural  Sym- 
phony"; and  Maurice  Arnold  with  his  sym- 
phony in  F  minor  and  his  "Plantation 
Dances. ' ' 

A  nationalist  by  association  rather  than 
performance  is  Harvey  Worthington 
Loomis  (b.  1865),  though  he  has  made  oc- 
casional use  of  native  thematic  material. 
His  ultra-refined,  delicately  impressionistic 
medium  is  not  unrelated  to  the  achieve- 
ments of  the  modern  French  school,  though 
to  interpret  it  as  the  result  of  "influence" 
would  be  unjust,  since  it  was  developed 
independently  and  at  least  synchronously. 
His  position  in  American  music  is  so  unique 
as  to  be  almost  anomalous.  Hardly  unusual 
in  its  technical  procedure,  his  music  is  nev- 
ertheless highly  original  in  effect.  Songs 
and  piano  pieces,  part-songs  and  children's 


THE    COMPOSERS    OF    AMERICA 


499 


songs  are  the  best  known  of  his  works,  but 
besides  these  "The  Traitor  Mandolin,"  and 
two  comic  operas,  a  setting  of  Verlaine's 
' '  L  'Heure  exquise, ' '  entitled, ' '  In  the  Moon- 
shower,"  for  singing  voice,  speaking  voice, 
piano  and  violin,  may  be  cited  as  an  apt 
example  of  Loomis's  exquisite  style. 

Of  the  native-born  Americans  none  is 
better  equipped  than  Mortimer  Wilson. 
Born  in  Iowa,  in  1876,  his  earlier  music 
study  was  guided  by  the  late  Frederic  Grant 
Gleason,  S.  E.  Jacobsohn,  and  William  Mid- 
dleschulte  in  Chicago.  At  a  later  period  he 
became  a  pupil  of  Hans  Sitt  and  Max  Reger 
in  Leipsic,  where  a  number  of  works  which 
he  took  with  him  attracted  considerable 
serious  attention,  and  were  even  published 
abroad.  Returning  to  the  United  States,  he 
was  for  several  years  the  conductor  of  the 
Atlanta  Symphony  Orchestra,  and  while 
there  became  more  than  ever  imbued  with 
the  spirit  of  the  Southern  folk  idiom,  even 
though  he  did  not  become  conscious  of  "ihe 
influence  until  in  later  years.  His  sponta- 
neous mastery  of  contrapuntal  technic 
has,  however,  enabled  him  to  infuse  his  en- 
tire harmonic  texture  with  a  lyric  element, 
strongly  felt  but  still  not  predominating, 
and  which  adds  to  his  work  an  individuality 
that  causes  many  critics  to  characterize  it 
as  marking  the  next  epoch  in  the  field  of 
American  composition  after  MacDowell.  In- 
cluded in  the  list  of  his  writings  are  five 
symphonies,  violin  and  piano  sonatas,  organ 
sonatas,  and  many  other  chamber  music  and 
piano  pieces  in  smaller  form. 

One  of  the  few  Americans  who  have  had 
the  distinction  to  have  an  opera  performed 
in  Europe  (Berlin,  1910)  is  Arthur  Nevin, 
a  brother  of  Ethelbert  Nevin.  This  opera, 
' '  Poia, ' '  based  on  a  sun  legend  of  the  Black- 
feet  Indians  of  Montana,  definitely  places 
the  composer  in  the  nationalistic  category, 
and  this  tendency  has  recently  been  con- 
firmed by  another  opera, ' '  A  Daughter  of  the 
Forest,"  performed  by  the  Chicago  Opera 
Company.  His  style  is  freely  lyrical  and 
based  on  the  Germanic  idiom,  except  for  the 
infusion  of  native  Indian  material.  Nevin 
was  born  in  Pennsylvania  in  1871,  and  is 
now  professor  of  music  at  the  University  of 
Kansas.  Orchestral  and  choral  works  as 


well  as  chamber  music  and  songs  have  come 
from  his  pen  in  considerable  quantity. 

The  so-called  San  Francisco  group  of 
composers,  to  which  William  J.  McCoy,  Ed- 
ward F.  Schneider,  Humphrey  J.  Stewart, 
Edward  G.  Stricklen,  Wallace  Sabin,  Her- 
man Perlet  and  others  belong,  represent  a 
rather  special  phase  of  American  national 
life. 

Of  the  ultra-modernists  it  is  possible  only 
to  mention  the  best  known.  Charles  Martin 
Loeffler,  an  American  by  adoption,  being  a 
native  of  Alsatia  (b.  1861),  stands  preemi- 
nent among  those  who  represent  prepon- 
derantly French  tendencies.  In  the  mas- 
tery of  technical  resources,  and  in  artistic 
maturity  in  general,  he  is  easily  at  the  head 
of  living  American  composers.  Though  he 
makes  use  of  modal  harmonies  and  atmos- 
pheric effects,  his  own  strongly  poetic  indi- 
viduality so  dominates  the  spirit  of  his  work 
that  no  definite  outside  influence  is  discern- 
ible. 

His  serious  claims  as  a  composer  were  first 
made  known  through  his  "Veillees  de 
1  'Ukraine, ' '  for  violin  and  orchestra,  a  suite 
based  upon  tales  by  Gogol,  which  was  heard 
in  Boston,  with  the  composer  as  soloist,  in 


CHARLES    WAKEFIELD    CADMAN 


CHARLES  MARTIN  LOEFFLER 


1891,  although  an  earlier  string  quartet  in 
A  minor  had  been  previously  heard  in 
Philadelphia.  A  sextet,  two  violins,  two  vio- 
las and  two  cellos,  next  came  into  notice, 
and  after  that  a  "Fantastic"  concerto  for 
cello  and  orchestra.  The  "Divertimento  in 
A  Minor, ' '  for  violin  and  orchestra,  the  com- 
poser played  at  a  Boston  symphony  concert 
in  1895.  Loeffler's  fame  has  rested  chiefly 
upon  his  remarkably  imaginative  tone- 
poems,  "La  Mort  de  Tiiitagiles, "  after 
Maeterlinck;  "La  Bonne  Chanson"  and 
"La  Villanelle  du  Diable,"  after  Verlaine 
and  Rollinat,  respectively,  and  the  "Pagan 
Poem, ' '  after  Virgil,  which  includes  a  piano 
and  three  trumpets  behind  the  scenes.  To 
these  was  recently  added  "The  Mystic 
Hour,"  a  symphonic  interpretation  of  the 
Roman  Catholic  liturgy.  His  songs  are  ex- 
quisite reflections  of  the  composer's  subtle 
imagination.  Among  them  are:  "Harmo- 
nies du  Soir,"  "Dansons  la  Gigue,"  "La 
Cloche  felee,"  "Timbres  oublies,"  "The 
Hosting  of  the  Sidhe,"  "The  Host  of  the 
Air,"  and  "To  Helen."  There  are  also  an 
octet  for  strings,  clarinets,  and  harp;  a 
quintet  for  three  violins,  viola  and  cello; 
two  rhapsodies  for  oboe,  viola  and  piano; 
500 


"By  the  Waters  of  Babylon,"  and  women's 
chorus,  two  flutes,  cello,  harp,  and  organ, 
and  other  works. 

John  Alden  Carpenter  owes  a  similar 
allegiance,  though  in  his  work  also  the  in- 
dividual note  is  strong,  and,  moreover,  his 
impressionism  is  reinforced  by  more  vig- 
orous elements,  which  derive  rather  from 
Germanic  than  Gallic  sources.  Imaginative, 
at  times  whimsical,  and  always  refined,  Car- 
penter's music  is  distinguished  by  a  con- 
sistent and  self-confident  modernity.  Aside 
from  songs,  of  which  the  "Ghitanjali"  of 
Tagore  are  perhaps  best  known,  and  a  violin 
sonata,  he  has  written  a  symphonic  suite, 
"Adventures  in  a  Perambulator,"  which 
has  met  with  much  success. 

Perhaps  most  definitely  allied  with  the 
modern  French  school  of  any  native  Ameri- 
can composer  is  Edward  Burlingame  Hill 
(1872).  His  choice  of  medium  is,  however, 
in  no  sense  an  imitation.  It  is  spontaneously 
induced  by  the  composer's  own  highly  fas- 
tidious personality.  He  studied  at  Harvard 
under  J.  K.  Paine,  and  is  now  an  instruc- 
tor at  that  institution.  In  his  earlier  works 
he  was  influenced  by  MacDowell,  and  in  that 
period  produced  several  piano  sonatas, 


THE    COMPOSERS    OF    AMERICA 


501 


songs,  and  set  of  "Country  Idyls"  for 
piano.  The  atmospheric  tendency  becomes 
evident  in  a  choral  work,  ' '  The  Nuns  of  the 
Perpetual  Adoration,"  and  in  the  ex- 
quisitely wrought  music  for  the  dance  pan- 
tomime, "Pan  and  the  Star."  Later  works 
include  a  symphonic  poem,  "Launcelot  and 
Guinevere,"  after  Stephen  Phillips,  and  the 
subtle  and  whimsical  "Stevensoniana"  for 
orchestra. 

Avowedly  an  adherent  of  the  French 
school,  though  in  his  earlier  period  strongly 
influenced  by  Germans,  is  Louis  Campbell- 
Tipton  (b.  1877),  for  years, a  resident  of 
Paris.  His  "Germanic  period"  culminated 
in  a  programmatic  "Sonata  Heroic,"  in 
one  long  movement,  solid  in  structure  and 
brilliant  in  effect.  In  his  more  recent  "at- 
mospheric" vein  he  had  produced  piano 
pieces  and  songs,  a  "Lament"  for  violin 
and  piano,  an  opera,  and  other  works. 

Another  American  now  resident  in  Pa^is 
is  Blair  Fairchild,  whose  choral  settings  of 
texts  from  the  "Song  of  Songs,"  as  well  as 
his  chamber  music,  orchestral  sketches,  ' '  Ta- 
mineh,"  songs,  etc.,  all  reflect  his  French 
sympathies,  though  they  are  more  frankly 
melodious  than  the  more  characteristic  ex- 
amples of  impressionism. 

More  pronounced  in  the  adoption  of 
modal  and  whole-tone  effects,  the  music  of 
Walter  Morse  Rummel  appears  as  a  genuine 
product  of  the  modern  French  school.  He 
has  found  inspiration  in  troubadour  songs 
and  other  mediaeval  folk  music,  and  has  pub- 
lished a  collection  of  such  songs  as  "Hes- 
ternse  Rosse. ' '  A  string  quartet,  a  violin  so- 
nata, piano  suites,  other  pieces  and  songs, 
constitute  the  bulk  of  his  work  to  date. 

In  close  relation  to  this  group  stands  the 
young  Leo  Sowerby,  whose  works  for  orches- 
tra and  for  string  quartet  have  recently 
been  performed  with  success,  and  Charles 
T.  Griffes,  who  has  found  an  apt  vehicle  for 
his  talents  in  the  intimate  ballet. 

Carl  Engel,  a  composer  of  ultra-modern 
songs  in  the  impressionistic  vein,  should  also 
be  mentioned  here. 

The  list  of  those  composers  of  the  younger 
generation  whose  inclinations  have  led  them 
in  other  directions  than  that  of  impression- 
ism is,  of  course,  a  large  one.  Moreover,  it 


is  difficult  to  find  any  more  exact  designa- 
tion for  it  than  that  of  the  much-embracing 
term  "eclectic,"  for,  though  the  Germanic 
heritage  is  still  clearly  traceable  in  the  work 
of  many,  it  would  obviously  be  wrong  to 
classify  as  ' '  German ' '  all  that  is  not  French. 
It  is  not  unlikely,  perhaps,  that  exactly 
these  composers,  who  have  not  consciously 
excluded  from  their  works  any  elements 
that  readily  fused  with  their  own  individ- 
uality are  as  truly  American  as  any  of  those 
who  have  consciously  striven  for  "Ameri- 
canism" above  everything  else. 

On  the  borderland  of  this  region,  showing 
impressionistic  tendencies  as  well  as  ele- 
ments of  neo-classic  solidity,  is  the  music 
of  David  Stanley  Smith  (b.  1877),  asso- 
ciated with  Horatio  Parker  at  Yale  Univer- 
sity. His  solidity  and  power  of  coherent 
thematic  development  is  shown  especially 
in  the  symphony  in  F  minor  recently  pro- 
duced, and  the  string  quartet  hi  E  minor. 
More  pictorial  qualities  reside  in  the  sym- 
phonic sketch  "Prince  Hal"  and  an  over- 
ture, "Joyeuse, "  while  certain  works  of 
smaller  calibre,  such  as  the  popular  women 's 


BENJAMIN    LAMBORD 

chorus,  "Pan,"  have  a  rhythmic  and  har- 
monic piquancy  that  suggest  a  poetic  imag- 


THE    COMPOSERS    OF    AMERICA 


ination  and  a  fine  sense  for  color.  A  mixed 
chorus,  "The  Fallen  Star,"  won  the  Pade- 
rewski  Prize. 

One  of  the  first  winners  of  that  prize,  but 
in  the  field  of  orchestral  composition,  was 
Arthur  Shepherd  (b.  1880),  with  his 
"Ouverture  Joyeusc. "  Unusually  accom- 
plished in  the  command  of  ultra-modern 
technic  and  one  of  the  most  daring  in 
his  use  of  it,  his  is  notably  free  from  the 
Debussyan  influence.  His  harmonies  are 
original  in  the  extreme,  and  there  is  no 
trace  of  sentimentality  and  little  melodic 
suavity  in  his  work,  though  it  does  not  lack 
subjectivity.  Though  he  employs  cow-boy 
themes  he  does  not  feature  the  nationalistic 
element.  His  piano  sonata,  which  won  the 
National  Federation  prize,  is  among  his 
most  important  creations,  also  a  "poem" 
for  orchestra,  mixed  chorus  and  baritone 
solo,  "The  City  in  the  Sea,"  besides  many 
piano  pieces  and  songs. 

Benjamin  Lambord  (1875-1915),  whose 
untimely  death  robbed  America  of  one  of 
its  most  poetic  creative  spirits,  frankly  ac- 
knowledged the  influence  of  the  masters  of 
modern  Germany,  especially  Wagner  and 
Strauss,  though  his  partially  French  train- 
ing and  his  enthusiasm  for  French  litera- 
ture also  left  their  traces  upon  some  of  his 
later  work.  A  pupil  of  MacDowell,  he  was 
early  imbued  with  a  fine  romanticism, 
which,  distilled  through  a  personality  of  al- 
most ascetic  refinement  and  rare  nobility, 
was  expressed  in  a  medium  always  lofty, 
yet  full  of  sensuous  beauty  and  genuine 
feeling.  This  spirit  animates  especially  his 
songs,  of  which  some  combine  a  simple 
lyricism  with  a  remarkable  richness  of  har- 
monic and  polyphonic  texture.  Among 
these  a  setting  of  Andre  Chenier's  "Cly- 
tie, ' '  with  orchestra,  is  the  most  remarkable. 
A  mood  of  mystery  and  deep  reflection 
dominates  the  "Verses  from  Omar/'  for 
chorus  and  orchestra,  while  in  an  overture 
and  a  ballet  scene  for  orchestra,  pictorial 
and  rich  coloristic  effects  are  achieved  by 
spontaneous  melodic  development  and  a 
remarkably  discriminating  employment  of 
modern  orchestral  resource. 

More  purposely  ultra-modern  is  the  work 
of  T.  Carl  Whitmer,  whose  work  is,  like 


Shepherd's,  remarkably  free  from  sensuous 
elements.  It  is,  on  the  other  hand,  full  of 
psychological  subtleties  and  animated  by  a 
spiritual  quality,  which  has  been  said  to 
give  it  often  "a  sense  of  overearthliness. " 
Aside  from  a  number  of  songs  and  piano 
pieces,  he  has  written  an  "Elegiac  Rhap- 
sody" for  chorus  and  orchestra,  a  set  of 
"Miniatures"  for  orchestra,  a  violin  sonata, 
women's  choruses,  etc.  More  unusual  are 
his  "Symbolisms,"  readings  of  original 
texts  with  piano  accompaniment,  and,  still 
in  manuscript,  his  so-called  "  mysteries  "- 
spiritual  music-dramas,  of  which  form  the 
composer  is  perhaps  the  sole  exponent  in 
America. 

Other  names  to  be  attached  to  this  group 
of  eclectics  are  those  of  Henry  Clough- 
Leighter,  who,  besides  many  songs,  has  writ- 
ten a  number  of  choral  works  of  large 
dimensions,  also  a  symphonic  ballad  for 
tenor  and  orchestra  and  much  Anglican 
church  music ;  Frederic  Ayres,  whose  es- 
says in  chamber  music  have  been  acclaimed 
by  Arthur  Farwell  and  others  in  enthusias- 
tic terms;  William  H.  Humiston,  who  has 
made  an  excursion  into  nationalistic  terri- 
tory with  an  effective  and  successful 
"Southern  Fantasy,"  besides  which  he  has 
written  an  overture  to  ' '  Twelfth  Night " ;  a 
dramatic  scene  for  soprano,  chorus  and  or- 
chestra, and  a  number  of  fine  songs;  Mar- 
shall Kernochan  and  Homer  Norris,  whose 
styles  are  chiefly  known  through  a  number 
of  published  songs,  and  Noble  Kreider,  who, 
much  influenced  by  the  genius  of  Chopin, 
has  chosen  the  piano  as  his  principal  me- 
dium. Similarly  devoted  to  the  violin  is 
Cecil  Burleigh,  with  a  sonata,  "Character- 
istic Pieces,"  "Rocky  Mountain  Sketches" 
and  "Indian  Sketches." 

A  special  niche  should  be  reserved  for 
the  courageous  men  who  have  successfully 
stormed  the  citadel  of  opera.  Beginning 
with  Converse's  "Pipe  of  Desire,"  in  1910, 
an  American  opera  has  been  almost  an  an- 
nual feast  at  the  Metropolitan  Opera  House. 
Victor  Herbert,  with  "Natoma"  and 
"Madeleine";  Horatio  Parker  with 
"Mona,"  Walter  Damrosch  with  "Cy- 
rano," Reginald  de  Koven  with  "The  Can- 
terbury Pilgrims,"  and  most  recently 


THE    COMPOSERS    OF    AMERICA 


503 


Charles  Wakefield  Cadman,  with  "Shane- 
wis,"  have  been  the  honored  guests  at  this 
feast.  It  should  be  remarked,  moreover, 
that  Mr.  Damrosch  made  his  debut  in  opera 
a  number  of  years  before,  with  his  less  suc- 
cessful ' '  Scarlet  Letter. ' '  More  recently  he 
has  given  new  evidence  of  his  creative  abil- 
ity in  incidental  music  to  Sophocles'  "Elek- 
tra"  and  Euripides'  "Medea."  Victor 
Herbert's  successes  in  comic  opera  are  too 
well  known  for  comment,  and  Mr.  de  Ko- 
ven's  light  opera  "classics"  of  an  earlier 
day— "Robin  Hood,"  "Maid  Marian,"  and 
their  companions — will  live  long  in  the 
hearts  of  the  American  public.  In  this  con- 
nection mention  should  also  be  made  of 
John  Philip  Sousa,  already  spoken  of  as  a 
potent  influence  in  a  preceding  chapter,  and 
the  recent  writers  of  light  operas  who,  while 
reaping  the  rich  emoluments  of  that  school 
of  musical  entertainment  which  conforms  to 
the  current  taste,  are  raising  so-called 
"popular"  music  to  a  higher  level  of  dis- 
tinction. These  include  Jerome  Kern,  Louis 

A.  Hirsch,  Rudolf  Friml,  and  others. 
Among  those  who   have  not  been   men- 
tioned in  this  necessarily  cursory  review  are 
many   whose   work   merits   favorable   com- 
ment, though  only  the  merest  biographical 
notice  is  possible  here. 

Henry  Holden  Huss  (b.  1862)  is  best 
known  as  a  composej  of  songs,  though  he 
has  composed  and  performed  two  piano  con- 
certos, a  violin  concerto  played  by  Ysaye, 
a  cello  sonata,  a  trio,  a  rhapsody  for  piano 
and  orchestra,  choral  pieces  and  other 
works.  He  was  a  pupil  of  the  American,  0. 

B.  Boise,  in  Berlin,  and  of  Rheinberger  in 
Munich. 

Louis  A.  Coerne  (b.  1870)  has  the  dis- 
tinction of  being  the  first  to  win  the  degree 
of  Ph.D.  from  Harvard  for  work  in  music, 
his  valuable  treatise  on  orchestration  being 
the  thesis.  After  years  as  violinist,  organist 
and  conductor  he  turned  to  composition  and 
supplemented  his  studies  in  Munich  and 
Stuttgart.  A  symphonic  poem  in  Long- 
fellow's "Hiawatha"  was  produced  in 
Europe  and  by  the  Boston  Symphony.  He 
has  also  written  two  operas,  one  of  which 
was  performed  in  Germany;  a  ballet,  and 
smaller  works. 


Amy  Marcy  Cheney  Beach  (Mrs.  H.  H. 
A.  Beach;  b.  1867)  ranks  as  America's  fore- 
most woman  composer.  A  pupil  of  E. 
Perabo  and  K.  Baermann  (piano),  and  of 
Junius  W.  Hill  (harmony),  entirely  self- 
taught  in  composition  and  orchestration, 
she  has  composed  notable  works  in  nearly 
every  form,  excepting  opera.  Among  her 
numerous  works  are  a  Gaelic  Symphony  for 
orchestra,  a  mass,  many  choral  works,  piano 
pieces, 'songs,  etc.  Her  "Indian  Lullaby" 


REGINALD  DE  KOVEN 

is  one  of  the  best  of  what  have  been  termed 
her  ' '  expressive  songs. ' ' 

Among  the  other  women  composers  of 
special  note  is  Fay  Foster,  who  has  recent- 
ly sprung  into  considerable  prominence, 
especially  as  a  result  of  her  songs,  which 
have  a  vocal  appeal  which  has  won  for  them 
a  place  on  the  programs  of  many  concert 
artists.  As  a  child  Miss  Foster  was  musical- 
ly precocious,  and  might  have  been  classed 
as  a  Wunderkind,  studying  harmony  at 
eight,  playing  the  organ  at  twelve,  and 
touring  the  country  as  a  pianist  at  seven- 
teen. She  studied  theory  with  Frederick 
Grant  Gleason  in  Chicago,  and  later  went  to 
Europe,  where  for  twelve  years  she  contin- 
ued her  musical  studies  under  Rosenthal, 
Reisenhauer  and  Jadassohn.  She  has  also 
won  a  number  of  prizes,  such  as  the  Die 


504 


THE    COMPOSERS    OF    AMERICA 


Woche  prize  of  1911,  and  also  one  of  the 
Federation  of  Women's  Clubs' .awards  in 
1917.  One  of  the  most  popular  of  Miss 
Foster's  songs  is  "Dusk  in  June,"  which  is 
contained  in  the  present  collection. 

Mrs.  Lulu  Jones  Downing,  another  of 
this  growing  group  of  American  women 
composers,  was  for  a  time  musically  active 
in  Richmond,  Ind.,  and  of  late  has  been 
established  in  Chicago  as  a  teacher  and  com- 
poser. An  example  of  her  work  contained 
in  this  collection  is  "June,"  one  of  her  best 
known  songs. 

Nicholas  deVore,  a  native  of  Ohio,  is  well 
known  as  a  composer,  organist,  teacher  and 
writer  on  musical  subjects.  He  has  written 
much  music  of  notable  individual  quality 
in  the  various  forms.  Among  his  works  are 
many  charming  songs,  part-songs,  anthems, 
and  compositions  for  the  piano,  organ, 
violin  and  orchestra.  His  "Love  and  Life" 
is  a  characteristic  example  of  his  lighter 
works.  As  an  educator  his  influence  is 
chiefly  felt  through  the  pedagogic  works  is- 
sued by  the  National  Academy  of  Music,  of 
which  he  is  president. 

While  in  every  creative  field  the  American 


FREDERICK    S.    CONVERSE 


composer  has  come  to  the  fore  with  music 
that  is  not  unworthy  of  the  land  he  repre- 
sents, he  has  been  especially  prolific  as  a 
song  writer.  Among  the  names  to  be  re- 
membered in  this  connection  only  a  few  can 
be  mentioned  here.  Charles  Gilbert  Spross, 
James  H.  Rogers,  Will  C.  Macfarlanc, 
Charles  Fontaine  Manney,  William  Lester, 
Mana  Zucca,  Sydney  Homer,  Whitney 
Coombs,  Harry  Burleigh,  Clayton  Johns, 
Philip  James,  Alexander  Russell,  William 
Arms  Fisher,  A.  Walter  Kramer,  are  a  few 
among  many  lyric  composers  of  distinction. 

Representative  composers  of  choral  music 
are  almost  as  numerous.  Those  not  previ- 
ously mentioned  include  James  P.  Dunn 
("The  Phantom  Drum") ;  Franz  C.  Born- 
schein  ("Onoa,"  "Maypole  Bell," 
"Thyre");  N.  Clifford  Page  ("Contest  of 
the  Nations,"  "Old  Plantation  Days," 
"Lord  Howe's  Masquerade")  ;  Philip 
James,  R.  Nathaniel  Dett,  Deems  Taylor 
("The  Highwayman"). 

The  names  included  above  give  no  more 
than  an  outline  of  American  effort  in  the 
compositional  field.  They  must  be  taken  as 
representing  thrice  as  many  more  creative 
musicians  of  distinction  whose  works  have 
been  published,  even  leaving  out  of  account 
many  composers  of  foreign  birth  who  have 
made  this  country  their  home,  and  have  be- 
come Americans  to  all  practical  intents  and 
purposes.  The  field  o'f  American  composi- 
tion is  wide,  and  the  American  composer 
who  has  a  really  valid  art  message  of  one 
sort  or  another  need  not  despair  of  obtaining 
a  hearing.  Since  the  outbreak  of  the  world 
war  and  the  strengthening  and  unification 
of  the  spirit  of  nationalism  in  the  United 
States,  his  prospects  have  grown  even 
brighter.  The  American  composer  would  at 
last  seem  to  have  come  into  his  own,  and,  in 
some  degree  at  least,  to  be  esteemed  "a 
prophet  in  his  own  country."  And  as  the 
empire  of  Alexander  was  once  shared  among 
his  successors,  who  spread  the  ideals  of 
Greek  civilization  through  the  Orient ;  so 
the  heritage  of  ideals  left  by  Edward  Mac- 
Dowell,  taken  up  by  his  successors,  has  done 
its  share  in  bringing  Americans  as  com- 
posers to  the  high"  plane  of  the  deserved  ap- 
preciation they  have  reached  to-day. 


EDWARD  MACDOWELL 


BY 

HENRY    T.    FINCK 

BIOGRAPHICAL  NOTE. — Edward  Alexander  MgcDowell  was  born  in  Kew  York,  December  18,  1861,  and 
died  there  February  24,  1908.  He  studied  the  pifcno  with  Teresa  Carrefio  in  New  York,  and  in  1876  con- 
tinued his  studies  at  the  Paris  Conservatory.  From  1K79  he  studied  in  Frankfort — piano  with  Heymann 
and  composition  with  Raff.  At  twenty  he  was  appointed  principal  piano  teacher  at  the  Darmstadt  Con- 
servatory and  at  twenty-one  had  a  number  of  his  works  performed  on  the  recommendation  of  Liszt.  After 
several  years'  residence  in  Wiesbaden  he  returned  to  Boston  in  1888.  In  1896  he  became  professor  of 
music  in  Columbia  University,  and  retained  that  position  till  1904.  For  a  time  he  also  conducted  the 
Mendelssohn  Glee  Club.  In  the  following  year  he  fell  victim  to  a  cerebral  disease,  and,  faithfully  tended 
by  his  wife,  lingered  in  increasing  mental  darkness  until  his  death. — ED. 


IN  the  summer  of  1895  I  spent  a  few  days 
with  Edward  MacDowell  in  a  hotel  on 
the  shore  of  Lake  Geneva,  near  Vevey.  He 
was  at  work  on  his  "Indian  Suite,"  which 
caused  him  so  much  trouble  and  perplexity 
that,  as  he  confessed  to  me  afterward,  he 
was  sorely  tempted  to  ask  my  advice  about 
various  details,  but  refrained  for  fear  of 
breaking  into  my  vacation.  When  this  suite 
had  its  first  performance  in  Boston,  one  of 
the  critics,  while  praising  it  highly  for  its 
artistic  workmanship,  found  fault  with  the 
composer  for  trying  to  make  a  silk  purse 
out  of  a  sow's  ear.  That  was  rather  a  rude 
way  of  putting  it — rude  to  the  Indians — 
for  the  aboriginal  Iroquois  and  lowan  songs 
which  form  its  main  themes  are  in  them- 
selves by  no  means  without  charm;  yet  it 
is  undoubtedly  true  that  MacDowell 's  own 
creative  imagination  would  have  easily 
yielded  melodies  more  beautiful  in  them- 
selves and  more  readily  adapting  themselves 
to  thematic  elaboration  and  orchestral  color- 
ing. 


It  is  significant  that  the  experiment  of 
blending  red  and  white  music  was  never  re- 
peated by  him,  except  in  a  short  piano 
piece,  "Prom  an  Indian  Lodge" — one  of 
the  "Woodland  Sketches" — in  which  orig- 
inal and  aboriginal  strains  are  commingled. 
He  never  indorsed  the  view — of  which 
Harvey  Worthington  Loomis  and  Arthur 
Farwell  are  at  present  two  most  eloquent 
exponents — that  a  great  American  Temple 
of  Music  might  and  will  be  built  with  Indian 
songs  as  the  foundation  stones.  Nor  has  he 
ever  countenanced  the  widely  prevalent 
opinion  that  Negro,  melodies  form  the  only 
other  possible  basis  of  a  distinctively  Ameri- 
can school  of  music.  Dr.  Dvorak  adopted 
this  view  when  he  first  came  to  New  York  as 
Director  of  the  National  Conservatory;  but 
subsequently  he  abandoned  it.  It  is  unques- 
tionable that  the  Negro  has  received  credit 
for  things  that  are  not  his.  What  is  really 
unique  in  his  music  is  an  inheritance  from 
Africa,  wherefore  it  cannot  be  ma^le  the 
basis  of  an  American  school  of  music;  while 

505 


500 


EDWARD    MACDOWELL 


the  rest  of  what  is  usually  regarded  as 
Negro  or  plantation  song  is  partly  a  crazy- 
quilt  made  up  of  patches  of  tune  from  the 
stores  of  European  nations,  for  the  Negro 
is  an  imitative  and  quick  as  a  mocking-bird, 
and  partly  the  voice,  or  the  echo,  of  the  in- 
dividual genius  of  Stephen  C.  Foster,  a 
writer  of  true  American  folk  songs,  the  best 
of  which  are  equal  to  any  German,  Italian, 
French,  Irish,  or  Russian  folk  music. 

Foster's  songs  are  unmistakably  Ameri- 
can— unlike  any  European  folk  songs.  If 
an  unknown  one  from  his  pen  should  come 
to  light,  say,  in  a  remote  Turkish  village,  an 
expert  would  say  to  himself,  "That's 
American,  that's  Foster."  If,  therefore,  an 
American  composer  feels  inclined  to  write 
a  symphony  or  a  suite  based  on  melodies 
borrowed  from  Stephen  C.  Foster,  he  is  of 
course  at  liberty  to  do  so,  but  he  will  show 
himself  a  greater  master  by  creating  his 
own  melodies;  and  his  music  will  be  none 
the  less  American,  provided  he  is  himself 
sufficiently  individual  to  be  able — as  Foster 
was — to  write  melodies  different  from  those 
of  Europeans. 

It  is  time  to  drop  the  ludicrous  notion 
that  a  truly  national  art  can  be  built  up 
on  folk  songs  only.  All  that  we  need  for 
the  making  of  an  American  branch  of  music 
is  individuals  of  real  creative  power.  In 
the  music  of  Wagner  there  is  hardly  a  trace 
of  German  folk  song,  yet  it  is  great  and  it 
is  German  because  he  was  a  great  German 
individual.  Mendelssohn  and  Schumann 
are  real  Germans,  too,  in  their  music,  though 
they  differ  radically  from  Wagner  and  from 
each  other.  Even  the  nationalists  among 
the  great  masters — Haydn,  Chopin,  Grieg, 
Dvorak — owe  their  position  in  the  musical 
world  much  less  to  what  they  imbibed  from 
the  folk  music  of  their  countries  than  to 
their  preeminent  individualities. 

In  searching  for  such  individualities  in 
our  own  country  we  find  at  least  two  con- 
cerning whom  there  can  be  no  dispute — 
Stephen  C.  Foster  and  Edward  MacDowell, 
the  latter  representing  our  art  music  as 
Foster  represents  the  folk  music.  I  would 
recognize  a  new  piece  of  MacDowell 's  any- 
where, as  I  would  the  face  of  a  typical 
American  girl  in  any  part  of  Europe.  It 


is  unlike  the  music  of  any  European  master, 
and  it  has  on  every  page  the  stamp  of  his 
individuality  as  unmistakably  as  most  two- 
cent  stamps  have  the  face  of  Washington. 
To  be  sure,  there  are  European  influences 
perceptible  in  it — the  influence,  particularly, 
of  Grieg,  Liszt,  and  Wagner,  representing 
Norwegian,  Hungarian,  and  German  art. 
But  the  foreign  influence  in  his  composi- 
tions is  less  pronounced  than  it  is,  for  in- 
stance, in  the  works  of  Handel,  Gluck,  and 
Mozart,  who  nevertheless  remain  Germans. 
What  constitutes  nationality,  musically 
speaking,  is  very  difficult  to  say.  There  is 
an  impression  that  melody  is  the  Italian 
element  in  music,  harmony  the  German. 
But  the  greatest  melodists  that  ever  lived 
were  Schubert  and  Wagner,  and  the  great- 
est harmonists,  apart  from  Bach,  Wagner, 
and  Schubert,  are  the  Polish  Chopin,  the 
Hungarian  Liszt,  and  the  Norwegian  Grieg. 
Music  has  many  styles,  some  national,  some 
personal.  • 

Individuality  is  somewhat  easier  to  de- 
scribe, and  when  we  examine  the  individu- 
ality of  Edward  MacDowell  we  find  some- 
thing that  any  American  may  feel  proud  to 
discover  in  a  compatriot.  To  his  friends  his 
droll  and  truly  American  gift  of  humor  has 
always  seemed  one  of  his.  most  charming 
traits.  In  a  letter  to  me  he  once  recurred 
to  his  student  days  at  the  Paris  Conserva- 
toire. Life  in  Paris  seemed  to  him  "a  huge 
but  rather  ghastly  joke."  His  fellow- 
students  "never  seemed  to  miss  the  absence 
of  the  word  '  home '  in  their  language.  Most 
of  them  looked  as  if  they  had  been  up  ever 
since  they  were  born.  They  seemed  to  live 
on  cigarettes,  odd  carafons  of  wine,  and  an 
occasional  shave." 

That  "occasional  shave"  is  delightfully 
characteristic  of  MacDowell 's  wit.  In  his 
conversation  he  always  kept  the  listener 
amused  with  such  unexpected  turns — as  he 
does  in  his  music.  Scherzo  is  Italian  for 
joke,  and  it  is  in-  his  scherzo  movements 
that  we  often  hear  him  at  his  best.  His  fa- 
mous teacher,  the  Venezuelan  pianist,  Teresa 
Carreno,  hardly  ever  plajs  his  second  piano- 
forte concerto  without  being  compelled  to 
repeat  the  presto  giocoso. 
Another  of  his  traits  was  revealed  during 


EDWARD    MACDOWELL 


507 


his  Conservatoire  days.  Though  but  fifteen 
years  old,  he  soon  discovered  that  it  was 
not  the  right  place  for  him.  There  was  too 
much  striving  for  effect  for  its  own  sake, 
and  not  sufficient  reverence  for  the  masters, 
to  suit  this  American  lad.  Famous  profes- 
sors like  Marmontel,  Mathias,  and  Ambroise 
Thomas  did  not  hesitate  to  mutilate  a  com- 
position or  to  insert  measures  of  their  own 
to  make  it  what  they  deemed  effective.  He 
packed  his  trunk  and  went  to  Stuttgart. 
Here  there  was  no  lack  of  reverence  for 
genius,  but  there  was  what  throughout  his 
life  he  hated  quite  as  much — pedantry;  so, 
after  six  weeks,  he  moved  on  again,  a  real 
American,  in  quest  of  the  best  wherever  it 
may  be  found,  and  bound  to  find  it. 

He  found  it  at  last  at  Frankfort,  where 
there  was  a  pianist,  Carl  Heymann,  who 
"dared  play  the  classics  as  if  they  had  ac- 
tually been  written  by  men  with  blood  in 
their  veins."  Under  his  fingers  "a  sonata 
was  a  poem."  The  eminent  composer  Raff 
was  director  of  the  Frankfort  conservatory ; 
by  him  MacDowell  was  confirmed  in  his 
tendency  toward  writing  music  with  a  pic- 
torial or  poetic  background.  The  death  of 
Raff  revealed  the  emotional  nature  of  the 
American  youth.  His  first  pupil,  Miss 
Marian  Nevins,  who  became  his  wife  two 
years  later,  says  regarding  this  tragic  event : 

"He  came  to  me  at  the  hour  for  my  les- 
son, looking  so  white  and  ill  that  I  was 
frightened.  His  voice  broke  as  he  said  only 
the  words,  'Raff  is  dead.'  There  was  a 
sweet  hero-worship  of  a  shy  boy  for  an  al- 
most equally  shy  man,  and  for  months  after 
Raff's  death  he  was  in  a  morbid  condition. 
He  gave  me  eighteen  marks — all  he  had  at 
the  time — and  said,  as  I  knew  more  about 
flowers  than  he  did,  would  I  get  some  for 
him  to  send?  So  I  bought  a  mass  of  roses, 
and,  what  was  unusual  for  Germany,  had 
them  sent  not  even  bound  together;  and 
these  were  put  about  Raff,  nearer  than  the 
grand  beautiful  floral  things  sent  by  the 
dozen. ' ' 

Like  all  students  of  the  pianoforte,  Mac- 
Dowell always  adored  the  personality  and 
the  works  of  Liszt,  to  whom  his  first  con- 
certo is  dedicated.  Following  the  advice  of 
Raff,  he  had  visited  Weimar,  where  he  was 


greatly  encouraged  by  the  cordial  praise 
Liszt  bestowed  both  011  his  playing  and  his 
compositions,  and  by  the  invitation  to  play 
his  first  piano  suite  at  the  next  convention 
of  the  Allgenieine  Musik-Verein,  over  which 


EDWARD  ALEXANDER  MACDOWELL 

Liszt  presided.  There  was,  to  be  sure,  more 
honor  than  profit  in  this.  A  man  cannot 
live  on  compliments  and  applause,  and  Mac- 
Dowell, like  most  other  musicians,  found  it 
extremely  hard  to  make  a  living  in  Germany 
unless  he  used  up  all  his  vitality  in  teaching, 
leaving  none  for  creative  work.  Luckily, 
his  wife  had  a  little  money,  so  they  took  the 
daring  risk  of  dropping  everything  but  com- 
position and  settling  down  to  a  quiet  life  in 
and  near  Wiesbaden.  It  was  here  that  Mac- 
Dowell wrote  the  compositions  from  op.  23 
to  op.  35. 

Those  were  idyllic  days.  "The  one  dark 
spot,"  Mrs.  MacDowell  writes,  "was  a  long 
and  severe  illness  of  mine  brought  on  by 
overanxiety  and  trying  to  do  work  which  I 
was  not  well  used  to;  but  in  spite  of  it  all, 
we  were  very  happy.  The  six  'Idylls, '  op.  28, 


508 


EDWARD    MACDOWHLL 


of  which  I  am  very  fond,  I  associate 
with  our  little  flat  in  the  Jahnstrasse.  I  had 
been  ill  a  long  time,  and  felt  Edward  was 
neglecting  his  work  in  his  care  of  me.  So 
I  made  him  promise  he  would  write  a  daily 
sketch  for  a  week,  and  these  six  were  the 
result  of  this  promise.  I  in  bed,  and  he 
writing  music  in  the  next  room !  Of  course 
he  changed  and  'fixed'  them  later  on,  but 
the  actual  music  was  written  in  these  six 
days." 

After  nearly  four  years  of  Wiesbaden  it 
became  imperative  to  replenish  the  ex- 
chequer, and  an  attempt  was  made  to  secure 
a  position  as  local  examiner  for  the  London 
Royal  Academy  of  Music.  MacDowell  had 
been  specially  recommended  for  this  posi- 
tion, and  the  matter  really  rested  in  the 
hands  of  Lady  Macfarren.  She  was  a  nice 
old  lady,  and  things  seemed  certain  until 
she  suddenly  said:  "I  hope  you  have  no 
leaning  toward  the  school  of  that  wild  man 
Liszt."  The  American  had  to  confess  sor- 
rowfully that  he  had ;  and  when  he  got  home 
he  found  a  note  saying  the  place  was  not 
suited  for  him !  It  was  not  the  first  time, 
and  far  from  the  last,  that  devotion  to  an 
ideal  cost  him  a  worldly  advantage. 

He  now  resolved  to  try  his  luck  in  Amer- 
ica, and  he  chose  Boston  instead  of  New 
York,  his  native  city,  partly  because  in 
1880  Boston  was  still  reputed  the  musical 
center  of  America,  and  partly  because  Paris 
had  inspired  him  with  an  aversion  to  very 
large  cities.  He  was  soon  in  great  demand 
as  a  teacher.  His  technical  studies,  in  sev- 
eral volumes,  which  are  not  so  well  known 
as  they  will  be  by  and  by,  reveal  him  as  one 
of  the  most  practical  and  successful  peda- 
gogues of  all  time.  In  the  preface  to  Vol. 
I  of  his  "Technical  Exercises"  he  says:  "In 
my  opinion,  physical  development  and 
music  are  two  different  things,  and  although 
musical  talent  is  a  sine  qua  non  in  piano- 
forte playing,  it  cannot  reach  its  full  ex- 
pression without  a  thorough  command  of 
the  muscles  of  the  hand,  wrist,  and  arm.  I 
have  found  it  advisable  to  keep  the  purely 
physical  part  of  piano-playing  entirely  sep- 
arate from  its  musical  side,  as  this  allows 
a  concentration  of  the  mind  not  otherwise 
practical.  I  therefore  beg  the  student  who 


may  use  these  exercises  to  consider  them 
from  a  purely  'athletic'  standpoint." 

When  he  accepted  the  professorship  of 
music  at  Columbia  University  in  1896,  little 
time  was  left  for  private  instruction,  and 
he  could  take  only  the  most  advanced 
students — pupils  who  were  better  suited 
with  exercises  like  those  in  his  "Twelve 
Virtuoso  Studies,"  in  which,  as  in  his  two 
concertos  and  in  the  "Etudes"  of  Chopin 
and  Liszt,  brilliant  virtuosity  is  allied  with 
poetic  thoughts  and  moods.  He  had  no  use 
for  pupils  who  had  more  money  than  talent ; 
$12  a  lesson  would  not  tempt  him  to  take 
such  a  one,  while  he  would  devote  himself 
to  others  who  could  not  adequately  remu- 
nerate him.  Once  a  week,  indeed,  for  years, 
he  gave  a  day  to  his  free  class;  and  when 
his  mental  collapse  became  imminent,  he 
kept  this  class  longest  of  all,  despite  the 
protests  of  friends  and  relatives.  His 
pupils  adored  him  for  his  kindly  interest, 
his  helpful  hints,  his  illuminating  remarks, 
his  generosity  and  self-sacrifice. 

On  the  whole,  he  probably  enjoyed  his 
teaching,  as  he  did  his  composing,  more 
than  he  did  playing  in  public.  His  divers 
other  duties  made  it  impossible  for  him  to 
practice  six  or  more  hours  a  day,  like  the 
professional  virtuosi,  and  this  made  him 
nervous  in  view  of  possible  technical  slips. 
He  was  always  handicapped,  too,  by  an  ex- 
cessive diffidence,  a  lack  of  faith  in  himself 
as  pianist  and  as  composer.  When  he  came 
on  the  stage  and  sat  at  the  piano,  he  looked 
like  a  school-boy  who  has  been  sent  to  the 
blackboard  on  exhibition  day  and  doesn't 
feel  quite  sure  of  himself.  But  soon, 
especially  if  he  found  the  audience  sympa- 
thetic, he  warmed  to  his  task  and  played 
as  only  a  composer  can  play.  He  has  had 
his  superiors  in  those  things  in  which  a 
piano-player  excels  all  pianists — brilliancy 
of  execution — but  none  in  the  higher  sphere 
of  art.  As  regards  beauty  and  variety  of 
tone  color,  artistic  phrasing,  poetic  feeling, 
dramatic  grandeur  in  a  climax,  he  was  the 
greatest  pianist  this  country  has  produced — 
an  American  peer  of  Paderewski. 

It  was  doubtless  a  mistake — in  which,  I 
am  sorry  to  say,  I  encouraged  him — to  ac- 
cept the  Columbia  professorship.  Although 


MACDOWELL'S   HOME  AT  PETERBORO,  N.  H. 


he  soon  gathered  large  classes  of  demoted 
students  about  him,  making  music  one  of 
the  most  popular  and  prosperous  of  the  uni- 
versity departments,  few  of  the  students 
were  sufficiently  advanced  to  need  the  in- 
struction of  a  man  of  genius.  In  other 
words,  most  of  his  duties  were  such  as  a 
lesser  man  might  have  done,  and  they  left 
him  no  time  or  energy  for  composing,  ex- 
cept in  summer,  when,  in  view  of  his  high- 
strung  organization  and  tendency  to  head- 
aches and  insomnia,  he  should  have  rested 
absolutely.  Had  he  but  accepted  Hamlin 
Garland's  repeated  and  urgent  invitations 
to  spend  a  summer  with  him  among  the  In- 
dians in  the  Far  West,  he  might  have  been 
saved.  But  the  impulse  to  compose  was  ir- 
resistible, and  the  opportunity  to  rest  was 
lost. 

The  time  came  when  it  was  felt  necessary 
for  him  to  give  up  the  arduous  professorial 
duties  or  else  sacrifice  the  higher  mission 
of  his  life.  After  seven  years  of  service  he 
left,  the  more  eagerly  because  the  authori- 
ties hesitated  to  accept  his  plan  of  uniting 
literature  and  the  fine  arts  in  one  faculty, 
or  school,  and  possibly  making  some  of  the 
courses  compulsory  for  every  student  in  the 
college,  in  the  hope  of  turning  out  fewer 
"barbarians"  than  the  universities  do  at 
present.  It  was  about  the  time  that  Pro- 


fessor Woodberry  also  left  Columbia;  there 
was  some  acrimonious  discussion,  which 
aggravated  MacDowell's  insomnia  and 
hastened  his  breakdown.  But  the  germs  of 
his  mental  disease  were  busy  long  before 
that.  More  than  a  decade  previously  he 
would  say  and  do  strange  things  when  in 
the  throes  of  composition.  I  have  else- 
where commented  on  the  striking  similarity 
of  his  case  to  Schumann's.  But  while 
Schumann  hastened  his  collapse  by  in- 
temperance, beer  and  cigars,  MacDowell  was 
intemperate  in  one  thing  only — his  passion 
for  work. 

His  career  came  to  a  close  before  he 
reached  his  forty-fourth  year;  yet  he  has 
written  enough  to  place  himself  at  the  head 
of  American  composers.  As  a  writer  for 
orchestra  the  late  Professor  Paine  may  dis- 
pute the  first  place  with  him,  and  Paine 
also  wrote  a  grand  opera;  but  neither  he 
nor  any  other  American  can  for  a  moment 
contest  his  supremacy  as  a  writer  of  songs 
and  of  pianoforte  sonatas  and  short  pieces. 
In  these — particularly  the  songs — he  ranks 
with  the  great  masters  of  Europe — with 
Schubert,  Franz,  Grieg,  Chopin,  Schumann. 
Anton  Seidl  ranked  him  in  point  of  origi- 
nality above  Brahms,  while  the  eminent 
French  composer  Jules  Massenet  exclaimed : 
' '  How  I  love  the  works  of  this  young  Ameri- 

509 


510 


KDWAUI)    MACDOWELL 


can  composer,  MacDowell !  "\Vliat  n  musi- 
cian !  He  is  sincere  and  individual ! — what 
a  poet!  What  exquisite  harmonies!" 

MacDowcll  was  not  a  juvenile  prodigy. 
He  was  not  like  Schubert  and  Mendelssohn, 
who  wrote  some  of  their  most  mature  things 
before  they  were  out  of  their  teens;  but 
rather  like  Beethoven  and  Wagner,  in  so  far 
as  his  genius  matured  slowly.  Of  his  or- 
chestral works  only  one  belongs  to  the 
period  when  his  genius  had  fully  ripened — 
"The  Indian  Suite"— "one  of  the  noblest 
compositions  of  modern  times,"  as  Philip 
Hale  has  aptly  called  it.  Of  the  others, 
one,  "Lamia,"  has  never  been  printed  or 
played  ;*  the  remaining  ones — ' '  Hamlet  and 
Ophelia,"  "Lancelot  and  Elaine,"  "The 
Saracens  and  Lovely  Alda, ' '  and  the  ' '  First 
Suite" — are  all  distinguished  by  exquisite 
orchestral  coloring  and  artistic  workman- 
ship, but  thematically  they  are  less  individ- 
ual than  his  later  works.  It  is  this  evolu- 
tion of  his  real  self,  this  gradual  maturing 
of  his  genius,  that  made  his  early  death  the 
greater  calamity. 

In  the  early  pianoforte  list  there  is  much 
that  is  dainty,  brilliant,  and  fascinating; 
among  others,  the  two  concertos,  "The 
Eagle,"  "Clair  de  Lune,"  "Dance  of  the 
Gnomes."  Most  of  these  pieces,  however, 
might  have  been  written  by  other  men;  but 
with  op.  45,  the  "Sonata  Tragica,"  Mac- 
Dowell's  individuality  begins  to  assert  it- 
self so  strongly  that  thenceforth  no  expert 
could  fail  to  recognize  his  seal  on  every 
page.  Unlike  most  of  his  contemporaries,  he 
always  put  melody  in  the  first  place,  refus- 
ing to  write  unless  he  had  a  new  melodic 
curve  to  guide  his  harmonies.  In  the  Ger- 
man days  he  had  many  a  dispute  with  his 
friend,  Templeton  Strong,  as  to  the  relative 
importance  of  harmony  and  melody.  Yet 
his  harmonies  are  no  less  original  than  his 
melodies;  and  for  young  composers  he  is  a 
much  better  model  than  Richard  Strauss 
and  the  other  modern  Germans  who  make 
dissonance  an  end  instead  of  a  means.  Mac- 
Dowell  had  a  strong  aversion  to  these  caco- 
phonists,  who  ladle  out  tabasco  sauce  with 
a  soup-spoon.  He  used  a  much  finer  brand, 
and  a  few  drops  sufficed  to  give  each  of  his 

*  "Lamia"  has  been  played  by  the  Boston  Sym- 
phony Orchestra. — Ed. 


pieces  that  agreeable  but  not  too  strong 
"bite"  which  the  modern  palate  demands. 

A  trait  which  distinguishes  MacDowell's 
pieces  is  the  frequent  alternation  of  ex- 
quisite feminine  tenderness  with  outbursts 
of  robust,  overwhelming  virility.  "Ten- 
derly" is  the  expression  mark  that  occurs, 
perhaps  most  frequently  on  his  pages;  and, 
like  a  true  American,  he  writes  his  expres- 
sion marks  in  English,  which  means  so  much 
more  to  us  than  the  worn  old  Italian  sten- 
cils. Of  his  sturdy,  manly  spirit  the  four 
pianoforte  sonatas  afford  the  most  numer- 
ous instances.  Just  to  read  the  directions 
for  the  playing  of  one  of  his  movements — 
say,  the  last  of  the  "Keltic"  sonata — "very 
swift  and  fierce  " ;  "  very  emphatic  " ;  "  grad- 
ually increasing  in  violence  and  intensity"; 
"with  tragic  pathos" — makes  one  eager  to 
witness  this  musical  affray.  To  another 
frequent  characteristic  of  his  pianoforte 
music  attention  is  called  by  the  London 
Times' s  comments  on  the  "Tragica":  "The 
difficulties  of  the  sonata  are  prodigious,  for 
the  music  is  orchestral.  The  ideas  are  big, 
but  they  seem  to  call  for  an  orchestra  to 
make  themselves  fully  felt.  Yet  with  all 
this  the  tragic  note  resounds  with  ten  times 
the  force  of  Draeseke  's  '  Tragic  Sym- 
phony.' " 

Pianists  who  wish  to  become  familiar  with 
MacDowell's  genius  should  begin  with  his 
"Woodland  Sketches"  and  add  to  these  the 
"Sea  Pieces,"  "New  England  Idylls,"  and 
"Fireside  Tales" — collections  of  short 
pieces  with  those  poetic  titles  and  super- 
scriptions that  are  so  characteristic  of  their 
composer.  The  verses  are  usually  his  own ; 
they  have  the  concise,  pictorial  suggestive- 
ness  of  Japanese  poems.  A  specimen: 
"From  a  Wandering  Iceberg"  has  these 
lines  prefixed : 

An  errant  princess  of  the  North, 

A  virgin,  snowy  white, 
Sails  adown  the  summer  seas 
To  realms  of  burning  light. 

Iii  conversation  with  William  Armstrong, 
Edward  MacDowell  once  said:  "A  song,  if 
at  all  dramatic,  should  have  climax,  form, 
and  plot,  as  does  a  play.  Words  to  me  seem 
so  paramount,  and,  as  it  were,  apart  in 
value  from  the  musical  setting,  that,  while 


EDWARD    MACDOWELL 


511 


I  cannot  recall  the  melodies  of  many  of  those 
songs  that  I  have  written,  the  words  of  them 
are  indelibly  impressed  upon  my  mind. ' '  It 
stands  to  reason  that,  in  view  of  this,  and  of 
the  fidelity  of  the  music  to  the  prefixed 
verses  in  the  pianoforte  pieces,  his  songs 
must  be  characterized  by  a  thorough  blend- 
ing of  the  words  and  the  music;  and  tftis  is 
indeed,  apart  from  their  spontaneous  and 
individual  melody,  their  most  striking 
trait;  it  is  admirably  illustrated  in  what 
are  perhaps  his  best  five  songs :  the  romantic 
"The  Sea,"  the  melancholy  "Menie,"  the 
lovely  Scotch  "My  Jean,"  the  exquisitely 
poetic  "Idyll"  (op.  33),  and  the  ravishing 
"The  Swan  Bent  Low  to  the  Lily,"  which 
is  almost  his  own  swan  song  (op.  60). 
Those  who  would  know  the  best  that  America 
has  produced  in  art  song  should  get  his 
op.  33,  op.  60,  and  above  all,  the  "Eight 
Songs,"  op.  47,  every  one  of  which  is  worth 
its  weight  in  radium. 

The  best  of  MacDowell's  songs  and  pian<5- 
forte  pieces  were  composed  in  a  log  cabin 
buried  in  the  woods  near  his  hillcrest  home 
at  Peterboro,  New  Hampshire,  facing  Mount 
Monadnock.  Here,  before  his  illness,  he  was 
visited  daily,  in  his  dreams,  by  fairies, 
nymphs  of  the  woods,  and  the  other  idyllic 
c7-eatures  of  the  romantic  world  about  whom 
!>e  tells  us  such  strange  stories  in  his  compo- 
fitions.  He  was  taken  up  to  Peterboro  one 
May  because  he  was  so  impatient  to  get 


there.  All  summer,  however,  he  did  not 
comprehend  that  he  was  there ;  and  when  I 
saw  him,  on  October  4,  he  did  not  know  it; 
yet  he  asked  me  if  I  had  been  in  the  log 
cabin !  I  never  before  realized  so  vividly 
what  a  mysterious,  inexplicable  organ  the 
brain  is — dead  in  some  parts,  alive  in 
others.  A  framed  photograph  of  myself  was 
hanging  on  the  wall,  and  Mrs.  MacDowell 
told  me  that  for  a  long  time  he  had  spoken 
daily  with  an  air  of  distress  of  how  un- 
comfortable it  must  be  for  me  in  that  posi- 
tion. The  day  before  we  arrived  he  sud- 
denly declared  his  conviction  that  it  was, 
after  all,  not  myself,  but  only  my  picture. 
When  told  of  this,  I  said  to  him:  "Don't 
worry,  Edward,  about  my  being  stuck  up  on 
the  wall,  for  you  know  I  always  was  stuck 
up";  whereat  he  laughed  in  his  hearty, 
boyish  manner.  He  always  enjoyed  a  pun, 
the  worse  the  better,  and  was  himself  an 
inveterate  punster.  Later  on  he  read  to  us 
the  lines  prefixed  to  the  piece  ' '  Prom  a  Log 
Cabin,"  which  sum  up  the  whole  tragedy  of 
his  life  and  the  loss  to  American  music : 

A  house  of  dreams  untold, 

It  looks  out  over  the  whispering  tree-tops, 

And  faces  the  setting  sun. 

It  was  almost  prophetic.     A  few  months 
afterward  this  sun  of  American  music  had 

set. 


.lUu*^,  a- 


AUTOGRAPH   OF    MACDOWELL 


AFRO-AMERICAN  COMPOSERS 


BY 


GROVER    BROWER 


ONE  of  the  most  significant  evidences 
of  a  healthy  musical  life  in  this  coun- 
try— perhaps  the  most  significant — is  the 
sudden  and  widespread  interest  in  our  na- 
tional musical  resources,  that  is,  our  folk 
music.  Two  decades  ago  the  idea  that 
America  might  possess  rich  possibilities 
in  the  field  of  folk  music  was  one  which 
either  met  with  supercilious  contempt  or 
downright  derision.  Of  the  two  main 
sources,  Indian  music  and  Negro  folk  songs, 
the  first  was  unknown,  the  second  neglected 
and  despised.  The  fact  that  both  might  be 
powerful  factors  in  the  development  of  a 
national  school  was  slow  in  attaining  recog- 
nition, but  after  the  pioneer  work  of  Mac- 
Dowell  and  Cadman,  of  Dvorak  and  Cole- 
ridge-Taylor, an  impetus  was  given  to  the 
study  of  our  native  resources,  with  the  re- 
sult that  at  the  present  time  both  have  at- 
tained their  rightful  place  as  important 
wellsprings  of  future  American  musical 
art. 

The  contributions  of  Indian  folk  song, 
and  the  way  they  have  been  utilized  by 
American  composers,  are  discussed  in  an- 
other article,  but  before  dismissing  this  sub- 
ject it  may  be  worth  while  to  call  attention 
to  the  fact  that  Indian  music  has  as  yet 
developed  no  Indian  composer.  ' '  Poor  Lo  's  " 
native  music  furnishes  inspiration  to  his 
512 


white  brother — to  him  is  intrusted  the  task 
of  making  it  the  vehicle  .of  artistic  expres- 
sion— whereas  Negro  folk  songs,  besides 
their  utilization  by  white  composers  in  the 
same  manner,  have  been  largely  instru- 
mental in  the  development  of  a  group  of 
native  composers  whose  productions  rank 
among  the  "most  worthy  of  our  time.  The 
causes  of  this  peculiar  state  of  affairs  are- 
partly  to  be  found  in  the  superior  versa- 
tility and  power  of  adaptability  of  the 
Negro  over  the  Indian,  but  still  more  so  in 
his  greater  native  musical  talent,  which  is  a 
well-known  race  characteristic.  Technically 
considered,  this  talent  manifests  itself  in  the 
broad,  lyric  quality  of  his  melodies,  the  mix- 
ture of  the  grave  and  gay,  plus  that  elusive 
factor,  probably  due  to  obscure  psycholog- 
ical causes,  which  is  the  soul  of  all  national 
folk  song.  Native  Indian  music  also  ex- 
hibits these  same  characteristics,  but  in 
quite  a  different  manner,  and  in  ways  which 
render  its  utilization  for  artistic  purposes 
more  difficult. 

Although  a  notable  group  of  Negro  com- 
posers have  enriched  the  world  with  their 
works,  the  music  historian  of  the  future  will 
no  doubt  prefer  to  break  down  the  color 
line  and  to  regard  them  as  members  of  exist- 
ing national  schools,  and  not  as  forming  a 
special  racial  school.  There  is  nothing  to 


AFRO-AMERICAN    COMPOSERS 


513 


warrant  the  latter  classification.  In  Eng- 
land, as  well  as  in  other  European  coun- 
tries, Negro  themes  have  been  used  by  com- 
posers, regardless  of  their  color ;  on  the 
other  hand,  Negro  composers  have  not  con- 
fined themselves  to  this  material,  but  have, 
like  others,  also  depended  upon  original  in- 
spiration or  have  taken  their  material  from 
whatever  sources  suited  their  artistic  pur- 
poses. Viewed  in  this  way,  Coleridge-Taylor 
appears  as  a  distinguished  representative  of 
the  English  school  of  composition,  as  well 
as  a  distinguished  member  of  his  race,  but 
not  as  a  representative  of  the  Negro  school 
of  composition,  for  none  exists  any  more 
than  does  a  Jewish  school  of  composition. 
Whatever  his  race  or  nationality,  any  com- 
poser will  inevitably  assimilate  the  customs 
and  ideals  of  the  country  in  which  he  lives 
and  works,  and  the  matter  of  color  then  as- 
sumes an  aspect  of  little  or  no  importance. 

It  is  from  this  point  of  view,  therefore, 
that  we  regard  Burleigh,  Cook,  Johnson, 
Dett  and  Diton,  five  Negro  composers  who 
have  enriched  American  music  with  many 
compositions  of  interest  and  value.  To  what 
extent  the  elements  of  permanence  exist  in 
their  work  is  a  question  for  the  future  to 
decide:  Time  knows  no  distinctions  either 
of  color  or  nationality,  and  the  chances  that 
their  contributions  to  art  will  survive  are 
at  least  equal  to  those  of  other  composers, 
whether  of  Europe  or  America.  We  are  in- 
debted to  The  Crisis  for  much  of  the  follow- 
ing material  regarding  their  lives  and  work. 

One  of  the  most  important  song-writers 
of  the  present  day  is  Harry  T.  Burleigh. 
His  work  in  this  department  of  musical  com-  • 
position  commands  universal  admiration. 
Touching  practically  every  phase  of  lyric 
expression  and  often  rising  to  a  broad, 
quasi-symphonic  sweep,  his  songs  have  been 
accorded  a  hearty  welcome  by  both  pro- 
fessional artist  and  amateur.  Among  the 
most  popular  may  be  mentioned  "In  the 
Wood  of  Finvara,"  "One  Year,"  "Sara- 
cen Songs,"  "The  Soldier"  and  "Five 
Songs"  to  words  by  Laurence  Hope.  They 
are  art  songs  of  as  high  quality  as  any  that 
are  being  written  at  the  present  time.  His 
settings  of  Negro  folk  music,  of  which 
"Deep  River"  is  the  best  known  example, 


HARRY   T.    BURLEIGH 

are  not  only  of  great  musical  value,  but  also 
of  much  historical  interest,  inasmuch  as 
they  perpetuate  in  an  artistic  form  a  phase 
of  folk  lore  which  is  rapidly  becoming  ex- 
tinct. He  has  crystallized,  as  it  were,  the 
Negro  folk  tunes  for  the  voice,  as  Coleridge- 
Taylor  did  for  the  piano. 

Harry  T.  Burleigh  was  born  in  Erie,  Pa. 
He  attended  the  grammar  and  high  school 
there  and  was  graduated  in  1887.  He  sang 
in  Erie  churches  and  in  the  Synagogue 
there  until  1892.  He  came  to  New  York 
and  was  given  a  scholarship  at  the  Na- 
tional Conservatory  of  Music,  where  he 
studied  voice  with  Christian  Fritsch,  har- 
mony with  Rubin  Goldmark,  and  counter- 
point with  John  White  and  Max  Spicker. 
He  played  double  bass  and  later  timpani  in 
the  Conservatory  Orchestra  under  the  late 
Dr.  Anton  Dvorak,  and  was  librarian  for 
the  orchestra.  For  three  years  he  was  a 
teacher  in  the  conservatory.  He  associated 
a  great  deal  with  Dvorak  and  copied  many 
of  the  orchestral  parts  of  his  "New  World" 
symphony  for  its  first  performance  by  the 
Philharmonic  Society  of  New  York. 

Will  Marion  Cook  was  born  in  1873  in 


514 


AFRO-AMERICAN   COMPOSERS 


Washington,  D.  C.  His  mother  was  a 
woman  of  deep  religious  tendencies  and, 
with  her  son,  attended  the  emotionally  ex- 
pressive services  of  a  small  sect  of  Negroes 
whose  children  she  was  serving  as  teacher. 
The  plaintive  melodies  and  harmonies  of 
the  old  Negro  hymns  exerted  a  lasting  in- 
fluence on  young  Cook.  His  first  musical 
effort  was  as  a  boy  soprano,  and  afterward 
he  began  the  study  of  the  violin.  He  went 
to  Oberlin  College  for  three  years,  and  his 
advancement  and  promise  were  so  marked 
that  an  opportunity  to  study  abroad  was 
arranged  for  him.  He  was  sent  to  Berlin, 
entered  the  Hochschule,  and  made  a  splen- 
did impression  on  Joachim,  who  invited  him 
to  his  home  for  special  lessons  on  the  violin. 
On  account  of  delicate  health  he  was  forced 
to  abandon  his  studies  in  Berlin  and  return 
to  America.  At  the  time  of  his  return  the 
"ragtime"  craze  was  at  the  height  of  its 
popularity,  but  nothing  had  been  done  for 
the  development  of  these  melodies  in  ensem- 
ble form.  It  was  suggested  to  Cook  by  the 
late  George  W.  Walker,  of  Williams  and 
Walker,  that  he  write  some  Negro  songs 
with  arrangement  for  choral  effects;  and 
Paul  Laurence  Dunbar,  the  Negro  poet,  fur- 
nished him  with  a  set  of  characteristic  lyrics 
which  he  set  to  stirring  and  inspiring  tunes 
founded  upon  the  old  Negro  melodies  of  the 
plantation  and  camp  meeting.  The  little 
operetta  was  entitled  "Clorindy,  or  the 
Origin  of  the  Cakewalk";  it  was  produced 
upon  the  Casino  Roof  Garden,  where  it  cre- 
ated a  furore. 

Cook  has  composed  the  music  for  the 
Williams  and  Walker  productions,  "In  Da- 
homey," "Abyssinia"  and  "Bandanna 
Land ' ' ;  also  for  Mr.  George  W.  Lederer  he 
composed  the  score  of  the  Casino  Theatre 
productions,  "The  Casino  Girl"  and  "The 
Southerners."  Among  the  distinctive 
Negro  songs  which  he  has  composed  are 
"Emancipation  Day,"  "Lover's  Lane," 
"Swing  Along"  and  a  score  of  others. 

Cook's  present  serious  work  is  the  de- 
velopment of  Negro  folklore  in  dance  forms 
for  chamber  music.  He  feels  that  the  Negro 
in  music  will  have  to  take  his  place  through 
the  development  of  the  old  melodies,  the 


songs  of  the  slaves  and  old  religious  croon- 
ings. 

Another  Negro  composer,  born  in  the 
same  year  as  Will  Marion  Cook,  is  J.  Rosa- 
mond Johnson.  Until  comparatively  recent 
years  his  talent  was  directed  toward  the  less 
serious  phases  of  music  as  exhibited  in  light 
opera,  but  unlike  most  composers  of  this 
style,  he  is  possessed  of  a  versatility  which 
enables  him  to  attempt  the  more  enduring 
forms.  Well-known  examples  are  the  songs 
"I  Told  My  Love  to  the  Roses"  and  "Morn- 
ing, Noon  and  Night,"  and  a  set  of  Negro 
melodies,  freely  transcribed  for  concert  use, 
for  piano. 

R.  Nathaniel  Dett,  one  of  the  younger 
generation  of  Negro  composers,  is  a  native 
of  Canada.  He  studied  at  the  Oberlin  Con- 
servatory of  Music,  graduating  from  there 
in  1908,  and  afterward  teaching.  He  has 
written  a  number  of  important  choral 
works,  both  sacred  and  secular,  among  them 
"Listen  to  the  Lambs,"  "Weeping  Mary" 
and  "I'll  Never  Turn  Back  No  More";  also 
two  characteristic  suites  for  piano,  entitled, 
"In  the  Bottoms"  and  "Magnolias." 

Carl  L.  Diton  is  probably  better  known 
as  a  pianist,  organist  and  teacher  than  as 
a  composer,  yet,  if  his  works  thus  far  pub- 
lished are  regarded  as  a  fair  promise  of 
what  to  expect  in  the  future,  American 
music  is  likely  to  be  enriched  by  some  highly 
important  contributions  from  his  pen.  His 
"Jubilee  Songs"  for  chorus  have  been 
greatly  admired,  and  his  transcription  for 
organ  of  the  Negro  spiritual,  "Swing  Low, 
Sweet  Chariot,"  is  one  of  the  finest  pieces 
of  organ  writing  published  in  this  country 
within  recent  years.  Melville  Charlton  is 
another  organist  whose  work  in  composition 
has  been  recognized  for  its  intrinsic  value, 
entirely  independent  of  any  racial  consid- 
erations. 

Other  Negro  composers  whose  work  de- 
mands recognition,  and  from  whom  much 
may  be  expected,  are  Wellington  A.  Adams, 
Thompson  De  Koven,  Frederick  J.  and 
John  W.  Works  and  Clarence  C.  White,  all 
of  whom  are  doing  noteworthy  work  in  the 
development  of  the  folk  music  of  their  race 
as  well  as  in  th«  stricter  art-forms. 


ERNEST  BLOCH 


BY 


CESAR    SAERCHINGER 


THE  music  of  Ernest  Bloch  defies  clas- 
sification, largely  because  it  constitutes 
a  class  by  itself.  To  the  French  it  has  ap- 
peared too  German;  to  the  Germans,  too 
French.  Of  course,  it  is  neither.  It  be- 
longs to  no  school;  it  is  not  even  calculated 
to  found  one — it  certainly  betrays  no  pur- 
pose to  do  so.  It  is  a  direct,  vital,  ungov- 
erned  expression  of  an  indomitably  free 
spirit,  a  spirit  aflame  with  the  passions  of 
his  race  and  of  his  age.  More  especially  of 
his  race.  For  Bloch  has  conceived  his  pe- 
culiar mission  to  be  a  musical  expression  of 
the  racial  soul  of  the  Jew. 

This  racial  color  in  the  music  of  Bloch  is 
not,  primarily,  a  matter  of  intellectual  en- 
deavor. It  is,  rather,  an  intuitive  recogni- 
tion of  self,  a  consciousness  of  personal 
characteristics  which  are  the  result  of  racial 
synthesis ;  a  knowledge  that  we  are  not  only 
ourselves  but  also  our  forefathers  for  gen- 
erations upon  generations.  A  certain  vio- 
lence, a  certain  childlike,  almost  nai've  sim- 
plicity, a  religious  fervor,  a  deep  compas- 
sion for  humanity,  a  passionate  sense  of  jus- 
tice, all  of  which  are  a  part  of  the  com- 
poser's character,  he  simply  conceives  as 
the  components  of  his  racial  soul  and  gives 
voice  to  them  as  such.  To  Bloch,  a  work  of 
art  is  the  soul  of  the  race  speaking  through 
the  voice  of  the  prophet  in  whom  it  has  be- 


come incarnate.  This  expression  of  race 
t'etling,  it  will  be  seen,  has  little  to  do  with 
the  nationalism  that  animated  musical  en- 
deavor in  Europe  before  the  war,  which,  in 
Bloch 's  own  words,  was  an  "affair  of  the 
will,  of  the  intellect." 

It  is  important  to  know  this  attitude  of 
the  artist  toward  his  art,  for  it  must  deter- 
mine our  frame  of  mind  in  approaching  it. 
Bloch  believes  art  to  be  a  matter  of  feeling, 
of  instinct  rather  than  intellect.  He  has 
no  sympathy  with  merely  brain-begotten 
works. 

Hence  it  is  little  to  the  point  to  consider 
the  technical  characteristics  of  his  works. 
It  is  enough  to  state  that  he  is  not  an  apostle 
of  simplicity  for  simplicity's  sake,  neither 
does  he  affect  harmonic,  polyphonic  or  or- 
chestral complexity  for  purposes  of  effect. 
He  uses  the  resources  of  the  modern  com- 
poser according  to  the  demands  of  his  ideas. 
The  matter  at  all  times  must  determine  the 
procedure.  If  we  have  new  and  compli- 
cated conceptions,  a  new  language,  new 
terms  may  be  needed  to  express  them.  If 
the  ideas  are  simple,  broad  truths,  they 
should  be  simply  expressed.  "If  you  can 
say  a  thing  in  three  words,  it  is  wrong  to 
use  four." 

Little  may  be  said  b'y  way  of  description 
of  Mr.  Bloch 's  style.  If,  as  he  says,  music 

515 


516 


ERNEST    BLOCK 


cannot  be  described  in  words,  that  is  espe- 
cially true  of  his  own  works.  Mr.  H.  F. 
Peyser  has  found  a  kinship  between  Bloch 
and  Sibelius.  But  since  Bloch  had  not 
heard  the  Finnish  composer's  music  when 
most  of  his  works  were  written,  there  can 
be  no  thought  of  "influence." 

Among  modern  composers  that  may  have 
made  an  impression  upon  Bloch  one  might 
name  Moussorgsky,  whose  works  appeared 
to  him  like  a  revelation  of  nature  itself,  by 
which  contact  could  be  re-established  with 
the  very  mainsprings  of  human  expression, 
a  primary  force  ignoring  all  precedent  and 
convention.  An  admiration  for  Strauss' 
orchestral  mastery,  a  deep  sympathy  with 
Mahler  as  a  man  and  a  musician,  and  a  fine 
appreciation  of  Debussy's  art  founded  upon 
a  just  valuation  of  its  merits  and  its  limita- 
tions— all  these  merely  attest  Bloch  'a  cos- 
mopolitanism. His  inspiration  finds  its 
roots  rather  in  the  works  of  the  old  masters, 
from  Palestrina  to  Bach  and  Beethoven, 
even  further  back  in  Josquin  and  his  suc- 
cessors, and,  back  of  that,  in  nature  herself. 

HIS  LIFE 

Mr.  Bloch  was  born  in  Geneva  in  1880, 
the  son  of  a  Jewish  merchant.  He  began 
to  study  music  at  the  age  of  ten,  and  at  once 
made  a  childish  vow  to  devote  his  life  to  the 
art — which  was,  of  course,  quite  contrary 
to  the  wishes  of  his  parents.  Jaques-Dal- 
croze  was  his  teacher  in  solfeggio,  Louis 
Rey  in  violin  playing.  At  sixteen  he  went 
to  Brussels  to  study  violin  with  Ysaye,  and 
also  composition  with  Rasse,  a  pupil  of 
Cesar  Franck.  After  three  years  he  went 
to  Frankfort  and  found  his  "real  teacher" 
in  Iwan  Knorr.  Strictly  classical  in  his 
predilections,  Knorr  was,  nevertheless,  able 
to  impart  to  his  "revolutionary"  pupil 
the  true  principles  of  constructive  technic. 
^Esthetically  teacher  and  pupil  did  not 
agree  at  all,  and  after  a  year  and  a  half 
Knorr  refused  to  continue  the  lessons. 

After  a  few  lessons  with  Thuille  in  Mu- 
nich, Mr.  Bloch  traveled  along  paths  of 
his  own  choosing.  His  First  Symphony,  be- 
gun in  Frankfort,  was  completed,  and  it 
was  promptly  refused  by  all  the  conduc- 
tors of  Europe  because  its  composer  was 


"unknown."  Despairing  of  any  material 
success,  with  the  affairs  of  his  family  in 
very  bad  condition,  he  himself  almost  in 
actual  want,  Mr.  Bloch  was  driven  to  be- 
come bookkeeper  in  his  mother's  shop  in 
Geneva,  and  to  abandon  all  hope  of  "being 
heard."  Thus  for  years  he  went  on  writ- 
ing music  in  his  spare  hours,  sustained  only 
by  an  inextinguishable  creative  force  and 
the  sympathy  of  a  few  friends.  During  this 
time  he  completed  an  opera,  '^Macbeth," 
which,  after  a  series  of  disappointments, 
was  finally  produced  at  the  Opera  Comique 
in  Paris.  It  was  a  popular  success,  but  was 
deliberately  killed  by  the  critics. 

After  more  years  of  weary  drudgery  and 
hopeless  waiting,  and  piling  up  of  "silent 
scores"  ("Hiver-Printemps,"  a  symphonic 
poem,  was  finished  in  1904,  and  "Poemes 
d'Automne, "  for  voice  and  piano  or  or- 
chestra, in  1906)  there  came  the  perform- 
ance of  the  First  Symphony  in  Geneva  and 
Remain  Rolland  's  encouragement.  Rolland 
wrote: 

Your  symphony  is  one  of  the  most  important 
works  of  the  modern  school.  I  do  not  know  any 
work  in  which  a  richer,  more  vigorous,  more 
passionate  temperament  makes  itself  felt.  It  is 
wonderful  to  think  that  it  is  an  early  work.  If 
I  had  known  you  at  that  time,  I  should  have 
said  to  you:  "Do  not  trouble  yourself  about 
criticisms  or  praises,  or  opinions  from  others. 
You  are  master  of  yourself.  Don't  let  yourself 
be  turned  aside  or  led  astray  from  yourself  by 
anything  whatever;  either  influence,  advice, 
doubts  or  anything  else!"  From  the  very  first 
bars  to  the  end  of  such  music  one  feels  at  home 
in  it.  It  has  a  life  of  its  own;  it  is  not  a  com- 
position coming  from  the  brain  before  it  was 
felt. 

With  the  "Trois  Poemes  Juifs"  (1913) 
began  Mr.  Bloch 's  "Jewish  Cycle."  Of  this 
are  completed,  besides  the  "Three  Poems," 
three  Psalms  (the  114th,  the  137th,  and  the 
22nd)  for  solo  voice  and  orchestra,  two 
movements  of  the  symphony  "Israel" 
(1913-16),  the  Hebraic  Rhapsody,  "Schel- 
omo"  (Solomon)  for  cello  and  orchestra, 
and  the  String  Quartet  in  B  major,  com- 
pleted in  America  in  1916,  and  played  by 
the  Flonzaley  Quartet  in  New  York,  Bos- 
ton and  Chicago.  There  are,  besides,  a 
"  Symphonic  Orientale"  on  Jewish  themes 
(1916),  an  "Orientale"  for  orchestra 


EKNEST    BLOCH 


517 


(1917),    and    parts    of   a    Biblical    drama, 
"Jezabel,"  on  a  text  by  Edouard  Fleg. 

Aside  from  the  conducting  of  orchestral 
concerts  at  Lausanne  and  Neufchatel  in 
1909-10  and  frequent  lecturing  on  aesthetic 
subjects  at  the  Geneva  Conservatory,  1911- 
15,  there  remains  to  be  recorded  only  Mr. 
Bloch's  coming  to  America.  This  was  oc- 
casioned by  the  tour  of  Maud  Allan,  the 
dancer,  who  engaged  Mr.  Bloch  as  her  con- 
ductor. The  tour  ended  rather  disastrously 
in  Dayton,  Ohio,  and  Mr.  Bloch's  subse- 
quent successes  were  made  p'ossible  largely 
through  the  good  offices  of  Mr.  Pochon  of 
the  Plonzaley  Quartet,  and  the  Society  of 
the  Friends  of  Music.  Dr.  Karl  Muck,  after 
hearing  his  music,  placed  the  "Jewish 
Poems"  on  the  Boston  Symphony  program 
of  March  23-24,  1917,  and  they  were  con- 
ducted by  the  composer  with  great  success. 
At  a  concert  of  his  compositions  in  Carnegie 
Hall,  New  York,  given  under  the  auspice^ 
of  the  Society  of  the  Friends  of  Music  in 
May,  1917,  his  reputation  as  a  symphonic 
composer  of  the  first  rank  was  established 
and  the  concert  was  followed  by  individual 
performances  of  his  works  in  New  York, 
Philadelphia,  Chicago,  San  Francisco,  and 
elsewhere.  The  composer  himself  accepted 
a  post  as  teacher  of  composition  at  the  Da- 
yid  Mannes  Music  School  in  New  York, 
where  he  is  now  living. 

WORKS 

Of  his  Jewish  poems,  Bloch  himself  has 
written  as  follows: 

The  "Jewish  Poems"  are  the  first  work  of  a 
cycle.  I  do  not  wish  that  one  should  judge  my 
whole  personality  by  this  fragment,  this  first 
attempt,  which  does  not  contain  it.  The 
"Psalms,"  "Schelomo,"  "Israel"  are  more  repre- 
sentative, because  they  come  from  the  passion 
and  the  violence  that  I  believe  to  be  the  char- 
acteristics of  my  nature.  In  the  "Jewish  Poems" 
I  have  wished  in  some  way  to  try  a  new  speech, 
the  color  of  which  should  serve  my  future  ex- 
pression. There  is  in  them  a  certain  restraint; 
I  hold  myself  back;  my  orchestration  is  also 
guarded.  The  "Poems"  are  the  first  work  of  a 
new  period;  they  consequently  have  not  the 
maturity  of  the  "Psalms"  or  of  "Israel." 

It  is  not  easy  for  me  to  make  a  program 
for  the  "Poems."  Music  is  not  translated  by 
words.  The  titles  "Danse,"  "Rite,"  "Cortege 


funebre,"    it    seems    to    me,    should    sufficiently 
inform  the  hearer. 

The  form  is  free,  but  it  is  really  there,  for 
I  believe  that  our  constitution  demands  order 
in  a  work  of  art. 

The  Hebraic  Rhapsody  for  cello  and  or- 
chestra, entitled  "Schelomo"  (Solomon),  is 
hardly  to  be  taken  as  a  musical  portrait  of 
King  Solomon,  certainly  not  of  the  "cyni- 
cal old  ruler  to  whom  'Ecclesiastes'  was 
falsely  attributed"  (the  words  are  those  of 
Mr.  Philip  Hale).  "I  am  not  an  archeol- 
ogist, "  says  Mr.  Bloch,  "and  the  Solomon 
of  the  archeologists  does  not  interest  me. 
It  is  the  legendary  figure,  the  author  of 
' Ecclesiastes, '  that  I  had  in  mind."  It  is 
perhaps  better  to  regard  the  Rhapsody  sim- 
ply as  a  discourse  upon  the  theme,  "Vanity 
of  vanities,  all  is  vanity."  The  form  is  ex- 
ceedingly free,  as  the  title  "rhapsody"  in- 
dicates. 

The  following  notes  on  Bloch's  settings 
of  the  three  psalms  mentioned  above  (114th 
and  137th  for  soprano  and  orchestra,  22nd 
for  baritone  and  orchestra)  by  Mr.  H.  K. 
Moderwell  give  a  fine  idea  of  these  remark- 
able compositions. 

They  are  scored  for  a  large  orchestra,  treated 
in  a  symphonic  manner,  while  the  solo  voice 
carries  a  melody  of  declamatory  character.  The 
first  of  the  three,  using  the  text  of  Psalm  137, 
is  a  heroic  lament.  With  the  first  bars  the 
listener  is  in  another  world,  in  a  Jewry  no- 
where existing  now,  with  a  tribe  not  so  far 
from  savagery  that-  it  cannot  proclaim  as  its 
curse:  "O  daughter  of  Babylon,  happy  shall  he 
be  that  taketh  and  dasheth  thy  little  ones 
against  the  stones."  The  elegiac  quality  with 
which  the  work  opens,  on  the  words,  "By  the 
rivers  of  Babylon  we  sat  down  and  wept,"  soon 
gives  place  to  sterner  emotions.  With  the 
words,  "Remember,  O  Lord,  the  children  of 
Edom  in  the  day  of  Jerusalem,'*  the  fury  of 
.the  coming  curse  approaches.  After  this  the 
elegy  returns,  and  the  work  finally  glides  into 
the  second  part,  the  114th  Psalm. 

if  the  first  of  these  Psalms  is  the  lament  of 
a  people  in  bondage,  the  second  is  the  prean  of  a 
people  escaping  from  slavery.  "When  Israel 
came  out  of  Egypt,"  run  the  words,  recalling 
the  days  of  the  Exodus.  With  exultant  pride 
the  triumph  is  recalled,  and  the  emotion  culmi- 
nates in  the  words,  "Tremble,  thou  earth,  at  the 
presence  of  the  Lord,  at  the  presence  of  the  God 
of  Jacob."  This  army  of  people,  as  Mr.  Bloch 
imagines  them,  is  no  band  of  pilgrims  journey- 


518 


ERNEST    BLOCH 


ing  to  a  promised  land.  It  is  rather  a  wander- 
ing Bedouin  tribe,  moving  slowly  along  the 
desert,  with  its  bullocks  and  sheep,  with  its 
gaudy  tents  packed  upon  its  beasts  of  burden, 
its  trumpeters  cracking  the  air  with  their  blasts 
and  its  patriarchs  surveying  the  whole  scene 
from  the  backs  of  the  largest  camels.  In  great 
swaying  masses  of  tone  the  desert  is  depicted. 
Then  come  enormous  blocks  of  tone  in  the  brass, 
the  fierce  strength  of  a  primitive  people.  The 
trumpets  are  heard  screeching  as  the  great 
caravan  moves  on.  Finally,  above  the  monoto- 
nous but  resistless  motion  of  the  music,  rises 
the  declamatory  voice.  The  recitative,  exotic 
yet  rugged,  has  a  crude  expressive  power  which 
is  indescribable.  After  the  defiant  voice  has 
ceased  the  trumpets  are  heard  once  more,  then 
the  caravan  slowly  moves  out  of  sight  across  the 
boundless  desert. 

The  third  of  the  Psalms  is  David's  cry,  "My 
God,  my  God,  why  hast  thou  forsaken  me?" 
The  general  character  of  the  music  is  the  same, 
but  its  expression  is  more  individual,  more  of 
the  soul.  As  the  speaker's  depression  turns  into 
faith,  the  music  surges  up  to  a  great  climax. 
Yet  here,  as  in  the  other  Psalms,  in  spite  of 
the  dramatic  movement  in  the  text,  Mr.  Bloch 
has  preserved  a  very  evident  form.  Each  move- 
ment ends  as  it  began,  and  the  free  develop- 
ment carries  with  it,  as  it  seems,  a  necessity  to 
return  to  its  starting-point.  This  instinctive 
sense  of  form  is  to  be  found  in  all  Mr.  Bloch's 
work. 

The  introduction  and  the  first  movement, 
which  are  predominantly  in  the  keys  of  F 
major  and  D  minor,  are  scored  for  the  usual 
modern  orchestra.  The  second  movement 
is  mainly  for  strings,  with  woodwind  instru- 
ments sparingly  used,  and  with  the  addi- 
tion of  human  voices  (four  parts),  used  as 
an  instrumental  "choir,"  the  words  (a  He- 
brew prayer)  being  without  importance. 

The  symphony  "Israel,"  of  which  only 
the  first  part,  in  two  movements,  has  been 
completed,  symbolizes  the  spiritual  signifi- 
cance of  the  sacred  festival  of  Yom  Kippur 
— the  Day  of  Atonement.  The  introduc- 
tion opens  in  an  introspective  mood.  We 
may  picture  to  ourselves  a  man  about  to 
question  his  conscience,  to  search  the  re- 
cesses of  his  heart.  Impressive  voices, 
short,  rising  motives,  are  sung  by  different 
instruments,  polyphonically  treated,  like 
conflicting  strands  of  thought.  They  form 
soft  dissonances,  and  finally  die  away,  hav- 


ing created  an  atmosphere  of  ominous  ex- 
pectancy. 

The  emotional  storm  breaks  with  the 
opening  of  the  first  movement  proper.  The 
man  has  come  to  a  realization  of  his  sins. 
There  are  gnashing  of  teeth  and  tearing  of 
hair,  a  despair  that  bursts  forth  with  all  the 
traditional  vehemence  of  the  race.  There 
are  other  themes,  less  violent,  picturing, 
perhaps,  a  deeper  remorse,  the  resolve  for 
a  new,  purified  life.  There  are  conflicting 
rhythms,  independent  movements  of  themes, 
clashes  of  dissonance — all  combining  into  a 
great,  passionately  uttered  lament. 

In  the  second  movement  the  strife  has 
ceased.  The  soul,  cleansed  through  its  con- 
fession, looks  upward  to  God  in  a  prayerful 
spirit.  At  times  the  music  rises  to  a  mood 
of  passionate  imploring.  The  choral  parts 
are  broad  and  sustained.  Sometimes  a 
great,  summoning  voice  rises  from  the  basses 
and  is  answered  by  renewed  invocations. 

There  is  not  space  to  speak  here  of  the 
earlier  orchestral  works,  of  the  beautiful 
"Chansons  d'Automne"  with  orchestra,  nor 
the  String  Quartet,  in  some  respects  the 
most  significant  of  Mr.  Bloch's  works.  In 
this  work,  though  Jewish  characteristics  are 
still  discernible,  other  forces  are  at  work 
pointing  the  way  to  a  new  rhythmically 
free  and  poignantly  dissonant  style,  a  poly- 
phony singularly  free  and  spontaneous,  a 
tone-painting  in  vivid  colors,  but  colors 
that  are  the  reflection  of  a  deep  and  vital 
emotion.  A  'return  to  the  more  reflective 
mood  of  some  of  his  earlier  works  is  seen 
in  the  slow  movement,  a  beautiful  "Pas- 
torale" which  seems  to  give  voice  to  the 
very  soul  of  those  wonderful  mountains  that 
are  the  composer's  native  heath.  If  ever 
nature  translated  itself  into  music  it  is 
here.  It  is  music  so  free  from  externals 
that  it  seems  to  be  felt  rather  than  heard. 
Here  we  are,  it  seems  to  me,  in  the  threshold 
of  the  new  generation  in  art  evolution,  sig- 
nalizing a  new  and  better  readjustment 
' '  between  nature  and  law  " ;  in  other  words, 
between  pure  inspiration  as  it  reveals  itself 
to  the  composer's  soul,  and  the  artifice  by 
which  he  must  communicate  it  to  the  world. 


CONTEMPORARY   MUSIC 

BY  HORATIO  PARKER 


FAMOUS  orchestral  conductor  once  told 
me  that  he  was  glad  he  would  be  dead 
in  fifty  years,  so  that  he  would  not  have 
to  hear  the  music  of  that  time.  It  is 
needless  to  say  that  he  was  conservative, 
but  it  should  be  stated  that  he  was,  and  is,  one  of 
the  best-known  and  most  efficient  conductors  we  have 
ever  had  in  this  country.  Although  his  remark  is 
typical  of  the  critical  attitude  of  many  who  have  to 
do  with  new  music,  yet  it  does  not  in  the  least  repre- 
sent the  attitude  of  the  public,  which  is  interested  and 
pleased  as  never  before  with  the  music  of  our  own 
time.  There  have  always  been  people  to  declare  that 
the  particular  art  in  which  they  were  interested,  at 
the  particular  time  in  which  they  lived,  was  going 
to  the  dogs,  and  there  seem  to  be  peculiar  excuses  .for 
this  belief  in  music-lovers  just  now.  But  there  ought 
to  be  some  way  of  reconciling  the  pessimism  of  the 
critics  and  the  optimism  of  the  public,  which  expresses 
itself  eloquently  in  the  buying  of  many  tickets.  By 
critics  I  do  not  mean  merely  the  journalists.  I  mean 
rather  essayists  and  those  accustomed  to  give  well- 
deliberated  judgment  on  matters  of  permanent  im- 
portance. The  journalists  have  been  so  often,  so 
rudely  shocked  that  they  not  only  fear  to  tread,  but 
fail  to  rush  in,  and  at  a  first  hearing  of  new  things 
are  fain  to  give  forth  an  uncertain  sound,  which,  in 
the  light  of  subsequent  developments,  may  be  taken 
for  approval  or  censure. 

The  pursuit  and  enjoyment  of  music  call  for  the 
exercise,  on  the  part  of  its  devotees,  of  three  principal 
functions  widely  different.  These  are  the  functions 
of  the  composer,  of  the  performer,  and  of  the  listener. 
The  composer  is  the  source  and  motive  power  of 
all  art-music,  the  producer  who  draws  his  inspiration 
from  the  recesses  of  his  inner  artistic  consciousness, 
whose  desire  and  aim  are  to  realize  as  well  as  possible 
the  ideals  with  which  his  brain  is  filled.  He  seeks 
to  give  expression  to  musical  ideas  which  shall  call 
forth  sympathetic  feeling  in  those  to  whom  the  utter- 
ance is  addressed.  Although  in  some  cases  it  is  ap- 
parently meant  for  an  ideal  audience  which  has  no 
existence,  nevertheless,  if  the  utterance  be  true  and 
skilfully  made,  it  will  in  no  case  fail  of  audience  or 
of  effect,  even  though  the  time  be  delayed. 

The  second  function  necessary  to  the  practice  of 
music  is  that  of  the  performer  or  reproducer.  This 
activity  is  closely  allied  to  the  first,  which  is  in  truth 
dependent  upon  it.  It  is  of  high  importance,  and  in 
ideal  instances  may  be  artistic  activity  of  a  kind 
hardly  lower  than  that  of  the  composer,  though 


wholly  different  in  character.  This  also  is  at  root  a 
manifestation  of  a  desire  for  utterance,  of  the  crav- 
ing to  awaken  sympathetic  feeling  in  others ;  but  it  is 
different  in  that  it  seeks  and  gives  expression  to 
ideas  which  are  already  in  existence.  The  composer 
seeks  those  which  do  not  yet  exist.  The  performer 
gives  utterance  to  the  thought  of  another;  the  com- 
poser, to  his  own.  But  the  work  of  the  performer 
is  for  most  people  the  only  actual  embodiment  of  the 
results  of  the  first  function,  and  he  frequently  clari- 
fies and  enhances  the  composer's  work  in  a  measure 
beyond  expectation.  It  calls  for  self-control  as  well 
as  for  self-abandonment,  for  sympathy  in  the  highest 
degree,  and  a  twofold  sympathy — with  the  composer 
and  with  the  audience — and  for  personal,  magnetic 
power  to  such  an  extent  that  it  is  wholly  quite  natural 
that  people  should  frequently,  even  usually,  lose  all 
sight  and  sense  of  the  composer  or  producer,  who  is 
remote  from  them,  and  admire  the  work  of  the  re- 
producing artist,  who  is  always  near. 

The  third  function  is  of  equal  importance  with  the 
other  two,  but  differs  from  them  more  than  they  do 
from  each  other.  It  is  the  function  of  the  audience 
or  the  listeners.  This  function  is  largely  misunder- 
stood and  usually  undervalued.  It  is  the  exact  oppo- 
site of  the  other  two  essentials  of  music-making  in  that 
it  calls  for  receptive  activity,  if  one  may  so  express 
it,  for  intelligent,  passive  sympathy.  This  sympathy 
of  the  audience  is  the  mark  at  which  both  composer 
and  performer  are  aiming.  It  has  no  public  or  open 
reward,  though  it  well  deserves  one.  Audiences  cer- 
tainly should  receive  credit  for  intelligent  listening, 
though  it  is  hard  to  know  just  how  or  when  to  give  it. 
The  quality  of  sympathy  is  elusive  and  difficult  to 
appreciate.  To  most  audiences  it  seems  unimportant 
whether  it  be  given  or  withheld;  the  only  matter  of 
consequence  is  the  applause.  Genuine  appreciation 
is  often  hard  to  identify  or  recognize.  It  is  quite 
impossible  to  know  whether  a  smooth,  impassive,  self- 
restrained  Anglo-Saxon  face  hides  the  warmest  ap- 
preciation or  the  densest  ignorance  or  indifference. 
Such  emotions  often  resemble  one  another.  Nor  can 
one  ever  tell  whether  the  heightened  color  and  bright- 
ened eyes  are  caused  by  the  long  hair  and  hands  of 
the  performer  or  by  beautiful  music.  A  particularly 
good  luncheon  or  dinner  preceding  the  concert  may 
have  the  same  outward  effect.  So  the  successful  list- 
ener is  a  mystery,  but  a  pleasing  and  very  necessary 
one.  His  work  is  as  important  as  that  of  the  com- 
poser or  performer,  and  his  rewards  are  none  the 
less  real  because  they  are  not  counted  out  to  him 


519 


520 


CONTEMPORARY    MUSIC 


in  cash,  because  he  pays  and  does  not  receive  a  tangi- 
ble medium  of  exchange.  They  lie  in  the  listening 
itself  and  in  the  consciousness  of  improvement  which 
is  the  result  of  his  effort. 

In  speaking  of  modern  music,  we  can  omit  per- 
sonalities concerning  classical  composers.  1  heir 
works  fall  entirely  to  the  exercises  of  the  second  and 
third  functions  mentioned ;  but  since  the  bulk  of  con- 
temporary music  is  by  classical  composers,  it  may  be 
well  to  speak  briefly  of  the  attitude  of  performers 
and  audiences  toward  music  of  this  kind.  In  an  ideal 
world  the  performer  and  the  listener  would  have  the 
same  kind  and  degree  of  pleasure  in  music  except  in 
so  far  as  it  is  more  blessed  to  give  than  to  receive. 
"We  are  all  musicians  when  we  listen  well."  It  may 
be  laid  down  as  a  genera!  principle  that  performers 
of  classical  music  have  more  enjoyment  than  listeners. 

Palestrina  is  a  pre-classical  composer  with  distinct 
limitations,  and  it  is  quite  reasonable  that  he  should 
appeal  under  ordinary  conditions  to  a  small  audience, 
and  to  that  imperfectly.  He  is  a  religious  composer, 
and  most  audiences  prefer  to  keep  their  religious  feel- 
ings for  Sunday  use.  He  is  a  composer  of  church 
music  to  be  sung  in  church,  so  that  his  work  must 
miss  its  effect  in  a  modern  concert-room.  We  have 
very  few  churches  in  our  country  fit  for  the  per- 
formance of  Palestrina's  music.  I  know  a  jail  or 
two  where  it  would  sound  wonderfully  effective,  but 
there  are  obvious  reasons  for  not  going  so  far  in  the 
pursuit  of  art.  It  follows,  therefore,  that  Palestrina 
in  a  concert-room  is  enjoyed  by  the  average  listener 
only  by  means  of  a  lively  exercise  of  the  imagination, 
with  frequent,  perhaps  unconscious,  mental  reference 
to  what  he  has  read  or  heard  about  it. 

If  there  is  enthusiasm,  it  is  surely  for  the  per- 
formance, because  the  music  itself  is  so  clear,  so  pure, 
so  absolutely  impersonal,  that  it  is  hardly  reasonable 
to  expect  it  to  appeal  to  the  listener  of  to-day.  He 
is  too  remote  from  it,  and  should  not  think  less  of 
himself  because  he  does  not  feel  an  immediate  re- 
sponse. In  proper  circumstances,  in  a  real  church, 
he  would  surely  respond  at  once.  For  this  music  is 
the  summit  of  a  great  wave  of  musical  development. 
Nothing  exists  of  earlier  or  later  date  which  may  be 
compared  with  it.  It  is  ideal  church  music,  ideal 
religious  music,  the  greatest  and  purest  ever  made; 
and  it  can  never  be  surpassed,  for  we  have  gone  by 
'the  point  in  the  history  of  the  art  at  which  such  ef- 
fort as  Palestrina's  can  bring  forth  such  fruit. 

The  public  attitude  toward  Bach  is  much  more 
natural  and  unconstrained.  He  is  nearer  to  us  and 
is  an  instrumental  composer.  Although  in  somewhat 
archaic  terms,  his  music  is  personal  expression  in  a 
much  higher  degree  than  that  of  the  absolutely  im- 
personal Palestrina.  The  vigor,  the  life,  and  the  ani- 
mation which  inform  the  whole  texture  of  his  work 
are  so  obvious  that  we  cannot  miss  them.  Again, 
in  his  greatest  work  the  feeling  of  design  is  so  clear, 
the  upbuilding  and  the  resulting  massiveness  are  so 
faultless,  that  the  devout  and  habitual  lover  of  music 


has  the  reposeful  and  at  the  same  time  exciting  con- 
viction that  he  is  hearing  the  inevitable.  Enjoyment 
is  easy  even  to  the  unlearned.  In  those  works  which 
are  less  massive  than  the  greatest,  the  pleasure  we 
have  from  Bach  is  more  subtle,  more  refined,  and 
perhaps  less  acute,  but  we  always  feel  that  we  listen 
to  a  master.  Bach  gives,  perhaps,  the  highest  satis- 
faction in  his  chamber-music.  Much  of  his  work  is 
so  very  intimate  that  we  find  the  balance  of  expres- 
sion and  form  most  easily  when  we  are  near  enough 
to  hear  every  note.  The  church  cantatas  in  church, 
the  great  organ  works  in  a  comparatively  small  place, 
or  the  orchestral  music  in  a  hall  of  moderate  size,  are 
among  the  keenest  enjoyments  for  performers  and 
audience.  Applause,  if  it  is  given,  must  be  for  the 
performers  or  for  their  work.  The  compositions  are 
above  approval.  To  praise  them  is  like  speaking  well 
of  the  Bible. 

In  the  work  of  his  contemporary  Handel,  whose 
texture  is  less  purely  polyphonic  and  instrumental, 
the  enjoyment  of  performer  and  listener  comes  nearer 
to  a  point  of  coincidence.  The  audience  can  love  it 
more  nearly  as  a  performer  does.  We  feel  that  the 
vitality  in  Handel  is  of  a  more  human  kind;  that  it 
is  nearer  our  level,  less  supernal :  but  it  is  convincing 
and  satisfying  even  when  most  popular,  and  is  not  dis- 
appointing upon  intimate  acquaintance,  even  though  it 
lack  the  nearly  superhuman  fluidity  and  the  marvel- 
lous texture  of  Bach. 

The  music  of  Beethoven  is  so  well  known,  so  fre- 
quently heard,  and  so  clearly  understood  that  we  may 
take  it  for  granted,  and  go  on  to  music  which  is 
modern  in  every  sense,  made  in  our  own  time,  and 
addressed  to  our  own  personal  feelings.  Our  present- 
day  music  is  twofold  in  character,  a  direct  result  of 
the  labors  of  Beethoven  and  his  successors  in  pure 
music,  and  of  Wagner  and  the  romanticists  in  music 
which  is  not  absolute.  The  symphony  or  sonata  form 
is  now  archaic  in  the  same  sense  that  the  fugue  is 
archaic.  Beautiful  music  may  be,  will  be,  made  in 
both  forms,  but  that  is  no  longer  the  general  problem. 

It  is  probably  true  that  since  the  four  symphonies 
of  Brahms,  no  symphonic  works  carry  the  convic- 
tion of  the  symphonic  poems  of  Richard  Strauss. 
Although  these  are  cast  in  a  modification  of  the  sym- 
phonic form  of  Beethoven,  they  always  have  a  psy- 
chological basis  or  an  original  impulse  outside  of 
music.  They  are  intended  to  characterize  in  musical 
speech  or  language  things  which  can  only  by  vigorous 
effort  be  brought  into  any  connection  with  music  it- 
seh.  The  question  naturally  arises,  Has  the  power 
of  making  absolute  music  entirely  disappeared?  I  am 
loath  to  think  so,  but  surely  the  practice  has  dwindled 
in  importance. 

We  need  not  be  concerned  to  examine  these  extra- 
musical  bases.  Granting  them  to  be  necessary,  one  is 
much  the  same  as  another.  But  that  is  just  what 
many  are  reluctant  to  grant.  Many  are  brazen  enough 
to  enjoy  programme-music  frequently  in  spite  of,  not 
on  account  of,  the  programme ;  and  some  people  pre- 


CONTEMPORARY   MUSIC 


521 


fer  the  advertisements,  which  are  usually  in  larger 
print.  Both  save  thinking.  But  the  underlying  pro- 
gramme is  not  what  most  critics  object  to .  The 
commonest  criticisms  which  we  hear  of  strictly  mod- 
ern music  charge  it  with  a  lack  of  economy,  amount- 
ing to  constant  extravagance;  a  lack  of  reserve, 
amounting  almost  to  shamelessness ;  and  a  degree  of 
complexity  entirely  incomprehensible  to  the  average 
listener,  and,  if  we  are  to  believe  careful  critics,  out  of 
all  proportion  to  the  results  attained.  Of  course 
economy  is  a  great  and  essential  virtue  in  art,  but  it 
is  not  incompatible  with  large  expenditures.  It  de- 
pends on  the  size  of  the  fund  which  is  drawn  upon. 
Nor  is  explicit  and  forceful  utterance  incompatible 
with  reserve.  As  for  complexity,  it  may  sometimes 
be  beyond  the  power  of  any  listener  to  appreciate. 
Perhaps  only  the  composer  and  the  conductor  can  see 
or  hear  all  the  subtleties  in  an  orchestral  score.  But 
is  such  complexity  a  waste?  Not  necessarily,  for 
good  work  is  never  wasted.  Although  beauties  in  a 
viola  part  or  in  the  second  bassoon  may  not  be  ob- 
vious to  the  casual  listener,  however  hard  he  may 
listen,  they  are  not  necessarily  futile.  They  may,  per- 
haps, be  noticed  only  by  the  composer,  the  conductor, 
and  the  individual  performer,  but  they  are  there  ,and 
they  constitute  a  claim  on  the  respect  and  affection 
of  future  musicians.  If  all  the  beauties  were  hidden, 
they  would  be  useless,  but  as  gratuitous  additional 
graces  they  call  for  approbation.  But  one  may  not 
admire  complexity  for  its  own  sake.  It  is  far  easier 
to  achieve  than  forceful  simplicity. 

At  a  recent  performance  of  a  modern  symphonic 
work  which  was  very  long  and  called  for  nearly  all 
possible  familiar  musical  resources,  I  recall  wonder- 
ing whether  or  not  it  is  a  bad  sign  that  a  composer 
gets  respectful  hearing  for  pretentious  trivialities  and 
vulgarities  uttered  at  the  top  of  the  many  times  re- 
inforced brazen  lungs  of  an  immense  orchestra. 
There  were,  indeed,  a  few  minutes  of  exquisite 
beauty,  but  after  more  than  an  hour  of  what  seemed 
an  arid  waste  of  dust  and  dulness.  Meanwhile,  there 
were  long  crescendos,  with  new  and  cruel  percussion 
instruments  working  industriously  ever  louder  and 
faster,  but  leading  up  time  after  time  to  an  absolute 
musical  vacuum.  One's  hopes  were  raised  to  the 
highest  point  of  expectation;  but  they  were  raised 
only  to  be  frustrated. 

It  is  such  unsatisfying  work  as  this  which  elicits 
pessimistic  forebodings  as  to  the  future  of  music  as 
an  independent  art.  Serious  critics  and  essayists  have 
made  vigorous  attempts  to  oust  the  music  of  the  fut- 
ure from  existence  as  an  independent  art  and  to  rele- 
gate it  to  the  position  of  a  sort  of  language  which  is 
to  be  used,  when  it  is  quite  grown  up,  to  express  more 
or  less  pictorially  human  happenings  or  emotions. 
And  there  have  not  been  wanting  composers  to  sup- 
port this  hopeless  view.  The  application  of  pure  rea- 
son to  such  emotional  phenomena  as  our  pleasure  in 
music  results  occasionally  in  something  very  like  non- 
sense. The  arts  have  different  media  of  expression, 

34 


but  excepting  the  art  of  literature,  the  medium  is  no 
spoken  or  written  language.  Indeed,  artists  are  apt 
to  regard  with  some  degree  of  suspicion  one  who  ex- 
presses himself  well  in  any  other  than  his  own  pe- 
culiar medium.  Amateur  is  a  dread  term  often  ap- 
plied to  such  men;  and  they  are  very  likely  to  be 
amateur  artists  or  amateur  writers,  perhaps  both.  It 
is  consoling  to  think  that  all  the  words  written  and 
spoken  about  art  have  never  yet  influenced  creative 
artists  to  any  discernible  extent.  Their  inspiration  or 
their  stimulus  must  come  from  within,  and,  after  the 
preliminary  technical  progress  over  the  well-trod 
paths  of  their  artistic  forefathers,  which  progress  no 
great  artist  has  ever  yet  evaded  or  avoided,  their  fur- 
ther advancement  is  always  by  empirical  and  not  by 
logical  processes,  not  logical  except  in  an  artistic  sense, 
for  logic  in  art,  although  very  real,  is  not  reducible  to 
words  until  after  it  has  already  become  an  accom- 
plijhed  fact  through  empirical  or  instinctive  practice. 
The  evolution  of  logic  in  art  cannot  be  foreseen  or 
foretold. 

The  opera  is  just  now  the  largest  figure  on  our  mu- 
sical horizon,  and  opera,  always  responsive  to  the 
latest  fashion,  has  undergone  very  important  typical 
changes  of  late  years.  "Salome,"  by  Richard  Strauss, 
for  instance,  is  more  an  extended  symphonic  poem 
than  opera  in  the  older  sense.  It  is  as  if  scenery, 
words,  and  action  had  been  added  to  the  musical  re- 
sources of  such  a  work  as  Strauss's  "Zarathustra." 
It  is  only  about  twice  as  long  as  "Zarathustra." 
Strauss's  "Salome"  and  Debussy's  "Pelleas  and  Meli- 
sande"  are  typical  modern  musical  achievements.  In 
spite  of  the  suavity  and  popularity  of  Italian  operas 
of  our  time  and  of  the  operatic  traditions  of  the  Ital- 
ians as  a  nation,  they  do  not  appear  to  have  the 
importance  of  the  German  and  French  works  just 
mentioned.  The  two  men  spoken  of  seem  just  now 
the  most  active  forces  in  our  musical  life,  and  it  may 
throw  light  upon  the  music  of  our  own  time  to  com- 
pare the  two  operas  with  each  other,  not  with  other 
classic  or  modern  works  of  the  same  nature;  for 
from  such  they  differ  too  widely  for  a  comparison 
to  be  useful.  Old-fashioned  people  seek  in  opera  a 
union  of  speech  and  song,  and  each  of  these  two  com- 
posers has  renounced  the  latter  definitely.  No  human 
voice  gives  forth  any  musically  interesting  phrase  in 
"Pelleas  and  Melisande."  In  "Salome"  the  voices, 
when  used  melodically,  which  is  seldom,  are  treated 
like  instruments,  and  it  is  no  exaggeration  to  say  that 
song  is  relegated  entirely  to  the  orchestra.  The  voices 
declaim,  the  orchestra  sings.  Each  opera  is  a  natural 
continuation  of  its  composer's  previous  work.  Each 
is  an  independent  growth.  Neither  composer  has  in- 
fluenced the  other  to  a  discernible  extent.  Yet  it 
seems  impossible  to  find  any  other  notable  musical 
work  of  our  own  day  which  does  not  show  the  in- 
fluence of  one  or  the  other  of  these  two  men. 

"Salome"  is  in  one  act  and  lasts  an  hour  and  a  half; 
"Pelleas  and  Melisande"  is  in  five  acts  and  lasts  about 
three  hours.  The  difference  in  time  is  largely  due 


522 


CONTEMPORARY    MUSIC 


to  the  underlying  play  which  determines  the  form  and 
length  of  each  opera.  It  may  be  granted  that  each 
oi  these  two  works  reflects  conscientiously  the  spirit 
of  the  text.  The  shadowy,  wistful  people  of  Maeter- 
linck's drama  are  faithfully  portrayed  in  the  uncertain, 
keyless  music  of  Debussy,  as  are  the  outrageous  peo- 
ple of  Wilde's  play  in  the  extravagant,  vociferous 
music  of  Strauss.  "Pelleas  and  Melisande"  as  a  play 
is  perhaps  the  extreme  of  mystic  symbolism.  When 
reduced  to  its  simplest  terms  in  every-day  speech,  it 
may  mean  anything,  everything,  or  nothing.  The  mo- 
tive of  the  play  "Salome"  is  frankly  an  attempt  to 
shock  Herod,  as  tough  a  sinner  as  ever  was  drawn. 
The  object  is  attained,  and  it  is  small  wonder  that 
the  audience  is  moved.  There  seems  to  be  throughout 
Debussy's  work,  to  speak  pathologically,  a  preponder- 
ance of  white  blood-corpuscles.  In  our  day  and  gen- 
eration we  want  red  blood  and  plenty  of  it,  and  we 
find  it  in  "Salome,"  a  whole  cistern  spattered  w»ith 
it.  At  its  first  performance  in  New  York  so  much 
got  on  the  stage  that  ladies  had  to  be  led  out  and 
revived. 

There  is  a  great  difference  in  the  matter  of  pure 
noise.  Throughout  the  whole  of  "Pelleas  and  Meli- 
sande" one  feels  that  the  orchestra  has  its  mouth 
stuffed  with  cotton  wool  lest  it  should  really  make 
a  noise.  Most  people  want  a  healthy  bellow  from 
time  to  time  to  show  that  the  orchestra  is  alive.  And 
in  "Salome"  we  have  an  orchestra  with  its  lid  en- 
tirely removed.  The  hazy,  indeterminate,  wistful 
vagueness  which  is  so  much  admired  in  Maeterlinck's 
poem  some  people  resent  in  the  music.  That  is  too 
much  like  an  ^Eolian  harp,  too  purely  decorative,  too 
truly  subordinate.  The  orchestra  never  gets  up  and 
takes  hold  of  the  situation  as  it  often  so  frankly  does 
in  Strauss's  "Salome."  "Pelleas"  is  a  new  sensation, 
perhaps  a  new  art ;  but  it  is  a  little  like  looking  at  the 
stage  through  colored  glass.  Undoubtedly  the  play  is 
the  thing. 

The  musical  vocabulary  of  the  two  men  differs  im- 
mensely. Many  admirers  of  the  modern  French  school 
think  Strauss's  music  vulgar  because  it  really  has 
tunes,  and  because  one  can  almost  always  tell  what 
key  it  is  in.  In  the  French  music  the  continual  eva- 
sion of  everything  we  consider  obvious  becomes 
monotonous,  and  after  an  hour  or  two  furiously  un- 
important. One  longs  in  vain  for  a  tonal  point  of  de- 
parture, for  some  drawing;  but  there  is  only  color. 
In  passing  it  may  be  said  that  the  play  in  its  form 
and  vocabulary  is  the  exact  opposite  of  the  music. 
Points  of  departure  are  not  lacking  in  its  construc- 
tion, and  the  language  is  marvellously  simple,  lucid, 
and  direct. 

The  matter  of  tonality  remains.  The  six-tone  scale 
which  Debussy  loves  and  uses  so  much  divides  the 
octave  into  six  equal  parts.  The  augmented  triad, 
which  he  uses  with  the  same  frequency,  divides  the 
octave  into  three  equal  parts.  Both  devices  consti- 
tute a  definite  negation  of  tonality  or  the  key  sense; 
for  we  need  the  recurrence  of  semitones  in  any  scale 


which  is  to  be  recognizable  as  having  a  beginning  and 
an  end.  It  may  be  that  our  grandchildren  will  not 
want  tonality  in  our  sense,  and  again  it  may  well 
be  that  they  will  prize  it  more  highly  than  we  do.  It 
is  hard  to  imagine  what  can  take  its  place;  certainly 
there  is  no  substitute  for  it  in  music,  for  the  essence 
of  musical  form  consists  chiefly  in  a  departure  from 
and  a  return  to  a  clearly  expressed  tonality.  A  sub- 
stitute for  tonality  outside  of  music  would  seem  a 
hopeless  abandonment  of  nearly  all  that  makes  the 
music  of  Beethoven,  Bach,  and  Wagner  great  to  us. 
Compare  Strauss  and  Debussy  in  this  respect.  Each 
composer  has  a  rich,  individual,  personal,  melodic,  and 
harmonic  vocabulary;  each  offers  new  and  satisfying 
rhythmic  discoveries;  each  shows  us  a  wealth  of  new 
and  beautiful  color.  The  differences  in  melody  lie  in 
the  greater  directness  of  Strauss's  work.  His  tunes 
are  sometimes  garish  in  their  very  baldness  and  sim- 
plicity. This  is  never  true  of  Debussy,  to  whom  a 
plain  tune  like  the  principal  dance  tune  in  "Salome" 
would  seem  utterly  common  and  hateful.  Polyphony 
is  regarded  as  the  highest,  the  ultimate  development 
of  melody.  There  seems  to  be  vastly  more  polyphonic 
and  rhythmic  vitality  in  Strauss's  work  than  in 
Debussy's.  "Salome"  is  as  alive  as  an  ant-hill. 
"Pelleas"  is  more  like  an  oyster-bed,  with  no  actual 
lack  of  life,  but  not  much  activity. 

Harmony  has  become  an  attribute  of  melody,  and 
our  harmonic  sense,  a  recent  growth,  furnishes  the 
only  means  we  have  of  definitely  localizing  formal 
portions  of  musical  structure.  Total  absence  of  form 
is  inconceivable  in  music,  and  form  implies  inevitably 
some  degree  of  formality.  This  element  is  always 
clearly  present  in  Strauss  and  always  purposely  ab- 
sent in  Debussy,  who  steadfastly  avoids  the  indicative 
mood  and  confines  himself  apparently  to  the  subjunc- 
tive. At  great  climaxes  Strauss  ordinarily  seeks  a 
simple  triad,  Debussy  some  more  than  usually  ob- 
scure and  refined  dissonance.  The  harmonic  element 
in  Strauss  is,  perhaps,  less  refined,  but  it  is  less  subtle. 
In  Debussy  this  element  is  less  direct  and  perhaps 
less  beautiful,  but  quite  distinctly  less  obvious  or  com- 
mon, even  if  less  varied. 

Fully  aware  of  inviting  the  warmest  kind  of  dis- 
sent, I  venture  to  suggest  that  Strauss  may  be  a  posi- 
tive and  Debussy  a  negative  force  in  music,  the  one 
greatest  in  what  he  does,  the  other  in  what  he  avoids. 
After  all,  we  cannot  get  on  without  the  common 
things  of  daily  life,  and,  admitting  his  occasional 
lapses  into  the  commonplace  or  something  lower, 
Strauss  is  the  most  consummate  master  of  musical 
expression  the  world  has  ever  seen;  not  the  greatest 
composer,  but  the  one  most  fully  able  to  realize  in 
sound  his  mental  musical  conceptions.  In  the  last 
analysis  it  is,  of  course,  what  a  man  has  to  say,  not 
entirely  how  he  says  it,  which  furnishes  the  basis  for 
a  sound  judgment  of  him.  We  should  not  be  too 
much  impressed  by  Strauss's  skill  in  writing  for  great 
orchestral  masses.  In  itself  that  signifies  little  more 
than  ability  to  use  the  wealth  of  orchestral  material 


CONTEMPORARY    MUSIC 


523 


now  available  in  Germany.  Strauss's  appetite  for  or- 
chestra is  a  little  like  the  Eastport  man's  appetite  for 
fish.  It  is  easily  satisfied  and  not  too  extravagant. 
Much  more  convincing  is  the  accuracy  with  which 
he  finds  rhythm,  melody,  harmony,  and  color  to  ex- 
press just  the  shade  of  meaning  he  wishes  to  convey. 
To  repeat,  no  musician  was  ever  so  well  equipped  to 
give  to  the  world  his  musical  creations,  and  yet  since 
he  was  a  very  young  man  Strauss  has  produced  no 
pure  music,  nothing  without  an  extra-musical  foun- 
dation ;  and  although  many  of  his  friends  and  ad- 
mirers hope  still  that  he  will,  he  admits  frankly  that 
he  does  not  intend  to. 

Are  we,  therefore,  to  believe  that  music  must  be 
pinned  down  henceforth  to  its  illustrative  function  ? 
One  prefers  to  think  that  our  living  composers  are 
unconsciously  intoxicated  by  the  luxuriance  and 
wealth  of  new  and  beautiful  musical  resources  which 
have  only  recently  been  placed  at  their  command. 
They  confuse  the  means  with  the  end.  They  have 
not  yet  learned  to  use  their  wealth.  They  are  nou- 
veaux  riches.  The  more  perfect  performers,  the  more 
intelligent  listeners,  the  new  riches  on  every  side 
tempt  them  to  concrete  rather  than  to  abstract  utter- 
ance. I  believe  that  in  the  future  the  highest  ft-igbts 
of  composers  will  be,  as  they  have  been  in  the  past, 
into  those  ideal,  impersonal,  ethereal  regions  where 
only  imagination  impels,  informc,  and  creates.  As 
for  illustrative  music,  it  must  always  have  one  foot 


firmly  fixed  on  earth.  How,  then,  can  it  rise  to  the 
heavens?  Although  not  yet  with  us,  the  new  vision 
will  come  in  the  fulness  of  time ;  and  when  it  does, 
the  whole  world  will  know  and  follow  it. 


NOTE. — Professor  Parker's  well-balanced  ideas  and 
wise  conclusions  are  of  the  utmost  value.  The  sug- 
gestion that  present  composers  are  working  in  the 
new  medium  of  modern  orchestral  color,  and  have 
not  yet  gone  much  beyond  the  mastering  of  the  tech- 
nique of  composing  in  the  new  style,  is  most  perti- 
nent. The  great  masters  of  music  amount  to  less 
than  two  dozen  in  number,  so  that  we  need  not  lose 
hope  if  we  have  had  no  commanding  genius  of  the 
pioneer  type  since  Wagner.  Debussy  and  Strauss  have 
prepared  the  way  by  experiments.  In  addition,  it 
is  harder  to  write  pure  music  than  to  illustrate  a  pro- 
gramme in  tones.  One  may  mention  again  the  case  of 
Brahms,  who  wrote  absolute  music  of  the  greatest 
value  in  his  symphonies,  in  spite  of  the  programme 
influence  of  the  romantic  school.  What  he  did  with 
the  classical  orchestra  will  very  likely  be  done  in  the  fu- 
ture with  the  fuller  modern  forces.  Professor  Parker's 
words,  too,  are  not  those  of  a  speculative  dreamer, 
but  come  from  the  pen  of  a  great  composer,  well 
informed  in  the  classics,  and  echoing  an  earlier 
school  nobly  in  his  own  great  oratorio,  "Hora  Novis- 
sima." — ED. 


PRONOUNCING  DICTIONARY 
OF  MUSICAL  TERMS 


DIRECTIONS   FOR   PRONUNCIATION 


All  Italian,  French,  and  German  words  are  written  out  phonetically, 
on  the  following  system  : 

A  as  mfar,  represented  by  ah. 

The  Continental  e  has  the  sound  .of  a  mfare;  it  is  represented  by  eh. 

The  Continental  i  has  the  sound  of  e  in  deer;  it  is  represented  by  ee. 

The  following  vowel  sounds  have  no  equivalents  in  English  :  French 
e,  when  not  accented,  something  like  the  vowel  sound  in  love.  German  6 
(p  modified,  or  Umlauf)  has  nearly  the  same  sound.  German  u  is  about 
half-way  between  the  sound  of  o  in  love  and  e  in  deer.  O  and  u  have  the 
same  sound  as  in  English,  the  u  sound  being  represented  by  oo,  as  in  cool. 
Italian  ae  has  the  sound  of  long  i  in  English.  German  a  is  the  equivalent 
of  a  in  air.  German  eu  is  sounded  like  oi,  as  in  toil. 

The  following  consonantal  sounds  have  no  English  equivalents :  German 
hard  guttural  ach  and  soft  guttural  ag.  The  French  sound  of/'  is  represented 
by  zh  as  nearly  as  possible.  The  French  nasals  an,  en,  in,  on,  can  be  repre- 
sented but  very  unsatisfactorily  in  English  only  by  adding  a  final  g. 

Whenever  ch  is  found  it  is  to  be  sounded  like  ch  in  chair.  C  always 
has  this  sound  in  Italian  when  followed  by  i  or  e.  The  Italian  ch,  on  the 
contrary,  always  has  the  sound  of  k,  or  c  hard,  and  is  thus  represented.  The 
Italian  zz  has  the  sound  of  ts  or  ds,  and  is  thus  represented. 

With  this  explanation  of  the  phonetic  system  adopted  to  represent  the 
foreign  sounds,  it  is  believed  that  the  reader  will  find  no  difficulty  in 
acquiring  their  proper  pronunciation. 


526 


A   PRONOUNCING   DICTIONARY 
OF   MUSICAL  TERMS 


A.    The  6th  of  the  normal  major  scale;  the  ist  of  the  normal  (  Bass  (voice) 

minor  scale ;  the  standard  by  which  the  orchestra  is  tuned,         ,    » •<  Bassoon 

given  by  the  oboe.  '  Contre  bass 

...         ,  _   .  ,  . .      ,     .     ,      ,          ...                                        B.  C Basso  continue* 

A,  A  (It.  and  Fr.)  (ah).    At,  in,  by,  for,  with.  Bril]  Brillante 

Ab  (Ger.).     Off.     This  word  is  used  in  organ  music  to  sig-              c .  B Col  basso  - 

nify  the  discontinuance  of  certain  stops.                                               CD Colla  destra 

Abacus   harmonicus    (Lat.).      A   table    of   notes;    also   the              C.    S Colla  sinistra 

arrangement  of  the  keys  and  pedals  of  an  instrument.                     Cad Cadence 

A  ballata  (It.)   (ah  bal-lah'-tah).    In  the  style  of  a  ballad.                 9*1 Calando 

Abandon  (Fr.)    (ah-ban'-dong).    Without  restraint.  £anj  Canto 

A  battuta    (It.)    (ah  bat-too' -tah).     As  beaten;    stricfly   in              Cantab Cantabile 

time.                                                                                                              Cello Violoncello 

Abbandonatamente     (It.)      (ahb-bahn-do-nah-tah-men'-teh).              Cemb Cembalo 

Vehemently;  violently.                                                                              Ch Choir  organ 

Abbandono    (It.)    (ahb-bahn-do'-no).     With   pasifeonate  ex-              £hal Chalameau 

pression;  with  abandon.                                                                                 £  ar'f £ knnet 

Clar«o Clannetto 

Abbellimento   (It.)    (ab-b el-lee-men  -to).     Embellishment.  ~C\ar.       .     .     .  Clarino 

Abbellitura  (It.)    (ab-bellee-too'-ra).    Embellishment.     Both             Co.  so -  Come  sopra 

are  derived  from —                                                                                   Col   C Col  canto 

Abbellire   (abbel-leS-reh).     To  ornament.  Col  ott"      ....  Coll'  ottava 

Abbreviamenti   (It.).     Abbreviations  in  musical  notation.                   £o1-  vo 9>lla  voce 

L-on  esp Lon  espressione 

Abbreviation.     A  system  frequently  employed   in  music,  by              Qjr Cornet  or  horn 

which  a  portion  of  a  technical  term  is  made  to  stand  for  the  Cres°  ) 

whole.    The  following  is  a  list  of  the  abbreviations  in  most  Cresc                                 '.  \  Crescendo 

common  use;  the  explanation  of  each  term  may  be  found  on  C    S  Colla  sinistra 

reference  to  the  words  themselves  in  their  proper  places:  £    gva  Coll'  ottava 

Accel                                      )  »                                                                     C°  lmo Canto  primo 

Accelo    '.....     \\ Accelerando                                                 Co.    i-no Come  primo 

Ace )                                                                     C'° Concerto 

Accom J-  Accompaniment 

Accomp )                                                                    D Destra,  droite 

Accres Accresciamento                                        D.   C Da  capo 

Adgo  or  ado     .     .     .     .     Adagio                                                       Dec-    ^— Decani 

Ad   1                                       )                                                                         Decres Decrescendo 

Ad  lib.  .     '.     '.     .     .     .\ Ad  libitum                                                Delic Delicamente 

Affetto Affettuoso                                                  Dest Destra 

Affrett° Affrettando                                                   DiaP Diapasons 

Ago )        .                                                                 Dim By  diminution 

AgitP            .           .      .      .  i  Ag'tato                                                          Dim Diminuendo 

All° Allegro                                                       Div Divisi 

Allgtto Allegretto                                                  Dol Dolce 

All'   ott /   .„,                                                             Dolcis Dolcissimo 

All'  gva f A                                                                Dopp.  ped Doppio  pedale 

Al  seg .     Al  segno                                                    D.  S Dal  segno 

Andno Andantino 

Andte Andante                                                     Energ Energicamente 

Anirn0    .                           .     Animato                                                     Espr ) 

Arc Coll  arco,  or  arcato                                  Espres }  Espressivo 

Ard° Ardito 

Arpo Arpeggio  F.  or  for Forte 

At )  Fag Fagotto 

A  tem [•  A  tempo  Falset. Falsetto 

A  temp )  Ff.  or  Fff Fortissimo 

Aug .By  Augmentation  Fl Flauto 

627 


ABBREVIATION— F.  O. 


628 


ABBREVIATION— Var. 


F.  O.     . 
F.  Org. 
Forz. 
Fz. 


'  >  Full  Organ 
t  Forzando 


G.      .......    Gauche 

G.  O ) 

G    Org V  Great  Organ 

Gt ) 

Gr. Grand 

Grand0        Grandiose 

Graz° Grazioso 

Hauptw ) 

Hptw VHauptwerk 

H.  W ) 

Haut Hautboy 

H.  C Haute  centre 

Intro Introduction 

Inv Inversion 

L Left 

Leg Legato 

Leggo Leggiero 

L.  H Left  Hand' 

Lo Loco 

Luo Luogo 

Lusing Lusingando 

M ) 

Main >•  Manual 

Mano ; 

Maest° Maestoso 

Magg Maggiore 

Man Manuals 

^Jan^ \  Mancando 

Man<J° ) 

Marc Marcato 

/  Mano  diritta 
M.  D •]  Main  droite 

(  Mano  destra 

M.  G Main  gauche 

M.  M Maelzel's  Metronome 

r  The  beat  of  a  quarter-note   is 

i  equal  to  the  pulse  of  the  pen- 
dulum of  the  Metronome 
said  to  be  Maelzel's,  with 
the  weight  set  at  92. 

M.  P Mezzo  piano 

MS Manuscript  or  Mano  sinistra 

Men Meno 

Mez Mezzo 

Mf.   or  Mff Mezzo  forte 

Mod'0 Moderate 

Mus.   Bac Bachelor  of  Music 

Mus.  Doc Doctor  of  Music 

M.   V.    ......     Mezzo  voce 

Ob Oboe,  or  Hautbois 

Obb Obbligato 

Oberst Oberstimme 

Oberw )  ,-., 

\  Oberwerk 
Obw i 

Oh.  Fed Ohne  Pedal 

Org Organ 

„!" \  Ottava 


8va  alta Ottava  alta 

8^  bas Ottava  bassa 

P.  Piano 


Ped Pedal 

Perd Perdendosi 

P.   F Piu  forte 

Piang Piangendo 


Pianissimo 
Pizzicato 

{•  Pianissimo 


Pianiss. 

Fizz. 

Pmo. 

PP.   . 

PPP. 

PPPP. 

jma 

imo    .     .  .     Primo 


Pianississimo 
Prima  (volta) 


5tte 


Quartet 
Quintet 


Rail  .......  Rallentando 

Raddol  ......  Raddolcendo 

Recit  .......  Recitative 

Rf.,  rfz.,  or  rinf.  .     .     .  Rinforzando 

R.  H  .......  Right  Hand 

Ritar  .......  Ritardando 

Riten  .......  Ritenuto 

S  ........  Senza 

'£       .......  A  sign 

Scherz  .......  Scherzando 

2da     .......  Seconda  (volta) 

2do     .......  Secondo 

Seg  .......  Se 


egue 


7« 

6" 

Sfz 

Sinf 

Smorz 


Septet 

Sestet 

Sforzando 

Sinfonia 

Smorzando 


S.  Int  .......     Senza  interruzione 


S  Sensa  sordini 

I  Sostenuto 
Spiritoso 


S.  S  ..... 

S.  sord. 

Sos  ..... 

Sost        .... 

Spir  ..... 

S.  T  .......  Senza  tempo 

Stacc  .......  Staccato 

St.  Diap  ......  Stopped  Diapason 

String  .......  Stringendo 

Sw  ........  Swell  Organ 

Sym  .......  Symphony 

T  ........  Tenor,  tutti,  tempo,  tendre 

T.  C  .......  Tre  corde 

Tem  .......  Tempo 

Tern.   i°      .....  Tempo  primo 

Ten  .......  Tenuto 

Timb  .......  Timballes 

Timp  .......  Timpani 

Tr  ........  Trillo 

Trem.     .     .     .  ,  .     .     .  Tremolando 

3°      .......  Trio 

Tromb  ......  Trombi 

Tromb  ......  Tromboni 

T.   S  .......  Tasto  solo 

U  ........  Una 

U.  C  .......  Una  corde 

Unis  .......  Unisoni 

V  ........  Voce 

V  ........  Volti 

Va  ........  Viola 

Var  .......  Variation 


ABBREVIATION— Velio 


529 


ACCORDATURA 


Velio Violoncello 

Viv Vivace 

Vo \ 

Vno >•  Violino 

Violo ) 

V.  S Volti  subito 

Vni  )  ...   ..    . 

vv.     .....    .1 Vlohm 

There  are  other  abbreviations  employed  in  manuscript  or 
printed  music,  the  chief  of  which  are  as  follows: 

In  time,  a  dash  with  a  figure  above  signifies  the  length  of 
the  pause  in  bars,  e.g.: 

24- 


In  notes,  the  trouble  of  writing  a  passage  in  full  is  saved 
by  the  use  of  abbreviations,  e.g.: 

Written. 


Played 


Written. 


Played. 


-I 1 1 • -m -m 1 


Repetition  phrases  are  thus  shortened : 


i^^ —  — r~ • 


Abbreviations,  by  signs,  of  musical  graces: 
The  Turn, 


Written.   I 
The  back  Turn, 


Sung. 


Written.         *  Sung.  _* « 


Sung.  rf_^_t 


Sung.  _J 


Shake, 


Sung. 


Abgestossen  (Ger.)  (ap-gch-stoss-en)  [from  abstossen,  to 
knock  off].  Detached;  staccato. 

Absolute  Music.  Music  independent  of  words,  scenery,  act- 
ing or  "programme." 

A  capella  (cah-pel'-la).  In  church  style,  i.  e.,  vocal  music, 
unaccompanied. 

A  capriccio  (cah-fritch'-eo).  Capriciously;  without  regard 
to  time  in  performance  or  to  form  in  construction. 

Accelerando  (It.)  (at-chel-leh-ran-do) .  Hastening  the  move- 
ment (tempo). 

Accent.  The  stress  which  recurs  at  regular  intervals  of  time. 
Its  position  is  indicated  by  upright  strokes  called  bars.  The 
first  note  inside  a  bar  is  always  accented.  When  the  bars 
contain  more  than  one  group  of  notes,  which  happens  in 
compound  time,  other  accents  of  lesser  force  occur  on  the 
first  note  of  each  group ;  these  are  called  secondary  or  sub- 
ordinate accents,  whilst  that  just  inside  the  bar  is  termed 
the  primary  or  principal  accent.  Other  accents  can  be  pro- 
duced at  any  point  by  the  use  of  the  sign  ~~  —  or  sf.  The 
throwing  of  the  accent  on  a  normally  unaccented  portion  of 
the  bar  is  called  syncopation.  A  proper  grouping  of  accents 
will  produce  rhythm.  It  is  considered  a  fault  if  an  accented 
musical  note  falls  on  a  short  syllable. 

Acciaccatura  (It.)  (at-cheea-ca-too'-ra).  A  short  grace  note, 
written  thus :  f>  takes  the  place  in  the  harmony  of  the  note  it 
precedes;  is  played  rapidly.  [From  Acciaccare  (at-chee- 
ac-cd-rch},  to  crush  or  jam  together.] 

Accidentals.  All  signs  for  raising  or  depressing  letters  that 
are  not  found  in  the  signature. 

Accolade  (Fr.)  (ac-co-lahd).  A  brace  enclosing  two  or  more 
staves.  |  [From  Latin  ad,  to;  collum,  the  neck.]  To 
embrace. 

Accompagnamento  (It.)  (ac-com-pan-ya-men-to} ,  Accom- 
pagnement  (Fr.)  (ac-com-pang-mongt),  Accompaniment. 
The  separate  part  or  parts  that  accompany  a  solo  or  chorus ; 
generally  instrumental,  but  a  vocal  solo  with  vocal  accom- 
paniment is  frequently  met  with. 

Accompaniment  ad  libitum  (Lat.).  An  accompaniment  that 
may  be  omitted  without  injury  to  the  musical  effect. 

Accompanist  or  Accompanyist.  One  who  plays  or  sings  an 
accompaniment  to  a  solo. 

Accoppiato  (It.)  (ac-cop-pee-ah'-to).  Coupled  or  joined  to- 
gether. 

Accord  (Fr.).  A  chord;  agreement  in  pitch.  Mode  of  tun- 
ing a  string  instrument. 

Accordatura  (It.)  (ac-cor-da-too'-ra).  The  mode  »f  tuning 
string  instruments,  as  violin,  guitar,  etc. 


ACCORDION 


530 


ALLA    QUINTA 


Accordion.    A  small,  portable  instrument  with  free  reeds. 

Achtel  (Ger.).    Eighth-note. 

Achtel  Pause  (pow-ze).    Eighth-rest. 

Acoustics  (a-koos-tics)  [from  Greek  akuo,  to  hear].  The 
science  of  sound ;  that  which  treats  of  the  cause,  nature,  and 
phenomena  of  sound  as  a  branch  of  physical  science. 

Action.  The  mechanism  by  means  of  which  the  hammers  of 
the  piano  and  the  valves  and  stops  of  the  organ  are  con- 
trolled by  the  performer. 

Acuta  (Lat.).    Acute.    A  mixture-stop  in  the  organ. 

Acute.    Pitched  high;  the  opposite  of  grave. 

Adagietto  (It.)  (a-da-jee-et'-to).  Diminutive  of  Adagio ;  not 
so  slow  as  Adagio. 

Adagio  (It.)  (a-da'-jee-o).  Slowly;  also  a  name  given  to  a 
movement  written  in  that  time. 

Adagio  assai  (as-sah-e).  Adagio  di  molto  (dee  mol-to). 
Very  slowly. 

Adagio  cantabile  (can-tah'-bee-leh).  .Very  slow  and  sus- 
stained,  as  if  being  sung. 

Adagio  patetico  (pa-teh'-tee-co).    Slow  and  with  pathos. 

Adagio  pesante   (peh-san'-teh).     Slow  and  weighty. 

Adagio  sostenuto  (sos-teh-noo-to).     Slow  and  sustained. 

Adagissimo  (It.).  Superlative  of  Adagio.  More  than  usually 
slow ;  very  slow  indeed. 

Added  Sixth.  A  name  given  to  the  subdominant  chord  with 
the  6th  over  its  fundamental  added,  thus:  F  A  C  D.  This 

explanation    of    this    combination    is    not    now    generally 

accepted. 

Addolorato  (It.)   (ad-do-lo-rah'-to).    Sorrowful ;  dolorous. 
A  demi-jeu   (deh-mee-zheoo).     With  half  force  or  play.     A 

direction  to  use  half  the  power  of  the  instrument,  generally 

used  of  the  organ. 

A  deux  cordes  (doo-cord).    On  two  strings. 
A  deux  mains   (doo-mang).    By  or  for  two  hands. 
A  deux  temps  (doo-tahm).    In  %  time. 
Adirato   (It.)    (ad-ee-rali'-to).     Angrily;  irritated. 
Adjunct  Keys  or  Scales.    Those  a  fifth  above  and  fifth  below 

the  given  key  or  scale.     Related  scales.    The  scales  or  keys 

of  the  dominant  and  subdominant. 

Adjunct  Notes.  Short  notes,  not  essential  to  the  harmony, 
occurring  on  unaccented  parts  of  a  bar.  [Cf.  Auxiliary 
Notes,  Passing  Notes.] 

Ad  libitum  (Lat.).  At  will,  (i)  In  passages  so  marked,  the 
time  may  be  altered  at  the  will  of  the  performer.  (2)  Parts 
in  a  score  that  may  be  omitted. 

A  dur  (Ger.)   (dure).    A  major. 

.ffiolian.  The  name  of  one  of  the  Greek  scales ;  also  of  one  of 
the  ecclesiastical  scales.  Identical  with  modern  A  minor 
without  sharped  seventh. 

JEolian  Harp.  A  shallow,  oblong  box  with  gut-strings  set  in 
motion  by  the  wind,  generally  made  to  fit  a  window  with  the 
lower  sash  raised  enough  to  admit  it.  The  strings  should 
be  tuned  in  unison. 

Aussere  Stimmen  (Ger.)  (ois-eh-reh  stimmen).  The  outer 
parts,  as  soprano  and  bass  in  a  chorus,  or  violin  and  violon- 
cello in  a  quartet. 

Ausserst  (Ger.).     Very;  extremely. 

Ausserst  rasch  (rash).    Very  quick. 

Affabile  (It.)   (af-fah'-bee-leh).   Pleasing;  affably;  agreeably. 

Affannato  (It.)  (af-fah-nah'-to)  [from  affanno,  anxiety]. 
Distressfully. 

Affannosamente   (It.)    (af-fah-no-sah-men'-teh).     Restlessly. 


Affannoso  (It.)  (af-fah-no-so~) .    Mournfully. 
Affettuosamente    (It.)    (af-fet-too-o-sa-men-teh),   Affetuoso 

(It.)    (af-fet-too-o-so).    Affectionately. 
Affinity.     Connected  by  relation.    Relative  keys. 
Afflitto  (It.)    (af -flit' -to).    Sadly;  afflictedly. 

Affrettando  (It.)  (af -fret-tan' -do),  Affrettate  (It.)  (af-fret- 
tah'-teh),  Affrettore  (It.)  (af-f  ret-to' -reh).  Hastening  the 
time. 

Agevole  (It.)  (a-jeh'-vo-leh),  Agevolezza  (It.)  (a-jeh-vo- 
letz'-ah).  With  lightness  or  agility. 

Agilmente  (It.)  (a-jil-men'-teh),  Agilmento  (It.).  In  a 
lively,  cheerful  manner. 

Agitamento   (It.)    (a-jee-tah-men'-to).    Restlessness. 

Agitato  (It.)  (a-jee-tah'-to).  Agitated.  To  sing  or  play  in 
an  agitated,  hurried  manner. 

Air.    A  tune,  song,  melody. 
Ais  (Ger.)   (a-iss).    A  sharp. 

A  la.  In  the  manner  of,  as  a  la  chasse  (shass).  Like  a  hunt; 
hunting  song. 

A  la  mesure  (Fr.)  (meh-zoor).  In  time.  Same  as  A  tempo 
and  A  battuta. 

Alberti  Bass.    Broken  chords  arranged  thus: 


So  called  from  the  name  of  its  reputed  inventor,  Domenico 
Alberti. 

Al'  loco.  At  the  place.  Used  after  the  direction  to  play  8th 
higher  or  lower. 

Al  piacere.     See  A  piacere. 

Al  rigore  di  (or  del)  tempo  (ree-go-reh  dee  tempo).  In 
strict  time. 

Al  scozzese  (scots-zeh-zeh).     In  Scotch  style. 

Al  segno  (sen-yo).  To  the  sign.  A  direction  to  return  to 
the  sign  ;£  •  D'al  segno,  from  the  sign,  is  used  with  the 
same  intention. 

All'  antico  (an'-tee-ko).    In  ancient  style. 

All"  ottava  (ot-tah-vah) .  When  over  the  notes,  play  octave 
higher  than  written ;  when  under,  an  octave  lower.  In  or- 
chestral scores  it  means  that  one  instrument  is  to  play  in 
octaves  with  another. 

All'  unisono.    At  unison. 

Alia  (It.).  Written  Al.  or  All.  before  words  beginning  with 
a  vowel.  Like;  in  the  style  of. 

Alia  breve  (It.)  (al-lah  breh'-veh).  This  was  originally  $ 
rhythm,  so  called  from  the  fact  that  one  breve,  or  double- 
whole-note,  filled  each  measure.  To-day  the  term  is  more 
generally  applied  to  f  rhythm,  marked^. 

Alia  caccia  (It.)    (cat-chia).    In  hunting  style. 

Alia  camera  (It.)   (ca'-rneh-rah).     In  chamber-music  style. 

Alia  capella.    In  church  style.    Also  A  capella. 

Alia  deritta.     By  degrees. 

Alia  hanacca  (ha-nak-ka).    In  the  manner  of  a  hanacca. 

Alia  marcia  (mar'-cliee-a).    In  march  style. 

Alia  mente   (men-teh).    Extemporaneous. 

Alia  militare  (mee-lee-tah-reh).    In  military  style. 

Alia  moderno.    In  modern  style. 

Alia  Palestrina.  In  the  style  of  Palestrina,  i.e.,  strict  C.  P. 
without  instrumental  accompaniment. 

Alia  polacca.    Like  a  polacca  or  polonaise. 

Alia  quinta.     At  the  fifth. 


ALLA    ROVESCIO 


531 


ANELANTEMENTE 


Alia  rovescio  (ro-veh'-shee-o).  By  contrary  motion  or  re- 
verse motion,  as  when  a  phrase  is  imitated  with  the  move- 
ment of  the  intervals  inverted.  Example  : 


Alia  siciliana  (see-chee-lee-ah'-nah}.     In  the  style  of  a  Sici- 

liana,  q.  v. 

Alia  stretta.     Like  a  stretto,  q.  v. 
Alia  turca.    In  Turkish  style. 
Alia  zingaro.    In  Gypsy  style. 
Alia  zoppa.    Lamely;  halting. 

Allegramente    (It.)    (al-leh-grah-men'-teh).     Joyfully. 
Allegretto    (It.)    (al-leh-gret'-to).      Diminutive    of    Allegro. 

(1)   Slower  than  Allegro.     (2)  A  movement  in  this  time. 
Allegrettino  (It.)    (al-leh-gret-tee'-no).     Diminutive  of  Alle- 

gretto.    (i)   Not  so  fast  as  Allegretto.     (2)  A  short  Alle- 

gretto movement. 

Allegro  (It.)  (al-leh-gro)  .  (Lit.,  joyful.)  Quick,  lively.  The 
word  is  occasionally  employed  to  describe  a  whole  move- 
ment of  a  quartet,  'sonata,  or  symphony.  In  music  it  is 
sometimes  qualified  as: 

Allegro  agitato  (It.).    Quick  and  in  an  excited  manner. 
Allegro   assai    (It.).     Literally,   fast  enough.     A   quicker 

motion  than  simple  allegro. 
Allegro  commodo   or  comodo    (It.).     An   easy,  graceful 

allegro. 

Allegro  con  brio   (It.).     Quickly  and  with  spirit. 
Allegro  con  fuoco  (It.).    Rapidly  and  with  fire. 
Allegro  con  moto  (It.).     With  sustained  joyfulness. 
Allegro  con   spirito    (It.).     Joyfully  and  with   spirit. 
Allegro  di  bravura  (It.).     A  movement  full  of  executive 
difficulties    intended    to   exhibit    the    capacity   of   the 
singer  or  player. 

Allegro  di  molto  (It.).     Exceedingly  quick. 
Allegro  furioso   (It.).     Rapidly  and  with  fury. 
Allegro  giusto  (It.).     In  quick  but  steady  time. 
Allegro   ma    grazioso    (It.).     Lively    and   with   graceful 

motion. 

Allegro  ma  non  presto  (It.).     Rapidly,  but  not  too  fast. 
Allegro  ma  non  tanto  (It.).    Quickly,  but  not  too  much  so. 
Allegro  ma  non  troppo  (It.).     Lively,  but  not  too  fast. 
Allegro  moderate  (It.).     Moderately  quick. 
Allegro  molto   (It.).     Very  quick. 
Allegro  risoluto  (It.).    Lively  and  with  firmness  and  de- 

cision. 

Allegro   veloce    (It.).     Lively  and   with   speed. 
Allegro  vivace   (It.).     Lively  and  brisk. 
Allegro  vivo   (It.).     Quick  and  lively. 

Allemande  (Fr.)   (ahnain,  allemaigne).   A  German  dance  (or 
some  authorities   say   French),  originally   in   duple  time. 
Adopted  as  one  of  the  movements  in  the   Suite  by  Bach, 
Handel,  and  others,  and  written  in  |  time. 
Allentamento  (It.)    (al-len-tah-men-to),  Allentato  (It.)   (al- 
len-tah-to),     Allentando     (It.)      (al-len-tan-do).      Giving 
way;  slackening  the  time. 

Allmahlig   (Ger.)    (all-may-lig)  .     Gradually;  by  degrees. 
Alpenhorn   or   Alphorn.     A   wooden   horn    slightly   curved, 

4  to  8  feet  long,  used  by  the  Swiss  herdsmen. 
Alt  (Ger.).     The  alto  voice  or  part. 

Alt-Clarinette.  Alto  clarionet.  Its  pitch  is  a  sth  below  the 
ordinary  clarionet. 

Alt-Geige.     The  viola. 
Alt-Oboe.     Oboe  de  caccia,  q,  v. 
Alt-Posaune  (po-zow-neh).     Alto  trombone. 
Alterato    (It.)    (al-teh-rah'-to),   Altere    (Fr.)     (al-teh-reh)  . 
Changed  ;  altered. 


Altered.  Said  of  intervals,  the  normal  condition  of  which  in 
a  scale  or  chord  is  changed 

Alternativo  (It.)  (al-ter-nah-tee-vo) .  An  alternate.  A  part 
of  a  movement  to  be  played  alternately  with  others.  This 
name  is  frequently  given  to  the  second  trio  of  a  Scherzo  in 
chamber  music  when  (as  is  unusual)  a  second  trio  is  added. 

Altissimo  (It.).    The  highest. 

Alto  (It.).  High,  loud.  Originally  applied  to  high  male 
voices,  now  generally  to  the  lowest  female  voice.  Also 
applied  to  the  viola  (or  tenor  violin). 

Alto  Clef.  The  C  clef  on  the  third  line,  used  for  the  viola, 
alto  trombone,  and  (in  Europe)  for  the  alto  voice. 

Altra,  Altre,  Altri,  Altro  (It.)  (masculine  and  feminine 
forms  in  the  singular  and  plural).  Other,  others. 

Amabile  (It.)  (ah-mah'-bee-leh).  Amiably,  sweetly,  ten- 
derly. 

Amarevole  (It.)    (ah-mah-reh'-vo-leh).     Sad,  bitter. 

Amateur  (Fr.)  (a-mah-toor).  A  lover  of  art.  Generally 
applied  to  one  who  does  not  follow  it  professionally. 

Ambrosian  Chant.  The  system  of  church  music  introduced 
by  Ambrose  of  Milan  in  the  fourth  century. 

Ambrosian  Hymn.  A  name  given  to  the  Te  Deum  on  ac- 
count of  the  belief — now  known  to  be  erroneous — that  it 
was  written  by  Ambrose  of  Milan. 

Ame  (Fr.)  (am).  Soul.  The  French  name  for  the  sound- 
post  of  instruments  of  the  violin  family. 

American  Organ.  The  English  name  for  American  reed 
organs,  in  which  the  air  is  drawn  through  instead  of  being 
forced  through  the  reeds,  as  in  the  usual  European  system. 

A  mezza  voce  (It.)   (met-za  vo-chee).    With  half  voice. 

A  moll  (Ger.).    A  soft,  i.  e.,  A  minor. 

Amorevole  (It.)  (a-mor-eh'-vol-eh),  Amorevolmente  (It.), 
Amorosamente  (It.),  Amoroso  (It.).  Lovingly;  tenderly; 
amorously. 

Amusement  (Fr.)  (a-mooz-mong}.  A  light  composition;  a 
divertimento. 

Anche  (Fr.)  (onsh).  A  reed  of  organ-pipe,  or  mouth-piece 
of  oboe,  clarionet,  etc.  Jeu-d'anche,  reed-stop.  Ancia  (It.) 
(an-chee-ah) .  Italian  form  of  the  same  word. 

Anche   (It.)    (an-keh).    Also;  yet;  still. 

Anche  piu  moto.     Still  or  yet  faster. 

Ancor  (It.).  Also;  yet;  still;  used  in  the  same  way  as 
Anche. 

Ancora  (It.).     Again.     Fr.,  encore. 

Andachtig   (Ger.)    (an-daych-tig) .     Devoutly. 

Andamento  (It.)  (an-da-men'-to).  Movement;  the  coda  to 
a  long  fugue  theme  frequently  dropped  in  the  "working  out." 

Andante  (It.)   [from  andare,  to  walk  or  go  slowly].    A  slow 

movement;  quiet,  peaceful  tempo. 
Andante  affettuoso.     Slow,  with  tenderness. 
Andante  cantabile   (can-tah'-bee-leh).     Slow  and  singing. 
Andante  con  moto.     Slow,  but  with  a  little  motion. 
Andante  grazioso.     Slow  and  graceful. 
Andante  maestosc.    Slow  and  majestic. 

Andante  non  troppo  or  ma  non  troppo.  Slow,  but  not  too 
slow. 

Andante  pastorale.     Slow,  in  pastoral  style. 

Andante  sostenuto  (It.)  (sos-teh-noo'-to).  Slow,  with 
smoothness. 

Andantemente   (It.).     Like  an  Andante. 

Andantino  (It.)  (an-dan-tee'-no).    A  diminutive  of  Andante. 

A   little   faster   than   Andante    (some   say   slower,  but   the 

Italian  dictionaries  say  faster). 

Anelantemente  (It.)  (ah-neh-lan-teh-men'-teh).  Ardently; 
eagerly. 


ANFANG 


532 


ARIA    FUGATO 


Anfang  (Ger.).     Beginning. 

Anfangsgriinde   (Ger.).     Rudiments. 

Anfangs-Ritornel  (Ger.).     Introductory  symphony. 

Angenehm    (Ger.)    (an'-geh-nehm).     Pleasing;   agreeable. 

Anglaise  (Fr.)  (on-glehs),  Anglico  (It)  (an'-glee-ko).  The 
English  country  dance. 

Angel'ica  (Lat.).     The  vox  angelica. 

Angel'ique  (Fr.)  (on-jeh-leek) .  Voix  angelique,  angel  voice, 
name  of  an  organ-stop.  Also  called  Voix  Celeste  (Fr.) 
(vo-a  seh-lest).  Celestial  voice. 

Angosciosamente  (It.)  (an-go-shee-o-sa-men'-tch),  Angoici- 
oso  (It.)  (an-go-shee-o'-so).  Painfully;  with  anguish. 

Anhang  (Ger.)    [anhdngen,  to  hang  to].     Coda. 

Anima  (It.)  (ah'-nee-mah),  Animato  (It.)  (ah-nee-inah'-to'), 
Animando  (It.).  Soul;  spirit;  life;  lively  with  animation. 

Animosamente  (It.)  (ah-nee-tno-sah-men'-teh),  Animo- 
sissimo  (It.)  or  Animosissamente.  Very  energetic;  boldly. 

Animoso  (It).     Spiritedly;  energetically. 

Anlage   (Ger.)    (an-lah'-geh).    The  plan  of  a  composition. 

Anleitung  (Ger.)  (an-ley'-toong).  Direction;  guidance; 
preface. 

Anmuth  (Ger.)   (an-moot).     Sweetness;  grace;  charm. 

Anmuthig  (Ger.).     Sweetly;  gracefully. 

Ansatz  (Ger.).  (i)  Attack.  (2)  Position  of  mouth  in  sing- 
ing- (3)  Position  of  lips  in  blowing  a  wind  instrument. 
See  Embouchure. 

Anschlag  (Ger.).  Touch,  as  applied  to  piano  and  other  keyed 
instruments. 

Anschwellen  (Ger.)  (an-shvcl-len).  To  increase  in  loud- 
ness;  crescendo. 

Antecedent  [Lat.  ante,  cado,  to  fall  before].  The  subject  or 
theme  proposed  for  imitation;  the  subject  of  a  fugue.  The 
reply  or  imitation  is  called  the  consequent. 

Anthem,  *  antheme,  *  antem,  s.  [In  A.  S.  ante  fen,  a  hymn 
sung  in  alternate  parts,  an  anthem ;  O.  Fr.,  anthame,  antene, 
antienne,  antevene;  Prov.,  antifene,  antifona;  Sp.  and  It, 
antifona;  Low  Lat,  antiphona;  from  Gr.  dnn'<fui>oi>  (anti- 
phonon),  an  antiphon,  an  anthem;  avrlipavof  (antiphonos), 
sounding  contrary,  .  .  .  responsive  to;  civrt  (anti),  opposite 
to,  contrary  to;  <jxjvtj  (phdne),  a  sound*  a  tone.] 

*(i)  Originally:  A  hymn  sung  "against"  another  hymn; 
in  other  words,  a  hymn  in  alternate  parts,  the  one  sung  by 
one  side  of  the  choir,  the  other  by  the  other. 

"Anthem,  a  divine  song  sung  alternately  by  two  opposite  choirs  and 
choruses.',— Glossog.  Nov.  ad  ed.  (.719). 

(2)  Now:  A  portion  of  Scripture  or  of  the  Liturgy,  set 
to  music,  and  sung  or  chanted. 

There  are  three  kinds  of  anthems:  (i)  A  verse  anthem, 
which  in  general  has  only  one  voice  to  a  part ;  (2)  a  full 
anthem  with  verse,  the  latter  performed  by  single  voice, 
the  former  by  all  the  choir;  (3)  a  full  anthem,  performed 
by  all  the  choir. 

Anthropoglossa  [Gr.  anthropos,  man ;  glossa,  the  tongue]. 
Like  the  human  voice ;  the  vox  humana  stop  in  the  organ. 

Anticipation  [Lat.  ante,  before;  capio,  to  take].  To  intro- 
duce a  note  belonging  to  the  next  chord  before  leaving  the 
preceding  chord. 

Antiphon  [Gr.  anti,  against;  phoneo,  to  sing].  A  short  sen- 
tence or  anthem  sung  before  and  after  the  psalter  for  the 
day. 

Antiphony.  The  responsive  singing  of  two  choirs  generally 
placed  on  opposite  sides  of  the  chancel,  one  called  the 
Decani,  on  the  Dean's  side  of  the  chancel,  the  other  the 
Cantoris,  on  the  precentor's  or  leader's  side.  The  verses  of 
the  psalms  are  sung  by  the  choirs  alternately,  but  the  Gloria 
by  the  united  choirs. 

Anwachsend  (Ger.)  (an-vach-sent).    Swelling ;  crescendo. 


Aperto    (It.)     (ah-pehr-to).      Open.      Direction    to    use    the 

damper  ("loud")  pedal. 
A  piacere  (pec-ah-cheh'-reh),  or  Al  piacer,  or  A  piacimento 

(pec-ah-chee-men'-to).    At  pleasure. 
A  poco  a  poco  (It).     Little  by  little. 
A  poco  piu  lento  (It.).     A  little  slower. 
A  poco  piu  mosso  (It).    A  little  faster. 

Appassionata  (It.)  (ap-pas-sion-ah'-tah),  Appassionamento 
(It).  With  strong  passion  or  emotion. 

Appassionatamente   (It.).     Impassioned. 

Appenato  (It.)  (ap-peh-nah'-to).    Distressfully. 

Applicatur  '(Ger.)  (ap-plee-ka-toor').  The  fingering  of  a 
musical  instrument. 

Appoggiando  (It.)  (ap-pod-je-an'-do).  Leaning  upon;  sus- 
pended notes. 

Appoggiato   (It).     Retardations;  syncopations. 

Appoggiatura  (It.)  (af-pod-jea-too'-rali).  To  lean  against. 
An  ornamental  note  foreign  to  the  harmony,  one  degree 
above  or  below  a  member  of  the  chord,  always  on  an  accent 
or  on  a  beat.  It  takes  half  the  value  of  the  note  it  precedes, 
but  if  the  note  it  precedes  is  dotted,  it  takes  two-thirds  of 
its  value. 


Written. 

im-5  i— 

—0-5  

"  a"  1 

fiBzs:  

—  —  -1 

Rendered. 


Rendered. 


The  modern  practice  is  to  write  as  rendered,  thus  avoiding 
any  confusion  between  the  appoggiatura  and  the  acciacca- 
tura. 

A  punto   (It).     Accurate,  strict  time. 

A  punto  d'arco  (It).    With  the  point  of  the  bow. 

A  quatre  mains   (Fr.)    (katr-mang).     For  four  hands. 

A  quattro  mani  (It.)    (kwat-tro  mall-tie  e).     For  four  hands. 

Arcato  (It.)  (ar-kah'-to).  With  the  bow;  a  direction  to  re- 
sume the  bow  after  pizzicato. 

Arco   (It).    The  bow. 

Ardente  (It.)    (ar-den-teh).    Ardent;  fiery. 

Ardente   (Fr.)    (ar-dongt).    Ardently. 

Ardito   (It.)    (ar-dec-to}.     Ardently;  boldly. 

Aretinian  Syllables.  L't,  re,  mi,  fa,  sol,  la,  given  by  Guido 
Aretinus  to  the  hexachord.  Ut  was  changed  to  do,  as  being 
a  better  vowel  for  solmization. 

Aria  (It.)  (ah'-ree-ah).  Air;  song.  In  form  the  aria  con- 
sists of  three  members:  Part  I,  a  more  or  less  elaborate 
melody  in  the  tonic  key.  Part  II,  another  melody  in  a  re- 
lated key.  Part  III,  a  repetition  of  the  first  melody,  to 
which  a  coda  is  generally  added. 

Aria  buffa  (It.)   (boof'-fah).    An  aria  with  humorous  words. 

Aria  concertante  (It.)  (con-cher-tan'-teh).  An  aria  with 
obbligato  accompaniment  of  instruments. 

Aria  di  bravura  (It.)  (dee-brah-voo'-rah)  or  d'abilita  (d'ah- 
bee-lfe-tah).  An  aria  with  difficult,  showy  passages. 

Aria  fugato  (It.)  (foo-gah'-to).  An  aria  with  an  accompani- 
ment written  in  fugue  style. 


ARIA    PARLANTE 


533 


AUXILIARY    SCALES 


Aria  parlante  (It.)  (par-Ian -teh).  Literally  a  speaking  aria, 
one  in  which  the  music  is  designed  for  declamatory  effect. 
The  aria  parlante  was  the  precursor  of  the  recitative. 

Arietta  (It.)  (ah-ree-et'-ta).  A  small  aria,  less  elaborate  than 
the  aria. 

Arioso  (It.)  (ah-ree-o'-so).  A  short  melody  at  the  end  of 
or  in  the  course  of  a  recitation. 

Armenia   (It.)    (ar-mo'-nee-ah).     Harmony. 

Armoniosamente  (It.)  (ar-mo-nee-o-sa-men'-teh),  Armoni- 
oso  (It.)  (ar-mo-nee-o'-so).  Harmonious;  harmoniously. 

Arpa  (It.)    (ar'-pah).    Harp. 

Arpege  (Fr.)  (ar-pehzh').  Arpeggio  (It.)  (ar-ped-jeeo).  In 
harp  style.  In  piano  music  a  direction  to  play  the  notes  of 
a  chord  in  rapid  succession  from  the  lowest  upward.  Indi- 
cated by 


A  reversed  arpeggio    s  indicated  by 

-r 

In  old  music  the  arpeggio  is  sometimes  indicated  thus: 


Arpeggiando  (It.)   (ar-ped'-jee-an-do).    In  harp  style. 
Arpeggiato   (It.)   (ar-ped-jee-a'-to).    Arpeggiated. 
Arrangement    (Fr.)     (ar-ranzh-mong)  .      A   piece   of 

written  for  one  or  more  instruments  or  voices  adapted  to 

other  instruments  or  voices.    Also  called  Transcription. 
Ar'sis    (Gk.).     The  unaccented   or  up  beat;   the  reverse  of 

Thesis,  the  accented  or  down  beat. 

Articolato  (It.)    (ar-tik-ko-lah'-to).    Articulated  distinctly. 
Artig  (Ger.)    (ahr-teech).     Neat,  pretty,  unaffected. 
As  (Ger.).    A  flat.    As  dur  (doohr),  A  flat  major.    As  moll, 

A  flat  minor. 
Assai  (It.)    (as-sah'-ee).     Very,  extremely,  as  Allegro  assai, 

very  fast.     Adagio  assai,  very  slow. 
Assez  (Fr.)   (as-seh).    Rather,  as  Assez  vite  (veet),  rather 

quick,  or  quick  enough. 
Assoluto    (masc.),    Assoluta    (fern.)     (It.)     (as-so-loo'-to). 

Absolute.    Applied  to  the  leading  singers  of  an  opera  troupe, 

as  Prima  donna  assoluta,  first  lady  absolute;  Prima  uomo 

assoluto,  first  man  absolute. 

A  suo  arbitrio  (soo-oh  ar-bee'-tre-o).    At  your  will. 
A  tempo  (tem'-po).    In  time.     A  direction  to  resume  strict 

time  after  Rail,  or  Rit.,  q.  v. 
A  tempo  giusto  (JOGS'  -to).   In  strict  time. 
A  tempo  rubato  (roo-bah'-to).    In  stolen  time,  «'.  e.,  retarding 

and  hurrying  the  time  irregularly. 
A  tre  corde  (tray).    On  three  strings. 
Attacca   (It.)    (at-tak'-ka).     Attack.     Begin  the  next  move- 

ment with  slight  or  with  no  pause. 
Attacca  subito   (It.)    (soo-bee-to).     Attack  quickly,  without 

pause. 
Attacco  (It.),  Attaque  (Fr.)  (at-tak').    The  motive  or  theme 

of  an  imitation  or  short  fugal   subject. 
Attaquer  (Fr.)  (at-tak-keh).     Same  as  Attacca. 
Attack.    The  manner  of  beginning  a  phrase  or  piece;  refers 

generally  to  the  promptness  or  firmness  of  the  performer  or 

performers. 


Attendant  Keys.  The  keys  of  the  4th  and  5th  above,  and 
the  relative  minors  of  the  principal  key  and  these  two  major 
relations,  as  CFG 

Rel.  minors  A  D  E 

Aubade  (Fr.)  (o-bad').  Morning  music;  the  opposite  of 
Serenade,  evening  music. 

Audace   (Fr.)    (o-dass).     Bold,  audacious. 

Auffuhrung  (Ger.)  (owf-fee-roonk).  Performance;  repre- 
sentation of  an  opera. 

Aufgeregt  (Ger.)   (geh-rehgt).    With  agitation. 
Aufgeweckt  (Ger.)    (geh-vekt).    With  animation. 

Aufhalten  (Ger.)  (hoi-ten).  To  suspend  (of  dissonances). 
Also,  to  hold  back  or  retard  (of  time). 

Aufhaltung   (Ger.)    (hol-toonk).     Suspension. 
Auflosen  (Ger.)  (leh-zen).  To  let  loose;  resolve  a  dissonance. 
Auflb'sungszeichen  (Ger.)   (leh-soonks-tzeich-en) .    Releasing 
sign;  the  J}. 

Aufschlag  (Ger.).     Up  beat. 

Aufschwung  (Ger.)    (owf-shvoonk).    Soaring,  elevation. 
Aufstrich  (Ger.).    Up  bow. 

Auftakt  (Ger.).  The  unaccented  part  of  the  measure,  or  the 
fraction  of  a  measure,  at  the  beginning  of  a  piece. 

Augmentation.  When  the  theme  of  a  fugue  or  imitation  is 
given  in  notes  of  double  or  quadruple  the  length  of  those 
in  its  original  form. 

Augmented,  (i)  Any  interval  greater  than  perfect  or  major. 
(2)  A  theme  written  in  notes  of  greater  value  than  in  its 
original  form. 

Augmented  Sixth  Chord.  Called  also  extreme  sharp  sixth; 
superfluous  sixth ;  when  formed  thus,  A|Z  C  FJf,  the  Italian 

sixth ;  thus,  AJ2  C  D  FJf,  the  French  sixth ;  thus,  Afe  C  Efc  F#, 
the  German  sixth. 

Augmenter    (Fr.)     (og-mong-teh).      To    increase    in    force. 

Same  as  Crescendo. 
Ausarbeitung     (Ger.)     (ows'-ar-bye-toonk).      Development; 

the  working  out  of  a  fugue  or  sonata,  etc. 

Ausdruck  (Ger.)   (drook).    Expression. 

Ausdrucksvoll  (Ger.).  With  expression;  literally,  full  of 
expression. 

Ausfuhrung  (Ger.)  (fee-roonk).  Execution ;  manner  of  per- 
formance. 

Ausweichung  (Ger.)  (veich-oonk) .  Literally,  evasion;  mod- 
ulation ;  change  of  key. 

Authentic.  The  Ambrosian  scales.  A  melody  that  lies  be- 
tween the  keynote  and  its  octave  is  called  authentic.  One 
that  lies  between  the  fourth  below  and  the  fifth  above  the 
keynote  is  called  plagal.  These  terms  are  only  used  in  the 
ecclesiastical  modes. 

Authentic.  The  church  scales  beginning  and  ending  on  any 
given  tonic  (except  B). 

Authentic  Cadence.    Tonic  preceded  by  dominant. 

Autoharp.  A  modern  instrument  resembling  a  zither,  of  easy 
performance.  The  plectrum  is  drawn  across  all  the  strings 
at  once,  and  those  that  it  is  not  desired  to  sound  are  silenced 
by  a  series  of  dampers  controlled  by  the  left  hand  of  the 
player. 

Auxiliary  Note.     Grace  note ;  appoggiatura. 
Auxiliary  Scales.    Related  scales. 


B 


B.    The  seventh  or  leading  tone  of  the  natural  major  scale ; 

in  German,  the  note  or  key  of  Bb,  Bi?  being  called  H. 
Baborak  or  Baboracka.    A  Bohemian  dance. 
Backfall.    An  ornament  in  harpsichord  or  lute  music,  written 

i    played       fj* 

Badinage   (Fr.)    (bah-dee-naje).     Banter;  raillery. 

Bagatelle  (Fr.)  (bah-gah-tell).  A  trifle;  a  name  frequently 
given  to  short  pieces  of  music. 

Bagpipe.  An  instrument  consisting  of  a  leather  bag  into 
which  air  is  forced  either  from  a  bellows  or  by  the  mouth 
of  the  player ;  furnished  with  from  two  to  four  pipes,  one 
pipe  with  double  reed  pierced  with  holes,  upon  which  the 
melody  is  played,  called  in  Scotland  the  chanter;  the  re- 
maining pipes,  with  single  reeds,  called  drones,  sound  con- 
tinuously the  first  and  fifth  of  the  scale  or  first,  fifth  and 
octave. 

Bajadere  or  Bayadere  (by-a-dehr).  East  Indian  dancing 
girl. 

Bakkia   (bak-kee-ah) .     A  Kamchadale  dance. 

Balabile  (It.)  (bah-Iah-bee'-leli).  Any  piece  of  music  written 
for  dancing  purposes. 

Ballad.  A  simple  song,  originally  a  song  to  accompany  dan- 
cing ;  derived  from  the  low  Latin  word  ballare,  to  dance ;  in 
its  French  form,  ballade,  it  is  used  by  modern  composers 
as  a  title  for  extended  lyric  compositions,  as  the  ballades  of 
Chopin. 

Balladenmassig  (Ger.)  (bal-la'-dcn-mch-sich).  In  ballad  style. 

Ballad-opera.  An  opera  made  up  of  simple  songs,  and  with- 
out recitative. 

Balafo  (bah-lah-fo).  An  African  instrument  resembling  the 
xylophone ;  a  South  American  variety  is  called  the  marimba. 

Balalaika  (Russ.)  (bah-lah-lye'-ka).  A  Russian  guitar  with 
three  or  four  strings,  the  body  triangular. 

Ballata  (It).     A  ballad. 

Ballerina  (It.)    (bal-lch-rce'-nah).    A  female  ballet  dancer. 

Ballet  (Eng.),  called  also  Fa-la.  An  old  form  of  part  song 
in  simple  counterpoint. 

Ballet  (Fr.)  (bal-leh).  A  combination  of  music  and  dancing, 
designed  to  tell  a  story  in  pantomime. 

Balletto  (It.)  (bal-let'-to).  A  ballet.  Used  as  a  name  for 
a  movement  by  Bach. 

Ballo  (It.).    A  dance;  a  ball. 

Ballo  in  maschera  (mas-keh-rah).    Masked  ball. 

Band,  (i)  A  company  of  instrumentalists.  (2)  The  term  is 
used  to  distinguish  the  various  groups  of  instruments  in 
the  orchestra ;  as,  string  band,  wood  band,  brass  band. 
(3)  The  commonest  use  of  the  word  is  as  applied  to  a 
company  of  players  on  brass  instruments.  (4)  A  band 
composed  of  wood  and  brass  instruments  is  called  a  har- 
mony band. 

Band  (Ger.)    (bont).    A  volume;  a  part. 

Banda  (It.)   (ban-dah).    A  band. 

Bandola  (ban-do1 '-lah~).    A  variety  of  mandolin. 

Bandora  (Fr.)  (ban-do' -rah),  Bandore  (Eng.),  Pandoura 
(Gk).  An  obsolete  instrument  of  the  guitar  family. 

Bandurria  (Span.)  (ban-door-ree-ah).  A  variety  of  guitar 
with  wire  strings. 

Banger,  Bania,  Banja,  Banjo.  An  instrument  resembling  a 
guitar,  with  a  circular  body,  consisting  of  a  broad  hoop  of 
wood  covered  with  parchment,  generally  provided  with  five 
strings.  The  modern  banjo  is  furnished  with  frets  and  with 
a  screw  mechanism  to  tighten  the  parchment. 


Bar.  A  line  drawn  across  the  staff  or  staves  to  divide  the 
music  into  portions  of  equal  duration.  The  portion  enclosed 
between  two  bars  is  called  a  measure.  The  almost  universal 
custom  of  musicians,  however,  is  to  use  bar  in  the  sense  of 
measure. 

Barbaro  (It.)    (bar'-bah-ro).    Savagely;  ferocious. 

Barbiton  (Gk.).  (i)  A  variety  of  lyre.  (2)  A  string  instru- 
ment resembling  the  violoncello  (obsolete). 

Barcarole,  Barcarolle  (Fr.)  (bar-ca-rol) ,  Barcarola  (It.) 
(bar-ca-ro-lah),  Barcaruola  (It.)  (bar-ca-roo-o-la) .  A 
boat-song;  gondolier's  song;  vocal  or  instrumental  compo- 
sitions in  the  style  of  the  Venetian  gondoliers'  songs. 

Barem  (Ger.)  (bah-rchm).  A  soft  organ-stop;  closed  pipes 
of  eight-  or  sixteen-foot  tone. 

Bargaret  (Fr.)  (bar-gah-reh) ,  Barginet  (Fr.)  (bar-shee- 
H<?/0,Berginet(Fr.)  (behr-zhee-neh),'Bergiret  (Fr.)  (behr- 
shce-rch).  A  shepherd's  song;  pastoral  song.  From  bcrger 
(Fr.),  a  shepherd. 

Baribasso  (It.).    A  deep  bass  voice. 

Bariolage  (Fr.)  (bah-ree-o-laje).  A  medley;  a  series  of 
cadenzas. 

Baritenor.    A  low  tenor. 

Baritone.  A  brass  instrument ;  a  clarionet  of  low  pitch ;  an 
obsolete  variety  of  the  viol  family ;  the  male  voice  ranging 
between  bass  and,  tenor  (also  written  barytone)  ;  the  F  clef 
on  the  third  line  (not  used  now). 

Barocco  (It),  Barock  (Ger.),  Baroque  (Fr.)  (ba-rok).  Ir- 
regular; whimsical;  unusual. 

Barquade,  Barquarde   (Fr.)    (bar-kad,  bar-kard).     Same  as 

Barcarole. 
Barre  (Fr.)    (bar-reh').     In  guitar  playing,  pressing  the  first 

finger  of  the  left  hand  across  all  the  strings ;  the  finger  acts 

as  a  temporary  "nut,"  raising  the  pitch  of  the  strings. 
Barre  (Fr.)  (bar).     Bar. 

Barre  de  repetition.    A  double  bar  with  repeat  marks. 
Bas  dessus  (Fr.)    (bah-des-soo').    The  mezzo-soprano  voice. 
Base.    Old  way  of  writing  bass. 

Bass,  Basso  (It.),  Basse  (Fr.),  Bass  (Ger.).    Low;  deep. 
Basse  chantante  (Fr.)    (shan-tont).    Baritone  voice. 
Basse  chiffree  (Fr.)   (shif-freh).    Figured  bass. 
Basse  continue  (Fr.).     Same  as  Figured  Bass. 
Basse  de  cremone   (Fr.)    (creh-mone).     Bassoon. 
Basse  d'harmonic  (Fr.)   (d'ar-mo-nee).    The  ophicleide. 
Basse  de  hautbois  (Fr.).    The  English  horn. 
Basse  de  viole  (Fr.).    Violoncello. 
Basse  de  violon.    The  double  bass. 
Basse  taille  (Fr.)    (tah-ee).     Baritone  voice. 
Bass-bar.    A  strip  of  wood  glued  to  the  belly  of  instruments 

of  the  violin  family  under  the  lowest  string. 
Bass  Clef.    The  F  clef  on  the  fourth  line. 
Bass-Flote  (Ger.)    (Ha-tch).    A  low-pitch  flute. 
Bass-Geige   (Ger.).    The  violoncello. 

Bass-Pommer  (Ger.).    An  obsolete  ancestor  of  the  bassoon. 
Bass-Posaune  (Ger.)    (t>o-zow-neh) .    Bass  trombone. 
Bass-Schliissel   (Ger.)   (schlis-sel).    Bass  clef. 
Bass-Stimme  (Ger.)    (stim-meh).    Bass  voice  or  part. 
Bass  Tuba.    A  brass  instrument  of  low  pitch. 
Bass  Viol.    The  largest  viol  of  a  set  or  "chest"  of  viols. 
Bass  Voice.    The  lowest  male  voice. 


534 


BASSET    HORN 


BRACE 


Basset  Horn.  A  variety  of  the  clarionet,  ranging  from  F  be- 
low bass  staff  to  C  above  treble  staff ;  rich  quality  of  tone ; 
a  favorite  of  Mozart,  who  used  it  in  several  of  his  operas 
and  in  his  Requiem  Mass. 

Bassetto  (It.).  An  eight-  or  sixteen-foot  reed-stop  in  the 
organ;  obsolete  name  for  viola. 

Basso  (It).    The  lowest  part;  a  bass  singer. 

Basso  buffo  (It.).    A  comic  bass  singer. 

Basso  cantante  (It.)   (can-tan' -teh}.  A  vocal  or  singing  bass. 

Basso  concertante  (It.)  (con-cher-tan'-teh).  The  principal 
bass  that  accompanies  solos  and  recitatives. 

Basso  continue  (It.).    A  figured  bass. 

Basso  obbligato  (It.)  (ob-blee-gah'-to).  An  essential  bass; 
one  that  may  not  be  dispensed  with. 

Basso  ostinato  (It.)  (os-tee-nah'-to).  Literally,  obstinate 
bass ;  a  continuously  repeated  bass  with  constant  variation 
of  the  upper  parts ;  generally  used  as  the  foundation  of  that 
member  of  the  suite  called  the  Passacaglio. 

Basso  profundo   (It.).     A  very  deep,  heavy  bass  voice. 

Basso  ripieno  (It.)  (ree-pee-eh'-no).  A  "filling  up"  bass. 
See  Ripieno. 

Bassoon,  Basson  (Fr.),  Fagotto  (It),  Fagott  (Ger.).  A 
wood-wind  instrument  with  double  reed;  the  bass  of  the 
wind  band;  compass  from  Bb  below  bass  staff  to  Bb  in 
treble  staff  (two  or  three  higher  notes  are  possible). 

Basson  quinte  (Fr.)  (kangt).  A  bassoon  a  fifth  higher  than 
the  preceding. 

Baton  (Fr.).  (i)  The  stick  used  by  a  conductor;  alsti,  fig- 
uratively, his  method  of  conducting.  (2)  A  pause  of  st/eral 
measures,  signified  thus 


in  modern  music,  viz. :  one  or  two  heavy  diagonal  lines  with 
figures  over  to  indicate  the  number  of  bars  rest. 

Batterie  (Fr.)  (bat-teh-ree).  (1)  The  roll  on  the  drum. 
(2)  Repeated  or  broken  chords  played  staccato.  (3)  Strik- 
ing instead  of  plucking  the  strings  of  the  guitar. 

Battuta  (It.)   (bat-too' '-tali).    A  measure  or  bar. 

Bauerpfeife  (Ger.)  (bower-pfifeh).  An  8- foot  organ-stop  of 
small  scale. 

Baxoncillo  (Sp.)    (bah-hon-theel'-yo).    Open  diapason. 

Bayadere.    See  Bajadere. 

Bayles  (Sp.)    (bahl-ychs).    Comic  dancing  songs. 

Bearings  or  Bearing  Notes.  The  notes  first  tuned  by  an 
organ-  or  piano-tuner  as  a  guide  to  the  rest. 

Beat,  (i)  The  motion  of  the  hand  or  baton  by  which  the 
time  (rate  of  movement)  of  a  piece  is  regulated.  (2)  The 
equal  parts  into  which  a  measure  is  divided.  (3)  The 
throbbing  heard  when  two  sounds  not  exactly  in  unison  are 
heard  together.  (Beats  are  also  produced  by  other  intervals.) 

Bebung  (Ger.)  (beh-boonk).  Trembling;  an  effect  obtained 
on  the  obsolete  clavichord  by  rapidly  vibrating  the  finger 
up  and  down  without  raising  it  from  the  key;  the  tremolo- 
stop  in  an  organ. 

Becken  (Ger.).    Cymbals. 

Begeisterung  (Ger.)   (be-geis'-te-roonk).    Spirit;  excitement. 

Begleitung  (Ger.)    (be-glei'-toonk).    Accompaniment. 

Beklemmt  (Ger.)    (beh-klemt') .    Anxious;  oppressed. 

Bell,  (i)  A  cup-shaped  metal  instrument.  (2)  The  cup- 
shaped  end  of  brass  and  some  wood  instruments. 

Bell  Diapason,  Bell  Gamba.  Organ-stops  with  bell-shaped 
mouth. 

Bellezza  (It.)    (bel-let -za).     Beauty  of  expression. 


Bellicosamente    (It.)    (bel-le-co-sa-men'-teh).     In  a  warlike 

manner;  martially. 
Belly.    The  upper  side  of  instruments  of  the  violin  and  guitar 

families. 

Bemol   (Fr.)    (beh-mol).     The  sign  b. 
Ben  (It)    (behn).    Well;  as,  ben  marcato,  well  marked. 
Bene  placito  (It.)   (beh-neh  pla-chee'-to).    At  pleasure. 
Bequarre  or  Becarre  (Fr.)    (beh-kar).    The  sign  t|. 
Berceuse  (Fr.)    (behr-soos).    A  cradle-song;  lullaby. 
Bergomask  or  Bergamask.    A  lively  dance  in  triple  time. 
Bes  (Ger.)   (behs).    B  double  flat. 
Bestimmt  (Ger.).    With  energy;  con  energia. 
Bewegt    (Ger.)     (beh-vehgt').     Moved;    with   emotion;    con 

moto. 

Bewegung   (Ger.)    (bch-veh'-goonk).     Motion. 
Bien-chante  (Fr.)   (bc-ang-shong-teli) .    Literally,  well  sung; 

smoothly;  cantabile. 
Bifara   (Lat).     An  organ-stop;  same  as  Vox  angelica;  two 

pipes  not  in  perfect  unison. 

Binary  Form.  A  movement  founded  on  two  principal  themes. 
Binary  Measure.    A  measure  with  two  beats. 
Bind.    A  tie.     The  same  sign,  when  over  two  or  more  notes 
on  different  degrees,  is  called  a  slur. 

Bis  (Lat.).  Twice.  When  placed  over  a  short  passage,  in- 
closed thus,  Bis  signifies  that  it  is  to  be  played  twice. 

Bit.  A  small  piece  of  tube  used  to  lengthen  the  trumpet  or 
other  brass  instrument  to  alter  the  pitch. 

Bizzarramente  (It.)  (bid-zarra-mente) ,  Bizzaria  (It.)  (bid- 
zarria),  Bizzaro  (It.)  (bid-zarro) .  Bizarre;  fantastic; 
odd ;  droll. 

Blanche  (Fr.)  (blongsh).    A  half-note;  minim. 
Blanche  pointee  (poin-teh).    A  dotted  half-note. 
Blase-Instrument  (Ger.)    (blah-zeh).    Wind  instrument. 
Bob.    A  technical  term  in  bell  ringing. 

Bocca  (It).  The  mouth.  Con  bocca  chiusa  (kee-oo-sa), 
with  closed  mouth ;  humming. 

Bocca  ridente  (It.)  (ree-den'-teh).  Smiling  mouth;  the 
proper  position  of  the  mouth  in  singing. 

Bocktriller  (Ger.).    A  bad  trill.     (Literally,  goat's  bleat.) 
Bois  (Fr.)   (bo-a).    Wood.     Les  bois,  the  wood  wind. 
Bolero   (Sp.)    (bo-leh-ro).     Spanish  dance  in   £    time;   also 

called  Cachuca   (ka-choo-ka). 

Bombard,    An  8  or  i6-foot  reed-stop  in  the  organ. 
Bombardon.     A  large,  deep-toned  brass  instrument. 
Bouche  (masc.),  Bouchee  (fern.)   (Fr.)   (boo-sheh).   Closed. 

Applied  to  organ-stops  with  closed  mouth. 
Bouffe  (Fr.)   (boof).    Comic. 

Bourdon,  (i)  A  closed  organ-stop  of  16  or  32-foot  tone. 
(2)  In  France  also  4  and  8-foot  stops,  analogous  to  the  stop 
diapason,  are  so  called.  (3)  A  drone  bass.  (4)  The  largest 
bell  of  a  chime. 

Bourree    (Fr.)    (boo-reh).     A   rapid   dance    £     or    f    time, 

frequently  used  as  one  of  the  movements  in  a  suite. 
Bow.     (i)  The  implement  of  wood  and  horse-hair  by  means 

of  which  the  strings  of  the  violin  family  of  instruments  are 

set  in  vibration.     (2)  The  rim  of  a  bell. 
Bowing,     (i)  The  art  of  managing  the  bow.     (2)  The  signs 

indicating  the  way  in  which  the  bow  is  to  be  used. 

Brabangonne  (Fr.)  (bra-ban-sonn) .  The  Belgian  national 
air. 

Brace.    The  sign  4  used  to  join  two  or  more  staves. 


BRANSLE 


536 


•GALORE 


Bransle  (Fr.)  or  Branle  (brongt),  Brawl.  An  ancient 
French  dance  in  J  time. 

Bratsche  (Ger.)  (bratch-eh).  The  viola.  Corruption  of  the 
Italian  Braccia  (brats-chia) ,  the  arm-viol. 

Bravo  (masc.)  (It.),  Brava  (fern.)  (bra-vah),  Bravi  (plu.) 
(bra-vee).  Literally,  brave.  Used  to  applaud  performers, 
meaning  "well  done." 

Bravura  (It.)  (bra-voo'-rah).  Boldness;  brilliancy.  A  com- 
position designed  to  exhibit  the  powers  of  the  performer. 

Break,  (i)  The  point  at  which  the  register  of  the  voice 
changes.  (2)  The  point  at  which  the  lower  octave  is  re- 
sumed in  compound  organ-stops.  (3)  The  point  where  the 
quality  of  the  tone  changes  in  wood  instruments  (of  the 
clarionet  family  especially). 

Breit  (Ger.)    (bright).    Broad;  stately. 

Breve  [from  Lat.  brevis,  short].  Formerly  the  shortest  note; 
now  the  longest,  equal  in  value  to  two  whole  notes.  Made 

M  °r   M 

Bridge.  A  piece  of  wood  resting  on  the  sound-board  or 
resonance  box,  upon  which  the  strings  of  piano,  violin, 
guitar,  etc.,  rest. 

Brillante  (Fr.)  (bree-yant),  Brillante  (It.)  (breel-hn-teh) . 
Brilliant. 


Brindisi  (It.)  (brin-dee'-see).    Drinking  song  in  }  or    f  time, 

so  written  as  to  resemble  the  Tyrolese  Jodl. 
Brio  (It.)   (bree-o).    Fire;  spirit. 
Brioso  (It.).     Cheerfully;  briskly;  joyfully. 
Broken  Cadence.    An  interrupted  cadence. 
Broken  Chords.    See  Arpeggio. 
Brumm-Stimmen  (Ger.).   Humming  voices;  con  bocca  chiusa. 

Bruscamente   (It.)    (broos-ka-men'-teh).     Roughly;  strongly 

accented. 
Brustwerk    (Ger.)    (broost-vehrk).     The  pipes  in  the  organ 

belonging  to  the  swell  or  choir  organ. 

Buca  (It.),  Schall-Loch  (Ger.).  The  sound-hole  of  a  guitar, 
mandolin,  etc. 

Buccolica  (It.)  (buk-ko'-li-ka),  Bucolique  (Fr.)  (boo-ko- 
leek).  In  a  rustic  style. 

Buffo  (masc.),  Buffa  (fern.).    A  comic  opera,  or  air,  or  singer. 

Bugle,  (i)  A  straight  or  curved  hunting  horn.  (2)  A  keyed 
horn,  generally  made  of  copper.  Chiefly  used  for  military 
signals. 

Burden.    Old  name  for  the  refrain  or  chorus  to  a  song. 

Burletta  (It.).    A  musical  farce. 

Busain.     A  16-foot  reed-organ  stop. 


C.  The  first  note  in  the  natural  major  scale.  Middle  C,  the 
C  lying  between  the  fifth  line  of  the  bass  staff  and  first  line 
of  the  treble  staff;  the  C  clef  TS£  or  ||.J|  always  signifies 


this  C. 

Cabaletta  (It.).  ("A  little  horse,"  so  called  from  the  rapid 
triplet  accompaniment  generally  used  with  it.)  A  vocal 
rondo,  the  theme  often  repeated  with  elaborate  variations. 

Cabinet-d'orgue  (Fr.)    (ca-bee-neli-d'org).     Organ  case. 

Cabinet  Organ.  A  reed  organ  (American)  in  which  the  air 
is  drawn  instead  of  forced  through  the  reeds. 

Cabinet  Piano.     An  old-style  lofty  upright  piano. 

Caccia  (It.)    (cat'-chia).     Hunting  chase. 

Cachucha  (Sp.)    (ca-choo'-cha).     The  same  as  Bolero. 

Cadence  [from  Lat.  cado,  to  fall].  The  end  of  a  phrase,  part, 
piece.  The  principal  cadences  are  as  follows :  whole,  or 
perfect,  dominant  to  tonic;  half,  or  imperfect,  tonic  to 
dominant ;  deceptive,  dominant  to  subdominant  or  sub- 
mediant. 


_J     I  ~a     jzzg-jrcrzpci 

3=  I? 


Half  Deceptive 

Plagal  cadence,  subdominant  to  tonic.  In  the  perfect 
cadence  the  dominant  is  generally  preceded  by  the  6-4  of 
the  tonic ;  in  the  half  cadence  the  6-4  of  the  tonic  before  the 


dominant  which  is  the  final ;  half  and  deceptive  cadences 
are  used  in  the  course  of  a  piece ;  perfect  and  plagal  at  the 
end.  The  Phrygian  cadence  consists  of  the  following  chords : 


A  long,  brilliant,  vocal  or  instrumental  flourish  introduced 
just  before  the  close,  or  before  the  return  of  the  principal 
theme,  is  also  called  a  cadence  (in  Italian,  cadenza). 

Cadenz  or  Kadenz   (Ger.).     Cadence. 

Cadenza  (It.).  A  cadence.  The  Italian  word  is  generally 
used  when  applied  to  the  kind  of  passage  described  above. 

Ca-ira  (Fr.)  (salt-era).  That  will  do;  lit.,  that  will  go.  A 
revolutionary  song  in  France. 

Caisse  (Fr.)   (case).    A  drum. 

Caisse  claires  (dare).  Kettle  drums.  Grosse  Caisse,  largt 
drum. 

Caisse  roulante.     Side  or  snare  drum. 

Cal'amus  (Lat.).  A  reed.  From  this  are  derived  the  words 
Chalumeau  (Fr.)  (sha-loo-mo),  the  first  register  of  the 
clarionet,  and  Shawm,  an  obsolete  reed  instrument  used  in 
the  Bible  as  the  translation  of  a  Hebrew  instrument. 

Calan'do  (It.)  [from  calare,  to  go  down  or  decrease].  Get- 
ting both  slower  and  softer. 

Calandrone  (It.)  [calandra,  a  lark].  A  small  reed  instrument 
resembling  the  clarionet. 

Cala'ta  (It.).     A  lively  dance  in  |  time. 

Calcan'do  (It.)   [from  calcare,  to  tread  upon].    Hurrying  the 

time. 

Call.    A  military  signal,  given  by  drum  or  bugle. 
Calma  (It.).     Calm,  quiet. 
Calma'to  (It.).    Calmed,  quieted. 
Galore  (It.)    (kaf-o-reh).     Warmth,  passion. 


CALORO'SO 


537 


CELESTE 


Caloro'so  (It.).    Warmly,  passionately. 

Cambiata  (It.)  (camb-ya'-ta)  [from  cambiare,  to  change]. 
Nota  cambiata,  changing  note ;  a  dissonant  struck  on  the 
accent. 

Camera  (It.)  (ka'-meh-ra).  Chamber.  Musica  di  camera, 
chamber  music. 

Camminan'do  (It.)  [from  camminare,  to  travel  or  walk]. 
Walking,  flowing.  Same  as  Andante. 

Campa'na  (It.).    A  bell. 

Campanello   (It.)    (kam-pah-nel'-lo).     A  small  bell. 

Campanet'ta  (It.).  Instrument  consisting  of  a  series  of  small 
bells  tuned  to  the  musical  scale,  played  either  with  small 
hammers  held  in  the  hands,  or  by  means  of  a  keyboard. 

Campanology.    The  art  of  making  and  using  bells. 

Canaries.    A  lively  dance  in  J  time,  of  English  origin. 

Can'crizans  [Lat.  cancer,  a  crab].  A  term  applied  to  a  canon 
in  which  the  "follower"  takes  the  theme  backward. 

Canon  (Lat.).  Law  or  rule,  (i)  The  measurement  of  the 
ratios  of  intervals  by  means  of  the  monochord.  (2)  A 
musical  composition  in  which  each  voice  imitates  the  theme 
given  out  by  the  leading  voice;  this  imitation  may  be  at  any 
interval  above  or  below,  or  may  begin  at  any  point  of  the 
theme.  There  are  many  varieties  of  the  canon.  The  follow- 
ing are  the  most  important,  if  any  importance  attaches  to 
such  dry  productions :  Close  Canon,  the  entrance  of  the 
voices  indicated  by  a  sign ;  the  parts  not  written  out.  Open 
Canon,  the  reverse  of  this ;  i.  e.,  written  in  full.  Finite 
Canon,  one  with  an  ending.  Infinite  Canon,  one  without 
an  ending. 

There  are  also  canons  by  augmentation,  by  diminution,'  by. 
mversion,  by  retrogression  (cancrizans),  etc.,  etc. 

Canonic  Imitation.     See  Canon. 

Cantabile  (It.)  (can-tali -bee-leh)  [from  cantarc,  to  sing]. 
In  a  singing  style. 

Cantan'do  (It.).    Singing. 

Canta'ta.  (i)  A  mixture  of  aria  and  recitative  for  one  voice. 
(2;  A  short  oratorio,  or  a  secular  work  in  oratorio  form, 
sung  without  costume  or  action. 

Cantatore  (It.)    (can-ta-to'-reh).    A  singer,  male. 

Cantatrice    (It.)    (can-ta-tree'-cheh).     A  singer,   female. 

Cantilina  (Lat.).  (i)  A  folk-song.  (2)  A  solfeggio.  (3)  A 
smooth-flowing  melody.  (4)  Anciently  the  Cantus  firmus. 

Canticle  (Lat.).  (i)  A  song  of  praise.  Cantico  (It.),  Can- 
tique  (Fr.)  (kan-teek),  Lobgesang  (Ger.)  (lope-ge-zang). 
(2)  The  parts  of  Scripture — -Te  Deum  and  Benedicite 
Omina  Opera — that  form  the  chief  part  of  the  musical  ser- 
vice of  the  Protestant  Episcopal  Church. 

Cantino  (It.).     See  Chanterelle. 

Canto  (It.).    The  air;  the  melody;  upper  part. 

Canto  a  capella  (It.).     Sacred  music. 

Canto  fermo  (It.).     Cantus  firmus. 

Canto  figura'to  (It.).  Florid  melody;  melody  with  varia- 
tions. 

Canto  primo  (It.).    First  soprano. 

Canto  recitative  (It.).    Declamatory  singing. 

Canto  ripieno  (It.)  (ree-pe-eh'-no).  Additional,  soprano 
chorus  parts. 

Canto  seconda   (It.).     Second  soprano. 

Cantor  (Lat.),  Kantor  (Ger.).     A  precentor. 

Cantore  (It.).    A  singer;  chorister. 

Cantoris  (Lat.).  The  side  of  a  cathedral  choir  (the  north) 
where  the  cantor  sits  is  called  the  cantoris ;  the  opposite 
side  is  called  the  decani  side,  where  the  dean  sits. 

Cantus  (Lat.).     Song. 

Cantus  ambrosia'nus  (Lat.).    Plain  song. 


Cantus  firmus.    The  plain  song  or  chant. 

Cantus  mensura'bilis  (Lat.).    Measurable  song;  name  given 

to  music  when  first  written  with  notes  of  definite  length. 
Canzona  (It.)  (cant-so' -no),     (i)  A  part  song  in  popular  style. 

(2)  An  instrumental  composition  in  the  old  sonata  form. 

(3)  An  indication  of  lively,  rapid  movement. 

Canzonette  (Fr.)  (can-so-net),  Canzonetta  (It.),  Canzonet 
(It.).  A  short  part  song. 

Capella  (It.).     Church.    Alia  capella,  in  church  style. 
Capellmeister     (Ger.)     (ka-pel'-meis'-ter).      Master    of    the 

chapel ;  the  head  of  the  musical  establishment  of  a  noble  or 

princely  house. 
Capellmeister-Musik  (Ger.).     Music  made  to  order  without 

inspiration  is  so  called  in  Germany. 

Capo- (It.).    Head;  beginning.    Da  capo,  from  the  beginning. 

Capodastro  (It.).    Same  as  Capo  tasto. 

Capo  tasto  (It.).    Head  stop.    A  clamp  which  is  screwed  on 

the  finger-board  of  the  guitar,  so  as  to  "stop"  all  the  strings, 

thus  raising  the  pitch  to  any  degree  desired. 
Capriccietto  (It.)    (ca-pree-chee-etf-to).    A  little  caprice. 
Caprice  (Fr.)    (ca-prees'),  Capriccio  (It.)   (caprit'-chio).   A 

whim ;  freak ;  composition  without  form.    In  German,  Grille. 
Caricato  (It.)    (ca-ree-ca'-to).    Overloaded  with  display. 
Carillon   (Fr.)    (car-ee-yong).     (i)  A  set  of  bells  played  by 

hand  or  by  machinery.     (2)  A  mixture-stop  in  the  organ. 

Carilloneur    (Fr.)     (ca-ree-yo-nnre).      One    who    plays    the 

carillon. 
Carmagnole   (Fr.)    (car-man-yole) .    A  wild  song  and  dance 

of  the  French  Revolution. 

Carol.     A  song  of  praise,  usually  sung  at  Christmas  and  at 

Eaiter. 

Carola  (It.).    See  Carmagnole. 
Carree  (Fr.).    A  breve. 

Carressant  (Fr.)  (ca-res-saivnt) ,  Carrezzando  (It.)  (car- 
retz-zan'-do),  Carrezzevole  (It.)  (car-retz-zeh'-vo-leh). 
In  a  caressing  manner. 

Cassa  grande  (It.).    The  large  drum. 
Cassatio  (It.)   (cas-sa-shio) .    A  suite;  cassation. 

Castanets,  from  castagna  (It.  castanya,  a  chestnut),  Castag- 
nette  (It.)  (cas-tan-yet-tch),  Castanettes  (Fr.)  (cas-tan- 
yet),  Castanuelas  (Sp.)  (cas-tan-yu-eh-Ias).  Small  wooden 
clappers  used  to  mark  the  rhythm. 

Catch.  A  species  of  canon  so  contrived  that  the  meaning  of 
the  words  is  distorted. 

Catena  di  trilli  (It.)  (cat-teh-na  dee  trillee}.  A  chain  or 
succession  of  trills. 

Catgut.  The  usual  name  for  gut-strings,  made  in  reality 
from  sheeps'  intestines. 

Catlings.    The  smallest  lute  strings. 

Cattivo  tempo  (It.)  (cat-tee-vo).  The  weak  beat;  literally, 
bad  beat. 

Cauda  (Lat.).    The  tail  or  stem  of  a  note. 
Cavalet'ta  (It.).     See  Cabaletta. 

Cavalet'to  (It.,  little  horse),  (i)  Small  bridge.  (2)  The 
break  in  the  voice. 

Cavatina  (It.)  (cah-vah-tee'-nah).  A  short  air ;  a  song  with- 
out a  repetition  of  the  first  member. 

C  Clef.    See  Clef. 

Cebell.    A  theme  consisting  of  alternate  passages  of  high  and 

low  notes,  upon  which  "divisions"  or  variations  were  played 

on  the  lute  or  viol. 

Celere  (It.)   (cheh'-leh-reh).    Quick,  rapid. 
Celerita  (It.)    (che-leh'-ree-tah),  con.     With  speed. 
Celeste  (Fr.).    Celestial.    The  soft  pedal  of  the  piano. 


CELLO 


538 


CIMBAL 


Cello  (It.)    (chel-lo)..  Abbreviation  of  violoncello. 

Cembalo  (It.)   (chem'-ba-lo).    Harpsichord;  piano. 

Cembalist  (It)    (chem-ba-list) .    A  pianist. 

Cembanella  or  Cennamella  (It.).    A  flute  or  flageolet. 

Cercar  la  nota  (It.)  (cher-car  la  no-ta).  To  slur  or  slide 
from  one  note  to  the  next.  Same  as  Portamento. 

Ces  (Ger.)  (tsehs).    Cb. 

Chacona  (Sp.)  (cha-co'-na),  Ciaconna  (It.)  (chea-con'-na), 
Chaconne  (Fr.)  (sha-con).  A  slow  dance  in  J  time,  writ- 
ten on  a  ground  bass  of  eight  measures,  sometimes  intro- 
duced in  the  suite. 

Chair  Organ.    Choir  organ. 

Chalameau  (shah-lah-mo)  or  Chalumeau  (Fr.).  See 
Calamus. 

Chamber  Music.  Vocal  or  instrumental  music  suitable  for 
performance  in  small  rooms.  Generally  applied  now  to 
sonatas,  trios,  quartets,  etc.,  for  instruments. 

Change  of  Voice,  (i)  Passing  from  one  register  to  another. 
(2)  The  change  from  the  child's  to  the  adult's  voice  in 
boys.  Generally  occurs  between  fourteen  and  seventeen 
years  of  age. 

Changes.  The  various  melodies  produced  by  the  various 
ways  in  which  a  chime  is  rung. 

Change  Ringing.    The  art  of  ringing  chimes. 

Changing  Chord.  A  chord  struck  with  a  bass  that  is  not  a 
member  of  the  chord. 

Changing  Notes  (nota  cambiata,  It.).  Dissonant  notes  struck 
on  the  beat  or  accent ;  appoggiaturas. 

Chanson  (Fr.)  (shan-song).  A  song,  a  part  song;  formerly 
a  part  song  resembling  a  madrigal. 

Chansonnette  (Fr.)  (shan-son-net) .    A  little  song. 

Chant.  A  form  of  composition  in  which  reciting  notes  alter- 
nate with  phrases  sung  in  time.  There  are  two  forms  of 
chant,  Anglican  and  Gregorian.  The  Anglican  chant  may 
be  single,  »'.  e.,  with  the  reciting  notes  and  two  inflections 
(phrases  in  time),  or  double,  that  is,  the  length  of  two 
single  chants.  The  Gregorian  chant  consists  of:  (i)  The 
intonation.  (2)  The  dominant  or  reciting  note.  (3)  The 
mediation  (analogous  to  the  inflection,  but  not  in  strict 
time).  (4)  The  dominant  again.  (5)  Ending  or  cadence. 
The  chant  was  undoubtedly  first  sung  to  metrical  words, 
therefore  was  as  rhythmic  as  a  modern  melody.  This 
rhythmic  character  has  been  lost  by  adapting  prose  words 
to  it. 

Chant  (Fr.)    (shawnt).    Song;  melody;  tune;  vocal  part. 

Chantant  (Fr.)  (shong-tawnt) .  Singing.  Cafe  chantant,  a 
cafe  where  singing  is  part  of  the  entertainment. 

Chanter,  (i)  A  singing  priest.  (2)  The  melody  pipe  of  the 
bagpipe. 

Chanterelle  (Fr.)  (shong-ta-rell) .  The  highest  string  of  the 
violin,  viola,  and  violoncello ;  also  of  the  guitar  and  lute. 

Chanteur  (Fr.)   (shong-ture) .    A  singer  (male). 

Chanteuse   (Fr.)    (shong-toose') .    A  singer   (female). 

Chant  pastoral  (Fr.).     Shepherd's  song. 

Characters.    The  signs  used  in  written  music. 

Characterstimme  (Ger.).  Lit.,  character  voice;  any  solo- 
stop  on  the  organ. 

Characterstiicke  (Ger.)  (ka-rak'-ter-stee-ke).  Character 
pieces ;  descriptive  music,  as  the  pastoral  symphony. 

Chasse,  a  la  (Fr.)  (o  la  shass~).    In  the  hunting  style. 

Chef  d'attaque  (Fr.)  (shef  d'at-tak).  The  chorus  leader,  or 
leading  instrument  of  any  division  of  the  orchestra. 

Chef  d'oeuvre  (Fr.)   (shef  d'oovr).    Master-work. 

Chef  d'orchestre  (Fr.)  (shef  d'or-kestr).  Conductor  of  the 
orchestra ;  leader. 

Chest  of  Viols.  A  "chest"  containing  two  trebles,  two  ten- 
ors, and  two  basses.  Called  also  "consort  of  viols." 


Chest  Tone.  The  lowest  register  of  the  voice — male  or 
female. 

Chevalet  (Fr.)    (she-va-leh) .     Bridge  of  string  instruments. 

Chiara  (It.)   (ke-ah-rah).    Clear,  pure. 

Chiaramente  (It.)    (ke-ah-rah-men'-teh).    Clearly,  distinctly. 

Chiarezza  (It.)   (ke-ah-rct'-za),  con.    With  clearness. 

Chiarina  (It.)   (ke-ah-ree'-na).    Clarion. 

Chiave  (It.)    (ke-ah'-t-eh).     Key  or  clef. 

Chica  (Sp.)  (chee-ka).  Old  Spanish  dance.  The  original  of 
Giga,  Jigue,  and  Jig. 

Chiesa  (It.)  (ke-ek'-sa).  Church.  Concerto  da  chiesa,  a 
church  concert.  Sonata  da  chiesa,  a  church  sonata. 

Chime.  A  set  of  bells,  generally  five  to  ten.  To  chime;  to 
play  a  set  of  bells  by  striking  them  with  hammers  or  by 
swinging  their  clappers.  Chime  Ringing  is  to  swing  the 
bells  themselves. 

Chirogymnast,  Chiroplast.  Obsolete  machines  for  strength- 
ening the  fingers  of  pianists  and  keeping  them  in  position. 

Chitarra  (It.)    (kit-tah'-rah).    Guitar. 

Choeur  (Fr.)   (koor).    Chorus,  choir. 

Choir,  (i)  A  company  of  church  singers.  (2)  The  part  of 
the  church  appropriated  to  the  singers.  In  English  churches 
(Anglican)  the  choir  is  divided  into  two  parts,  called  the 
decani,  or  choir  on  the  dean's  side,  and  cantori,  or  choir  on 
the  cantor's  side.  When  chanting,  they  usually  sing  antiph- 
onally,  joining  in  the  "gloria."  In  anthems  the  words 
decani  and  cantoris  are  printed  to  indicate  which  side  is  to 
sing  a  given  part. 

Choir  Organ.  One  of  the  divisions  of  the  organ,  the  manual 
for  which  is  generally  the  lowest.  Was  originally  called 
chair  organ ;  called  in  France  prestant. 

Chor  (Ger.)  (kore).  Chorus,  choir;  a  number  of  instru- 
ments of  the  same  kind. 

Choragus  (Lat.).  (i)  Leader  of  a  chorus.  (2)  A  musical 
official  at  Oxford  University,  England. 

Choral,     (i)  For  a  chorus.     (2)  An  old  form  of  psalm-tune. 

Choral  Service.  A  service  of  which  singing  is  the  most 
prominent  part. 

Chord,  Akkord  (Ger.),  Accord  (Fr.),  Accord  (It.).  A 
combination  of  three  or  more  sounds — common  or  perfect 
chord,  or  triad.  Consists  of  any  sound  with  its  third  and 
fifth;  it  is  called  major  when  the  interval  from  one  (or 
root)  to  three  contains  two  whole  tones ;  minor,  when  it 
contains  a  tone  and  a  half;  diminished,  if  there  are  three 
whole  tones  from  one  to  five ;  augmented,  if  there  are  four 
whole  tones  from  one  to  five.  A  chord  is  inverted  when  its 
root  is  not  at  the  bass ;  chords  with  more  than  three  letters 
are  dissonant  chords,  called  chords  of  the  seventh  if  they 
contain  four  letters,  chords  of  ninth  if  they  contain  five  let- 
ters, etc.,  etc.  Chords  bear  the  name  of  the  degree  of  the 
scale  upon  which  they  are  written :  First,  tonic ;  second, 
supertonic ;  third,  mediant ;  fourth,  subdominant ;  fifth, 
dominant ;  sixth,  submediant ;  seventh,  leading  note  or 
diminished  chord. 

Chorister.    A  chorus-  or  choir-singer;  a  precentor. 

Chorus,  (i)  A  company  of  singers.  (2)  The  refrain  of  a 
song.  _(3)  A  composition  for  a  company  of  singers.  (4) 
The  mixture-stops  in  an  organ. 

Chromatic,  Chromatisch  (Ger.),  Chromatique  (Fr.1.  Cro- 
matico  (It.),  (i)  Sounds  foreign  to  the  key.  (2)  A  scale, 
consisting  of  half-tones.  Chromatic  chord,  one  including 
foreign  sounds.  Foreign  to  the  key;  chromatic  interval, 
one  not  found  in  the  major  scale;  chromatic  half-tone, 
changing  the  pitch  without  changing  the  letter,  as  C,  CS. 

Church  Modes.  The  scales  derived  from  the  Greek,  in  which 
Gregorian  music  or  plain  songs  are  written. 

Cimbal.     A  dulcimer  ;  harpsichord. 


CIMBALI 


539 


COMMODAMEN'TE 


Cimbali  (It.)   (chim-ba-lee) .    Cymbals. 

Cimbalo  (It.)  (chim'-ba-lo).  See  Cembalo.  Also  a  tam- 
bourine. 

Cimbel  (Ger.)    (tsim-bel).    A  mixture-stop  in  the  organ. 
Cink  (Ger.)   (tsink),  Cinq  (Fr.)    (sank).    A  small  reed-stop 
in  the  organ. 

Cinque  pace  (Fr.)  (sank  pace).  An  old  French  dance.  In 
old  English,  sink  a  pace. 

Circular  Canon.  One  which  ends  a  half-tone  higher  than  it 
begins,  consequently  will,  if  repeated  often  enough,  go 
through  all  the  keys. 

Circulus  (Lat.).  A  circle;  the  old  sign  for  what  was  called 
perfect  time,  three  beats  in  the  measure ;  for  imperfect  time, 
two  beats  in  the  measure,  the  circle  was  broken  in  half, 
thus,  G.  It  is  from  this  the  sign  for  common  time  is  de- 
rived ;  it  is  not  as  is  generally  supposed  the  letter  C. 

Cis  (Ger.)   (tsis).    C  sharp. 

Cithara  (Lat.).     An  ancient  lute. 

Citoli.     Old  name  for  the  dulcimer. 

Civetteria  (It.)    (chee-vet-tee'-rea),  con.    With  coquetry. 

Clairon  (Fr.).    Clarion. 

Clangtint.  A  term  introduced  by  Tyndall  to  designate  the 
quality  of  sounds  (translation  of  Ger.  Klangfarbe)  ;  means 
much  the  same  thing  as  the  French  word  timbre. 

Claque  bois  (Fr.)  (clack  boa).  The  xylophone;  in  German, 
Strohfiedel ;  straw  fiddle.  Italian,  Organo  di  legno.  Gradu- 
ated strips  of  hard  wood  laid  on  supports  made  of  straw, 
played  by  striking  with  small  hammers  held  in  the  h'inds. 

Clarabella.    An  eight-foot  soft  organ-stop. 

Clarabel  Flute.    The  same  stop  when  of  four-foot  tone. 

Clarichord.    An  old  variety  of  the  harpsichord. 

Clarinet  or  Clarionet  (a  little  clarion).  A  wind  instrument 
with  a  beating  reed,  invented  in  1654  by  Denner.  The 
compass  of  the  clarinet  is  from  E  third  space  bass  to  the 
second  C  above  the  treble  (the  highest  octave  is  rarely 
used).  Clarinets  are  made  in  several  keys;  those  used  in 
the  orchestra  are  in  C,  Bb  and  A ;  the  Bb  clarinet  sounds 
a  whole  tone  lower  than  the  written  notes,  the  A  clarinet  a 
minor  third  lower ;  alto  and  bass  clarinets  are  also  used,  the 
former  in  F  and  Eb,  the  latter  an  octave  below  the  ordinary 
clarinet.  The  clarinet  has  four  well-marked  registers :  the 
first,  or  chalumeau,  extends  from  the  lowest  note  to  the 
octave  above;  second  to  Bb  in  treble  staff;  third  to  C  above 
treble  staff ;  fourth  the  rest  of  the  compass. 

Clarinetto  (It.),  Klarinette  (Ger.),  Clarinette  (Fr.).  The 
clarinet. 

Clarino   (It.)    (clah-ree-no).     Clarion  or  trumpet;  an  organ- 
stop  ;  four-foot  reed. 
Claviatur  or  Klaviatur   (Ger.)    (kla-fee-a-toor').     Keyboard. 

Clavicembalo  (It.)  (cla-vee-chem'-ba-lo).  Keyed  dulcimer; 
the  harpsichord. 

Clavichord.  An  instrument  resembling  a  square  piano.  The 
strings  were  vibrated  by  forcing  wedge-shaped  pieces  of 
brass  called  tangents  against  them.  By  depressing  the  keys, 
the  tangent  acted  both  as  a  means  of  vibrating  the  string 
and  as  a  bridge.  When  the  finger  was  raised,  the  string 
was  damped  by  a  piece  of  woolen  cloth  wrapped  round  it, 
between  the  tangent  and  the  pin-block.  The  chief  interest 
in  this  obsolete  instrument  is  the  fact  that  it  was  the 
favorite  of  J.  S.  Bach. 

Clavigon    (Fr.)    (cla-vee-soong)    [from   Lat.   clavis,  a  key]. 

The  harpsichord. 
Clavicytherium.    A  variety  of  harpsichord. 

Clavier  or  Klavier  (Ger.)  (klah-feer1).  (i)  Keyboard.  (2) 
Used  as  a  name  for  the  pianoforte. 

Clavier  (Fr.)    (klah-vee-eh).    An  organ  manual. 


Clavierauszug    (Ger.)    (klah-feer-ows-tsoog).     A  pianoforte 
score  or  edition. 

Clef  [from  Lat.  clavis,  a  key].    A  sign  placed  on  the  staff  to 
indicate  the  names  and  pitch  of  the  sounds.     Three  clefs 

are  used  in  modern  music:   (i)   The  treble  or  G  clef,     /S 

also  called  violin  clef;   this  is  now  always  placed   on  the 
second  line.      (2)    The  C   clef: 


this  clef,  when  on  first  line,  is  called  soprano  clef;  on  second 
line,  mezzo-soprano  clef ;  on  third  line,  alto  clef,  also  viola 
or  alto  trombone  clef;  on  fourth  line,  tenor  clef;  used  also 
for  upper  notes  of  violoncello  and  bassoon.  The  C  clef 
always  signifies  middle  C;  that  is,  C  that  lies  between  the 
fifth  line  bass  staff  and  first  line  treble  staff.  Bass  or 
F  clef,  91  placed  on  the  fourth  line,  occasionally  on  the 
third,  when  it  is  called  the  baritone  clef;  used  for  bass 
voices  and  all  bass  instruments. 

Cloche  (Fr.)   (clash).    A  bell. 

Clochette  (Fr.)  (closhet').    A  small  bell. 

Close  Harmony.  When  the  sounds  forming  the  chords  ar« 
drawn  together  as  much  as  possible. 


EEE^^l 


No.  i,  close  harmony;  No.  2,  open  harmony. 
Coda  (It.).    "Tail."    A  passage  added  after  the  development 

of  a   fugue    is  finished,   or   after  the   ''form"   of   a  sonata, 

rondo,   or  any  other   composition  has   been  completed,   to 

produce  a  more  satisfactory  close. 
Codetta  (It.).     A  short  coda. 

Cogli  stromenti  (It.)  (col-yee  stro-men'-tee) ,  With  the 
instruments. 

Coi  (coee),  Col,  Coll',  Colla,  Colle,  Collo  (It.).    With  the. 

Col  arco.  With  the  bow.  Used  after  the  direction  "pizzi- 
cato." 

Col    basso.     With  the  bass. 
Col  canto.     With  the  melody. 

Col  legno   (It.)    (col-lane-yo).     With  the  wood;  a  direction 
to  strike  the  strings  of  the  violin  with  the  back  of  the  bow. 
Colla  parte.     With  the  principal  part. 

Colla  voce.  With  the  voice.  In  score  writing,  to  save  the 
labor  of  re-writing  a  part  which  is  to  be  played  by  two  or 
more  instruments.  It  is  usual  to  write  the  part  for  one 
instrument,  for  instance,  the  violin,  and  write  the  words 
col  violino  on  the  staff  appropriated  to  the  other  instrument: 

Colophony.     Rosin. 

Colorato  (It.)   (co-lo-rah'-to).    Florid. 

Coloratura  (It.)  (co-lo-rah-too'-rah).  Florid  passages  in 
vocalization. 

Come  (It.)    (coh-meh).    As;  like. 

Come  prima  (It.)    (coh'-meh  pree'-mah).    As  at  first. 

Comes  (Lat.)    (co-mes).    The  answer  to  the  subject,  dux  of 

a  fugue.    Dux  means  leader;  comes,  follower. 
Comma.    The  difference  between  a  major  and  a  minor  tone. 

Commodamen'te,  Commodet'ta  (It.).  Quietly;  leisurely; 
without  hurry. 


COMMODO 


540 


CORO 


Commodo    (It.)    (com-mo'-do).     At   a   convenient   rate   of 

motion. 
Common  Chord.    The  combination  of  any  sound  (called  the 

root)  with  its  major  or  minor  3d  and  perfect  5th. 
Common  Meter,  or  Ballad  Meter.    A  stanza,  consisting  of 

alternate  lines  of  four  and  three  iambuses ;  as, 


How  blest  is  he  who  ne'er  consents 

By  ill  advice  to  walk. 

Common  Time.  Two  beats,  or  any  multiple  of  two  beats,  in 
the  measure.  The  signs  |,  C,  j|},  }  (|,  f .  |  rare)  indicate 
simple  common  time;  |,  {,  ^*  indicate  compound  common 
time,  }  being  compounded  from  two  measures  of  J;  |  from 
two  measures  of  |  ;  and  V  from  four  measures  of  {  time. 

Compass.  The  complete  series  of  sounds  that  may  be  pro- 
duced by  a  voice  or  instrument. 

Compiacevole  (It.)  (com-pea-cheh'-vo-leh).  Agreeable; 
pleasing;  charming. 

Complement.  The  interval  which,  being  added  to  another, 
will  make  an  octave.  A  complementary  interval  is  found  by 
inverting  any  given  interval  that  is  less  than  an  octave. 

Composer,  Componista  (It.),  Componist  or  Komponist 
(Ger.).  One  who  composes  music. 

Composition.  The  sounds  that  make  up  the  series  of  a  mix- 
ture- or  other  compound  organ-stop. 

Composition  Pedal  or  Knob.  A  mechanism  worked  by  the 
foot  or  by  pressing  a  button  with  the  finger,  which  throws 
on  or  off  certain  combinations  of  stops  in  the  organ. 

Compound  Intervals.    Intervals  greater  than  the  octave. 

Compound  Times.  Those  formed  by  adding  together  several 
measures  of  simple  time. f ,  {,  y ,  y  are  compound  common, 
having  an  even  number  of  beats ;  |,  |  are  compound  triple, 
having  an  odd  number  of  beats. 

Con  (It.).     With. 

Concert.     Any  musical  performance  other  than  dramatic. 

Concertante  (It.)  (con-cher-tan'-teli).  A  composition  in 
which  two  or  more  parts  are  of  equal  importance. 

Concerted  Music.  Music  for  several  voices  or  instruments, 
or  for  voices  and  instruments  combined. 

Concertina.  A  small  free-reed  instrument  somewhat  like  the 
accordion,  but  far  superior. 

Concertmeister  (Ger.).  Concert  master;  the  leader  or  con- 
ductor of  the  orchestra. 

Concerto  (It.)  (con-cher'-to),  Conzert  (Ger.).  Concert 
(Fr.)  (con-sehr).  A  composition  designed  to  display  the 
capabilities  of  one  instrument  accompanied  by  others. 

Concert  spirituel  (Fr.)  (con-sehr  spiri-too-el).  An  associa- 
tion in  Paris  for  the  performance  of  sacred  music,  vocal 
and  instrumental,  founded  1725. 

Concertstiick  (Ger.)    (steek).    Concert  piece;  concerto. 
Concitato   (It.)    (con-chee-tah'-to).     Agitated. 
Concord.     Agreeing.     Literally,  chording  with. 
Concordant.  (l)  Agreeing  with.  (2,  Fr.)  The  baritone  voice. 
Conductor.    The  director  or  leader  of  a  chorus  or  orchestra. 
Cone  Gamba.    An  organ-stop  with  bell-shaped  top. 

Conjunct  (Lat.,  con-junctus).  Joined  together.  Adjacent 
sounds  in  the  scale. 

Conjunct  Motion.    Moving  by  steps. 

Consecutive.     Two  or  more  of  the  same  intervals  in  succession. 

Consecutive  Fifths.  Two  voices  or  parts  moving  together 
a  fifth  apart. 


Consecutive  Octaves.    Two  voices  or  parts  moving  together 
an  octave  apart.     Consecutive  fifths  and  octaves  are   for 
bidden  by  the  laws  of  composition,  but  the  prohibition  is 
frequently  disregarded  by  the  best  writers. 

Consequent.     The  answer  to  a  fugue  subject;  comes. 

Consolante    (It.)    (con-so-lan'-teh).     Soothing. 

Consonance.  Literally,  sounding  together.  Those  intervals 
that  enter  into  the  composition  of  the  common  chord  and  its 
inversions,  viz.,  major  and  minor  3d  and  6th,  perfect  4th  and 
5th,  and  octave.  The  major  and  minor  3d  and  6th  are  called 
imperfect  consonances,  being  equally  consonant,  whether 
major  or  minor.  The  perfect  4th,  5th,  and  8th  are  called 
perfect  because  any  alteration  of  them  produces  a  disso- 
nance ;  i.e.,  an  interval  that  requires  resolution.  N.  B. — This 
definition  of  consonance  applies  only  to  the  modern  tem- 
pered scale. 

Con  sordini  (It.)  (sor-dee'-nee).  With  the  mute,  (i)  In 
piano  music,  with  soft  pedal.  (2)  Instruments  of  the  violin 
family :  a  direction  to  fasten  on  the  bridge  a  small  imple- 
ment of  wood  or  metal  which  has  the  effect  of  deadening 
the  tone.  (3)  Brass  instruments:  a  direction  to  place  a 
cone-shaped  piece  of  wood  covered  with  leather  in  the  bell, 
which  has  the  same  effect. 

Consort.    A  chest  of  viols. 

Contra  (It.).  Against  (it);  in  compound  words,  means  an 
octave  below,  as  contra-bass,  contra-fagotto. 

Contra  danza  (It.).    Country  dance. 

Contralto  (It.).    The  lowest  female  voice,  usually  called  alto. 

Contraposaune.     A  16-  or  32-foot  reed-organ  stop. 

Contrapuntal.     Belonging  to  counterpoint. 

Contrapuntist.  One  skilled  in  counterpoint,  or  who  writes 
on  the  subject  of  counterpoint. 

Contratenor.    The  highest  male  voice. 

Contra  violone  (It.)  (vee-o-lo'-neh),  Contra  basse  (Fr.). 
Double  bass. 

Countertenor.    The  developed  falsetto.     See  Allo. 

Convict  of  Music.  An  institution  for  musical  instruction. 
[Lat.,  convictus,  an  associate,  from  convivere,  to  live  to- 
gether.] 

Cor  (Fr.).     A  horn. 

Cor  Anglais  (ong-lay}.  English  horn;  a  variety  of  the  haut- 
boy, sounding  a  fifth  lower. 

Corale  (It.)   (co-rah'-leh).    A  choral. 

Coranto  (It.),  Courante  (Fr.).  An  old  dance  in  triple  time, 
used  as  a  movement  in  the  suite. 

Corda  (It.).  String.  Una  corda,  Due  corde,  Tre  corde  or 
Tutte  corde,  one  string,  two  strings,  three  strings,  all  the 
strings,  are  directions  for  the  use  of  the  pedal  in  Grand  p.  f. 
that  shifts  the  action  so  as  to  strike  one,  two,  or  all  of  the 
strings  allotted  to  each  key. 

Cornamusa  (It.)  (corna-moo-sa),  Cornemuse  (Fr.)  (corn- 
moos).  Bagpipe. 

Cornet,  Cornetto  (It.),  Zinke  (Ger.).  (i)  Originally  a 
coarse-toned  instrument  of  the  hautboy  family.  (2)  A 
compound  stop  in  the  organ.  (3)  Cornet-a-pistons,  a  brass 
instrument  of  the  trumpet  family.  (4)  Echo  cornet,  a  com- 
pound organ-stop  with  small  scale  pipes,  usually  in  the  swell. 

Corno  (It.).  Horn;  the  French  horn,  or  Waldhorn  (Ger.). 
The  horn  of  the  orchestra. 

Corno  alto.    High  horn.    Corno  basso,  low  horn. 
Corno  di  bassetto.    Basset  horn. 
Corno  di  caccia.     Hunting  horn. 
Corno  Inglese.     Cor  Anglais. 

Cornopean.  Same  as  Cornet  (brass)  ;  a  reed-stop  on  the 
organ,  8-foot  tone. 

Coro  (It.).    Chorus. 


CORONA 


541 


DELIBERATAMENTE 


Corona  (It.)-    "Crown";  a  pause. 

Corrente  (It.)    (cor-ren'-tch).     Coranto. 

Cotillion  (Fr.,  Cotillon,  co-tee-yon').  A  dance  with  numer- 
ous figures,  originally  rather  lively,  now  much  the  same  as 
the  Quadrille. 

Couched  Harp.    The  spinet. 

Count.  The  beats  in  the  measure  are  called  counts,  from  the 
practice  of  counting  the  time. 

Counterpoint  [from  Latin  contra-punctus,  against  the  point]. 
Notes  were  originally  called  points,  hence  when  another  set 
of  points  were  added  above  or  below  the  points  of  the 
theme,  they  were  called  counterpoints.  In  modern  use 
counterpoint  may  be  defined  as  the  art  of  making  two  or 
more  parts  move  together  with  such  freedom  that  they  seem 
to  be  independent,  each  one  with  a  design  of  its  own. 

Counter-subject.  A  theme  employed  in  conjunction  with  the 
principal  theme  in  a  fugue. 

Coup  d'archet  (Fr.)   (coo  d'ar-shay).    A  stroke  of  the  bow. 

Coupler.  A  mechanism  in  the  organ,  by  means  of  which  the 
keys  of  two  manuals  are  joined  so  that  the  depression  of  the 
keys  of  one  causes  the  depression  of  the  corresponding  keys 
of  the  other.  Pedal  Coupler  joins  pedal  keys  to  one  of  the 
manuals.  Octave  Coupler  causes  the  octave  above  or  below 
each  key  struck  to  sound  either  on  the  same  or  on  another 
manual. 

Couplet   (Fr.)    (coo-play).     Stanza;   ballad. 

Couplet  (Eng).  A  pair  of  rhyming  lines.  Two  notes  played 
in  the  time  of  three  of  the  same  denomination.  ^V 

Cracovienne   (Fr.).     Polacca. 

Cremona,  (i)  A  town  in  Italy  celebrated  for  its  violin 
makers.  (2)  A  violin  made  in  Cremona.  (3)  A  soft  8-ft. 
reed-organ  stop  (corrupted  from  Krummhorn) . 


Crescendo   (It.)    (cray-shen-do).     Abbreviation,   cres.,  sign: 

~     to  increase  in  loudness  [from  It.  crescerc,  to 

increase], 

Crescendozug  (Ger.,  hybrid  of  It.  and  Ger.).  The  swell  box 
of  the  organ. 

Croche  (Fr.)    (crash).     An  eighth-note. 
Crotchet.    A  quarter-note. 

Crowd,  Crouth,  Crood,  Crooth.     An  ancient  string  instru- 
ment played  with  a  bow.    Of  Celtic  origin. 
Crush  Note.     Appoggiatura. 

Cue.  The  last  note  of  one  voice  or  instrument,  written  in  the 
part  of  another  as  a  guide  to  come  in. 

Cuivre  (Fr.).  Brass.  Faire  cuivrer  (fare  koo-e-vreh),  a 
direction  to  produce  a  rattling,  metallic  note  on  the  horn  by 
inserting  the  hand  part  way  in  the  bell. 

Cuvette  (Fr.)   (koo-vct').    The  pedal  of  a  harp. 

Cyclical  Forms.  Forms  of  composition  in  which  one  or  more 
themes  return  in  prescribed  order,  as  sonata,  rondo,  etc. 

Cymbals  (Becken,  Ger.,  Piatti,  It.),  (i)  Discs  of  metal 
clashed  together  or  struck  with  drumsticks,  used  in  the  or- 
chestra and  in  military  music.  (2)  A  shrill  compound  stop 
in  the  organ. 

Czakan   (clia-kan).     A  cane  flute. 

Czardas  (char-dash).  A  Hungarian  dance  with  sudden  alter- 
ations of  tempo. 

Czimbel  (chim-bel).  A  dulcimer  strung  with  wire  strings; 
a  national  instrument  in  Hungary. 

Czimken  (chim-ken).    A  Polish  dance. 


D 


D.  Second  letter  in  the  natural  scale ;  the  third  string  of  the 
violin ;  second  string  of  viola  or  cello ;  abbreviation  of  Da 
or  Dal ;  from  D.  C.,  da  capo,  D.  S.,  dal  segno. 

Da  (It.).    From. 

Da  ballo  (It.).     In  dance  style. 

Da  camera  (It.).     Chamber  music. 

Da  capella    (It.).     Church  music. 

Da  capo  (It.).     From  the  beginning;  abbreviated  D.  C. 

Da  capo  al  fine.  From  the  beginning  to  the  word  fine 
(fee-neh),  the  end,  or  a  double  bar  with  /r\  over  it. 

Da  capo  al  segno  (It.)  (sehn-yo).  From  beginning  to  the 
sign  j£ 

D.  C.  al  y.f  e  poi  la  coda.  From  the  beginning  to  the  sign, 
then  the  coda. 

D.  C.  senza  repetitione  (reh-peh-tee-shee-o-neh)  means  the 
same  as  above. 

D.  C.  senza  replica  (It.)  (sehntza.  reh'-plee-cah).  From  the 
beginning  without  repeating  the  parts. 

Daina  or  Dainos.    A  Lithuanian  love-song. 

Damper.  A  mechanism  in  the  piano  to  stop  the  vibration  of 
the  strings  when  the  finger  is  raised  from  the  key. 

Damper  Pedal.  The  miscalled  loud  pedal,  a  mechanism  con- 
trolled by  the  foot  for  raising  all  the  dampers  at  once  from 
the  strings. 

Danse.     A  piece   of  music  meant  to  accompany  rhythmical 

movements  of  the  body. 
Darabookka.    An  Arabian  drum. 


Dash,  (i)  A  line  drawn  through  a  figure  OSj)  in  figured 
bass  signifies  the  note  must  be  raised  chromatically.  (2)  A 
short  stroke  over  a  note,  signifying  it  is  to  be  played 
staccato. 

Daumen  (Ger.)    (dow-men).    The  thumb. 

D  dur  (Ger.).    D  major. 

Debut  (Fr.)   (deh-boo).    A  first  appearance. 

Decani  (Lat.).  (i)  The  dean's  side  in  a  cathedral.  (2)  That 
part  of  a  choir  that  occupies  the  dean's  side. 

Deceptive  Cadence.  One  in  which  the  dominant  chord  is  not 
followed  by  the  tonic. 

Decima  (Lat.).  An  organ-stop  pitched  an  octave  above  the 
tierce. 

Deciso   (It.)    (deh-chee'-so).    Decided;  energetically. 

Declamando   (It.)    (deh-cla-man'-do).     In  declamatory  style. 

Declamation.  The  correct  enunciation  of  the  words  in  sing- 
ing, and  their  rhetorical  accent. 

Decres.  Abbreviation  of  Decrescendo  (It.)  (deh-creh-shen- 
do).  To  decrease  in  volume  of  sound.  Sign:  ~ —  — 

Decuplet.  A  group  of  ten  notes  played  in  the  time  of  eight 
of  the  same  denomination. 

Defective.    The  diminished  5th  is  sometimes  so  called. 

Degree.  From  one  letter  to  the  next,  a  degree  may  be  a 
half-tone,  minor  second;  whole  tone,  major  second;  tone 
and  a  half,  augmented  second. 

Del,  Delia,  Delli,  Dello   (It.).     Of  the. 

Deliberatamente   (It.).     Deliberately. 


DELIBERATO 


542 


DOLENTIMENTE 


Deliberate  (It.)  (dch-lee-beh-ral(-to').con.   With  deliberation. 

Delicatamente  (It.).    Delicately;  gently. 

Delicatezza  (It.)    (deh-lee-cah-tetza) ,  con.    With  delicacy. 

Delicatissimo  (It.).    Exceedingly  delicate. 

Delicate   (It.)    (deh-lee-cah-to).     Delicate. 

Delie  (Fr.)  (deh-lee-a) .-  The  reverse  of  legato.  Literally, 
not  tied. 

Delirio  (It.)  (deh-lee-reeo),  con.    With  frenzy. 

Demi-baton  (Fr.)  (deh-mee-bah-tong) .  A  rest  of  two 
measures. 

Demi-croche  (Fr.)    (crash).    A  sixteenth-note. 

Demi-jeu  (Fr.)  (sheu).  Half  play;  a  direction  in  organ- 
playing  to  use  half  the  power  of  the  instrument. 

Demi-pause  (Fr.).    A  half-rest. 

Demi-semi-quaver.    Thirty-second  note. 

Demi-soupir  (Fr.)   (soo-peer).    Eighth-rest. 

Derivative.  Any  chord  of  which  the  root  is  not  at  the  bass, 
an  inverted  chord. 

Des  (Ger.).    D  flat. 

Descant  or  Discant.  (i)  The  earliest  attempts  at  adding 
other  parts  to  a  cantus  were  called  descant.  (2)  The  high- 
est part  (soprano)  in  vocal  music. 

Des  dur  (Ger.)     Db  major. 

Desiderio  (It.)   (deh-see-dee'-rio).    Longing. 

Des  moll  (Ger.).    Db  minor. 

Dessus  (Fr.)  (des-soo).    The  soprano  part  in  vocal  music. 

Destinto   (It.)   (deh-stin-to) .    Distinct. 

Desto  (It.).     Sprightly;  briskly. 

Destra  (It.).  Right.  Mano  destra,  the  right  hand.  Mano 
sinistra,  the  left  hand.  Colla  destra,  with  the  right.  A 
direction  in  piano  music. 

Detache  (Fr.)  (deh-tash-eh) .    Detached;  staccato. 

Determinate    (It.).     Resolutely;   with  determination. 

Detto   (It.).     The  same.     II  detto  voce,  the  same  voice. 

Development.  [In  German,  Durchfiihrung.]  (i)  The  tech- 
nical name  of  that  part  of  a  sonata  form  which  precedes  the 
return  of  the  principal  theme.  In  the  development  both  the 
themes  are  used  in  fragments  mixed  with  new  matter,  the 
object  being  to  present  the  musical  thought  in  every  possible 
aspect.  (2)  The  working  out  of  a  fugue. 

Devoto  (It.).    Devout. 

Devozione   (It.)    (deh-vot-see-o'-neh),  con.     With  devotion. 

Di  (It.)  (dee).  By,  with,  of,  for.  Di  bravura,  with  bravura. 
Literally,  with  bravery. 

Diana  (It.),  Diane   (Fr.).    A  morning  serenade;  aubade. 

Diapason  (Gr.).  (i)  An  octave.  (2)  An  organ-stop  of 
8-foot  pitch,  open  or  closed  (stopped).  (3)  The  standard 
pitch,  A  =  435  vibrations  per  second,  not  yet  universally 
adopted. 

Diatonic,  (i)  The  major  and  minor  scales.  Strictly  speak- 
ing, the  modern  harmonic  minor  is  not  purely  diatonic, 
owing  to  the  presence  of  the  augmented  2d  between  6  and  7. 
(2)  Diatonic  chords,  melody,  progressive  modulation,  are 
those  in  which  no  note  foreign  to  the  scale  in  which  they 
are  written  appears.  [From  Gr.  dia-teino,  to  stretch;  re- 
ferring to  the  string  of  the  canon  or  monochord.] 

Di  colto  (It.).    Suddenly. 

Diecetto  (It.)  (dee-chetto).  A  composition  for  ten  instru- 
ments. 

Diese  (Fr.)    (dee-ehs).    A  sharp. 

Difficile  (It)  (dif-feS-chee-leh),  Difficile  (Fr.)  (dif-fi-seel). 
Difficult. 

Di  gala  (It.).    Merrily. 

Diluendo  (It)  [diluert,  to  dilute].  Wasting  away;  decres- 
cendo. 


Diminished.  (i)  Intervals  less  than  minor  or  perfect, 
(2)  A  chord  with  diminished  5th,  as  on  the  7th  of  the  scale 
or  the  2d  of  the  minor  scale.  (3)  Diminished  7th  chord,  a 
chord  composed  of  three  superimposed  minor  thirds,  as 

B  D  F  Ab. 

Diminuendo  (It).     Same  as  Decrescendo. 
Diminution.    In  canon  and  fugue,  when  the  answer  (comes) 

is  given  in  notes  of  half  (or  less)  the  value  of  those  in  the 

subject   (dux). 

Di  molto  (It.).    Very  much.    Allegro  di  molto,  very  fast. 
Direct,     (i)  A  sign    /VV    placed  at  the  end  of  a  staff  to 

indicate  what  is  the  first  note  on  the  next  page.     (2)   In 

MS.  music  it  indicates  that  the  measure  is  completed  on  the 

next  line. 

Direct  Motion.  Both  (or  all)  parts  ascending  or  descending 
together. 

Dis  (Ger.).    D  sharp. 

Discant.     See  Descant. 

Discord.  Cacophony ;  noise.  Used  incorrectly  for  dissonance. 
Dissonance  is  musical,  but  discord  never  is. 

Disinvolto   (It).     Free;  naturally;  easily. 

Disjunct  Motion.    Moving  by  skips. 

Dis  moll  (Ger.).    Df  minor. 

Disperato  (It),  Con  disperazione  (dis-peh-ratz-eo'-neh). 
Despairingly;  with  desperation. 

Dispersed  Harmony.  When  the  members  of  the  chords  are 
separated  widely. 

Disposition,  (i)  Of  a  chord,  the  order  in  which  its  members 
are  arranged.  (2)  Of  a  score,  the  order  in  which  the  in- 
struments are  arranged  on  the  page.  (3)  Of  an  orchestra, 
the  positions  assigned  to  the  different  instruments. 

Dissonance.  An  interval,  one  or  both  of  whose  members 
must  move  in  a  certain  way  to  satisfy  the  ear.  All  aug- 
mented and  diminished  intervals,  seconds,  sevenths,  and 
ninths,  are  dissonances. 

Ditty.  A  short,  simple  air,  originally  with  words  that  con- 
tained a  moral. 

Divertimento  (It.)  (dee-ver-tee-men'-to),  Divertissement 
(Fr.)  (dee-vehr-tiss-tnong).  (i)  A  pleasing,  light  enter- 
tainment. (2)  A  composition  or  arrangement  for  the  piano; 
this  is  the  most  usual  meaning.  (3)  A  suite  or  set  with  a 
number  of  movements  for  instruments,  called  also  a  serenata. 

Divisi  (It).  Divided;  a  direction  that  the  string  instruments 
must  divfde  into  two  masses  or  more,  as  may  be  indicated 
by  the  composer. 

Divisions.    An  old  name  for  elaborate  variations. 
Divoto  (It.).     See  Devoto. 
D  moll  (Ger.).    D  minor. 

Do.  (i)  The  first  note  in  the  natural  scale  in  Italy;  this  syl- 
lable was  substituted  for  ut,  the  first  of  the  Guidonian  syl- 
lables; ut  is  still  retained  in  France.  (2)  In  the  "movable 
do"  system  of  singing,  the  keynote  of  every  scale  is  called 
do. 

Dodecuplet.  A  group  of  twelve  notes  played  in  the  time  of 
eight  of  the  same  denomination. 

Doigter  (Fr.)    (doy-teh~).     See  Fingering. 

Dolcan,  Dulciana.     Soft  eight-foot  open  organ-stop. 

Dolce.    A  stop  of  same  character  as  dulciana,  but  softer. 

Dolce   (It.)    (dol-cheh).     Sweet. 

Dolcemente,  con  dolcezza  (It.)  (dol-chet-sah) .  With  sweet- 
ness. 

Dolciano,  Dolcino  (It.),  Dulcan   (Ger.).     Dulciana  stop. 

Dolcissimo  (It.)   (dole-chis-see-mo) .    As  sweet  as  possible. 

Dolente  (It.).    Afflicted. 

Dolentimente  (It).     Mourntully;  afflictedly. 


DOLZFLOTE 


543 


DULCIMER 


Dolzflote  (Ger.)  (dolts-fla-teh).  (i)  The  old  German  flute 
with  six  holes  and  one  key.  (2)  A  soft  eight-foot  organ- 
stop. 

Domchor  (Ger.)    (dome-kor).     Cathedral  choir. 

Dominant.  ( i )  The  fifth  note  in  the  scale.  (2)  The  reciting 
note  in  Gregorian  chants. 

Dominant  Chord.  The  major  triad  on  the  fifth  of  the  major 
or  minor  scale. 

Dominant  Key.  The  usual  key  in  which  the  second  theme 
of  a  sonata  or  rondo  in  major  mode  is  written. 

Dominant  Seventh.  The  seventh  over  the  root  added  to  the 
dominant  chord. 

Dopo  (It.).    After. 

Doppio  (It.)  (dop'-pee-o).  Double,  as  doppio  movemento, 
double  movement,  i.  e.,  twice  as  fast. 

Dorian.    A  Greek  or  ecclesiastical  mode,  D  to  D. 

Dot.  (i)  A  dot  after  a  note  or  rest  increases  its  duration 
one-half;  a  second  dot  increases  the  duration  one-half  of 
the  first  dot 


r=r  r 


(2)  A  dot  over  a  note  signifies  that  it  is  to  be  played  or 
sung  staccato.     (3)  Dots  combined  with  slur 


in  music  for  bow  instruments  signify  the  notes  are^to  be 
played  with  one  motion  of  the  bow  with  a  slight  stop  after 
each  note  ;  in  piano  music,  to  raise  the  arm  with  stiff  wrist 
after  each  note  or  chord  and  let  it  fall  lightly  frorn^the 
elbow  on  the  next.  (4)  Dots  over  a  note  thus  [* 

signify  that  the  note  is  to  be  repeated  by  subdivision  into  as 

many  notes  as  there  are  dots. 
Double,     (i)  An  old  name  for  variation.     (2)  An  octave  be- 

low the   standard  pitch,   as  double  bass,   double   diapason, 

double  bassoon. 
Double  (Fr.)   (doobl).    A  variation  on  a  minuet;  in  Italian, 

alternative. 
Double  Bar.    Two  single  bars  placed  close  together  signify- 

ing: (i)  The  end  of  a  part  or  piece.     (2)   A  change  of  key 

or  of  time  signature.     (3)   In  hymn-tunes  the  end  of  a  line. 
Double   Bass.     The  violone    [It.,  vee-o-lo-neh,   Fr.,   contra- 

basse].    The  largest  of  the  violin  family.    Two  kinds  are  in 

use,  one  with  three  strings  tuned: 


one  with  four  strings  tuned: 


The  pitch  is  an  octave  below  the  written  notes. 

Double  Bassoon.    A  bassoon  of  i6-foot  pitch. 

Double  Bourdon.    An  organ-stop  of  32-foot  tone. 

Double  Chant.     See  Chant. 

Double  Counterpoint.  A  counterpoint  so  contrived  that  it 
may  be  placed  either  above  or  below  the  theme,  without  pro- 
ducing any  forbidden  intervals.  A  double  counterpoint  is 
said  to  be  at  the  octave  when,  if  written  above  the  theme,  it 
may  be  moved  down  an  octave ;  at  the  loth,  if  it  may  be 
moved  down  a  tenth ;  at  the  I2th,  if  it  may  be  moved  down 
a  twelfth.  Double  counterpoint  may  also  be  at  the  pth  and 
nth,  but  the  former  are  much  more  used. 

Double  Croche  (Fr.)   (doobl  crash).    A  sixteenth-note. 
Double  Diapason.    An  organ-stop  of  i6-foot  tone. 
Double  Drum.    A  drum  struck  at  both  ends. 


Double  Flat,  bb,  depresses  a  letter  a  whole  tone. 
Double  Main  (mang).     Octave-coupler  in  the  organ. 
Double  Sharp,    •&       raises  a  letter  a  whole  tone. 
Double  Stop.    In  violin  music,  playing  simultaneously  on  two 
strings. 

Double  Tonguing.     Playing  repeated  staccato  notes  on  the 

flute,  cornet,  etc.,  by  a  movement  of  the  point  of  the  tongue 

against  the  roof  of  the  mouth. 
Double  Touche   (toosh).     A  contrivance  for  regulating  the 

depth  of  the  descent  of  the  keys  of  the  harmonium. 
Doublette    (Fr.)     (doo-blet).     A    two-foot    organ-stop,    the 

I5th,  or  a  compound  stop  of  two  ranks. 
Doucement   (Fr.)    (doos-mong).     Sweetly,  softly. 
Doux  (Fr.)   (doo).    Sweet,  soft. 
Down  Beat.     The  first  beat  in  the  measure;   the  principal 

accent  in  the  measure. 

Down  Bow.    In  instruments  of  the  violin  family,  the  motion 
of  the  bow  from  the  nut  to  the  point.     The  sign  is     n 
or     A.  In  French  the  word  tires  (tee-reh),  draw. 

Doxology  [from  Greek  doxa,  praise;  lego,  to  proclaim].  A 
short  ascription  of  praise  to  the  Trinity,  metrical  or  other- 
wise. 

Drammatico  (It),  Drammaticamente  (It.).  Dramatic;  in 
dramatic  style. 

Drangend  (Ger.)    (drayn'-gent).    Hurrying;  accelerating. 

Dritta  (It.).    The  right  hand. 

Droit  or  Droite  (Fr.)   (droa).    Right  hand. 

Drone.  The  pipe  that  sounds  one  note  continuously  in  the 
bagpipe. 

Drum.  An  instrument  of  percussion,  the  body  hollow,  made 
of  wood  or  metal,  one  or  both  ends  being  covered  with 
vellum  or  parchment  drawn  tight  by  braces.  Three  kinds 
of  drum  are  used  in  modern  music:  (i)  The  kettle  drum; 
this  is  the  only  one  that  may  be  tuned  to  definite  pitch;  a 
pair  are  generally  used  in  the  orchestra,  tuned  usually  to  the 
1st  and  5th  of  the  key.  (2)  The  snare  drum  or  side  drum, 
with  parchment  at  both  ends ;  that  at  one  end  is  crossed  by 
several  thick  gut-strings  that  rattle  when  the  drum  is  struck 
on  the  other  end  by  the  pair  of  drumsticks.  (3)  The  long 
drum,  double  drum,  grosse  caisse,  used  chiefly  in  military 
music ;  struck  on  both  ends. 

Drum  Slade.    A  drummer. 

Due  (It.)  (doo-eh).  Two.  A  due,  by  two;  that  is,  divide, 
when  marked  over  a  string  part  in  the  orchestra ;  but  when 
over  a  wind  instrument  part  it  means  that  both  of  the  pair 
are  to  play  the  notes. 

Due  corde  (It.).  Two  strings.  In  violin  music,  means  that 
the  note  is  to  be  played  on  the  open  string  and  as  a  stopped 
note  simultaneously.  The  only  notes  that  may  be  so  played 
on  the  violin  are: 


3 


sometimes  signified  by  writing  them  as  above. 

Duet,  Duo  (Fr.),  Duetto  (It.).  A  composition  for  two 
voices  or  instruments  or  for  two  performers  on  the  piano 
or  organ. 

Duettino  (It.)   (doo-et-tee'-no).    A  little  duet. 

Dulciana.  A  soft,  open,  8- foot  organ-stop ;  flue  pipes ;  in  some 
foreign  organs,  a  soft  reed-stop. 

Dulcimer,  (i)  An  instrument  consisting  of  an  oblong  or 
square  box  strung  with  wire  strings,  struck  by  small  ham- 
mws  held  in  the  hands  of  the  performer.  (2)  A  small  toy 
instrument,  in  which  strips  of  glass  or  metal  are  used  in- 
stead of  wire  strings,  played  in  the  same  way. 


DUOLO 


544 


EQUIVOCAL   CHORDS 


Duolo    (It.)    (doo-o'-lo),   con   doloroso    (It.),   con   dolore 
(It.)   (do-lo'-reh).    Plaintively;  mournfully. 

Duple.    Double.    Duple  Time,  two  beats  in  the  measure. 
Dur  (Ger.)  (duhr).    Literally,  hard;  major. 
Dur  (Fr.).    Hard;  coarse;  rough. 
Duramente  (It.)    (doo-ra-men'-teh).     Roughly. 
Durchfiihrung    (Ger.)     (doorch'-fee-roonk).      The    working 
out;  development  of  a  sonata  or  fugue.    See  Development. 


Durchkomponirt  (Ger.)  (doorch'-kom-po-nccrt).  Composed 
through.  Applied  to  a  song  that  has  a  separate  setting  for 
each  stanza. 

Durezza   (It.)    (doo-rctz-a),  con.     With  sternness. 

Dur-moll  Tonart  (Ger.).  Major-minor  scale  or  mode;  a 
diatonic  scale  with  major  3d  and  minor  6th. 

Duro  (It.),  Durante  (It.).    Harshly. 

Duster  (Ger.)    (decs-tehr).     Gloomy;  mournful;  sad. 

Dux   (Lat.).     Leader;  the  theme  of  a  fugue. 


E.  (l)  The  third  of  the  natural  major  scale,  fifth  of  the 
natural  minor,  (a)  The  first  or  highest  string  (chanterelle) 
of  the  violin.  (3)  The  fourth  or  lowest  string  of  the  double 
bass. 

E.  (It.)  (eh).  And;  when  the  word  that  follows  begins  with 
a  vowel,  ed  (ehd). 

Ebollimento  or  Ebollizione  (It.)  (eh-bol-litz-ee-o'-neh). 
Boiling  over;  sudden  expression  of  passion. 

Ecclesiastical  Modes.  The  scales  called  also  Ambrosian  and 
Gregorian,  in  which  plain  song  and  plain  chant  are  written. 
They  differ  from  the  modern  diatonic  in  the  position  of  the 
half-tones ;  their  position  depends  upon  the  initial  note  of 
the  scale. 

Echelle  (Fr.)  (eh-shel).    A  scale. 

Echo  Organ.    A  set  of  pipes  in  old  organs  enclosed  in  a  box. 

Eclat  (Fr.)   (eh-claw).    Fire;  spirit. 

Eclogue  or  Eglogue  (Fr.)  [from  Greek  eide-yo  to  select].  A 
pastoral ;  a  poem  in  which  shepherds  and  shepherdesses  are 
the  actors. 

Ecole  (Fr.)   (eh-cole).    A  school  or  style  of  music. 

Ecossais  (Fr.)  (ek-cos-seh)  or  Ecossaise  (ek-cos-saze) 
(i)  In  the  Scotch  style.  (2)  A  lively  dance. 

Eguale  (It.)   (eh-gwah-leh) .    Equal;  steady. 

Egualmente.    Equally;  steadily. 

Einfach  (Ger.).  Simple.  Einfachheit,  simplicity  in  con- 
struction. 

Einfalt  (Ger.).  Simplicity  in  manner.  Mit  Einfalt,  in  a  sim- 
ple, natural  manner. 

Einleitung  (Ger.)   (ein-lei-toonk) .    Leading  in  ;  introductory. 

Einschlafen  (Ger.).    Diminish  in  power  and  movement. 

Eis  (Ger.)  (eh-is).    E  sharp. 

Eisteddfod  (Welsh)  (ice-steth'-fod).  In  modern  usage  a 
musical  contest  for  prizes. 

Eleganza  (It.)    (eh-lee-gantza},  con.    With  grace. 

Elegy.    A  mournful  poem  commemorating  the  dead. 

Elevato   (It.)    (eh-leh-vah'-to).     Elevated;  exalted. 

Eligiac.    In  the  style  of  an  elegy. 

Embellishment.  The  ornaments  of  melody,  as  trill,  turn, 
mordent,  etc. 

Embouchure  (Fr.)  (om-boo-shoor).  (i)  The  mouth-piece 
of  a  wind  instrument.  (2)  The  position  and  management 
of  the  mouth  and  lips  of  the  player. 

E  moll  (Ger.).    E  minor. 

Empater  les  sons  (Fr.)  (om-pahteh  leh  song).  Literally,  to 
strike  the  sounds  together;  to  sing  extremely  legato. 

Empfindung    (Ger.)    (emp-fin-doonk) .     Emotion;   passion. 
Emporte    (Fr.)    (om-por-teh),   Empresse    (Fr.)    (om-pres- 
seh).    Hurried;  eager;  passionate. 


Encore  (Fr.)  (ong-core),  Ancora  (It.).  Again;  a  demand 
for  the  re-appearance  of  a  performer ;  the  piece  sung  or 
played  on  the  re-appearance  of  the  performer. 

Energia  (It.)   (eh-nur-jea) ,  con.    With  energy. 

Energico,  Energicamente,  Energisch  (Ger.).  Energetic; 
forcibly. 

Enfatico  (It.)   (en-fa'-tee-ko).    Emphatic;  decided. 
Enfasi   (It.)    (en-fah'-see),  con.     With  emphasis. 

Engelstimme  (Ger.).  Angel  voice;  a  soft  organ-stop;  vox 
angelica. 

Enharmonic.  In  modern  music,  a  change  of  the  letter  with- 
out changing  the  pitch,  as,  Ctf,  Db. 

Enharmonic  Modulation.  A  modulation  in  which  the  above 
change  takes  place,  as, 


Ensemble  (Fr.)  (ong-sombl).  Together,  (i)  The  union 
of  all  the  performers.  (2)  The  effect  produced  by  this 
union.  (3)  The  manner  in  which  a  composition  for  many 
performers  is  "put  together." 

Entr'acte  (Fr.)  (on-trakt).  Between  the  acts;  music  per- 
formed between  the  acts  of  a  drama. 

Entrata  (It.),  Entree  (Fr.).  Entry;  introduction,  prelude; 
the  first  movement  of  a  serenata. 

Entschlossen   (Ger.)    (ent-shlos-sen) .     Resolute;   resolutely. 

Entusiasmo  (It.)  (ehn-too'-see-as-mo),  con.  With  enthu- 
siasm. 

Eolian  or  .ffiolian.  (i)  One  of  the  Greek  and  ecclesiastical 
scales.  (2)  A  species  of  harp  played  on  by  the  wind. 

Epicede  (Fr.),Epecedio  (It.)  (ep-ee-cheh'-dee-o).  A  funeral 
dirge. 

Epinette  (Fr.).    A  spinet. 

Episode.     The  parts  of  a  fugue  that  intervene  between  the 

repetitions  of  the  main  theme. 
Epithalamium.    A  wedding  song. 
E  poi  (It).    And  then;  after. 
Equabile  (It.)    (eh-qua-bee-leh).     Equal;  steady. 
Equabilmente.    Equally;  steadily. 

Equal  Voices.  A  composition  is  said  to  be  for  equal  voices 
when  written  for  men's  only  or  women's  only.  When  male 
and  female  voices  are  combined  the  music  is  said  to  be  for 
mixed  voices. 

Equisono  (It.).     Equal  sounding;  unison. 

Equivocal  Chords.  Dissonant  chords  that  are  common  to 
two  or  more  keys,  or  that  may  be  enharmonically  substituted 
for  each  other,  as  the  diminished  5th  chord,  diminished  7th 
chord,  and  augmented  6th  chord. 


ERGRIFFEN 


545 


FELD 


Ergriffen  (Ger.).    Affected;  moved. 

Ergriffenheit.     Emotion. 

Erhaben  (Ger.).     Lofty;  sublime. 

Erhabenheit.     Sublimity. 

Ermattet  (Ger.).    Exhausted. 

Ernst  (Ger.).     Earnest;  serious. 

Eroica  (It.)   (eh-ro'-ee-ka).    Heroic. 

Erotic.    Amatory.     [Gr.  Eros,  Cupid.] 

Ersterbend  (Ger.).    Dying  away;  morendo. 

Es  (Ger.).    E  flat. 

Es  dur  (Ger.).     E  flat  major. 

Es-es  (Ger.).    E  double  fiat. 

Es  moll  (Ger.).     E  flat  minor. 

Espagnuolo  (It.)   (ehs-pan-yu-olo).    In  Spanish  style. 

Espirando  (It.).     Dying  away. 

Espressione  (It.)  (ehs-pres-see-o-neh),  con.  With  expres- 
sion. 

Espressivo  (It.).    Expressive. 

Essential  Dissonances.  Those  that  are  added  to  the  domi- 
nant chord.  Auxiliary  notes  of  all  kinds  are  non-essential 
dissonances. 

Essential  Harmony.  The  harmony  independent  of  all 
melodic  ornaments,  etc. 

Estinguendo   (It.)    (es-tin-guen-do) .    As  soft  as  possible. 

Estinto  (It.).     Dying  away;  extinguishing. 

Estravaganza  (It.)  (es-trah-vah-gantsa) .  A  fanciful vcoin - 
position ;  a  burlesque. 

Etoffe  (Fr.).    Full;  sonorous. 

Etouffee  (Fr.).    Stifled;  damped. 


Etude  (Fr.)   (eh-tood).    A  study,  lesson. 

Etwas  (Ger.)  (et-vos).  Somewhat;  as,  etwas  langsam, 
somewhat  slow. 

Euphonium.  A  large  brass  instrument  of  the  saxhorn  family, 
used  in  military  bands;  a  free  reed-stop  in  the  organ,  six- 
teen-foot pitch. 

Euphony  [Gr.,  eu,  good;  phone,  sound].  Well-sounding; 
agreeable. 

Exercise,  (i)  A  study  designed  to  overcome  some  special 
difficulty  or  strengthen  special  muscles.  (2)  A  lesson  in 
harmony,  counterpoint,  or  composition.  (3)  A  compo- 
sition written  as  a  thesis  for  the  obtaining  of  a  degree. 

Exposition.  The  giving  out  of  the  subject  and  answer  by  all 
the  voices  in  turn  at  the  opening  of  a  fugue. 

Expression.  The  performance  of  music  in  such  a  manner  as 
to  bring  out  all  its  emotional  and  intellectual  content.  In- 
telligent, appreciative  performance. 

Expression  (Fr.).    The  name  of  a  harmonium  stop. 

Extempore  (Lat.)  (ex-tem'-po-reh).  The  gift  of  playing 
music  composed  as  it  is  played. 

Extemporize.    To  play  unpremeditated  music. 

Extended  Harmony.    Reverse  of  close  harmony,  q.  v. 

Extension,  (i)  Violin  playing,  to  reach  with  the  fourth  or 
first  finger  beyond  the  "position"  in  which  the  hand  may  be. 
(2)  In  piano  music,  spreading  the  hand  beyond  the  "five- 
finger"  position. 

Extraneous  Modulation.  A  modulation  to  a  distant  or  non- 
related  key. 

Extreme.    The  outside  parts,  as  bass  and  soprano. 

Extreme.  Used  by  many  writers  on  harmony  in  the  sense  of 
augmented ;  as,  extreme  2d  or  5th  or  6th. 


F.  The  fourth  or  subdominant  of  the  natural  major  or  minor 
scale. 

Fa.  The  fourth  of  the  syllables  adopted  by  Guido,  called  the 
Aretinian  syllables.  In  "Movable  Do"  system  the  fourth 
of  any  scale. 

Fa  bemol  (Fr.).     F  flat. 

Fa  burden,  Falso  bordone  (It.),  Faux  bourdon  (Fr.). 
(i)  An  ancient  species  of  harmonization,  consisting  of  thirds 
or  sixths  added  to  the  cantus.  (2)  A  drone  bass  like  a 
bagpipe. 

Facile  (Fr.)    (fa-seel),  Facile  (It.)    (fah-chee-leh).    Easy. 

Facilment  (Fr.)  (fa-seel-mong) ,  Facilmente  (It.)  (fa-cheel- 
men-tch).  Easily;  fluently. 

Facilite  (Fr.).  Made  easy;  an  easy  version  of  a  difficult 
passage. 

Facture  (Fr.)  (fak-toor),  Fattura  (It.)  (fat-too-rah).  Liter- 
ally, the  making.  The  construction  of  a  piece  of  music ; 
the  scale  of  organ-pipes. 

Fa  diese  (Fr.)    (dee-ehs).    F  sharp. 

Fagotto  (It.),  Fagott  (Ger.).  Bassoon  (so  called  from  its 
resemblance  to  a  fagot  or  bundle  of  sticks).  A  double-reed 
instrument  of  great  utility  in  the  orchestra.  Compass,  three 
octaves  (and  over)  from  Bb  below  the  bass  staff. 

Fagottone   (It.)    (fag-got-to'-neh).    Double  bassoon. 
Faible  (Fr.)    (faybl).    Weak.    Temps  faible,  weak  beat. 
False  Cadence.    A  deceptive  cadence. 


False  Fifth.    A  name  for  the  diminished  fifth. 

False  Relation.    When  a  note  sounded  by  one  voice  is  given 

in  the  next  chord,  altered  by  f,  b,  or  q,  by  another  voice, 

thus: 


Falsetto  (It.).    The  highest  register  of  the  voice. 
Fandango  (Sp.).    A  rapid  dance  in  triple  time. 

Fanfare  (Fr.),  Fanfara  (It.).  A  brilliant  trumpet  call  or 
flourish ;  a  brass  band. 

Fantasia  (It.),  Fantasie  (Ger.),  Fantaisie  (Fr.).  A  compo- 
sition that  is  not  in  any  of  the  regular  forms ;  often  used  of 
pianoforte  arrangements  of  themes  from  operas. 

Fantasia,  Free.  The  name  sometimes  given  to  that  part  of  a 
sonata  that  comes  after  the  double  bar;  the  Durchfiihrung 
or  development. 

Fantasiren  (Ger.)    (fan-ta-see-ren).    To  improvise. 
Fantastico  (It.),  Fantastique  (Fr.).    Fantastic;  grotesque. 
Farandola  (It.),  Farandole  or  Farandoule   (Fr.).    A  rapid 

dance  in  J  time,  Southern  France  and  Italy. 
Fascia  (It.)   (fashiah).    A  tie.  -^~~x 
F  Clef.     See  Clef. 
F  dur  (Ger.).     F  major. 

Feierlich  (Ger.).     Festal;  pompously;  grandly;  solemnly. 
Feld  (Ger.).    Field;  open  air. 


FELDMUSIK 


546 


FOOT 


Feldmusik.    Military  music. 

Feldton.    The  key  of  Eb,  often  used  for  military  band  music. 

Fermata  (It.)  [from  fermare,  to  stay].  A  pause.  ^  A  ces- 
sation of  accompaniment  and  time,  while  a  soloist  executes 
a  cadenza. 

Fermato,  Fermamente  (It).    Firmly;  decidedly. 

Fcroce  (It.)   (feh-ro'-cheh).    Wild;  fierce. 

Ferocita  (It.)  (feh-ro'-chee-tah),  con.    With  ferocity. 

Fertig  (Ger.).     Quick;  ready;  nimble. 

Fertigkcit.    Dexterity;  technical  skill. 

Fervente  (It.)   (fer-ven'-teh).    Fervent;  vehement. 

Fes  (Ger.).    F  flat. 

Fest  (Ger.).     Festival. 

Fest  (Ger.).    Fast;  fixed. 

Fester  Gesang.    Canto  firmo. 

Festgesang.    Festival  song. 

Festive  (It.)  (fes-tee'-vo).    Festive;  solemn. 

Festivamen'te  (It.).     Festively;  solemnly. 

Festivita  (It.)   (fes-tee'-vee-ta),  con.    With  joyfulness. 

Festo'so  (It.).    Gay;  joyful. 

Feuer  (Ger.)   (foy-ehr).    Fire. 

Feuerig  (Ger.).    Fiery. 

F-holes.  The  openings  in  the  belly  of  instruments  of  the 
violin  family;  so  called  from  their  shape,  f. 

Piacco   (It.)    (fee-ak'-ko).     Weak;   faint. 

Fiasco  (It.).    A  failure;  breakdown.    Literally,  "a  flask." 

Fiato  (It.).    Breath. 

Fiddle.  This  word  and  "violin"  both  come  from  the  same 
root — the  Low  Latin  word  vitula. 

Fidicen  (Lat.).  A  harp  or  lute  player.  [From  Lat.  fides,  a 
string,  and  cano,  to  sing.] 

Fidicinal.    A  general  term  for  string  instruments. 

Fiedel  (Ger.).    Fiddle. 

Fieramente  (It.).    Proudly;  fiercely. 

Fiero  (It.)   (fee-eh-ro),  Fier  (Fr.)   (fee-eh),  proud;  fierce. 

Fife,  Fifre  (Fr.),  Piffero  (It.),  Querpfeife  (Ger.)  (kvehr- 
pfei-feh).  A  small  flute  without  keys,  an  octave  higher 
than  the  flute,  used  in  conjunction  with  drums  for  military 
purposes. 

Fifteenth.    An  organ-stop  of  2-foot  pitch;  open;  metal. 

Fifth,  (i)  An  interval  which  includes  five  letters.  (2)  The 
dominant  of  the  key. 

Figure,  (i)  A  form  of  accompaniment  maintained  without 
change.  (2)  A  repeated  melodic  phrase.  (3)  Sequence. 

Figured  Bass,  Basso  figurato  (It.),  Basse  chiffre  (Fr.).  A 
bass  with  figures  over  it  (or  under  it)  to  indicate  the  chord 
each  note  is  to  bear.  Invented  as  a  species  of  musical  short- 
hand it  has  been  retained  as  a  means  of  teaching  harmony, 
although  its  warmest  advocates  admit  its  inadequacy  to  the 
indication  of  modern  harmony. 

Filar  la  voce  (It.)  (fedar-la-vocheh'),  Filer  la  voix  (Fr.) 
(fee-leh-la-voa).  To  sustain  a  sound  with  even  tone. 
Literally,  to  spin  like  a  thread. 

Fin  (Fr.)    (fang),  Fine  (It.)    (fee-nch).    End. 

Finale  (It.)  (fee-nah-leh) .  Final.  The  last  movement  of  a 
sonata  or  symphony  or  of  the  act  of  an  opera. 

Fingerboard.  The  upper  side  of  the  neck  of  string  instru- 
ments, generally  a  thin  strip  of  ebony  against  which  the 
strings  are  pressed  by  the  fingers  of  the  left  hand. 

Fingering.  The  art  of  using  the  fingers  systematically  when 
playing  an  instrument ;  the  marks  or  figures  that  indicate 
what  fingers  are  to  be  used. 

Fingersetzung  (Ger.).    Fingering. 

Finto  (It.).    A  feint;  applied  to  a  deceptive  cadence. 


Fioretto  (It.)   (fee-o-rct-to).    An  ornament. 

Fiorito   (It.)    (fee-o-ree-to).     Florid. 

Fiorituri  (It.)  (fee-o-ree-too-ree).  Embellishments;  florid 
passages. 

Fis  (Ger.).    F  sharp.    Fisfis  or  Fisis,  F  double  sharp. 

Fis  dur.    F  sharp  major. 

Fis  moll.    F  sharp  minor. 

Fixed  Do.  Do  used  as  the  name  of  C ;  movable  do  is  do  used 
as  the  keynote  of  any  scale. 

Flageolet.  A  small  pipe  blown  at  the  end;  an  organ-stop  of 
2-foot  pitch. 

Flageolet  Tones.  The  harmonic  sounds  produced  by  touch- 
ing lightly  the  strings  of  violin,  etc. 

Flat.  The  sign  of  depression  (b)  lowers  the  letter  a  half-tone. 

Flautando,  flautato  (It.).  Flute-like;  in  violin  playing,  a 
direction  to  produce  flageolet  tones. 

Flautino  (It.)    (ftau-tee-no).    A  small  flute;  a  piccolo. 

Flue  Stops.  Organ  stops,  the  pipes  of  which  are  constructed 
on  the  same  principle  as  the  whistle  or  flageolet. 

Flute,  Flauto  (It.)  (Aau-to),  Flote  (Ger.)  (ffateh).  (i)  One 
of  the  most  important  of  orchestral  instruments ;  a  cylin- 
drical tube  blown  at  a  hole  in  the  side  called  the  embouchure. 
The  modern  flute,  constructed  on  the  Boehm  system,  is  very 
much  superior  to  the  older  instrument  in  both  tone  and 
tune.  Its  compass  is  from 

8-va 


(2)  An  organ-stop  of  8  or  4-foot  pitch ;  in  French  organs  a 
general  name  for  flue  stops.  There  are  many  varieties  of 
the  flute,  the  major  part  of  which  are  now  either  obsolete 
or  used  as  names  for  organ-stops,  as  flauto  traverse,  trans- 
vere  or  German  flute;  flute  d'amour,  a  soft-toned  organ- 
stop;  flute  harmonique,  an  overblown  flute,  the  pipe  of 
which  is  twice  the  length  necessary  to  produce  the  sound  it 
is  made  to  give. 

F  moll.    F  minor. 

Foco  (It.).    Fire.    Con  foco  or  fuoco,  with  fire. 

Focoso.    Fiery;  ardently. 

Foglietto  (It.)  (fol-yet'-to).  The  part  used  by  the  leader  of 
the  violins  in  the  orchestra,  containing  cues,  etc.,  of  the 
other  instruments,  sometimes  used  by  the  conductor  in 
place  of  a  score. 

Fois  (Fr.)    (foa).    Time;  as,  premiere  fois,  first  time. 

Folia  (Sp.),  Follia  (It.).  A  Spanish  dance.  Elaborate  va- 
riations are  called  Follias  de  Espana,  in  French,  Folies 
de'Espagne,  meaning  "follies  of  Spain"  (a  pun  on  the  word 
folia),  which  has  become  a  proverbial  expression  for  trifles. 

Fonds  d'orgue  (Fr.)  (fond-dorg).  The  8-foot  flue-stops  of 
the  organ.  The  foundation  stops. 

Foot,  (i)  A  poetic  measure  or  meter.  (2)  A  drone  bass.  (3) 
The  unit  used  in  determining  the  pitch  of  organ  pipes,  the 
standard  being  8-foot  C, 


the  lowest  note  on  the  manuals  of  the  modern  organ.  An 
open  pipe  must  be  eight  feet  long  to  produce  this  sound,  if 
closed  it  must  be  four  feet  long.  Applied  to  other  instru- 
ments it  signifies  that  their  pitch  corresponds  with  that  of 
the  organ  diapasons,  that  is,  it  is  the  same  as  the  written 
note.  All  the  violin  family  are  of  8-foot  pitch,  except  the 
double  bass,  which  is  of  i6-foot  pitch,  that  is,  the  notes 
sound  an  octave  lower  than  written.  The  flute,  hautboy, 
clarionet,  and  bassoon  are  also  of  8-foot  pitch.  Of  brass 


FORLANA 


547 


FUGA,    FUGUE 


instruments,  the  cornets,  trumpets,  and  trombones  are  of 
8-foot  pitch.  The  high  horn  in  C  is  8-foot,  but  the  low 
horn  in  C  is  i6-foot  pitch. 

Forlana  (It.),  Fourlane  (Fr.)  (Joor-lan).  A  dance  some- 
what similar  to  the  tarantella. 

Form.  The  number,  order,  and  key  relation  of  the  several 
themes  that  are  combined  to  make  an  extended  composition, 
such  as  the  sonata,  rondo,  symphony,  concerto,  etc.  The 
lyric  or  dance  form  is  the  germ  from  which  all  varieties  of 
instrumental  music  have  been  developed.  The  simplest 
form  of  lyric  melody  may  be  thus  divided:  Motive,  two 
measures ;  Section,  two  motives ;  Phrase,  two  sections ; 
Sentence,  two  phrases ;  Period,  two  sentences,  making  six- 
teen measures  in  all.  The  lyric  form  may  be  extended  in- 
definitely by  the  addition  of  new  periods  in  related  keys. 
One  of  the  most  usual  is  the  addition  of  a  new  period  in 
-the  key  of  the  dominant,  subdominant,  or  relative  minor, 
followed  by  a  repetition  of  the  first  period.  This  is  called 
the  Aria  Form.  It  was  formerly  largely  used  in  vocal 
-music,  and  is  now  one  of  the  most  usual  forms  for  the 
lighter  class  of  piano  music.  The  following  outlines  of 
sonata  and  rondo  forms  give  their  main  characteristics. 
'The  sonata  form  is  the  form  of  the  symphony,  and  of  the 
trio,  quartet,  etc.,  for  string  instruments,  or  for  piano  with 
strings,  or  other  instruments.  The  same  is  the  case  with 
the  rondo;  this  form  is  frequently  used  for  the  final  move- 
jnent. 

Outline  of  Sonata  Form  in  Major  Key 

FIRST    HALF. 

1st  Theme.  2d  Theme.        v 

Tonic  key.  Dominant  key. 


Development. 


SECOND   HALF 

1st  Theme. 
Tonic  key. 

Sonata  in  Minor  Key 

FIRST    HALF 


2d  Theme. 
Tonic  key. 


ist  Theme. 
Tonic. 


2d  Theme. 
Relative  major. 


Development. 


SECOND   HALF 

ist  Theme. 
Tonic. 


2d  Theme. 
Parallel  major. 


Frequent  deviations  may  be  found  from  the  foregoing 
schemes.  The  intervals  between  the  themes  are  filled  with 
transition  passages  or  modulations  so  constructed  as  to 
heighten  the  effect  of  the  theme  that  follows ;  codas  are 
frequently  added  after  both  appearances  of  the  second 
•theme. 

Modern  Rondo  Form,  Major  Key  ' 

FIRST    HALF 

ist  Theme.  2d  Theme.  ist  Theme. 

Tonic.  Dominant.  Tonic? 

SECOND  HALF 

.3d  Theme.         ist  Theme.  2d  Theme.                  Coda. 

Sub-dom.              Tonic.  Tonic.              Made  from  ist 

Rel.  minor.  theme  or  all 

Parallel  minor.  the  themes. 

For  an  example  of  this  kind  see  Beethoven's  No.  2  Sonata 
•of  the  three  dedicated  to  Haydn,  last  movement. 


Same  Form  of  Rondo  in  Minor  Key 

FIRST    HALF 


ist  Theme. 
Tonic. 


2d  Theme. 
Relative  major. 


ist  Theme. 
Tonic. 


SECOND  HALF 

ist  Theme.  ad  Theme. 

Tonic.  Tonic  major. 


3d  Theme. 
.Sub-dom.  and 
relative  maj  or. 

.See  last  movement  of  Sonata   Pathetique — Beethoven. 


Coda. 

Minor. 


Forte   (It.)    (for-teh).     Loud.     Fort   (Frj,  Stark   (Ger.). 

Meno  forte,  less  loud.     Mezzo  forte  (M.  F.),  half  loud. 

Piu  forte,  louder.     Poco  forte,  a  little  loud;  rather  loud. 

Sempre    forte,    always    loud.     Forte   stop,   a    mechanism 

worked  by  the  feet  or  the  knee,  or  a  draw-stop,  by  means 

of  which  the  whole  power  of  the  harmonium,  organ,  etc., 

may  be  put  on  at  once. 
Forte   possibile    (It.)    (pos-see'-bee-leh),  Fortissimo    (It.). 

Loud  as  possible. 

Fortemente   (It.).     Loudly;  forcibly. 
Forza  (It.)   (fortza),  con.    With  force. 

Forzando   (It.)    (fortzando).    Forcing  the  sound;  emphasiz- 
ing a  certain  note,  indicated  by  <,  /\,  fz,  sfz. 
Forzato  (It.)   (fortzato),  Sforzando,  Sforzato.    All  have  the 

same  meaning  as  Forzando. 

Fourniture  (Fr.).    A  mixture-stop  in  the  organ. 
Fourth,     (i)    An  interval  embracing  four  letters.     (2)   The 

subdominant  of  the  scale. 

Franchise  (Fr.)    (frong-says) .    A  dance  in  triple  time. 
Francamente  (It.)    (frank-a-men'-teh).     Frankly;  boldly. 
Franchezza    (It.)    (fran-ket'-za),   Franchise    (Fr.)    (frong- 

shees).    Freedom;  confidence. 
Freddamente  (It).     Frigidly;  coldly. 
Fredezza  (It.)    (freh-det'-za),  con.    With  coldness. 
Free  Fugue.    One  that  does  not  conform  to  strict  rules. 
Free  Parts.     Parts  added  to  a  canon  or  fugue  that  take  nc 

part  in  its  development. 
Free  Reed.     See  Reed. 

Free  Style.    The  reverse  of  strict  contrapuntal  style. 
French  Horn.     See  Horn. 
French  Sixth.    The  augmented  6th  with  augmented  4th  and 

major  3d. 


French  Violin  Clef.    The  G  clef  on  the  first  line  (obsolete). 

Frets.  Pieces  of  wood,  metal,  or  ivory,  set  across  the  finger- 
board of  some  string  instruments,  raised  slightly  above  its 
surfaces,  to  regulate  the  pitch  of  the  sounds ;  the  finger  is 
pressed  on  the  string  behind  the  fret,  which  then  acts  as  a 
bridge. 

Fretta  (It.),  con.    With  haste;  hurry. 

Frisch  (Ger.).     Fresh;  lively. 

Frohlich  (Ger.).     Gay;  cheerful. 

Frottola  (It).    A  comic  ballad. 

Fuga,  Fugue  (It.),  Fuge  (Ger.)  (foo-geh).  [From  Lat, 
fuga,  flight].  The  parts  seeming  to  fly  one  after  another; 
the  highest  development  of  counterpoint ;  a  composition  de- 
veloped from  one  or  two  (sometimes  three)  short  themes, 
according  to  the  laws  of  imitation.  The  chief  elements  of 
a  fugue  are:  (i)  Subject,  or  theme.  (2)  Answer,  imitation 
of  theme  at  5th  above  or  below.  (3)  Counter-subject,  an 
additional  theme  which  accompanies  the  main  theme.  (4) 
Episodes;  these  connect  the  various  repetitions  of  the 
theme  together.  (5)  Organ  point,  generally  used  before 
the  stretto.  (6)  Stretto,  a  drawing  together  of  the  subject 
and  answer;  the  stretto  is  often  written  on  an  organ  point. 
(7)  Coda,  the  free  ending  after  the  development  is  com- 
pleted. Although  all  these  things  enter  into  the  fugue,  it  is 
not  necessary  that  every  fugue  should  include  all  of  them. 
There  are  many  varieties  of  fugue  now  happily  relegated  to 
the  limbo  of  musical  antiquities.  The  most  important  are 
the  Real  fugue,  in  which  the  subject  and  answer  are  identi- 
cal, and  the  Tonal  fugue,  in  which  an  alteration  must  be 
made  in  the  theme  to  prevent  its  going  out  of  the  key.  In 
the  tonal  fugue  the  subject  moves  from  the  tonic  to  the 
dominant  or  the  reverse.  The  answer  must  move  from 
dominant  to  tonic,  or  the  reverse. 


FUGARA 


548 


GIGA 


Fugara.    An  open,  metal  pipe  organ-stop,  generally  of  4- foot 

tone. 
Fugato.    In  fugue  style.    Aria  fugato,  a  song  with  fugue-like 

accompaniment. 

Fughetto  (It.).    A  slightly  developed  fugue. 
Full  Cadence.    Perfect  cadence.    See  Cadence. 
Fundamental.    The  generator  or  root  of  a  chord. 
Fundamental  Bass.    The  roots  of  the  harmonics  on  which  a 

piece  is  constructed. 
Fundamental  Position.    A  chord  with  its  root  at  the  bass. 


Funebre    (Fr.)     (foo-nebr),    Funerale    (It.)    (foo-nch-rah'- 

leh).     Funereal;  dirge-like. 

Fuoco  (It.)   (foo-o'ko).    Fire.     Con  fuoco,  with  fire. 
Furia  (It.)   (foo'-re-ah),  con.    With  fury. 
Furibundo  (It),  Furioso   (It.).     Furiously;  savagely. 
Furlano  (It.).    See  Forlana. 
Furniture.    A  mixture-stop  in  the  organ. 
Furore  (It.)    (foo-ro'-reh),  con.     With  fury;  passion. 
Fusee  (Fr.)  (foo-seh'),    A  slide  from  one  sound  to  another. 


G.     (l)   The  fifth  or  dominant  of  the  natural  major  scale. 

(2)   The  fourth  or  lowest  string  of  the  violin.     (3)   The 

third  string  of  the  viola  and  violoncello;  the  first  string  of 

the  double  bass.     (4)   The  letter  represented  by  the  G  or 

treble  clef.     (5)   Abbreviation  for  Gauche  (Fr.)    (gawsh), 

left 
Gagliarda  (It.)   (gal-yar-dah) ,  Gailliarde  (Fr.)   (gah-yard). 

A  favorite  dance  in  J  time  resembling  the  minuet. 
Gai  (Fr.)    (gay),  Gaja  (It.)   (gayah),  Gaiment  (Fr.)    (gay- 

mong),  Gajamente    (It.)    (gay-a-men-teh).     Gay;  merry; 

gaily;  merrily. 
Gala  (It.)   (gah-lah),  di  gala.    Finely;  bravely.    Literally,  in 

fine  array. 
Galamment     (Fr.)      (gal-lah-mong) ,     Galantemente     (It.) 

(galant-eh-men-teh).     Gracefully;   freely;   gallantly. 
Galant     (Ger.)      (gah-lanf),     Galante     (Fr.)      (gah-lon'gt), 

Galante  (It.)   (gah-lan-teh) .    Free;  gallant;  graceful. 
Galliard.    See  Gagliarda. 
Galop  (Fr.)   (gah-lo),  Galopade  (Fr.)   (galo-pahd),  Galopp 

(Ger.).    A  rapid,  lively  dance  in  f  time. 
Gamba  (It.)    [the  leg],     (i)   See  Viol  di  gamba.     (2)   An 

organ-stop  of  eight-foot  pitch ;  in  German,  Gambenstimme. 
Gamma.    The  Greek  letter  g,T;  in  ancient  music  the  letter  G, 

first  line  bass  staff;  in  the  hexachord  system  this  sound  was 

called  gamma  ut,  from  whence  comes  gamut,  a  scale. 
Gamme  (Fr.)    (gahm).    A  scale;  gamut. 
Gang  (Ger.).    Passage. 

Ganz  (Ger.)   (gants).    Whole.    Ganze  Note,  whole  note. 
Garbo  (It.).    Gracefulness;  refinement. 
Gassenhauer    (Ger.)     (gas-sen-how-er).     Lit.,    running    the 

streets.    An  old  dance  in  J  time. 

Gauche  (Fr.)   (gawsh).    Left.     Main  gauche,  left  hand. 
Gavot    (Fr.)    (gah-vo),  Gavotte    (gah-vot),   Gavotta    (It.). 

An  old  dance  in  {g  time;  lively,  yet  dignified.     Frequently 

introduced  in  the  suite. 


G  Clef. 


See  Clef. 


Gedeckt  (Ger.)  [from  decken,  to  close].    Closed ;  the  stopped 

diapason. 

Gedehnt  (Ger.).    Slow;  stately. 
Gedicht  (Ger.).    Poem. 
Gef alien  (Ger.)  (geh-fal-len) .    Pleasure.    Nach  Gefallen,  at 

will.    See  Bene  placito  and  A  piacere. 
Gefiihl  (Ger.)   (geh-feel).   Feeling.   Mit  GefUhl,  with  feeling. 

Gegensatz  (Ger.)  (geh-gen-sats).  The  second  theme  in  a 
sonata.  Lit.,  the  against  or  contrary  theme ;  Hauptsatz 
being  the  chief  or  principal  theme. 


Gehalten  (Ger.)   (geh-hal-ten) .    Held;  sustained;  tenuto. 

Gehend  (Ger.)  (geh-end).  Going;  andante.  Etwas  gehend 
(con  moto),  with  motion. 

Geige  (Ger.).     Fiddle;  violin. 

Geigenprincipal.    An  organ-stop  of  8-  or  4-foot  pitch. 

Geist  (Ger.).     Spirit;  mind;  genius. 

Geistlich  (Ger.).    Sacred;  spiritual. 

Gelassen  (Ger.).    Tranquil;  calm. 

Gemachlich  (Ger.)    (geh-mehch-lich) .     Easy;  convenient. 

Gemachlich  commodo.    Not  too  fast. 

Gemassigt  (Ger.)  (geh-mehs-sicht) .  Moderate.  Lit.,  meas- 
ured. 

Gemshorn.    An  8-  or  4-foot  organ-stop  with  horn-like  tone. 
Gernuth  (Ger.)   (geh-meet').    Heart;  soul;  feeling. 
Gemtithlich  (Ger.).    Feelingly;  heartily. 
Generator.    Root;  fundamental  of  a  chord. 

Genere  (It.)  (je'-neh-reh).  Genre  (Fr.)  (zhongr).  Style; 
class;  mode. 

Generoso  (It.)   (jeh-neh-ro'-so).    Freely;  frankly. 

Gentille     (Fr.)     (zhong-til),    Gentile     (It.)     (jen-tee-leh). 

Graceful;  delicate.     Con  gentilezza   (It)    (jen-tee-letsa), 

with  grace;  nobility. 

German  Flute.    See  Flute. 

German  Sixth.     See  Augmented  Sixth. 

Ges  (Ger.).    G  flat. 

Gesang  (Ccf.)  (geh-zong).  Singing  [from  singen,  to  sing]; 
song;  melody;  air. 

Gesangverein  (Ger.).     Singing  society. 

Geschmack  (Ger.).  Taste.  Mit  Geschmack,  with  taste. 
Geschmackvoll,  tasteful. 

Geschwind  (Ger.)   (geh-shvint').    Fast;  presto. 
Gesteigert  (Ger.).    Raised;  exalted  in  volume;  louder;  cres- 
cendo. 

Getragen  (Ger.)  (geh-tra-gen).  Sustained.  [Tragett,  to 
bear  up.]  Sostenuto. 

Gezogen  (Ger.)  (geh-tso-gen)  [from  ziehen,  to  drawl].  Pro- 
longed; sustained. 

Ghazel  or  Gazel.  A  short  Persian  poem,  used  by  Hiller  as  a 
name  for  short  pianoforte  pieces,  in  which  a  simple  theme 
constantly  occurs. 

Ghiribizzo  (It.)    (gee-ree-bitz'-o).    Whim;  grotesque. 

Giga  (It.).     Jig;  a  rapid  dance  in  f  time,  used  as  the  final 

movement  in  the  suite,  where  it  is  often  developed  in  fugue 

form. 


GIOCHEVOLE 


549 


GUT 


Giochevole  (It.)  (jee-o-keli'-vo-leh),  Giocondosa  (It.)  (jee- 
o-kon-do-sah) ,  Giocoso  (It.)  (jee-o-co-so),  Giocondezza 
(It.)  (jee-o-con-detsa).  Joyful;  merry;  sportive;  happy; 
mirthful. 

Gioja  (It.)   (jeo-ya),  con.    With  joy. 

Giojante  (It.)  (jeo-yan-teh) ,  Giojosamente  (It.)  (jeo-yos- 
a-men-teh),  Giojoso  (It.)  (jeo-yo-so).  Joyous;  mirthfully. 

'Gioviale  (It.)   (jeo-ve-ah'-ieh).    Jovial. 

Giovialita  (It.)   (jeo-vee-ah-lee-tah),  con.    With  joviality. 

Gis  (Ger.)  (ghiss).    G  sharp. 

Giubilio  (It.)    (jew-bee-leo).    Jubilation. 

Giubilioso   (It.)    (jew-bee-lee-oso).    Jubilant. 

Giustezza  (It.)   (.jtw-tef-ta),  con.    With  exactness. 

Giusto   (It.)    (jewsto).     Strict;  exact. 

Glee.  A  composition  for  three  or  more  voices  without  ac- 
companiment. The  glee  differs  from  the  madrigal,  its  pred- 
ecessor, in  being  constructed  more  on  the  harmonic  than 
the  contrapuntal  system ;  i.  e.,  admits  dominant,  dissonances, 
and  second  inversions.  The  glee  is  the  most  distinctive 
form  of  English  music.  The  best  glees  belong  to  the  eigh- 
teenth century  and  the  first  part  of  the  nineteenth.  They 
have  been  largely  superseded  by  the  part  song. 

Gli  (It.)   (lee).    The. 

Glide,  (i)  To  connect  two  sounds  by  sliding.  (2)  A  modern 
variety  of  the  waltz. 

Glissando,  Glissato,  Glissicato,  Glissicando  (It.).  To  play 
a  scale  on  the  pianoforte  by  drawing  the  finger  along  the 
keys.  Only  possible  in  the  natural  scale.  In  violin  playing, 
to  slide  the  finger  rapidly  from  one  "stop"  to  the  nel^t. 

Glisse  (Fr.)    (glis-seh).     See  Glissando. 

Glisser  (Fr.)    (glis-seh).    To  slide. 

Glockenspiel  (Ger.).  Bell  play;  a  small  instrument  consist- 
ing of  bells  tuned  to  the  diatonic  scale,  played  by  small 
hammers  or  by  means  of  a  keyboard.  Steel  bars  are  some- 
times used  in  place  of  bells. 

Cong.    A  pulsatile  instrument  consisting  of  a  disc  of  bronze, 

.    struck  with  drumstick  with  soft  head. 

Gorgheggi  (It.)  (gor-ghed'-je).  Florid  singing,  with  runs, 
trills,  etc. 

Grace  Note.     See  Appoggiatura. 

Graces.  The  ornamental  notes  first  used  in  harpsichord  play- 
ing ;  they  are  now  nearly  all  obsolete,  or  if  used  are  written 
in  full  by  the  composer. 

Gracieux  (Fr.)  (grah-see-oo),  Gracieuse  (Fr.)  (grah-see- 
oos),  Gracile  (It.)  (gra-chee-leh) .  Graceful;  delicate. 

Gradevole  (It.)   (grah-deh'-vo-leh).    Grateful. 

Graduellement  (It.)   (grah-doo-el-mong).    By  degrees. 

Gran  cassa  (It.).    Great  drum;  long  drum. 

Gran  gusto  (It.),  con.    With  grand  expression. 

Gran  tamburo  (It.).    The  big  drum. 

Grand  barre  (Fr.).    See  Barre. 

Grand  jeu  (Fr.)   (zheu),  Grand  choeur  (koor).    Full  organ. 

Grand  Piano.  Properly,  the  long,  wing-shaped  pianoforte 
with  keyboard  at  the  wide  end ;  commonly  applied  to  all 
varieties  of  piano  with  three  strings  to  each  key. 

Grande  orgue  (Fr.)    (org).    Great  organ. 

Grandezza  (It.)   (gran-det'-za),  con.    With  grandeur. 

Grandioso  (It.)    (gran-de-o'-so).    Grandly. 

Grave  [Fr.,  grahv;  It.,  grah-veh].  Deep  in  pitch;  slow; 
solemn. 

Gravecembalum  (Lat.),  Gravicembalo  (It.),  (gra-vee-chem- 
balo).  The  harpsichord. 

Gravement  (Fr.)  (grahv-mong),  Gravemente  (It.)  (grah- 
veh-men-teh) .  Slowly;  seriously. 

Gravita  (It.)    (gra-vee-tah) ,  con.    With  dignity. 


Grazia  (It.)   (grat-se-a),  con.    With  grace;  elegance. 
Grazioso    (It.)     (grat-si-oso) ,    Graziosamente    (grat-si-osa- 

men-teli).    Gracefully;  elegantly. 
Great  Octave.    The  sounds  from 


Great  Organ.  The  division  of  an  organ  that  contains  the 
most  powerful  stops,  generally  operated  by  the  middle  key- 
board or  manual,  the  upper  being  the  swell  organ,  the  lower 
the  choir  organ. 

Greater.  Major;  as,  greater  third,  greater  sixth.  In  old 
usage  the  major  scale  is  called  the  scale  with  the  greater 
third. 

Greek  Music.  The  Greek  system  of  music  is  still  a  subject 
of  controversy  about  which  very  little  is  known.  The  best 
attempts  at  its  elucidation  may  be  found  in  Chappel's  "His- 
tory of  Music"  and  Munro's  "Greek  Music."  Its  interest  is 
purely  antiquarian. 

Gregorian  Chant.    See  Plain  Song. 

Groppo  (It.),  Groppetto  (It.).    A  turn;  a  group. 

Grosse  (Ger.)  (gros-seh).  (i)  Major,  applies  to  intervals. 
(2)  Great  or  grand,  as,  grosse  Sonate.  (3)  An  octave  below 
standard  pitch,  as,  grosse  Nazard,  an  organ-stop  an  octave 
below  the  twelfth. 

Grosse-caisse,  Gros  tambour.    See  Drum. 

Grosso  (It.).    Great;  large;  as,  grosso  concerto. 

Grottesco   (It.)    (grot-tes'-ko).    Grotesque;  comic. 

Ground  Bass.  A  bass  of  four  or  eight  bars,  constantly  re- 
peated, each  time  with  varied  melody  and  harmony.  The 
ground  bass  was  generally  used  as  the  basis  of  the  chaconne 
and  passacaglio. 

Group,  (i)  A  series  of  rapid  notes  grouped  together.  (2) 
One  of  the  divisions  of  the  orchestra,  as  string  group,  brass 
group,  wood  group. 

Gruppo,  Grupetto.    See  Groppo,  Groppetto. 

G-Schlussel  (Ger.)    (gay-shlues-sel).    G  clef. 

Guaracha  (Sp.)  (gwah-rah'-chah).  A  lively  Spanish  dance 
in  triple  time. 

Guerriero  (It.)    (gu'er-reeh'-ro).    Martial;  warlike. 

Guida  (It.)  (gwee-dah).  Guide;  the  subject  of  a  canon  or 
fugue. 

Guidonian  Hand.  A  diagram  consisting  of  a  hand,  with  the 
syllables  written  on  the  tips  of  the  fingers  and  on  the  joints, 
intended  to  assist  in  memorizing  the  hexachord  scales. 

Guidonian  Syllables.  The  syllables  applied  by  Guido  to  the 
notes  of  the  hexachord,  ut,  re,  mi,  fa,  sol,  la.  When  the 
octave  scale  was  adopted  si  was  added  for  the  seventh  note ; 
ut  was  changed  to  do  as  a  better  syllable  for  vocalizing. 

Guitar.  A  string  instrument  with  fretted  fingerboard,  played 
by  plucking  the  strings  with  the  fingers  of  the  right  hand, 
one  of  the  oldest  and  most  widespread  of  instruments.  It 
probably  originated  in  Persia,  where  it  is  called  tar  or  si-tar, 
passed  from  thence  to  Greece,  and  to  the  rest  of  Europe 
and  North  Africa.  The  guitar  now  in  general  use  is  called 
the  Spanish  guitar.  It  has  six  strings  tuned  thus: 


i 


but  their  actual  sound  is  an  octave  below  the  written  notes. 
Gusto  (It.),  con.    With  taste. 
Gustoso.     Tastefully. 
Gut.    The  material  (sheep's  entrails)  of  which  violin,  guitar, 

and  other  strings  are  made,  commonly  called  catgut. 
Gut   (Ger.)    (goot).     Good.     Outer  Taktteil,  lit.,  good  bar 

part;  the  accented  part  of  the  bar. 


H 


H.  Abbreviation  for  Hand.  Hah  (Ger.),  the  note  BH,  Bb 
being  called  B  (bay).  It  is  this  system  of  nomenclature  that 
makes  possible  the  fugues  on  the  name  of  Bach,  written  by 
Bach,  Schumann,  and  others: 


« 


B 


H 


Hackbrett  (Ger.).    Literally,  chopping-board.    The  dulcimer. 

Halb  (Ger.)  (/m//>).    Half. 

Halbe  Cadenz  (Ger.).    Half  cadence. 

Halbe  Note.    Half-note. 

Halber  Ton.    Half-tone. 

Half-Note,     f 

Half-Rest.     — 

Half-Shift.  On  the  violin,  the  position  of  the  hand  between 
the  open  position  and  the  first  shift. 

Half-Step.    Half-tone. 

Half-Tone.    The  smallest  interval  in  modern  music.  , 

Hallelujah  (Heb.).  The  Greek  form  Alleluia  is  often  used. 
"Praise  ye  Jehovah." 

Hailing.    A  Norwegian  dance  in  triple  time. 

Hals  (Ger.).     Neck,  as  of  violin,  guitar,  etc. 

Hammerklavier  (Ger.).  A  name  for  the  P.  F.  (used  by 
Beethoven  in  the  great  sonata,  Op.  106). 

Hanacca.  A  Moravian  dance  in  }  time,  somewhat  like  the 
polonaise. 

Hardiment  (Fr.)    (har-dee-mong).     Boldly. 

Harmonic  Flute.    See  Flute. 

Harmonic  Scale.  The  series  of  natural  harmonics;  the  scale 
of  all  brass  instruments  without  valves  or  pistons. 

Harmonic  Stops.  Organ-stops  with  pipes  of  twice  the 
standard  length  pierced  with  a  small  hole  at  the  middle, 
causing  them  to  sound  the  first  overtone  instead  of  the 
sound  that  the  whole  length  would  produce. 

Harmonica.  (i)  An  instrument  invented  by  Benjamin 
Franklin,  the  sounds  of  which  were  produced  from  glass 
bowls.  (2)  An  instrument  consisting  of  plates  of  glass 
struck  by  hammers.  (3)  A  mixture-stop  in  the  organ. 

Harmonici  (Lat.)  (har-mon'-t-see).  The  followers  of  Aris- 
toxenus,  as  opposed  to  the  Canonici  (ka-non-i-see),  the 
followers  of  Pythagoras.  The  former  taught  that  music 
was  governed  by  its  appeal  to  the  ear,  the  latter  that  it  was 
a  matter  for  mathematical  and  arithmetical  study  only. 

Harmonicon.  A  toy  instrument  with  free  reeds,  blown  by  the 
mouth. 

Harmonics,  Overtones,  Partial  Tones,  (i)  The  sounds 
produced  by  the  division  of  a  vibrating  body  into  equal 
parts ;  it  is  upon  the  presence  or  absence  and  relative  inten- 
sity of  the  overtones  that  the  quality  of  the  sound  depends. 
Open  pipes,  strings,  brass  instruments,  and  instruments  with 
double  reed  (bassoon  and  hautboy)  give  the  following 
series : 

12345       6       789 

C  CGCEGBbCDE,    etc. 

generator  }      J       \      I      \      \        I       i     A 

Closed  pipes  and  beating  reeds  (clarionet)  omit  all  the  even 
numbers  in  this  series.  (2)  The  sounds  produced  on  the 
violin  by  touching  the  string  lightly  at  one  of  the  points  of 
division ;  those  produced  by  thus  touching  the  open  string 
are  called  natural  harmonics.  Artificial  harmonics  are  pro- 
duced by  stopping  the  string  with  the  first  finger  and  touching 


it  lightly  with  the  fourth,  at  the  interval  of  a  fourth  above; 
the  resulting  harmonic  is  two  octaves  above  the  stopped 
note.  In  writing  music  this  is  indicated  by  writing  thus: 

A.     J. 


^  JL       1_ 

—  H  

_»!  —  |  ; 

^  —  F  —  f~ 

|             Affect. 

Played. 

The  lozenge-shaped  notes  indicate  the  notes  to  be  lightly 
touched.  Natural  harmonics  are  frequently  used  on  the 
harp,  guitar,  and  mandolin. 

Harmonie-Musik  (Ger.).  Harmony  music;  music  for  win* 
instruments.  A  band  composed  of  brass  and  wood  instru- 
ments is  called  a  harmony  band. 

Harmonist.    One  who  is  an  expert  in  the  art  of  harmony. 

Harmonium.  A  keyboard  instrument  with  free  reeds.  It 
differs  from  the  reed  organ  in  that  the  air  is  forced  througk 
instead  of  drawn  through  the  reeds,  giving  a  stronger, 
rougher  quality  of  tone.  In  harmonium  music,  published  in 
Europe,  the  stops  are  indicated  by  figures  placed  in  a  circle. 
Each  stop  is  divided  at  the  middle.  The  figure  in  circle, 
placed  below  the  bass  staff,  refers  to  the  lower  half  of  the 
stop ;  above  the  treble  staff,  to  the  upper  half.  The  cor 

anglais  and  flute  form  one  stop,  marked  (M  below  for 
cor  anglais,  Mj  above  for  flute. 

2  means  bourdon,  below ;  clarionet,  above. 

3  means  clarion,  below ;  piccolo,  above. 

4  means  bassoon,  below ;  hautboy,  above. 

Harmony  [from  Gr.  hanno,  to  join].  The  art  of  combining 
sounds.  The  study  of  harmony  in  its  fullest  extent  is  that 
which  treats  of  the  combination  of  sounds,  consonant  and 
dissonant,  and  their  succession.  The  so-called  laws  of  har- 
mony have  all  been  arrived  at  empirically,  hence  have  been 
subject  to  change,  each  new  composer  of  sufficient  originality 
and  genius  modifying  them  to  suit  his  purposes.  Harmonic 
combinations  may  be  either  consonant  or  dissonant.  The 
consonant  combinations  consist  of  the  common  (perfect) 
chord  and  its  derivatives.  The  dissonant  combinations  all 
include  some  dissonant  interval,  viz.,  7th  or  2d,  augmented 
4th,  diminished  or  augmented  5th,  augmented  6th  or  dimin- 
ished 3d,  or  gth.  The  movement  of  consonant  combinations 
is  perfectly  free;  that  of  dissonant  combinations  is  subject 
to  the  rules  governing  the  resolution  of  the  dissonant  sounds 
they  contain.  Two  classes  of  dissonances  are  recognized: 
(i)  Those  that  belong  to  the  overtone  series,  called  essen- 
tial ;  (2)  those  that  result  from  the  employment  of  sus- 
pensions, retardations,  changing  and  passing  notes. 

Harp.  A  string  instrument  of  very  ancient  origin,  probably 
first  suggested  by  the  bow.  The  earliest  forms  of  Egyptian 
harps  resemble  that  weapon,  the  front  bar  or  support  being 
wanting.  The  modern  harp,  by  means  of  contrivances  for 
altering  the  tension  of  the  strings,  controlled  by  pedals,  has 
the  complete  chromatic  scale.  The  harp  is  extensively  used 
in  the  modern  orchestra ;  its  clear,  "glassy"  tones  form  a 
striking  and  effective  contrast  to  the  rest  of  the  orchestra. 
It  is  most  effective  when  used  to  give  "arpeggios,"  or  broken 
chords,  particularly  in  soft  passages.  Scales  are  ineffective 
on  the  harp,  and  the  chromatic  scale  is  impossible.  The 
compass  of  the  modern  harp  extends  from  the  second  Cb 
below  the  bass  staff  to  the  second  Fb  above  the  treble  staff, 
six  and  one-half  octaves.  The  natural  harmonics,  produced 
by  touching  the  middle  of  the  string  lightly  with  one  hand, 
are  extremely  effective  in  very  soft  passages. 


550 


HARPE 


551 


IMPETO 


Harpe  (Fr.),  Harfe  (Ger.).    The  harp. 

Harpsichord,  Harpsicol,  Clavibin  (Fr.),  Cembalo  (It), 
Clavicembalo  (It.),  Fliigel  (Ger.).  A  string  instrument 
with  keyboard,  in  shape  like  the  modern  grand  piano.  The 
sound  was  produced  by  pieces  of  quill,  leather,  or  tortoise- 
shell,  which  scratched  across  the  strings  when  the  keys  were 
struck.  Harpsichords  were  often  made  with  two  rows  of 
keys  and  with  stops,  by  means  of  which  the  tone  might  be 
modified. 

Haupt   (Ger.)   (howpt).    Head;  chief;  principal. 

Hauptmanuel.     Great  organ. 

Hauptnote.     Essential  note  in  a  turn,  mordent,  etc. 

Hauptsatz.     Principal  theme  in  a  sonata  or  rondo,  etc. 

Hauptwerk.    Great  organ. 

Hautbois   (Fr.)    (ho-boa).     See  Oboe. 

Hautbois  d'amour.    A  small  variety  of  the  hautboy. 

H  dur  (Ger.).    B  major. 

H  moll  (Ger.)    (hah  moll).    B  minor. 

Head.  The  membrane  of  a  drum;  the  peg-box  of  violin, 
guitar,  etc. 

Head  Voice.     See  Voice. 

Heftig   (Ger.).     Impetuous.     Literally,  heavily. 

Heimlich  (Ger.).     Mysteriously;  secretly. 

Heiss  (Ger.).    Ardent. 

Heiter  (Ger.).    Clear;  calm. 

Heptachord   [Gr.,  hepta,  seven;  korde,  string].     A  scale  or 

lyre  with  seven  diatonic  sounds. 
Herabstrich  or  Herstrich   (Ger.).     Down  bow. 
Heraufstrich  or  Hinaufstrich   (Ger.).     Up  bow. 
Hidden  Fifths  or  Octaves.     Called  also  concealed.     These 

occur  when  two  parts  or  voices  take  a  5th  or  8th  in  parallel 

motion. 


^~—c,         I 

^-»,     — 3 


The  rule  forbidding  hidden  sths  and  8ths  is  now  very  little 
regarded. 


His   (Ger.).     B   sharp. 

Hoboe,  Hoboy.    See  Oboe. 

Hochzeitsmarsch  (Ger.)  (hoch-tseit s~) .  Literally,  high  time. 
A  wedding  march. 

Hohlflote  (Ger.)  (hole-ffa-teh).  Hollow  flute ;  an  organ-stop 
of  8-foot  tone,  soft,  full  quality;  a  stop  of  the  same  char- 
acter a  fifth  above  the.  diapason  is  called  Hohlquinte  (kvin- 
teh). 

Holding  Note.    A  sustained  note ;  a  pedal  point. 

Homoph'ony,  Homophon'ic,  Homoph'onous  [Gr.,  homo, 
one  or  single;  phonos,  sound].  Music  in  which  one  part 
(melody)  is  the  most  important  factor,  the  remaining  parts 
being  entirely  subsidiary,  that  is,  simply  accompaniment. 

Horn  [It.,  Corno;  Fr.,  Cor;  Ger.,  Horn  or  Waldhorn}.  A 
generic  term  for  instruments  of  brass  or  other  metal,  wood, 
or  animal  horns  sounded  by  means  of  a  cup-shaped  mouth- 
piece. In  modern  usage  applied  only  to  the  orchestral  horn, 
called  also  French  horn.  A  brass  instrument  with  a  long, 
narrow  tube  bent  into  a  number  of  circular  curves,  with  a 
large  bell.  The  modern  horn  is  provided  with  pistons, 
which  make  it  a  chromatic  instrument.  The  custom  is  now 
almost  universal  of  using  the  horn  in  F,  the  part  for  which 
is  written  a  fifth  higher  than  the  actual  sounds.  Before  the 
application  of  pistons  to  the  horn  its  part  was  always  writ- 
ten in  C,  and  the  key  was  indicated  by  writing:  Corni  in 
Bb  or  Eb,  etc.,  as  the  case  might  be.  Many  composers  rer 
tain  this  method  of  writing,  but  the  horn-players  generally 
transpose  the  part  a  vista  to  suit  the  F-horn. 

Horn  Band.  In  Russia,  a  band  of  performers,  each  one  of 
whom  plays  but  one  sound  on  his  horn. 

Hornpipe.    An  old  English  dance  of  a  lively,  rapid  character. 

Horn-Sordin  (Ger.).  A  contrivance  placed  in  the  mouth  of 
the  horn  to  deaden  the  tone. 

Humoresque  (Fr.)  (oo-mo-resk) ,  Humoreske  (Ger.).  A 
caprice;  humorous,  fantastic  composition. 

Hunting  Horn  [Fr.,  Cor  de  Chasse;  It.,  Corno  di  Caccia], 
The  horn  from  which  the  orchestral  horn  was  developed.  • 

Hymn  Tune»  A  musical  setting  of  a  religious  lyric  poem, 
generally  in  four  parts. 


Idee  fixee  (Fr.)  (e-deh  fix-eh).  Fixed  idea;  a  name  given 
by  Berlioz  to  a  short  theme  used  as  the  principal  motive  of 
an  extended  composition. 

Idyl  [Fr.,  Idylle;  Gr.,  Eidullion].  A  small  image  or  form; 
a  short,  tender  piece  of  music  generally  of  a  pastoral  char- 
acter. 

II  piu  (It.)  (eel  peu).  The  most.  II  piu  forte  possibile,  as 
loud  as  possible. 

Imitando  (It.).  Imitating;  as,  Imitando  la  voce,  imitating 
the  voice;  a  direction  to  the  instrumentalist  to  imitate  the 
vocalist. 

Imitation.  A  device  in  counterpoint;  a  musical  phrase  being 
given  by  one  voice  is  immediately  repeated  by  another  voice. 
There  are  many  varieties  of  imitation:  (i)  By  augmenta- 
tion, when  the  imitating  part  is  in  notes  of  twice  or  four 
times  the  value  of  those  in  the  theme.  (2)  By  diminution, 
when  the  value  of  the  notes  is  reduced  one-half  or  one- 
fourth.  (3)  By  inversion,  when  the  intervals  are  given  by 
the  imitating  part  in  inverted  order.  Imitation  is  called 


Canonic  when  the  order  of  letters  and  intervals  is  exactly 
repeated,  thus : 

C    D    E"~F  G    A    B~C 

Strict,  when  the  order  of  letters  only  is  repeated,  as: 

C    D    E"~F  A    B^C    D 

Free,  when  the  theme  is  slightly  altered,  but  not  enough  to 
destroy  the  resemblance.  The  theme  is  called  the  antecedent ; 
the  imitation,  the  consequent.  There  are  other  varieties  of 
imitation,  but  they  are  now  generally  obsolete,  being  more 
curious  than  musical. 

Immer  (Ger.).     Ever;  continuously;  always. 

Impaziente  (It.)    (im-pah-tse-en-teh).    Impatient;  restless. 

Impazientemente  (It.).    Vehemently;  impatiently. 

Imperfect  Cadence.     Same  as  Half  Cadence. 

Imperfect  Consonance.    Major  and  minor  thirds  and  sixths 

Imperfect  Fifth.    The  diminished  fifth. 

Imperioso   (It.).     Imperiously;  with  dignity. 

Impeto  (It.)    (im'-peh-to) ,  con.    With  impetuosity. 


IMPETUOSO 


15,52 


INTRODUZIONE 


Impetuoso    (It.),  Impetuosamente   (It.)-     Impetuously. 

Implied  Intervals.    Those  not  expressed  in  the  figuring. 

Imponente   (It.)    (im'-po-nen-teh).     Emphatic;  pompous. 

Impromptu,  (i)  An  extemporaneous  performance.  (2)  A 
piece  of  music  having  the  character  of  an  extemporaneous 
performance. 

Improvisation.     Unpremeditated  music. 

Improvise.     To  play  unpremeditated  music. 

Improviser  (Fr.)  (im-pro-vee-seh) ,  Improvvisare  (It.).  To 
extemporize. 

Improvvisatore   (It.).     An  improviser  (male). 

Improvvisatrice  (It.)  (im-prov-vi-sa-tree-chch).  An  im- 
proviser (female). 

In  alt  (It.).  The  notes  in  the  first  octave  above  the  treble 
staff. 

In  altissimo   (It.).     All  notes  above  the  octave  in  alt. 

In  nomine  (Lat. ).    In  the  name;  a  sort  of  free  fugue. 

Incalzando  (It.)  (w-cal-tsan-do).  To  chase;  pursue  hotly, 
with  constantly  increasing  vehemence. 

Indeciso  (It.)   (in-deh-chee-so').    With  indecision ;  hesitating. 

Infinite  Canon.    See  Canon. 

Inganno  (It.).  Deceptive.  Cadenza  inganno,  deceptive  ca- 
dence. 

Inner  Parts.  The  parts  that  are  neither  at  the  top  nor  the 
bottom,  as  the  alto  and  tenor  in  a  chorus. 

Inner  Pedal.    A  sustained  note  in  an  inner  part. 

Innig  (Ger.).    Heartfelt;  fervent. 

Innigkeit  (Ger.),  mit.     With  fervor;  intense  feeling. 

Inniglich  (Ger.).     See  Innig. 

Inno  (It.).    Hymn. 

Innocente  (It.)  (in-no-chen'-teh),  Innocentemente.  Inno- 
cent ;  natural. 

Innocenza  (inno-chent' -sah) ,  con.    With  artlessness. 

Inquieto  (It.)   (in-quee-eh-to).    Unquiet;  restless. 

Insensibile  (It.)  (in-sen-si-bee-leh) ,  Insensibilmente  (It.). 
By  imperceptible  degrees ;  gradually. 

Insistendo  (It.),  Instante  (It.),  Instandig  (Ger.).  Urgent; 
pressing. 

Instrument.  Any  mechanical  contrivance  for  the  production 
of  musical  sounds.  Instruments  are  classified  as  follows : 
String  instruments,  wind  instruments,  pulsatile  instruments. 
String  instruments  are  divided  into  bow  instruments,  violin 
class ;  instruments  the  strings  of  which  are  plucked  by  the 
fingers — harp,  guitar,  etc. ;  plectral,  i.  e.,  the  strings  struck 
by  a  rod  or  thin  strip  of  wood,  metal,  etc.,  as  mandolin, 
zither ;  strings  struck  by  hammers  held  in  the  hand — cymbal ; 
strings  struck  by  hammers  operated  by  keyboard — piano- 
forte. Wind  instruments  are  divided  as  follows:  (i)  Vi- 
brating column  of  air — flutes  and  flue-stops  of  organ. 
(2)  Single  reed — clarionet,  saxophone,  basset  horn,  reed- 
stops  in  the  organ.  (3)  Double  reed — oboe,  bassoon. 
(4)  Free  reed — harmonium,  vocalion,  cabinet  organ.  (5)  Brass 
instruments  in  which  the  lip  of  the  player  acts  as  a  reed — 
trumpet,  horn,  etc.  Pulsatile  instruments — drums,  triangles, 
cymbals,  bells,  xylophone.  The  small  or  chamber  orchestra 
includes  the  following  instruments:  String — first  violins, 
second  violins,  violas,  violoncellos,  contrabass!.  Wood-wind 
— pair  of  flutes  (It.,  flauti),  pair  of  hautboys  (It.,  oboi), 
pair  of  clarionets  (It.,  clarionetti),  pair  of  bassoons  (It., 
fagotti).  Brass-wind — pair  of  trumpets  (sometimes  omit- 
ted (It.,  clarini),  pair  of  horns  (It.,  corni),  pair  of  kettle- 
drums (It.,  timpani).  The  addition  of  three  trombones 
changes  this  to  the  full  or  grand  orchestra,  which  is  often 
augmented  by  the  addition  of  the  following  instruments: 
Wood-wind — piccolo  or  octave  flute,  English  horn  (It., 
corno  Inglese),  alto  or  bass  clarionet,  double  bassoon  (It, 
contra  fagotto).  In  the  brass  quartet  the  horns  are  increased 


to  four,  and  the  alto,  tenor,  and  bass  trombones  are  added 
and  the  bass  trombone  reinforced  by  the  bass  tuba.  Three 
or  more  kettle-drums  are  frequently  employed,  also  the 
following  pulsatile  instruments:  large  drum,  snare  drum, 
triangle,  and  cymbals.  The  harp  has  almost  become  an 
essential  in  the  modern  orchestra,  whether  large  or  small. 
Instrumentation.  The  art  of  using  a  number  of  instruments 
in  combination ;  the  manner  of  arranging  music  for  the 
orchestra. 

Instrumento  or  Stromento   (It.).     An  instrument. 

Instrumento  or  Stromento  di  corda  (It.).  String  instru- 
ment. 

Instrumento  or  Stromento  di  fiato  (It.).    Wind  instrument. 
Interlude,  Intermede  (Fr.)   (in-ter-made) ,  Intermedio  (It.) 

(in-ter-meh-deo).    A  short  piece  of  music  between  the  acts 

of  a  drama  or  the  verses  of  a  hymn. 

Intermezzo  (It.)  (in-ter-medzo).  An  interlude;  a  short 
movement  connecting  the  larger  movements  of  a  symphony 
or  sonata. 

Interrupted  Cadence.    See  Cadence. 

Interval.  The  difference  in  pitch  between  two  sounds.  The 
name  of  an  interval  is  determined  by  the  number  of  letters 
it  includes  (counting  the  one  it  begins  with  and  the  one  it 
ends  with).  Seconds  may  be  minor  (E,  F),  major  (E,  Ft), 
augmented  (Eb,  Fit).  Thirds  may  be  minor  (E,  G),  major 
(E,  Gt),  diminished  (E,  Gb).  Fourths  may  be  perfect  (E, 
A),  augmented  (E,  AJf),  diminished  (E,  A(?).  The  in- 
version of  an  interval  produces  one  of  the  opposite  kind 
except  when  it  is  perfect.  Inversion  of  minor  2d  produces 
major  7th,  and  since  all  intervals  lie  within  the  octave,  and 
the  octave  contains  twelve  half-tones,  it  follows  that  an 
interval  and  its  inversion  must  together  make  an  octave 
or  twelve  half-tones.  Intervals  are  further  divided  into 
consonant  and  dissonant,  the  consonant  into  perfect  and  im- 
perfect. The  perfect  consonances  are  the  4th,  5th,  and 
octave.  They  are  called  perfect  because  any  alteration  of 
them  produces  a  dissonance.  The  imperfect  consonances  are 
the  major  and  minor  3d  and  6th,  called  imperfect  because 
equally  consonant  whether  major  or  minor.  All  other  in- 
tervals are  dissonant,  that  is,  one  or  both  the  sounds  form- 
ing them  must  move  in  a  certain  direction  to  satisfy  the  ear. 
If  the  dissonant  is  minor  or  diminished  the  sounds  must 
approach  each  other  (except  minor  2d)  ;  if  major  or  aug- 
mented they  must  separate  (except  major  7th,  which  may 
move  either  way).  Intervals  are  augmented  when  greater 
than  major  or  perfect.  Intervals  are  diminished  when  less 
than  major  or  perfect.  The  prime  or  unison  is  often  called 

an  interval  and  if  altered,  as  C  Cf,  is  called  an  augmented 
unison  or  prime;  it  is  more  properly  a  chromatic  semitone. 
Natural  intervals  are  those  found  in  the  major  scale.  Chro- 
matic intervals  are  those  found  in  the  harmonic  minor  scale 
and  in  chords  that  include  sounds  foreign  to  the  scale  or 
key. 

Intimo  (It.)    (in'-tee-mo).    Heartfelt;  with  emotion. 

Intonation,  (i)  The  correctness  or  incorrectness  of  the  pitch 
of  sounds  produced  by  the  voice  or  by  an  instrument. 
(2)  The  notes  which  precede  the  reciting  notes  of  the 
Gregorian  chant. 

Intoning.  In  the  Anglican  Church  the  singing  of  prayers, 
etc.,  in  monotone. 

Intrada   (It.).     An  introduction  or  interlude. 

Intrepido  (It.)  (in-tre-pee-do),  Intrepidezza,  con  (It.) 
(in-treh-pee-detza),  Intrepidamente  (It.)  (in-treh-pee-da- 
men-teh).  Boldly;  with  daring;  dashingly. 

Introduction.  A  preparatory  movement  to  a  piece  of  music, 
symphony,  oratorio,  etc.,  sometimes  very  short,  sometimes  a 
long,  elaborate  movement  in  free  style. 

Introduzione   (It.)    (in-tro-doo-tse-oneh).     Introduction. 


INTROIT 

Introit.  A  short  anthem  sung  before  the  administration  of 
the  communion  in  the  Protestant  Episcopal  Church ;  in  the 
Roman  Catholic  Church  before  the  celebration  of  the  mass. 

Invention.  A  name  given  by  Bach  to  a  set  of  thirty  pieces 
in  contrapuntal  style. 

Inversion,  (i)  Of  intervals.  See  Interval.  (2)  Of  chords, 
when  any  member  of  the  chord  but  the  root  is  used  as  a 
bass.  (3)  Of  themes.  See  Imitation. 

Ira  (It.)    (e-rah),  con.    With  anger. 

Irato  (It.)   (c-rali'-to).    Angrily. 


553 


KETTLE-DRUM 


Irlandais  (Fr.)    (ir-lan-day) .    In  the  Irish  style. 
Ironico  (It.)    (e-ron'-e-co),  Ironicamente  (It.).     Ironically; 
sardonically. 

Irresolute   (It.)    (ir-reh-so-lu'-to).     Undecided;  irresolute. 

Islancio  (It.)   (is-lan'-chee-o).    Same  as  Slancio. 

Istesso   (It.).     Same.     L'istesso  tempo,  the  same  time,  *. ft, 

rate  of  movement. 

Italian  Sixth.    See  Augmented  Sixth. 
Italienne   (Fr.)    (e-ta-lee-en) ,  Italiano   (It.)    (e-tal-yah-no). 

In  Italian  style. 


J 


Jack.  The  short,  upright  piece  of  wood  at  the  end  of  the  key 
of  the  harpsichord  or  spinet,  to  which  the  quill  was  attached 
which  struck  the  strings. 

Jagdhorn   (Ger.)    (yagd-horn).     Hunting  horn. 

Jagerchor   (Ger.)    (yay-ger-kore).     Hunting  chorus. 

Jaleo  (i>p.)    (hah-leh-o).    A  Spanish  dance  in  triple  time. 

Janko  Keyboard  (yanko).  The  invention  of  Paul  Janko, 
arranged  like  a  series  of  steps,  six  in  number.  Each  key 
may  be  struck  in  three  places,  some  on  the  ist,  3d  and  5th 
steps,  the  rest  on  the  2d,  4th,  and  6th,  thus  enabling  the 
performer  to  select  the  most  convenient  for  the  passagt^to 
be  executed.  The  chief  advantages  claimed  for  this  Ify- 
board  are:  that  all  scales  may  be  fingered  alike;  that  the 
thumb  may  be  placed  on  any  key,  black  or  white;  that  the 
extended  chords  are  brought  within  easy  reach. 

Janissary  Music.  Instruments  of  percussion,  as  small  bells, 
triangles,  drums,  cymbals. 

Jeu  (Fr.)   (shoo).    Literally,  play.    A  stop  on  the  organ. 

Jeu  d'anche  (d'ongsh).    Reed  stop. 

Jeu  de  flute.  Flue  stop. 


Jeudemi  (deh-mee).    Half  power;  mezzo  forte. 

Jeudoux  (doo).    Soft  stops. 

Jeu  forts  (fort).    Loud  stops. 

Jeu  grand.    Full  organ. 

Jeuplein  (plane).    Full  power. 

Jig  [It.,  Giga;  Fr.  and  Ger.,  Gigue;  comes  either  from  Geige, 
an  obsolete  variety  of  fiddle,  or  from  Chica,  a  rapid  Spanish 
national  dance].  Now  a  rapid  rustic  dance  of  no  fixed 
rhythm  or  figures.  In  the  classic  suite  the  jig  is  the  last 
movement,  written  in  f  time  and  often  very  elaborately 
treated  in  fugal  form. 

Jodeln  (Ger.)  (yo-delti).  A  manner  of  singing  cultivated  by 
the  Swiss  and  Tyrolese;  it  consists  of  sudden  changes  from 
the  natural  to  the  falsetto  voice. 

Jota  (Sp.)   (ho-ta).    A  Spanish  national  dance  in  triple  time. 
Jour  (Fr.)   (zhoor).    Day.    An  open  string  is  called  corde  a 
jour. 

Jubal  (Ger.)  (yoo-bal).  An  organ-stop  of  2-  or  4-foot  pitch. 
Jungfernregal  (Ger.)  (yung-fern-reh-gal).  See  Vox  angelica. 
Just  Intonation.  Singing  or  playing  in  tune. 


K 


Kalamaika    (ka-la-my-ka).     A   Hungarian   dance;   rapid    f 

time. 

Kammer  (Ger.).     Chamber. 
Kammerconcert.    Chamber  concert. 
Kammermusik.    Chamber  music. 
Kammerstil.     Chamber-music  style. 
Kammerton.    Concert  pitch. 
Kanon,  Kanonik  (Ger.).     See  Canon. 
Kanoon.     A  Turkish  dulcimer,  played  like  the  psalterion  by 

means  of  plectra  attached  to  thimbles. 
Kantate  (Ger.).    Cantata. 

Kapellmeister   (Ger.).     The  leader  of  a  band  or  chorus  at- 
tached to  a  royal  or  noble  household. 
Kapellmeister-Musik    (Ger.).      A    contemptuous    term    for 

music  that  is  dull  and  unoriginal,  while  it  may  be  correct 

and  pedantic. 

Keckheit  (Ger.).    Boldness.    Mit  Keckheit,  with  boldness. 
Kehrab  or  Kehraus  (Ger.).    Lit.,  turn 'out.    The  last  dance 

at  a  ball. 
Kent  Bugle.     A  wind  instrument  generally  made  of  copper, 

with  cup-shaped  mouthpiece,  furnished  with  keys.     It  was 

named  in   honor  of  the   Duke  of  Kent. 


Keraulophon  [from  Gr.,  keras,  horn;  aulos,  flute;  and  phone, 
sound].  A  soft  flue-stop  of  8-foot  pitch. 

Keren.     A  Hebrew  trumpet. 

Kettle-drum.  A  half-sphere  of  copper,  the  head  made  of 
vellum,  which  may  be  tightened  or  loosened  by  means  of 
screws  or  braces.  The  kettle-drum  is  the  only  drum  from 
which  sounds  of  definite  pitch  may  be  obtained.  They  are 
generally  used  in  pairs  in  the  orchestra,  and  are  tuned  to  the 
tonic  and  dominant  of  the  key,  but  modern  writers  adopt 
various  other  methods  of  tuning ;  it  is  also  quite  usual  now 
to  use  three  drums.  The  larger  drum  may  be  tuned  to  any 
note  from 


The  smaller 


In  old  scores  the  drum  part  was  always  written  in  C  and 
the  sounds  wished  were  indicated  by  writing  Timpani  in  F, 
Bb,  etc.  The  modern  custom  is  to  write  the  actual  sounds. 


KEY 


554 


KRAFTIG 


Klangfarbe    (Ger.).      Lit.,    sound-color.      Quality    of    tone, 
timbre  (Fr.,  tambr). 

Klavier    or    Klaviatur    (Ger.)     (kla-feer,    klah-fee-a-toor). 
Keyboard. 

Klavierauszug.     Pianoforte  arrangement. 
TABLE  OF  SIGNATURES  AND  NAMES  OF  ALL  THE  MAJOR  AND  MINOR  KEYS 


Key.  (i)  A  series  of  sounds  forming  a  major  or  minor  scale. 
See  Scale.  (2)  A  piece  of  mechanism  by  means  of  which 
the  ventages  of  certain  wind  instruments,  as  flute  and  clari- 
onet, are  closed  or  opened.  (3)  A  lever  by  which  the  valves 
of  the  organ  are  opened  or  the  hammers  of  the  pianoforte 
put  in  motion. 


Key-signature.            English. 

German. 

Cdur 
A  moll 

Gdur 
Emoll 

Ddur 
Hmoll 

A  dur 
Fis  moll 

Edur 
Cis  moll 

Hdur 
Gis  moll 

Fis  dur 
Dis  moll 

Ges  dur 
Es  moll 

Des  dur 
Bmoll 

As  dur 
Fmoll 

Es  dut 
C  moll 

Bdur 
Gmoll 

Fdur 
Dmoll 

French. 

Ut  majeur 
La  mineur 

Sol  majeur 
Mi  mineur 

Re  majeur 
Si  mineur 

La  majeur 
Fa  diese  mineut 

Mi  majeur 
Ut  diese  mineur 

Si  majeur 
Sol  diese  mineur 

Fa  diese  majeur 
Re  diese  mineur 

Sol  bemol  majeur 
Mi  bemol  mineur 

Re  bemol  majeur 
Si  bemol  mineur 

La  bemol  majeur 
Fa  mineur 

Mi  bemol  majeur 
Ut  mineur 

Si  bemol  majeur 
Sol  mineur 

Fa  majeur 
Re  mineur 

Italian. 

Do  maggiore 
La  minore 

Sol  maggiore 
Mi  minore 

Re  maggiore 
Si  minore 

La  maggiore 
Fa  diesis  minore 

Mi  maggiore 
Do  diesis  minore 

Si  maggiore 
Sol  diesis  minore 

Fa  diesis  maggiore 
Re  diesis  minore 

Sol  bemolle  maggiore 
Mi  bemolle  minore 

Re  bemolle  maggiore 
Si  bemolle  minore 

La  bemolle  maggiore 
Fa  minore 

Mi  bemolle  maggiore 
Do  minore 

Si  bemolle  maggiore 
Sol  minore 

Fa  maggiore 
Re  minore 

•    Natural  key. 
•   Keys  with  sharps. 

*•   Keys  with  flats. 

[~Jg—              -    \  C'-major 

j/  ff—         -   j  u-major 

„ 

[--ffi-ffft  —      -    i  D-major 

p~p.,  gEZ      :    (  A-major 

ntttt 

\-9  fftf%i  j  B-major 

jf  TrW  it  ft       j  F-sharp  major 

.  (en  "    tf  —    (  JJ-sharp  minor 

Jf  L.   fr  I?          J  G-flat  major 

1  tfH^  fr^            j  E  flat  minor 

^  i 

vf  L^b            j  D-Hat  major 

CCl)      "^             I  B  flat  minor 

J 

-fi>?-C  (  F-minor 

[  ^K^7  t>  —      .    (  c-minor 

P,  ^               j  B-flat  major 

~" 

-^(t--^  —         -    j  F-major 

w\  "                 j  jj  minor 

5 

Keyboard,  Klavier  (Ger.)  (kla-feer).  The  rows  of  keys  of 
the  organ  or  piano ;  those  for  the  hands  are  called  manuals, 
for  the  feet,  pedals. 

Keynote.  The  sound  or  letter  with  which  any  given  scale 
begins;  tonic.  See  Scale. 

Kinderscenen  (Ger.)  (kin-der-stsa-nen) .  Child-pictures;  a 
name  given  by  Schumann  to  a  collection  of  little  pieces  for 
the  piano. 

Kinderstiick   (Ger.).     Child's  piece. 

Kirchenmusik  (Ger.).    Church  music. 

Kirchenstil.    Church  style. 

Kirchenton.     Ecclesiastical  mode. 

Kit,  Pochette  (Fr.),  Taschengeige  (Ger.).  A  small  pocket- 
fiddle  used  by  dancing-masters. 


Klaviermassig.     Suited  to  the  piano. 

Klaviersatz.     In  pianoforte  style. 

Klavierspieler.    Pianist. 

Klein   (Ger.).     Small;  minor. 

Klein  gedeckt.     Small  stopped  diapason. 

Knee-stop.  A  lever  controlled  by  the  knees  of  the  performer, 
used  in  the  harmonium  or  cabinet  organ  either  to  operate 
the  swell  or  to  put  on  or  off  the  full  power  of  the  in- 
strument. 

Koppel  (Ger.).  A  coupler.  Koppel  ab,  coupler  off.  Koppel 
an,  coupler  on. 

Kosakisch   (Ger.).     Cossack  dance  in    f    time. 

Kraft  (Ger.).     Force ;  .power. 

Kraftig  (Ger.).     Vigorous;  powerfully. 


KRAKOWIAK 


555 


LESSER 


Krakowiak   (kra-ko-viak).     Cracovienne. 

Kreuz  (Ger.)    (kroyts).    A  sharp. 

Kriegerisch  (Ger.).    Martial. 

Kriegerlied  (Ger.).    War-song. 

Krummhorn  (Ger.).     Crooked  horn;  the  cremona  stop. 

Kunst  (Ger.).    Art. 


Kunstlied   (Ger.).,    An  artistic  song;  the  reverse  of  a  pop- 
ular song  or  Volkslied. 

Kurz  (Ger.)   (koorts).    Short;  staccato. 
Kurz  und  bestimmt.    Short  and  emphatic. 

Kyrie  [Gr.,  Lord].    The  first  word  of  the  mass;  used  as  a 
name  for  the  first  division. 


L.  H.    Abbreviation  for  left  hand ;  in  German,  linke  Hand. 

La.  The  sixth  Aretinian  syllable;  the  name  in  French  and 
Italian  of  the  sound  A. 

Labial   [Lat.,  labium,  lip].     A  flue-stop. 

Labialstimme  (Ger.).    A  flue-stop. 

Lacrimoso  or  Lagrimoso  (It.)  [from  la  grima,  tear].  Tear- 
fully; mournfully. 

Lamentabile,  Lamentabilmente,  Lamentando,  Lamentevol- 
mentc,  Lamentevole,  Lamentato  [It.,  from  lamentare,  to 
lament].  Mournfully;  complainingly. 

Lancers.    The  name  of  a  variety  of  the  contra  dance. 

Landler  (Ger.)  (laynd-ler).  A  slow  waltz  of  South  German 
origin. 

Langsam  (Ger.).  Slow.  Etwas  langsam,  rather  slo^'  Cpoco 
adagio).  Ziemlich  (tseem-lich)  langsam,  moderately  slew 
(andante).  Sehr  langsam,  very  slow  (adagio). 

Language.    The  diaphragm  of  a  flue-pipe. 

Languendo  (It.)  (Ian- gw en -do),  Languente  (It.)  (lan- 
gwen'-teh)  [from  lan-guire,  to  languish],  Languemente 
(It.)  (lan-gweh-nten'-teh).  In  a  languishing  style. 

Largamente  (It.).     Broadly;  slowly;  with  dignity. 

Largando  (It.).    Gradually  slower  and  broader. 

Largement  (Fr.)    (larzh-mong).    Largamente. 

Larghetto  (It.)   (lar-get-to).    Rather  slow. 

Larghissimo   (It.)    (lar-gis-sim-mo).     Slowest  possible  time. 

Largo  (It.).  Lit.,  large;  broad.  Very  slowy,  stately  movement 
is  indicated  by  this  term. 

Largo  assai.     Slow  enough. 

Largo  di  molto.    Very  slow. 

Largo  ma  non  troppo.     Slow,  but  not  too  much  so. 

Larigot  (Fr.)  (larigo).  An  organ-stop  of  ij/j-foot  pitch,  that 
is,  a  twelfth-stop. 

Lauftanz  (Ger.).    Running  dance;  the  coranto. 

Launig  (Ger.)  (low-nig).    Gay;  light;  facile. 

Lavolta  (It.).    An  old  Italian  dance  resembling  the  waltz. 

Lay  [Ger.,  Lied;  Fr.,  tot'].    A  song. 

Leader.  Conductor;  principal  violinist  in  an  orchestra;  prin- 
cipal clarionet  in  a  wind  band ;  principal  cornet  in  a  brass 
band. 

Leading  Motive.    In  German,  Leitmotiv,  q.  v. 

Leading  Note.  The  7th  note  of  a  scale;  in  the  major  scale 
the  7th  is  naturally  a  half-tone  below  the  keynote,  in  the 
minor  scale  it  is  naturally  a  whole  tone  below,  and  must  be 
raised  by  an  accidental  (see  Minor  Scale)  ;  called  also  sub- 
tonic. 

Leaning  Note.     See  Appoggiatura. 

Leap.  To  move  from  one  tone  to  another  more  than  one 
degree  distant ;  the  reverse  of  diatonic  or  chromatic. 

Lebendig  (Ger.)  (leh-ben'-dig),  Lebhaft  (Ger.)  (lehtf- 
hahft).  Lively;  with  animation. 


Ledger  Line.    See  Leger  Line. 

Legato  (It.)  (leh-gah'-to).  Legando  (It.)  (leh-gan'-do) 
[from  legare,  to  tie  or  bind].  Passages  thus  marked  are  to 
be  played  with  smoothness,  without  any  break  between  the 
tones.  Legatissimo,  as  smooth  as  possible,  the  notes  slightly 
overlapping.  Legato  is  indicated  by  this  sign  ^— — -  called 
a  slur.  The  proper  observance  of  Legato  is  of  the  utmost 
importance  in  phrasing. 

Legatura  (It.)   (leh-gah-too'-ra).    A  tie. 

Legatura  di  voce  (de-vo-cheh) .  A  group  of  notes  sung  with 
one  breath;  a  vocal  phrase. 

Legend,  Legende  (Fr.)  (leh-zhend) ,  Legende  (Ger.)  (leh- 
ghen'-deh).  A  name  given  to  an  extended  lyric  compo- 
sition, somewhat  in  the  manner  of  "program  music."  [Cf. 
Chopin's  Legendes.] 

Leger,  Legere  (Fr.)   (leh'-zhehr).    Light. 

Leper  Line.  Short  lines  used  for  notes  which  are  above  or 
below  the  staff. 

Legerment  (leh-zhehr-mong) .    Lightly. 

Leggeramente   (led-jehr-a-men'-teh).     Lightly. 

Leggerezza  (It.)    (led-jeh-ret'-za).     Lightness. 

Leggero  (led-jeh-ro),  Leggiero   (led-jce-ro).    Light;  rapid. 

Leggiadramente  (It.)  (led-jah-drah-men'-teh),  Leggiara- 
mente  (led-jah-rah-men'-teh),  Leggiermente  (led-jeer- 
men'-teh).  All  these  terms  (derived  from  the  same  root — 
leggiere,  light,  quick,  nimble)  indicate  a  light,  rapid  style  of 
performance  without  marked  accent. 

Legno  (It.)  (lehn-yo).  Wood.  Col  legno,  with  the  wood. 
A  direction  in  violin  playing  to  strike  the  strings  with  the 
wooden  part  of  the  bow. 

Leicht  (Ger.).    Light;  easy. 

Leichtbewegt  (Ger.)   (beh-vehgt).    Light;  with  motion. 

Leidenschaft   (Ger.).     Passion;  fervency. 

Leidenschaftlich  (Ger.).     Passionately. 

Leierkasten.    Barrel-organ. 

Leiermann.    Organ-grinder. 

Leise   (Ger.)    (lei'-seh).     Soft;  piano. 

Leiter  (Ger.).    Ladder.    Tonleiter,  tone-ladder;  scale. 

Leitmotiv  (Ger.).  Leading  motive;  a  name  given  by  Wagner 
to  certain  striking  phrases  used  to  indicate  certain  emotions, 
characters,  or  situations. 

Leitton  (Ger.).    Leading  note. 

[NOTE.— el  in  German  is  sounded  like  eye  in  English  ] 
Lenezza  (It.)   (leh-netf -za) .    Gentleness. 
Leno  (It.)    (leh'-no).    Faint;  feeble. 
Lentamente  (len-tah-men-teh) .    Slowly. 
Lentando.    Growing  slower:  retarding. 
Lentezza  (len-tet-za) .    Slowness. 
Lento  (It.).     Slow,  between  adagio  and  gravt. 
Lesser.    Minor  is  sometimes  so  called,  as  key  of  C  with  lesser 
third ;  C  minor. 


LESSON 


556 


MAESTOSO 


Lesson.    A  name  used  in  England  for  the  suite,  or  the  -'arious 

members  of  it. 

Lesto  (It.)   (leh'-sto).    Lively;  brisk. 
Letter  Name.    The  letter  used  to  designate  a  degree  of  the 

scale,  key  of  piano  or  organ,  line  or  space  of  the  staff. 

Leve  (Fr.)   (leh-veh).    Raised;  up  beat. 

Leyer  or  Leier  (Ger.).    Lyre. 

Liaison  (Fr.)   (lee-eh-song) .    A  tie. 

Libellion.    A  variety  of  music-box. 

Liberamente   (It.)    (lee-beh-ra-men'-teh),  Librement    (Fr.) 

(leebr-mong).     Freely. 
Libretto   (It.)    (lee-bret-to).     Little  book;  the  book  of  an 

opera  or  oratorio,  etc. 
License,  Freiheit  (Ger.),  Licence  (Fr.),  Licenza  (It.)  (lee- 

chentza).     An  intentional  disregard  of  a  rule  of  harmony 

or  counterpoint. 

Liceo  (It.)   (lee-cheh'-o).    Lyceum ;  academy  of  music. 
Lie  (Fr.)   (lee-eh).    Tied;  bound;  legato. 
Lieblich  (Ger.).    Sweet;  lovely. 
Lieblich  gedacht.     Stopped  diapason. 
Lied   (Ger.)    (Iced).     Song.     Durchkomponirtes  Lied    (all 

through  composed),  a  song  with  different  melody,  etc.,  to 

every  stanza.    Strophenlied,  the  same  melody  repeated  with 

every   stanza.     Kunstlied,   art   song;   high   class   of   song. 

Volkslied,  people's  song;  national  song. 
Lieder-Cyclus.    Song-circle  (as  Schubert's  Mullerin). 
Liederkranz.    A  singing-society. 
Liederkreis.    Song  circle ;  collection  of  songs. 
Liederspiel.    Song-play ;  operetta ;  vaudeville. 
Liedertafel  (song-table).    A  social  singing-society. 
Ligato.    See  Legato. 
Ligature.    A  tie.    See  Legatura. 
Ligne  (Fr.)   (leen),  Linea  (It.)   (Ice'-neh-ah),  Linie  (Ger.) 

(lee-nee-eh).    Line. 

Lingua  (It.)   (ling-waif).    Tongue ;  reed  of  organ-pipe. 
Linke  Hand  (Ger.).    Left  hand. 

Lip.  The  upper  and  lower  edges  of  the  mouth  of  an  organ 
pipe.  To  lip,  the  act  of  blowing  a  wind  instrument. 

Lippenpfeife  or  Labialpfeife  (Ger.).     A  flue  pipe-organ. 

Lira  (It.)   (Ice'-ra).    Lyre. 

Lirico   (It.)    (lee'-ree-co).     Lyric. 

Liscio  (It.)   (lee'-sho).    Smooth. 

L'istesso  (It.)    (lis-tes'-so).     See  Istesso. 

Litany  [from  Gr.,  litaino,  to  pray].  A  form  of  prayer  con- 
sisting of  alternate  petitions  and  responses  by  priest  and 
people,  frequently  sung  or  chanted. 


Livre  (Fr.)  (leevr).  Book.  A  hbre  ouvert,  'at  open  book" ; 
to  sing  or  play  at  sight. 

Lobgesang  (Ger.).     Song  of  praise. 

Loco   (It.).     Place;  play  as  written.     Used  after  8va. 

Lontano  (It.),  Da  lontano.    As  if  from  a  distance. 

Losung  or  Auflosung  (Ger.)  (lay-soonk)  [from  Ger.,  losen, 
to  free].  Resolution. 

Loud  Pedal.    A  name  for  the  damper-pedal. 

Loure  (Fr.)  (loor).  (i)  A  slow  dance  in  -J  or  f  time.  (2) 
An  old  name  for  a  variety  of  bag-pipe. 

Loure  (Fr.)    (looreh).    Legato;  slurred. 

Low.     (i)  Soft.     (2)  Deep  in  pitch. 

Lugubre   [Fr.,  loo-goobr;  It.,  loo-goo-breh]'.     Mournful. 

Lullaby.    Cradle  song;  berceuse. 

Lunga  (It.).     Long.     Lunga  pausa,  long  pause. 

Luogo   (It.).     See  Loco. 

Lusingando  (It.)  (loos-in-gan'-do),  Lusingante  (It.)  (loo- 
sin-gan'-teh),  Lusinghevolmente  (It.)  (loo-sing-eh-vol- 
men'-teh),  Lusinghiere  (It.)  (loo-sin-gee-eh-reh) .  Coax- 
ing; caressing;  seductive.  [From  It.,  lusingare,  to  coax  or 
flatter.] 

Lustig  (Ger.)    (loos-tig).    Merry;  gay;  lively. 

Lute,  Luth  (Ger.)  (loot).  A  string  instrument  of  the  guitar 
family  of  very  ancient  origin.  It  was  brought  into  Europe 
by  the  Moors.  In  shape  it  resembled  the  mandolin,  and  was 
strung  with  from  six  to  twelve  or  more  strings  of  gut.  The 
bass  strings  were  wire-covered  and  did  not  pass  over  the 
fingerboard.  For  several  centuries  the  lutes  held  the  fore- 
most place  as  fashionable  instruments.  They  were  made  of 
several  sizes.  The  larger  varieties  were  called  Theorbo, 
Arch  Lute,  or  Chittarone.  Music  for  the  lute  was  written 
in  a  system  of  notation  called  tablature,  q.  v. 

Luth  (Ger.)   (loot).    Lute. 

Luthier  (Ger.)  (loot-eer).  A  lute-maker;  also  given  to  mak- 
ers of  all  string  instruments  of  the  guitar  or  violin  families. 

Luttosamente.     Mournfully.     [From  It.,  luttare,  to  mourn; 

struggle.] 

Luttoso  (It.)   (loot-to-so).    Mournful. 

Lyre.    A  Greek  string  instrument  of  the  harp  family. 

Lyric.  Song-like.  In  poetry,  a  short  poem  of  a  simple,  emo- 
tional character.  The  term  has  been  borrowed  by  music  to 
designate  musical  works  of  like  character. 

Lyric  Form.  A  composition  the  themes  of  which  are  not 
treated  in  the  manner  of  the  rondo  or  sonata,  q.  v. 

Lyric  Stage.  The  operatic  stage.  This  term  will  hardly 
apply  to  the  modern  "music  drama." 


M 


M.    Abbreviation  for  Mano  or  Main,  the  hand. 

M.  D.     Abbreviation  for  Main  Droite  or  Mano  Destra,  the 

right  hand. 

M.  F.    Abbreviation  for  Mezzo  Forte,  half  loud. 
M.  G.    Abbreviation  for  Main  Gauche,  left  hand. 
M.  M.    Abbreviation  for  Maelzel's  Metronome. 
M.  V.    Abbreviation  for  Mezzo  Voce. 
Ma  (It.).    But. 

Machine  Head.    The  screw  and  wheel  contrivance  used  in- 
stead of  pegs  in  the  guitar,  etc. 


Madre  (It.)   (mah'-dreh).    Mother;  the  Virgin  Mary. 

Madrigal.  A  word  of  uncertain  origin.  A  name  given  to 
contrapuntal  compositions  in  any  number  of  parts.  They 
differ  from  the  motet  only  in  being  written  to  secular  words, 
generally  amatory.  This  style  of  composition  was  cultivated 
with  great  success  in  England  in  Elizabeth's  reign. 

Maesta  (It.)  (mah'-es-ta),  con,  Maestade  (mah'-es-tah-deh), 
con,  Maestevole  (mah'-es-ta-vo-leh),  Maestevolmente 
(vol-ment-e) ,  Maestosamente  (mah'-es-to-sah-men'-teh). 
All  mean  the  same  thing :  Dignified ;  with  dignity. 

Maestoso  (It.)   (mah-es-to  -so).    Majestic;  with  dignity. 


MAESTRALE 


557 


MELISMATIC 


Maestrale  (It.)  (mah-es-trah-leh) .  "Masterful";  the  stretto 
of  a  fugue  when  written  in  canon. 

Maestro  (It.)   (mah-es-tro).    Master. 

Maestro  al  cembalo.  Old  term  for  conductor  of  orchestra, 
so  called  because  he  conducted  seated  at  the  cembalo,  or 
harpsichord. 

Maestro  del  coro.    Master  of  the  chorus  or  choir. 

Maestro  del  putti  (del  poot'-tee).  Master  of  the  boys  (choir 
boys). 

Maestro  di  capella.  Chapel-master ;  choir-master ;  name  also 
given  to  the  conductor  of  the  music  in  the  household  of  a 
great  personage. 

Magadis  (Gr.).    A  string  instrument  tuned  in  octaves. 

Magas  (Gr.).    A  bridge. 

Maggiolata  (It.)  (madjo-lah'-tah).  A  spring  song  (from 
Maggio — May). 

Maggiore  (It.)  (mad-jo'-reh},  Majeur  (Fr.)  (mah-=hoor), 
Dur  (Ger.)  (duhr).  Major. 

Maggot.  Old  English  name  for  a  short,  slight  composition 
of  fanciful  character. 

Magnificat  (Lat.).  Doth  magnify;  opening  word  of  the  hymn 
of  the  Virgin  Mary. 

Main  (Fr.)  (mang).  Hand.  M.  D.  or  droite,  right  hand; 
M.  G.  or  gauche,  left  hand. 

Maitre  (Fr.)    (mehtr).     Master. 

Maitrise   (Fr.)    (meh-trees).    A  cathedral  music  school. 

Majestatisch   (Ger.)    (mah-yes-tay'-tish).     Majestically.^ 

Major  (Lat.).     Greater. 

Major  Chord  or  Triad.  One  in  which  the  third  over  the  root 
is  major,  i.  e.,  two  whole  tones  above  the  root. 

Major  Scale.  One  in  which  the  third  of  the  scale  is  a  major 
third  above  the  keynote.  Major  Key,  o'r  Mode,  or  To- 
nality, has  the  same  meaning. 

Malinconia  (It.)  (mah-lin-co-nee'-a),  Malinconico,  Malin- 
conoso,  Malinconioso,  Malinconicamente.  Melancholy; 
in  a  sad,  melancholy  manner. 

Mancando  (It.)  [from  mancare,  to  want;  fail].  Decreasing; 
dying  away  in  loudness  and  speed. 

Manche  (Fr.)  (mansh),  Manico  (It.)  (mah'-nee-ko). 
Handle ;  neck  of  violin,  etc. 

Mandola  (It.),  Mandora.    A  large  mandolin. 

Mandolin,  Mandolino  (It.)  (man-do-lee-no) .  A  string  in- 
strument of  the  lute  family,  strung  with  eight  wire  strings 
tuned  in  pairs ;  the  tuning  same  as  the  violin ;  played  by 
means  of  a  small  plectrum ;  fingerboard  fretted  like  the 
guitar. 

Mandolinata  (It.).    Resembling  the  mandolin  in  effect. 

Manichord  [from  Lat.,  manus,  hand;  chorda,  string].  Sup- 
posed to  be  the  earliest  form  of  a  string  instrument,  with 
keyboard,  possibly  the  same  as  the  clavichord. 

Manier  (Ger.)   (mah-neer').    A  harpsichord  grace. 
,  Maniera  (It.)   (man-yeh'-ra).    Manner;  style. 

Mannerchor  (Gr.)   (man'-ner-kor).    A  men's  chorus. 

Mannergesangverein.    Lit.,  men's  song-union. 

Mano  (It.).    Hand.    D.  or  destra,  right  hand;  S.  or  sinistra, 

left  hand. 
Manual  [from  Lat.,  manus,  hand].    An  organ  keyboard. 

Marcando,  Marcato.     Decided ;  marked ;  with  emphasis. 
Marcatissimo.    As  decided  as  possible. 

March,  Marche  (Fr.)  (marsh),  Marcia  (It.)  (mar-chee-a) , 
Marsch  (Ger.)  (marsh).  A  composition  with  strongly 
marked  rhythm,  designed  to  accompany  the  walking  of  a 
body  of  men.  Marches  vary  in  tempo  from  the  slow, 
funeral  march  to  the  "charge."  The  following  are  the  prin- 
cipal varieties:  Parade  March  (Ger.,  Paraden-Marsch;  Fr., 


pas-ordinaire)  ;  Quick-march  or  Quickstep  (Ger.,  Ge- 
schwind-Marsch;  Fr.,  pas  redouble)  ;  Charge  (Ger.,  Sturm- 
Marsch;  Fr.,  pas-de-charge).  The  funeral  march  and 
parade  march  are  generally  in  |  time;  the  quick  marches, 
often  in  |  time. 

Mark.     A  sign,  q.  v. 

Markiert  (Ger.)  (mar'-keert),  Marque  (Fr.)  (mar-kay).   See 

Marcato. 
Marseillaise    (Fr.)     (mar-sel-yase) .      The    French    national 

song,  composed  by  Rouget  de  Lisle. 

Martele  (Fr.)  (mar-tel-leh'),  Martellato  (It.)  (mar-tel-lali- 
to).  Hammered.  In  piano  music  indicates  a  heavy  blow 
with  stiff  wrist;  in  violin  music,  a  sharp,  firm  stroke. 

Marziale  (It.)    (mart-se-a'-leh).    Martial. 

Maschera  (It.)   (mas-kay'-ra).    A  mask. 

Mascherata  (It.)    (mas-kay'-ra-ta).     Masquerade. 

Masque.  Mask.  A  species  of  musical  and  dramatic  enter- 
tainment founded  on  mythical  or  allegorical  themes. 

Mass,  Missa  (Lat.),  Messa  (It.),  Messe  (Fr.  and  Ger.). 
The  communion  service  in  the  Roman  Catholic  Church. 
In  mu;i;  that  portion  of  the  service  consisting  of  the  Kyrie, 
Gloria,  aancrus.  and  Agnus  Dei,  which  are  sung.  The  word 
mass  is  generally  explained  as  being  derived  from  the  words 
"Ite  missa  est,"  used  to  dismiss  non-communicants  before  the 
service.  High  Mass  is  used  on  feasts  and  festivals.  Low 
Mass  on  ordinary  occasions,  sometimes  without  music. 

Massig  (Ger.)    (may'-sig).  -Moderate;  moderato. 

Massima  (It.).    Whole  note. 

Master  Chord.    The  dominant  chord. 

Master  Fugue.    One  without  episodes. 

Master  Note.    The  leading  note. 

Masure    (mah-soo-re),    Masurek,    Masurka,    Mazurka.      A 

Polish  dance  in  £    time. 

Matelotte  (Fr.).     A  sailors'  hornpipe  dance  in    £    time. 
Matinee  (Fr.)   (ma-tee-neh').    A  morning  concert. 

Mean.  Old  name  for  an  inner  part  in  music  for  voices ;  also 
for  inner  strings  of  viol,  lute,  etc.  The  C  clef  was  also 
called  the  mean  clef. 

Measure,  (i)  Old  name  for  any  slow  dance.  (2)  The  por- 
tion of  music  enclosed  between  two  bars.  (3)  Rhythm. 
(4)  Tempo. 

Mechanism,  Mecanisme  (Fr.),  Mechanik  (Ger.)  (i)  A 
mechanical  appliance.  (2)  Technical  skill. 

Medesimo  (It.)  (mee-deh' -see-mo).  The  same  as.  Medesimo 
tempo,  the  same  time. 

Mediant.    The  third  degree  of  the  scale. 

Mediation.  That  part  of  a  chant  (Anglican)  between  the 
reciting  note  and  the  close. 

Meisterfuge  (Ger.).     See  Master-fugue. 

Meistersanger  or  Meistersinger  (Ger.).  Mastersinger.  The 
Meistersangers  were  the  successors  of  the  minnesingers. 
Chief  among  them  was  Hans  Sachs,  the  hero  of  Wagner's 
opera,  "Die  Meistersinger."  The  Meistersanger  first  ap- 
peared in  the  I4th  century.  They  were  for  the  most  part 
workingmen,  differing  in  this  respect  from  the  minnesingers, 
who  numbered  royal  and  noble  singers  in  their  ranks.  The 
Meistersanger  became  extinct  in  1839,  when  their  last 
society  in  Ulm  was  dissolved. 

Melancolia  (It.),  Melancholic  (Fr.).     See  Malinconia. 

Melange  (Fr.)    (meh-lonzh).    A  medley. 

Melisma  (Gr.).     (i)  A  song;  melody.     (2)  A  run;  roulade. 

Melismatic.  Florid  vocalization.  A  melismatic  song  is  one 
in  which  a  number  of  notes  are  sung  to  one  syllable,  as  in 
the  florid  passages  in  Handel's  solos. 


MELODEON 


668 


MINUET 


Melodeon.  The  precursor  of  the  cabinet  organ ;  an  instru- 
ment with  free  reeds,  operated  by  suction. 

Melodia  (It.),  (i)  Melody.  (2)  An  organ-stop  of  8-  or 
4-foot  pitch;  soft,  flute-like  quality. 

Melodic.     Pertaining  to  melody,  as  opposed  to  harmonic. 

Melodico,  Melodicoso   (It.).     Melodiously. 

Melodic   (Fr.).     Melody;  air. 

Melodrama.  A  play  abounding  in  romantic  and  dramatic 
situations,  with  or  without  musical  accompaniment.  Melo- 
dramatic music  is  music  used  to  accompany  and  "intensify" 
the  action  of  a  drama.  The  term  is  also  applied  to  instru- 
mental music  abounding  in  startling  changes  of  key  or  sud- 
den changes  of  loud  and  soft. 

Melody.  An  agreeable  succession  of  single  sounds,  in  con- 
formity with  the  laws  of  rhythm  and  tonality.  In  music 
for  voices  the  melody  is  generally  in  the  soprano,  or,  if  for 
male  voices,  in  the  first  tenor,  but  there  are  many  exceptions 
to  this.  In  orchestral  music  it  is  even  less  necessary  that 
the  melody  should  be  in  the  highest  part,  as  the  varying 
"tone  color"  of  the  instruments  used  is  enough  to  give  it 
the  necessary  prominence. 

Melograph.  A  mechanical  device  for  recording  improvisa- 
tion on  the  pianoforte.  Many  attempts  have  been  made 
to  produce  such  a  machine,  but  with  only  partial  success. 

Melopiano.  A  pianoforte  in  which  a  continuous  tone  was 
produced  by  a  series  of  small  hammers  which  struck  rapidly 
repeated  blows  on  the  strings.  Invented  by  Caldara  in  1870. 
It  was  re-invented  in  1893  by  Hfavac  of  St.  Petersburg,  and 
exhibited  at  the  Columbian  Exposition,  where  it  attracted 
great  attention. 

Melos  (Gr.).  Melody.  Used  by  Wagner  as  a  name  for  the 
recitative  in  his  later  works. 

Meme  (Fr.)    (mame).    The  same. 

Men.  (It.).  Abbreviation  for  Meno,  less;  as,  Meno  mosso, 
slower,  less  motion. 

Menestral  (Fr.).     Minstrel;  Troubadour. 

Menetrier  (Fr.)   (meh-neh'-tree-eh).     A  fiddler. 

Mente  (It.)    (men-teh).    Mind.     Alia  mente,  improvised. 

Menuet  (Fr.)  (me-noo-eh),  Menuett  (Ger.),  Minuetto  (It.). 
Minuet ;  a  slow,  stately  dance  in  £  time,  retained  as  one 
of  the  members  of  the  sonata,  quartet,  symphony,  etc.,  until 
Beethoven  changed  it  into  the  .scherzo. 

Mescolanza    (It.)    (mes-co-lant'-sa).     A  medley. 

Messa   di   voce    (It.)     (messa-dee-vo-cheh).      Swelling   and 

diminishing   on   a   sustained   sound ;   literally,   "massing   of 

the  voice." 

Mestizia  (It.)    (mes-tit'-sia),  con.    With  sadness. 
Mesto   (It.)    (inehs-to).     Gloomy;  mournful. 
Mestoso,  Mestamente.     Mournfully;  sadly. 
Mesure  (Fr.)   (melt-soar).    Measure.    A  la  mesure,  in  time. 
Metal  Pipes.    Organ-pipes  made  of  tin,  zinc,  etc. 
Metallo  (It.).    Metal;  a  metallic  quality  of  tone.   Bel  metallo 

di  voce,  fine,  "ringing"  quality  of  voice. 
Meter  or  Metre  [Gr.,  metron,  a  measure].     Properly  belongs 

to  poetry,  from  whence  it  is  transferred  to  music.    In  poetry 

it  has  two  meanings:  (i)  As  applied  to  a  group  of  syllables; 

(2)  as  applied   to  the  number  of  these  groups   in  a  line. 

English  prosody  recognizes  four  groups  of  syllables,  called 

feet:   (i)  The  Iambus,  consisting  of  a  short  or  unaccented 

syllable  followed  by  a  long  or  accented  syllable  as,  be-fore ; 

(2)  the   Trochee,    which    is   just   the   reverse,   as    mu^sfc; 

(3)  the    Anapest,    two    short    followed    by    a    long,    as, 

re-pro-duce;   (4)  the  Dactyl,  which  is  just  the  reverse,  as, 
fear-ful-ly.     As   applied   to   lines    (verses),   Long   Meter 


signifies  four  iambic  feet  in  every  line;  Common  Meter 
(also  called  Ballad  Meter)  an  alternation  of  four  and  three 
iambic  feet;  Short  Meter,  two  lines  of  three  feet,  one  of 
four,  and  one  of  three  in  every  stanza.  Trochaic,  Anapestic, 
and  Dactyllic  Meters  are  indicated  by  figures  giving  the 
number  of  syllables  in  each  line,  as  8,  6,  8,  6,  etc.  It  is 
important  to  the  musician  to  become  thoroughly  familiar 
with  prosody,  lest  he  fall  into  the  too  common  error  of 
setting  short  syllables  to  the  accented  beats  of  the  measure, 
or  the  reverse. 

Method,  Methode  (Fr.)  (meh-tode),  Metodo  (It),  (i) 
System  of  teaching.  (2)  Manner  of  using  the  voice,  or  of 
performing  on  an  instrument. 

Metronome  [Gr.,  metron,  measure;  nonios,  rule].  A  me- 
chanical device  for  determining  the  time-value  of  the  beat. 
The  one  in  ordinary  use  is  attributed  to  Maelzel,  whose 
name  it  bears.  It  consists  of  a  pendulum  with  two  bobs, 
one  of  which  is  movable,  driven  by  clockwork ;  back  of  the 
movable  bob  is  a  graduated  scale.  It  is  used  as  follows : 
If  the  metronomic  indication  at  the  beginning  of  a  piece  of 

music  in  £  time  isj  =  100  (%-note  equal  to  100),  the 
movable  bob  is  slid  along  the  rod  until  it  is  opposite  the 
figures  100,  the  pendulum  is  set  in  motion,  and  one  swing — 
indicated  by  a  sharp  click — is  allowed  to  every  beat. 

Mettez  (Fr.)  (met-teh).  Put;  in  organ  music  used  in  the 
sense  of  "draw"  or  "add"  any  stop  or  stops. 

Mezzo  or  Mezza   (It.)    (med-zo).     Half. 

Mezzo  Aria.    A  style  of  singing  in  which  the  distinctness  of 

recitative  is  aimed  at;  also  called  Aria  parlante,  "speaking 

aria." 

Mezzo  Forte.  Half  loud. 
Mezzo  Piano.  Half  soft. 
Mezzo  Soprano.  The  female  voice  between  the  alto  and 

soprano. 

Mezzo  Tenore.     A  tenor  with  range  of  baritone. 
Mezzo  Voce.     Half  voice. 
Mi    (It.)    (mee).     The  name   of   E   in   French,   Italian,   and 

Spanish.    Mi  contra  fa  (mi  against  fa),  the  interval  from 

F  to  Btl ;  the  tritone;  three  whole  tones. 

Middle  C.  The  C  half  way  between  the  fifth  line  of  the  bass 
staff  and  first  line  of  the  treble  staff;  the  C  always  indi- 
cated by  the  C  clef:  IS 

Militairemente  (Fr.)  (mee-lee-tehr-mong),  Militarmente 
(It.)  (mee-lee-tar-men-teh).  Military  style. 

Military  Band.  Consists  of  (i)  brass  instruments  only; 
(2)  saxophones;  (3)  brass  instruments  and  clarionets; 
(4)  brass,  wood,  and  saxophones. 

Minaccivole  (It.)  (min-nai-chee'-vo-leh) ,  Minnacivolmente 
(min-nat-chee-vol-men'-teh),  Minnacciando  (min-nat-chee- 
an'-do),  Minnacciosamente  (min-nat-chee-o-sa-men'-teh), 
Minnaccioso  (min-nat-chee-o'-so).  Menacing ;  threatening. 

Mineur  (Fr.)    (mee-noor).    Minor. 

Minim.    A  half-note. 

Minnesanger  or  Minnesinger  (Ger.).  German  name  for 
Troubadour;  literally,  love-singer. 

Minor   (Lat.).     Lesser. 

Minor  Chord.    The  third  above  the  root  minor. 

Minor  Interval.     One  half-tone  less  than  major. 

Minor  Scale.  The  third  degree,  a  minor  third  above  the  key- 
note. 

Minstrel.  See  Troubadour.  Minstrel  has  been  adopted  as 
the  name  of  the  imitation  Ethiopians  who  sing  songs  sup- 
posed to  be  illustrative  of  the  manners  and  customs  of  the 
plantation  negroes  in  the  days  of  slavery. 

Minuet.    See  Menuet. 


MISE    DE   VOIX 


559 


MOTET,  MOTETT,  MOTETTO 


Mise  de  voix  (Fr.)   (meese  de  vo-a).    See  Messa  di  voce. 

Mise  en  scene  (Fr.)  (meese  ong  scayne).  The  "getting  up"; 
putting  on  the  stage  of  a  play,  opera,  etc. 

Misteriosamente.     Mysteriously. 

Misterioso   (It.).     Mysterious. 

Misurato   (It.)    (mee-soo-rah'-to).    Measured;  in  strict  time. 

Mit  (Ger.).    With. 

Mit  Begleitung   (be-gley'-toonk).     With  accompaniment. 

Mixed  Cadence.  A  close,  consisting  of  subdominant,  dom- 
inant, and  tonic  chords,  so  called  because  it  includes  the 
characteristic  chords  of  both  the  plagal  and  authentic 
cadences,  viz. :  subdominant  and  dominant. 

Mixed  Chorus,  )   ,,  ,         ,  ,        ,         •  ,, 

,  „   .          /    Male  and  female  voices  together. 
Mixed  Voices.   \ 

Mixolydian.     See  Mode. 

Mixture.  An  organ-stop  with  from  three  to  six  small  pipes 
to  each  note,  tuned  to  certain  of  the  overtones  of  the  funda- 
mental (diapason)  used  in  full  organ  only. 
Mobile  (It.)  (mo'-bee-leh).  With  motion;  mobile. 
Mode  [Lat.,  modus,  manner,  way],  (i)  A  scale  in  Greek  and 
ecclesiastical  music.  (2)  In  modern  music  used  only  in 
conjunction  with  the  terms  major  and  minor,  as  Major 
Mode,  Minor  Mode.  Greek  Modes;  the  scale  system  of 
the  Greeks  is  not  yet  quite  satisfactorily  made  out.  Accord- 
ing to  Chappel,  who  is  considered  the  best  authority,  the 
succession  of  whole  and  half  tones  was  the  same  in  all  the 
modes,  their  only  difference  being  in  pitch.  He  gives  the 
following  as  the  initial  notes  of  the  principal  modes :  Dorian 
(the  standard  mode)  D,  Phrygian  E,  Lydian  FS,  ^ixo- 
lydian  G.  Those  modes  the  initial  notes  of  which  are  below 
the  Dorian  were  distinguished  by  the  prefix  hypo,  beneath, 
as  Hypolydian  CJf,  Hypophrygian  B,  Hypodorian  A.  The 
succession  of  sounds  was  like  that  of  the  natural  scale  of 
A  minor.  Church  (or  ecclesiastical),  or  Gregorian,  or  Am- 
brosian  modes  were  derived  from  the  Greek  modes,  but  dis- 
carded the  chromatic  sounds.  Thus  the  Dorian  and  Phry- 
gian were  the  same,  that  is,  had  the  same  initial  sounds, 
but  the  Lydian  began  on  F  instead  of  FS.  There  are  other 
differences  between  the  Greek  and  the  Church  modes,  viz.: 
The  first  four  are  called  authentic ;  those  the  initial  notes  of 
which  are  below  the  Dorian  are  called  plagal ;  each  plagal 
mode  is  considered  as  the  relative  of  the  authentic  mode, 
beginning  a  4th  above  it.  The  final  of  a  plagal  is  always 
made  on  the  initial  note  of  its  related  authentic  mode.  If 
the  interpretation  of  the  Greek  modes  is  to  be  trusted,  the 
Church  modes  seem  to  have  arisen  from  a  misunderstanding 
of  the  Greek  modes. 

Moderatamente  (mod-e-rah-tah-men'-teh).    Moderately. 
Moderatissimo  (mod-e-rah-tis' -see-mo).    Vary  moderate. 
Moderate  (It.)    (mod-e-rah'-to).    Moderate. 
Moderazione   (It.)    (mo-dch-rat-sc-o'-neh),  con.    With  mod- 
eration. 

Modificazione     (It.)     (mo-dee-fee-cat-sc-o'-neh).      Modifica- 
tion :  light  and  shade. 

Modinha   (Port)    (mo-decn'-ya).     Portuguese  love-song. 
Modo   (It.).     Mode;  style. 

Modulation,  (i)  Gradation  of  sound  in  intensity.  (2)  Change 
of  key  or  tonality.  Diatonic  modulation  moves  from  one 
key  to  another  by  means  of  chords  from  related  keys ;  chro- 
matic modulation,  by  means  of  chords  from  non-related 
keys ;  enharmonic  modulation,  by  substituting  8  for  b,  or 
the  reverse.  A  passing  or  transient  modulation  is  one  fol- 
lowed by  a  quick  return  to  the  original  key;  the  signature 
is  not  changed  in  a  modulation  of  this  kind.  A  final  mod- 
ulation is  one  in  which  the  new  key  is  retained  for  some 
time,  or  permanently ;  it  is  generally  indicated  by  a  change 
of  signature  following  a  double  bar. 
Modus  (Lat.).  Mode;  scale. 


Moll  (Ger.)  [Lat.,  mollis,  soft].    Minor. 

Moll-Akkord.    Minor  chord. 

Moll-Tonart.    Minor  key  or  mode. 

Moll-Tonleiter.     Minor  scale;   literally,  tone-ladder. 

Molle  (Lat.).  Soft;  mediaeval  name  for  Bb,  Bll  being  called 
B  durum  (hard).  The  German  words  for  minor  and  major 
(moll,  dur)  are  derived  from  these  terms,  also  the  French 
and  Italian  names  for  the  flat  sign,  viz.,  French,  bemol; 
Italian,  bemolle. 

Mollemente   (It.)    (mol-leh-men-teh).     Softly;  sweetly. 

Molto  (It.).  Very  much.  Di  molto,  exceedingly ;  as  Allegro 
di  molto,  exceedingly  rapid. 

Monferina  (It.)  (mon-feh-rce'-nah).  Italian  peasant  dance 
in  |  time. 

Monochord  [Gr.,  monos,  one;  chorda,  string].  An  instru- 
ment consisting  of  a  single  string  stretched  over  a  sound- 
board, on  which  is  a  graduated  scale  giving  the  propor- 
tionate divisions  of  the  string  required  for  the  production 
of  perfect  intervals.  A  movable  bridge  is  placed  at  the 
points  indicated  on  the  scale.  The  Monochord  was  for- 
merly used  as  a  means  for  training  the  ear.  It  is  now  used 
only  for  acoustic  experiments. 

Monody,  (i)  A  song  for  a  single  voice  unaccompanied. 
(2)  In  modern  usage  it  denotes  a  composition  in  which  the 
melody  is  all-important,  the  remaining  parts  simply  accom- 
paniment ;  called  also  Homophony  and  Monophony — the 
antithesis  of  Polyphony. 

Monotone.    Recitative  on  a  single  sound. 

Montre  (Fr.)  (mongtr).  Lit.,  displayed.  The  open  diapason, 
so  called  because  the  pipes  are  generally  placed  in  the  front 
of  the  case  and  ornamented. 

Morceau  (Fr.)  (mor-so).  A  "morsel";  a  short  piece;  an 
extract. 

Mordent,  Mordente  (It.),  Beisser  (Ger.).     A  sign      /\V 
indicating  a  single  rapid  stroke  of  the  auxiliary  note  below 
the  principal  followed  by  a  return  to  the  principal.     Thus : 


/vfv 


Played. 


When  the  sign  is  used  without  the  dash  through  it, 
thus  AA/  lt  's  called  an  Inverted  Mordent,  or  Prall- 
triller,  and  consists  of  the  principal  and  the  auxiliary  note 
above.  Thus : 

/W  Played. 


The  Mordent  proper  is  not  used  in  modern  music,  and  the 
word  Mordent  is  now  by  common  usage  applied  to  the 
inverted  Mordent,  or  Pralltriller. 

Morendo  (It.)  [from  morire,  to  die].  Dying  away;  grad- 
ually growing  softer  and  slower. 

Morisca  (It.).    Morris  dance. 

Mormorando,  Mormorevole,  Mormorosa  (It.).   Murmuring. 

Morris  Dance.    A  rustic  dance  of  Moorish  origin. 

Mosso  (It.).  Moved.  Piu  mosso,  faster.  Meno  mosso, 
slower. 

Mostra  (It.).  A  direct  /\\/^,  generally  used  in  manu- 
script music  to  indicate  an  unfinished  measure  at  the  end 
of  a  brace. 

Moteggiando   (It.)    (mo-tcd-jan'-do).    Bantering;  jocose. 

Motet,  Motett,  Motetto  .  (It.).  A  vocal  composition  to 
sacred  words  in  contrapuntal  style.  The  madrigal  differs 
only  in  being  set  to  secular  words.  Many  modern  compo- 
sitions to  sacred  words  (not  metric)  are  called  motets, 
but  would  more  properly  be  called  anthems. 


MOTIF 


560 


NEBENSATZ 


Motif  (Fr.),  Motive  (It.).  Motiv  (Ger.).  Motive,  (i)  A 
short,  marked  musical  phrase.  (2)  A  theme  for  develop- 
ment. See  Leitmotiv. 

Motion,  Moto  (It.).  Conjunct  Motion,  movement  by  de- 
.grees.  Disjunct  Motion,  movement  by  skips.  Direct,  Sim- 
ilar, or  Parallel  Motion,  when  two  parts  ascend  or  descend 
together.  Contrary  Motion,  when  two  parts  move  in  op- 
posite directions.  Oblique  Motion,  when  one  part  is  sta- 
tionary while  the  other  moves. 

Mouth.    The  opening  in  the  front  of  an  organ  flue-pipe. 

Mouth-organ.    The  harmonica;  Pandean  pipes. 

Mouthpiece.  In  brass  instruments  the  cup-shaped  part  ap- 
plied to  the  lips  in  oboe,  clarionet,  etc.,  the  part  held 
between  the  lips.  [Fr.,  embouchure;  It.,  imboccatura;  Ger., 
Mundstitck.] 

Movement,  Mouvement   (Fr.)    (move-mong).     (i)  Tempo. 

(2)  One    of    the    members    of    a    sonata,    symphony,    etc. 

(3)  The  motion  of  a  part  or  parts. 

Movimento  (It.).  Movement;  tempo.  Doppio  movimento, 
double  movement;  when  a  change  of  time  signature  from 
j  to  {g  occurs,  and  it  is  desired  to  preserve  the  same  rate 
of  movement,  or  tempo,  i.  e.,  the  quarter-note  beat  becomes 
the  half-note  beat. 

Munter  (Ger.).     Lively;  brisk;  allegro. 

Murky.  An  old  name  for  a  piece  of  harpsichord  music  with 
a  bass  of  broken  octaves. 

Musars.    Troubadour  ballad  singers. 

Musette  (Fr.).  (i)  A  bagpipe.  (2)  An  old  dance.  (3)  In 
the  suite  the  second  part  or  "trio"  of  the  gavotte,  etc.,  is 


frequently  so  called,  and  is  written  in  imitation  of  bagpipe 

music.     (4)   A  soft  reed-stop  in  the  organ. 
Music,  Musica  (Lat.  and  It.),  Musique  (Fr.).  Musik  (Ger.) 

[from  Gr.,   mousikc,   from  mousa,   muse].     Originally  any 

art  over  which  the  Muses  presided,  afterward  restricted  to 

the  art  that  uses  sound  as  its  material. 
Music    Box.      An    instrument    in    which    steel    tongues    are 

vibrated  by  means  of  pins  set  in  a  revolving  cylinder. 

Musical  Glasses.  An  instrument  consisting  of  a  number  of 
goblets,  tuned  to  the  notes  of  the  scale,  vibrated  by  passing 
a  wetted  finger  around  the  edge. 

Musician,  (i)  One  who  makes  a  livelihood  by  playing,  sing- 
ing, or  teaching  music.  (2)  A  member  of  a  regimental  or 
naval  band.  (3)  A  composer  of  music.  "Musician"  is  a 
very  elastic  term ;  it  includes  every  grade  from  the  drummer 
and  fifer  to  Mozart. 

Musikant  (Ger.).     A  vagabond  musician. 

Musiker,  Musikus  (Ger.).  A  musician.  (Generally  used  in 
a  derogatory  sense.) 

Mutation  Stop.  Any  organ-stop  not  tuned  to  the  diapason 
or  any  of  its  octaves,  as  the  tierce,  quint,  twelfth,  larigot, 
etc.  Stops  of  this  kind  (also  mixtures,  cornets,  sesqui- 
alteras)  are  used  for  the  purpose  of  "filling  up"  the  volume 
of  tone  and  giving  it  greater  brilliancy. 

Mute  [It.,  sordino;  Fr.,  sourdine;  Ger.,  Diimffer].  A  small 
contrivance  of  wood  or  metal  placed  on  the  bridge  of  the 
violin,  etc.,  to  deaden  the  sound ;  a  cone  or  cylinder  of  paste- 
board, leather,  or  wood  placed  in  the  bell  of  a  brass  instru- 
ment for  the  same  purpose. 

Mutig  (Ger.)   (moo-tig).    Bold;  spirited;  vivace. 


N 


Nacaire   (Fr.)    (nah-kehr').     A  large  drum. 

Nacchera   (It.)    (nak-keh'-rah).     Military  drum. 

Nach  (Ger.).     After;  according  to;  resembling. 

Nach  Belieben.    At  pleasure;  ad  libitum. 

Nach  und  nach.    By  degrees;  poco  a  poco. 

Nachahmung.     Imitation. 

Nachdruck.     Emphasis. 

Nachlassend.    Retarding. 

Nachsatz.    Closing  theme ;  coda. 

Nachspiel.     Postlude. 

Nachthorn  (Ger.).  Night-horn.  An  organ-stop;  large-scale 
closed  pipes,  generally  8-foot  tone. 

Naif  (Fr.),  masc.  (nah-if),  fern.  Naive  (nali-eve).  Simple; 
natural ;  unaffected. 

Naiv  (Ger.)    (nah-if).    See  Naif. 

Nalvement  (Fr.)    (>ia-eve-mong).    Artless. 

Naivete  (Fr.)   (na-eve-teh) .    Simplicity. 

Naker.     A  drum.     (Obsolete.) 

Narrante  (It.)  (nar-ran-teh).  Narrating.  A  style  of  sing- 
ing in  which  especial  attention  is  given  to  distinctness  of 
enunciation,  rather  than  to  musical  effect. 

Nasard,  Nazard,  or  Nassat.  An  organ-stop  tuned  a  twelfth 
above  the  diapason. 

Nason  Flute.    A  soft,  closed  stop,  4-foot  pitch. 

Natural.  A  sign  $  which  restores  a  letter  to  its  place  in  the 
natural  scale.  In  the  ancient  system  of  music  the  only- 


changeable  note  in  the  scale  was  B.  The  sign  for  that  sound 
was  Jz,  the  old  form  of  the  letter ;  it  signified  the  sound  we 
call  B  flat  and  was  called  B  rotundum,  i.  c.,  round  B.  When 
it  was  to  be  raised  a  half  tone  a  line  was  drawn  downward 
at  the  right  side,  thus  *!,  and  it  was  called  B  quadratum, 
«'.  e.,  square  B.  In  our  modern  music  these  have  been  re- 
tained as  the  signs  for  flat  and  natural. 

Natural  Horn  or  Trumpet.  Those  without  valves  or  slides. 
The  sounds  produced  are  called  natural  harmonics,  and  are 
the  same  as  may  be  produced  by  touching  lightly  a  vibrating 
string  at  any  point  that  will  cause  it  to  divide  into  equal 
parts,  as  2,  3,  4,  etc. 

Natural  Major  Scale.    The  scale  of  C  major. 

Natural  Minor  Scale.  A-minor;  also  any  minor  scale  with 
unchanged  6th  and  yth. 

Natural  Pitch.  The  sounds  produced  by  flute,  clarionet,  etc., 
without  overblowing.  The  flute,  oboe,  and  bassoon  over- 
blow at  the  octave  above  their  fundamental.  The  clarionet 
at  the  I2th. 

Naturale    (It.)    (nah-too-rah'-lch},  Naturel   (Fr.)    (iiah-too- 

rcl').     Natural;  unaffected. 
Neapolitan  Sixth.    A  name  given  to  a  chord  consisting  of  the 

subdominant  with  minor  3d  and  minor  6th,  as  F,  Ab,  Db; 

used  in  both  major  and  minor  keys. 
Neben  (Ger.)   (neh'-ben).    Subordinate;  accessory. 
Neben-Dominant  (Ger.).    The  dominant  of  the  dominant. 
Neben-Gedanken  (Ger.).    Accessory  themes. 
Nebensatz  (Ger.).     An  auxiliary  theme  in  sonata,  etc. 


NEBENWERK 


5B1 


NUT 


Nebenwerk.    The  second  manual  of  the  organ. 

Neck    [Ger.,  Hals;   FT.,  manche   (mongsh)].     The  "handle" 

of  violin,  guitar,  etc. ;  on  its  top  is  the  fingerboard ;  at  its 

end,  the  peg-box. 
Negli  (It.)    (nehl-yee'),  Nei,  Nel,  Nell,  Nella,  Nelle,  Nello. 

In  the  manner  of. 

Negligente  (It.)    (neg-lee-gen'-teh).     Careless. 

Negligentimente  (It.)    (neg-lee-gen-te-men-tch).    Carelessly. 

Negligenza  (neg-lce-gent-sa),  con.     With  carelessness. 

Nel  battere   (It.)    (bat-teh-reh).     At  the  beat. 

Nel  stilo  antico.    In  the  antique  style. 

Nenia  or  Naenia  (Lat.).    A  funeral  dirge. 

Nettamente   (It.)    (nctt-a-men-teh).     Neatly;  clearly. 

Netto  (It.).    Neat;  exact. 

Neuma,  Neumes.    Signs  used  in  mediaeval  notation. 

Nineteenth.  An  organ-stop;  two  octaves  and  a  fifth  above 
the  diapason. 

Ninth.  An  interval  one  degree  beyond  the  octave,  being  the 
second  removed  an  octave ;  it  may,  like  the  second,  be 
minor,  major,  or  augmented.  The  minor  and  major  ninths 
are  essential  dissonances,  that  is,  sounds  derived  from  the 
fundamental ;  with  the  augmented  ninth  the  lower  sound  is 
really  the  ninth,  thus,  G,  B,  D,  F,  A  or  Ab,  are  overtones 
of  G.  but  C,  D»  arise  from  B,  D«,  F8,  A,  C,  chord  of  ninth. 
A  chord  consisting  of  root  major  3,  perfect  $,  minor  7.  and 
major  or  minor  ninth  may  have  either  major  or  minor  ninth 
in  major  keys,  but  only  the  minor  ninth  in  minor  keys. 

Nobile  (It.)    (no-bee-leh).    Noble;  grand.  "^fc 

Nobilita  (It.)    (no-bee-lee-la),  con.    With  nobility. 

Nobilmente  (It.)    (no-bil-men-teh).     Nobly. 

Noch  (Ger.).     Still;  yet;  as,  noch  schneller,  still  faster. 

Nocturne  (Fr.)  (noc-toorn),  Notturno  (It),  Nachtstiick  or 
Nokturne  (Ger.)  (nok-tooS-neh).  Literally,  night-piece; 
a  quiet,  sentimental  composition,  usually  in  Lyric  form,  but 
under  the  title  Notturno  important  compositions  for  several 
instruments  or  full  orchestra  have  been  written  containing 
several  movements. 

Nocturns.  Night  services  in  the  R.  C.  Church,  at  which  the 
psalms  are  chanted  in  portions,  also  called  nocturns. 

Node.  A  line  or  point  of  rest  in  a  vibrating  body.  A  node 
may  be  produced  in  a  vibrating  string  by  touching  it  lightly. 
(Cf.  under  Natural  Horn.)  The  sounds  thus  produced, 
called  harmonics,  are  often  used  on  instruments  of  the  violin 
family  and  on  the  harp. 

Noel  (Fr.)  (no-el),  Nowell  (Eng.).  "Good  news";  "Gos- 
pel." Christmas  eve  songs  or  carols. 

Noire  (Fr.)    (no-ar}.     Black;  quarter  note. 

Nonet  [It.,  nonetto;  Ger.,  Nonctt].  A  composition  for  nine 
voices  or  instruments. 

Nonuplet.  A  group  of  nine  notes  to  be  played  in  the  time  of 
six  or  eight  of  the  same  value. 

Normal  Pitch.  The  pitch  of  a  sound,  generally  A  or  C, 
adopted  as  a  standard.  This  standard  for  the  sound  A, 
second  place,  has  varied  from  404  vibrations  per  second  in 
1699  to  455  in  1859.  By  almost  universal  consent  the  mod- 
ern French  pitch  is  now  adopted,  viz.,  A  =  435  vibrations 
per  second. 

Notation.  The  various  signs  used  to  represent  music  to  the 
eye,  as  staff,  clefs,  notes,  rests,  etc.  The  earliest  attempts 
at  the  representation  of  musical  sounds  of  which  we  have 
any  knowledge  were  made  by  the  Greeks,  who  used  the  let- 


ters of  their  alphabet,  modified  in  various  ways  to  represent 
the  series  of  sounds  they  employed.  Their  series  of  sounds 
is  supposed  to  have  begun  on  the  note  A,  first  space  in  the 
bass  clef.  From  this  system  music  has  retained  the  name  of 
A  for  this  sound.  The  next  development  was  the  adoption 
of  a  series  of  signs  called  neumre.  These  signs,  although 
curiously  complicated,  were  yet  very  defective  in  precision, 
being  inferior  to  the  letters  as  indications  of  pitch.  The 
great  want,  both  of  the  letter  system  and  the  neumse,  was 
that  neither  gave  any  indication  of  the  duration  of  the 
sounds.  The  next  step  was  the  adoption  of  the  staff.  At 
first  use  was  made  only  of  the  spaces  between  the  lines,  and, 
as  notes  had  not  yet  been  invented,  the  syllables  were  writ- 
ten in  the  spaces ;  this  gave  exactness  to  the  relative  pitch 
of  the  sounds  but  no  indication  of  their  duration.  The  next 
step  was  to  use  the  lines  only,  indicating  the  sounds  by 
small  square  notes  called  points.  The  letter  names  of  the 
lines,  of  which  eight  was  the  number,  were  indicated  by 
Greek  letters  placed  at  the  beginning.  This,  though  an  im- 
provement on  the  plan  of  dislocating  the  syllables,  was  still 
wanting  in  that  no  duration  was  indicated.  This  desidera- 
tum was  secured  by  the  invention  of  the  notes,  attributed  to 
Franco  of  Cologne.  Invention  was  now  on  the  right  track. 
The  expression  of  pitch  and  relative  duration  were  now 
determined  with  exactness.  The  system  of  notation  now  in 
use  is  substantially  the  same,  modified  and  improved  to  meet 
the  requirements  of  modern  musical  complexity. 

Note.  A  sign  which,  by  its  form,  indicates  the  relative  dura- 
tion of  a  sound,  and  by  its  position  on  the  staff  the  pitch  of 
a  sound. 

Notenfresser  (Ger.).  "Note  devourer."  A  humorous  title 
for  a  ready  sight-reader ;  generally  implies  one  whose  play- 
ing is  more  notes  than  music. 

Nourri  (Fr.)  (nour-ree).  Nourished;  un  son  nourri,  a  well- 
sustained  sound.  Generally  applied  to  vocal  sounds, 

Novelette.  A  name  invented  by  Schumann  and  given  t>y  him 
to  a  set  of  pieces  without  formal  construction,  with  namer- 
ous  constantly  changing  themes,  giving  expression  to  a  very 
wide  range  of  emotions. 

Novemole  (Ger.)   (no-vth-mo'-leh).    Nonuplet. 

Nuance  (Fr.)  (noo-ongs).  Shading;  the  variations  in  force, 
quality,  and  tempo,  by  means  of  which  artistic  expression  is 
given  to  music. 

Number,  (i)  A  movement  of  a  symphony  or  sonata.  (2)  A 
solo,  chorus,  or  other  separate  part  of  an  opera  or  oratorio, 
etc.  (3)  A  given  piece  on  a  concert  programme.  (4)  The 
"opus"  or  place  in  the  list  of  an  author's  works  as  to  order 
of  composition. 

Nunsfiddle  [Ger.,  Nonnen-Geige].  Called  also  Tromba 
Marina.  An  instrument  with  a  distant  resemblace  to  a 
double  bass,  furnished  with  one  string  and  a  peculiarly  con- 
structed bridge.  The  harmonic  sounds  only  are  used.  It 
gets  its  name  from  the  fact  that  it  was  formerly  used  in 
Germany  and  France  in  the  convents  to  accompany  the  sing- 
ing of  the  nuns. 

Nuovo   (It.)    (noo-o'-vo),  Di  nuovo.     Over  again;  repeat 

Nut  [Ger.,  Sattel,  saddle ;  Fr.,  sillet,  button ;  It.,  capo  tasto, 
head-stop],  (i)  The  ridge  at  the  end  of  the  fingerboard 
next  the  peg-box ;  its  purpose  is  to  raise  the  strings  slightly 
above  the  fingerboard  of  instruments  of  violin  and  guitar 
families.  (2)  [Ger.,  Frosch,  frog;  Fr..  talon,  heel].  The 
piece  at  the  lower  end  of  violin  bow,  etc.,  in  which  the  hair 
is  inserted  and  tightened  or  slackened  by  means  of  a  screw. 


o 


O  (It.).    Or;  also  written  od. 

Ob.    Abbreviation  of  oboe  and  obbligato. 

Obbligato  (It.)  (ob-blce-gah'-to).  An  essential  instrumental 
part  accompanying  a  vocal  solo. 

Ober  (Ger.)  (o'-behr).    Over;  upper. 

Oberwerk.    The  uppermost  manual  of  an  organ. 

Oblige  (Fr.)   (o-blee-zheh) .    Obbligato. 

Oblique  Motion.  When  one  part  is  stationary  while  the 
other  ascends  or  descends. 

Oboe  (It.)  (o-bo-eli),  plural,  oboi  (o-bo-ee)  ;  (Fr.)  Haut- 
bois  (ho-boa)  ;  (Eng.)  Hautboy  or  Hoboy  [from  the 
French  word  which  means,  literally,  "high-wood"].  A  wind 
instrument  with  double  reed,  formerly  the  leading  instru- 
ment in  the  orchestra,  filling  the  place  now  taken  by  the 
violins.  A  pair  are  generally  employed  in  the  modern  or- 
chestra. The  oboe  is  one  of  the  most  ancient  and  widely 
disseminated  of  musical  instruments.  It  is  the  general  opin- 
ion of  students  of  antiquity  that  many  of  the  instruments 
called  by  the  general  name  "flute"  by  the  Greeks  were  oboi. 

Oboe.  A  reed-stop  in  the  organ,  of  8-ft.  pitch,  voiced  to  re- 
semble the  oboe. 

Oboe  d'amore  (It.)  (dah-mo'-reh).  Oboe  "of  love" ;  a  small 
soft-toned  oboe. 

Oboe  di  caccia  (It.)  (cat'-cheea).  Oboe  of  the  chase;  a 
large  oboe,  used  formerly  as  a  hunting  signal. 

Oboist,  Oboista  (It.).    An  oboe  player. 

Ocarine,  Ocarina  (It.).  A  small  wind  instrument  of  terra 
cotta,  with  flute-like  quality  of  tone, — more  of  a  toy  than  a 
musical  instrument. 

Octave,  Ottava  (It.),  Oktave  (Ger.).  (i)  The  interval  be- 
tween a  given  letter  and  its  repetition  in  an  ascending  or 
descending  series.  The  diapason  of  the  Greeks.  (2)  An 
organ-stop  of  4-ft.  pitch. 

Octave  Flute.    The  piccolo. 

Ottava  bassa.  An  octave  lower  than  written ;  the  sign :  8va 
Ba 

Ottava  alta  (It.).  At  the  octave  above;  indicates  that  the 
passage  is  to  be  played  an  octave  higher  than  written,  indi- 
cated by  the  sign:  8va 

A  return  to  the  natural  position  of  the  notes  is  signified  by 
the  word  loco  (place),  or  frequently  by  the  cessation  of  the 
dotted  line,  thus:  8va 

Octet,  Octuor,  Ottetto  (It.),  Oktett  (Ger.),  Octette  (Fr.). 

A  composition  for  eight  solo  voices  or  instruments. 
Octo  basse  (Fr.).    A  large  double  bass  going  a  third  lower 

than  the  ordinary  instrument,  furnished  with  a  mechanism 

of  levers  and  pedals  for  stopping  the  strings — an  important 

addition  to  the  orchestra. 
Octuplet.    A  group  of  eight  notes  played  in  the  time  of  six 

of  the  same  value. 

Ode  Symphonic  (Fr.).    Choral  symphony. 
Odeon   (Gr.),   Odeum    (Lat.).     A  building  in  which  public 

contests  in  music  and  poetry  were  held.    In  modern  use  as 

a  name  for  a  concert-hall  or  theater. 
Oder  (Ger.).    Or. 

CEuvre  (Fr.)    (oovr).     Work;  opus. 
Often  (Ger.).    Open. 
Offertory,  Offertorio   (It.),  Offertoire   (Fr.)    (of-fer-twar), 

Offertorium   (Ger.  and  Lat.).     (i)  The  collection  of  the 

alms   of   the   congregation  during   the  communion  service. 

(2)  The  anthem  or  motet  sung  by  the  choir  at  this  time. 

(3)  A  piece  of  organ  music  performed  during  this  time. 


Ohne  (Ger.)  (o'-neh).    Without,  as  ohne  Ped.,  without  pedal. 

Olio  [Sp.,  olio,  from  Lat.,  olla,  pot.  A  mixture  of  meat, 
vegetables,  etc.,  stewed  together].  Hence,  a  medley  of 
various  airs;  a  potpourri. 

Olivettes  (Fr.)   (o-lce-vet).    Dance  after  the  olive  harvest. 

Omnes  or  Omnia  (Lat.).    All.    Same  as  Tutti. 

Omnitonic,  Omnitonique  (Fr.).  All  sounding,  i.e.,  chro- 
matic; applied  to  brass  instruments. 

Ondeggiamento  (It.)  (on-dcd-ja-men'-to),  Ondeggiante 
(It.)  (on-ded-jan'-teh),  Ondulation  (Fr.)  (on-doo-lah- 
siong),  Ondule  (Fr.)  (on-doo-lch),  Ondulieren  (Ger.) 
(on-doo-lee'-ren).  Waving,  wavy;  undulating;  tremolo. 

Ongarese  (It.)    (on-gah-rch'-seh).     Hungarian. 

Open  Diapason.    See  Diapason. 

Open  Harmony.  An  equidistant  arrangement  of  the  notes  of 
the  chords. 

Open  Notes,  (i)  The  sounds  produced  by  the  strings  of  a 
violin,  etc.,  when  not  pressed  by  the  finger.  (2)  The  nat- 
ural sounds  of  horn,  trumpet,  etc.,  i.  e.,  without  valves. 

Open  Pipe.    An  organ-pipe  without  stopper. 

Open  Score.  One  in  which  each  voice  or  instrument  has  a 
separate  staff  assigned  to  it. 

Open  Strings.     See  Open  Notes  (i). 

Opera  (It.)  [from  Lat.,  opus,  work].  A  combination  of 
music  and  drama  in  which  the  music  is  not  merely  an  inci- 
dental, but  the  predominant  element.  The  opera  originated 
in  an  attempt  to  revive  what  was  supposed  to  be  the  manner 
in  which  the  classic  Greek  drama  was  performed.  The 
efforts  of  the  group  of  musical  enthusiasts  who  made  this 
attempt  culminated  in  the  production  of  "Euridice,"  in  1600, 
the  first  Italian  opera  ever  performed  in  public.  The  ground 
being  broken,  new  cultivators  soon  appeared,  and  the  new 
plant  grew  rapidly.  Peri,  the  composer  of  "Euridice,"  was 
succeeded  first  by  Gagliano,  then  by  Monteverde — one  of 
the  great  names  in  music.  In  his  hands  the  opera  developed 
with  extraordinary  rapidity.  Before  the  close  of  the  I7th 
century  a  host  of  opera  writers  appeared,  led  by  Scarlatti. 
The  next  important  development  in  the  form  of  opera  was 
made  by  Lulli,  the  court  musician  of  Louis  XIV.  No  very 
striking  advance  was  now  made  until  Handel  appeared.  He 
did  little  in  the  way  of  developing  the  form,  but  infused  so 
much  genius  into  the  received  form  that  it  gave  it  a  new  life. 
In  this  respect  Handel  resembled  Mozart,  who,  at  a  later 
stage  of  the  development  of  the  opera,  was  quite  satisfied 
to  take  the  then  received  form,  which  his  genius  sufficed 
to  make  immortal.  The  first  decided  departure  from  the 
traditional  form  was  made  by  Gluck,  whose  theory  of  dra- 
matic music  is  strongly  akin  to  the  modern  theory  of 
Wagner.  The  opera  since  Mozart  has  grown  with  so  much 
luxuriance,  in  such  a  diversity  of  forms,  that  even  a  slight 
sketch  of  it  would  be  impossible  in  our  limits.  Appended 
will  be  found  the  names  of  the  principal  varieties. 

Opera  Buffa.     Comic  opera.     (Fr.,  Opera  Bouffe.} 

Opera  Comique  (Fr.).    Comedy  (not  comic)  opera. 

Opera  drammatica  (It.).  Romantic  opera.  In  modern  Ger- 
man usage  the  term  "Musikdrama"  has  been  adopted  to 
distinguish  the  modern  from  the  old  form  of  opera. 

Opera  Seria.    Grand  opera ;  serious  opera ;  tragic  opera. 

Operetta   (It.).     An  opera  with  spoken  dialogue. 

Ophicleide,  Oficleide  (It.)  [from  Gr.,  ophis,  snake,  and  kleif. 
key.  Lit.,  "keyed  snake,"  in  allusion  to  its  contorted  shape]. 
A  large  brass  instrument  of  the  bugle  family,  *'.  e.,  with 
keys,  now  little  used.  The  best  example  of  its  use  by  a 
great  composer  will  be  found  in  Mendelssohn's  "Midsum- 
mer Night's  Dream"  music. 


562 


OPPURE 


563 


PALLET 


Oppure  (It.)   (op-poo'-reh).    See  Ossia. 

Opus  (Lat).  Work;  used  by  composers  to  indicate  the  order 
in  which  their  works  were  written. 

Oratorio  (It.)  [from  Lat.,  oratorius,  pertaining  or  belonging 
to  prayer;  a  place  for  prayer].  A  composition  consisting  of 
solos  and  concerted  pieces  for  voices,  the  theme  of  which 
is  taken  from  the  Bible  or  from  sacred  history.  The  name 
arose  from  the  fact  that  St.  Philip  Neri  gave  discourses 
intermingled  with  music  in  his  oratory  about  the  middle  of 
the''  i6th  century.  The  term  Oratorio  is  also  used  for  secu- 
lar works  written  on  the  same  plan,  such  as  Haydn's 
"Seasons."  and  Bruch's  "Odysseus,"  but  is  manifestly  inap- 
propriate. The  oratorio  is  descended  from  those  middle- 
age  dramatic  performances  founded  on  biblical  or  moral 
themes,  known  as  mysteries,  moralities,  or  miracle  plays. 
It  took  its  rise  about  the  same  time  as  the  opera,  from  which 
it  differs  chiefly  in  that  it  affords  an  opportunity  for  the 
highest  developments  of  the  contrapuntal  art,  whereas  the 
opera  is  essentially  monodic.  The  oratorio  has  not  gone 
through  the  manifold  changes  and  diversities  that  have 
marked  the  development  of  the  opera,  nor  has  it  attracted 
anything  like  the  number  of  composers  that  have  devoted 
themselves  to  the  opera.  The  first  writer  of  any  prom- 
inence in  this  field  was  Carissimi.  He  was  followed  by 
A.  Scarlatti ;  then  Handel  appeared  and  stamped  for  all 
time  the  form  of  the  oratorio.  His  great  contemporary, 
Bach,  equaled  if  he  did  not  surpass  him,  but  in  a  different 
style.  Handel  has  had  but  two  successors  worthy  to  be 
named  with  him — Haydn  and  Mendelssohn,  each  of  whom 
has  stamped  a  new  character  on  the  oratorio  without  de- 
scending from  the  high  plane  on  which  this  class  of  "(MS- 
position  should  stand.  The  taste  for  the  oratorio  seems 
to  be  on  the  wane,  as  no  composer  of  any  mark  has  of  late 
years  devoted  his  attention  to  it. 

Orchestra,  Orchestre  (Fr.),  Orchester  (Ger.)  [from  Gr., 
orchester,  a  dancer].  Originally  the  place  where  the 
dancing  took  place  in  the  Greek  theater.  (l)  The  place 
where  the  instrumentalists  are  placed.  (2)  The  company 
of  instrumentalists.  (3)  The  collection  of  instruments  used 
at  any  performance.  See  Instrument. 

Orchestrate.    To  write  music  for  the  orchestra. 

Orchestration.     The  art  of  writing  for  the  orchestra. 

Orchestrion.  A  mechanical  organ  designed  to  imitate,  by 
means  of  various  stops,  the  instruments  of  the  orchestra. 

Ordinario  (It.)  (or-dee-nah'-ree-o).  Usual;  ordinary;  as 
tempo  ordinario,  the  usual  time,  used  in  the  sense  of 
moderate. 

Organ,  Organo  (It.),  Orgue  (Fr.),  Orgel  (Ger.)  [from  Gr., 
organon,  tool,  implement,  instrument].  An  instrument  con- 
sisting of  a  large  number  of  pipes  grouped  according  to 
their  pitch  and  quality  of  tone  into  "stops."  A  large 
bellows  supplies  the  compressed  air  or  "wind"  to  the  various 
air-tight  boxes  called  sound-boards,  on  which  the  pipes  are 
placed.  By  means  of  a  key  mechanism  the  "wind"  is 
allowed  to  enter  the  pipes  corresponding  to  any  given  pitch 
at  will.  The  set  or  sets  of  pipes  it  is  desired  to  sound  are 
controlled  by  means  of  "registers,"  which,  when  drawn, 


allow  the  "wind"  to  enter  the  pipes  of  the  "stop,"  the  name 
of  which  is  marked  on  the  knob  of  the  register.  Organs 
are  built  with  from  one  to  four,  and  even  more,  "manuals," 
or  keyboards,  placed  one  above  the  other.  Three  manuals 
is  the  usual  number.  The  lowest  is  called  the  "choir  organ," 
the  middle  the  "great  organ,"  the  upper  the  "swell  organ." 
When  a  fourth  manual  is  added  it  is  called  the  "solo 
manual,"  a  fifth  the  "echo  organ"  ;  there  is  also  a  keyboard 
for  the  feet  called  the  "pedal  organ." 

Organ  Point,  Point  d'orgue  (Fr.),  Orgelpunkt  (Ger.).  A 
succession  of  harmonies  belonging  to  the  key,  written  over 
a  prolonged  holding  of  the  dominant  or  tonic,  or  both;  an 
organ  point  is  generally  at  the  bass. 

Organetto   (It.).     Small  organ;  bird-organ. 

Organum  (Lat.),  Organon  (Gr.).  An  early  attempt  at 
part-writing  in  which  the  parts  moved  in  fourths  or  fifths 
with  each  other. 

Orguinette.    A  small  mechanical  reed-organ. 

Orpharion.    A  lute  with  wire  strings. 

Osservanza  (It.)  (os-ser-van'-tsa),  con.  With  care;  with 
exactness. 

Ossia  (It.)  (os'-see-a).  Or  else;  otherwise;  as  ossia  piu 
facile,  or  else  more  easily. 

Ostinato  (It.)  (os-tee-nah'-to).  Obstinate.  Basso  ostinato 
is  a  name  given  to  a  frequently  repeated  bass  with  a  con- 
stantly varied  counterpoint,  called  also  ground  bass ;  fre- 
quently used  by  the  old  composers  as  the  foundation  for 
the  passacaglio. 

Otez  (Fr.)  (o-teh).  Take  off;  a  direction  in  organ  music  to 
push  in  a  given  register. 

Ottavmo  (It.)   (ot-ta-vee-no).    The  piccolo. 

Ottavo  (It).     See  Octave. 

Ottetto  (It.).     See  Octet. 

Ou  (Fr.)    (oo).     See  Ossia. 

Ouvert  (Fr.)  (oo-vehr).  Open.  See  Open  Notes.  A  livre 
ouvert,  literally,  "at  open  book";  at  sight. 

Overblow.  To  blow  a  wind  instrument  in  such  a  manner  as 
to  make  it  sound  any  of  its  harmonics.  In  the  organ  a 
pipe  is  overblown  when  the  air-pressure  is  too  great,  causing 
it  to  sound  its  octave  or  twelfth. 

Overspun.  Said  of  strings  covered  with  a  wrapping  of  thin 
wire. 

Overstring.  Arranging  the  stringing  of  a  piano  in  such  a 
way  that  one  set  crosses  the  rest  diagonally. 

Overtone.  The  sounds  produced  by  the  division  of  a  vibrat- 
ing body  into  equal  parts. 

Overture,  Overtura  (It.),  Ouverture  (Fr.),  Ouverture 
(Ger.).  A  musical  prelude  to  an  opera  or  oratorio.  Inde- 
pendent compositions  are  also  written  under  the  name  of 
concert  overtures,  generally  with  some  descriptive  title. 
In  its  highest  form  the  overture  is  developed  in  the  sonata 
form  without  repeating  the  first  part.  Many  overtures  are 
nothing  but  a  medley  of  airs  in  various  tempos. 

Ovvero.     See  Ossia. 


P.     Abbreviation  for  piano.     Soft   (positive  degree). 

PP.  Abbreviation  for  piu  piano.  Softer  (comparative  de- 
gree). 

PPP.  Abbreviation  for  pianissimo.  Softest  (superlative  de- 
gree). 

P.  F.  Abbreviation  for  pianoforte  (when  capital  letters  are 
used),  p.  f.  Abbreviation  for  poco  forte,  a  little  loud; 
or  piu  forte,  louder.  In  French  organ  music  P.  signifies 
posatif,  »'.  e.,  choir-organ. 


Padouana    (It.)     (pah-doo-ah'-nah'),    Paduana,     Padovana, 

Padovane  (Fr.)    (pah-do-van).     See  Pavan. 
Paean    (Gr.).     A   song   of  triumph,   originally   in   praise   of 

Apollo. 
Paired  Notes.     A  succession  of  thirds,  sixths  or  eighths  on 

the  piano. 

Palco   (It.).     The  stage  of  a  theater. 
Pallet.     The  valve  that  controls  the  admission  of  "wind"  to 

the  pipes  of  the  organ,  harmonium,  etc. 


PALLETTES 


564 


PERCUSSION  STOP 


Pallettes    (Fr.).     The   white   keys   of  the   piano,   etc.     The 

black  keys  are  called  fcintes  (faints). 

Pandean  Pipes  or  Pan's  Pipes.  The  syrinx;  a  series  of 
small  pipes  made  from  reeds,  sounded  by  blowing  across 
the  open  top.  An  instrument  of  unknown  antiquity  and 
universal  use.  The  ancient  Peruvians  carved  them  out  of 
stone.  The  Fijians  and  the  South  American  Indians  make 
them  with  a  double  set  of  pipes — one  set  open,  the  other 
closed  at  one  end,  thus  producing  octave  successions. 

Pantalon  (Fr.).  One  of  the  numbers  in  a  set  of  quadrilles. 
The  old  set  of  quadrilles  consisted  of  five  or  six  numbers 
called:  (l)  pantalon;  (2)  ete;  (3)  poule;  (4)  pastourelle; 
(5)  finale.  If  there  were  six,  the  other  was  called  trenis. 

Parallel  Keys.  The  major  and  minor  scales  beginning  on  the 
same  keynote. 

Parallel  Motion.  When  two  parts  or  voices  ascend  or  de- 
scend together. 

Paraphrase.  An  elaborate  arrangement  of  a  piece  of  music 
for  the  piano,  originally  written  for  the  voice,  or  for  some 
other  instrument.  An  orchestral  paraphrase  is  a  like 
arrangement  of  a  vocal  or  pianoforte  composition. 

Parlando,  Parlante  (It.)  (par-Ian -do,  par-Ian -tch).  De- 
claiming; singing  in  recitative  style;  playing  in  imitation  of 
vocal  recitative. 

Part,  (i)  The  series  of  sounds  allotted  to  a  single  voice  or 
instrument,  or  a  group  of  voices  or  instruments  of  identi- 
cal kind  in  a  musical  composition.  (2)  One  of  the  counter- 
points of  a  polyphonic  composition  for  piano  or  organ,  as  a 
three-  or  four-part  fugue.  (3)  One  of  the  divisions  of  an 
extended  form  as  indicated  by  double  bars. 

Part-Song.  A  composition  for  equal  or  mixed  voices,  unac- 
companied, consisting  of  a  melody  to  which  the  other  parts 
are  subordinated,  in  this  respect  differing  from  the  glee  and 
madrigal,  which  are  contrapuntal,  «'.  e,,  all  the  parts  are  of 
equal  importance. 

Part-Writing.     Counterpoint. 

Partial  Tones.     See  Overtone. 

Partita  (It.)    (par-tee -tah).     See  Suite. 

Partition  (Fr.)  (par-tee'-syong),  Partitur  (Ger.)  (par-tee- 
tour'),  Partitura  (It.)  (par-tee-too'-rah),  Partizione  (It.) 
(par-teetz-eo'-neh).  [From  It.,  partirc,  to  divide.]  In 
allusion  to  the  division  by  bars  of  the  page;  in  English 
"scoring" ;  an  orchestral  or  vocal  score. 

Paspy  [from  Fr.,  passepied],  Passamezzo  (It.)  (passa-med'- 
so).  A  dance  resembling  the  minuet,  but  more  rapid  in  its 
movement. 

Passacaglio  (It.)  (pas-sa-cal'-yo),  Passacaglia  (pas-sa- 
cal'-ya),  Passecaille  (Fr.)  (pass-ca-ee),  Passe-rue  (Fr.) 
(pass-roo),  Passa-calle  (Sp.)  (pas-sa-caf-leh),  Gassen- 
hauer  (Ger.)  (gas-sen-how-er) .  Literally,  "running  the 
street."  An  old  dance  in  triple  time,  generally  written  on 
a  ground  bass. 

Passage.  (i)  A  musical  phrase.  (2)  The  figure  of  a 
melodic  sequence.  (3)  A  brilliant  run  or  arpeggio. 

Passaggio  (It.)   (pas-sad1 '-jeo).    Passage. 

Passing  Note.  An  ornamental  melodic  note  foreign  to  the 
harmony ;  when  these  notes  fall  on  the  beat  or  the  accent 
they  are  called  changing  notes. 

Passione  (It.).  Passion-music;  a  musical  setting  of  the 
closing  scenes  in  the  life  of  the  Saviour  in  the  form  of 
an  oratorio,  originally  with  dramatic  action.  The  Ober- 
ammergau  passion-play  is  a  survival  of  this  custom. 

Passione  (It.)  (pas-se-o'-nch),  Passionate  (It.)  (nah-to), 
Passionatamente  (It.),  Passione  (Fr.)  (pas-si-o'-neh), 
con.  With  passion ;  intensity ;  impassioned ;  with  intense 
passion. 

Pasticcio  (It.)  (pas-ttf-che-o),  Pastiche  (Fr.)  (pas-tish). 
A  "composition"  made  up  of  airs,  etc.,  borrowed  from 
different  sources. 


Pastoral,  Pastorale  (It.)  (pas-to-ralt'-leh).  (i)  A  rustic 
melody  in  f  time.  (2)  Used  to  designate  an  extended 
composition  intended  to  portray  the  scenes  and  emotions  of 
rustic  life,  as  pastoral  symphony,  pastoral  sonata. 

Pastorella    (It.)     (pas-to-ref-lah),    Pastorelle    (Fr.)     (pas- 

to-rel).     A  little  pastoral. 
Pastourelle.    A  figure  in  the  quadrille.     See  Pantalon. 

Pateticamente  (It.)  (pa-teh-tee-cah-men'-teh),  Patetico  (It.) 
(pa-teh'-tce-co),  Pathetiquement  (Fr.)  (pa-teh-teek- 
mong),  Pathetique  (Fr.)  (pa-teh-teek).  Pathetic;  pa- 
thetically. 

Patimento  (It.)  (pah-tee-men-to) .  Suffering.  Con  espres- 
sione  di  patimento,  with  an  expression  of  suffering. 

Patouille   (Fr.)    (pah-too-ee).     Claquebois;  xylophone. 

Pauke  (Ger.)    (pow-keh),  pi.,  Pauken.     Kettle-drum. 

Pausa  (It.)  (paw-sa),  Pause  (Fr.)  (paws).  A  rest  or  pause ; 
a  bar's  rest. 

Pavan.  A  stately  dance  in  |  time.  The  name  is  derived 
either  from  pavo,  a  peacock,  in  allusion  to  its  stately  char- 
acter, or  from  pavana,  the  abbreviated  form  of  Padovana, 
the  Latin  name  of  Padua,  where  the  dance  is  said  to  have 
originated. 

Pavana  (It.),  Pavane  (Fr.).    Pavan. 

Paventato  (It.)  (pa-ven-tah'-to),  Paventoso  (pa-ven-to-so) 
[from  Lat.,  pavidus,  fearing].  Timid;  with  fear;  timidly. 

Pavilion  (Fr.)  (pa-vee-yong).  The  bell  of  a  horn,  clario- 
net, etc. 

Pavilion  chinois  (shee-no-a) .  A  staff  of  small  bells.  Flute 
a  pavilion,  an  organ-stop  with  "bell-mouthed"  pipes. 

Pedal,  abbreviated  Ped.  [from  Lat.,  pes,  a  foot],  (i)  Any 
mechanism  controlled  by  the  foot;  in  the  piano,  the  con- 
trivance for  raising  the  dampers;  also  that  for  shifting  the 
action  (una-corda).  In  square  and  upright  pianos,  the 
soft  pedal,  when  depressed,  interposes  small  strips  of  soft 
leather  between  the  hammers  and  strings.  The  sostenuto 
pedal  is  a  contrivance  by  means  of  which  one  or  more 
sounds  in  the  lower  register  of  the  piano  may  be  pro- 
longed at  will.  In  the  organ,  the  keyboard  for  the  feet,  the 
levers  for  opening  and  closing  the  swell  (swell  pedal)  and 
for  operating  various  groups  of  stops  (combination  pedals). 

Pedal  Check.  A  mechanism  in  the  organ,  controlled  by  a 
hand-knob,  which  prevents  the  movement  of  the  pedals 
Crescendo  Pedal,  a  mechanism  in  the  organ  by  means  of 
which  the  full  power  may  be  put  on  or  off.  Balancing 
Swell  Pedal  is  one  that  remains  in  whatever  position  it  may 
be  when  the  foot  leaves  it. 

Pedal  Harp.  The  mechanical  contrivances  by  means  of  which 
certain  strings  are  tightened  or  slackened  to  change  the 
key,  as  Fjf-ped.,  Bb-ped.,  etc. 

Pedal  Pipes.  The  organ-pipes  sounded  by  the  pedal  key- 
board. 

Pedal  Point  or  Organ  Point.     See  Organ  Point. 

Pedale  (Fr.).    Pedal. 

Pedale  doppio  (It.)  (peh-dah'-leh  dop'-yo).  Pedal  in  oc- 
taves ;  organ  music. 

Pedalfliigel  (Ger.).     A  grand  piano  with  pedal  keyboard. 

Peg.  The  wooden  or  metal  pins  around  which  one  end  of 
the  strings  of  the  violin,  etc.,  are  wound,  by  turning  which 
the  pitch  of  the  strings  is  raised  or  lowered ;  in  the  piano- 
forte they  are  generally  called  pins. 

Pensieroso  (It.)    (pen-see-eh-ro'-so).    Pensive ;  thoughtful. 

Pentatone.    An  interval  of  live  whole  tones ;  augmented  6th. 

Pentatonic  Scale.    See  Scale. 

Per  (It.)  (pehr).  For,  or  by;  as,  Per  il  violino,  for  the 
violin. 

Percussion  Stop.  A  hammer  which,  striking  the  reed  of  a 
harmonium  or  organ-pipe,  causes  it  to  vibrate  promptly 
when  the  key  is  depressed. 


PERCUSSIVE    INSTRUMENTS 


565 


PIPE 


Percussive  Instruments.     Drums,  cymbals,  triangles,  etc. 

Perdendo  (It.)  (pehr-den'-do),  Perdendosi  (pehr-den-do'- 
see)  [from  perdere,  to  lose].  Gradually  dying  away,  both 
in  speed  and  power.  (Abbr.,  Perd.  or  Perden.) 

Perfect  Cadence.     See  Cadence. 

Perfect  Concord.    Root,  minor  or  major  3d,  and  perfect  sth. 

Perfect  Consonances.     See  Interval. 

Perigourdine  (Fr.)  (peh-ree-goor-deen) ,  Perijourdine  (peh- 
rea-zhoor-deen).  An  old  French  dancing-song  in  -f  time. 

Period,  Periode  (Fr.)  (peh-ree-ode),  Periodo  (It.)  (peh- 
ree-o-do).  A  complete  musical  sentence,  generally  eight 
measures. 

Perle  (Fr.)  (per-leh),  Perlend  (Ger.),  "Pearled,"  like  a 
string  of  pearls.  A  metaphorical  expression  for  a  clear, 
delicate  execution;  also  a  direction  that  the  passage  is  to  be 
played  in  a  "pearly"  manner. 

Pesante  (It.)   (peh-san'-teh).    Heavy;  weighty. 

Petite  (Fr.)   (peh-tcet).    Small ;  little. 

Petite  Flute.     The  piccolo. 

Petite  mesure  a  deuz  temps.    £     time. 

Petite  Pedale.    Soft  pedal  in  organ  music. 

Petites  Notes.    Grace  notes. 

Petto  (It.).    Chest. 

Peu  a  peu  (Fr.).  (This  sound  cannot  be  reproduced  in 
English ;  it  resembles  oo,  but  is  not  so  broad.)  Little  by 
little;  by  degrees. 

Pezzi  (It.)   (pet-see).    Pieces. 

Pezzi  concertanti.  (i)  Concerted  pieces.  (2)  A  "number" 
of  an  opera,  concert,  etc. 

Pezzi  di  bravura  (bra-voo-ra} .    Showy,  brilliant  pieces. 

Pezzo  (It.)  (pef-so).  A  piece;  phrase.  Beethoven  uses  the 
following  sentence  as  a  direction  in  one  of  his  pianoforte 
sonatas :  "Questo  pezzo  si  deve  trattare  con  piu  gran  delica- 
tezza" — Every  phrase  must  be  treated  with  the  greatest 
delicacy. 

Pfeife   (Ger.)    (pfei-feh).    Pipe;  fife. 

Phantasie  (Ger.).     See  Fantasia. 

Phantasieren  (Ger.)    (fan-ta-see'-ren).    To  improvise. 

Phantasiestiick.     A  piece  devoid  of  form. 

Phrase.     Technically,  an  incomplete  musical  sentence. 

Phrasing.  The  art  of  dividing  a  melody  into  groups  of  con- 
nected sounds  so  as  to  bring  out  its  greatest  musical  effect, 
including  also  the  placing  of  accent — cres.  and  decres.,  rail. 
and  accel.,  rubato,  etc. — and  in  pianoforte  music,  the  vari- 
eties of  touch.  In  vocal  music,  it  refers  chiefly  to  the 
breathing  places;  in  violin  music,  to  the  bowing. 

Phrygian  Mode.  One  of  the  Greek  scales,  generally  sup- 
posed to  be  E — E.  In  the  ecclesiastical  scales,  the  octave 
scale  from 


Phrygian  Cadence. 


the    melodeon. 


Physharmonica.      (i)  The    predecessor 

(2)  A  free  reed-stop  in  the  organ. 
Piacere,  a   (It.)    (pe-aht-cheh'-reh).     At  pleasure, 

tempo  at  the  will  of  the  performer. 
Piacevole  (It.)   (pe-aht-cheh'-vo-leh).    Smoothly;  quietly. 


e.,  the 


Piacevolezza  (It.)  (pe-aht-cheh-vo-let'-sa),  con.  With 
smoothness. 

Piacevolmente   (It.)    (pe-aht-cheh-vol-men'-teh).     Smoothly. 
Piacimento    (It.)    (pe-aht-chee-men'-to).     See   Piacere. 

Pianette  (Fr.),  Pianino  (It.)  (pee-ah-nee-no).  A  small 
piano;  upright  piano. 

Piangendo  (It.)  (pee-an-jen'-do),  Piangevole  (pee-an-jeh'- 
vo-leh),  Piangevolmente  (pee-an-jeh-vol-men'-teh). 
"Weeping" ;  plaintively  wailing. 

Piano  (It.)  (pee-ah'-no~).  Soft.  (Abbreviation,  P.;  pianissi- 
mo, PP.) 

Pianoforte  (It.)  (for'-teh).  In  common  usage,  piano,  with- 
out the  forte.  An  instrument  strung  with  steel  wire  (for- 
merly brass  wire  was  largely  used),  provided  with  a  key- 
board ;  the  depression  of  the  keys  causes  the  hammers  to 
strike  the  strings.  The  name  pianoforte  was  given  to  it 
because  the  volume  of  sound  was  under  the  control  of  the 
performer.  Three  forms  of  pianoforte  are  made :  The  grand 
piano  [in  Fr.,  piano  a  queue,  lit.,  "piano  with  a  tail";  Ger., 
fliigel,  in  allusion  to  its  wing  shape]  ;  the  square,  and  the 
upright.  The  pianoforte  is  descended  from  the  dulcimer 
in  the  same  sense  that  the  harpsichord  is  descended  from 
the  psalterion.  In  form  the  dulcimer  and  psalterion  were 
identical,  differing  only  in  that  the  former  was  played  by 
means  of  hammers,  the  latter  by  means  of  "plectra."  The 
adaptation  of  mechanism  to  control  the  hammers  developed 
the  piano  out  of  the  dulcimer,  and  the  adaptation  of  mechan- 
ism to  control  the  plectra"  developed  the  harpsichord  out 
of  the  psalterion.  The  hammer  action  was  first  made  prac- 
tically effective  by  Cristofori  of  Padua,  in  1711.  About  the 
same  time  an  English  monk,  "Father  Wood,"  made  one  in 
Rome.  This  instrument  came  into  the  possession  of  the 
celebrated  Fulke  Greville,  and  became  well  known  as  Mr. 
Greville's  pianoforte.  In  1717,  a  German  youth  of  eighteen, 
named  Schroter,  invented  the  pianoforte  independently;  his 
invention  was  copied  by  Silberman  of  Strasburg,  who  sub- 
mitted two  of  his  instruments  to  Bach,  who  liked  the 
mechanism  but  not  the  tone,  preferring  that  of  the  clavi- 
chord. The  growth  of  the  pianoforte  has  been  rapid  since 
the  beginning  of  the  nineteenth  century,  and  has  reached 
a  point  beyond  which  it  hardly  seems  possible  to  advance. 

Piatti  (It.)   (pc-at'-tee).    Cymbals. 

Pibroch.  A  sort  of  fantasia  for  the  bag-pipe  of  the  Scotch 
Highlanders ;  supposed  to  represent  the  incidents  of  a  fight. 

Piccolo.  A  small  flute  an  octave  higher  than  the  ordinary 
flute ;  a  2-foot  organ-stop. 

Piccolo-piano.    A  small  upright  pianoforte. 

Picco-pipe.  A  small  instrument  resembling  a  flageolet ; 
gets  its  name  from  an  Italian  peasant,  Picco,  who  produced 
astonishing  results  from  it. 

Piece.  A  composition;  a  single  instrument,  as,  "a  band  of 
twenty  pieces." 

Piece  (Fr.)  (pee-ace).    A  member  of  a  suite,  q.  v. 

Pieno  (It.)    (pe-ch'-no).    Full. 

Pietoso  (It.)  (pe-eh-to'-so),  Pietosamente  (pe-eh-to-sa- 
mcn'-teh).  Tender;  pitiful;  tenderly. 

Pifferaro   (It.)   (pif-feh-rah-ro).    A  player  on  the  piffero. 

Piffero  or  Piffaro  (It.).  Old  form  of  the  hautboy,  still  used 
in  Italy.  The  same  form  of  instrument  exists  all  through 
Asia — probably  the  "aulos"  of  the  Greeks. 

Pince  (Fr.)  (pang-seh').  (i)  Pinched.  See  Pizzicato. 
(2)  A  mordent. 

Pipe.  The  tubes  of  wood  or  metal  in  the  organ.  They  are 
classified  as  follows :  Open  pipes,  open  at  the  top ;  closed 
or  stopped  pipes,  with  a  movable  plug ;  flue  pipes,  those 
constructed  on  the  principle  of  the  whistle  or  flageolet;  reed 
pipes,  those  in  which  a  beating  reed  is  combined  with  the 
pipe.  Pipes  are  also  classified  by  length,  the  open  diapason 


PIQUE 


566 


POSITION 


being  the  standard.     An  open  pipe  must  be  eight  feet  long 
to  sound 


A  closed  pipe  four  feet  long  gives  the  same  sound;  both 
are  said  to  have  an  8-foot  tone.  If  a  pipe  has  a  4-foot  tone, 
its  sound  is  an  octave  higher  than  the  diapason;  if  a  2-foot 
tone,  it  is  two  octaves  above  the  diapason. 
PiquS  (Fr.)  (pee-keh').  A  manner  of  bowing  the  violin, 
indicated  by  combined  slur  and  dots: 


Piquieren  (Ger.)   (pik-ee'-rcn).    To  play  pique. 

Piston  (Fr.),  Ventil  (Ger.).  Valve;  a  device  used  in  brass 
instruments  to  lengthen  the  tube,  thus  depressing  the  pitch. 

Pitch.  Relative  pitch  is  the  interval  between  a  given  sound 
and  some  other  sound.  Absolute  pitch  is  the  number  of 
vibrations  per  second  necessary  to  produce  a  given  sound. 
Standard  pitch  is  the  number  of  vibrations  per  second 
adopted  as  the  pitch  of  a  given  sound.  The  standard  (now 


almost  universal)  is 


=  435- 


which  is  known  as  the  French  "diapas^:  normal."    Between 
1699  and  1859  the  standard  rose  from  404  to  455. 
Pitch  Pipe.     A  wooden  pipe  used  to  give  the  keynote.     A 
small  tube  containing  a  free  reed  is  now  generally  used. 

Piu  (If.).    More;  as,  Piu  forte,  louder. 

Piva  (It.)  (pee-vah).  A  bagpipe;  also  a  piece  of  music  in 
imitation  of  the  bagpipe. 

Pizzicato  (It.)  (pits-e-cah'-to),  Pince  (Fr.),  Gekneipt 
(Ger.).  Lit.,  "pinched."  A  direction  in  music  for  bow 
instruments  to  pluck  the  strings  with  the  finger,  as  in  the 
guitar.  (Abbr.,  Pizz.) 

Placidamente  (It.)  (plah-chee-dah-mcn'-teh).  Placidly; 
quietly. 

Placido  (It.)   (plah-chee'-do).    Placid;  quiet. 
Plagal  Cadence.    From  subdominant  to  tonic: 


Plagal  Scales  or  Modes.  In  the  ecclesiastical  system,  those 
scales  beginning  a  fourth  below  the  authentic  scales,  but 
ending  on  the  keynotes  of  their  related  authentic  scales. 
They  are  distinguished  by  the  prefix  hypo  [Gr.,  inro,  below], 
as  Dorian  (authentic)  D-D,  ending  on  D;  Hypodorian 
(plagal)  A- A,  ending  on  D. 

Plain  Chant  Plain  song.  Cantus  planus,  or  Cantus  chor- 
alis  (Lat.),  the  early  music  of  the  church,  written  in  the 
ecclesiastical  modes  (also  called  Ambrosian)  and  Gre- 
gorian scales.  In  the  I2th  century  the  unrhythmic  melodies 
of  the  early  forms  of  plain  song  were  largely  superseded 
by  the  rhythmic  cantus  mensurabilis,  or  measured  song, 
which  came  into  existence  upon  the  invention  of  notes  by 
Franco  of  Cologne.  Before  this  invention  the  musical 
rhythm  depended  entirely  on  the  rhythm  of  the  words  to 
which  it  was  sung. 

Plaint^  (Fr.).    Elegy;  lament. 

Plaisanterie  (Fr.)  ( play-zong-te-ree).  A  lively  fantasia  in 
which  various  dance-tunes  are  introduced. 


Planxties.  Laments;  music  of  Irish  harpers  to  celebrate  the 
departed. 

Plectrum  [Gr.,  plectron].  A  small  rod  of  metal,  bone,  ivory, 
etc.,  or  a  flat  strip  of  wood  or  tortoise  shell,  or  a  ring  with 
a  projecting  piece,  used  to  strike  the  strings  of  the  lyre, 
Japanese  guitar,  mandolin,  zither,  etc. 

Plein  jeu  (Fr.)    (plane  zkoo).    Full  power;  full  organ. 

Pneuma  (Gr.).     Breath.     See  Neumce. 

Pneumatic  Action.  A  contrivance  in  large  pipe -organs  by 
means  of  which  a  small  bellows,  called  pneumatic  bellows,  is 
made  to  do  the  work  of  opening  the  palettes  in  place  of  the 
fingers. 

Pochettino  (It.)   (po-ket-tee-no) .    Very  little. 

Pochette  (It.)  (po-ket'-to).    A  little;  (not  so  much  as  Poco). 

Pochissimo  (It.)  (po-kis-see-mo).  The  "least  little  bit";  as 
Cres.  pochissimo,  the  least  degree  louder. 

Poco  (It.).    A  little;  rather;  as,  Poco  lento,  rather  slow. 

Poco  a  poco.    By  degrees ;  as,  Rail,  poco  a  poco. 

Poggiato  (It.)  (pod-je-ah'-to).  Dwelt  upon ;  lit.,  leaned  upon. 

Poi  (It.)  (po'ee).  Then;  afterward.  P.  poi  £.,  soft,  then 
loud. 

Point  (Fr.)  (po-ang).  A  dot  (Eng.).  A  phrase  for  imita- 
tion. 

Point  d'orgue  (Fr.).    Pedal  point. 

Pointe   (Fr.)    (po-ang-teh).     Dotted. 

Poitrine  (Fr.)  (po-a-treen).  Chest.  Voix  de  poitrine,  chest 
voice. 

Polacca.    A  Polish  dance  in  |  time ;  polonaise. 

Polka.  A  dance  in  time,  originated  among  the  peasants  of 
Bohemia. 

Polka  Mazurka.    A  mazurka  danced  with  the  polka-step. 

Polonaise.    See  Polacca. 

Polska.    Swedish  dance  in  triple  time. 

Polyphonic    [from  Gr.,   polus,  many;   and  phone,  a  voice]. 

Music  written  contrapuntally,  as  opposed  to  music  written 

harmonically  with  a  single  melody. 
Polyphony.    "Many  voices."     Counterpoint  in  several  parts. 

Pommer.  A  large  instrument  of  the  hautboy  family ;  bom- 
bard. 

Pomposamente  (It.)  (pom-po-sah-men'-teh).  Dignified; 
majestic. 

Pomposo  (It.).    Pompous. 

Ponderoso  (It.).     Ponderous;  strongly  marked. 

Ponticello  (It.)  (pon-tee-chel-lo).  The  bridge  of  the  violin, 
etc. 

Portamento  (It.)  (par1  tali-men' -to).  Sliding  or  "carrying" 
the  voice  from  one  sound  to  another ;  also  on  bow  instru- 
ments, sliding  the  finger  along  the  string  from  one  place  to 
another. 

Portando  la  voce.     Same  as  Portamento. 

Porte  de  voix  (Fr.).  (i)  Portando  la  voce.  -(2)  An  obsolete 
grace  in  harpsichord  music. 

Portunal  Flute.  Organ-stop  with  wooden  pipes  which  ''flare," 
i.  e.,  get  wider  from  the  mouth  to  the  top. 

Portunen  (Ger.)    (por-too'-ncn).    The  bourdon  stop. 
Posatif  (Fr.)    (po-sa-teef).    The  choir  organ. 

Posato  (It.)  (po-sah'-to),  Posement  (Fr.)  (po-seh-mong). 
Quiet ;  sedate ;  grave. 

Posaune  (Ger.)  (po-sown-eh).  The  trombone;  a  powerful 
reed-stop  in  the  organ,  of  8-,  16-,  or  32-foot  pitch. 

Position,  (i)  Of  chords.  The  common  chord  may  be  writ- 
ten in  three  positions,  called  the  octave,  tierce,  and  quint. 


POSS1BILE 


567 


PYROPHONE 


Octave.      Tierce.      Quint. 

As  given  in  this  example  it  is  called  the  close  position  of  the 
chord ;  the  following  example  is  called  the  open  position : 


(2)  On  instruments  of  the  violin  and  guitar  family,  "Po- 
sition" refers  to  the  part  of  the  fingerboard  on  which  the 
left  hand  is  placed. 

Possibile  (It.)  (pos-see'-bee-teh).  Possible;  as,  II  piu  forte 
possibile,  as  loud  as  possible. 

Postlude,  Postludium  (Lat.),  Nachspiel  (Ger.),  Cloture 
(Fr.).  The  concluding  voluntary  on  the  organ;  lit.,  after- 
play. 

Potpourri  (Fr.)  (po-poor-ee').  A  number  of  tunes  strung 
together. 

Poule,  la.     See  Quadrille. 

Pousse  (Fr.)    (poos-seh).    "Push."    Up  bow. 

Prachtig  (Ger.)    (praych-tig).    Grand;  majestic. 

Pralltriller  (Ger.). 

/VV  Played. 


i 


now  commonly  called  the  Mordent.  The  sign  for  the 
mordent  proper  is  /^lV'  •  It  always  means  that  the  auxili- 
ary note  is  to  be  below  the  principal.  When  the  line  that 
crosses  the  sign  was  omitted  it  was  called  the  Inverted 
Mordent  or  Pralltriller.  The  original  form  of  the  mordent 
is  never  used  by  modern  writers. 

Precentor.  In  the  English  Church,  the  clerical  head  of  the 
choir ;  his  side  of  the  chancel  is  called  the  cantoris  side.  In 
the  Scotch  Presbyterian  Church,  the  singer  who  stands  in 
front  of  the  pulpit  and  "gives  out"  the  psalm  tunes. 

Precipitoso  (It.),  Precipitate  (It.),  Precipitazione,  con 
(It.),  Precipitamente  (It.),  Precipite  (Fr.).  A  rapid,  pre- 
cipitate, hurried  style  of  execution. 

Prelude,  Preludium  (Lat.),  Vorspiel  (Ger.).  An  introduc- 
tion ;  an  opening  voluntary ;  a  composition  which  may  or 
may  not  be  in  some  regular  form. 

Premier  (Fr.)  (preh-mee-eh) .  First.  Premiere  fois,  first 
time. 

Preparation.  The  prolongation,  in  the  same  voice,  of  a  sound 
from  one  chord  in  which  it  is  a  member  into  a  chord  i.i 
which  it  is  not  a  member. 

Prepared  Trill.    One  preceded  by  a  grace-note  or  turn. 

Pressante  (It.)  (pres-san'-teh),  Pressieren  (Ger.)  (pres-see'- 
ren),  Pressez  (Fr.)  (pres-seh).  Pressing  on;  hurrying. 

Prestant  (Ger.  and  Fr.).  4-foot  metal  open  stop.  Same  as 
Principal. 

Prestezza  (It.)    (pres-tet'-za),  con.    With  rapidity. 


Prestissimo  (It.)  (pres-tis' -see-mo),  Prestissimamente  (It.) 
.     (pres-tis-se-ma-men'-teh).    As  fast  as  possible. 

Presto  (It.).     Fast. 

Prick-song.  Old  name  for  written  music.  The  first  notes 
used  were  small,  square  marks  without  stems,  called  pricks, 
or  points. 

Primary  Accent.  The  first  member  of  the  measure.  When 
there  are  two  or  more  accents  in  the  measure,  the  first  is  the 
primary,  the  rest  are  called  secondary. 

Prima  donna.    First  lady ;  the  leading  soprano. 

Prima  vista.    At  first  sight. 

Prima  volta.    First  time;  lit.,  first  turn. 

Prime.  The  first  note  of  a  scale;  keynote;  the  generator  of 
an  overtone  series ;  unison. 

Primo  (masc.),  Prima  (fern.)  (It.)  (pree-mo,  pree-ma). 
First. 

Primo  tenore.    First  tenor. 

Principal  (Eng.).    4- foot  open  metal  stop. 

Principale  (It.)  (prin-chee-pah-leh),  Principal  (Fr.),  Prinzi- 
pal  (Ger.).  The  open  diapason. 

Probe   (Ger.)    (pro-beh).    Rehearsal. 

Program  or  Programme.  A  list  of  compositions  to  be  per- 
formed at  a  musical  entertainment. 

Program-music.  Music  designed  to  "tell  a  story,"  or  illus- 
trate some  action  or  event. 

Progression,  (i)  Melodic — from  note  to  note.  (2)  Har- 
monic— from  chord  to  chord. 

Progressive  Stop.  An  organ-stop  in  which  the  number  of 
pipes  to  each  key  increases  as  the  pitch  rises;  a  variety  of 
mixture-stop. 

Prontamente  (It.)  (prom-tah-men'-teh),PTomptement  (Fr.) 
(prompt-mong) .  Promptly;  exactly;  strictly. 

Pronto  (It.).     Prompt;  strict. 

Pronunziato  (It.)  (pro-nuntz-ee-ah'-to),  Prononce  (Fr.) 
(pro-nong-seh).  Pronounced ;  emphatic.  Ben  pronunziato 
(It.),  Bien  prononce  (Fr.), well  marked;  strongly  accented. 

Prova  (It.).    Rehearsal. 

Psaltery,  Psalterium  (Lat.),  Salterio  (It.),  Psalterion  (Fr.), 
Psalter  (Ger.)  [from  Gr.,  psaltein,  to  harp].  Ancient  in- 
strument, consisting  of  a  square,  oblong,  or  triangular  flat 
box,  with  wire  strings  stretched  across  it,  played  by  the  fin- 
gers, each  of  which  is  armed  with  a  ring  with  a  short  pro- 
jecting plectrum.  The  same  instrument  is  called  a  dulcimer 
when  played  by  two  small  hammers,  held  one  in  each  hand. 

Pulsatile.  Instruments  played  by  drumsticks  or  by  clashing 
them  together;  as  drums,  cymbals,  etc.  [From  Lat.,  pulsare, 
to  beat.] 

Pulse.    A  beat. 

Punkt  (Ger.)    (poonkt).    Dot;  point. 

Punta  (It.)  (poon'-tah).  The  point.  Colla  punta  d'arco, 
with  the  point  of  the  bow. 

Puntato   (It.)    (poon-tah'-to).     Pointed;  staccato. 

Purfling.  The  thin  strips  of  wood  (a  white  strip  between 
two  black)  around  the  border  of  the  back  and  belly  of  the 
violin,  etc. 

Pyramidon.  An  organ-stop  with  pipes  shaped  like  an  in- 
verted pyramid,  closed  at  top.  From  its  peculiar  shape  a 
pipe  not  three  feet  long  will  produce  i6-foot  C. 

Pyrophone  [from  Gr.,  pur,  fire,  phone,  sound].  An  instru- 
ment the  sounds  of  which  are  produced  by  gas  jets  burning 
just  inside  of  the  lower  end  of  glass  tubes  open  at  both  ends. 
Invented  by  Kastner. 


Q 


Quadrate,  B  quadrature,  i.  e.,  B  squared.  Old  name  for  BJJ 
— retained  as  the  sign  for  a{j. 

Quadrature  (Lat.).    A  breve  D  . 

Quadrible  or  Quatrible.  An  ancient  species  of  counterpoint, 
consisting  of  a  succession  of  4ths  over  a  cantus. 

Quadrille.    A  "square  dance."     See  Pantalon. 

Quadruple  Counterpoint.  A  four-part  counterpoint  so  con- 
structed that  the  parts  may  change  places  without  involving 
any  false  progressions. 

Quadruple  croche  (Fr.)    (crash).    A  64th-note. 

Quadruplet.  A  group  of  four  notes  played  in  the  same  time 
of  three  or  six  of  the  same  value. 

Quality  of  Tone  [Ger.,  Klangfarbe  or  Tonfarbe;  Fr.,  Timbre; 
It.,  Timbro].  That  which  enables  us  to  distinguish  between 
different  instruments.  The  character  of  a  tone  quality  de- 
pends largely  upon  the  presence  or  absence  and  relative  in- 
tensity of  its  overtones ;  thus,  the  tone  of  a  clarionet  differs 
entirely  from  that  of  a  violin,  although  all  violins  and  all 
clarionets  do  not  sound  alike.  The  differences  in  tone 
quality  that  are  found  among  violins,  for  example,  depend 
on  other  factors,  as  the  construction,  material,  weight  of 
strings,  individuality  of  the  performer,  and  many  more.  The 
tone  qualities  of  the  voice  are  dependent  largely  on  the 
accurate  contact  of  the  vocal  cords,  the  size  and  shape  of  the 
tavity  of  the  mouth  and  nostrils,  and  the  management  of 
the  breath. 

Quart.    Interval  of  4th.     [It.  and  Lat.,  Quarto.] 

Quart  (Fr.)   (kart).    Quarter. 

Quart  de  soupir  (soo-peer).    A  i6th-rest. 

Quart  de  mesure  (Fr.)  (meh-soor).    A  4th-rest. 

Quartfagott  (Ger.).  A  bassoon  a  4th  lower  than  the  ordi- 
nary instrument. 

Quartflote  (Ger.).  A  flute  a  4th  higher  than  the  ordinary 
instrument. 

Quarte  du  ton  (Fr.)  (kart  doo  long).  A  4th  of  the  scale; 
subdominant. 

Quarter  Note 

Quartet.  A  composition  for  four  solo  performers.  String 
Quartet  is  composed  of  first  and  second  violins,  viola,  and 
violoncello.  Piano  Quartet  is  composed  of  violin,  viola, 
violoncello,  and  piano.  Vocal  Quartet  may  be  either  for 
male  or  female  or  mixed  voices. 


Quartett  (Ger.)  (kvar-tet'),  Quatuor  (Fr.)  (qua-too-or), 
Quartette  (It.)  (quar-tet'-to).  Quartet  in  English,  some- 
times spelled  quartette. 

Quartole  (Ger.)    (kvar-to'-le).    Quadruplet. 

Quasi  (It.)  (quah'-see).  As  if;  in  the  manner  of;  like;  as, 
Quasi  allegro,  like  allegro ;  Quasi  sonata,  resembling  a 
sonata. 

Quatre  mains  (Fr.)   (katr  mang).    For  four  hands. 

Quatrible.    See  Quadrible. 

Quattro  mani  (It.)   (quat-tro  man-nee).    Four  hands. 

Quatuor.     See  Quartet. 

Quaver.    An  eighth-note. 

Querflote,  (Ger.)  (kvehr-fla'-teh),  Flauto  traverse  (It.). 
"Cross-flute."  The  flute  played  by  blowing  across  it,  as 
distinguished  from  the  old  flute,  blown  at  the  end. 

Queue  (Fr.)    (koo).    Tail-piece  of  violin;  stem  of  a  note. 

Quickstep.    A  rapid  march,  generally  in  |  time. 

Quinable.  An  old  species  of  counterpoint,  consisting  of  a 
succession  of  fifths  above  the  cantus. 

Quint.  (l)  A  5th.  (2)  An  organ-stop  a  5th  above  the 
diapason. 

Quint  Viola.  An  organ-stop  of  the  Gamba  species  a  5th  or 
I2th  above  the  diapason. 

Quintaton.  An  organ-stop  so  voiced  that  it  gives  two  sound? 
.—the  fundamental  and  the  I2th.  The  pipes  are  of  metal, 
slender  and  closed. 

Quinte  (Ger.)  (kvin-teh).  (i)  The  interval  of  a  5th.  (2) 
The  E-string  of  the  violin. 

Quintet.  A  composition  for  five  solo  performers.  The  string 
quintet  generally  consists  of  first  and  second  violins,  first 
and  second  violas,  and  violoncello ;  occasionally  two  violon- 
cellos are  used,  in  which  case  it  is  called  a  Violoncello 
Quintet  to  distinguish  it  from  the  former.  The  Piano  Quin- 
tet consists  of  a  string  quartet  and  the  piano. 

Quintole  (Ger.)  (kvin-to'-leh).  A  group  of  five  notes  to  be 
played  in  the  time  of  four  of  the  same  value. 

Quintuor  (Fr.)  (kang-too-or),  Quintetto  (It.),  Quintett 
(Ger.)  (kvin-tet).  Quintet,  or  quintette. 

Quintuplet.     Quintole. 

Quire  and  Quirester.     Old  English  for  choir  and  chorister. 

Quodlibet  (Lat.)  (quod-lee'-bet).  "What  you  will."  A  per- 
formance in  which  every  participant  sings  or  plays  a  differ- 
ent tune;  an  impromptu  fantasia;  a  musical  jest. 


R 


R.     Abbreviation   for  Right.     In  French  organ  music,  for 

Recit.  (swell  manual). 
Rabbia  (It.)   (rab'-be-a),  con.    With  fury. 

Rackett  or  Rankett.  An  obsolete  instrument  resembling  the 
double  bassoon ;  a  16-  or  i8-foot  stop  in  old  organs. 

Raddolcendo  (It.)  (rad-dol-chen'-do),  Raddolcente  (rad- 
dol-chen'-teh),  Raddolcito  (rad-dol-chee'-to).  Growing 
gradually  softer  and  sweeter. 

Radiating  Pedals.  A  fan-shaped  arrangement  of  the  pedal 
keys  of  the  organ ;  the  narrow  end  of  the  fan  farthest  from 
the  organ.  Radiating  pedals  are  generally  "concave"  at  the 
same  time,  that  is,  the  pedals  at  the  sides  are  higher  than 
those  in  the  middle. 


Radical  Bass.    The  root  of  a  chord. 

Rallentamento  (It.)  (ral-len-ta-men'-to).  Slower.  Same  as 
Piu  lento,  or  Meno  mosso. 

Rallentando  (It.)  (ral-len-tan'-do),  Rallentato  (ral-len-tah'- 
to),  Rallentare  (ral-len-tah'-reh).  Gradually  slower.  Ab- 
breviation for  the  above,  Rail. 

NOTE.  —  Rallentando  and  Ritenuto,  although  both  mean  to  "  Ret  slower,' 
differ  somewhat  in  the  manner  of  using  them  :  Rallentando  being  used  at  the  end 
of  a  piece  (movement) ;  Ritenuto  in  the  course  of  a  piece,  followed  by  '*A 
Tempo,"  when  the  original  pace  is  to  be  resumed,  Ritardando  is  used  in  the 
same  way  as  Ritenuto.  Abbreviation  for  both  is  Kit. 

Rank.  A  row  of  organ-pipes  belonging  to  one  stop.  Mixture- 
stops  are  of  2,  3,  4,  5,  or  6  ranks,  according  to  the  number  of 
pipes  that  "speak"  for  each  key. 


568 


RANT 


569 


RESIN    OR   ROSIN 


Rant.  An  old  dance.  In  Scotland  many  dance-tunes  are  called 
rants. 

Ranz  des  vaches  (Fr.)  (rongs  deh  vash).  Lit.,  "row  of 
cows."  Tunes  played  or  sung  by  the  Swiss  as  cattle  calls. 
(In  Ger.,  Kuhreiheii.)  As  the  Alpine  horn  is  a  simple  tube, 
the  melodies  played  on  it  are  formed  from  the  natural  har- 
monic notes.  When  the  ranz  des  vaches  are  sung,  the 
melodies  are  varied  by  adding  the  characteristic  Jodel. 
Many  of  these  melodies  are  of  great  antiquity  and  exceed- 
ing beauty. 

Rapidamente  (It.)    (rah-pid-a-men'-teh).    Rapidly. 
Rapidita  (It.)   (rah-fid'-ee-tah),  con.    With  rapidity. 
Rapido  (It.)    (rah' -fee-do).    Rapid. 

Rasgado   (Sp.).     In  guitar-playing,  a  direction  to  sweep  the 

strings  with  the  thumb. 
Rattenuto  (It.)   (rat-teh-noo'-to),  Rattenendo  (It.)  (rat-teh- 

nen-do).     Holding  back  the  movement. 

Rauschquinte  (Ger.)  (rowsh'-kvin-teh).  A  two-rank  mix- 
ture-stop. 

Rauscher  (Ger.)  (row-sher)  [from  rauschen,  to  rustle].  A 
repeated  note  on  the  piano. 

Ravvivando  il  tempo  (It.)  (rav-vee-van'-do).  Lit.,  "reviv- 
ing the  time."  Resuming  the  original  tempo  after  a  rail, 
or  rit. 

Re.  The  second  Aretinian  syllable ;  the  note  D  in  French, 
Italian,  and  Spanish.  In  tonic  sol-fa  spelled  Ray. 

Real  Fugue.  One  in  which  the  Subject  and  answer  are  identi- 
cal, as  opposed  to  Tonal  Fugue,  q.  v. 

Rebab,  Rebec,  Rebeck,  Rebibe,  Rebible.  One  of  the  pre- 
cursors of  the  violin  in  the  middle  ages. 

Recheat.  A  hunting  signal  sounded  on  the  horn  to  recall  the 
hounds. 

Recht  (Ger.).    Right. 

Recitando  (It.)  (reh-chee-tan'-do),  Recitante  (reh-chee-tan1- 
teh).  In  the  style  of  a  recitative. 

Recitative  (rcs-i-ta-teev'),  Recitatif  (Fr.)  (reh-see-ta-teef), 
Recitative  (It.)  (reh-chee-ta-tee'-vo),  Recitativ  (Ger.) 
(reh-see-ta-tiv').  Declamatory  singing,  resembling  chanting 
somewhat,  and  supposed,  when  invented  in  1600,  to  be  a 
revival  of  Greek  art.  Abbreviation  Recit. 

Recitative  Accompaniment.  The  string  band  is  generally 
used  to  accompany  Recitative.  If  the  accompaniment  is  at 
all  elaborate  the  freedom  of  the  singer  is  greatly  curtailed. 
Modern  writers  frequently  use  the  whole  resources  of  the 
orchestra  to  accompany  Recitative. 

Recitative  secco.  Dry  Recitative  was  accompanied  very 
sparingly  with  chords.  It  was  customary  at  one  time,  dur- 
ing the  pauses  of  the  voice,  for  the  violoncello  to  execute 
impromptu  flourishes. 

Reciting  Note.  In  Gregorian  chant,  the  dominant,  being  the 
note  on  which  the  greater  part  of  the  reciting  is  done. 

Recorder.  An  obsolete  instrument  of  the  flageolet  family; 
also  an  old  name  for  the  flute. 

Redita   (It.)    (reh-dee'-ta).     A  repeat. 

Redowa,  Redowak,  Redowazka.  A  Bohemian  dance  in  £ 
time. 

Redundant.     Same  as  Augmented. 

Reed,  Zunge  (Ger.)  (tsoon'-geh),  Anche  (Fr.)  (onsh), 
Ancia  (It.)  (an'-che-a).  The  technical  name  for  the  small 
thin  strip  of  metal,  cane,  or  wood,  the  vibration  of  which 
causes  the  sound  of  a  variety  of  instruments.  There  are 
three  kinds  of  reeds:  (l)  The  single  beating  reed  of  instru- 
ments of  the  clarionet  family;  also  of  the  reed-stops  of  the 
organ.  (2)  The  double  reed  of  the  hautboy  and  bassoon 
family,  also  of  the  bagpipe ;  these  two  varieties  are  never 
used  except  in  conjunction  with  a  tube  or  pipe.  (3)  The 
free  reed  of  the  cabinet-organ,  vocalion,  etc.  This  reed  may 


be  used  with  or  without  a  tube.  The  effect  of  the  tube  when 
combined  with  the  free  reed  is  analogous  to  that  of  a  reso- 
nator, i.  e.,  the  vibration  of  the  contained  air  is  sympathetic, 
whereas  in  the  other  cases  the  vibration  of  the  reed  is  con- 
trolled by  the  column  of  air. 

Reed  Instruments.  Those  in  which  the  sound  is  produced 
by  the  vibration  of  a  reed  in  the  mouthpiece. 

Reel.  A  lively  dance,  nationalized  in  Ireland  and  Scotland; 
supposed  to  be  of  Danish  origin,  as  the  same  kind  of  dance 
is  found  under  the  Danish  name  of  Hreol. 

Refrain.  Burthen,  (i)  The  chorus  at  the  end  of  every  stanza 
of  some  ballads.  (2)  The  drone  of  a  bagpipe.  (3)  The  tune 
sung  as  an  accompaniment  to  dancing. 

Regales  de  bois  (Fr.)   (reh-gal  de  bo-a).    See  Xylophone. 

Regals,  Rigals,  Rigoles.  Small,  portable  organs  with  one  or 
two  sets  of  pipes,  carried  by  a  strap  round  the  neck  of  the 
player,  who  worked  the  bellows  with  his  left  hand  and 
manipulated  the  keyboard  with  the  right. 

Register,  (i)  Same  as  stop,  or  rank  of  pipes.  (2)  The  pro- 
jecting knobs  on  which  the  names  of  the  stops  are  marked. 
(3)  The  compass  of  a  voice.  (4)  One  of  the  divisions  of 
the  voice ;  as,  chest  register,  head  register. 

Registration.  The  combinations  and  successions  of  stops 
used  by  an  organist  in  the  performance  of  a  piece. 

Regie  de  1'octave  (Fr.)  (regl  de  loc-tav).  See  Rule  of  the 
Octave. 

Relative  Chord.  A  chord  whose  members  are  found  in  the 
scale. 

Relative  Key.  One  whose  tonic  chord  is  one  of  the  common 
chords  found  in  the  scale. 

Reagioso  (It.)  (reh-lee-jo'-so),  Religiosamente  (reh-lee-jo- 
sa-men'-teh).  In  a  devotional  manner. 

Relish»    An  obsolete  harpsichord  grace. 

Remote  Key.    A  non-related  key. 

Remplissage  (Fr.)  (rom-plis-sazh) .  Filling  up.  (i)  The 
inner  parts.  (2)  Sometimes  used  in  the  same  sense  as  "de- 
velopment" (durchfiihrung)  in  the  sonata  or  rondo.  (3) 
Non-essential  (ripieno)  parts.  (4)  Used  in  a  contemptuous 
sense  of  a  clumsy,  overloaded  composition. 

Rendering.  A  modern  term  which  is  supposed  to  mean  more 
than  saying  one  "played"  or  "sang." 


Repeat.    A  double  bar  with  dots,  thus 


signifies  that  the 


part  before  the  double  bar  is  to  be  repeated.  If  the  dots  are 
on  both  sides  33E  ^  signifies  that  the  parts  before  and 
after  the  double  bar  are  to  be  repeated. 

Repercussion.  The  re-entry  of  subject  and  answer  in  a 
fugue,  after  an  episode. 

Repetition,  (i)  The  reiteration  of  a  note  or  chord.  (2)  A 
pianoforte  action  invented  by  Erard,  which  admits  of  the 
re-striking  of  a  note  before  the  key  has  risen  to  its  normal 
position.  (3)  The  re-entry  of  one  of  the  principal  themes 
01  a  sonata  or  rondo. 

Repetition  (Fr.)   (reh-peh-tis-yong) .    A  rehearsal. 
Repetizione   (It.)   (reh-peh-titz-e-oh'-neh).    Repetition. 
Replicate.    The  recurrence  of  the  same  letter  in  an  ascending1 

or  descending  series ;  the  octave  repetitions  of  a  given  letter. 
Reply,    Repons    (Fr.)     (reh-pong),    Reponse    (Fr.)     (reh- 

pongs),  Report.    The  "answer"  to  a  fugue  subject  or  theme 

for  imitation. 

Reprise  (Fr.)  (reh-prees).  (i)  A  repeat.  (2)  The  re-entry 
of  the  principal  theme  in  the  second  part  of  a  sonata;  also 
called  Rentree  (rong-treh). 

Requiem  (Lat.).    "Rest."    The  first  word  in  the  mass  for  the 

dead,  hence  called  requiem  mass. 
Resin  or  Rosin.    The  clarified  gum  of  the  pitch  pine. 


RESOLUTION 


570 


ROMANESCA 


Resolution.  The  movement  of  a  dissonant  to  a  consonant 
sound. 

Rests.  Signs  indicating  silence  of  the  same  duration  as  the 
notes  for  which  they  stand.  In  all  varieties  of  time  the 
whole  rest  is  used  to  indicate  a  silence  of  one  measure. 


~~"  *!  — 

—  s 

• 

—  3  • 

Whole 
Rest 

Half 
Rest 

T      K      1 

Quarter 
Rests 

Eighth 
Rest 

Six- 
teenth 

Thirty- 
second 

Sixty- 
fourth 

Rest 

Rest 

Rest 

Three  forms  of  quarter-rest  are  found.  No.  I  is  generally 
found  in  music  printed  from  type,  Nos.  2  and  3  in  engraved 
music.  No.  2  is  the  most  convenient  form  in  MS.  In 
orchestral  parts  a  rest  of  two  measures  is  indicated  thus: 


three 


four 


Any  number  of  measure  rests  may  be  expressed  by  combin- 
ing these  three  signs,  but  when  the  number  exceeds  six  it  is 

9 


generally  expressed  thus  : 


a  heavy  diagonal  line 


with  numeral  above  it. 

Retardation.  The  prolonging  of  a  sound  which  is  a  member 
of  one  chord  into  a  chord  in  which  it  is  not  a  member,  thus 
producing  a  dissonance.  See  Resolution. 

Reverie.  A  sentimental  name  used  by  some  modern  writers 
for  composition  of  like  character,  generally  in  lyric  form. 

Rhapsodic  or  Rhapsody  [from  Gr.,  rhabdos,  a  staff].  The 
Rhapsodists  were  wandering  reciters  who  carried  a.  long 
staff.  The  term  is  now  applied  to  an  irregular,  formless 
composition  which  "wanders"  from  one  theme,  or  key,  or 
tempo  to  another  at  the  will  of  the  composer. 

Rhythm.  (1)  The  recurrence  of  accents  at  equal  intervals 
of  time.  (2)  The  repetition  of  a  group  of  sounds  (not 
necessarily  melodic)  at  equal  intervals  of  time.  This  is  an 
illustration  of  the  first  meaning: 


This,  of  the  second : 


The  first  may  be  called  the  essential  rhythm ;  it  is  never 
destroyed,  no  matter  how  much  it  may  be  divided  by  the 
second  or  ideal  rhythm,  thus  the  essential  rhythm  of  the 
following  passage  is  i'  2  3;  the  ideal  rhythm  varies  with 
each  measure : 


Rhythm  is  the  first  essential  of  melody ;  without  it  we  have 
only  an  aimless  rising  and  falling  of  sounds.  The  essential 
rhythm  is  a  fixed  quantity  which  will  bear  very  little  tam- 
pering with.  Witness  the  generally  unsatisfactory  effect  of 
those  compositions  in  which  alternate  measures  of  two  and 
three  units  are  used.  Its  pace  may  be  changed  by  accelera- 
tion or  retardation  provided  the  rhythmical  unit  is  main- 
tained. The  ideal  rhythm,  or  rhythm  of  the  melody,  is,  on 
the  other  hand,  completely  under  the  composer's  control, 
provided  that  its  melodic  motives,  phrases,  etc.,  may  be 
"measured"  by  the  rhythmical  units  adopted  as  the  "time 
signature." 

Ricercata  (It.)   (ree-cher-cah'-ta).    A  species  of  fugue  very 
highly  elaborated. 


Rigadoon.  A  rapid  dance  of  French  origin,  generally  in  } 
time. 

Rigore    (It.)    (ree-go'-reh),  con,   Rigoroso    (ree-go-ro'-so). 

With  rigor;  exactly;  in  strict  time. 
Rilasciando   (It.)    (ree-lah-she-an'-do),  Rilasciante   (ree-lah- 

shc-an'-te).    Relaxing  the  time;  retarding. 

Rimettendo  (It.)  (ree-met-ten'-do).  Holding  back;  retard- 
ing. 

Rinforzando  (It.)  (rin-for-tzan'-do),  Rinforzare  (rm-for- 
tsah'-reh),  Rinforzato  (rin-for-tzah'-to).  Lit.,  re-enforc- 
ing. Placing  a  strong  accent  on  a  note  or  passage. 

Ripieno  (It.)  (ree-pee-eh'-no).  "Filling  up."  A  part  that  is 
not  essential  to  the  score,  added  to  increase  the  volume  of 
a  tutti. 

Ripigliare  (It.)  (ree-peel-yah'-reh),  Riprendere  (ree-fren1- 
deh-reh).  To  resume. 

Ripresa  (It.)  (ree-preh'-sah),  Riprese  (It.).  A  repeat;  the 
sign  £ 

Risentito  (It.)    (ree-sen-tee'-to).    With  energetic  expression. 
Risolutamente  (It.)    (ree-so-lu-ta-mcn'-te).    Resolutely. 
Risoluto  (It.)    (ree-so-lu'-to).    Resolute. 

Risoluzione  (It.)  (ree-so-loot-ze-o-neh),  con.  With  resolu- 
tion. 

Risvegliato  (It.)    (ris-vehl-ya-to).    Animated;  lively. 
Ritardando  (It.)    (ree- tar-dan' -do),  Ritardato  (ree-tar-dah'- 

to),  Ritenuto  (ree-ten-oo'-to),  Ritenente  (ree-ten-en'-teh) 

Holding  back;  retarding.    Abbreviation  Rit. 
Ritmo  (It.).     See  Rhythm. 
Ritmo  a  due  battate.    Of  two  measures. 

Ritmo  a  tre  battate.  Of  three  measures.  The  following 
passage,  which,  being  written  in  £  (scherzo)  time,  looks  like 
a  six-bar  phrase,  is  in  reality  a  two-bar  phrase,  founded  on 
the  triple  unit: 


m 


-•—?- 


Ritmo  a  tre  battate. 


^ 


written   in   |  time ;   or   it  may  be  written   in   $  time   with 
triplets. 

This  example  is  analogous  to  the  oft-quoted  one  in  the 
scherzo  of  Beethoven's  ninth  symphony. 

Ritornella  (It.)  (ree-tor-nel'^la) .  Interlude;  chorus;  bur- 
den; tutti  in  the  old  concertos. 

Robusto  (It.)    (ro-bus'-to).    Robust;  bold. 

Roger  de  Coverley.    Old  English  country  dance  in    f  tinie. 

Rohrflote  (Ger.)  (rare'-fla-teh).  Reed-flute;  a  flute-stop  in 
the  organ. 

Role  (Fr.)  (roll).  The  part  in  an  opera  or  play  assigned  to 
any  performer. 

Roll,  Wirbel  (Ger),  Rollo  (It.),  Roulement  (Fr.).  The 
tremolo  produced  on  the  drum  by  the  rapid  alternation  of 
blows  with  the  drumsticks.  On  the  kettle-drum  the  roll  is 
produced  by  single  alternating  blows ;  on  the  side  drum,  by 
double  alternating  blows. 

Romance,  (i)  A  ballad.  (2)  An  instrumental  piece  in  lyric 
form,  of  romantic  character ;  often  used  as  the  slow  move- 
ment of  a  sonata,  etc. 

Romanesca  (It.)  (ro-ma-nes'-ca),  Romanesque  (Fr.)  (ro- 
man-esk).  Same  as  Galliard. 


ROMANTIC 


571 


SARRUSOPHONE 


Romantic.  A  vague  term  for  that  form  of  art  in  which  the 
emotional  content  is  considered  as  of  more  importance  than 
the  form.  The  term  "romantic"  is  often  used  as  opposed  to 
classic;  but  the  application  of  "classic"  is  as  vague  as  is  that 
of  "romantic."  The  element  of  time  seems  to  be  an  essen- 
tial of  classicism,  the  work  of  a  living  author  never  being 
considered  classic.  The  term  romantic  may  be  denned  as 
roughly  dividing  the  music  written  on  harmonic  principles 
from  that  written  before  the  principles  of  harmonic  com- 
bination and  succession  were  discovered ;  but  already  the 
romantic  school  has  been  sub-divided  into  what  may  be 
called  the  classic-romantic  and  the  new-romantic ;  but  since 
every  "new"  thing  must  in  time  become  "old,"  this  last 
school  must,  when  its  day  is  past,  give  place  to  a  newer 
romanticism. 

Rondo,  Rondeau  (Fr.).  One  of  the  forms  of  composition 
characterized  by  the  return  of  the  first  theme  after  the  pres- 
entation of  each  new  theme.  The  modern  rondo  partakes 
of  the  character  of  the  sonata  form,  in  that  its  second  theme 
is  repeated  in  the  tonic  key,  having  been  first  given  in  the 
dominant  key.  The  following  schemes  exhibit  at  a  glance 
the  usual  forms  of  the  rondo : 
MAJOR  KEY.— I  Th.  II  Th.  I  Th.  1 1  III  Th.  I  Th.  II  Th.  I  Th. 

Tonic.    Dom.       Tonic        Subdom.    Tonic.    Tonic.    Tonic 
Rel.  min. 

MINOR  KEY.— I  Th.  II  Th.  I  Th.  ||  LEI  Th.  I  Th.  II  Th.  I  Th. 

Tonic.       Rel.     Tonic        Subdom.     Tonic.     Tonic       Tonic 
major.  of  rel.  major.  major. 

Example    of    Rondo    in    Major    Key — last    movement    of 
Op.  2,  No.  2  (Beethoven). 

Example   of    Rondo    in    Minor    Key — last   movemetjf    of 
Sonata  Pathetique. 

Root.     The  fundamental  or  generating  note  of  a  chord. 

Rosalia  (It.)  (ros-al-ya) .  The  repetition  of  a  melodic  phrase 
several  times,  each  time  one  degree  higher  or  lower  than  the 
last.  It  gets  its  name  from  an  Italian  folk-song,  "Rosalia 
Mia  Cara,"  the  melody  of  which  is  constructed  in  this  way. 
Although  not  considered  good  writing,  many  examples  may 
be  found  in  the  works  of  the  greatest  composers.  Three 


such  repetitions  are  generally  considered  allowable.  In 
Germany  the  Rosalia  has  the  ludicrous  name  of  Schuster- 
fleck  (cobbler's  patch),  also  Vetter  Michel  (Cousin  Michel), 
from  its  occurrence  in  a  well-known  Volkslied,  "Gestern 
Abend  war  Vetter  Michel  da." 

Rose.  The  sound-hole  in  the  belly  of  the  guitar,  mandolin, 
etc. 

Rosin.    See  Resin. 

Rota  (Lat.).    A  round. 

Rote.    Hurdy-gurdy;  vielle. 

Roulade  (Fr.)  (roo-lad).  A  brilliant  run;  an  ornamental 
flourish. 

Round.  A  variety  of  canon,  the  imitation  being  always  at  the 
%va  or  unison. 

Roundel,  Round,  Roundelay.  A  dance  in  which  a  ring  with 
joined  hands  was  formed.  Roundelay  also  means  a  poem 
with  a  constantly  reiterated  refrain  or  burden. 
MEiubato  (It.)  (roo-bah'-to).  Robbed;  stolen.  The  direction 
Rubato,  or  Tempo  Rubato,  indicates  a  style  of  performance 
in  which  the  rhythmic  flow  is  interrupted  by  dwelling 
slightly  on  certain  melodic  notes  and  slightly  hurrying 
others.  This  style  of  performance  is  used  with  great  effect 
in  the  modern  intensely  emotional  school  of  music. 

Ruhig  (Ger.)   (roo'-ig).     Calm;  quiet;  tranquilly. 
Rule  of  the  Octave.     An  old  formula  for  putting  chords  to 
the  diatonic  scale,  major  or  minor. 

Run.  A  passage  founded  on  the  scale,  generally  used  in  vocal 
music.  The  run  is  generally  sung  to  one  syllable. 

Rusticano  (It.)   (rus-tec-cah'-no}.    Rustically. 
Rustico   (It.)   (rus'-tec-co).    Rustic;  pastoral. 

Rutscher  (Ger.)  (root'-sher).  "Slider."  Old  name  for  the 
galopade. 

Ruvido   (It.)    (roo'-vce-do).     Rough;  harsh. 
Rythme   (Fr.)    (reethm),  Bien  rythme   (Fr.),  Ben  ritmato 
(It).     Well  marked;  exact. 


S.  Abbreviation  of  Segno  (sign)  ;  Senza  (without)  ;  Sinistra 
(left)  ;  Solo;  Subito  (quickly). 

;£  A  sign  used  to  point  out  the  place  from  which  a  repeat  is 
'to  be  made.  Al  $  ,  to  the  sign;  Dal  j£,  from  the  sign. 

Sabot  (Fr.).  A  "shoe."  Part  of  the  mechanism  of  the 
double-action  harp,  consisting  of  a  revolving  disk  of  brass 
with  two  projecting  studs;  when  the  pedal  is  depressed  the 
string  is  caught  between  the  studs  and  drawn  tighter,  thus 
raising  its  pitch. 

Saccade  (Fr.)  (sac-cad).  A  strong  pressure  of  the  violin 
bow  on  the  strings,  causing  two  or  three  to  sound  together. 

Sackbut.  An  old  name  for  a  species  of  the  trombone.  Some- 
times written  Sagbut. 

Sackpfeife  (Ger.).    Bagpipe. 

Saite  (Ger.)    (sy-teh).    A  string. 

Salicional,  Salicet,  Salcional  [from  Lat.,  salix,  willow].  A 
soft,  open  metal  organ-stop. 

Salonfliigel  (Ger.).     Parlor  grand  pianoforte. 

Salonstiick  (Ger.).    Parlor  piece;  salon  music. 

Saltarello  (It.)  (sal-tah-rel'-lo)  [from  saltare,  to  leap]. 
An  Italian  dance  in  triple  time. 

Saltato   (It.).     "Springing  bow"  in  violin  playing. 


Salto  (It.).  A  skip.  A  counterpoint  that  moved  by  skips  was 
called  C.  P.  di  salto;  in  Lat,  C.  P.  per  saltern. 

Sambuca.  Generally  supposed  to  be  an  ancient  variety  of  the 
harp.  The  Sabeca,  mentioned  in  the  Bible  (Daniel  iii:  5,  7, 
10,  15),  translated  "sackbut"  in  the  English  version,  is  sup- 
posed to  be  the  same  instrument.  The  derivation  of  the 
word  is  not  known. 

Sampogna  or  Zampogna  (It.)    (sam-pone'-ya}.    Bagpipe. 
Sanft  (Ger.).    Soft. 
Sans  (Fr.).    Without. 

Saraband,  Sarabanda  (It.),  Zarabanda  (Sp.),  Sarabande 
(Fr.).  A  slow,  stately  dance  in  £  time,  used  as  the  "slow 
movement"  in  the  suite.  The  Saraband  is  founded  on  the 
following  rhythm : 


r  r 


One  of  the  finest  examples  is  the  song  in  "Rinaldo,"  by 
Handel,  "Lascia  ch'io  pianga,"  which  is  said  to  have  been 
written  first  as  a  Saraband,  and  afterward  adapted  to  the 
words. 

Sarrusophone.    A  brass  wind  instrument  with  a  double  reed 
like  hautboy. 


SATZ 


572 


SCORING 


Satz  (Ger.).  (i)  A  theme.  Hauptsatz,  principal  theme; 
Seitensatz,  secondary  theme;  Nebensatz,  auxiliary  theme; 
Schluss-Satz,  closing  theme,  or  coda.  (2)  A  piece;  com- 
position. 

Saxhorn.  A  brass  instrument  with  from  three  to  five  cylin- 
ders or  pistons ;  invented  by  A.  Sax.  Saxhorns  are  made  in 
seven  different  keys.  A  saxhorn  band  consists  of  "high 
horn"  (or  cornet),  soprano,  alto,  tenor,  baritone,  bass  (or 
tuba),  double  bass  (or  bombardon).  The  "high  horn," 
alto,  and  bass  are  in  Eb,  the  others  in  Bb. 

Saxophone.  Brass  instrument  with  clarionet  mouthpiece,  in- 
vented by  A.  Sax.  Made  in  seven  sizes,  corresponding  to 
the  saxhorns,  except  that  there  are  two  of  each  kind,  differ- 
ing by  a  whole  tone  in  pitch ;  thus :  Sopranino  (high  saxo- 
phone) in  F  and  Eb,  soprano  in  C  and  Bb,  alto  in  F  and 
Eb,  tenor  in  C  and  Bb,  baritone  in  F  and  Eb,  bass  in  C 
and  Bb.  The  saxophone  is  extensively  used  in  France  in 
military  bands,  but  has  not  as  yet  found  its  way  into  the 
orchestra,  as  its  tone  quality  is  not  of  a  character  to  mix 
well  with  the  rest  of  the  orchestra. 

Saxtromba.  Brass  instrument  resembling  the  saxhorn,  but 
differing  in  tone  quality  from  having  a  narrower  tube. 

Saxtuba.    The  bass  saxhorn. 

Sbalzato  (It.)   (sbalt-cali'-to).    Impetuously;  dashing. 

Scale,  (i)  A  succession  of  ascending  or  descending  sounds. 
Major  Scale,  a  series  of  sounds  with  a  half-tone  between 
3-4  and  7-8,  reckoning  upward.  Minor  Scale,  a  series  of 
sounds  with  a  half-tone  between  2-3  and  5-6  in  the  natural 
minor,  in  the  Melodic  Minor,  7-8,  ascending.  The  Melodic 
Minor  descends,  like  the  Natural  Minor ;  in  the  Harmonic 
Minor  there  are  half-tones  between  2-3,  5-6,  and  7-8,  and  a 
tone  and  a  half  between  6  and  7.  The  Minor  Scale  some- 
times descends  with  raised  6  and  7.  Many  examples  may 
be  found  in  Bach's  music.  Chromatic  Scale,  one  formed 
wholly  of  half-tones.  Pentatonic  Scale  [Gr.,  penta,  five, 
tonos,  sound],  one  that  omits  the  4  and  7.  The  Pentatonic 
Scale  may  be  major  or  minor,  thus: 
4- 


Hungarian  Gypsy  Scale  consists  of  the  following  curious 


succession : 


& 


••• 


(2)  The  series  of  overtones  of  a  simple  tube,  such  as  the 
horn  without  valves.  (3)  In  organ-pipes,  the  proportion 
between  the  length  and  the  diameter.  (4)  In  the  piano,  the 
proportion  between  the  length,  weight,  and  tension  of  the 
string  and  the  pitch  of  the  sound  it  is1  meant  to  give.  Piano 
builders  include  many  other  points  in  the  term  "scale;" 
those  given  are  the  most  important. 

Scemando  (It.)    (shay-tnaii'-do).     See  Diminuendo. 
Scena  (It.)   (sliay-nah).     (i)  A  scene.     (2)  A  solo  for  voice 
in  which  various  dramatic  emotions  are  expressed. 

Scenario  (It.)  (sliay-nalir'-yo).  (i)  The  plot  of  a  drama. 
(2)  The  book  of  stage  directions. 

Scene,  (i)  See  Scena.  (2)  A  division  of  a  dramatic  per- 
formance. (3)  A  stage-setting. 

Schablonenmusik  (Ger.).  "Pattern"  or  "stencil"  music,  i.  e., 
correct,  but  uninspired. 

Schaferlied  (Ger.)  (shay'-fer-leet).  Shepherd  song;  pas- 
toral. 

Schaferspiel  (Ger.)    (shay'-fer-specl).     Pastoral  play. 

Schallbecken  (Ger.).  "Sound  bowls";  cymbals.  Frequently 
called  Becken. 

Schalmay,  Schalmei   (Ger.).     A  shawm. 

Scharf   (Ger.).     Sharp.     A  mixture-stop. 


Schaurig  (Ger.).    Weird;  dread-inspiring. 
Scherz  (Ger.)   (sherts).    Droll ;  playful. 

Scherzando  (It.)  (sker-tsan'-do),  Scherzante  (sker-tzan'- 
teh),  Scherzevole  (sker-tseh'-vo-leli),  Scherzoso  (sker- 
tso'-so).  All  derived  from  scherzo,  and  signifying  a  light, 
playful  style  of  performance  or  composition. 

Scherzhaft  (Ger.).    Funny;  amusing. 

Scherzo  (It.)  (skert'-zo).  A  "jest."  (i)  A  piece  of  music 
of  a  sportive,  playful  character.  (2)  A  symphony  or  sonata 
movement  of  this  character,  taking  the  place  of  the  minuet. 
Haydn  first  changed  the  character  of  the  minuet,  while  still 
retaining  its  name,  by  giving  it  a  light,  playful  character 
and  more  rapid  tempo.  Beethoven  discarded  the  name  and 
adopted  that  of  Scherzo,  and  still  further  increased  the 
rapidity  of  the  movement ;  all  that  he  retained  of  the  minuet 
was  the  f  time.  Many  composers  since  Beethoven  have 
made  still  further  departure,  Scherzi  being  now  written  in 
f  and  f  time. 

Schiettamente  (It.)  (ske-et-ta-men'-teh).  Without  orna- 
ment. 

Schietto  (It.)   (ske-et'-to).    Simple;  neat. 
Schleppend  (Ger.).    Dragging;  retarding. 
Schluss  (Ger.).    End;  close.       . 
Schlussel  (Ger.).     Key;  clef. 
Schlussfall  (Ger.).     Cadence. 
Schlussnote  (Ger.).    Last  note. 

Schluss-Satz  (Ger.).    Last  movement;  last  theme;  coda. 
Schmeichelnd   (Ger.).     Coaxing;  lusingando. 
Schmelzend  (Ger.)   (schmel'-tzend).    Lit.,  melting;  morendo, 
Schmerz  (Ger.)    (schmerts).    Pain;  sorrow. 
Schmerzlich  (Ger.).    Painful;  sorrowful. 
Schnell  (Ger.).     Quick. 

Schneller  (Ger.).  An  inverted  mordent  (called  mordent  in 
modern  usage)  : 

/vv 


Written 


Played- 


with  accent  on  the  first  note. 

Schottische.    A  dance  in  f  time  resembling  the  polka. 
Schusterfleck  (Ger.).     See  Rosalia. 
Schwach  (Ger.).    Weak;  soft. 
Schwarmer  (Ger.).    See  Rauscher. 
Schwebung    (Ger.)    (shveh'-boonk).     A   beat.      (Acoustic,) 

i.  e.,  produced  by  the  simultaneous  vibration  of  two  sounds, 

especially  prominent  in   unisons  and   octaves  when  not   in 

tune. 
Schweigezeichen  (Ger.)  (schvei-geh-tseich-cn).  Lit.,  "silence 

sign."     A  rest. 

Schwellen  or  Anschwellen  (Ger.).    To  swell  the  tone. 
Schweller  (Ger.).    The  swell  organ. 
Schwellton  (Ger.).     See  Mcssa  di  voce. 
Schwellwerk  (Ger.).    See  Schweller. 
Schwer  (Ger.).    Heavy;  difficult. 

Schwermutig   (Ger.)    (schvehr'-mee-tig).     Sad;  pensive. 
Schwindend  (Ger.).     See  Morcndo. 
Schwungvoll  (Ger.)   (schvoong'-foll).  With  elevated  passion. 

Scintillante  (It.)    (shin-til-lan'-teh),  Scintillante  (Fr.)    (sin- 

tee-yong).     Scintillating;   brilliant;   sparkling. 

Sciolto  (It.)  (shol'-to),  Scioltezza  (shol-tet'-za),  con,  Sciol- 
tamente  (shol-tah-men'-teh).  Freedom;  fluency;  with 
freedom ;  freely. 

Score.     See  Partition. 
Scoring.     See  Instrumentation. 


SCORRENDO 


573 


SHAWM 


Scorrendo    (It.)     (skor-ren'-do),    Scorrevole    (skor-rch'-vo- 

leh).     Gliding;  glissando. 
Scotch    Snap.     A    short    note    followed    by    a    longer    one; 

thus    j-    |      borrowed  from  Hungarian  gypsy  music. 
Scozzese  (It.)    (skotz-zeh'-seh),  alia.    In  Scotch  style. 
Scroll.     The  head  of  the  violin,  etc. 
Sdegno  (It.)   (sdehn'-yo).    Scorn;  disdain. 
Sdegnosamente  (It.)   (sdehn'-yo-sa-men'-teh).     Scornfully. 
Sdegnoso  (It.)   (sdehn-yo'-so).    Scornful. 
Sdrucciolando   (It.)    (sdroot-sho-lan'-do).     See  Glissando. 
Se   (It.)    (seh).     As  if. 

Sec   (Fr.),  Secco   (It.).     Dry.     See  Recitative  secco. 
Second,    (i)  An  interval  embracing  adjacent  letters.    (2)  The 

lower  of  two  equal   voices   or  instruments.      (3)   The   alto 

in  a  vocal  quartet  or  chorus. 
Seconda  Donna.     Second  lady;  the  next  in  rank  after  the 

prima  donna. 
Secondo   (It.)    (seh-con'-do).     Second;  the  lower  part  in  a 

duet   for  two   voices  or   instruments;   the   lower  part  in  a 

four-hand  pianoforte  composition. 

Seele  (Ger.)    (seh'-leh),  Ame  (Fr.).     Soul.     The  sound-post 

of  the  violin. 

Seg  (It.).    Abbreviation  of  Segue,  q.  v.,  and  of  Segno. 
Segno  (It.).     See  Signs. 
Segue    (It.)     (seltg'-weh).      Follows.     Segue    il    coi^>,   the 

chorus  follows. 
Seguendo    (It.)    (sehg-wcn'-do),  Seguente   (sehg-wen'-teh). 

Following.     Attacca  il  seguente,  attack  what  follows. 
Seguidilla  (Sp.)   (seh-gwee-deel'-ya).    A  dance  in  £  time. 
Sehnsucht  (Ger.).    Longing. 
Sehnsuchtig  (Ger.).     Longingly. 
Sehr   (Ger.).     Very. 
Semi-breve.     A  whole  note.    fi> 
Semi-chorus.    Half  the  chorus ;  a  small  chorus. 
Semi-grand.    A  small   (half)  grand  pianoforte. 
Semi-quaver.    A  sixteenth  note.       ^    _ 

Semi-tone.  A  half  tone.  A  chromatic  semi-tone  changes  the 
pitch  without  changing  the  letter ;  as,  C — C)r ;  a  diatonic 
semi-tone  changes  both,  as,  C — Db. 

Semplice  (It.)    (sem-plee'-cheh).     Simple. 

Semplicimente  (It.)  (sem-plee-chee-men'-teh).  Simply;  un- 
affectedly. 

Semplicita  (It.)    (sem-plee'-chee-tah),  con.    With  simplicity. 

Sempre  (It.)   (sem'-preh).    Always. 

Sensibile  (It.)  (sen-see' -bee-leh),  Sensible  (Fr.)  (song- 
seebl).  Nota  sensibile,  the  leading  note.  Note  sensible, 
"sensitive"  note. 

Sensibilita  (It.)    (sen-see-bee' -lee-tah),  con.    With  feeling. 

Sentito  (It.)  (sen-tee' -to),  Sentimento  (sen-tee-men' -to), 
con.  With  feeling;  with  sentiment. 

Senza  (It.)   (sen-tza).    Without. 

Septet,  Septuor.  A  composition  for  seven  solo  voices  or 
instruments.  • 

Septole   (Ger.).     Septuple!;  a  group  of  seven. 
Se  place    (It.)    (seh  pe-ah'-cheh).     "Please  yourself."     Ad 
libitum. 

Sequence,  Melodic.  The  repetition  of  a  melodic  phrase  at 
regular  intervals.  Harmonic  Sequence,  the  repetition  of 
a  harmonic  progression  at  regular  intervals.  Contrapuntal 
Sequence,  a  succession  of  common  chords  with  roots  mov- 
ing in  a  regular  "pattern." 


Contrapuntal  Sequence. 

Seraphine.  A  free-reed  instrument  that  preceded  the  har- 
monium. 

Serenade,  Serenade  (Fr.),  Serenata  (It.),  Standchen 
(Ger.).  Lit.,  an  evening  song.  The  Italian  form,  Serenata, 
is  also  applied  to  an  instrumental  symphonic  composition, 
and  by  Handel  to  his  cantata  "Acis  and  Galatea." 

Sereno   (It.)    (seh-reh'-no).     Serene;  tranquil. 

Serio  (It.)    (sch-re-o).     Serious. 

Serioso  (It.).    Gravely;  seriously. 

Serpent.  A  nearly  obsolete  instrument  made  of  wood  cov- 
ered with  leather,  cup-shaped  mouthpiece,  finger-holes,  and 
keys. 

Service.  A  musical  setting  of  the  canticles,  etc.,  of  the  Epis- 
copal Church. 

Sesqui-altera.  A  mixture-stop  in  the  organ.  In  ancient 
musical  nomenclature  the  following  compounds  with  Sesqui 
were  used : 

Sesqui-nona,  i.  e.,  the  ratio  of  9  to  10;  minor  whole  tone. 
Sesqui-octava,  8  to  9;  major  whole  tone. 
Sesqui-quinta,  5  to  6 ;  minor  third. 
Sesqui-quarta,  4  to  5 ;  major  third. 
Sesqui-tertia,  3  to  4 ;  perfect  fourth. 
Sesqui-tone,  a  minor  third. 

Sestet.     See  Sextet. 

Sestetto  (It.).    See  Sextet. 

Sestole.     See  Sextuplet. 

Seule   (Fr.)    (sool).     Alone. 

Seventeenth.  An  organ-stop  sounding  the  octave  of  the 
major  3d  above  the  diapason  ;  called  also  the  tierce. 

Seventh.  An  interval  including  seven  letters.  Seventh 
Major,  seven  letters  and  eleven  half-tones,  as  C — B.  Sev- 
enth Minor,  seven  letters  and  ten  half-tones,  as  C — Bb. 
Diminished  Seventh,  seven  letters  and  nine  half-tones,  as 
Of— Bb. 

Severamente  (It.)  (sch-veh-rah-men' -tch) .   Severely;  strictly. 

Severita  (It.)  (seh-ver'-ee-ta),  con.  With  severity;  exactness. 

Sextet,  Sestet,  Sestetto  (It.),  Sextuor  (Fr.).  A  composition 
for  six  solo  voices  or  instruments. 

Sextuplet.    A  group  of  six  notes  occupying  the  time  of  four. 

Sfogato  (It.)  (sfo-gah'-to)  [from  sfogare,  to  evaporate].  A 
soprano  voice  of  thin,  light  quality  and  unusually  high  range 
is  called  a  soprano  sfogato. 

Sforzando  (It.)    (sforts-an'-do)  or  Sforzato,  abbreviated  Sf. 

or  Sfz.    "Forced."     A  strong  accent  immediately  followed 

by  piano. 
Shake.    See  Trill. 

Sharp.  The  sign,  8,  which  raises  the  pitch  of  a  letter  a  half 
tone.  Sharp  is  sometimes  used  in  the  sense  of  augmented, 
as  sharp  6th  for  augmented  6th ;  popular  name  for  the 
black  keys  of  pianoforte  and  organ. 

Sharp  Mixture.    A  mixture  with  shrill-voiced  pipes. 

Shawm.     See  Calamus. 


SHIFT 


674 


SOLMIZATION 


Shift.  A  change  in  the  position  of  the  left  hand  on  the 
fingerboard  of  the  violin;  each  shift  is  a  fourth  higher  than 
the  preceding  one. 

Si.  (i)  The  note  B  in  French,  Italian,  and  Spanish.  (2)  The 
Italian  impersonal  pronoun,  "one,"  or  "they,"  as,  si  place, 
"one"  pleases,  t.  e.,  as  you  please. 

Siciliana  (It.)  (see-cheel-ya'-nah),  Sicilienne  (Fr.)  (see-see- 
lee-en).  A  pastoral  dance  in  slow  f  time;  slow  movements, 
vocal  or  instrumental,  are  frequently  called  Sicilianas. 

Side  Drum.    See  Drum. 

Siegeslied   (Ger.)    (see'-ges-leed).     Song  of  victory. 

Signs.  (Only  the  most  important  are  here  given.  Complete 
information  may  be  obtained  by  consulting  the  "Embellish- 
ments of  Music,"  by  Russell.) 

7  * 

Staccato.  Vibrato.  Pause.  Abbreviation,  signifying 

Spiccato.  th*  repetitionof  the  pre- 

ceding figure. 


Segno. 


Sharp. 


Crescendo. 


Repeat.  Slur,  when  over  or  under  sounds  of 

different  pitch,  signifying  legato.  Tie, 
when  the  notes  are  on  the  same  degree. 

*  &  W?  ft 

Double  Sharp  Flat.  Double  Flat.  Natuial 

;  ~^=—  >-        A 

[>ecrescendo.  Sforzando. 


Arpeggio. 

*      <$ 


Brace. 


Trill. 

8ta.Ba. 


Turn. 


Mordent. 
O      V 


After  Pedal  means       Octave  higher.      Octave  lower. 
raise  the    foot    from 
the  pedal. 


Heel  ana  Toe:  Organ 
music  —  when  above 
the  notes,  right  foot; 
when  below,  left  foot. 


Signature,  Signatur  (Ger.),  Time.  The  signs  g  (j?  etc. 
Key  Signature,  the  sharps  or  rials  marked  at  the  beginning 
oi  a  part  or  piece. 

Simile  (It.)    (see-mcc-lch).    The  same;  in  the  same  way. 

Sinfonia  (It.),  Sinfonie  (Ger.),  Symphonic  (Fr.),  Sym- 
phony [from  Gr.,  sutnphonia,  a  sounding  together].  Orig- 
inally had  the  same  meaning  that  we  attach  to  interval, 
i.  e.,  two  simultaneous  sounds,  (i)  By  the  early  writers  of 
Italian  opera  it  was  used  in  the  modern  sense  of  overture. 

(2)  The  introduction  to  a  song  is  still  called  the  symphony. 

(3)  The   adaptation    of    the    large    forms    of    composition 
(sonata  and  rondo)   to  the  orchestra. 

Singend  or  Singbar  (Ger.).     Singing;  cantabile. 
Singhiozzando  (It.)   (stn-ghee-ots-an'-do).    Sobbingly. 

Singspie)  (Ger.)  (sing-speel).  "Sing-play."  Operetta;  an 
opera  without  recitatives,  the  dialogue  being  spoken.  "Der 
Freischutz,1'  when  first  produced,  was  of  this  character,  which 
may  be  considered  as  one  of  Germany's  contributions  to  the 
development  of  the  opera,  the  Italian  operas  from  the  be- 
ginning being  largely  composed  of  recitative.  The  "Sing- 
spiel"  form  has  found  its  most  congenial  home  and  its 
best  exponents  in  France. 

Sinistra  (It.).    Left. 

Sino,  Abbr.,  Sin.  (It.)  (see'-no).  As  far  as;  used  after  D.  C, 
or  al  ;£  ;  as  al  #  ,  Sin*  al  fine,  go  to  the  sign,  then  as  far 
as  "fine."  D.  C.  sin'  al  j£,  from  the  beginning  as  far  as 
the  sign. 

Sixteenth  Note.    * 

i/ 
Sixth.     An  interval  including  six  letters. 

Sixth  Major.     Six  letters,  nine  half-tones. 

Sixth    Minor.     Six    letters,   eight   half-tones.     Augmented 

Sixth,  six  letters,  ten  half-tones.     Diminished  Sixth,  six 

letters,  seven  half-tones. 


5 

Sixty-fourth  Note.    % 

• 
Slancio  (It.)   (slan'-che-o),  con.     With  impetuosity. 

Slargando   (It.)    (slar-gan'-do).     Widening;  growing  slower. 

Slargandosi  (It.)    (slar-gan-do'-see).     Slower. 

Slentando   (It.)    (slen-tan'-do).    Gradually  slower. 

Slide,      (i)  The   movable   tube   of   the   trombone.      (2)   See 

Portamento. 
Slur.  Legato  sign.    In  vocal  music  signifies  that  all 

the  notes  it  includes  are  to  be  sung  to  one  syllable. 
Smanioso  (It.)    (sma-ne-o'-so).     Frantic;  raging. 
Smaniante   (It.)    (sma-ne-an'-teh).     Frantically. 
Sminuendo    (It.)    (smin-oo-en'-do),  Sminuito    (smin-oo-ee'- 

to),  Smorendo   (smo-ren'-do).     Same  as  Diminuendo. 

Smorzando     (It.)      (smor-tzan'-do).       Lit.,     "smothering"; 

morendo. 

Snare  Drum.     See  Drum. 
Soave  (It.)    (so-a'-veh).     Sweet. 
Soavemente  (It.)    (so-a-veli-men'-teli).    Sweetly. 
Sogetto   (It).     Subject;  theme  of  a  fugue. 
Sognando  (It.)    (sone-yan'-do).     Dreaming;  dreamily. 
Sol.    The  note  G  in  Italian,  French,  and  Spanish ;  fifth  Are- 

tinian  syllable. 

Solenne  (It.)    (so-len'-neh).    Solemn. 

Solennemente  (It.)    (so-leti-neh-men'-teh).     Solemnly. 

Solennita  (It.)   (so-len'-nee-ta),  con.    With  solemnity. 

Sol-fa  (verb).     To  sing  with  the  syllables. 

Solfeggio  (It.)  (solfed-jo).  (i)  A  vocal  exercise.  (2)  Used 
by  Bach  as  a  name  for  certain  short  instrumental  pieces. 

Solmization.  A  method  of  learning  to  sing  by  the  applica- 
tion of  syllables  to  the  scale.  The  earliest  invention  of  this 
method  of  fixing  the  succession  of  sounds  forming  the  scale 
in  the  memory  is  attributed  to  Guido  of  Arezzo  (ah-rets-o), 
who  used  for  this  purpose  the  syllables  ut,  re,  mi,  fa,  sol, 
la,  having  chanced  to  observe  that  these  syllables — the  first 
in  the  successive  lines  of  a  Latin  hymn — were  sung  to  six 
successive  notes  which  formed  a  hexachord  scale:  C,  D, 
E,  F,  G,  A.  There  were  seven  hexachord  scales,  as  follows : 

First  began  on  G,  ist  line  bass  staff;  this  was  called  the 
hexachordum  durum  (hard  hexachord).  Second  began  on 
C,  a  4th  higher.  Third  began  on  F,  another  4th  higher; 
in  this  scale  B  was  flat;  it  was  called  the  hexachordum 
molle  (soft  hexachord).  Fourth,  fifth,  and  sixth  were 
respectively  an  octave  higher  than  the  first,  second,  and 
third,  and  the  seventh  was  two  octaves  higher  than  the  first. 
The  first  note  of  every  scale  was  called  ut  (afterward 
changed  to  do*),  therefore  from  its  inception  "do"  was 
"movable."  Various  modifications  of  these  syllables  have 
at  different  times  been  used  for  solmization.  One  exten- 
sively used  at  one  time  was  the  practice  of  using  only  four 
of  them,  viz.,  mi,  fa,  sol,  la.  These  were  so  arranged  that 
mi  always  fell  upon  the  third  note  in  the  tetrachord,  for 
example,  the  scale  of  C  was  sol-faed  thus : 

Tetrachord.         Tetrachord. 


CDEF  IGABC 

sol  la  mi  fa.       sol  In  Jin  fa  • 

It  was  owing  to  the  difficulty  and,  to  ancient  ears,  harsh- 
ness of  the  skip  from  the  fa  of  the  lower  tetrachord  to  the 
mi  of  the  upper  that  the  expression,  "mi  contra  fa,"  came 
to  have  a  proverbial  meaning.  This  interval,  called  the 
tritone  (three  tones),  was  by  the  ancient  theorists  stigma- 
tized as  "tritonus  diabolus  est."  New  syllables  have  at 
different  times  been  proposed;  one  scheme  of  which  the 
syllables  were  bo,  ce,  di,  ga,  lo,  ma,  ni,  was  called  bocediza- 
tion ;  another  with  da,  me,  ni,  po,  hi,  la,  be,  was  called 
damenization.  The  only  modifications  and  additions  to  the 


SOLO 


575 


SPIELTENOR 


syllables  that  have  been  permanently  adopted  are  those  used 
by  the  "Tonic  Sol-faists."  See  Tonic  Sol-fa. 

Solo  (It.)  (plural,  Soli).  Alone;  a  composition  in  which 
the  principal  part  is  taken  by  one  voice  or  instrument.  Solo 
Parts  are  those  sung  or  played  by  single  performers  as 
distinguished  from  chorus  or  tutti  passages. 

Somma  (It.).  Utmost;  as  Con  somma  espressione,  with 
the  utmost  expression. 

Sonabile  (It.)  (so-nah'-bee-leh),  Sonante  (so-nan'-teh). 
Kesbnant;  sounding;  sonorous. 

Sonare  (It.)   (so-nah'-reh).    To  sound;  to  play  upon. 

Sonata  (It.)  (so-nah'-tah).  "Sound  piece."  (i)  The  highest 
development  of  musical  form.  (2)  In  modern  use,  an  ex- 
tended composition  with  several  movements  for  pianoforte, 
or  pianoforte  in  conjunction  with  one  other  instrument.  A 
composition  of  this  class  for  more  than  two  instruments  is 
called  trio,  quartet,  etc. ;  for  full  orchestra,  a  symphony. 
The  "form"  of  the  sonata  (see  Form)  has  undergone  many 
modifications  since  it  was  first  adopted,  about  the  beginning 
of  the  I7th  century.  At  first  it  was  applied  indifferently  to 
any  instrumental  piece,  such,  for  example,  as  were  com- 
monly called  "airs."  Those  written  for  the  harpsichord  or 
for  viols  were  called  "sonata  da  camera."  Those  for  the 
organ  (or  frequently  those  for  harpsichord  or  viols,  if 
written  in  grave  style),  "sonata  da  chiesa"  (church  sonata). 
The  distinguishing  characteristic  of  the  modern  sonata  form 
is  the  possession  of  two  themes  in  different  keys  (see 
Scheme  in  article  Form).  The  gradual  growth  of  this 
binary  development  may  be  traced  in  the  works  of  Kuhnau, 
Scarlatti,  Alberti,  Durante,  and  others.  The  binary  ,|orm 
was  first  definitely  fixed  by  K.  P.  E.  Bach.  The  only  changes 
made  since  have  been  the  immense  development  given  to 
the  form  by  Beethoven,  and  the  adoption  of  other  keys  for 
the  second  theme. 

Sonata  di  chiesa  (It.)  (key-eh'-sa).  A  church  sonata;  organ 
sonata. 

Sonatilla  (It.)  (so-na-til'-la),  Sonatina  (It.)  (so-na-tee'-na), 
Sonatine  (Fr.j  (so-na-teen) .  A  short,  easy,  undeveloped 
sonata. 

Song,  Gesang,  Lied  (Ger.),  Chant  (Fr.),  Canto  (It.), 
(i)  Originally  a  poem.  (2)  A  musical  setting  of  a  poem, 
especially  for  one  voice.  (3)  Folk-song  (Ger.,  Volkslied). 
A  simple  air  containing  but  one  member,  the  words  lyrical 
or  narrative  (if  the  poem  is  a  lengthy  narrative  it  is  gen- 
erally called  a  ballad).  (4)  Art  songs  contain  several  mem- 
bers, and  in  many  cases,  as  in  the  songs  of  Schubert,  Franz, 
Schumann,  and  others,  rise  to  the  highest  plane  of  art  ex- 
pression. The  Germans  have  a  word,  durchkomponirt, 
which  is  applied  to  songs  every  stanza  of  which  has  a  sep- 
arate musical  setting,  so  designed  as  to  exalt  and  emphasize 
the  expression  of  the  words. 

Songs  without  words,  Lieder  ohne  Worte  (Ger.),  Chants 
sans  paroles  (Fr.).  A  title  invented  by  Mendelssohn  and 
given  by  him  to  a  set  of  pianoforte  compositions.  Songs 
for  several  voices  are  called  part-songs.  See  Part-Song. 

Sonoramente   (It.).     Sonorously. 

Sonore  (It.),  Sonoro  [from  Lat.,  sonus,  sound].  Sonorous; 
sounding. 

Sonorita  (It.)    (so-no'-ree-ta),  con.    With  resonance. 

Sopra  (It.).    On;  above;  upon. 

Soprano  (It.),  Sopran  (Ger.),  Dessus  (Fr.)  (des-soo).  The 
female  or  boy's  voice  of  the  highest  range. 

Soprano  Clef.    C  clef  on  the  ist  line. 

Soprano  Sfogato  (sfo-gah'-to).  An  unusually  high  light 
soprano. 

Sordamente  (It.).     Veiled,  dampened,  muffled  tone. 

Sordino  (It.)  (sor-dee'-no).  A  mute;  small  instruments  of 
metal,  wood,  etc.,  put  on  the  bridge  of  the  violin,  etc.,  to 
deaden  the  tone.  Pear-  or  cylinder-shaped  mutes  of  wood, 
cardboard,  or  leather  are  put  in  the  bell  of  the  horn  or 


trumpet  with  the  same  object.     The  use  of  sordino  is  indi- 
cated by  Con  S.,  their  removal  by  Senza  S. 
Sordo  (It).    Mute;  muffled.    Clarinetto  sordo,  muted  clari- 
onet. 

Sortita  (It.)  (sor-tee'-ta).  "Going  out."  Concluding  vol- 
untary ;  first  appearance  of  any  character  in  an  operatic 
performance. 

Sospirando  (It.)  (sos-pee-ran'-do),  Sospiroso  (sos-pee-ro'- 
so),  Sospirante  (sos-pee-ran'-teh),  Sospirevole  (sos-pee- 
reh'-vo-leh)  [from  sospiro,  a  sigh].  Sighing;  sobbing; 
mournful. 

Sostenuto  (It.)   (sos-teh-noo'-to),  Sostenendo  (sos-teh-nen'- 

do).     Sustained;  without  haste. 
Sotto  (It.).    Below.     Sotto  voce,  in  an  undertone. 
Soubasse  (Fr.)   (soo-bass).    A  32-foot  organ  pedal-stop. 
Soubrette  (Fr.)  (soo-bret).    A  waiting  maid;  a  minor  female 

role  in  comic  or  comedy  opera. 

Sound-board.  A  thin  sheet  of  spruce-pine,  or  fir,  upon  which 
the  bridge  that  supports  the  strings  of  the  pianoforte  rests. 
The  function  of  the  sound-board  is  to  increase  the  volume 
of  the  tone,  which  it  does  by  taking  up  the  vibration  of 
the  string.  There  are  many  unsolved  problems  in  the  rela- 
tipn  which  subsists  between  the  string  and  the  sound-board, 
as  to  the  manner  in  which  this  amplification  of  the  sound 
takes  place.  It  is  impossible  to  form  a  conception  of  the 
complications  in  the  mode  of  vibration  of  the  sound-board 
that  must  take  place  when,  for  example,  a  full  chord  is 
struck.  Yet  all  these  complications  are  not  only  simul- 
taneous, but  they  obey  the  changing  conditions  of  the  most 
rapid  execution  with  such  swiftness  and  certainty  that  not 
a  note  is  lost  or  a  tone  quality  obscured. 

Sound-box.  The  body  of  the  violin,  guitar,  etc.  The  prob- 
lems as  to  the  function  of  the  sound-box  are  even  more 
complicated  than  those  connected  with  the  sound-board,  as 
a  sound-box  is  a  combination  of  a  sound-board  and  an 
enclosed  mass  of  air,  the  vibrations  of  which  have  an  im- 
portant bearing  on  the  quality  and  intensity  of  the  tone. 

Sound-hole.  The  orifice  or  orifices  in  the  upper  part,  called 
technically  the  "belly,"  of  the  violin,  guitar,  etc.  In  the 
violin  family  they  are  called  F-holes,  from  their  resemblance 
to  the  letter  / 

Sound-post.  A  slender,  cylindrical,  wooden  prop  between  the 
belly  and  the  back  in  instruments  of  the  violin  family, 
placed  under  the  foot  of  the  bridge  on  the  side  of  the 
highest  string. 

Sourdine  (Fr.)   (soor-deen).    See  Sordino. 

Spaces.  The  intervals  between  the  lines  of  the  staff  or  be- 
tween the  leger  lines. 

Spalla  (It.).    The  shoulder.    Used  in  the  sentence,  Viola  da 

spalla,  one  of  the  viols  in  a  "chest." 
Spanischer  Reiter  (Ger).     See  Spanisches  Kreuz. 
Spanisches    Kreuz    (Ger.)     (spah-nish-es   kroits).     Spanish 

cross;   German  name  for  double  sharp  jjs. 
Sparta  (It.)   (spar-ta),  Spartita  (spar'-ti-ta).    A  score.     See 

Partition. 

Spasshaft  (Ger.).    Jocose;  merry;  scherzando. 
Spezzato    (It.)    (spets-sa'-to)    [from   spezzare,  to   break   in 

pieces].    Divided ;  broken. 

Spianato   (It.)    (spe-a-nah'-to).    Leveled;  tranquillo. 
Spianto  (It.)  (spe-an-to).    Level;  smooth. 
Spiccato   (It.)    (spik-kah'-to).     Detached;  pointed. 
Spiel  (Ger.)   (speet).    Play. 
Spielart.     Style ;  touch. 

Spielbar.     Playable ;  well  adapted  to  the  instrument. 
Spieloper.     Operetta ;  comic  opera. 
Spieltenor.    Light  tenor;  comic  opera  tenor. 


SPINET 


576 


SUBITO 


Spinet.     The   predecessor   of    the    harpsichord,    called   also 

couched  harp. 
Spirito   (It.)    (spee-ree-to),  con,  Spiritoso   (sfee-ree-to'-so), 

Spiritosarr.ente     (spee-ree-to-sa-men'-teh).      With     spirit; 

spirited;  lively;  animated. 
Spitzflote,  Spindelflote   (Ger.).     An  organ-stop  of  reed-like 

quality,  8-,  4-,  or  2-foot  pitch. 
Squilla  (It.)   (squil'-la).    Little  bell. 
Squillante  (It.)    (squil-lan'-teh).    Bell-like;  ringing. 
Stabile  (It.)  (stah-bee'-leh).    Firm;  steady. 
Stac.    Abbreviation  of  Staccato. 
Staccatissimo   (It.)    (stac-cah-tis1 -see-mo).     As  detached  as 

possible.    The  sign  for  Staccatissimo  is  a  pointed  dot  over 

the  note   f- 

Staccato   (It.)    (stac-cah'-to).     Detached;  cut  off;  separated. 
Staff  or   Stave.     The  five  lines   with  their  enclosed   spaces. 

Gregorian  music  is  written  on  a  staff  of  four  lines. 

Standard  Pitch.    See  Pitch. 
Standchen   (Ger.).     See  Serenade. 
Stark  (Ger.).    Loud;  strong. 
Stave.    See  Staff. 

Stem,  Hals  (Ger.),  Queue  (Fr.),  Gambo  (It.).  The  part 
of  a  note  consisting  of  a  vertical  line;  also  called  tail. 

Stentato  (It.)  (sten-tah'-to),  Stentando  (sten-tan'-do) 
[from  stentare,  to  labor].  A  heavy  emphasis  combined  with 
a  dragging  of  the  time. 

Step.  From  one  letter  to  the  next;  a  degree.  Whole  Step, 
a  whole  tone;  Half  Step,  half  tone;  Chromatic  Step,  chro- 
matic half  tone. 

Sterbend  (Ger.)   (stair-bent).    Dying;  morendo. 

Steso  (It.)  (stay-so).  Extended.  Steso  moto,  slow  more- 
ment. 

Stesso  (It.)   (stes-so).    The  same. 

Sticcado   (It.).     Xylophone. 

Stil  (Ger.)   (steel),  Stilo  (It.).     Style;  manner. 

Stillgedacht  (Ger.).  Soft  organ-stop  with  closed  pipes; 
stopped  diapason. 

Stimmbildung.     Voice  formation ;  voice  training. 

Stimme  (Ger.)  (stim'-meh).  (i)  Voice.  (2)  Part.  (3) 
Sound-post.  (4)  Organ-stop. 

Stimmen   (verb).     To  tune, 

Stimmung.     Pitch,  tuning. 

Stimmungsbild.  "Voicing  picture,"  f.  e.,  a  short  composition 
designed  to  "voice"  or  express  some  given  mood  or  emo- 
tion, e.  g.,  "Warum,"  by  Schumann. 

Stinguendo  (It.)  (stin-gwen'-do)  [from  stinguere,  to  ex- 
tinguish]. Fading  away;  becoming  extinguished. 

Stirato  (It.)  (stee-rah'-to),  Stiracchiato  (stee-rak-ke-ah'-to) 
[from  stirare,  to  stretch].  Retarding  the  time. 

Stop,  (i)  To  press  the  finger  on  the  string  of  violin,  guitar, 
etc.  Double  Stop,  pressing  two  strings  at  once.  (2) 
(noun)  A  rank  or  set  of  organ-pipes.  Draw  Stop,  the 
arrangement  of  levers  by  means  of  which  the  "wind"  is 
admitted  to  the  various  ranks  of  pipes  at  will,  called  also 
register.  Foundation  Stop,  one  of  8-foot  pitch.  Mutation 
Stop,  one  sounding  the  major  third  or  perfect  fifth,  or  both, 
over  the  fundamental.  Solo  Stop,  one  with  a  tone  quality 
suited  to  the  rendition  of  melody. 

Stracino  (It.)  (strah-chec'-no),  Stracicato  (strah-chee-cah'- 
to),  Stracicando  (strah-chee-can'-do),  Stracinando  (strah- 
chee-nan'-do).  A  drag,  or  slur;  sliding  from  one  note 
to  another  and  at  the  same  time  slightly  slackening  the  time. 

Strain.     Song,  air,  tune,  or  a  part  of  one. 

Strathspey.    A  Scotch  dance  in  J  time. 


Stravagante  (It.)  (strali-vali-gan'-te).  Extravagant;  fan- 
tastic. 

Stravaganza  (It.)  (strah-vah-gant'-sah).  A  fantastic  com- 
position. 

Streng  (Ger.).     Rigid;  severe. 

Strepito   (It.)   (streh'- fee-to),  con.    With  noise;  fury. 

Strepitosamente  (It.)  (streh-pce-to-sah-men'-teh).  Furi- 
ously. 

Strepitoso   (It.)    (streh-pee-to'-so).     Furious. 

Stretta,  Stretto  (It.).  "A  throng."  (i)  Hurrying  the  time 
at  the  close.  (2)  In  fugue,  causing  the  voices  to  follow 
one  another  at  less  distance,  so  that  the  subject  and  answer 
are  brought  closer  together. 

Stridente  (It.)   (stree-den'-teh).    Strident;  noisy;  impetuous. 

String.     Abbreviation  for  Stringendo. 

String.  Cords  made  of  wire,  catgut,  or  silk,  used  for  musical 
instruments. 

String  Band.  The  violins,  violas,  violoncellos,  and  double 
bass,  also  spoken  of  collectively  as  the  "strings"  or  the 
string  quartet. 

String  Instruments.  Those  in  which  the  tone  is  reproduced 
by  the  vibration  of  strings.  They  are  classified  as  follows: 
ist,  strings  plucked  by  the  fingers — harp,  guitar,  etc.;  2d, 
strings  struck  by  plectra — mandolin,  zither,  etc.;  3d,  strings 
vibrated  by  means  of  a  bow — violin,  etc. ;  4th,  strings  struck 
with  hammers — pianoforte,  dulcimer,  etc. 

String  Quartet.  A  composition  for  two  violins,  viola,  and 
violoncello. 

String  Quintet,  Sextet,  Septet,  Octet  are  formed  by  com- 
bining the  string  instruments  in  various  proportions. 

Stringendo  (It.)    (strin-jcn'-do).    Hurrying  the  time. 

Strisciando   (It.)    (strish-e-an'-do) .     Creeping;  gliding. 

Stromentato  (It.).    Instrumented ;  scored ;  orchestrated. 

Stromento  (It.)    (stro-men'-to).     Instrument. 

Stromento  di  corda.     String  instrument. 

Stromento  di  fiato  or  di  vento.    Wind  instrument. 

Stuck  (Ger.)  (stick).  A  piece.  Concertstiick,  concert  piece. 
Salonstiick,  parlor  piece. 

Study,  Etude  (Fr.),  Studio  (It.),  (i)  A  composition  de- 
signed to  facilitate  the  mastering  of  some  special  difficulty. 
(2)  A  name  often  given  by  modern  writers  to  pieces  analo- 
gous to  the  old  toccata,  q.  v. 

Stufe   (Ger.)    (stoo'-feh).     A  step;  degree  of  the  scale. 

Stiirmisch   (Ger.).     Stormy;   furioso. 

Suave  (It.)    (soo-a'-veh).     Sweet. 

Suavemente    (It.)    (soo-a-veh-;nen'-teh).     Sweetly. 

Suavita   (It.)    (soo-ah'-vee-ta),  con.     With  sweetness. 

Sub-bass.    An  organ  pedal-stop  of  16-  or  32-foot  tone. 

Sub-dominant.  The  4th  degree  of  the  scale;  not  called  sub- 
dominant  because  it  is  below  the  dominant,  but  because  it 
is  the  same  distance  below  the  tonic  that  the  dominant  is 
above. 

Sub-mediant.    The  6th  of  the  scale. 

1  2  3 


i.  Tonic.     2.  Mediant,  «'.  e.,  half-way  to  dominant.     3.  Dominant.     4. 
Sub-mediant,  i'.  e.,  half-way  to  sub-dominant.      5.  Sub-dominant. 

Sub-octave.     A  coupler  on  the  organ  that  pulls   down  the 

keys  an  octave  below  those  struck. 
Sub-principal.     Open  organ-stop,  32-  and  i6-foot  pitch. 
Sub-tonic.    The  leading  note,  ;th  of  the  scale. 
Subito    (It.)     (soo-bee'-to),    Subitamente.     Quickly.     Volti 

subito,  abbreviated  V.  S.,  turn  over  quickly. 


SUBJECT 


577 


TARANTELLA 


Subject.  The  theme  of  a  fugue ;  any  one  of  the  themes  of  a 
sonata,  rondo,  etc. 

Subordinate  Chords.  Those  on  the  2d,  3d,  and  6th  of  the 
scale. 

Suite  (Fr.)  (sweet).  A  set  or  series  of  movements.  The 
suite  originally  consisted  solely  of  dance  tunes  to  which 
"airs"  or  movements,  designated  by  the  tempo  terms,  allegro, 
etc.,  were  added.  The  classical  suite  contained:  ist,  alle- 
mand ;  2d,  coranto ;  3d,  saraband ;  4th,  gigue,  preceded  by  a 
prelude.  Occasionally  the  gavotte,  pavan,  loure,  minuet, 
etc.,  may  be  found  with  or  in  place  of  some  of  the  above 
dances.  According  to  the  rule  of  the  suite,  all  the  move- 
ments had  to  be  in  the  same  key. 

Suivez  (Fr.)  (swee-vey).  Follow;  a  direction  for  the  accom- 
panist to  follow  the  soloist. 

Sujet  (Fr.)    (soo-zhay).     Subject. 

Sul,  Sull,  Sulla  (It.).  Upon;  on;  by;  in  violin  music  a  pas- 
sage to  be  played  on  a  certain  string  is  marked  Sul  E,  or  A, 
or  D,  or  G,  as  the  case  may  be. 

Sul  ponticello  (It.).  By  the  bridge;  in  violin  playing,  a 
direction  to  play  with  the  bow  close  to  the  bridge. 

Suonata.     See  Sonata. 
Superfluous.     Same  as  Augmented. 

Super-octave,  (r  An  organ-stop  of  2-foot  pitch,  same  as 
fifteenth.  (2)  A  coupler  in  the  organ  that  pulls  down  the 
keys  one  octave  above  those  struck. 

Super-tonic.    The  2d  degree  of  the  scale. 


Super-dominant.    The  6th  degree  of  the  scale. 

Supplichevole  (It.)  (sup-plee-kay'-vo-leh),  Supplichevol- 
mente  (sup-plee-kay-vol-men'-teh).  Pleading;  supplicat- 
ing. 

Suspension.  Tying  or  prolonging  a  note  from  one  chord  into 
the  following.  See  Retardation. 

Suss  (Ger.)   {sees).    Sweet. 

Sussurando  (It.)    (soos-soo-ran'-do).    Murmuring. 

Sussurante  (It.)    (soos-soo-ran'-teh).     Whisperingly. 

Svegliato  (It.)    (svehl-ya'-to).    Brisk;  lively. 

Svelto  (It.)   (svel'-to).    Swift;  quick;  easy. 

Swell  Organ.  A  part  of  the  organ  enclosed  within  a  box 
provided  with  shutters,  which  are  opened  and  closed  by  a 
lever,  called  the  swell-pedal,  worked  by  the  foot. 

Symphony.     See  Sinfonia. 

Symphonic.    In  the  manner  of  a  symphony. 

Symphonic  Ode.  A  combination  of  symphony  and  chorus, 
as  Beethoven's  Ninth  Symphony,  or  Mendelssohn's  Lobge- 
sang. 

Symphonic  Poem.  A  modern  name  for  an  orchestral  com- 
position supposed  to  illustrate  a  poem  or  story. 

Syncopation.  A  shifting  of  the  accent,  caused  by  tying  a 
weak  beat  to  a  strong  beat. 

Syrinx,  (i)  Pandean  Pipes,  q.  v.  (2)  Part  of  a  hymn  to 
Apollo  sung  in  the  Pythian  games. 


T.  Abbreviation  of  Tasto,  Tenor,  Tempo,  Tutti,  Toe  (in 
organ  music) 

Taballo  (It.).    Kettle-drum. 

Tablature  (Fr.)  (tab-lah-toor) ,  Intavolatura  (It.),  Tablatur 
(Ger.).  An  obsolete  system  of  notation  used  for  the  lute 
principally;  another  form  was  used  for  the  organ,  harpsi- 
chord, etc. 

Table  (Fr.)   (tahbl).    The  belly  or  sound-board. 

Table  Music,  (i)  Music  intended  to  be  sung  by  several 
people  sitting  around  a  table.  (2)  Music  appropriate  for 
entertainment  during  the  pauses  in  the  "serious"  work  of 
eating  and  drinking. 

Tabor,  Taboret,  Tabret.  A  small  drum,  like  a  tambourine 
without  the  "jingles."  It  hung  in  front  of  the  performer, 
who  beat  it  with  one  hand  and  played  a  "pipe"  or  flageolet 
with  the  other. 

Tacet  (Lat.),  Tace  (It.)  (tah'-cheh).  Is  silent,  or  be 
silent" ;  signifies  that  the  instrument  thus  marked  is  silent 
during  the  phrase  or  movement;  as  Tromboni  tacent,  the 
trombones  are  silent. 

Tafelclavier  (Ger.).     Square  pianoforte. 

Tafelmusik.     Table  music. 

Tail,  (i)  Stem  of  a  note.  (2)  The  piece  of  wood  to  which 
the  strings  of  the  violin,  etc.  are  attached  at  the  base  of  the 
instrument. 

Taille  (Fr.)   (tah-ee).    The  tenor  voice  or  part. 

Takt  (Ger.).  Time,  as  Im  Takt,  a  tempo;  measure,  as  Ein 
Takt,  one  measure  (or  bar)  ;  beat,  as  Auftakt,  up  beat. 

Taktmassig.    In  time. 

Taktstrich.     A  bar   (line,  not  measure). 

Talon  (Fr.).    The  "frog"  or  heel  of  the  bow. 

Tambour  (Fr.).     (i)  A  drum.     (2)  A  drummer. 


Tambour  de  basque.    Tambourine. 

Tamboura,  Tambura  (also  Pandora).  An  Eastern  species 
of  the  lute. 

Tambourin  (Fr.)  (tam-boo-rang) .  (i)  A  tabor.  (2)  A 
French  rustic  dance. 

Tambourine.  A  small  variety  of  drum  consisting  of  a  hoop 
of  wood  or  metal  about  two  inches  in  depth,  with  a  head  of 
parchment.  Small  circular  plates  of  metal  called  jingles  are 
inserted  in  pairs  in  holes  in  the  hoop,  strung  loosely  on 
wires.  The  tambourine  is  held  in  the  left  hand  and  struck 
with  the  fingers  or  palm  of  the  right  hand ;  used  to  accom- 
pany dancing  in  Spain,  Italy,  and  Southern  France ;  occa- 
sionally used  in  the  orchestra  in  ballet  music.  The  "roll"  is 

'  IU 

indicated  thus  \        The  "jingle"       W 

Tamburo  (It.).     Drum;  side  drum. 

Tamburone   (It.)    (tam-boo-ro'-neh).    The  great  drum. 

Tam-tam.     Gong. 

Tandelnd   (Ger.)    (tehn-delnd) .     Playful. 

Tangent.    The  brass  pin  in  the  action  of  the  clavichord  that 

was  forced  against  the  string  when  the  key  was  struck. 
Tantino  (tan-tee-no),  very  little. 
Tanto   (It.).     So  much;  as  much.     Allegro  non  tanto,  not 

so  fast;  lit.,  "fast,  not  too  much." 
Tanz  (Ger.)   (tants).    Dance. 

Tanzlieder.    Songs  to  accompany  dancing.    See  Ballad. 
Tanzstiicke.     Dancing  pieces. 
Tanzweisen.     Dancing  tunes. 

Tarantella  (It.),  Tarantelle  (Fr.).  A  rapid  dance  in  ftime; 
the  name  is  derived  from  tarantula  (the  poisonous  spider). 
The  dance  is  popularly  believed  to  be  a  remedy  for  the  bite 
of  this  insect. 


TARDAMENTE 


578 


TENORINO 


Tardamente  (It.)    (tar-dah-men'-teh).     Slowly. 

Tardando  (It.)    (tar-dan' -do).    Slowing;  retarding. 

Tardato  (It.)   (tar-dah'-to).    Made  slower. 

Tardo  (It.)  (tar'-do).    Slow;  dragging. 

Tartini  Tone.     An  undertone  produced  by  the  simultaneous 

vibration  of  two  strings,  etc.,  first  observed  by  Tartini,  the 

violinist.     Called  also  a  differential  tone. 
Tastatur    (Ger.)    (tas-tah-toor).     Tastatura    (It.)    (tas-tah- 

too'-ra).     Keyboard. 

Taste  (Ger.)  (tas'-teh).  A  pianoforte  or  organ  key;  pedal 
key. 

Tastenbrett  (Ger.),  Tastenleiter.    Keyboard. 

Tastiera  (It.)  (tas-tce-eli'-ra).  Fingerboard  of  violin, guitar, 
etc.  Sulla  Tastiera,  a  direction  in  violin  music  to  play  with 
the  bow  near  the  fingerboard — the  opposite  of  Sul  ponti- 
cello,  q.  v. 

Tasto  (It.).  A  "touch."  (i)  A  key.  (2)  A  fret.  (3) 
Touch.  (4)  Fingerboard.  The  preceding  words  from  Tas- 
tatur are  all  derived  from  Tasto. 

Tasto  Solo.  Literally,  "key  alone,"  i.  e.,  one  key  or  note  at  a 
time.  A  direction  in  figured  bass  that  the  notes  are  to  be 
played  without  chords,  t.  e.,  unison  or  octaves. 

Tattoo  or  Taptoo.  The  drumbeat  ordering  soldiers  to  retire 
for  the  night. 

Technic,  Technik  (Ger.),  Technique  (Fr.).  The  purely 
mechanical  part  of  playing  or  singing. 

Technicon.  A  mechanism  for  strengthening  the  fingers  and 
increasing  their  flexibility. 

Techniphone.     See  Virgil  Clavier. 

Tedesco  or  Tedesca,  alia  (It.).    In  German  style. 

Tema  (It.)    (teh'-mah).    Theme;  subject;  melody. 

Temperament.  The  division  of  the  octave.  Equal  Tem- 
perament. The  modern  system  of  tuning  divides  the  octave 
into  twelve  equal  parts,  called  semitones.  Unequal  Tem- 
perament (which  was  formerly  used  for  all  keyed  instru- 
ments, and  retained  until  quite  recently  for  the  organ) 
tuned  the  natural  notes  true,  and  distributed  the  super- 
fluous interval  among  the  "black"  keys.  The  discovery  of 
the  art  of  equally  tempering  the  scale  lies  at  the  foundation 
of  modern  music.  Without  it,  the  sudden  excursions  into 
remote  keys  would  be  impossible.  Although  we  have  lost 
something  in  purity  of  intonation,  the  loss  is  more  than 
made  up  in  the  gain  of  twelve  keys,  all  equally  well  in  tune. 
Some  enthusiasts,  generally  acousticians,  express  great  dis- 
satisfaction with  our  modern  scale.  A  sufficient  reply  is, 
that  the  scale  that  satisfied  the  ears  of,  and  made  possible 
the  music  of  the  great  writers  from  Bach  to  Beethoven, 
must  of  necessity  be  the  best  musical  scale. 

Tempestosamente  (It.)  (tem-pcs-to'-sa-men'-teh').  Impetu- 
ously. 

Tempestoso  (It.)   (tem-pes-to'-so).    Tempestuous. 
Tempete    (Fr.)    (tam-peht).     Tempest.     A   French  dance- 
formerly  fashionable — resembling  a  quadrille. 

Tempo  (It.).  Time.  "Tempo"  is  universally  used  to  signify 
"rate  of  movement." 

Tempo  Indications — 
f  Largo, 

Slow          I  Grave- 


as  piu  lento,  slower ;  before  a  word  meaning  fast,  it  signifies 
an  increase  of  speed,  as  piu  allegro,  faster.  Assai,  very. 
After  a  word  meaning  slow,  decreases  the  speed,  as  adagio 
assai,  very  slow;  after  a  word  meaning  fast,  increases  the 
speed,  as  allegro  assai.  Molto,  much;  has  the  same  mean- 
ing as  assai. 

THE  DIMINUTIVE  Etto 
j Larghetto,  a  little  faster  than  Largo. 
)  Adagietta,  a  little  faster  than  Adagio. 
Fast,    Allegretto,  a  little  slower  than  Allegro. 

THE  SUPERLATIVE  Issimo 
Larghissimo,  \ 

Slow  ^  Lentissimo,  £  As  slow  as  possible. 

Adagissimo, 


Slow 


Fast 


j  Allegrissimo, 
|  Prestissimo, 


(.Fast  as  possible. 


i 


1  Lento, 
I  Adagio. 

Fast 


Moderate 


j  Allegro, 
(  Presto. 


Andante, 

Moderate, 

Commodo. 


Words  used  to  modify  the  above:  Poco,  a  little.  Before  a 
word  meaning  slow,  signifies  an  increase  of  speed,  as  poco 
lento,  a  little  slow ;  before  a  word  meaning  fast,  it  signifies 
a  decrease  of  speed,  as  poco  allegro,  a  little  fast.  Piu,  more. 
Before  a  word  meaning  slow,  signifies  a  decrease  of  speed, 


THE  DIMINUTIVE  Ino 
slow,  Andantino,  faster  than  Andante. 

Andante  means  "going"  [from  andare,  to  go],  therefore 
Andantino  means  "going  a  little."  A  large  number  of  words 
are  used  in  conjunction  with  the  tempo  indications  that 
refer  more  to  the  manner  or  style  of  the  performance  than 
to  the  speed,  as  Appassionata,  with  passion;  Vivace,  with 
life. 

The  majority  of  these  words  are  preceded  by  con,  with ;  as 
Con  brio    .     .     .     with  vigor,  \ 

Con  calore      .     .     with  warmth,  After   words   mean- 

Con  fuoco      .     .     with  fire,  f       ing  fast. 

Con  moto,  etc.    .     with  motion,         ) 
Con  espressione  .     with  expression   \ 

Con  dolcezza       .     with  sweetness,    (_   After   words  mean- 
Con  dolore     .     .     with  sadness,        (         ing  slow. 
Con  tristezza       .     with  sorrow, 

Tempo  commodo.     Convenient ;  easy  movement. 

Tempo  di  ballo.    Dance  time. 

Tempo  giusto.     Strict;  exact  time. 

Tempo  marcia.     March  time. 

Tempo  ordinario.    Ordinary ;  usual. 

Tempo  primo.     First  time,  used  after  a  ritard.  or  accel.  to 

/  indicate  a  return  to  the  original  time. 
V'  Tempo  rubato.     See  Rubato. 

Tempo  wie  vorher  (Ger.).    Same  as  Tempo  primo. 

Temps  (Fr.)    (/am),     (i)   Time.     (2)   Beat. 

Temps  faible  or  Iev6.    Weak  beat ;  up  beat. 

Temps  fort  or  frappe.     Strong  beat ;  down  beat. 

Tendrement  (Fr.)    (tondr-mong) .    Tenderly. 

Tenendo  il  canto  (It).     Sustaining  the  melody. 

Teneramente  (It.)  (teh-neh-ra-men'-teh)  Tenderly;  deli- 
cately. 

Tenerezza  (It.)  (teh-neh-ret'-sa),  con.  With  tenderness, 
delicacy. 

Tenero  (It.)   (teh'-neh-ro).    Tender;  delicate. 

Tenor,  Tenore  (It.),  Taille  or  Tenor  (Fr.).  (i)  The  high- 
est natural  male  voice.  (2)  In  the  old  system  of  music, 
the  cantus  or  plain  song.  (3)  A  common  name  for  the 
viola.  The  word  tenor  is  supposed  to  be  derived  from  Lat., 
teneo,  to  hold,  as  it  held  the  melody. 

Tenor  Clef.     C  clef  on  4th  line. 

Tenor  Violin.    Viola. 

Tenore  buffo.    A  comic  tenor  singer. 

Tenore  di  grazia.    A  "smooth-singing"  tenor  singer. 

Tenore  leggiero.     A  light  tenor  singer. 

Tenore  robusto.    A  vigorous,  strong  tenor  singer. 

Tenorino  (It.)  (ten-o-ree'-no).  "Little  tenor."  Falsetto 
tenor. 


TENORIST 


579 


TIME 


Tenorist.    A  tenor  singer;  also  viola  player. 

Tenoroon.  (i)  See  Oboe  di  caccia.     (2)  Any  organ-stop  of 

8-foot  tone  that  does  not  go  below  middle  C. 
Tenuto    (.It.)     (teh-noo'-to).      Abbreviated   Ten.      Hold;    a 

direction  to  sustain  the  notes  for  their  full  value.     Sign  f 
Tepidita  (It.)   (teh-pee'-dee-ta),  con.    With  indifference. 

Tepiditamente  (It,)  (teh-pee-dee-ta-men'-teh).  Coldly;  luke- 
warmly. 

Tercet  (Fr.)    (tehr-say).    A  triplet. 

Ternary  Form.    Rondo  with  three  themes. 

Ternary  Measure.     Simple  triple  time. 

Tertian.  A  two-rank  stop,  sounding  the  major  3d  and  5th 
in  the  third  octave  above  the  fundamental. 

Terz  (Ger.)  (terts),  (It.)  Terza.    Third. 

Terzetto  (It.)   (tert-set'-to).    A  vocal  trio. 

Terzflote  (Ger.).  (i)  A  flute  sounding  a  3d  above  the  writ- 
ten notes.  (2)  An  organ-stop  sounding  the  major  3d  in 
third  octave. 

Tessitura  (It)  (tes-see-tu'-rah).  Texture.  The  general 
range  of  the  voice  included  in  a  given  song,  etc. 

Testo  (It.)  (tehs'-to).  Text,  (i)  The  "words"  of  any 
vocal  composition.  (2)  The  theme  or  subject. 

Tetrachord  [from  Gr.,  tetra,  chordon].  Four  strings;  hence, 
a  succession  of  four  sounds.  The  tetrachord  always  con- 
sists of  two  whole  tones  and  one  half-tone.  These  intervals 
may  be  arranged  in  three  ways.  The  oldest  arrangement, 
called  the  Pythagorean  tetrachord,  began  with  the  half- 
tone, thus : 


t"-v* 


It  is  generally  supposed  that  the  original  four-string  lyre 
(called  the  tetrachordon)  was  tuned  to  these  sounds.  The 
addition  of  another  tetrachord,  beginning  with  the  highest 
note  of  this  one,  gives  the  scale  of  the  heptachord,  or  seven- 
string  lyre,  thus : 


This  is  called  the  scale  of  conjunct  tetrachords,  the  A  being 
the  note  common  to  both.  The  addition  of  a  note  below  this 
scale,  thus: 


gives  the  original  octave  scale  of  the  lyre.  This  scale  is  the 
normal  Greek  scale,  called  the  Dorian.  It  is  doubtless  the 
origin  of  the  modern  minor  scale.  The  tetrachord  known  as 
Hucbald's  had  the  half-tone  in  the  middle,  thus  :  D  E  F  G. 

The  Hexachord  scales  (q.  v.)  were  formed  from  the  tetra- 
chord by  adding  one  letter  above  and  one  below,  thus  : 

C  D  E~F  G  A. 


In  the  modern   major  scale  the  half-tone  lies  between  the 
third  and  fourth  letters  of  the  tetrachord,  thus :    C  D  E  F, 

and  the  scale  consists  of  two  of  these  tetrachords  separated 
by  a  whole  tone. 

Tetrachordal  System.  The  original  name  of  the  Tonic  Sol- 
fa,  q.v. 

Theil  or  Teil  (Ger.).    A  part  (portion,  not  "voice"). 

Theme,  Theme  (Fr.)  (tehm),  Thema  (Ger.)  (teh-ma). 
The  subject  of  a  fugue;  one  of  the  subjects  of  a  sonata  or 
rondo.  The  subject  of  a  set  of  variations.  The  "cantus" 
to  which  counterpoint  is  added. 

Theorbo,  Theorbe  (Fr.).    A  large  variety  of  lute. 


Third.  An  interval  including  three  letters,  and.  if  major,  two 
whole  tones;  if  minor,  three  half-tones;  if  diminished,  two 
half-tones : 


Thirty-second  Note  $ 
9 

Thorough  Bass,  Figured  Bass,  Continued  Bass.  A  system 
of  musical  short-hand  originally ;  now  used  as  a  means  of 
teaching  harmony. 

Threnody  [Gr.  threnos].    A  song  of  mourning;  dirge. 

Thumb  Position.  Violoncello  music ;  sign  Q,  the  thumb  is 
laid  across  the  strings,  making  a  temporary  bridge.  . 

Tibia  ('Lat.).  The  "shinbone."  Latin  name  for  the  flute, 
which  was  originally  made  from  the  bone,  the  name  of 
which  it  bears. 

Tibia  Utricularis.    Bagpipe. 

Tibicen  (Lat).    A  flute  player. 

Tie,  Fascia  (It),  Bindebogen  (Ger.),  Liaison  (Fr.).  A 
curved  line  joining  two  notes  on  the  same  degree.  The  first 
note  is  sounded,  the  second  is  "held."  In  old  editions,  in 
place  of  the  tie,  it  was  customary  to  write  a  single  note  on 
the  bar-line,  equal  in  value  to  the  two  notes  that  in  modern 
practice  are  tied.  Thus : 


j 


for 


Any  number  of  notes  may  be  tied.  The  sign  must  be  re- 
peated for  each  one.  thus : 

f>'       >'       >' >  • 
I  I  I  I 

The  first  note  is  struck,  but  the   sound  is  prolonged  until 

the  time  value  of  all  has  expired. 
Tief  (Ger.).    Deep;  low. 

Tierce,     (i)  A  third.     (2)  An  organ-stop.     See  Terz. 
Tierce  de  picardie    (Fr.).     The  major  3d   in  place  of  the 

minor  in  the  final  chord  of  a  piece  in  the  minor  key.     At 

one  time  this  manner  of  ending  was  the  rule. 
Tierce  Position.     A  common  chord  with  root  in  bass  and 

third  at  top. 

Timbale  (Fr.),  Timballo  (It.).    Kettle-drum. 
Timbre  (Fr.)   (tambr).    Quality  of  tone.    In  German  Klang- 

farbe,  for  which  Clangtint  has  been  proposed  as  an  English 

equivalent. 

Timbrel.    Tambourine. 

Time,     (i)   The  division  of  music  into  portions  marked  by 
the  regular  return  of  an  accent.    All  varieties  of  time  are 

founded   on  two  units — the  Binary  =i   2,  and  Ternary  = 

123.  Time  signatures  for  the  most  part  are  formed  from 
figures  written  like  fractions,  the  upper  figure  giving  the 
rhythmic  units  and  the  number  of  times  the  value  of  the 
note  indicated  by  the  lower  figure  occurs  in  the  measure. 
Time  is  Simple  Binary  when  the  upper  figure  is  2;  Simple 
Ternary,  when  the  upper  figure  is  3.  Compound  times  are 
formed  by  adding  together  two  or  more  of  the  time  units. 
When  the  number  of  accents  resulting  from  this  combina- 
tion are  even,  it  is  called  Compound  Common  time;  when 
they  are  odd,  Compound  Triple  time.  Simple  Duple  time  is 
indicated  by  this  sign  J^.  As  now  used,  it  always  means  the 
value  of  a  whole  note  in  the  measure,  and  is  called  Alia 
Capella  time.  Like  all  duple  times,  it  must  have  but  one 
accent  in  the  measure,  no  matter  how  the  time  value  of  the 
measure  may  be  divided.  The  first  compound  of  Duple 
time,  viz..  £  time,  is  often  marked  O  and  is  called  Common 
time,  under  the  impression  that  the  sign  is  the  letter  C, 
whereas  it  is  the  old  sign  for  Imperfect  time,  viz.,  a  broken 


TIMIDEZZA 


580 


TREMOLOSO 


circle,  and  originally  meant  two  beats  in  the  measure. 
Three  beats  was  called  Perfect  time;  the  sign  was  Q 
With  the  exception  of  the  times  with  4  for  the  upper  figure, 
all  the  compound  times  are  multiples  of  the  ternary  unit,  as 
i-  $•  i.  V-  V-  if'  etc.,  Compound  Common;  J,  f,  T9,, 
Compound  Triple.  The  accents  in  compound  times  are  de- 
termined by  the  number  of  units  in  the  measure.  The  first 
is  the  strongest,  third  next,  the  second  is  weak,  the  fourth 
weaker. 

4^,5.      6  j  ,  »  >  .  ,      12$  ,  ,$  ,  ,5  •  ?•  •  f 

4(1*1      8LLJ  U_l       8LLJLULLJLJJ 

In  Compound  Triple,  the  second  and  third  are  both  weak. 


Timidezza   (It.)    (tee-mee-det'-za),  con.     With  timidity. 

Timorosamente   (It.)    (tee-mo-ro-sa-mcn'-teh).     Timorously. 

Timoroso  (It.)    (tee-mo-ro'-so).    Timorous;  hesitating. 

Timpani  (It.)  (tint' -pa-nee).  Kettle-drums.  Abbreviated 
Timp. 

Timpanista  (It.).     Player  on  the  kettle-drums. 

Tirade  (Fr.)    (tee-rad).    A  rapid  run  or  scale  passage. 

Tirasse  (Fr.)  (tee-rass).  A  pedal  keyboard  that  "draws 
down"  the  manual  keys. 

Tirata  (It.)   (tee-rah'-tah).     See  Tirade. 

Tirato  (It.),  Tire  (Fr.)  (tee-reh).  "Drawn"  bow,  i.  e., 
down  bow. 

Toccata  (It.)  (tok-kah'-tah)  [touched,  from  toccare,  to, 
touch],  (i)  A  prelude  or  overture.  (2)  A  brilliant  com- 
position resembling  somewhat  the  modern  "Etude"  for 
piano  or  organ. 

Toccatina  (It.)   (tok-kah-tee'-nah).    A  little  toccata. 

Toccato   (It.).    A  bass  trumpet  part. 

Todtenmarsch   (Ger.)    (tote' -ten  marsh).    Funeral  march. 

Ton  (Ger.),  Ton   (Fr.).     Tone;  sound;  pitch;  scale. 

Tonal  Fugue.  A  fugue  in  which  the  answer  is  slightly 
changed  to  avoid  modulation. 

Tonality.     Character  or  quality  of  tone ;  key. 

Tonart  (Ger.).     Key. 

Tonbildung.    Tone  production. 

Tondichter.     Tone  poet. 

Tondichtung.     Tone  poem. 

Tone,  (i)  Sound.  (2)  Quality  of  sound.  (3)  Interval  of 
major  second.  (4)  A  Gregorian  chant. 

Tongue,  (i)  See  Reed.  (2)  (verb)  To  interrupt  the  sound 
of  a  wind  instrument  by  raising  and  lowering  the  tip  of  the 
tongue,  as  in  the  act  of  pronouncing  the  letter  T.  Double- 
tonguing  is  produced  by  a  like  action  of  the  tip  and  the 
middle  of  the  tongue ;  Triple-tonguing,  by  the  tip,  the 
middle,  and  the  tip. 

Tonkunst.    Tone  art;  music. 

Tonkunstler.     Composer;  artist  in  tone. 

Tonic.    The  keynote  of  a  scale,  whether  major  or  minor. 

Tonic  Chord.  The  common  chord  of  which  the  tonic  is  the 
root. 

Tonic  Secion.  That  part  of  the  sonata  or  rondo  that  is  the 
principal  key ;  the  first  theme. 

Tonic  Sol-fa.  A  system  of  musical  notation  in  which  the 
syllables  doh,  ray,  me,  fah,  soh,  lah,  te,  with  certain  modifi- 
cations, are  used  in  place  of  notes,  staff,  clefs,  and  all  the 
ordinary  characters  of  musical  notation.  The  Tonic  Sol-fa 
is  based  on  the  assumption,  amply  proved  by  experience, 
that  the  mental  association  between  a  succession  of  sounds 
and  a  succession  of  syllables  helps  materially  to  fix  the 
lormer  succession  in  the  memory.  The  principle  of 
the  Tonic  Sol-fa  system  is  as  old  as  the  time  of  Guido; 


the  modern  development  of  it  originated  with  Miss  Sarah 
Ann  Glover,  of  Norwich,  England,  in  1812,  and  was  per- 
fected by  the  Rev.  John  Curwen  about  thirty  years  later. 

Tonleiter.    Tone  ladder;  scale. 

Tonsetzer.     Composer ;  tone  setter. 

Tonstuck.    Tone  piece;  composition. 

Tonstufe.    Tone  step ;  a  degree  in  the  scale. 

Tostamente  (It.)    (tos-tah-men'-tch).    Quickly. 

Tostissimo  (It.)  (tos-tis' -see-mo),  Tostissamente  (tos- 
tis-sah-mah-mcn'-teh).  Fast  as  possible. 

Tosto  (It.).    Quick.     Piu  tosto,  faster. 

Touch,  (i)  The  resistance  of  the  keys  of  the  pianoforte  or 
organ.  (2)  The  manner  in  which  a  player  strikes  the  keys. 

Touche  (Fr.)    (toosh).     Digital;  key;  fret;  fingerboard. 

Toucher  (Fr.)   (too-shay).    To  "touch";  play  the  pianoforte. 

Toujours  (Fr.)  (too-zhoor).  Always;  as,  Toujours  piano, 
always  soft. 

Tradotto  (It.)    (trah-dot'-to).    Transcribed;  arranged. 
Tragen  der   Stimme    (Ger.).     Carrying  of  the  voice.     See 

Portamento. 

Traine  (Fr.)    (tray-nay).    Slurred ;  legato. 
Trait  (Fr.)    (tray).    A  run;  passage;  sequence. 
Tranquillamente  (It.).    Quietly;  composedly. 
Tranquillita,  con    (It.).     With  tranquillity. 
Tranquillo  (It.).    Tranquil;  quiet. 
Transcription.     The  arrangement  of  a  vocal  composition  for 

an  instrument,  or  of  a  composition  for  some  instrument  for 

another. 

Transient  Modulation.    A  short  excursion  into  a  non-related 

key. 
Transition,     (i)  An  abrupt  modulation.     (2)  The  connecting 

passages  between  the  themes  of  a  rondo  or  sonata. 

Transpose.  To  change  the  key  of  a  composition  to  one 
higher  or  lower. 

Transposing  Instruments.  Instruments  whose  sounds  do 
not  correspond  with  the  written  notes ;  as  horns,  clarionets, 
trumpets,  etc. 

Transverse  Flute.     See  Flute. 

Trascinando  (It.)    (trah-shce-naii'-do).   Dragging;  retarding. 

Trattenuto  (It.)   (irat-teh-noo'-to).     Held  back;  retarded. 

Trauermarsch  (Ger.).     Funeral  march. 

Traurig  (Ger.)   (trou'-rig).    Mournful;  sad. 

Traversflote  (Ger.).     See  Flute. 

Tre  (It.)    (tray).    Three. 

Tre  corde.  Three  strings,  used  in  pianoforte  music  to  signify 
a  release  of  the  una-corda  pedal. 

Treble,  (i)  The  highest  part  in  vocal  music  for  mixed  or 
female  voices.  (2)  The  G  clef  on  second  line.  (3)  The 
first  violin  in  quartet,  and  the  flute,  oboe,  and  clarinet  in  the 
orchestra  generally. 

Treibend  (Ger.).     Hastening;  accelerando. 

Tremando  (It.)  (treh-man'-do),  Tremolando  (It.)  (trch- 
mo-lan'-do).  Tremolo  (It.)  (treli'-mo-lo).  Abbreviation 
Trem.  The  rapid  reiteration  of  a  note  or  chord.  In  music 
for  string  instruments  written  thus: 


Si 


In  pianoforte  music : 


Tremoloso   (It.)    (treh-mo-lo'-so).     Tremulously, 


TREMULANT,    TREMOLANTE 


581 


TURN 


Tremulant,  Tremolante  (It.),  Tremblant  (Fr.)  (trom- 
blont).  A  mechanism  in  the  organ  that  causes  the  sound  to 
waver. 

Tremulieren   (Ger.).     To  trill  or  to  sing.     See  Vibrato. 

Trenchmore.    An  old  English  dance  in  f  time. 

Trenise  (Fr.).     A  figure  in  the  quadrille. 

Tres  (Fr.)    (tray).    Very;  as,  Tres  vite,  very  fast. 

Triad.  A  chord  of  three  sounds;  a  common  chord,  consisting 
of  root,  3d  major  or  minor,  and  5th.  If  the  5th  is  dimin- 
ished, it  is  called  a  diminished  triad ;  if  augmented,  an  aug- 
mented triad. 


Maj.  Min.  Dim.  Aug. 

Triangle.  A  pulsatile  instrument,  consisting  of  a  steel  rod 
bent  into  an  equilateral  triangle.  Struck  with  a  small  steel 
rod,  it  gives  a  very  clear  penetrating  sound. 

Trill,  Trillo  (It,).  Trille  (Fr.),  Triller  (Ger.).  The  trill,  or 
shake,  is  the  rapid  iteration  of  the  written  note  and  the  note 

above,  indicated  by  the  sign,  tr The  trill  continues 

to  the  end  of  the  waved  line.  The  oldest  form  or  trillo  was 
a  mere  repetition  of  a  tone.  The  oldest  form  of  the  modern 
shake  was  held  to  be  derived  from  appoggiaturas  and  their 
resolutions.  Until  the  time  of  Beethoven,  the  trill  begin- 
ning with  upper  auxiliary  note  was  most  generally  used. 
However,  the  present  method  of  beginning  with  the  princi- 
pal tone  was  gradually  gaining  the  attention  of  writers. 

The  trill  is  generally  finished  with  a  turn.  The  after-turn 
is  usually  written  out  at  the  close  of  the  trill,  but  whetheV  or 
not  this  be  so,  the  trill  is  not  complete  without  this  closing 
beat : 


To  make  the  trill  symmetrical  with  an  after-turn,  an  ad- 
ditional tone  is  inserted,  just  before  the  close,  otherwise 
there  will  be  a  break  between  the  last  and  the  next  to  the 
last  beats;  thus : 


This  gap  beween  D  and  B  is  filled  by  the  insertion  of  an 
.additional  principal  tone,  which  will  make  the  next  to  the 
last  beat  contain  three  tones  (a  triplet)  ;  thus: 


This  makes  a  satisfactory  close  to  a  trill,  the  two  beats 
(five  notes)  making  a  complete  turn  of  .quintuplet  form. 

Many  writers  call  this  (quintuplet)  the  turn  of  the  trill, 
but  properly  speaking  the  after-turn  of  the  trill  is  only  the 
last  beat,  the  triplet  preceding  being  a  real  part  of  the  trill. 
From  this  it  will  be  seen  that  the  beats  of  a  trill  may  be 
either  twofold  or  threefold,  and  the  smallest  complete  trill, 
according  with  the  modern  acceptation  of  the  correct  form 
•of  the  embellishment,  would  be  with  two  beats,  five  notes; 
thus : 


The  rapidity  of  a  trill  is  reckoned  by  the  number  of  beats, 
not  by  the  number  of  tones,  sounded  within  a  given  note's 
time.  The  trill  upon  a  long  note  has  no  positive  number 
of  beats,  this  being  decided,  in  case  there  is  no  particular 
accompanying  figure,  by  the  character  of  the  composition 
and  also  measurably  by  the  ability  of  the  interpreter.  The 
atter-turn,  however,  should  always  be  played  in  the  same 


time  as  the  trill,  regardless  of  the  size  of  note  used  for  its 

representation   in   the   notation. 
Trinklied    (Ger.).     Drinking  song. 
Two  (It.)    (trce-o).     (i)  A  composition  for  three  voices  or 

instruments.     (2)   One  of  the  parts  of  a  minuet  or  march, 

etc.     The  origin  of  its  application  is  very  uncertain. 
Triole  (Ger.),  Triolet  (Fr.).    A  triplet. 
Triomphale  (tree-om-fal)  ,  Triomphant  (Fr.)    (tri-om-font), 

Trionfale    (tree-on-fah'-leh),    Trionfante    (It.)     (tree-on- 

fan'-teh).     Triumphant;  triumphal. 
Triple  Counterpoint.     One  so  contrived  that  the  three  parts 

may  change  places,   each  .  one  serving  as  bass,  middle,   or 

upper  part. 
Triplet,  Triole   (Ger.),  Triolet  (Fr.),  Tripla  (It.),  or  Tri- 

pola.  .  Three  notes  played  in  the  time  of  two  of  the  same 

value. 

Triple  Time.     See  Time. 

Tristezza  (It.)    (tris-tet'-za),  con.     With  sadness;  sadly. 
Tritone  [Lat.,  tritonus,  three  tones],  Triton  (Fr.),  Tritono 
(It.).    The  interval  of  the  augmented  4th,  as: 


Trois  (Fr.)   (tro-a).    Three. 

Trois  temps.     Triple  time. 

Troll  [from  Ger.,  trollen,  to  roll  about],     (i)    (verb)  To  sing 

a  catch  or  round.     (2)    (noun)  A  catch  or  round. 
Tromba    (It.).     Trumpet;   a  brass    instrument   of   piercing, 

brilliant  tone  quality. 
fromba  marina  (It.).    Marine  trumpet. 
Trombetta  (It.).     A  small  trumpet. 
Trombone,  Posaune   (Ger.).     (i)  A  brass  instrument  with 

a  sliding  tube,  by  means  of  which  the  pitch  may  be  varied. 

Three  trombones  are  used  in  the  modern   orchestra,  viz., 

alto,   tenor,  and  bass.     A  smaller  trombone  formerly  used 

was   called   the   Descant   Trombone.      (2)  A   reed  stop  of 

8-,  16-,  or  32-foot  pitch  in  the  organ. 
Trommel  (Ger.).     Drum. 
Trompe    (Fr.).     Hunting  horn. 
Trompe  de  beam.    Jew's-harp. 
Trompette   (Fr.).     Trumpet. 

Troppo  (It.).  Too  much.  Allegro  non  troppo,  "Allegro," 
not  too  much. 

Troubadour,  Trouvere  (Fr.),  Trovatore  (It.).  The  poet 
musicians  of  the  eleventh  century,  in  southern  France,  Italy, 
and  Spain.  The  troubadours  originated  in  Provence.  From 
thence-  their  "gentle  art,"  or  "gay  science,"  as  it  was  called, 
spread  over  Europe. 

Triibe    (Ger.)    (tree'-beh).     Gloomy;  dismal. 
Trumpet.     See  Tromba. 

Tuba  (Lat.).  (i)Trumpet.  (2)  A  bass  instrument  of  the 
saxhorn  family,  frequently  used  with,  or  in  place  of,  the 
bass  trombone. 

Tuba  mirabiles  (Lat.).  Tuba  "wonderful."  A  reed-stop  in 
the  organ  with  heavy  wind  pressure,  8-  or  i6-foot  tone. 

Tumultuoso  (It.)   (too-mul-too-o'-so).  Agitated;  tumultuous. 

Tune,     (i)   Air;  melody.     (2)  Just  intonation. 

Tuner.  One  who  adjusts  the  sounds  of  an  instrument  to  the 
standard  and  relative  pitch. 

Tuono   (It.),     (i)   Sound.     (2)   Mode. 

Turca,  alia  (It).    In  the  Turkish  manner. 

Turkish  Music  or  Janissary  Music.  Drums,  cymbals,  gongSi 
etc.,  to  produce  noise. 

Turn.  (Abridged  from  Russell's  "Embellishments  of  Music.") 
The  Turn  partakes  in  its  delivery  somewhat  of  the  char- 


TURN 


582 


VALUE 


acter  of  the  composition  in  which  it  appears,  and  should 
be  played  (or  sung),  according  to  Louis  Kohler,  broad  in 
slow  tempo,  light  and  flowing  in  brighter  movements,  and 
always  legato.  It  may  be  broadly  divided  into  four  classes: 

/  ess  \ 
i.  The  symbol  ess  placed  over  the  note    (    ."    j,  or  the 

note  preceded  by  the  embellishment  written  in   full. 


Written. 


Presto. 


Execution. 


2.  A  turn  between  two  notes  on  different  degrees  (or  four 
small  notes  between). 


Written. 


gB: 


Adagio. 


Moderato. 


Execution. 


-  |^^^ 

IT"          — -  TTI  «7  — - ••"       fl  ' 


g^'*  r  1 


3.  A  turn  between  two  notes  of  similar  pitch. 

oa 


Written. 


^^^ 


A  dag  i  o. 


Moderate. 


Execution. 


4.  The  turn  after  a  dotted  note.  The  delivery  of  this 
turn  is  the  same  as  the  third  class  in  its  effect,  since  the 
dot  is  simply  another  way  of  writing  a  second  similar  note. 


Written. 


An  exception  to  this  fourth  rule  is  made  if  the  dotted 
note  with  turn  directly  precedes  a  close  (possibly  forming 
part  of  the  cadence)  and  is  followed  by  two  notes  of  equal 
value  leading  up  or  down  to  the  closing  notes  of  the  phrase. 

Tutta   (It.).     All.  Con  tutta  forza.    With  full  power. 

Tutti  (It.)  (too-tee).  In  scores,  a  notification  to  all  the  per- 
formers and  singers  to  take  part. 

Tuyau  (Fr.).     Pipe. 

Tuyau  d'orgue.    Organ  pipe. 

Tuyau  a  anche.    Reed  pipe. 

Tuyau  a  bouche.    Flue  pipe. 

Twelfth.    An  organ  stop  sounding  the  I2th  above  the  diapason. 

Tympani.    See  Timpani. 

Tyrolienne  (Fr.)  (tee-rol-yen) .  (i)  A  Tyrolese  song  for 
dancing.  (2)  Tyrolese  song  with  yodel. 


u 


U.  C.     Abbreviation  of  Una  corda,  one  string. 

tibergang  (Ger.)  (e'-bcr-gangk).  Passage;  transition; 
modulation. 

tibung  (Ger.)   (e'-boonk).    Exercise;  study;  practice. 

Uguale  (It.)   (oo-gwah'-leh).    Equal. 

Ugualmente   (It.)    (oo-gwahl-men'-teh).     Equally;   evenly. 

Umfang  (Ger.)   (oom-fangk).     Compass. 

Umorc  (It.)    (oo-mo'-reh),  con.    With  humor. 

Umstimmung  (Ger.)  (oom-stim-moonk).  The  change  of  the 
pitch  of  a  brass  instrument  by  the  addition  or  change  of 
"crooks" ;  the  change  of  the  pitch  of  kettle-drums. 

Un  (It.)  (oon),  Una  (oo'-nah),  Uno  (oo'-no).  One;  as, 
Una  voce,  one  voice. 

Un  or  Une  (Fr.)   (ong,  oon).    One. 

Unda  maris  (Lat.).  "Wave  of  the  sea."  The  vox  celestis, 
an  organ-stop,  8-foot  pitch,  with  a  tremulous  tone. 

Unessential  Dissonances.  Those  that  occur  by  suspension, 
the  essential  dissonances  being  the  7th  and  9th,  and,  accord- 
ing to  some  authorities,  the  nth  and  I3th  over  the  dominant. 

Unessential  Notes.     Passing  and  changing  notes. 


Ungarisch  (Ger.).     Hungarian. 

Ungeduldig  (Ger.).     Impatiently. 

Ungestiim   (Ger.).     Impetuous;  con  impeto. 

Unison.  Sounds  consisting  of  the  same  number  of  vibra- 
tions per  second.  The  term  "unison  passage"  is  applied 
to  vocal  or  instrumental  parts  in  the  octave  also. 

Unisono   (It.)    (oo-nee-so-no).    Unison. 

Unisson  (Fr.)   (oo-nis-song).    Unison. 

Un  poco  (It.).    A  little. 

Un  pochino  (It.)  (po-kee'-no),  Un  pochettino  (po-ket-tee'- 
no).  A  very  little. 

Unruhig  (Ger.)    (oon-roo'-ig).     Restless. 

Unschuldig  (Ger.)   (oon-shool-dig).    Innocent. 

Up  bow.  In  violin  playing,  the  motion  of  the  bow  from  the 
point  to  the  nut.  The  sign  is  y  ;  the  down  bow  |_J. 

Ut  (Fr.)  (oot).  The  note  C;  the  first  of  the  Aretinian  syl- 
lables, changed  in  Italy  to  do,  a  better  vowel  sound  for 
solfeggio. 

Ut  (Lat.).    As;  like.    Ut  supra,  as  before. 


V 


V.     Abbreviation  of  Violino,  Voce,  Volta. 
V-cello.     Abbreviation  of  Violoncello. 
Via.    Abbreviation  of  Viola. 

Va  (It.).    Go;  as,  Va  crescendo,  go  on  getting  louder. 
Vacillando  (It.)    (vat-chil-lan'-do).    "Vacillating."    A  direc- 
tion to  play  without  strict  regard  to  time. 
Vago  (It.).    Vague;  dreamy. 


Valse  (Fr.)  (vals).  Valce  (It.)  (val-cheh).  Waltz;  a  dance 
of  German  origin  in  }  time. 

Valse  a  deux  temps  (Fr.)  (doo  tomp).  A  species  of  waltz 
with  two  steps  to  each  measure. 

Value.  The  value  of  a  note  or  rest  is  its  relative  duration, 
the  standard  being  the  whole  note  or  rest,  which  may  be 
divided  into  half,  quarter,  eighth,  sixteenth,  thirty-second 


VALVE 


583 


VIVACE 


notes,  etc.  The  value  of  a  note  is  increased  one-half  by 
placing  a  dot  after  it;  a  second  dot  adds  to  its  value  an 
amount  equal  to  half  that  of  the  first.  The  absolute  value 
of  a  note  depends  upon  the  tempo,  i.  e.,  rate  of  movement 
of  the  piece  in  which  it  occurs. 

Valve.    See  Piston. 

Variante  (Fr.)    (vah-ree-ongi).    A  variant;  other  reading. 

Variations,  Variationen  (Ger.)  (fah-ree-a-tse-o'-nen),  Vari- 
azioni  (It.)  (va-ree-at-zee-o'-nee).  Melodic,  rhythmic,  and 
harmonic  modifications  of  a  simple  theme,  each  one  more 
elaborate  than  the  last. 

Varie  (Fr.)  (vah-ree),  Variato  (It.)  (var-ya'-to).  Varied; 
with  variations. 

Varsovienne  (Fr.)  (yar-so-vee-en) ,  Varsovianna  (It.)  (var- 
so-vee-ari -no) .  A  dance  in  £  time  resembling  the  mazurka, 
invented  in  France. 

Vaudeville  (Fr.)  (vode-veel).  A  light  operetta  consisting  of 
dialogue  interspersed  with  songs ;  the  name  is  said  to  come 
from  Vaux  de  Vire  in  Normandy. 

Veemente   (It.)    (_vch-eh-men'-teh).     Vehement;  forceful. 

Veemenza  (It.)   (veh-eh-men'-tsa),  con.    With  vehemence. 

Velato  (It.)  (veh-lah'-to),  Voce  vela  to,  a  veiled  voice,  i.  e., 
lacking  in  clearness  and  resonance. 

Vellutata   (It.)    (vel-loo-tah'-tah).     Velvety;  smooth. 

Veloce    (It.)    (veh-lo'-cheh).     Rapid;   swift. 

Velocissimamente  (It.)  (veh-lo-chis-see-ma-men'-teh).  Very 
swiftly. 

Velocissimente   (It.)    (veh-lo-chis-sec-men'-teh).     Swiftly. 

Velocita  (It.)    (veh-lo'-chee-tah),  con.    With  rapidity. 

Ventage.  The  holes  in  the  tubes  of  wind  instruments,  the 
opening  or  closing  of  which  by  the  finger-tip  or  by  valves 
worked  by  keys  alters  the  pitch  by  varying  the  sounding 
length  of  the  tube. 

Ventil.  (i)  Valve;  piston.  (2)  In  the  organ  a  contrivance 
for  cutting  off  the  wind  from  a  part  of  the  organ. 

Venusto   (It.)    (veh-noos'-to).     Graceful;  fine. 

Veranderungen   (Ger.)    (fer-an'-de-roong-en).    Variations. 

Vergniigt  (Ger.)    (fehr-gneegt1).     Pleasant;  cheerful. 

Verhallend  (Ger.).     See  Morendo. 

Verloschend   (Ger.)    (fehr-lesh'-end).     See  Morendo. 

Vermittelungsatz  (Ger.)  (fehr-mif-tel-oonk-sotz).  A  sub- 
sidiary part;  episode  in  sonata,  etc. 

Verschiebung  (Ger.)  (fehr-shee'-boonk),  mit.  Use  "soft 
pedal." 

Verschwindend   (Ger.)    (fehr-shivin'-dend).     Dying  away. 

Versetzung    (Ger.)    (fehr-set'-soonk).     Transposition. 

Verspatung  (Ger.)  (fehr-spay'-toonk),  Verweilend  (fehr- 
wei'-lent),  Verzogernd  (fehr-tseh'-gernt).  Delaying;  re- 
tarding. 

Verve  (Fr.)   (vehrv).    Spirit.    Avec  verve,  with  spirit. 

Verzweiflungsvoll  (Ger.)  (fehr-tsvy'-fioonks-foll).  Lit.,  full 
of  desperation.  Despairingly. 

Vezzoso  (It.)  (vets-so'-so),  Vezzosamente  (vets-so-sa- 
men'-teh).  Beautiful ;  graceful ;  gracefully. 

Vibration.  The  rapid  motion  to  and  fro  that  produces  the 
phenomena  of  sound  by  setting  up  a  wave-motion  in  the  air. 

Vibrato     (It.)      (vec-brah' '-to) ,     Vibrante     (vee-bran'-teh). 

"Vibrating"  with  strong,  "intense"  tone ;  vocal  music,  heavy 

accent  in  piano  playing. 
Viel  (Ger.)  (feel).    Much;  many. 
Vielle  (Fr.)   (vee-eV).    Rote;  hurdy-gurdy. 
Vier  (Ger.)    (feer).    Four. 

Vierstimmig.     Four-voiced.     Vierfach,  fourfold. 
Vif  (Fr.).    Lively. 


Vigorosamente  (It.)  (vee-go-ro-sa-men'-teh).  Vigorously; 
boldly. 

Vigoroso   (It.)    (vee-go-ro'-so).     Vigor;  force. 

Villancico  (Sp.)  (v  eel-Ian' -the  e-co~).  Originally  a  species  of 
song  or  madrigal,  later  a  motet  sung  in  church  at  certain 
services. 

Villanella  (It.).    An  ancient  Italian  folk-song. 

Viol.  The  precursor  of  the  violin.  Viols  were  made  in  sets 
of  six  called  a  "chest  of  viols";  the  smallest  was  about  the 
size  of  the  modern  viola,  and  all  were  provided  with  frets. 

Viola.  The  alto  violin,  generally  called  the  tenor.  The  viola 
is  slightly  larger  than  the  violin,  and  has  four  strings  tuned 
as  follows : 


Music  for  it  is  written  with  the  C  clef  on  the  third  line. 
Viola  da  braccia  (arm  viola),  Viola  da  gamba  (leg  viola), 
Viola  da  spalla   (shoulder  viola),  Viola  pomposa.     Obso- 
lete varieties  of  the  viola  family.    The  last  was  the  invention 
of  J.  S.  Bach. 

Viole  (Fr.).     Viola. 

Viole  d'amor  (Fr.)  (d' ah- mo  or),  Viola  d'amore  (It.)  (d'ah- 
mo-reh).  A  variety  of  the  viola  with  wire  sympathetic 
strings  in  addition  to  the  usual  gut  strings. 

Violin,  Violon  (Fr.),  Violino  (It.),  Fiddle,  Geige  (Ger.). 
The  words  "violin"  and  "fiddle"  both  come  from  the  Latin 
vitula  or  fitula,  a  mediaeval  form  of  string  instrument  played 
with  a  bow.  The  violin  has  four  strings,  tuned  as  follows : 


The  strings  are  of  gut,  the  lowest,  or  G  string,  covered  with 
thin  wire. 


Violin  Clef.     The  G  clef   SB  on  the  second  line. 

*J 
Violina.     A  4-foot  organ-stop  with  string-like  tone. 

principale     (It.)     (prin-chee-pah'-leh).      The 


solo 


Violino 

violin,  or  leader  of  the  violins. 

Violino  ripieno.     A  violin  part  only  used  to  fill  up  the  tutti. 
Violoncello  (It).    The  "little  violone."    The  violoncello  has 
four  strings  of  gut,  tuned  an  octave  below  the  viola : 


The  C  and  G  strings  are  covered  with  wire, 

Violonar  (Fr.).     Double  bass. 

Violonaro  (Fr.).    See  Octo  Bass. 

Violone  (It.).    The  double  bass,  q.  v. 

Virgil  Clavier.    A  soundless  keyboard  for  practice. 

Virginal.    A  small  instrument  of  the  harpsichord  family. 

Virtuoso  (masc.)  (It.)  (vir-too-o'-so),  Virtuosa  (fem.) 
(vir-too-o'-sah).  An  eminent  skilled  singer  or  player.  The 
word  was  formerly  used  in  the  same  sense  as  "amateur." 

Virtues  (Ger.),  Virtuosin  (fem.)  (Ger.),  Virtuose  (Fr.). 
Virtuoso. 

Vista  (It.).     Sight.     A  prima  vista,  at  first  sight. 

Vistamente  (It.)  (vis-tah-men'-teh),  Vitamente  (It.)  (vee- 
tah-men'-teh),Vive  (Fr.)  (veev),  Vivente  (It.)  (vee-ven'- 
teh),  Vivido  (It.)  (vee'-vee-do),  Vivezza  (vee-vet-za) , 
con.  Lively ;  briskly ;  with  animation  ;  vividly. 

Vivace  (It.)  (vee-vah' -cheh) ,  Vivacemente  (vee-vah-cheh- 
men'-teh),  Vivacita  (vee-vah'-chee-tah),  con,  Vivacezza 
(vee-vah-chet'-zah).  Lively;  rapid;  with  animation;  with 
vivacity. 


VIVACISSIMO 


584 


ZELOSO 


Vivacissimo  (vee-vah-chis '-see-mo).    Very  lively  and  fast. 
Vivo   (It.)    (vee-vo).    Alive;  brisk. 

Vocal.     Belonging  to  the  voice;  music  meant  to  be  sung  or 

well  designed  for  singing. 
Vocalion.    A  variety  of  reed  organ  in  which  the  quality  and 

power  of  the  tone  is  much  modified  by  resonators. 

Vocalise  (Fr.)  (vo-cal-ees) ,  Vocalizzi  (It.)  (vo-cah-lit'- 
zee).  Vocal  exercises. 

Vocalization,  (i)  The  manner  of  singing.  (2)  The  sing- 
ing of  studies — solfeggio — to  one  or  more  vowel  sounds. 

Voce  (It.)    (vo-cheh).    The  voice. 

Voice.  (l)  The  sound  produced  by  the  human  organs  of 
speech.  (2)  A  part  in  a  polyphonic  composition.  There 
are  three  well-marked  varieties  of  the  male  and  female 
voice.  Male  voices  are  divided  into  bass,  baritone,  and 
tenor;  the  analogues  in  the  female  voice  are  alto,  mezzo 
soprano,  and  soprano. 

Voicing.  Regulating  the  quality  and  power  of  the  tone  of 
organ-pipes. 

Voix   (Fr.)    (vo-a).     Voice. 

Voix  celeste  (Fr.).    Vox  angelica. 


Volante  (It.)  (vo-lan'-teh).  "Flying."  The  rapid,  light  exe- 
cution of  a  series  of  notes. 

Volkslied   (Ger.)    (folks-leed).     Popular  song. 

Voll  (Ger.)    (foil).    Full. 

Volonte  (Fr.)    (vo-lon-teh),  A  volonte.    At  will;  a  piacere. 

Volta  (It.).     Turn.     Una  volta,  first  turn  or  first  time. 

Volti  (It.)  (vol'tee)  (verb).  Turn.  Volti  subito,  abbrevi- 
ated V.  S.,  turn  over  (the  page)  rapidly. 

Voluntary.  An  organ  solo  before,  during,  or  after  church 
service,  frequently  extemporary. 

Vordersatz  (Ger.)    (for'-der-sots).     Principal  theme;  sonata. 

Vorspiel  (Ger.)  (for-speel).  Prelude;  overture;  introduc- 
tion. 

Vox  (Lat).    Voice. 

Vox  celestis,  Vox  angelica.    See  Undo  maris. 

Vox  humana.  An  organ-stop  imitating  the  human  voice. 
(Fr.  Voix  humane). 

Vuide  (Fr.)  (vo'o-ecd),  Vuoto  (It.)  (voo-o-to).  Open. 
Corde  vuide,  Corda  vuide,  open  string,  i.e.,  a  string  of 
instruments  of  violin  family  sounded  without  being  touched 
by  the  finger. 


w 


Waits,    Waytes,    Waightes.      Watchmen    who    "piped    the 

hours"  at  night  on  a  species  of  hautboy  called  a  wait,  or 

shawm.    In  modern  times  "Christmas  waits"  are  parties  of 

singers  who  go  from  house  to  house  collecting  pennies  on 

Christmas  Eve. 
Waldflote  (Ger.)   (volt-fiay-tch) .    Forest  flute;  a  4-foot  open 

organ-stop.     Waldquinte    is    a    I2th    with    the    same   tone 

quality. 
Waldhorn    (Ger.).     Forest  horn;  hunting  horn;  the  French 

horn  without  valves. 
Waltz.     See  Valse. 
Walze  (Ger.)    (vol'-tseh).    A  run,  alternately  ascending  and 

descending;  a  "roller." 
Wankend  (Ger.).     Hesitating. 
Warme   (Ger.)    (vehr'-meh).    Ardor;  warmth. 
Wehmut  (Ger.)    (vch'-moot).    Sadness. 
Wehmiitig   (Ger.).     Sad;   melancholy. 
Welch  (Ger.).    Weak;  soft;  minor. 
Weinend   (Ger.).     Weeping;  lamenting. 
Well-tempered     (Wohltemperirtes)     Clavier     (Ger.).      A 

title  given  by   Bach  to   a   set  of   preludes  and   fugues   in 

all  the  keys.     See  Temperament. 
Wenig  (Ger.).    Little;  un  poco. 


Whistle.  A  small  flue-pipe  or  flageolet;  the  first  step  in 
advance  of  the  pandean  pipe,  i.  e.,  a  tube  blown  across  the 
top. 

Whole  Note.** 

Whole  Step.    A  whole  tone. 

Wie  (Ger.).    As;  the  same.    Wie  vorher,  as  before. 

Wiederholung  (Ger.)    (wee-dehr-ho'-loonk).     Repetition. 

Wiegenlied  (Ger.)   (wee'-gen-leed).    Cradle  song;  berceuse. 

Wind   Band,      (i)  The   wind   instruments   in   the  orchestra. 

(2)  A  band  composed  of  wind  instruments  only,  called  also 

a  harmony  band. 

Wolf,  (i)  The  dissonant  effect  of  certain  chords  on  the 
organ  or  pianoforte  tuned  in  unequal  temperament.  See 
Temperament.  (2)  Certain  notes  on  the  violin  or  other 
bow  instruments  that  do  not  produce  a  steady,  pure  tone. 

Wood-stops.     Organ-stops  with  wooden  pipes. 
Wood-wind.     The  flute,  oboe,  clarionet,  and  fagotto  in  the 

orchestra. 

Wuchtig   (Ger.).     Weighty;  emphatic. 
Wurde    (Ger.).     Dignity.     Mit  Einfalt  und  Wttrde,  With 

simplicity  and  dignity. 
Wiitend   (Ger.).     Raging;  furioso. 


X 

Xylophone,  Strohfiedel  (Ger.),  Claquebois  (Fr.),  Gigelira 
(It.).  An  instrument  consisting  of  strips  of  wood  grad- 
uated to  produce  the  diatonic  scale.  They  are  supported 
on  ropes  of  straw,  etc.,  and  are  struck  by  hammers  held  one 
in  each  hand.  An  ingenious  form  of  the  xylophone  is  found 
in  Africa,  called  the  marimba.  From  Africa  it  was  brought 
to  South  America,  where  it  has  been  greatly  enlarged  by  the 
Negroes  of  Guatemala. 

Yodel,  Jodel,  Jodeln.    See  Jodeln. 

Zampogna  (It.)  (zam-pone'-ya).  A  bagpipe;  also  a  harsh- 
toned  species  of  hautboy. 


Y       Z 

Zapateado   (Sp.)    (tha-pah-te-a'-do).    "Stamping."    A  Span- 
ish dance  in  which  the  rhythm  is  marked  by  stamping. 

Zarabanda  (Sp.)    (tha-ra-ban'-da).     See  Saraband. 
Zart,  Zartlich  (Ger.).    Tender;  tenderly;  suave. 
Zartflote  (Ger.).     A  soft-toned  flute  in  the  organ. 
Zeitmass  (Ger.).    Tempo. 
Zelo  (It.)    (?eh'-lo).    Zeal;  earnestness. 
Zelosamente   (It.)    (zeh-lo-sah-men'-teh).     Earnestly. 
Zeloso   (It.)    (zeh-lo'-so)  .  Zealous;  energetic. 


ZIEMLICH 


585 


ZWISCHENSPIEL 


Ziemlich  (Ger.)  (tseem'-lich).  Moderately.  Ziemlich  lang- 
sam,  moderately  slow. 

Ziganka.    A  Russian  peasant  dance  in  |  time. 

Zimbalon,  Cymbal,  Czimbal.    The  Hungarian  dulcimer. 

Zingaresca  (It.)  (sin-gah-res'-ca),  Zigeunerartig  (Ger.) 
(tsee-goy'-ner-ar-tig).  In  Gypsy  style. 

Zinke   (Ger.).     Cornet;  an  obsolete  variety  of  hautboy. 

Zither  (Ger.)  (tsit'-ter).  A  string  instrument  consisting  of 
a  shallow  box  over  which  pass  two  sets  of  strings — one  set 
of  gut  for  the  accompaniment,  the  other,  of  steel  and  brass, 
pass  over  a  fretted  fingerboard ;  on  these  the  melody  is 
played.  The  notes  are  stopped  by  the  left  hand,  and  the 
melody  strings  are  struck  by  a  plectrum  attached  to  a  ring 
on  the  thumb  of  the  right  hand;  the  accompaniment  is 


played  by  the  first,  second,  and  third  fingers  of  the  right 
hand. 

Zitternd  (Ger.).    Trembling. 

Zbgernd  (Ger.).     Hesitating;  retarding. 

Zoppo  (It.).  Lame.  Alia  zoppo,  halting;  limping;  synco- 
pated. 

Zukunftsmusik  (Ger.).  Music  of  the  future.  The  music 
of  Wagner  and  his  disciples  is  thus  called  by  both  friend 
and  enemy,  but  with  different  meanings. 

Zunehmend  (Ger.).     Crescendo. 

Zuriickhaltend  (Ger.)    (tsoo-reek'-hal-tend).    Retarding. 

Zwischensatz  (Ger.).    An  episode. 

Zwischenspiel  (Ger.).     "Between  play";  interlude. 


BIOGRAPHICAL   DICTIONARY   OF   MUSICIANS 

WITH    PRONOUNCING  TABLES 

REVISED  AND  ENLARGED   BY  W.  J.  BALTZELL 


A   GUIDE  TO   THE   PRONUNCIATION   OF 
FOURTEEN    LANGUAGES 


(Note. — Letters  not  included  are  to  be  pronounced  as  in  English. 

vowels  are  long.) 


In  general,  and  in  most  languages,  accented 


1.  GERMAN. 

a — like  a  in  far. 

a  (as) — like  a  in  fate. 

ai — like  i  in  fine. 

au — like  ow  in  cow. 

au  (aeu)  and  eu — like  oy  in  boy. 

e  long — like  a  in  fate. 

c  short — like  e  in  met. 

ei — like  i  in  fine. 

i  long — like  ee  in  meet. 

i  short — like  i  in  pin. 

o — like  o  in  note. 

6  (oe) — between  a  in  fate  and  e  in  err. 

u  long — like  oo  in  mood. 

u  short — like  oo  in  foot. 

ii  (ue) — like  ee  in  meet,  pronounced  with  lips  bunched  as 

in  whistling. 

c — like  ts  before  e,  i,  or  a;  otherwise  like  k. 
ch  is  a  hissing  k  (the  Greek  Chi),  derived  from  c,  just  as 

th  comes  from  t.    The  hissing  ch  sound  is  represented 

by  kh  in  the  dictionary. 
d  or  dt  final — like  t  in  pet. 
j — like  y  in  yet. 
qu — like  qv. 

r — strongly  rolled,  as  in  most  foreign  languages, 
s  before   a  vowel  is  like   z. 
st  and  sp  are  like  sht  and  slip. 
sch — like  sh  in  shop. 
v — life  f  in  fate. 
w — like  v  in  vat. 
y — like  ee  in  meet. 
z — like  ts. 

2.  FRENCH. 

a  long — like  a  in  far. 

a  short — somewhat  like  a  in  fat. 

ai — like  a  in  fate. 

ai — pronounced  ah-ee. 

au  and  eau — like  o  in  note. 

e — like  a  in  fate. 

e — like  a  in  fare. 

e — like  e  in  met. 

e — like  e  in  err. 

e  or  es  final — is  usually  silent. 

ent  final — in  verbs  is  silent. 

ei — is  like  e  in  met. 


eu — is  like  the  German  6,  or  the  a  in  fate  pronounced  with 

the  lips  bunched  as  if  for  whistling. 
i  long — is  like  ee  in  meet. 
i  short — is  like  i  in  pin. 
o  long  and  6 — like  o  in  note. 

o  short — much  like  o  in  not,  with  a  trace  of  the  u  in  but. 
oi — much  like  wa  in  swat. 

oei — like  the  e  in  err,  followed  by  the  ee  in  meet, 
oeu — much  like  the  c  in  err. 
ou — like  oo  in  mood. 

u — like  ee  in   meet,  pronounced  with   the  lips  bunched  as 

if  for  whistling, 
y — like  ee  in  meet. 

At  the  end  of  a  word,  or  of  a  syllable,  if  the  next  syl- 
lable begins  with  a  consonant,  French  vowels  followed  by 
m  or  n  are  made  nasal: 

an — is  between  ahng  and  ohng,  with  the  ng  sound  not 
exactly  made,  but  the  nasal  quality  of  the  vowel  kept 
throughout. 

in,  ein,  ain — like  the  ang  in  fang,  made  nasal  throughout 
without  the  ng. 

en — like  ong  in  song,  with  wholly  nasal  vowel  and  no 
actual  ng  sound. 

on — like  the  aw  sound  in  long,  nasal  throughout  and  with- 
out ng. 

un — like  the  u  of  urn,  made  nasal  throughout. 

5,  or  c  before  e,  i,  or  y — like  s;  otherwise  like  k. 

g  before  e,  i,  or  y — like  zh,  as  of  s  in  measure;  otherwise 
like  g  in  get. 

h — always  silent. 

j — like  zh,  as  of  s  in  measure. 

11 — between  two  vowels  is  often  like  y. 

m  final — after  a  vowel,  or  at  ends  of  syllables,  treated  as 
if  it  were  n  final,  and  made  to  disappear  in  the  nasal 
quality  of  the  vowel. 

qu — like  k. 

sc — like   s. 

x  final — is  silent. 


3.    ITALIAN. 


a  long — as  in  father, 
a  short — as  in  tufa. 
e  long — as  a  in  fate, 
e  short — as  e  in  met. 
t  long — as  ee  in  meet. 
i  short — as  i  in  pin. 
o  long — as  o  in  note. 


589 


ITALIAN 


590 


SWEDISH 


6 — between  o  in  note  and  oo  in  took. 

u  long — like  u  in  rule. 

u  short — like  u  in  pull. 

c  or  cc  before  e  or  i — like  ch  in  chat;  otherwise  like  k. 

ch— like  k. 

g  or  gg  before  e  or  i — like   g  in  gem;   otherwise  like  g 

in  get. 
gli — like  lee. 
gn — like  ni  in  pinion, 
gh — like  g  in  get. 

j — like  y,  or  if  used  as  a  vowel,  like  ee  in  meet. 
z — like  ts. 
zz — like  ds. 

In  general,  double  consonants  are  given  more  time  than 
single  ones. 

4.   SPANISH. 

a  long  or  a — like  a  in  far. 
a  short — like  a  in  hat. 
e  long — like  a  in  fate, 
e  short — like  e  in  met. 
i  long — like  ee  in  meet, 
i  short — like  i  in  pin. 
o  long — like  o  in  note, 
o  short — like  o  in  not. 
u  long — like  u  in  rule, 
u  short — like  u  in  full. 
ue — like  wa  in  wade. 
y — like  ee  in  meet. 

Every  vowel  pronounced  separately. 
b — somewhat  like  v  in  very. 

c  before  e,  i,  or  y — like  th  in  thank;  otherwise  like  k. 
ch — like  ch  in  chat. 
d — somewhat  like  th  in  then, 
e  before  e,  i,  or  y — like  the  German  ch;  otherwise  like  g 

in  get. 

j — like  ye  in  yet. 
11 — like  Hi  in  thrillium. 
n— like   ni  in  pinion. 
qu — like  k. 

initial  x — in  some  names  like  h;  otherwise  like  x  in  fix. 
z — like  th  in  thank. 


5.    PORTUGUESE. 

Some  of  the  vowels  are  like  the  Spanish  vowels,  but  a, 
6  and  u  are  made  very  strongly  nasal. 
c  before  e,  i,  or  y — like  s;  otherwise  like  k. 
cc  before  e,  i,  or  y — like  ks;  otherwise  like  k. 
g  before  e,  i,  or  y — like  g  in  gem;  otherwise  like  g  in  get. 
h — is  silent, 
j — like  j  in  jog. 
Di — like  Hi  in  trillium. 
m  and  n  at  the  end  of  syllables  often  made  nasal,  as  in 

French. 

ph — like  f  in  far. 

qu  before  e  or  i — like  k;  otherwise  like  qu  in  quit, 
s  between  vowels — like  z.  , 

x  after  e — like  x  in  fox;  otherwise  like  sh  in  shop. 
z — at  the  end  of  syllables  like  s. 


6.    RUSSIAN. 

a  accented — like  a  in  far. 

a  unaccented — like  a  in  fat. 

a  initial — has  a  slight  y  sound  before  it,  as  in  yard. 

« — like  e  in  met. 

e  initial,  if  accented — like  yo  in  yodel. 

e  initial,  if  unaccented — like  ye  in  yes. 

i  after  labials  (b,  f,  m,  p,  or  v) — like  i  in  pin;  otherwise 

like  ee  in  meet. 
o — like  o  in  not. 

u — like  ew  in  few,  or  like  oo  'n  loon, 
y — like  ee  in  meet.  • 

Diphthongs  as  in  German, 
b — like  a  hard  v. 
c — like  s  or  z. 

ch  final — like  the  German  ch;  otherwise  like  ch  in  chat, 
g — usually   like   g   in    get;   but   a   g   final,   and   sometimes 

initial,  like  the  German  ch. 
j — like   y  in  yes. 

qu  before  e  or  i — like  k;  otherwise  like  qu  in  quote, 
s  between  vowels — like  z. 
tsch — like  sh  in  shop,  followed  by  ch  in  chat. 
v — like  f. 
w— like  f. 
z — like  ts,  or  sometimes  like  ch. 

Russian  names  are  usually  spelled  phonetically  in  Eng- 
lish, the  K  of  Konstantin,  for  instance,  being  replaced  by 
our  C. 

7.    NORWEGIAN. 

a — like  a  in  far. 

aa — somewhat  like  o  in  north. 

au — like  o  in  note. 

e  final — like  e  in  err;  otherwise  like  a  in  fate. 

i — like  ee  in  meet. 

o  long — like  o  in  note. 

o  short — like  o  in  not,  or  like  u  in  pull. 

oe — like  a  in  fate. 

6 — like  the  French  eu. 

u — like  u  in  rule. 

y — like  the  French  u. 

g — always  like   g  in   get;   except  that   g  before-  j   or  y  is 

like  y  in  yet. 
j — like  y   in   yet. 

k — before  i  or  y  is  made  somewhat  like  h. 
kv — like  qu  in  quit, 
qu — like  qu  in  quit, 
z — like  ts. 


8.    SWEDISH. 


a  long — like  a  in  far. 
a  short — like  a  in  tufa. 
a  long — like  o  in  note, 
a  short — like  a  in  what. 
a — like  a  in  fare, 
e  long — like  i  in  film, 
e  short— like  e  in  met. 
cr — like  air  in  fair. 
i — like  ee  in  meet. 


SWEDISH 


591 


BOHEMIAN 


o  long — like  o  in  move. 

o  short — like  o  in  not. 

6 — like  the  German  6. 

u  long — like  u  in  rule. 

u  short — like  u  in  pull. 

c  before  e,  i,  or  y — like  s;  otherwise  like  k. 

ch — like  the  German  ch. 

d — is  silent  before  j  or  t. 

f — at  the  end  of  a  syllable  is  like  v. 

g  before  a,  e,  i,  o,  or  y,  or  after  1  or  r — is  like  y  in  yet. 

j — like  y  in  yet. 

qv — like  k. 

sk,  sj,  or  stj — somewhat  like  sh  in  shop. 

th — like  t. 

tj — like  ch  in  chat. 

w — like  v. 

z — like  s. 

9.  DANISH. 

a — like  a  in  far. 

aa — like  a  in  fall. 

e — like  a  in  fate,  or  like  ai  in  fair. 

ej — like  i  in  mite. 

i — like  ee  in  meet. 

o  long — like  o  in  move. 

0  short — like  o  in  not. 
o — like  the  German  6. 
6 — like  e  in  err. 

u  long — like  u  in  rule. 

u  short — like  u  in  full. 

y — like  y  in  myrrh. 

ae — like  ai  in  sail,  or  like  ai  in  said. 

ai — like  i  in  mite. 

au — like  ow  in  cow. 

c  before  e,  i,  or  y — like  s;  otherwise  like  k. 

ch — like  k. 

d  final — like  th  in  this. 

ds — like  ss  in  miss. 

g  after  e  or  6 — like  y  in  yet;  otherwise  like  g  in  get. 

j — like  y  in  yet. 

qv — like  qu  in  quit. 

x — like  z. 

10.  DUTCH. 

a  long  (aa) — like  a   in   far. 

a  short — like  a  in  mat. 

aai — like  the  vowel  sound  of  why. 

«  long  (ee) — like  a  in  fate. 

e  short — like  e  in  met. 

1  long — somewhat  like  ee   in  meet, 
i  short — like  i  in  pin. 

ei  (ij) — like  e  in  met,  followed  by  i  in  pin. 

o  long  (oo) — like  o  in  note. 

o  short — like  o  in  not. 

ooi — like  o  in  note,  followed  by  i  in  pin. 

u  long  (uu) — like  u  in  rule. 

u  short — like  u  in  nut. 

y — like  i  in  slide. 

ae — often  replaces  aa,  with  the  same  sound. 

au — like  a  in  fat,  followed  by  oo,  as  in  loon. 


eu — like  the  German  6. 

ecu  (ieu)— like  the  a  in  fate,  followed  by  a  faint  v. 

ie — like  ee  in  meet. 

oe — like  oo  in  loon. 

ou — like  the  o  in  not,  followed  by  the  u  in  rule. 

ui — almost  like  the  sound  of  why. 

b  final — like  p. 

d  final — like  t. 

g — like  g  in  get. 

j — like  y. 

kw — like  qu  in  quit. 

1 — before   a   consonant   is   followed   by   a   slight   e   sound; 

i.e.,  our  word  eld  would  be  pronounced  "el-ed." 
ph— like  f. 
sj — like  sh  in  shop. 

ch — like  the  German  ch,  but  much  exaggerated, 
sch  initial — like  stch   (s  before  the  ch  of  chat). 
v  final — like  f. 
w — like  w  in  wet. 

11.    POLISH. 

a — like  a  in  far. 

a — like  a  in  fall. 

e — like  e  in  met. 

e — like  the  French  nasal  in  see. 

e — like  a  in  fate. 

i — like  ee  in  meet. 

o — like  o  in  note. 

6 — between  the  o  in  note  and  the  o  in  move. 

u — like  u  in  rule. 

yj — like  ee  in  meet. 

oe — like  a  in  fate. 

c — like  ts. 

ch — like  the  German  ch. 

cz — like  ch  in  chat. 

dz — like  dge  in  ledge. 

j — like  y  in  yes. 

sz — like  sh  in  shop. 

w — like  v. 

z — like  z  in  zone. 

z — like  zh,  as  the  s  in  measure. 


12.    BOHEMIAN. 

a — like  u  in  fun. 

a — like  a  in  far. 

e — like  e  in  met. 

e — like  ai  in  fair. 

e — like  ya  in  yam. 

i  long — like  ee  in  meet. 

i  short — like  i  in  pin. 

o — like  o  in  note. 

6 — like  o  in  wrong. 

u — like  u  in  pull. 

u — like  u  in  rule. 

y — like  i  in  pin. 

y — like  ee   in  meet. 

All  vowels  pronounced  separately. 
c — like  ts  or  ds. 


BOHEMIAN 


592 


WELSH 


j — like  y  in  yes. 

n — like  ni  in  pinion. 

q — like  qu  in  quit. 

f — like  rzh  or  rsh. 

& — like  sh  in  shop. 

2 — like  zh,  as  the  s  in  measure. 


13.    HUNGARIAN. 

a — like  a  in  what. 

a — like  a  in  far. 

e — like  e  in  met. 

€ — like  a  in  fate. 

i — like  i  in  pin. 

i — like  ee  in  meet. 

o — like  o  in  note,  sounded  briefly. 

6 — like  o  in  note,  prolonged. 

o — like  the  German  6. 

u — like  u  in  pull. 

u — like  u  in  rule. 

ii-— like  the  French  u. 

cs — like  ch  in  chat. 

cz — like  ts. 

dj — like  gy  in  orgy. 

djs — like  j  in  joy. 

gy — -like  dy. 

ggy — with  a  little  extra  vowel  sound,  as  rrygy. 

j — like  y  in  yes. 


jj — like  y  prolonged. 

11  or  ly — like  y  prolonged. 

nny — with  an  extra  vowel  sound,  as  nyny. 

s  or  sz — like  sh  in  shop. 

tty — with  an  extra  vowel  sound,  as  tyty. 

14.    WELSH. 

a — like  a  in  mat. 

a — iike  ai  in  air. 

e — like  e  in  met. 

e — like  ee  in  meet. 

i — like  ee  in  meet. 

o — like  o  in  gone. 

6 — like  o  in  note. 

u — somewhat  like  i  in  pin. 

u — like  ee  in  meet. 

w  (here  a  vowel) — like  oo  in  loon. 

y  final — like  y  in  pity;  otherwise  like  y  in  myrrh. 

c — always  like  k. 

ch — like  the  German  ch. 

dd — like  th  in  then. 

f— like  v. 

ff— like  f. 

g — always  like  g  in  get. 

11 — like  1,  with  a  suggestion  of  th. 

ph — like  f. 

th — like  th  in  thin. 


BIOGRAPHICAL    DICTIONARY    OF 
:  MUSICIANS 


Abbott,  Bessie.    See  Abott. 

Abbott,  Emma.  Soprano;  born  Chicago,  Dec.  9,  1850;  died 
Salt  Lake  City,  Utah,  Jan.  5,  1891.  Successful  in  opera. 

Abeille  (Ah-bay-yeh) ,  Johann  Christian  Ludwig.  Pianist, 
composer;  born  Bayreuth,  Ger.,  Feb.  20,  1761;  died  Stutt- 
gart, Ger.,  Mar.  2,  1838.  Some  of  his  vocal  pieces  still  in 
use  in  schools. 

Abel  (Ah-bel),  Karl  Friedrich.  Viola  da  gamba  player, 
composer;  born  Kothen,  Ger.,  1725;  died  London,  June  20, 
1787.  Pupil  of  J.  S.  Bach. 

Abel,  Ludwig.  Violinist,  composer;  born  Eckartsbfcrge, 
Ger.,  Jan.  14,  1835;  died  Neu-Pasing,  Ger.,  Aug.  13,  1895. 

Abert,  Hermann.  Historian  and  writer;  born  Stuttgart, 
Ger.,  Mar.  25,  1871.  Lives  Halle,  Ger. 

Abert  (Ah-bert),  Johann  Joseph.  Composer;  born  Kocho- 
witz,  Boh.,  Sept.  21,  1832.  Wrote  operas,  overtures,  sym- 
phonies. 

Abott,  Bessie  Pickens  (Mrs.  T.  W.  Story).  Soprano;  born 
Riverdale,  N.  Y.,  1878 ;  died  New  York,  Feb.  9,  1919.  Suc- 
cessful opera  and  concert  singer. 

Abranyi  (Ah-bran-vec),  (1)  Kornel.  Composer ;  born  Szent 
Gyorgz  Abranyi, "  Hun.,  Oct.  15,  1822;  died  Buda-Pesth, 
Hun.,  Dec.  20.  1903.  Promoter  of  national  music. 
(2)  Emil.  Opera  composer;  born  Buda-Pesth,  Sept.  22, 
1882.  Son  of  (1).  Lives  Buda-Pesth. 

Abt  (Ahbt),  Franz.  Composer;  born  Eilenburg,  Ger., 
Dec.  22,  1819;  died  Wiesbaden,  Ger.,  Mar.  31,  1885.  Wrote 
a  great  number  of  songs  which  are  widely  popular. 

Ackermann,  A.  J.     Organist,  composer;  born  Rotterdam, 

Hoi.,  1836.     Lives  The  Hague,  Hoi. 
Ackte,   Aino    (Ahk-tay,  /-HO).     Soprano;  born   Helsingfors, 

Fin.,  Apr.  23,  1876. 
Adam,  Adolphe  Charles.     Composer;  born  Paris,  July  24, 

1803;  died  there,  May  3,  1856.     Best  known  through  his 

opera  Le  Postilion  dc  Longjumcau. 
Adam  de  la  Hale   (Hahl).     Trouvere;  born  Arras,  France, 

about   1240;   died   Naples,   about    1287.     Wrote  Robin  and 

Marian,  considered  by  some  the  first  comic  opera. 

Adamowski  (Ah-dahm-off-skec).  (1)  Timothee.  Violinist; 
born  Warsaw,  Pol.,  Mar.  24,  1858.  Lives  Boston.  (2) 
Josef.  'Cellist;  born  Warsaw,  Jul.  4,  1862.  Brother  of 
(1).  Lives  Boston.  (3)  Antoinette  Szumowska  (Shoo- 
moff-skah).  Pianist,  teacher;  born  Lublin,  Pol.,  Feb.  22, 
1868.  Wife  of  (2).  Lives  Boston. 

Adams,  Charles  R.  Tenor;  born  Charlestown,  Mass., 
1848;  died  West  Harwich,  Mass.,  July  3,  1900.  Success- 
ful in  opera. 


Adams,  Mrs.  Crosby.  Pianist,  composer;  born  Niagara 
Falls,  N.  Y.,  Mar.  25,  1858.  Specialist  in  teaching  chil- 
dren. Lives  Montreat,  N.  C. 

Adams,  Stephen.     See  Maybrick,  Michael. 
Adams,  Suzanne.     Soprano;  born  Cambridge,  Mass.    Sung 
mainly  in  England.     Lives  London. 

Adler  (Ahd-ler).  (1)  Guido.  Theorist,  writer;  born  Eiben- 
schiitz,  Aus.,  Nov.  1,  1855.  Professor  in  University  of 
Vienna.  (2)  Vincent.  Pianist,  composer;  born  Raab, 
Hun.,  Apr.  3,  1826;  died  Geneva,  Switz.,  Jan.  4,  1871. 

Aegidius,  Johannes.  Spanish  monk  in  thirteenth  century. 
Wrote  Ars  Musica. 

Aerts  (Airts).  (1)  Egide.  Flutist,  composer;  born  near 
Antwerp,  Bel.,  1822;  died  Brussels,  1853.  (2)  Felix.  Vio- 
linist, conductor;  born.  St.  Trond,  Bel.,  1827;  died  Ni- 
velles,  Bel.,  1888.  ' 

Afanassiev,  Nicolai.  Composer;  born  Tobolsk,  Sib.,  1821; 
died  Petrograd,  1895.  Wrote  much  chamber  music. 

Afferni  (Ahf-f air-nee),  Ugo.  Pianist,  conductor;  born  Flor- 
ence, Italy,  Jan.  1,  1871.  Wrote  the  opera  Polemkin.  Lives 
Wiesbaden,  Ger. 

Afranio  (A-frah-nce-o).  Canon  at  Ferrara,  Italy,  in  the 
sixteenth  century.  Invented  the  bassoon. 

Afzelius  (Ahf-say-lec-oos),  Arvid.  Writer;  born  Enkoping, 
Swed.,  May  6,  1785;  died  Sept.  25,  1871.  Folk-song  col- 
lector. 

Agnelli  (Ah-nycl-lee),  Salvatore.  Composer;  born  Pal- 
ermo, Italy,  1817;  died  1874.  Wrote  operas. 

Agostini,  Paolo.  Composer;  born  Valerano,  Italy.  1593; 
died  Rome,  1629. 

Agramonte  (Ah-gra-mon-teh),  Emilio.  Conductor,  teacher 
of  singing;  born  Puerto  Principe,  Cuba,  Nov.  28,  1844. 
A  resident  and  successful  teacher  in  New  York  for 
many  years. 

Agricola  (Ah-grik-o-la) .  (1)  Martin.  Theorist;  born  So- 
rau,  Ger.,  1486;  died  Magdeburg,  Ger.,  June  10,  1556.  Au- 
thor of  important  works.  (2)Johann  Friedrich.  Organ- 
ist, writer;  born  Dobitz,  Ger.,  Jan.  4,  1720;  died  Berlin, 
Dec.  1,  1774. 

Aguilar,  Emmanuel  Abraham.  Pianist,  composer;  born 
London,  1824;  died  there,  1904.  Composed  symphonies, 
overtures,  cantatas,  ballad  operas,  etc. 

Agujari  (Ah-goo-yah-rec),  Lucrezia.     Soprano;  born.  Fer- 
rara, Italy,  1743;  died  Parma,  Italy,  May  18,  1783.    Admired 
by  Mozart;  could  reach  C  in  altissimo,  three  octaves  above 
middle  C. 
593 


AHLSTROM 


594 


AMATO 


Ahlstrom  (Ahl-straym) .  (1)  Olaf.  Composer;  born  Stock- 
holm, Swed.,  1762;  died  after  1827.  Collected  folk-music. 
(2)  Johann  Niklas.  Composer;  born  Wisby,  Swed., 
1805;  died  Stockholm,  1857.  Composed  operas,  etc. 

Ahna,  Heinrich  Karl  Hermann  de.  Violinist;  born  Vi- 
enna, June  22,  1835;  died  Berlin,  Nov.  1,  1892.  Member 
of  famous  Joachim  String  Quartet. 

Aimon  (Ay-tnong),  Pamphile.  Composer;  born  1'Isle,  near 
Paris,  1779;  died  Paris,  1866.  Composed  chamber  music 
and  operas. 

Akimenko  (Ah-kec-men-ko),  Theodor.  Composer;  born 
Kharkov,  Rus.,  Feb.  8,  1876.  Composed  orchestral 
and  chamber  music,  and  smaller  pieces.  Lives  Petro- 
grad. 

Alabieff  (Ah-lah-byoff),  Alexander.  Composer;  born  Mos- 
cow, Rus.,  Aug.  16,  1787;  died  there,  1852.  Wrote 
operas ;  still  known  by  songs,  such  as  The  Nightingale. 

Alard  (Ah-lar).  Delphin.  Violinist,  composer;  born  Bay- 
onne,  France,  Mar.  8,  1815;  died  Paris,  Feb.  22,  1888. 
Distinguished  for  beauty  of  tone. 

Albanesi  (Al-bah-nay-:cc),  Carlo.  Pianist,  composer;  born 
Naples,  Italy,  Oct.  22,  1858.  Lives  London. 

Albani  (Al-bah-nce).  Stage  name  of  Marie  Louise  Cecile 
Emma  Lajeunesse.  Soprano;  born  Chambly,  near 
Montreal,  Can..  Nov.  1,  1850;  lived  in  Albany,  N.  Y. 
Studied  in  Europe.  Equally  fine  in  oratorio  and  opera. 
Lives  London. 

Albeniz  (Al-bcn-ith),  Isaac.  Composer,  pianist;  born  Cam- 
prodon,  Spain,  May  29,  1860;  died  Cambo  les  Bains, 
France,  May  19,  1910.  Wrote  many  piano  pieces,  also 
operas,  such  as  The  Magic  Opal,  Enrico  Clifford,  King 
Arthur,  Pepita  Ximencs. 

Albert  (D'ahl-behr) ,  Eugen  Francis  Charles  d'.  Pianist, 
composer;  born  Glasgow,  Scot.,  Apr.  10,  1864.  Works 
include  two  piano  concertos,  one  'cello  concerto,  two 
overtures,  a  symphony,  chamber  music,  and  operas, 
such  as  The  Ruby,  Ghismonda,  Gcrnot,  The  Departure, 
Kain,  Der  Improvisator,  Ticfland  (the  best),  and  several 
others.  Lives  Vienna. 

Alberti,  Domenico.  Composer,  singer,  pianist;  born  Ven- 
ice, 171 — ;  died  1740.  Name  given  to  so-called  "Alberti 
bass." 

Alboni,  Marietta.  Contralto ;  born  Cesena,  Italy,  Mar.  10, 
1813;  died  near  Paris,  June  23,  1894.  Famous  for  beauty 
of  voice. 

Albrecht,  Karl  A.  Violinist,  conductor;  born  Posen,  Ger., 
Aug.  27,  1807;  died  Gatchina,  Rus.,  Feb.  24,  1863.  Con- 
ductor of  Imperial  Russian  Opera,  Petrograd. 

Albrechtsberger  (Al-brekhts-bairg-er),  Johann  Georg.  Or- 
ganist, theorist;  born  Klosterneuberg,  Aus.,  Feb.  3,  1736; 
died  Vienna,  Mar.  7,  1809.  His  Guide  to  Composition  and 
School  of  Thoroughbass  have  outlived  his  compositions. 

Alda,  Frances  Davis.  Soprano ;  born  New  Zealand,  1883. 
Wife  of  Gatti-Casazza,  manager  of  Metropolitan  Opera 
Co.,  New  York. 

Alden,  John  Carver.  Composer,  teacher ;  born  Boston,  Sept. 
11,  1852.  Professor  of  piano,  Converse  College,  Spartan- 
burg,  S.  C. 

Alder,  Richard  Ernst.  Conductor,  composer ;  born  Herisan, 
Switz.,  1853;  died  Paris.  1904. 


Aldrich,  Richard.  Writer;  born  Providence,  R.  I.,  July  31, 
1863.  Author  of  A  Guide  to  Parsifal,  Guide  to  the  Nibelun- 
gen  Ring,  etc.  Lives  New  York. 

Alfarabi.     Arabian  musician  theorist  in  the  tenth  century. 

Alferaky.     See  Alpheraky. 

Alfven,  Hugo.  Composer,  conductor ;  born  Stockholm,  Swed., 
May  1,  1872.  Composer  of  three  symphonies,  symphonic 
poem,  a  Swedish  Rhapsody,  marches,  violin  works,  piano 
pieces,  and  songs.  Lives  Upsala,  Swed. 

Alkan  (pseudonym  of  Charles  Henri  Valentin  Morhange). 
Composer,  pianist;  born  Paris,  Nov.  30,  1813;  died  there, 
Mar.  29,  1889.  Composed  brilliant  and  difficult  etudes,  etc. 

Allegri  (Al-lay-gree),  Gregorio.  Composer;  born  Rome, 
1584;  died  there,  1652.  Wrote  the  celebrated  Miserere  for 
two  choirs,  which  was  sung  in  the  Sistine  Chapel  at  Rome, 
and  which  the  youthful  Mozart  wrote  out  from  memory, 
it  being  forbidden  to  furnish  persons  outside  the  choir 
with  a  copy  of  this  work. 

Allen,  (1)  George  Benjamin.  Born  London,  1822;  died 
Brisbane,  Australia,  1897.  (2)  Charles  N.  Violinist;  born 
York,  Eng.,  1837;  died  Boston,  Apr.  7,  1903.  An  artist 
and  teacher  of  distinction.  (3)  Nathan  Hale.  Organist, 
composer ;  born  Marion,  Mass.,  Apr.  14,  1848.  Composed 
church  music,  organ,  piano  and  violin  pieces.  Lives  Hart- 
ford, Conn.  (4)  Paul.  American  composer  of  operas  in 
Italy. 

Allitsen,  Frances.  Composer ;  born  1849 ;  died  London,  Oct. 
1,  1912.  Composed  many  charming  songs. 

Alpheraky  (Ahl-fer-ah-kee),  Achilles.  Composer;  born 
Kharkov,  Rus.,  June  21,  1846.  Wrote  piano  pieces  and 
songs  showing  the  influence  of  the  folk  songs  of  the 
Ukraine. 

Alshalabi,  Mohammed.  Spanish-Arabian  writer  of  the  fif- 
teenth century. 

Alsleben,  Julius.  Composer;  born  Berlin,  Mar.  24,  1832; 
died  there,  Dec.  9,  1894.  Composed  overtures,  etc. 

Altes  (Ahl-tes),  Joseph  Henri.  Flutist,  composer;  born 
Rouen,  France,  1826;  died  Paris,  1895. 

Altschuler  (Ahlt-shoo-ler),  Modest.  Conductor,  'cellist; 
born  Mohilev,  Rus.,  Feb.  15,  1873.  Founded  Russian 
Symphony  Orchestra,  New  York. 

Alvarez  (Ahl-vah-rez)  (pseudonym  of  Albert  Raymond  Gour- 
ron).  Tenor;  born  Bordeaux,  France,  1861.  Lives  Paris. 

Alvary  (Ahl-vah-rcc),  Max  (pseudonym  of  M.  A.  Aschen- 
bach).  Tenor;  born  Diisseldorf,  Ger.,  May  3,  1858;  died 
Datenburg,  Ger.,  Nov.  7,  1898.  Wagnerian  roles. 

Alypios.  Greek  musical  writer,  fourth  century;  authority 
on  Greek  modes. 

Amadei  (Ah-mah-day-ee),  Roberto.  Composer,  organist; 
born  Loreto,  Italy,  Nov.  29,  1840.  Sacred  and  operatic 
works.  Lives  Loreto. 

Amani  (Ah-mahn-ee),  Nicolai.  Composer;  born  Russia, 
1875;  died  1904.  Piano  music  and  songs. 

Amati  (A-mah-tee)  (1),  Andrea.  Violin-maker;  born  about 
1530;  died  Cremona,  Italy,  Apr.  10,  1611.  First  of  famous 
family  of  violin-makers  at  Cremona.  (2)  Antonio,  1550- 
1638.  Son  of  (1).  (3)  Geronimo,  1551-1635.  Son  of  (1). 
(4)Nicolo.  Born  Cremona,  Sept.  13,  1596;  died  Aug.  12, 
1684.  Son,  of  (3). 

Amato,  Pasquale.  Baritone;  born  Naples,  Italy,  Mar.  21, 
1878.  Metropolitan  Opera  Co.,  New  York. 


AMBROS 


595 


ARRIETA 


Ambros,  August  Wilhelm.  Historian,  writer;  born  Mauth, 
Boh.,  Nov.  17,  1816;  died  Vienna,  June  28,  1876.  An  active 
contributor  to  Schumann's  Neue  Zeitschrift  fur  Musik. 
His  unfinished  Musical  History  is  a  very  valuable  work. 

Ambrose  (1),  Robert  Steele.  Organist,  composer;  born 
Chelmsford,  Eng.,  1824;  died  Hamilton,  Ont.,  Mar.  31, 
1908.  Wrote  a  popular  setting  of  the  hymn  "One  Sweetly 
Solemn  Thought."  (2)  Paul.  Organist,  composer ;  born 
Hamilton,  Ont.,  Oct.  11,  1868.  Lives  Trenton,  N.  J.  Son 
of  (1). 

Ambrose,  Saint,  Bishop  of  Milan.  Born  Treves,  Ger.,  333; 
died  Milan,  Italy,  Apr.  4,  397.  Systematized  church  sing- 
ing, basing  it  on  his  understanding  of  the  Greek  modes. 

Ambrosio,  Alfredo  d'.  Composer,  violinist;  born  Naples, 
Italy,  June  13,  1871 ;  died  Nice,  France,  Dec.  29,  1914.  Pop- 
ular violin  compositions. 

Amiot  (Ah-mee-o),  Father.  Born  Toulon,  France,  1718; 
died  Pekin,  1794.  Missionary  to  China;  authority  on  Chi- 
nese music. 

Ancona,  Mario.  Baritone ;  born  Florence,  Italy,  1870.  Chi- 
cago Opera  Co. 

Andersen,  Karl  Joachim.  Flutist,  composer;  born  Copen- 
hagen, Den.,  1847;  died  there,  1909. 

Anderton,  Thomas.  Composer;  born  Birmingham,  Eng^  Apr. 
15,  1836;  died  Edgbaston,  Eng.,  Sept.  18,  1903.  Composed 
successful  cantatas. 

Andrade,  Francesco  d'.  Baritone ;  born  Lisbon,  Portugal, 
Jan.  11,  1859.  Sang  in  Germany.  Lives  in  Lisbon. 

Andrews  (1),  George  Whitfield.  Organist,  composer;  born 
Wayne,  O.,  Jan.  19,  1861.  Oberlin  University.  (2)  J.  War- 
ren. Organist,  composer ;  born  Lynn,  Mass.,  Apr.  6,  1860. 
New  York  organist.  (3)  Mark.  Organist,  composer ;  born 
Gainsborough,  Eng.,  Mar.  31,  1875.  Lives  Montclair,  N.  J. 

Anerio  (Ah-nay-ree-o),  Felice.  Composer;  born  Rome, 
about  1560;  died  there  about  1630.  Wrote  sacred  contra- 
puntal works,  so  good  that  some  were  claimed  as  Pales- 
trina's. 

Angeli  (Ahn-jay-lee) ,  Andrea  d'.  Composer,  writer;  born 
Padua,  Italy,  Nov.  9,  1868.  Wrote  sacred  works  and 
an  opera.  Professor  in  Liceo  Rossini,  Pesaro,  Italy. 

Anger  (An-jer),  Joseph  Humphrey.  Organist,  composer, 
theorist;  born  Ashbury,  Eng.,  1862;  died  Toronto,  Ont., 
June  11,  1913.  Author  of  valuable  text-books  on  harmony. 

Anglebert  (Ongf-bare),  Jean  Baptiste  Henri  d'.  Com- 
poser, claveginist;  born  about  1628;  died  Paris,  Apr.  23, 
1691. 

Animuccia  (Ah-nee-moot-chee-ah),  Giovanni.  Composer; 
born  Florence,  Italy,  about  1500;  died  Rome,  1571.  Wrote 
masses,  etc.,  in  fluent  style,  and  Laudi  Spirituali  for  Neri's 
lectures  in  his  Oratory,  thus  leading  the  way  to  oratorio. 

Ansorge  (Ahn-sohr-geh) ,  Konrad.  Pianist,  composer; 
born  near  Liebau,  Ger.,  Oct.  15,  1862.  Pupil  of  Liszt. 
Teacher  in  Berlin. 

Antipov  (Ahu-tee-poff),  Constantin.  Composer;  born 
Russia,  Jan.  18,  1859.  Piano  and  orchestral  works. 

Apthorp,  William  Foster.  Writer;  born  Boston,  Oct.  24, 
1848;  died  Vevey,  Switz.,  Feb.  19,  1912.  Editor  of  Boston 
Symphony  Orchestra  program  books.  Author  of  works 
on  music. 


Aptommas,  (1)  John.  Harpist;  born  Bridgend,  Wales,  1826; 
died  March  19,  1913.  (2)  Thomas.  Harpist;  born  Bridg- 
end, Wales,  1829.  Both  remarkable  harpists  and  teachers; 
wrote  a  history  of  the  harp. 

Arban,  Joseph  Jean  Baptiste.  Cornetist ;  born  Lyons,  France, 
Feb.  28,  1825;  died  Paris,  Apr.  9,  1889.  Wrote  a  Method 
for  the  cornet. 

Arbos,  G.  Fernandez.  Violinist,  composer:  born  Madrid, 
Spain,  Dec.  25,  1863.  Royal  College  of  Music,  London. 

Arbuckle,  Matthew.  Cornetist;  born  1828;  died  New  York, 
May  23,  1883. 

Arcadelt,  Jacob.  Composer;  born  Netherlands,  about  1514; 
died  Paris  between  1570  and  1575.  Composed  masses, 
motets,  madrigals,  etc 

Archer,  Frederick.  Organist,  conductor;  born  Oxford,  Eng., 
June  16,  1838;  died  Pittsburgh,  Pa.,  Oct.  22,  1901.  Distin- 
guished concert  organist 

Arditi  (Ar-dee-tee),  Luigi.  Composer,  conductor;  born  Cres- 
centino,  Italy,  July  16,  1822;  died  Brighton,  England,  May 
1,  1903.  Best  known  by  his  waltz  songs,  such  as  //  Bacio 
(The  Kiss). 

Arens,  Franz  Xaver.  Conductor,  teacher  of  singing;  born 
•Neef,  Ger.,  Oct.  28,  1856.  Lives  New  York. 

Arensky,  Anton.  Composer;  born  Novgorod,  Rus.,  Jul. 
30,  1862 ;  died  Terioki,  Fin.,  Feb.  25,  1906.  Composed  operas, 
a  ballet,  two  symphonies  and  many  piano  pieces  and  songs. 

Aria,  Cesare.  Composer,  teacher  of  singing;  born  Bologna, 
Italy,  Sept.  21,  1820;  died  there,  Jan.  30,  1894. 

Arienzo,  Nicola  d'.  Composer;  born  Naples,  Italy,  Dec.  23, 
1842.  Wrote  realistic  operas  and  scientific  works  on  music. 
Lives  Naples. 

Armbruster,  Carl.  Pianist,  conductor ;  born  Andernach, 
Ger.,  Jul.  13,  1846;  died  London,  1918.  Authority  on 
Wagner's  operas. 

Armes,  Philip.  Organist,  composer;  born  Norwich,  Eng., 
Aug.  15,  1836;  died  Durham,  Eng.,  Feb.  10,  1908.  Oratorio 
composer. 

Armsheimer,  Ivan.  Composer;  born  Petrograd,  Mar.  19, 
1860.  Operas,  orchestral  works,  cantatas,  treatise  on  instru- 
mentation. 

Armstrong,  William  Dawson.  Organist,  composer;  born 
Alton,  111.,  Feb.  11,  1868.  Composed  opera  and  works  for 
orchestra.  Lives  Alton. 

Arne,  Thomas  Augustine.    Composer;  born  London,  Mar. 

12,    1710;    died   there,   Mar.   5,    1778.     Wrote   about   thirty 

operas,  two  oratorios,  and  many  glees,  catches  and  songs. 

Composer  of  Rule  Britannia. 
Arneiro,  Jose,  Vicomte  d'.     Portuguese   composer;   born 

Macao,  China,  Nov.  22,  1838;  died  San  Remo,  Italy,  1903. 

Operas,  ballets,  and  a  Te  Deum. 

Arnold.  (1)  Karl.  Composer;  born  Mergentheim,  Mar.  6, 
1794;  died  Christiania,  Nor.,  Nov.  11,  1873.  Chamber  music, 
piano  works,  and  the  opera  Irene.  (2)  Youri  von.  Com- 
poser; born  Petrograd,  Nov.  1,  1811;  died  Simferopol, 
Crimea,  Jul.  19,  1898.  Opera,  Last  Days  of  Pompeii. 

Arnoldson,  Sigrid.  Soprano;  born  Stockholm,  Swed., 
Mar.  20,  1861.  Sung  in  principal  opera  houses  of  the 
world.  Lives  Stockholm. 

Arrieta  (Ar-ree-ay-tah),  Don  Juan  Emilio.  Born  Punta 
la  Reina,  Spain,  Oct.  21,  1823;  died  Madrid,  Spain,  1894. 
Composed  zarzuelas  (light  Spanish  operas). 


ARS 


596 


BAILLOT 


Ars,   Nicolai.     Composer,   conductor;   born   Moscow,   Rus.. 

1857.     Composed  operettas,  symphonic  poems. 
Artchiboutchev    (Ar-chee-boot-cheff),   Nicolai.     Composer, 

teacher;  born  Tsarskoe-Selo,  Rus.,  Mar.  7,  1858.    Composed 

songs  and  piano  pieces. 

Arthur,  Alfred.  Teacher  of  singing,  theorist ;  born  Pitts- 
burgh, Pa.,  Oct.  8,  1844.  Composed  church  music,  songs, 

etc.     Director  Cleveland,  O.,  School  bf  Music. 
Artot  (Ar-to),  (1)  Alexandre  J.    Violinist,  composer;  born 

Brussels,  Bel.,  Jan.  25,  1815 ;  died  near  Paris,  Jul.  20,  1845. 

(2)   Desiree.     Mezzo-soprano;  born  Paris,  Jul.  31,  1835; 

died  Berlin,  Apr.  3,  1907. 
Asantchevski    (Ah-sahnt-sheff-skee),   Michael.     Composer; 

born  Moscow,  Rus.,  1838;  died  there,  Jan.  24,  1881.     Com- 
posed overtures,  chamber  music  and  piano  pieces. 
Ascher,  Joseph.     Composer;  born  Groningen,  Hoi.,  Jun.  24, 

1829;   died   London,   Jun.   4,    1869.     Composer   of   popular 

salon  music. 
Ashton,  Algernon.    Pianist,  composer;  born  Durham.  Eng., 

Dec.  9,   1859.     Composed  chamber  music,   symphonies    (in 

manuscript),  concertos,  etc.     Lives  London. 
Astorga,  Emmanuele  Baron  d".     Composer;  born  Palermo, 

Italy,    Dec.    11,    1681;    died    Prague,    Boh.,    Aug.    21,    1736. 

Sacred  music. 
Atherton,   Percy  Lee.     Composer;   born  Boston,   Sept.  25, 

1871.      Composed    orchestral    works,    violin    pieces,    piano 

works,  songs,  etc.    Lives  Boston. 
Atkins,  Ivor  Algernon.     Organist,  composer;  born  Cardiff, 

Wales,  Nov.  29,   1869.     Organist  Worcester   Cathedral. 

Attrup,  Karl.  Organist,  composer;  born  Copenhagen,  Den., 
Mar.  4,  1848;  died  there,  1892.  Composed  organ  music. 

Attwood,  Thomas.  Organist,  composer;  born  London,  Nov. 
23,  1765;  died  there,  Mar.  24,  1838.  Organist  St.  Paul's 
Cathedral,  London;  pupil  of  Mozart. 


Auber  (O-bare),  Daniel  Francois  Esprit.  Composer;  born 
Caen,  France,  Jan.  29,  1782;  died  Paris,  May  12,  1871. 
Wrote  a'  great  number  of  operas — Masaniello,  Le  Ma(on, 
Fra  Diavolo,  Zanctta.  etc. 

Aubert  (O-bare),  Louis.  Composer;  born  Parame,  France, 
Feb.  15,  1877.  Composed  the  opera  La  Foret  Bleue,  etc. 
Modern  French  school. 

Audran  (O-drong),  Edmond.  Composer;  born  Lyons, 
Fran.ce,  Apr.  11,  1842;  died  Tierceville,  France,  Aug.  17, 
1901.  Light  operas. 

Auer,  Leopold.  Violinist;  born  Veszprim,  Hun.,  May  28, 
1845.  Teacher  of  Elman,  Heifetz  in  Petrograd.  Located  in 
New  York  after  Russian  revolution,  1917.  , 

Aulin  (Oh-tin),  Tor.  Violinist,  composer;  born  Stock- 
holm, Swed.,  Sept.  10,  1866.  Composed  effective  violin 
music. 

Aus  der  Ohe  (Ous-der-Oh-eh) ,  Adele.  Pianist;  born  Ger- 
many, 1865.  Pupil  of  Liszt.  Wrote  piano  suites,  etc. 

Austin,  Ernest.  Composer;  born  London,  Dec.  31,  1874. 
Lives  London. 

Auteri-Manzocchi  (0-tay-rce-Man-zok-kee),  Salvatore.  Com- 
poser ;  born  Palermo,  Italy,  Dec.  25,  1846.  Composed  a 
number  of  operas. 

Averkamp,  Anton.  Composer,  conductor;  born  Langerak, 
Hoi.,  Feb.  18,  1861.  Composed  works  for  orchestra.  Lives 
Amsterdam. 

Avison,  Charles.  Composer;  born  Newcastle-on-Tyne,  Eng., 
1710;  died  there,  May  9,  1770.  Popular  in  his  day.  Re- 
ferred to  by  Browning  in  one  of  his  poems. 

Ayres,  Frederic.  Composer;  born  Binghamton,  N.  Y.,  Mar. 
17,  1876.  Composed  piano  pieces  and  songs.  Lives  Colo- 
rado Springs,  Col. 


B 


Bach  family.  Most  famous  of  musical  families;  traced  to 
Hans  Bach,  born  1561,  and  including  over  twenty  well- 
known  musicians.  The  great  J.  S.  Bach  himself  had  nine- 
teen children,  seven  becoming  professional  musicians ;  his 
grandson,  Wilhelm  Friedrich  Ernst,  lived  until  1845. 

Bach,  (1)  Johann  Sebastian.  Composer;  born  Eisenach, 
Ger.,  Mar.  21,  1685 ;  died  Leipzig,  Ger.,  July  28,  1770.  Father 
of  modern  music.  Equally  great  as  composer,  organist,  and 
player  on  the  clavichord.  His  works — organ  sonatas,  pre- 
ludes and  fugues,  compositions  for  clavichord,  Passion 
music,  sacred  cantatas,  of  which  latter  no  fewer  than  226 
are  still  extant,  masses,  etc. — constitute  the  fountain-head 
of  modern  music.  It  is  a  notable  fact  that  Bach  and  Han- 
del were  born  in  the  same  year.  (2)  Johann  Christoph 
Friedrich,  called  the  "Biickeburg  Bach";  born  Leipzig, 
June  23,  1732;  died  Buckeburg,  Ger.,  Jan.  26,  1795.  In 
style  of  composition  he  approached  his  brother  Emanuel. 

(3)  Karl    Philipp    Emanuel.      Composer,    pianist;    born 
Weimar,  Ger.,  Mar.  8,  1714;  died  Hamburg,  Ger.,  Dec. 
14,  1788.     Third  son  of  J.  S.  Bach.     Musical  director  at 
Hamburg,  1767.     His  compositions  mark  the  transition 
from  his  father's  style  to  that  of  Haydn  and   Mozart. 

(4)  Wilhelm    Friedemann.     Organist,    composer;    born 
Weimar,  Ger.,  Nov.  22,  1710;  died  Berlin,  Jul.  1,  1784. 
Son  of  (1). 


Bache,  Walter.  Pianist;  born  Edgbaston,  Eng.,  Jun.  19,. 
1842;  died  London,  Mar.  26,  1888.  Pupil  of  Liszt. 

Bachmann,  Alberto.  Violinist,  composer;  born  Geneva, 
Switz.,  Mar.  20,  1875.  Lives  New  York. 

Bachmann,  Georges.  Composer;  born  1848;  died  Paris, 
Dec.  (?),  1894.  Prolific  piano  composer. 

Bachrich,  Sigismund.  Violinist,  composer;  born  Hun- 
gary, 1841. 

Backer-Grondahl,  Agathe.  Composer,  pianist ;  born  Holme- 
strand,  Nor.,  Dec.  1,  1847 ;  .  died  Christiania.  Nor.,  Aug., 
1907.  Composed  attractive  songs  and  piano  pieces. 

Backhaus  (Bachaus),  Wilhelm.  Pianist;  born.  Leipzig, 
Ger.,  Mar.  26,  1884.  Won  Rubinstein  prize,  1905. 

Badarczewska  (Bad-ar-chcf-skah),  Thekla.    Composer;  born 

Warsaw,  Pol.,  1838;  died  there,  1862. 
Baermann.     See  Barmann. 
Bagge,  Selmar.     Organist,  writer;  born  Coburg,  Ger.,  Jun. 

30,  1823;  died  Basel,  Switz.,  Jul.  15,  1896. 
Bailey,  Marie  Louise.    Pianist;  born.  Nashville,  Tenn.,  Oct. 

24,  1876.     Pupil  of  Leschetizky.     Lives  Vienna. 
Baillot    (Bi-yo),  Pierre  Marie.     Violinist,  composer;  born 

Passy,  France.   Oct.   1,  1771;  died  Paris,   Sept.   15,   1842. 

The    principal    French    violinist   of    his    day.     His    etudes 

and  L'art  du  violon  belong  to  the  classics  of  violin  playing. 


BAINI 


597 


BAUMBACH 


Baini  (Bah-ee-nee) ,  Giuseppe.  Composer,  writer;  born 
Rome,  Oct.  21,  1775;  died  there,  May  21,  1844.  Composed 
sacred  works;  wrote  a  monograph  on  Palestrina. 

Bainton,  Edgar  L.  Composer,  pianist;  born  Coventry,  Eng. 
Composed  Pompilia,  Celtic  Sketches,  etc.,  for  orchestra. 
Lives  Newcastle-on-Tyne,  Eng. 

Bajeti  (Bah-yay-tcc) ,  Giovanni.  Composer;  born  Brescia, 
Italy,  1815;  died  Milan,  Italy,  1876.  Wrote  operas. 

Baker  (1).  Benjamin  Franklin.  Composer,  teacher  of 
singing;  born  Wenham,  Mass.,  Jul.  16,  1811;  died  Boston, 
Mar.  11,  1889.  Succeeded  Lowell  Mason  as  public 
school  music  teacher  in  Boston.  Composed  three  can- 
tatas (The  Storm  King,  etc.),  and  other  vocal  music.  (2) 
Dalton.  Baritone;  born  Merton,  Eng.,  Oct.  17,  1879. 
Successful  oratorio  and  concert  artist.  (3)  Theodore. 
Writer;  born  New  York,  1851.  Authority  on  Indian 
music;  writer  of  musical  dictionaries.  With  G.  Schirmer, 
music  publisher,  New  York. 

Balakireff  (Bah-lah-kec-reff),  Mily  Alexeievitch.  Composer; 
born  Novgorod,  Rus.,  Dec.  3.1,  1836;  died  Petrograd, 
1910.  At  twenty  became  the  center  of  a  group  of  Russian 
nationalists,  the  others  being  Cui,  Borodin,  Moussorgsky 
and  Rimsky-Korsakoff.  Balakireff  wrote  the  symphonic 
poems  Tamara  and  Russia,  music  to  King  Lear,  a  sym- 
phony, some  finely  wrought  songs  and  brilliant  piano  pieces 
(Islamey,  Sonata,  2nd  Scherzo,  etc.). 

Balart  (Bahlahr),  Gabriel.  Composer,  conductor;  born 
Barcelona,  Spain,  1824;  died  there,  1893.  Wrote  zar- 
zuelas  (light  Spanish  operas). 

Balatka,  Hans.  Conductor,  "cellist;  born  Hoffnungsthal, 
Aus.,  Mar.  5,  1827;  died  Chicago,  Apr.  17,  1899. 

Balfe,  Michael  William.  Composer;  born  Dublin,  Ire., 
May  15,  1808;  died  Rowny  Abbey,  Eng.,  Oct.  20,  1870. 
Best  remembered  by  opera  The  Bohemian  Girl  (1843). 

Ball,  Ernest  R.  Composer;  born  Cleveland,  O.,  Jul.  21, 
1878.  Many  popular  songs.  Lives  New  York. 

Balthasar,  Henry  Mathias.  Composer;  born  Arlon,  Bel., 
1844.  Wrote  operas,  symphonies,  cantatas,  concertos, 
etc. 

Banister,  Henry  Charles.  Theorist,  writer;  born  London, 
Jura.  13,  1831 ;  died  there,  Nov.  20,  1897.  Wrote  cantatas, 
overtures,  chamber  music,  musical  literature. 

Bantock,  Granville.  Composer;  born  London,  Aug.  7,  1868. 
Composer  of  modern  school;  chief  works:  cantata  The 
Fire-worshippers,  operas  Caedmar  and  The  Pearl  of  Iran, 
overtures  Saul  and  The  Pierrot  of  the  Minute,  symphonic 
poem  The  Curse  of  Kehama.  His  Atalanta  in  Calydon  is 
for  voices  alone,  symphonic  style.  Professor  of  music, 
University  of  Birmingham,  Eng. 

Barbieri  (Bahr-bee-ay-ree).  (1)  Carlo  Emmanuel.  Com- 
poser; born  Genoa,  Italy,  1822;  died  Pesth,  Hun.,  1867. 
(2)  Francisco  Asenjo.  Composer;  born  Madrid,  Spain, 
Aug.  3,  1823;  died  there,  Feb.  17,  1894.  Composed  very 
popular  zarzuelas,  also  orchestral  works. 

Barblan,  Otto.  Organist,  composer;  born  Scanfs,  Switz., 
Mar.  22,  1860.  Teacher  at  the  Conservatory,  Geneva, 
Switz.  Organ  and  piano  works,  cantata,  etc. 

Bardi,  Giovanni,  Conte  del  Vernio.  About  1534-1612;  a 
wealthy  Florentine,  at  whose  house  Peri  and  others 
made  the  first  experiments  in  opera. 


Bargiel,  Woldemar  Composer,  pianist;  born  Berlin,  Oct. 
3,  1828;  died  there,  Feb.  23,  1897.  Wrote  a  symphony, 
three  concert  overtures,  and  much  piano  music.  Step- 
brother of  Clara  Schumann. 

Barman  (Bare-man).  (1)  Heinrich.  Clarinetist;  born  Pots- 
dam, Ger..  Feb.  14.  1784;  died  Munich,  Ger.,  Jun.  11,  1847. 
Wrote  technical  works  for  the  clarinet.  (2)  Karl.  Pianist, 
teacher;  born  Munich,  Ger.,  Jul.  9,  1839;  died  Newton, 
Mass.,  Jan.  17,  1913.  Distinguished  teacher  in  Boston. 

Barnard,  Mrs.  Charlotte  Alington.  Composer;  born  Dec. 
23,  1830;  died  Dover,  England,  Jan.  30,  1869.  Wrote  un- 
der the  pen-name  "Claribel." 

Barnby,  Sir  Joseph.  Composer,  conductor;  born  York, 
Eng.,  Aug.  12,  1838;  died  London,  Jan.  28,  1896.  Wrote 
admirable  church  music. 

Barnekow  (Bahr-neh-koff) ,  Christian.  Composer;  born  St. 
Sauveur,  1837.  Danish  composer  of  chamber  music,  piano 
pieces  and  songs. 

Barnett.  (1)  John.  Composer;  born  Bedford,  Eng.,  Jul. 
1,  1802;  died  Cheltenham,  Eng.,  Apr.  17,  1890.  Wrote 
several  operas,  chief  among  them  being  The  Mountain 
Sylph.  Also  a  number  of  other  compositions  of  various 
kinds,  including  nearly  4000  songs.  (2)  John  Francis. 
Pianist,  composer,  conductor;  born  London,  Oct.  16, 
1837.  His  works  include  a  number  of  excellent  cantatas. 
Royal  College  of  Music,  London.  Nephew  of  (1). 

Barrett,  William  Alexander.  Writer;  born  London,  Oct. 
15,  1836;  died  there,  Oct.  17,  1891.  For  a  number  of 
years  editor  of  the  Musical  Times. 

Bartay  (Bahr-tye),  Andreas.  Composer;  born  Szeplak, 
Hun.,  1798;  died  Mainz,  Ger.,  1856.  Composed  princi- 
pally operas. 

Earth,  Karl  Heinrich.  Pianist,  conductor;  born  Pillau, 
Ger.,  Jul.  12,  1847.  Royal  High  School  of  Music,  Berlin. 

Bartlett.  (1)  Homer  Newton.  Composer,  pianist,  organist; 
born  Olive,  N.  Y.,  Dec.  28,  1845.  Composed  a  cantata. The 
Last  Chieftain,  a  sextet  for  strings  and  flute,  many  vocal 
and  piano  pieces.  (2)  James  Carroll.  Tenor,  composer; 
born  Harmony,  Me.,  Jun.  14,  1850;  died  Apr.  3,  1920. 

Bartok,  Bela.  Pianist,  composer;  born  Nagy  Szent  Mikles, 
Hun.,  1881.  Compositions  in  advanced  modern  style. 
Lives  Pesth. 

Bassford,  William  Kipp.  Pianist,  composer;  born  New 
York,  Apr.  23,  1839;  died  there,  1902. 

Bassi,  Amedeo  Vittorio.  Tenor;  born  Florence,  Italy,  Jul. 
25,  1876.  Chicago  Opera  Co.  Lives  Florence. 

Bastiaans,  J.  G.  Organist,  composer;  born  Wilp,  Hoi., 
1812;  died  Haarlem,  Hoi.,  1875. 

Batchelder,  John  C.  Pianist,  organist;  born  Topsham,  Vt, 
1852.  .Detroit  Conservatory  of  Music. 

Bath,  Hubert.  Composer,  conductor;  born  Barnstaple, 
Eng.,  Nov.  6,  1883.  Guildhall  School  of  Music,  London. 

Batiste  (Bah-teest),  Antoine-Edouard.  Organist,  com- 
poser; born  Paris,  Mar.  28,  1820;  died  there,  Nov.  9, 
1876. 

Batta,  Joseph.  'Cellist,  composer;  born  Maestricht,  Hoi., 
1824. 

Bauer,  Harold.  Pianist;  born  near  London,  Apr.  28,  1873. 
Distinguished  virtuoso.  Lives  New  York. 

Baumbach,  Adolf.  Composer,  teacher;  born  Germany, 
1830;  died  Chicago,  1880. 


BAUMFELDER 


598 


BENNETT 


Baumf elder,  Friedrich.  Pianist,  composer;  born  Dresden, 
Ger.,  May  28,  1836.  Conductor  Singakademie,  Dresden. 

Baussnern,  Waldemar  von.  Composer ;  conductor ;  born 
Berlin,  Nov.  29,  1866.  Chief  works :  operas  Diircr  in  Vene- 
dig,  Herbert  und  Hilde,  Der  Bundschuh;  songs  with  or- 
chestra, chamber  music,  etc.  Grand  Ducal  Music  School, 
Weimar,  Ger. 

Bax,  Arnold.  Composer;  born  London,  Nov.  8,  1883. 
Compositions  in  modern  syle.  Lives  Rathgar,  Ire. 

Bayer,  Josef.  Composer;  born  Vienna,  Mar.  6,  1852.  Com- 
posed principally  ballets  and  operettas. 

Bazin  (Bah-sang),  Frangois-Emanuel-Joseph.  Theorist; 
born  Marseilles,  France,  1816;  died  Paris,  1878.  Teacher 
of  composition,  etc.,  at  Paris  Conservatory. 

Bazzini  (Bat-zcen-ee),  Antonio.  Violinist,  composer;  born 
Brescia,  Italy,  Mar.  11,  1818;  died  Milan,  Italy,  Feb.  10, 
1897.  Wrote  orchestral  works  and  excellent  chamber 
music. 

Beach,  Mrs.  H.  H.  A.  Pianist,  composer;  born  Henniker, 
N.  H.,  Sept.  5,  1867.  Chief  works,  Gaelic  Symphony,  can- 
tatas, mass  with  orchestra,  piano  concerto,  and  many  beau- 
tiful songs  and  piano  pieces.  Lives  Boston. 

Beaumont,  Paul.  Composer;  born  Mainz,  Ger.,  Jan..  13, 
1853.  Fine  teaching  pieces  and  salon  music. 

Beazley,  James  Charles.  Composer,  teacher;  born  Ryde, 
Isle  of  Wight,  Eng.,  1850.  Composed  cantatas,  violin, 
and  piano  pieces.  Lives  Ryde. 

Beck,  Johann  H.  Violinist,  composer;  born  Cleveland, 
O.,  Sept.  12,  1856.  Lives  Cleveland.  Works  (mostly 
MS.),  overtures  Lara  and  Romeo  and  Juliet,  music  drama 
Salammbo,  cantata  Deucalion,  chamber  music,  etc. 

Becker.  (1)  Albert  Ernst  Anton.  Composer;  born  Quedlin- 
burg,  Ger.t  Jun.  13,  1834;  died  Berlin,  Feb.  10,  1899.  Com- 
posed a  symphony,  a  mass,  an  oratorio,  violin  concertos, 
etc.  (2)  Hugo.  'Cellist;  born  Strassburg,  Alsace,  Feb. 
13,  1864.  Royal  High  School  for  Music,  Berlin.  (3)  Rene 
Louis.  Pianist,  organist,  composer;  born  Bischheim,  Al- 
sace, Nov.  7,  1882.  Organ  compositions  especially  valu- 
able. Lives  Alton,  111. 

Bedford,  Mrs.  Herbert.    See  Lehmann,  Liza. 

Beel,  Sigmund.  Violinist;  born  California,  Mar.  13,  1863. 
Lives  San  Francisco. 

Beethoven,  Ludwig  van.  Composer;  born  Bonn,  Ger.,  Dec. 
16,  1770;  died  Vienna,  Mar.  26,  1827.  Distinguished  him- 
self first  as  a  pianist.  Made  various  concert  tours  (1781- 
1796).  Although  a  number  of  his  youthful  compositions 
had  already  been  published  it  was  not  until  his  twenty-fifth 
year  (1795)  that  Beethoven  produced  anything  to  which 
he  appears  to  have  thought  it  worth  while  to  attach  an 
opus  number.  To  this  year  belong  the  three  pianoforte 
trios,  Op.  1,  and  the  three  piano  sonatas  (Op.  2)  dedicated 
to  Haydn.  From  1795  dates  the  beginning  of  Beethoven's 
influence  on  musical  art,  an  influence  the  extent  of  which 
it  is  impossible  to  set  down  in  words.  Of  works  bearing 
a  separate  opus  number,  Beethoven  left  138,  including  9 
symphonies,  7  concertos,  1  septet,  2  sextets,  3  quintets,  16 
quartets,  32  piano  sonatas,  16  other  sonatas,  8  piano  trios, 
1  opera,  2  masses,  etc. 

Behm,  Eduard.  Composer,  conductor;  born  Stettin,  Ger., 
Apr.  8,  1862.  Opera  and  orchestral  composer.  Lives 
Berlin*. 


Behr,  Franz.  Composer;  born  Lvibtheen,  Ger.,  Jul.  22, 
1837;  died  Dresden,  Ger.,  Feb.  14,  1898.  Wrote  salon 
music  and  light  pieces  suitable  for  beginners.  Used 
pseudonyms  Cooper,  Charles  Morley,  Francesco  d'Orso. 

Behrend,  Arthur  Henry.  Composer ;  born  Danzig,  Ger., 
Oct.  21,  1853.  Many  popular  songs — Daddy,  Auntie,  etc. 
Lives  London. 

Beliczay  (Bay-li-tchay),  Julius  von.  Composer;  born  Ko- 
morn,  Hun.,  Aug.  10,  1835;  died  Pesth,  Hun.,  Apr.  30, 
1893.  Wrote  a  well-known,  mass,  a  symphony,  and 
smaller  works. 

Bell,  William  Henry.  Composer;  born  St.  Albans,  Eng., 
Aug.  20,  1873.  Director  College  of  Music,  Cape  Town, 
South  Africa.  Orchestral  works  and  chamber  music. 

Bellincioni  (Bcl-lin-chcc-oh-nec),  Gemma.  Coloratura  so- 
prano; born  Como,  Italy,  Aug.  18,  1866.  Lives  Berlin. 

Bellini,  Vincenzo.  Composer;  born  Catania,  Italy,  Nov.  1, 
1801 ;  died  Puteaux,  France,  Sept.  23,  1835.  One  of  the 
lights  of  Italian  opera.  His  wealth  of  melody  is  evinced 
in  his  operas  //  Pirata,  La  Sonnambula,  Norma,  I  Puritani, 
and  others. 

Bemberg  (Bcm-bair),  Herman.  Composer;  born  Paris, 
Mar.  29,  1861.  Composed  opera  Elaine,  a  comic  opera,  and 
some  famous  songs  (Chant  Indouc.  Nymphs  and  Fauns, 
etc.).  Lives  Paris. 

Benda,  Georg.  Composer;  born  Jupgbunzlau,  Boh.,  Jun.  30, 
1722;  died  Kostritz,  Boh.,  Nov.  6,  1795.  Wrote  Singspiele, 
melodramas,  etc. 

Bendall,  Wilfred.  Composer ;  born  London,  Apr.  22,  1850. 
Composed  operettas  and  songs.  Lives  London. 

Bendel,  Franz.  Pianist,  composer;  born  near  Rumburg, 
Boh.,  M>ar.  23,  1833;  died  Berlin,  Jul.  3,  1874.  Pupil  of 
Liszt;  composed  piano  pieces  and  songs. 

Bendix.  (1)  Victor  E.  Pianist,  composer;  born  Copen- 
hagen, Den.,  May  17,  1851.  Pupil  of  Gade;  composed 
three  symphonies,  piano  works,  etc.  Lives  Copenhagen. 
(2)  Max.  Violinist,  teacher;  born.  Detroit,  Mich.,  Mar. 

28,  1866.     Lives   Chicago.      (3)    Otto.     Pianist,   teacher; 
born   Copenhagen,   Den.,  Jul.  26,   1845;   died  San   Fran- 
cisco, Mar.  1,  1904. 

Bendl,  Karl.  Composer;  born  Prague,  Boh.,  Apr.  16,  1838; 
died  there,  Sept.  20,  1897.  Wrote  operas  (still  in  reper^ 
toire),  masses,  cantatas,  orchestral  works,  songs,  cho- 
ruses, and  piano  music. 

Benedict.  (1)  Sir  Julius.  Composer,  conductor;  born 
Stuttgart,  Ger.,  Nov.  27,  1804;  died  London,  Jun.  5, 
1885.  Pupil  of  Hummel  and  Weber.  From  1835  lived 
in  London.  Held  various  posts  as  conductor.  Of  his 
numerous  compositions  of  all  kinds,  the  opera  The 
Lily  of  Killarney  and  the  oratorio  St.  Peter  are  best  known. 
(2)  Milo  Ellsworth.  Pianist,  teacher;  born  Cornwall, 
Vt.,  Jun  9,  1866.  Pupil  of  Liszt.  Lives  Concord,  N.  H. 

Bennett.     (1)  Joseph.    Writer;  born  Berkeley,  Eng.,  Nov. 

29,  1831;  died  Purton,  Eng.,  Jun.  12,  1911.    Musical  critic, 
London   Telegraph.      (2)    Sir  William  Sterndale.     Com- 
poser; born  Sheffield,  Eng.,  Apr.  13,  1816;  died  London, 
Feb.  1,  1875.     At  the  age  of  sixteen  Bennett  performed 
his  own  piano  concerto,  and  was  commended  by  Mendels- 
sohn.    Professor  of  music  at  Cambridge  University;  con- 
ductor  of   the   Philharmonic   Society,   London;    1866  prin- 
cipal    of     the     Royal     Academy.        (3)      George     John. 
Composer,  organist;  born.  Andover,  Eng.,  May  5,   1863. 
Organist  Lincoln  Cathedral. 


BENOIST 


599 


BIRD 


Benoist,  Frangois.  Organist,  composer;  born  Nantes, 
France,  Sept.  19,  1794;  died  Paris,  1878. 

Benoit  (Ben-wah),  Pierre-Leonard-Leopold.  Composer; 
born  Harlebecke,  Bel.,  Aug.  17,  1834;  died  Antwerp,  Bel., 
Mar.  8,  1901.  Leader  in  Belgian  music.  Wrote  large  can- 
tatas (War,  Rubens  Cantata,  The  Rhine,  etc.),  operas, 
marches,  a  choral  symphony,  etc. 

Berber,  Felix.  Violinist;  born  Jena,  Ger.,  Mar.  11,  1871. 
Distinguished  virtuoso.  Lives  Munich,  Ger. 

Berens,  Hermann.  Pianist,  composer;  born  Hamburg, 
Ger.,  Apr.  7,  1826;  died  Stockholm,  Swed.,  May  9,  1880. 
Composed  educational  material. 

• 

Beresowski  (Be-re-soff-skce),  Maxim.  Composer;  born 
1745;  died  1777.  Russian  sacred  music. 

Berger.  (1)  Francesco.  Pianist,  teacher;  born  Londoni 
Jun.  10,  1835.  Royal  Academy  of  Music,  London.  (2) 
Ludwig.  Pianist,  teacher;  born  Berlin,  Apr.  18,  1777; 
died  there,  Feb.  16,  1839.  (3)  Wilhelm.  Composer; 
born  Boston,  Aug.  9,  1861;  died  Meiningen,  Ger.,  Jan.  16, 
1911.  Choral  works,  chamber  music,  songs,  etc. 

Berggren,  Andreas  Peter.  Composer,  teacher;  born  Copen- 
hagen, Den.,  Mar.  2,  1801 ;  died  there,  Nov.  9,  1880.  Ad- 
vocate of  Danish  music. 

Bergmann,  Karl.  Conductor;  born  Ebersbach,  Ger..  1821; 
died  New  York,  Aug.  16,  1876.  Leader  of  GefWnia 
Orchestra,  New  "York  Philharmonic,  etc.,  pioneer  in  de- 
velopment of  musical  appreciation.  Teacher  of  Theo- 
dore Thomas. 

Bergson,  Michael.  Composer;  born  Warsaw,  Pol.,  1820; 
died  London,  1898. 

Beringer,  Oscar.  Pianist,  teacher;  born  Furtwangen,  Ger., 
Jul.  14,  1844.  Royal  Academy  of  Music,  London. 

Beriot  (Bay-ree-o).  (1)  Charles  Auguste  de.  Violinist, 
composer;  born  Louvain,  Bel.,  Feb.  20,  1802;  died  Brus- 
sels, Bel.,  Apr.  8,  1870.  One  of  the  great  violinists  of 
the  last  century.  His  compositions  hold  an  important 
place  in  the  repertory  of  every  violinist.  (2)  Ch.  Vil- 
fride  de.  Composer;  born  Paris,  1833.  Son  of  (1). 
Composed  orchestral  and  chamber  music. 

Berlioz  (Bair-lee-oz),  Hector.  Composer;  born  La  Cote 
St.  Andre,  France,  Dec.  11,  1803;  died  Paris,  Mar.  8, 
1869.  Intended  by  his  father,  a  doctor,  for  the  medical 
profession.  Arriving  in  Paris,  Berlioz  preferred  to  fol- 
low his  own  inclinations,  which  lay  in  the  direction  of 
music.  As  a  consequence  of  this  determination,  his  fam- 
ily left  him  for  some  time  to  support  himself  as  best 
he  could.  Becoming  reconciled  to  his  father,  he  was 
afterward  given  full  permission  to  continue  musical 
studies.  Later  Berlioz  made  a  number  of  very  suc- 
cessful concert  tours,  of  which  he  gives  lively  descrip- 
tions in  his  Autobiography.  As  a  composer,  Berlioz  be- 
longs to  the  advanced  Romantic  School.  Among  his  nu- 
merous compositions  are  the  symphonies  Symphonie  fan- 
tastique,  Harold,  Romeo  et  Juliet,  the  great  dramatic  legend 
Faust,  the  operas  Benvenuto  Cellini  and  Les  Troyens;  the 
immense  Requiem,  and  a  number  of  lesser  compositions  of 
all  kinds. 

Bernacchi  (Bare-nack-kee),  Antonio.  Singer,  teacher: 
born  Bologna,  Italy,  about  1690;  died  there,  Mar.  1756. 
Famous  master  of  the  old  Italian  style  of  singing. 


Bernard  (Barc-nahr),  Emile.  Composer,  organist;  born, 
Marseilles,  France,  Nov.  28,  1843;  died  Paris,  Sept.  11, 
1902.  Composed  concertos,  suites,  cantatas,  chamber 
music,  etc. 

Bernecker,  Konstantin.  Composer;  born  Konigsberg,  Ger., 
Oct.  31,  1844;  died  there,  Jun.  9,  1906.  Cantatas,  orato- 
rios, secular  choral  works. 

Bertini,  Henri  Jerome.  Composer,  pianist;  born  London, 
Oct.  28,  1798;  died  Meylan,  France,  Oct.  1,  1876.  His 
etudes  are  in  very  general  use  in  connection  with  the 
earlier  stages  of  piano  study. 

Berwald  (Bair-valt).  (1)  Franz.  Composer;  born  Stock- 
holm, Swed.,  1796;  died  there,  1868.  Opera  composer. 
(2)  William  Henry.  Pianist,  composer;  born  Schwerin- 
Mecklenburg,  Ger.,  Dec.  26,  1864.  Syracuse  University, 
Syracuse,  N.  Y. 

Besekirsky,  Vassily  Vassilievitch.  Violinist,  teacher ;  born 
Moscow,  Rus.,  Jan.  27,  1835.  Teacher  at  Conservatory 
of  Moscow,  and  of  many  prominent  Russian  violinists. 

Besson  (Bes-song),  Gustave  August.  Musical  instrument 
maker ;  born  Paris,  1820 ;  died  there,  1875.  Improved  wind 
instruments. 

Best,  William  Thomas.  Organist;  born  Carlisle,  Eng., 
Aug.  13,  1826;  died  Liverpool,  Eng.,  May  10,  1897.  One 
of  the  foremost  English  organists  of  his  day. 

Bevan,  Frederick  Charles.  Composer;  born  London.,  Jul. 
3,  1856.  Concert  singer  and  song  composer.  Lives  in 
Australia. 

Bevignani  (Beh-vi-nyah-nee),  Enrico  Cavaliere.  Conductor; 
born  Naples,  Italy,  Sept.  29,  1841.  Italian  opera  conductor. 

Beyer,  Ferdinand.  Composer,  pianist;  born  Querfurt, 
Ger.,  Jul.  25,  1803;  died  Mainz,  Ger.,  May  14,  1863.  Best 
known  for  a  piano  Method. 

Bianchi  (Bee-ang-kec),  Bianca.  Soprano,  teacher;  born 
Ger.,  Jun.  27,  1858.  Akademie  der  Tonkunst,  Munich,  Ger. 

Biber   (Bce-ber),  Heinrich  Johann  Franz  von.     Violinist, 

composer;  born  Wartenburg,   Boh.,  Aug.   12,   1644;  died 

Salzburg,  Aus.,   May  3,   1704.     Wrote   some  fine   violin 

sonatas. 
Biedermann,    Edward   Julius.     Organist,    composer;    born 

Milwaukee,   Wis.,   Nov.   8,    1849.     Composer   of   masses, 

etc.     Organist  in  New  York. 
Biehl,  Albert.     Composer;  born  Rudolstadt,  Ger.,  Aug.  16, 

1833.     Wrote  piano  studies  and  pieces.     Lived  at  Ham- 
burg, Ger. 
Bignami  (Been-yah-mee),  Carlo.    Violinist,  composer;  born 

Cremona,   Italy,    1808;    died   Voghera,    Italy,    1848.     Called 

by  Paganini  "the  first  violinist  of  Italy." 
Billings,  William.     Composer;  born  Boston,  Oct.  7,  1746; 

died  there,   Sept.  29,   1800.     One  of  the   first  American 

composers  of  sacred  music. 
Billington,  Elizabeth.    Soprano;  born  London,  about  1768; 

died   St.   Artein,   Aug.   25,    1818.     A   celebrated   English 

soprano. 
Binchois,  Egidius  (or  Gilles  de  Binche).     Composer;  born 

Binche,    France,    about    1400;    died    Lille,    France,    1460. 

Sacred   and   secular  composer  of   Flemish  contrapuntal 

school. 
Bird,  Arthur.     Composer;  born   Cambridge,   Mass.,  Jul.  23, 

1856.      Composed    a    symphony,    three    orchestral    suites, 

the  comic  opera  Daphne,  ballet  Riibezahl,  and  much  piano 

music.     Lives  in  Berlin. 


BISCHOFF 


600 


BOHLMANN 


Bischoff.  (1)  J.  W.  Organist,  composer;  born  Chicago 
1850;  died  Washington,  D.  C.,  Jun.  2,  1909.  Blind  from 
infancy.  (2)  Herman.  Composer;  born  Duisburg,  Ger., 
Jan.  7,  1868.  Composed  symphonies,  orchestral  idyl 
fan,  etc.  Lives  Munich,  Ger. 

Bishop.  (1)  Sir  Henry  Rowley.  Composer;  born  London, 
Nov.  18,  1786;  died  there,  Apr.  30,  1855.  Gave  early  in- 
dication of  musical  talent.  Produced  his  Circassian  Bride 
in  1809.  In  consequence  of  its  great  success  he  was  made 
conductor  at  Covent  Garden  in  the  following  year.  A 
long  succession  of  highly  successful  dramatic  compositions, 
overtures,  and  songs  gradually  brought  him  to  the  front 
as  one  of  the  most  deservedly  popular  composers  of  his 
day.  Although  he  wrote  much  excellent  music  of  various 
kinds,  Bishop  is  now  chiefly  remembered  for  his  glees  and 
part  songs,  and  as  the  composer  of  Home,  Sweet  Home. 
(2)  Anna.  Soprano;  born  London,  1814;  died  New  York, 
Mar.  18,  1884.  Wife  of  (1).  (3)  John.  Organist,  the- 
orist; born  Cheltenham,  Eng.,  Jul.  31,  1817;  died  there, 
Feb.  3,  1890.  He  translated  a  number  of  foreign  works 
into  English,  among  others,  Spohr's  Violin  School  and 
Czerny's  School  of  Composition. 

Bispham,  David.     Baritone;   born   Philadelphia,   Pa.,   Jan. 

5.  1857.    Distinguished  in  opera  and  concert.     Lives  New 

York. 
Bizet,    Georges.      Composer;    born    Paris,    Oct.    25,    1838; 

died  Bougival,  France,  Jun.  3,  1875.  Wrote  a  number  of 

operas — Le  doctcur  miracle,  Lcs  pecheurs  des  perles,  La 

jolie  fillc  de  Perth,  Numa,  Djamileh,  the  immensely  popular 

Carmen,  and  music  to  L'Arlesiennc. 
Blagrove,    Henry   Gamble.     Violinist;    born    Nottingham, 

Eng.,  Oct.  20,  1811;  died  London.,  Dec.  15,  1872. 

Blahetka,  Leopoldine.  Pianist;  born  Guntramsdorf,  Aus., 
Nov.  15,  1811;  died  Boulogne,  France,  Jan.  12,  1887. 

Blangini,  Giuseppe  Marc.  Mari  Felice.  Vocalist;  born 
Turin,  Italy,  Nov.  18,  1781;  died  Paris,  Dec.,  1841.  Com- 
posed vocal  works. 

Blaramberg,  Paul.  Composer,  teacher;  born  Orenburg, 
Rus.,  Sept.  26,  1841.  Has  composed  operas,  etc.  Mos- 
cow Conservatory. 

Blaserna,  Pietro.  Teacher,  writer;  born  near  Aquileia, 
Italy,  Feb.  29,  1836.  Famous  acoustician.  University  of 
Rome. 

Blauvelt,   Lillian.     Soprano,   born   Brooklyn,   N.  Y .   Mar. 

16,  1873.     Opera  and  concert  singer.     Lives  Brooklyn. 
Blaze  (Castil-Blaze),  Francois-Henri- Joseph.    Writer;  born 

Cavaillon,  France,  Dec.  1,  1784;  died  Paris,  Dec.  11, 
1857.  A  pioneer  among  French  critical  writers ;  treated 
opera,  the  dance,  etc. 

Blech,  Leo.  Composer;  born  Aix,  Ger.,  Apr.  21,  1871. 
Composed  operas  Das  war  ich,  Aschenbrodel,  and  the 
bright  Versiegelt,  also  three  symphonic  poems. 

Bleichmann.  Julius.  Composer,  conductor;  born  Petrograd, 
Dec.  5,  1868;  died  there,  1909.  Orchestral  and  opera  com- 
poser. 

Bleyle,  Karl.  Composer;  born  Feldkirch,  Ger.,  May  7, 
1880.  Composed  symphony  Lernt  Lachen  for  voices  and 
orchestra,  Flagellantemug,  etc.  Lives  Munich,  Ger. 

Blind,  Tom  (Thomas  Greene  Bethune).  Pianist;  born  near 
Columbia,  Ga.,  about  1849;  died  Hoboken,  N.  J.,  June 

17,  1908.     A  child  of  slaves  of  James  Bethune.     Played 
and  improvised  remarkably. 


Bliss,  Philip  Paul.  Tenor,  composer;  born  Clearfield  Co., 
Pa.,  Jul.  9,  1838;  died  Ashtabula,  O.,  Dec.  29,  1876. 
Hymn  composer  ("Pull  for  the  shore,"  etc.). 

Bloch.  (1)  Ernest.  Composer,  teacher;  born  Geneva, 
Switz.,  Jul.  24,  1880.  Composed  orchestral  and  chamber 
music,  and  large  choral  works.  Lives  New  York.  (2) 
Josef.  Violinist,  composer;  born  Pesth,  Hun.,  Jan.  5, 
1862.  Wrote  a  Hungarian  Overture,  Hungarian  Rhapsody, 
suites,  violin  works,  etc.  Buda-Pesth  Conservatory. 

Blockx  (Block),  Jan.  Composer;  born  Antwerp,  Bel.,  Jan. 
25,  1851;  "died  there,  May  26,  1912.  Composed  operas 
The  Princess  of  the  Inn,  Thyl  Uylenspiegel,  The  Bride  of 
the  Sea,  the  ballet  Milenka,  and  cantatas. 

Blon,  Franz  von.  Composer,  conductor;  born  Berlin,  Jul. 
16,  1861.  Popular  military  marches.  Lives  Berlin. 

Bloomfield-Zeisler,  Fanny.  Pianist ;  born  Bielitz,  Aus.,  Jul. 
16,  1866.  Distinguished  virtuoso.  Lives  Chicago. 

Blow,  John.  Organist,  composer;  born  Westminster,  Eng., 
1648;  died  there,  Oct.  1,  1708.  One  of  the  many  distin- 
guished musicians  trained  in  the  Chapel  Royal,  time  of 
Charles  II. 

Blumenfeld,  Felix.  Composer,  pianist;  born  Kovalevska, 
Rus.,  Apr.  23,  1863.  Composed  works  for  orchestra, 
piano,  "cello.  Petrograd  Conservatory. 

Blumenthal,  Jacob.    Composer;  born  Hamburg,  Ger.,  1829; 

died  London,  May  17,  1908.    A  prolific  song  writer. 
Bobinski,  Heinrich.     Pianist;  born  Warsaw,  Pol.,  Feb.   1, 

1861.     Composed  an  overture,  piano  concerto,  etc.    Kiev, 

Rus.,  Conservatory. 
Boccherini,  Luigi.     Composer,  'cellist;  born  Lucca,  Italy. 

Feb.  19,  1743;  died  Madrid,  Spain,  May  28,  1805.     Wrote 

a    great    deal    of    excellent    and    original    chamber    music. 

Best  known  by  a  Minuet. 
Bochsa,  Robert  Nicholas.    Harpist,  composer;  born  Mont- 

medy,  France,  Aug.  9,  1789;  died  Sydney,  N.  S.  W.,  Jan. 

6,  1856. 
Bodansky,  Artur.     Conductor;  born  Vienna,  Dec.  16,  1877. 

Metropolitan  Opera  Co.,  New  York. 

Boehe  (Bay-e),  Ernest.  Composer;  born  Munich,  Ger., 
Dec.,  27,  1880.  Composed  symphonic  poems  Odysseus' 
Journey,  Circe's  Island,  Nausicaa's  Lament,  Odysseus'  Re- 
turn, Taormina,  a  Tragic  Overture,  etc.  Lives  Odenburg, 
Ger. 

Boehm  (Baym),  Theobald.  Flute-maker;  born  Munich, 
Ger.,  Apr.  9,  1794;  died  there,  Nov.  15,  1881.  Improved 
the  flute. 

Boekelman  (Bek-el-man),  Bernardus.  Pianist,  teacher; 
born  Utrecht,  Hoi.,  Jun.  9,  1838.  Since  1866  in  U.  S.; 
was  musical  director  at  Farmington  (Conn.)  Girls' 
School.  Lives  New  York. 

Boellman  (Bo-ell-man),  Leon.  Organist,  composer;  born 
Ensisheim,  Alsace,  Aug.  25,  1862;  died  Paris,  Oct.  11, 
1897.  Composed  a  symphony,  variations,  fantaisie,  etc., 
with  organ. 

Boetus  (Boethius),  Anicius.  Philosopher,  writer;  born 
Rome  about  475;  died  there  about  524.  His  De  Musica 
the  chief  authority  on  Greek  music.  Was  executed  for 
alleged  treason  by  Theodoric,  whose  counsellor  he  had 
been. 

Bohlmann,  Theodor.  Pianist;  born  Osterwieck,  Ger.,  Jun, 
23,  1865.  Cincinnati  College  of  Music. 


BOHM 


601 


BRAHMS 


Bohm,  Karl.  Pianist,  composer;  born  Berlin,  Jul.  11,  1844. 
Wrote  attractive  music  for  piano,  violin,  voice.  Lives 
Berlin. 

Boieldieu,  Frangois  Adrien.  Composer;  born  Rouen, 
France,  Dec.  IS,  1775;  died  Jarcy,  France,  Oct.  8.  1834. 
Wrote  a  number  of  successful  operas :  Zoraime  ct  Zul- 
nare,  Lc  Calif  de  Bagdad,  Jean  dc  Paris,  La  dame  blanche', 
and  others.  Boieldieu's  operas  are  distinguished  by  much 
charming  melody,  and  a  certain  naive  freshness  of  sentiment. 

Boisdeffre  (Bwa-defr) ,  Ch.-Henri-Rene  de.  Composer; 
born  Vesoul,  France,  1838;  died  Veselize,  France,  1906. 
Composed  a  symphony,  oratorio  The  Song  of  Songs,  or- 
chestral Scenes  Champetres,  chamber  music,  etc. 

Boise,  Otis  Bardwell.  Organist,  theorist;  born  Oberlin, 
O.,  Aug.  13,  1844;  died  Baltimore,  Md.,  Dec.  2,  1912. 

•  Composed  a  symphony,  two  overtures,  piano  concerto, 
etc.  Teacher  of  harmony  and  composition  at  Peabody  Con- 
servatory, Baltimore. 

Boito  (Bo-ee-to),  Arrigo.  Composer;  born  Padua,  Italy, 
Feb.  24,  1842;  died  Milan,  Italy,  Jun.  9,  1918.  Distin- 
guished both  as  poet  and  opera  composer.  His  best- 
known  opera  is  Mefistofele. 

Bolck,  Oscar.  Pianist,  composer;  born  Hohenstein,  Ger., 
Mar.  4,  1837;  died  Bremen,  Ger.,  May  2,  1888. 

Bonawitz,  J.  H.  Pianist,  composer;  born  Diirkhein,  Gtrtr. 
Dec.  4,  1839.  Lived  in  London  and  Vienna. 

Bonci,  Alessandro.  Tenor;  born  Cesena,  Italy,  1870.  Sang 
in  U.  S.  Lives  Milan,  Italy. 

Bonnet,  Joseph.  Organist,  composer;  born  Bordeaux, 
France,  Mar.  17,  1884.  Visited  U.  S.  Lives  Paris. 

Bononcini  (Buononcini),  Giovanni  Battista.  Composer; 
born  Modena,  Italy,  1660;  died  1750.  Opera  composer, 
Handel's  rival. 

Bonvin,  Ludwig.  Composer,  conductor;  born  Siders, 
Switz.,  Feb.  17,  1850.  In  U.  S.  since  1887.  Composed 
much  Catholic  church  music. 

Boott,  Francis.  Composer;  born  Boston,  Jun.  24,  1813; 
died  Cambridge,  Mass.,  Mar.  1,  1904.  Wrote  sacred 
works,  a  mass,  etc. 

Borch,  Gaston.  Composer,  "cellist;  born  Guines,  France. 
Mar.  8,  1871.  Composed  three  operas,  a  symphony,  a 
piano  concerto,  etc.  Best  known  by  songs.  Lives  New 
York. 

Bordogni  (Bor-dohn-yec),  Marco.  Singer,  teacher;  born 
Gazzaniga,  Italy,  1788;  died  Paris,  Jul.  31,  1856.  Com- 
poser of  vocalises. 

Borodin,  Alexander  Porphyrievitch.  Composer;  born  Pet- 
rograd,  Nov.  12,  1834;  died  there,  Feb.  27,  1887.  Na- 
tional Russian  School.  Famous  also  in  medicine.  Com- 
posed two  symphonies,  a  Sketch  of  the  Steppes,  opera  Prince 
Igor,  chamber  music  and  solo  works. 

Borowski  (Bor-off-skec),  Felix.  Composer,  writer,  teacher; 
born  Burton,  Eng.,  Mar.  10,  1872.  Composed  refined  piano, 
organ,  and  violin  pieces.  Chicago  Musical  College. 

Bortnianski  (Bort-nyan-skee),  Dimitri.  Composer;  born 
Gloukov,  Rus.,  1752;  died  Petrograd,  Sept.  25  (Oct.  8), 
1825.  Composer  of  Russian  church  music. 

Bo*.  Coenraad  V.  Pianist;  born  Leyden,  HoL,  Dec.  7,  1875. 
Distinguished  accompanist.  Lives  New  York. 


Bossi,  Marco  Enrico.  Organist,  composer ;  born  Salo,  Italy, 
Apr.  25,  1861.  Leading  Italian  composer.  Works  include 
organ  concertos,  cantata  Paradise  Lost,  operas  Paquita, 
The  Wanderer,  and  The  Angel,  chamber  music  and  many 
shorter  pieces.  Lives  Como,  Italy. 

Botta,  Luca.  Tenor;  born  Amalfi,  Italy,  Apr.  16,  1884; 
died  New  York,  1917. 

Bottesini  (Bot-te-see-nee),  Giovanni.  Double-bass  player; 
born  Crema,  Italy,  Dec.  24,  1823;  died  Parma,  Italy,  Jul. 
7,  1889.  Made  many  concert  tours  as  a  virtuoso  on  the 
double-bass.  His  command  over  the  resources  of  his  in- 
strument, his  clearness  of  intonation,  expression,  and  ex- 
ecution were  wonderful.  Bottesini  was  also  a  composer  of 
merit,  having  written  operas,  symphonies,  concertos,  quar- 
tets, etc. 

Bourgault-Ducoudray  (Boor-goh-Du-cooh-dray),  Louis  Al- 
bert. Composer;  born  Nantes,  France,  Feb.  2,  1840;  died 
Vernouillet,  France,  Jul.  4,  1910.  Composed  operas  and  or- 
chestral works ;  investigated  folk-music. 

Bovy,  Ch.-Samuel  (pseudonym  Lysberg).  Composer,  pia- 
nist ;  born  Lysberg,  Switz.,  Mar.  1,  1821 ;  died  Geneva, 
Switz.,  Feb.  15,  1873.  Composed  salon  music. 

Bowen,  York.  Composer,  teacher ;  born  London,  Feb.  22, 
1884.  Composed  for  orchestra,  and  viola  solos.  Royal 
Academy  of  Music,  London. 

Bowman,  E.  M.     Organist,  teacher;  born  Barnard,  Vt,  Jul. 

18,  1848;  died  Brooklyn,  Aug.  27,  1913.     Author  of  works 

on  piano  teaching. 
Boyce,  William.     Organist,  composer;  born  London,  Feb. 

7,  1710;    died   there,   Feb.   7,   1779.     Editor  of   Cathedral 

Music;  composed  Hearts  of  Oak. 

Boyle,  George  F.  Pianist,  composer ;  born  Sydney,  N.  S.  W., 
Jun.  29,  1886.  Composed  piano  concerto,  cantatas,  piano 
pieces.  Peabody  Conservatory,  Baltimore,  Md. 

Bradbury,  William  B.     Composer;   born  York,  Me.,  Oct. 

6,  1816;  died  Montclair,  N.  J.,  Jan.  7,  1868.     Composed 
two  cantatas;  much  music  for  Sunday-school. 

Bradsky,  Wenzel.     Composer;  born  Hakovnik,  Boh.,  1833; 

died   there,    1881.      Composed   operas   and   very   popular 

songs. 
Braga,  Gaetano.     'Cellist,  composer;  born  Giulianova,  Italy, 

Jun.  9,  1829;  died  Milan,  Italy,  Nov.  — ,  1907.    Best  known 

by  Angel's  Serenade. 

Braham,  John.  Tenor;  born  London,  1774;  died  there, 
Feb.  17,  1856.  Equally  great  in  opera  and  oratorio. 

Brahms,  Johannes.     Composer ;   born   Hamburg,   Ger.,   May 

7,  1833 ;  died  Vienna,  Apr.  3,  1897.     Attracted  much  atten- 
tion as  a  boy  by  his  compositions  and  piano  playing.     Set- 
tled   in    Vienna   in    1869.     His   compositions   cover   a    wide 
range,  and  with  the  exception  of  opera  there  is  scarcely  a 
department  of  musical  art  in  which  he  has  not  made  his 
influence   felt.      Powerful,   original,   and   versatile,   Brahms 
ranges  from  the  slightest  to  the  grandest  in  his  choice  of 
form,  and  in  sentiment  he  is  just  as  catholic,  passing  from 
the  austere  grandeur  of  the  Requiem  or  the  Song  of  Des- 
tiny to  the  delicate  charm  of  many  of  his  lesser  composi- 
tions— songs,   piano  pieces,   etc.      Brahms's  predominant 
characteristics  are  great  and  even  daring  intensity,  coupled, 
in  the  works  of  his  maturity,  with  a  rigid  artistic  reserve. 
Brahms  is  best  known  by  his  four  symphonies,  which  are 


BRAMBACH 


602 


BRULL 


classical  in  form  and  spirit.  Modern  composers  use  a 
larger  orchestra  and  struggle  for  dramatic  effects,  but  he 
proved  that  great  music  could  still  be  written  with  the 
classical  forces. 

Brambach,  Kaspar  Joseph.  Composer;  born  Bonn,  Ger., 
Jul.  14,  1833;  died  there,  Jun.  20,  1902.  Known  by  his 
cantatas. 

Brandeis,  Frederick.  Pianist,  composer;  born  Vienna,  Jul. 
5,  1835;  died 'New  York,  1899.  Composed  salon  music. 

Brandt,  Marianne  (really  Bischoff).  Contralto;  born 
Vienna,  Sept.  12,  1842.  Lives  Vienna. 

Brandts-Buys,  Jan.  Composer;  born  Zutphen,  Hoi.,  Sept. 
12,  1868;  died  1917. 

Branscombe,  Gena.  Composer;  born  Picton,  Ont.  Suc- 
cessful songs  and  choruses  for  women's  voices.  Lives 
New  York. 

Brassin  (Bras-sang),  Louis.  Pianist,  composer;  born  Aix, 
Ger.,  Jun.  24,  1840;  died  Petrograd,  May  17,  1884.  Wrote 
etudes,  a  piano  method,  salon  pieces,  etc. 

Brauer,  Max.  Conductor,  composer;  born  Mannheim, 
Ger.,  May  9,  1855.  Wrote  a  suite  for  strings,  two  operas, 
violin  pieces,  etc.  Lives  Carlsruhe,  Ger. 

Braunfels,  Walter.  Composer;  born  Frankfort,  Ger.,  Dec. 
19,  1882.  Composed  comic  operas  and  works  for  or- 
chestra. Lives  Munich. 

Brecher,  Gustav.  Composer,  conductor;  born  Eichwald, 
Boh.,  Feb.  5,  1879.  Composed  a  symphony  Aus  unserer 
Zeit,  the  symphonic  poem  Rosmersholm,  etc.  Lives  Co- 
logne, Ger. 

Bree  (Bray),  Johann  Bernard  van.  Violinist,  composer; 
born  Amsterdam,  Hoi.,  Jan.  29,  1809;  died  there,  Feb.  14, 
1857.  Best  known  by  cantata  St.  Cecilia's  Day. 

Breithaupt,  Rudolph  Maria.  Pianist,  teacher;  born  Bruns- 
wick, Ger.,  Aug.  11,  1873.  Exponent  of  weight-technic 
system.  Lives  Berlin. 

Brema  (Bray-ma),  Marie  (really  Minnie  Fehrmann).  Mez- 
zo-soprano ;  born  Liverpool,  Eng.,  Feb.  28,  1856.  Famous 
Wagnerian  mezzo-soprano.  Royal  College  of  Music,  Man- 
chester, Eng. 

Breton  y  Hernandez  (Her-nan-dcth),  Tomas.  Composer; 
born  Salamanca,  Spain,  Dec.  29,  1850.  Opera  composer; 
produced  also  Polonaise,  Scherzo,  Funeral  March,  and 
Andalusian  Pictures  for  orchestra. 

Breval  (Bray-vahl),  Lucienne  (really  Bertha  Schilling). 
Soprano;  born.  Berlin,  Nov.  4,  1869.  Wagnerian  and 
French  opera  roles.  Lives  Paris. 

Breville  (Bray-vcel),  Pierre  de.  Composer,  teacher;  born 
Bar-le-Duc,  France,  Feb.  21,  1861.  Pupil  of  Cesar  Franck. 
Works  include  masses,  the  oratorio  St.  Rose  de  Lima,  or- 
chestral Nuit  de  Decembrc,  overture  Princess  Maleine,  mu- 
sic to  Maeterlinck's  Sept  Princesses,  and  Kalidasa's  Sakun- 
tala.  also  songs,  piano  works,  etc.  Schola  Cantorum,  Paris. 

Brewer.  (1)  Albert  Herbert.  Organist,  composer;  born 
Gloucester,  Eng.,  Jun.  21,  1865.  Conductor  Three  Choirs 
Festival,  Gloucester.  (2)  John  Hyatt.  Organist,  com- 
poser; born  Brooklyn,  N.  Y.,  Jan.  18,  1856.  Composed 
organ  and  church  music,  songs,  choral  works,  etc. 
Lives  Brooklyn. 


Bridge.  (1)  Frank.  Composer,  conductor;  born  Brighton, 
Eng.,  Feb.  26,  1879.  Composed  works  for  orchestra  and 
chamber  music.  Lives  London.  (2)  Sir  Frederick. 
Organist,  composer;  born  Oldbury,  Eng.,  Dec.  5,  1844. 
Composed  much  church  music.  Organist  Westminster 
Abbey.  (3)  Joseph  Cox.  Organist;  born  Rochester, 
Eng.,  Aug.  16,  1853.  Chester  Cathedral. 

Bridgetower,  George  Augustus  Polgreen.  Violinist;  born 
Biala,  Pol.,  1780;  died  London,  between  1840  and  1850.  Son 
of  an  African  father  and  a  European  mother.  Bridge- 
tower  was  the  first  to  play  the  Kreut~er  sonata  in  public. 

Brink,  Jules  ten.  Composer;  born  Amsterdam,  Hoi.,  Nov. 
4,  1838;  died  Paris,  Feb.  6,  1889.  Composed  for  orchestra. 

Bristow,  George  F.  Composer;  born  Brooklyn,  Dec.  19, 
1825;  died  New  York,  Dec.  13,  1898.  Composed  opera  Rip 
van  Winkle. 

Britton,  Thomas.  Musical  amateur;  born  Northampton- 
shire. Eng.,  1651;  died  London,  Sept.  27,  1714.  A  re- 
markable musical  enthusiast,  who,  from  the  nature  of 
his  calling,  was  commonly  known  as  the  "Musical  Small- 
coals  Man." 

Broadwood,  John.  Piano-maker;  born  Cockburnspath, 
Eng.,  Oct..  1732;  died  1812.  Contributed  to  develop  the 
piano  mechanism. 

Brockway,  Howard  A.  Pianist,  composer;  born  Brooklyn, 
N.  Y.,  Nov.  22,  1870.  Works  include  Sylvan  Suite  for 
orchestra,  a  symphony  (MS),  cantata,  orchestral  ballade, 
scherzo,  a  Cavatina  and  a  Romance  for  violin  and  orchestra, 
and  many  short  works  for  violin,  piano  pieces,  songs,  etc. 
Lives  New  York. 

Brodsky,  Adolf.  Violinist,  teacher;  born.  Taganrog,  Rus., 
Mar.  21,  1751.  Teacher  of  a  number  of  prominent  vio- 
linists in  Europe  and  U.  S.  Royal  College  of  Music, 
Manchester,  Eng. 

Broekhoven  (FSreck-ho-ven),  John  A.  Theorist,  harmony 
teacher ;  born  Beek,  Hoi.,  1852.  Composed  Suite  Creole, 
Columbia  Overture,  etc.  Cincinnati  College  of  Music. 

Bronsart.  (1)  Hans  von.  Pianist,  conductor;  born  Berlin, 
Feb.  11,  1830;  died  Munich,  Ger.,  Nov.  3,  1913.  (2) 
Ingeborg  von.  Pianist,  composer;  born  Petrograd,  Aug. 
24,  1840;  died  Munich,  Ger.,  Jun.  17,  1913.  Composed 
operas,  concertos,  sonatas,  fugues,  etc.  Wife  of  (1). 

Brown,  Eddy.  Violinist;  born  Chicago,  Jul.  15,  1895.  Dis- 
tinguished virtuoso.  Lives  New  York. 

Bruch,  Max.  Composer;  born  Cologne,  Ger.,  Jan.  6,  1838. 
Great  in  his  violin  concertos  (especially  No.  2,  in>  G 
minor)  and  in  martial  cantatas,  such  as  Odysseus,  Frith- 
jof,  etc.,  all  these  being  inspired  works  of  genius.  Lives 
Berlin. 

Bruckner  (Brook-ner),  Anton.  Organist,  composer;  born 
Ansfelden.  Aus.,  Sept.  4,  1824;  died  Vienna,  Oct.  11, 
1896.  Composer  of  famous  symphonies,  nine  in  all. 
These  works,  especially  the  last  three,  handle  the  full 
orchestra  with  the  utmost  breadth  and  skill,  placing 
Bruckner  in  the  first  rank  of  composers.  The  last  one 
is  unfinished,  and  dedicated  to  God. 

Briill  (Bril),  Ignaz.  Pianist,  composer;  born  Prossnitz,  Aus., 
Nov.  7,  1846;  died  Vienna,  Sept.  17,  1907.  Wrote  The 
Golden  Cross  and  other  operas,  etc. 


BRUNE 


603 


BUSONI 


Brune,    Adolf    Gerhard.  Pianist,    composer;    born    near 

Hanover,    Ger.,    Jun.   21,  1870.      Composed    for    orchestra, 

chamber    music,    organ;  also    piano    pieces    and    songs. 
Lives  Chicago. 

Bruneau,  Alfred.  Composer,  writer;  born  Paris,  Mar.  3, 
1857.  Has  written  an  Overture  hero'ique,  symphonic  poems 
— La  belle  au  bois  dormant,  Lcda  and  Penthesilce;  operas 
Kcrim,  Le  reve,  and  L'attaque  du  moulin,  etc.  Lives  Paris. 

Bruni,  Antoine  Barthelemy.  Violinist,  conductor;  born 
Coni,  Italy,  17S9;  died  there,  1823.  Wrote  some  impor- 
tant educational  works  in  connection  with  the  violin, 
also  the  viola. 

Bucalossi,  Ernest.  Composer;  born  London,  May  27, 
1867.  Composed  songs  and  dance  music. 

Biichner,  Emil.  Composer;  born  Osterfeld,  Ger.,  Dec.  25, 
1826;  died  Erfurt,  Ger.,  June  9,  1908.  Opera  and  over- 
ture composer. 

Buck.  (1)  Dudley.  Organist,  composer;  born  Hartford, 
^Conn.,  Mar.  10,  1839;  died  Orange,  N.  J.,  Oct.  6,  1909.  His 
works  include  the  opera  Deseret,  orchestral  music,  organ, 
church  and  piano  music,  cantatas — King  Olaf's  Christmas, 
Voyage  of  Columbus,  Hymn  to  Music,  The  Light  of  Asia, 
The  Christian  Year  (a  cycle  of  five  cantatas) — and  other 
compositions.  (2)  Percy  Carter.  Organist,  composer;  born 
West  Ham,  Eng.,  Mar.  25,  1871.  Composed  for  orct-^ra, 
chamber  music,  church  service.  Trinity  College,  Dublin. 

Buhlig    (Boo-lig),  Richard.     Pianist;   born   Chicago,    1880. 

Bull.  (1)  John.  Organist,  composer;  born  Somersetshire, 
Eng.,  about  1563;  died  Antwerp,  Bel.,  Mar.  13,  1628. 
One  of  the  great  English  musicians  of  the  Elizabethan 
period.  (2)  Ole  Bornemann.  Violinist;  born  Bergen, 
Nor.,  Feb.  5,  1810;  died  Lyso,  Nor.,  Aug.  17,  1880.  Com- 
posed violin  works  which  he  played  at  his  concerts. 

Bullard,  Frederick  Field.  Composer;  born  Boston,  Mass., 
Sept.  21,  1864;  died  there,  Jun.  24,  1904.  Composed 
church  music,  secular  choruses,  and  songs;  best  known 
by  Stein  Song. 

Bulow,  Hans  Guido  von.  Pianist,  conductor ;  born  Dresden, 
Ger.,  Jan.  8,  1830;  died  Cairo,  Egypt,  Feb.  12,  1894.  Edited 
Beethoven's  sonatas.  Made  piano  arrangements,  such  as 
Tristan  and  Isolda.  His  orchestra  at  Meiningen  was  so 
well  disciplined  that  once,  when  he  was  late,  it  played  a 
piece  without  any  leadership. 

Bungert,  August.  Composer;  born  Miihlheim,  Ger.,  Mar. 
14,  1846;  died  Leulersdorf,  Ger.,  Oct.  26,  1915.  Composed 
a  comic  opera,  a  symphonic  poem,  overture  Tasso,  etc.,  also 
a  cycle  of  six  operas  on  Greek  subjects:  Achilles,  Clytem- 
nestra,  Circe,  Nausicaa,  Odysseus'  Return  and  Odysseus' 
Death. 

B  unnett,  Edward.  Organist,  composer ;  born  near  E.  Dere- 
ham,  Eng.,  Jun.  26,  1834.  Composed  cantatas  and  church 
music.  Lives  Mancroft,  Eng. 

Bunning,  Herbert.  Composer,  conductor ;  born  London, 
May  2,  1863.  Composed  symphonic  poems,  rhapsody, 
two  overtures,  operas,  a  Village  Suite,  scenas,  songs,  etc. 
Lives  London. 

Buonamici  (Bwoh-nah-mee-chee).  (1)  Carlo.  Pianist;  born 
Florence,  Italy,  Jun.  20,  1875.  Teacher  in  Boston.  Son  of 
(2).  (2)  Giuseppe.  Pianist,  teacher;  born  Florence,  Mar. 
12,  1846;  died  there,  Mar.  18,  1914.  A  strong  educational 
influence  in  Italy. 


Burchard  (Boorkh-art),  Karl.  Pianist;  born  Hamburg, 
Ger.,  1820;  died  Dresden,  Ger.,  Feb.  12,  1896.  Arranged 
classical  works  for  piano  duet  playing. 

Burdett,  George  Albert.  Organist,  composer;  born  Boston, 
Jun.  17,  1856.  Composed  church  music  and  organ  pieces. 
Lives  Newton  Center,  Mass. 

Burgmuller.  (1)  Johann  Friedrich.  Composer;  born 
Regensburg,  Ger.,  1806;  died  Beaulieu,  France,  Feb.  13, 
1874.  Composed  much  used  etudes  and  light  piano  pieces. 
(2)  Norbert.  Composer;  born  Diisseldorf,  Ger.,  Feb.  8, 
1810;  died  Aix,  Ger.,  May  7,  1836.  There  is  every  reason 
to  believe  that  if  his  life  had  been  spared  Burgmuller 
would  have  reached  a  high  place  in  his  art.  Schumann 
begins  a  memorial  notice  of  him  by  saying  that  since  the 
early  death  of  Schubert  nothing  more  deplorable  had  hap- 
pened than  that  of  Burgmuller. 

Burgstaller,  Alois.  Tenor;  born  Holzkirchen,  Ger.,  Sept. 
27,  1871.  Wagnerian  opera  singer;  appeared  in  U.  S. 
Lives  near  Munich,  Ger. 

Burleigh.  (1)  Cecil.  Violinist,  composer;  born  Wyoming, 
N.  Y.,  Apr.  17,  1885.  Composed  principally  for  violin. 
University  of  Montana,  Missoula,  Mon.  (2)  Harry 
Thacker.  Baritone,  composer ;  born  Erie,  Pa.,  Dec.  2, 
1866.  Composed  many  songs  and  arranged  settings  of 
Negro  spirituals,  notably  Deep  River.  The  most  promi- 
nent American  Negro  composer. 

Surmeister  (Boor-my-stcr),  Richard.  Pianist,  composer; 
born  Hamburg,  Ger.,  Dec.  7,  1860.  Composed  concertos 
and  piano  pieces;  pupil  of  Liszt.  Lives  Berlin. 

Burmester  (Boor-mes-ter),  Willy.  Violinist;  born  Hamburg, 
Ger,  Mar.  16,  1869.  Distinguished  concert  violinist. 
Lives  Berlin. 

Burney,  Charles.  Organist,  historian;  born  Shrewsbury, 
Eng.,  Apr.  12,  1726;  died  London,  Apr.  12,  1814.  Studied 
music  under  Artie.  Was  for  nine  years  organist  of  Lynn 
Regis,  in  Norfolk.  Afterward  made  several  extensive  tours 
on  the  continent  in  search  of  materials  for  his  History  of 
Music,  the  first  volume  of  which  appeared  in  1776. 

Burrian,  Karl.  Tenor;  born  Prague,  Boh.,  Jan.  12,  1870. 
Famous  Wagnerian  tenor.  Royal  Opera,  Vienna. 

Burton,  Frederick  Russell.  Composer;  born  Jonesville, 
Mich.,  Feb.  23,  1861;  died  Lake  Hopatcong.  N.  J.,  Sept. 
30,  1909.  Wrote  cantata  Hiawatha  on  Indian  themes. 

Busby,  Thomas.  Organist,  writer;  born  Westminster,  Eng., 
Dec.,  1755 ;  died  London,  May  28,  1838.  Wrote  several  works 
dealing  with  musical  subjects,  the  most  important  of  them 
being  a  History  of  Music,  based  upon  the  larger  works  of 
Burney  and  Hawkins. 

Busch,  Carl.  Composer,  violinist,  conductor;  born  Bjerre, 
Den.,  Mar.  29,  1862.  Composed  a  symphony,  a  symphonic 
rhapsody,  violin  music,  cantatas,  etc.  Conductor  Kansas 
City  (Mo.)  Symphony  Orchestra. 

Busi  (Boo-si),  Alessandro.  Composer;  born  Bologna,  Italy, 
1833;  died  there,  1895.  Wrote  masses  with  orchestra,  can- 
tatas, songs,  violin  works,  etc. 

Busnois,  Antoine.  Composer;  born  Picardy,  France;  died 
Bruges,  Bel.,  Nov.  6,  1492.  Famous  early  contrapuntist. 

Busoni,  Ferrucio  Benvenuto.     Pianist,  composer;  born  Em- 

poli,  Italy,  Apr.   1,   1866.     Has  composed  much  in  extreme 

.     modern    style — opera    Die    Brautwahl,    incidental    music    to 

Turandot,    etc.      Best    known    as    editor    and    arranger    of 

Bach's  works.     Lives  Zurich,  Switz. 


BUSSER 


604 


CARO 


Busser,    Henri- Paul.     Organist,    composer;    born    Toulouse, 

France,  Jan.   16,   1872.     Composed   pastorale  Daphnis   and 

Chloc,  cantata  Amadis,  an  orchestral  suite,  etc. 
Bussler,  Ludwig.     Theorist,  teacher;  born  Berlin,  Nov.  26, 

1838;  died  there,  Jan.  18,  1901.     Author  of  text-books. 
Buths  (Boots),  Julius.     Pianist,  conductor;  born  Wiesbaden, 

Ger.,  May  7,  1851.     Composed  for  orchestra  and  chamber 

music.     Diisseldorf  Conservatory. 
Butt,    Clara.      Contralto;    born,   Southwick,    Eng.,    Feb.    1, 

1873.     Distinguished  for  the  rich  quality  and  depth  of 

her  lower  tones.     Lives  London. 


Butterfield,  James  Austin.  Composer;  born  Hertfordshire, 
Eng.,  May  18,  1837;  died  Chicago,  Jul.  6,  1891.  Composed 
songs,  cantata  Bclshazzar,  etc. 

Buxtehude  (Boox-te-hoo-dch),  Dietrich.  Organist,  com- 
poser; born  Helsingor,  Den.,  1637;  died  Liibeck,  Ger., 
May  9,  1707.  The  most  famous  organist  of  his  time. 
Bach  came  to  hear  him  play. 

Byrd,  William.  Organist,  composer;  born  London,  1S42; 
died  there,  Jul.  14,  1623.  The  "Father  of  Musicke." 
Celebrated  for  his  church  music  and  madrigals. 


Caballero  (K'ah-vahl-lyair-oh) ,  Fernandez.  Composer;  born 
Murcia.  Spain,  Mar.  14,  .1835;  died  Madrid,  Spain,  1906. 
Composed  zarzuelas. 

Cabezon  (Cah-bc-thon),  Antonio  de.  Organist,  harpsi- 
chordist; born  Madrid,  Spain,  Mar.  30,  1510;  died  there, 
May  24.  1566.  Was  blind.  Called  the  "Spanish  Bach." 

Caccini  (Cat-chee-nec),  Giulio.  Composer;  born  Rome, 
about  1550;  died  Florence,  Italy,  Dec.,  1618.  Originated 
opera  with  Peri  at  Florence.  His  daughter  Francesca 
was  a  gifted  contrapuntal  composer. 

Cadman,  Charles  Wakefield.  Composer;  born  Johnstown, 
Pa.,  Dec.  24,  1881.  Composed  song-cycles  with  orchestra 
(Sayonara.  Three  Moods,  etc.),  choral  works,  etc.;  best 
known  by  his  settings  of  Indian  melodies,  which  are  very 
beautiful ;  but  these  are  chiefly  the  composer's  work,  as  the 
Indians  have  no  harmony,  singing  in  unison.  Cadman  has 
written  an  opera.  Shanewis,  on  Indian  melodies.  Lives 
Los  Angeles,  Cal. 

Cady,  Calvin  B.     Teacher;  born  Barry,  111.,  Jun.  21,  1851. 

Has  trained   many  teachers  for   fundamental   work.     Lives 

Portland,  Ore. 
Caffarelli,    Gaetano    Majorano    (Ca-fa-rcl-lcc,   Gah-eh-ta-no 

Mah-yn-ruh-no).     Singer;  born  Bari,  Italy,  Apr.   16,   1703; 

died  Santo  Dorato,  Italy,  Feb.   1,  1783;  also  given  as  Nov. 

30.  1783.     Male  soprano. 
Cagnoni  (Can-yo-ni),  Antonio.    Composer,  conductor;  born 

Godiasco,  Italy,  1828;  died  Bergamo,  Italy,  1896.     Com- 
posed a  number  of  operas. 
Cahen    (Kaa-cn),   Albert.      Composer;    born    Jan.   8,    1846; 

died    Cap    d'Ail,    France,    Mar.,    1903.      Pupil    of    Cesar 

Franck;  composed  operas  and  songs. 

Caldicott,  Alfred  James.  Composer;  born  Worcester, 
Eng.,  Nov.  26,  1842;  died  Gloucester,  Eng.,  Oct.  24, 
1897.  Composed  cantatas,  operettas  and  glees. 

Calkin,  J.  Baptiste.  Organist,  composer;  born  London, 
Mar.  16.  1827;  died  there,  Mar.  15,  1905.  Composed 
church  music. 

Callaerts,  Joseph.  Organist,  composer;  born  Antwerp, 
Bel..  Aug.  22,  1838;  died  there,  Mar.  3,  1901.  Composed 
an  opera,  a  prize  symphony,  cantatas,  etc. 

Callcott.  (1)  John  Wall.  Organist,  composer;  born  Ken- 
sington. Eng.,  Nov.  20,  1766;  died  Bristol,  Eng.,  May  15, 
1821.  A  great  glee  writer.  (2)  William  Hutchins. 
Composer;  born  Sept.  28,  1807;  died  Aug.  5,  1882.  Com- 
posed anthems  and  songs.  Son  of  (1). 

Calve  (Cahl-vch),  Emma.  Soprano;  born  Aveyron,  France, 
1866.  Famous  as  "Carmen."  Lives  Aveyron. 


Cambert  (Cam-bare),  Robert.  Composer;  born  Paris, 
1628;  died  London,  1677.  The  first  writer  of  French 
opera. 

Camp,  John  Spencer.  Organist,  composer;  born  Middle- 
town,  Conn.,  Jan.  30,  1858.  Composed  orchestral  works, 
cantatas,  organ  pieces,  etc.  Lives  Hartford,  Conn. 

• 

Campagnoli  (Kam-pa-nyo-lce),  Bartolomeo.  Violinist,  com- 
poser; born  Cento,  Italy,  Sept.  10,  1751;  died  Neustrelitz, 
Nov.  6,  1827.  Wrote  a  Violin  School,  studies  for  viola,  etc. 

Campanari.  (1)  Leandro.  Violinist,  teacher,  conductor; 
born  Rovigo,  Italy,  O'ct.  20,  1857.  Lives  San  Francisco. 
(2)  Giuseppe.  Baritone;  born  Venice,  Italy,  Nov.  17. 
1858.  At  first  a  'cellist,  then  with  Metropolitan  Opera 
Co.  as  baritone.  Brother  of  (1).  Lives  New  York. 

Campanini.  (1)  Italo.  Tenor;  born  Parma,  Italy,  Jun.  29, 
1846;  died  Vigatto,  Italy,  Nov.  22,  1896.  Distinguished  in 
Italian  opera.  (2)  Cleofonte.  Conductor  Chicago  Opera 
Co.;  born  Parma,  Italy,  Sept.  1,  1860;  died  Dec.  19,  1919. 

Campbell-Tipton,   Louis.      Composer;    born    Chicago,    111., 

Nov.  21,   1877.     Composed  for  piano,  violin,  and  voice. 

Lives  Paris. 
Campra,  Andre.     Composer;  born  Aix,  Ger.,  Dec.  4,  1660: 

died   Versailles,   France,    Mar.   29,    1744.     Early   French 

opera  composer. 
Capocci  (Ca-pot-tchcc),  Filippo.    Composer,  organist;  born 

Rome,  May  11,  1840;  died  there,  1898.     Composed  organ 

works  and  the  oratorio  St.  Atanasio, 
Capuzzi    (Ca-poot-si),  Giuseppe  Antonio.     Violinist;  born 

Brescia,   Italy,   1753;   died   Bergamo,   Italy,   1818.     Com- 
posed operas,  ballets,  and  chamber  music. 
Caraccioli,  Luigi.     Composer,  teacher;  born  Andria,  Italy, 

Aug.  11,  1847;  died  London,  Aug.  22,  1887. 
Carafa    (Ka-rah-fa ) ,    Michele    Enrico.     Composer;    born. 

Naples,  Italy,  Nov.   17,   1787;   died 'Paris,  Aug.  26,   1862. 

Composed  operas  and  piano  pieces. 
Carey,    Henry.      Composer,    singer;    born    London,    1685 

(1692);  died  there,  Oct.  4,  1743.    The  first  to  sing  "God 

Save  the  King,"  and  reputed  composer  of  it. 
Carissimi,  Giacomo.     Composer;  born  Marini,  Italy,  about 

1604;    died    Rome,   Jan.    12,    1674.     One   of   the    earliest 

writers  of  oratorio. 
Carl,  William  Crane.     Organist,  teacher;  borni  Bloomfield, 

N.  J.,  Mar.  2,  1865.     Head  df  school  for  organists,  New 

York. 
Caro,  Paul.     Composer;  born  Breslau,  Ger.,  Oct.  25,  1859. 

Composed  four  symphonies,  operas  Hero  and  Leandcr  and 

Ulfosti's    Wedding,    overtures,    symphonic    poems,    string 

quartets,  etc.     Lives  Breslau. 


CARON 


605 


CHEVE 


Caron,  Rose.  Soprano;  born  Monerville,  France,  Nov.  17, 
1857.  Wagnerian  roles  in  French.  Paris  Conservatory. 

Carpenter,  John  Alden.  Composer;  born.  Park  Ridge,  111., 
Feb.  28,  1876.  Composed  for  orchestra  in  modern  style, 
also  songs,  violin  pieces,  etc.  Lives  Chicago. 

Carreno,  Teresa.  Pianist;  born  Caraccas,  Venezuela,  Dec. 
22,  1853;  died  New  York,  Jun.  12,  1917.  Distinguished 
virtuoso. 

Carrodus,  John  Tiplady.  Violinist,  teacher;  born  Brath- 
waite,  Eng.,  Jan.  20,  1836;  died  London,  Jul.  13,  1895. 

Carse,  Adam  von  Ahn.  Composer;  born  Newcastle,  Eng., 
May  10  (19),  1878.  Composed  for  orchestra,  chamber 
music,  and  voice.  Royal  Academy  of  Music,  London. 

Caruso,  Enrico.  Tenor;  born  Naples,  Italy,  Feb.  25,  1873. 
The  greatest  tenor  of  his  time.  Lives  New  York.  . 

Carvalho,  Caroline  Miolan.  Soprano;  born  Marseilles, 
France,  Dec.  31,  1827;  died  Puys,  France,  Jul.  10,  1895. 
Leading  artist  at  the  Paris  Grand  Opera. 

Gary,  Annie  Louise.  Contralto;  born  Wayne,  Me.,  Oct. 
22,  1842.  Successful  in  opera,  oratorio,  concert.  Lives 
Norwalk,  Conn. 

Casals,  Pablo.  'Cellist,  composer;  born  Veudrell,  Spain, 
Dec.  30,  1876.  Distinguished  virtuoso.  Lives  New  York. 

Casella,  Alfredo.  Pianist,  composer;  born  Turing  I^aly, 
Aug.  25,  1883.  St.  Cecilia  Conservatory,  Rome. 

Catalani.  (1)  Angelica.  Soprano;  born  Sinigaglia,  Italy, 
May  10,  •  1780;  died  Paris,  Jun.  12,  1849.  One  of  the 
most  brilliant  sopranos  known  to  history.  (2)  Alfredo. 
Composer;  born  Lucca,  Italy,  Jun.  19,  1854;  died  Milan, 
Italy,  Aug.  7,  1893.  Composed  sacred  music,  operas 
La  Wally  and  Dcjanire,  etc. 

Catel,  Charles  Simon.  Composer,  teacher;  born  L'Aigle, 
France,  Jua.  10,  1773;  died  Paris,  Nov.  29,  1830.  Har- 
mony teacher  at  the  Paris  Conservatory;  composed 
operas,  etc. 

Cavalieri.  (1)  Emilio  del.  Composer;  born  Rome  about 
1550;  died  Florence,  Italy,  Mar.  11,  1602.  Composer  of 
the  first  oratorio.  (2)  Lina.  Soprano;  born  Rome,  Dec. 
25,  1878.  Chicago  Opera  Co. 

Cavalli,  Francesco  (really  Caletti-Bruni).  Composer;  born 
Cremona,  Italy,  1599  (1600);  died  Venice,  Jan.  14,  1676. 
Pupil  of  Monteverde,  whose  works  he  surpassed.  Cav- 
alli's  best  operas  were  Giasone,  Serse,  and  Ercole  Amante. 

Cavos,  Catterino.  Composer;  born  Venice,  Italy,  1776; 
died  Petrograd,  1840.  Wrote  operas  in  Russian,  espe- 
cially Ivan  Sonsanin,  the  subject  used  later  by  Glinka  in 
founding  the  native  Russian  school. 

Cellier,  Alfred.  Composer,  conductor ;  born  London,  Dec. 
1,  1844;  died  there,  Dec.  28,  1891.  Wrote  very  success- 
ful light  operas. 

Cesti,  Marco  Antonio.  Composer;  born  Florence,  Italy, 
1620;  died  Venice,  1669.  Early  opera  composer. 

Chabrier  (Shab-ree-ay) ,  Alexis  Emmanuel.  Composer;  born 
Ambert,  France,  Jan.  18,  1841;  died  Paris,  Sept.  13,  1894. 
Composed  operettas,  operas  Gwendoline,  Le  roi  malgre 
lui,  the  unfinished  Briseis,  the  lyric  scene  La  Sulamite, 
Espaiia,  for  orchestra,  Bourne  fantastique,  for  piano,  etc. 


Chadwick,  George  Whitfield.  Composer;  born  Lowell. 
Mass.,  Nov.  13,  1854.  Studied  in  Boston,  and  under 
Jadassohn,  Reinecke,  and  Rheinberger  in  Europe.  Be- 
came teacher  in  the  New  England  Conservatory  of 
Music,  also  its  Director.  His  works  include  the  comic 
opera  Tabasco,  The  Viking's  Last  Voyage,  the  lyric  drama 
Judith,  symphonies,  overtures,  chamber  music,  choral  bal- 
lads, and  songs.  He  won  later  successes  with  his  Sym- 
pohnic  Suite  and  the  symphonic  poem  Aphrodite.  Lives 
Boston. 

Chaliapine,  Fedor.  Bass;  born  Kazan,  Rus.,  Feb.  13,  1873. 
Distinguished  for  dramatic  power.  National  Opera,  Mos- 
cow. 

Chambonnieres  (Sham-bon-ee-air),  Jacques.  Claveginist, 
composer ;  born  about  1600 ;  died  1670.  Composer  for 
clavichord  in  the  seventeenth  century. 

Chaminade,  Cecile.  Pianist,  composer;  born  Paris,  Aug. 
8,  1861.  Composed  the  ballet-symphony  Calirrhoe,  the 
lyric  symphony  Les  Amazones,  suites,  a  concerto,  etc.,  but 
is  best  known  by  her  graceful  and  dainty  songs  and  piano 
pieces.  Lives  Paris. 

Chapman,  William  Rogers.  Organist,  conductor;  born 
Hanover,  Mass.,  Aug.  4,  1855.  Conductor  Maine  Fes- 
tival Chorus.  Lives  New  York. 

Chappell,  William.  Historian;  born  London,  Nov.  20, 
1809;  died  there,  Aug.  20,  1888.  Wrote  a  History  of 
Music  extending  from  the  earliest  records  to  the  fall  of 
the  Roman  Empire ;  also  History  of  the  Popular  Music 
of  the  Olden  Times. 

Chapuis  (Shah-pwee),  Auguste  Paul.  Composer,  con- 
ductor; born  Dampierre-sur-Salon,  France,  Apr.  20,  1862. 
His  operas  are  not  very  successful.  Harmony  teacher 
at  the  Paris  Conservatory. 

Charpentier  (Shar-pon-tyay),  Gustave.  Composer;  born 
Dieuze,  Lorraine,  Jun.  25,  1860.  Best  known  by  opera 
Louise,  a  protest  against  the  hard  life  of  working-girls;  a 
sequel,  Julien,  not  very  great.  Wrote  the  suite  Impressions 
d'ltalie,  the  cantata  La  Vie  du  Poete,  and  smaller  works. 
Lives  Paris. 

Chausson  (Show-song),  Ernest.  Composer,  conductor; 
born  Paris,  1855;  died  Limay,  France,  Jun.  12,  1899. 
Composed  the  operas  Helene  and  Le  Roi  Arthus,  the  sym- 
phonic poems  Viviane  and  Les  Caprices  de  Marianne,  a 
symphony,  chamber  music,  incidental  music  to  The  Tempest, 
and  songs. 

Cherubini,  Maria  Luigi.  Composer;  born  Florence,  Italy, 
Aug.  14,  1760;  died  Paris,  Mar.  15,  1842.  After  receiving 
lessons  from  his  father,  was  placed  under  the  care  of  the 
celebrated  Giuseppe  Sarti,  whose  pupil  he  remained  for 
four  years.  When  only  thirteen  Cherubini  wrote  a 
successful  mass.  His  first  opera,  Quinto  Fabio,  was  pro- 
duced in  1780.  In  1788  he  settled  in  Paris,  where  he  ac- 
quired a  great  reputation  as  a  composer  of  operas  and 
church  music.  Principal  among  his  operas,  which  are  real 
works  of  art,  are  Ifigcnia  in  Aulide,  Lodo'iska,  Mcdee,  Les 
deux  journces,  and  Anacrcon.  He  also  wrote  four  masses, 
a  requiem,  string  quartets,  many  lesser  compositions,  and  a 
masterly  work  on  counterpoint.  From  1821  to  1841  he  was 
head  of  the  Paris  Conservatory. 

Cheve  (Sheh-vay),  Emile  J.  M.  Teacher;  born  Douarnenez, 
France,  1804;  died  Paris,  Aug.  26,  1864.  Inventor  of 
simplified  system  of  teaching  vocal  music. 


CHEVILLARD 


606 


COLERIDGE-TAYLOR 


Chevillard  (She v-c e-yar) ,  Camille.  Conductor;  born  Paris. 
Oct.  14,  1859.  Conductor  of  Lamoureux  concerts.  Has 
composed  a  ballade,  a  symphony,  a  symphonic  poem,  and 
smaller  works.  Paris  Conservatory. 

dickering,  Jonas.     Piano-maker;  U.  S.  A.,  1798-1853. 

Chipp,  Edmund  Thomas.  Organist,  composer;  born  Lon- 
don, Dec.  25,  1823;  died  Nice,  France,  Dec.  17,  1886. 
Composed  two  oratorios,  much  church  music,  organ 
pieces,  etc. 

Chittenden,  Kate  Sara.  Pianist,  teacher;  born  Hamilton, 
Ont.,  Apr.  17,  1856.  Director  American  Institute  of 
Applied  Music,  New  York. 

Chladni  (KMat-ncc),  Ernst  Florens  Friedrich.  Physicist; 
born  Wittenberg,  Ger.,  Nov.  30,  1756;  died  Breslau,  Ger., 
Apr.  3,  1827.  Made  very  profound  researches  into  the 
subject  of  acoustics. 

Chopin,  Frederic  Franjois.  Pianist,  composer;  born  Zela- 
zowa  Wola,  Pol.,  Feb.  22,  1810;  died  Paris,  Oct.  17,  1849. 
Made  his  first  important  public  appearance  in  Vienna 
in  1829,  where  the  delicate  charm  and  expression  of  his 
playing  excited  great  public  attention.  From  1831  until 
his  death  Chopin  lived  in  Paris.  Chopin  is  king  of  piano- 
forte composers.  Of  French  and  Polish  parentage,  he  shows 
in  his  works  the  combined  influences  of  the  Slavonic  and' 
the  French  spirit.  There  is  about  them  the  wild,  dreamy 
nature  of  the  Slav,  and  a  dainty  caprice,  coupled  with  an 
exquisite  perfection  of  form  and  manner,  thoroughly 
French. 

Chorley,  Henry  F.  Writer;  born  Blockley  Hurst,  Eng., 
Dec.  15,  1808;  died  London,  Feb.  16,  1872.  Eminent 
musical  critic. 

Chrysander,  Friedrich.  Historian;  born  Liibtheen,  Ger., 
Jul.  8,  1826;  died  Bergedorf,  Ger.,  Apr.  13,  1901.  A  dis- 
tinguished writer  on  musical  subjects.  His  most  im- 
portant work  is  his  monumental  biography  of  Handel. 
On  all  subjects  connected  with  Handel  or  his  composi- 
tions, Chrysander  takes  unquestioned  rank  as  the  great- 
est authority. 

Chwatal  (Shvah-tal),  Franz  X.  Composer;  born  Rum- 
burg,  Boh.,  Jun.  19,  1808;  died  Soolbad,  Jun.  4,  1874. 

Cilea  (Chil-a-ah),  Francesco.  Composer,  teacher;  born 
Palmi,  Italy,  Jul.  23,  1866.  Composed  operas  in  modern 
realistic  style,  and  works  for  orchestra.  Naples  Con- 
servatory. 

Cimarosa  (Chec-ma-ro-sa),  Domenico.  Composer;  born 
Aversa,  Italy,  Dec.  17,  1749;  died  Venice,  Jan.  11,  1801. 
A  pupil  of  Piccinni.  Wrote  an  immense  number  of 
highly  successful  operas,  which  rapidly  gained  for  him 
a  European  reputation.  For  three  years  he  held  a  po- 
sition at  the  court  of  Catharine  II  of  Russia.  He  after- 
ward went  to  Vienna  as  court  conductor.  In  Vienna 
he  produced  his  greatest  work,  the  opera  //  Matrimonio 
Segreto. 

Claassen,  Arthur.  Conductor;  born  Stargard,  Ger.,  Feb. 
19,  1859.  Active  in  Brooklyn  as  conductor  and  com- 
poser. 

Clapisson  (Clah-pee-song),  Antoine  Louis.  Violinist,  com- 
poser; born  Naples,  Sept.  15,  1808;  died  Paris,  Mar.  19, 
1866. 


Clarke.  (1)  Hugh  A.  Composer,  theorist;  born  Toronto, 
Can.,  Aug.  15,  1839.  Professor  of  Music,  University  of 
Pennsylvania,  Philadelphia,  for  many  years.  (2)  Wil- 
liam Horatio.  Organist,  composer;  born  Newton,  Mass., 
Mar.  8,  1840;  died  Reading.  Mass.,  Dec.  11,  1913. 

Claribel.     See  Barnard. 

Clark,  Frederick  Scotson..  Organist,  composer;  born  Lon- 
don, Nov.  16.  1840;  died  there,  Jul.  5,  1883.  Composed 
much  organ  music. 

Clay,  Frederick.  Composer;  born  Paris,  Aug.  3,  1840;  died 
Great  Marlow,  Eng.,  Nov.  24,  1889.  Wrote  a  number  of 
light  operas — Princess  Toto,  etc.,  also  many  songs. 

Clement  (Clay-mahng) ,  Edmond.  Tenor;  born  Paris,  Mar. 
28,  1867.  Sang  much  in  U.  S.  Artist  of  distinction.  Lives 
Paris. 

dementi,  Muzio.  Pianist,  composer;  born  Rome,  1752;  died 
Evesham,  Eng.,  Mar.  10,  1832.  In  his  ninth  year  accepted 
a  position  as  organist.  At  fourteen  visited  London,  where 
his  pianoforte  playing  excited  general  admiration.  In  1817 
produced  his  celebrated  book  of  studies  for  the  piano, 
Gradus  ad  Pariiassum.  His  compositions  display  great 
lucidity  of  construction  and  elegant  precision,  but  they  show 
very  few  traces  of  originality.  They  are,  however,  very 
valuable  as  educational  works,  and  it  is  only  in  this  ca- 
pacity that  dementi's  works  can  be  said  to  survive. 

Cleve,  Halfdan.  Composer;  born  Kongsberg,  Nor.,  Oct. 
5,  1879.  Composed  piano  concertos,  orchestral  pieces, 
piano  pieces,  songs.  Lives  Christiania,  Nor. 

Cliffe,  Frederick.  Organist,  composer;  born  near  Brad- 
ford, Eng.,  May  2,  1857.  Wrote  for  orchestra.  Lives 
London. 

Clough-Leighter,  Henry.  Organist,  composer;  born  Wash- 
ington, D.  C,  May  13,  1874.  Composed  many  cantatas  and 
effective  songs.  Lives  Boston. 

Clutsam,  George  H.  Pianist,  composer;  born  Sydney,  N. 
S.  W.,  Sept.  26,  1866.  Composed  operas,  cantatas,  songs. 
Lives  London. 

Cobb,  Gerhard  Francis.  Composer ;  born  Netlestead,  Eng., 
Oct.  15,  1838;  died  Cambridge,  Eng.,  Mar.  31,  1904. 

Coenen  (Coo-nen).  (1)  Johannes  Meinardus.  Conductor, 
composer;  born  The  Hague,  Hoi.,  Jun.  28,  1824;  died 
Amsterdam,  Hoi.,  Jan.  9,  1899.  Composed  symphonies, 
stage  works,  chamber  music.  (2)  Franz.  Violinist: 
born,  Rotterdam,  Hoi.,  Dec.  26,  1826;  died  1904.  Pupil 
of  Vieuxtemps.  (3)  Cornelius.  Violinist,  conductor, 
bandmaster;  born  The  Hague,  1838.  Composed  over- 
tures. 

Coerne  (Kern),  Louis  Adolphe.  Composer;  born  Newark. 
N.  J.,  Feb.  27,  1870.  Composed  the  operas  Zenobia  and 
The  Woman  of  Marblehead,  symphonic  poem  Hiawatha, 
and  smaller  works  (organ  pieces,  piano  pieces,  etc.). 
Author  of  the  only  history  of  orchestration  in  English. 
Lives  Norwich,  Conn. 

Cole.  (1)  Rossetter  Gleason.  Composer,  teacher;  born 
Clyde,  Mich.,  Feb.  5,  1866.  Composed  orchestral  works, 
melodramas,  piano  pieces  and  songs.  Lives  Chicago. 
(2)  Samuel  Winkley.  Teacher;  born  Meriden,  N.  H., 
Dec.  24.  1848.  New  England  Conservatory,  Boston. 

Coleridge-Taylor,  Samuel.  Composer ;  born  London,  Aug. 
15,  1875;  died  Croydon,  Eng.,  Aug.  1,  1912.  Negro  com- 
poser, son  of  a  West  African  physician  and  an  English 


COLLAN 


.607 


CRAMER 


mother.  Works  very  passionate  in  style.  Composed  can- 
tata Hiawatha  (several  parts),  an  oratorio  The  Atonement, 
cantatas  Endymion's  Dream,  A  tale  of  Old  Japan,  etc.; 
ballads,  a  rhapsody,  and  a  Solemn  Prelude  for  orchestra, 
incidental  music,  and  very  effective  songs,  piano  works, 
and  violin  pieces. 

Collan,  Karl.  Composer,  writer;  born  Jan.  3,  1828;  died 
Helsingfors,  Fin.,  Sept.  2,  1871.  Finnish  song  composer. 
Translated  the  national  epic  the  Kalevala, 

Colonne,  Jules  Jude,  called  Edouard.  Violinist,  conductor; 
born  Bordeaux,  France,  Jul.  24,  1838;  died  Mar.  28,  1910. 
Conducted  symphony  concerts  in  Paris. 

Concone  (Kon-ko-ne),  Giuseppe  (Joseph).  Composer, 
teacher;  born  Turin,  Italy,  1810;  died  there,  Jun.  1,  1861. 
Remembered  principally  for  his  educational  works,  in  con- 
nection with  singing. 

Coninck.  (1)  Jacques-Felix  de.  Pianist,  composer;  born 
Antwerp,  Bel.,  May  18,  1791;  died  there,  Apr.  25,  1866. 
Composed  piano  pieces.  (2)  Josef  Bernard  de.  Com- 
poser, critic;  born  Ostend,  Bel.,  1827.  Opera  composer 
at  Paris. 

Conradi  (Con-rah-dce) ,  August.  Organist,  composer;  born 
Berlin,  Jun.  27,  1821;  died  there,  May  26,  1873. 

Converse.  (1)  Charles  Crozat.  Composer;  born  Warren, 
Mass.,  Oct.  7,  1832.  Chief  works  an  American  Overture, 
and  some  famous  hymns.  (2)  Frederick  Shepard.  Ot>n'- 
poser;  born  Newton,  Mass.,  Jan.  5,  1871.  A  leading  Ameri- 
can composer ;  his  works  include  a  symphony,  The  Festival 
of  Pan,  Endymion's  Narrative,  The  Mystic  Trumpeter,  and 
La  Belle  Dame  (ballad)  for  orchestra,  the  oratorio  Job 
and  two  operas,  The  Pipe  of  Desire  and  The  Sacrifice. 
Lives  Westwood,  near  Boston. 

Cooke.  (1)  Benjamin.  Organist,  composer;  bora  Lon- 
don, 1734;  died  there,  Sept.  14,  1793.  A  celebrated  glee 
writer.  (2)  Henry.  Singer,  composer;  born  Westmin- 
ster early  in  17th  century;  died  there,  Jul.  13,  1672. 
"Master  of  the  Children"  in  the  Royal  Chapel,  time  of 
Charles  II.  Obtained  a  captain's  commission  in  the 
Royalist  forces  in  1642. 

Coombs,  Charles  Whitney.  Organist,  composer;  born 
Bucksport.  Me.,  Dec.  25,  1859.  Composed  the  cantata 
The  Vision  of  St.  John,  church  music,  and  some  popular 
songs.  Lives  New  York. 

Coote,  Charles.  Composer;  born  London,  1809;  died  there, 
1880.  Composer  of  an  immense  amount  of  popular 
dance  music  ("Coote  and  Tinney"). 

Coquard  (Co-far),  Arthur.  Composer,  writer;  born  Paris, 
May  26,  1846;  died  there,  Aug.,  1910.  Works  include  the 
operas  L'epcc  du  roi,  Le  mari  d'un  jour,  L'oiseau  bleu, 
part  of  La  Jacquerie,  and  Jahel,  also  large  choral  works, 
songs,  an  orchestral  suite,  etc. 

Corder,  Frederick.  Composer,  writer;  born  London,  Jan. 
26,  1852.  Composed  operettas,  cantatas,  works  for  or- 
chestra, etc.  Royal  Academy  of  Music,  London. 

Corelli  (Ko-rel-lec),  Arcangelo.  Violinist,  composer;  born 
Fusignano,  Italy,  Feb.  12  (13),  1653;  died  Rome,  Jan.  10, 
1713.  The  father  of  modern  violin  playing.  About  1672 
visited  Paris,  but  returned  shortly  after  to  Rome.  1680- 
1685.  traveled  in  Germany,  where  his  musical  acquire- 
ments pained  for  him  the  favor  of  many  princes  and 


nobles,  in  particular  that  of  the  Elector  of  Bavaria,  in 
whose  service  he  remained  for  some  time.  Corelli  wrote 
a  quantity  of  chamber  music,  and  his  works  for  violin 
are  of  great  excellence. 

Corey,  Newton  J.  Organist,  lecturer;  born  Hillsdale,  Mich., 
Jan.  31,  1861.  Manager  Detroit  Orchestra  Association. 

Cornelius,  Peter.  Composer ;  born  Mainz,  Ger.,  Dec.  24, 
1824;  died  there,  Oct.  26,  1874.  His  opera  The  Barber  of 
Bagdad,  gave  Wagner  ideas  for  Die  Meistersinger. 

Cornell,  John  Henry.  Organist,  theorist;  born  New  York, 
May  8,  1828;  died  there,  Mar.  1,  1894. 

Coronaro.  (1)  Gaetano.  Violinist,  composer;  bora  Vi- 
cenza",  Italy,  Dec.  18,  1852;  died  Milan,  Italy,  Apr.  5, 
1908.  Composed  operas  and  instrumental  music.  (2) 
Antonio.  Composer;  born  Vicenza,  Italy,  1860.  Com- 
posed operas.  (3)  Gellio  Benvenuto.  Organist,  com- 
poser; born  Vicenza,  Nov.  30,  1863.  Composed  operas, 
masses,  songs,  organ  music. 

Corri,  Domenico.  Composer,  conductor;  born  Rome,  Oct. 
4,  1746;  died  Hampstead,  Eng.,  May  22,  1825.  Com- 
posed operas,  songs,  etc. 

Cortot,  Alfred.  Pianist,  conductor;  born  Nyon,  Switz., 
Sept.  26,  1877.  Teacher  Paris  Conservatory. 

Costa,  Sir  Michael.  Conductor,  composer;  born  Naples, 
Feb.  4,  1808;  died  Hove,  Eng.,  Apr.  29,  1884.  Of  his 
compositions,  the  oratorios  Naaman  and  Eli  are  the  most 
familiar  to  the  present  generation. 

Couperin.  (1)  Armand  Louis.  Organist;  born  France, 
1725;  died  Paris,  1789.  (2)  Frangois.  Organist,  clave- 
ginist,  composer;  born  Paris,  Nov.  10,  1668;  died  there, 
1733.  As  a  composer  of  exquisitely  constructed  little 
pieces  for  the  clavegin,  or  harpsichord,  he  may  be 
reckoned  one  of  the  early  fathers  of  modern  piano 
music. 

Courvoisier  (Koor-vwah-see-ay).  (1)  Carl.  Violinist;  born 
Basel,  Switz.,  Nov.  12,  1846;  died  Liverpool,  Eng.,  Apr., 
1908.  Writer  on  violin  playing;  composed  a  symphony, 
overtures,  etc.  (2)  Walter.  Composer;  born  Riehen. 
Ger.,  Feb.  7,  1875.  Composed  songs  and  choral  works 
with  orchestra,  etc.  Lives  Munich,  Ger. 

Coussemaker  (Koos-ma-kaire).  Charles  Edmond  Henri  de. 
Writer,  historian;  born  Bailleul,  France,  Apr.  19,  1835; 
died  Bourbourg,  France,  Jan.  10,  1876.  An  authority 
on  the  music  and  musicians  of  the  Middle  Ages. 

Coward,  Henry.  Conductor;  born  Liverpool,  Eng.,  Nov. 
26,  1849.  Wrote  cantatas  and  church  music.  Lives 
Sheffield,  Eng. 

Cowen,  Sir  Frederic  Hymen.  Composer;  born  Kingston, 
Jamaica,  Jan.  29,  1852.  Composed  a  waltz  at  six  years  of 
age,  and  when  eight  wrote  an  operetta  entitled  Garibaldi. 
Has  written  operas,  two  oratorios,  The  Deluge  and  Ruth; 
cantatas,  The  Rose  Maiden,  the  Sleeping  Beauty,  The  Cor- 
sa'r,  etc.;  symphonies,  chamber  music  and  songs.  Lives 
London. 

Cramer,  Johann  Baptist.  Pianist,  composer;  born  Mann- 
heim, Ger.,  Feb.  24,  1771;  died  London,  Apr.  16,  1858. 
A  brilliant  pianist,  and  a  composer  of  much  excellent 
music.  Famous  for  his  well-known  piano  etudes. 


CRESCENTINI 


608 


DANIELS 


Crescentini  (Cresh-en-tcc-nce),  Girolamo.  Singer;  born 
Urbania,  Italy,  Feb.  2,  1766;  died  Naples,  Apr.  24,  1846. 
Male  soprano. 

Creser,  William.  Organist,  composer;  born  York,  Eng., 
Sept.  9,  1844.  Composed  oratorios,  church  and  organ 
music,  chamber  music.  Trinity  College  of  Music,  London. 

Crist,  Bainbridge.  Composer,  teacher;  born  Feb.  13,  1883. 
Composed  works  for  orchestra,  and  many  songs.  Lives 
Brookline,  Mass. 

Cristofori,  Bartolomeo  di  F.  Inventor  of  the  piano;  born 
Padua,  Italy,  May  4,  1653;  died  Florence,  Italy,  Mar. 
17,  1731. 

Crivelli,  Domenico.  Singer,  teacher  of  singing;  born 
Brescia,  Italy,  1794;  died  1856.  Wrote  a  Method  for 
singers. 

Croft,  William.  Composer;  born  Nether-Eatington,  Eng., 
1678;  died  Bath,  Eng.,  Aug.  14,  1727.  Was  the  organist 
of  Westminster  Abbey  and  of  the  Chapel  Royal.  Wrote 
anthems,  sonatas,  songs,  hymn-tunes,  etc. 

Cross,  Michael  H.  Organist,  composer;  born  Philadelphia, 
Pa.,  Apr.  13,  1833;  died  there,  Sept.  26,  1897. 

Crotch,  William.  Composer;  born  Norwich,  Eng.,  Jul.  5, 
1775;  died  Taunton,  Eng.,  Dec.  29,  1847.  Principal  of 
the  Royal  Academy  of  Music.  He  wrote  several  oratorios : 
Palestine,  The  Captiwty  of  Judah,  etc.,  anthems,  glees, 
organ  and  piano  pieces. 

Crouch,  Frederick  William  Nicholas.  'Cellist,  composer; 
born  London,  Jul.  31,  1808;  died  Baltimore,  Md.,  Aug.  18, 
18%.  Served  in  the  Confederate  army,  and  afterward 
taught  music.  He  wrote  popular  songs,  the  best  known  of 
which  is  Kathleen  Mavourneen.  Came  to  the  U.  S.  in 
1849. 

Crusell,  Bernhard  Henrik.  Clarinetist,  composer;  born 
Nystadt,  Fin.,  Oct.  17,  1775;  died  Stockholm,  Swed., 
Jul.,  1838.  Early  song  composer  of  the  Finnish  school; 
clarinet  virtuoso. 


Cui  (Kwee),  Cesar  Antonovitch.  Composer;  born  Vilna, 
Lithuania,  Jan.  18,  1835;  died  Petrograd,  Mar.  14,  1918.  A 
prominent  composer  of  the  Slavonic  school.  Opera  Angela, 
etc. 

Cummings,  William   Hayman.     Tenor,   writer;  born   Sid- 
bury,   Eng.,   Aug.  22,   1831;  died   London,  June  6,   1915. 
.  Has   written   a   cantata,   church   music,   etc.      Author   of 
historical  works. 

Curry,  Arthur  M.  Composer,  teacher;  born  Chelsea,  Mass., 
Jan.  27,  1866.  Composed  symphony  Atala,  songs,  piano 
pieces,  etc.  New  England  Conservatory,  Boston. 

Curschmann,  Karl  F.  Composer;  born  Berlin,  Jun.  21, 
1804;  died  Langfuhr,  Ger.,  Aug.  24,  1841.  Composed 
principally  vocal  pieces. 

Curwen,  John.  Teacher;  born  Heckmonxlwike,  Eng.,  Nov. 
14,  1816;  died  Manchester,  Eng.,  May  26,  1880.  Using 
the  system  introduced  by  Sarah  Ann  Glover  as  a  basis, 
he  gradually  evolved  the  method  known  as  the  Tonic 
Sol-fa. 

Cusins,  Sir  William  George.  Organist,  pianist;  born  Lon- 
don., Oct.  14,  1833;  died  Remonchamps,  France,  Aug.  31. 
1893.  Organist  of  the  Queen's  Private  Chapel;  master 
of  the  music  to  the  Queen,  conductor  of  the  Philhar- 
monic, etc.  Wrote  an  oratorio,  Gideon,  a  piano  concerto, 
overtures,  and  other  works. 

Cutter,  Benjamin.  Violinist,  composer;  born  Woburn, 
Mass.,  Sept.  6,  1857;  died  Boston,  May  10,  1910.  Com- 
posed a  cantata,  a  mass,  violin  music,  etc.  Teacher  at 
the  New  England  Conservatory,  Boston.,  for  many  years. 

Cuzzoni  (Coot-zo-nee),  Franceses.  Soprano;  born  Parma, 
Italy,  about  1700;  died  Bologna,  Italy,  1770. 

Czerny  (Chair-nee},  Karl.  Composer,  pianist;  born  Vi- 
enna, Feb.  20,  1791;  died  there,  Jul.  15,  1857.  Composed 
studies  which  are  used  in  the  training  of  pianists.  Pupil 
of  Beethoven,  teacher  of  Liszt. 

Czibulka  (Tchee-bulf-kah),  Alphonse.  Composer;  born 
Szeges-Varallya,  Hun.,  May  14,  1842;  died  Vienna,  Oct. 
27,  1894.  Wrote  operettas,  dances,  salon  music,  etc. 


D 


Daffner,  Hugo.  Conductor,  composer;  born  Munich,  Ger., 
Jun.  2,  1882.  Composed  a  symphony,  chamber  music, 
etc.  Lives  Berlin. 

Dalayrac,  Nicholas.  Composer;  born  Muret,  France,  Jun. 
13,  1753;  died  Paris,  Nov.  27,  1809. 

D'Albert.    See  Albert. 

Dalcroze,  Emile  Jaques.  Composer,  teacher;  born  Vi- 
enna, Jul.  6,  1865.  Of  Swiss  parentage.  Composed  two 
operas,  a  violin  concerto,  a  string  quartet,  children's 
songs,  etc.  Founded  a  school  at  Hellerau,  Ger.,  to  teach 
rhythmic  dancing  for  children.  Lives  Geneva,  Switz. 

Damoreau  (Dah-mo-ro),  Laure  Cinthie,  known  as  Ciniti- 
Damoureau.  Soprano;  born  Paris,  Feb.  6,  1801;  died 
there,  Feb.  25,  1863. 

Damrosch.  (1)  Frank.  Conductor,  teacher;  born  Breslau, 
Ger.,  Jun.  22,  1859.  Conductor  and  organizer  of  various 
musical  societies  in  New  York,  where  he  also  rendered 
good  service  as  Supervisor  of  Music  in  the  public 
schools.  Director  Institute  of  Musical  Art,  New  York. 
Son  of  (2).  (2)  Leopold.  Violinist,  conductor;  born 


Posen,  Ger.,  Oct.  22,  1832;  died  New  York,  Feb.  15, 
1885.  Founded  the  Oratorio  and  Symphony  Societies. 
Wrote  a  violin  concerto,  a  festival  overture,  Ruth  and 
Naomi,  a  Sacred  Idyl,  songs,  etc.  (3)  Walter  Johannes. 
Conductor,  composer;  born  Breslau,  Ger.,  Jun.  30,  1862. 
Composed  Manila  Te  Deum,  operas  The  Scarlet  Letter, 
Cyrano,  and  other  works.  Conductor  New  York  Symphony 
Orchestra.  Son  of  (2). 

Dana.  (1)  Charles  Henshaw.  Organist,  composer;  born 
West  Newton,  Mass.,  Feb.  1,  1846;  died  Worcester. 
Mass.,  Feb.  5,  1883.  Composed  principally  church  mu- 
sic. (2)  William  Henry.  Teacher;  born  Warren,  O., 
Jun.  10,  1846;  died  there,  Mar.,  1913.  Founded  Dana's 
Musical  Institute,  Warren. 

Dancla  (Dahnk-lah),  Jean  Baptiste  Charles.  Violinist,  com- 
poser; born  Bagnieres,  France,  ,Dec.  19,  1817;  died  Tunis, 
Africa,  Nov.  8  (9),  1907.  Composed  orchestral  works  and 
valuable  technical  studies  for  violin. 

Daniels,  Mabel.  Composer;  born  Swampscott,  Mass.,  Nov. 
27,  1878.  Composed  for  orchestra,  chamber  music,  voice. 
Lives  Brookline,  Mass. 


DANKS 


609 


DEMUNCK 


Danks,  Hart  Pease.  Composer;  born  New  Haven,  Conn., 
Apr.  6,  1834;  died  Philadelphia,  Pa.,  Oct.  20,  1903.  Com- 
posed very  popular  songs  and  hymns.  (Silver  Threads 
among  the  Gold.) 

Dannreuther  (Dan-roi-tcr) ,  Edward.  Conductor,  writer; 
born  Strassburg,  Alsace,  Nov.  4,  1844;  died  London, 
Feb.  12,  1905.  A  distinguished  advocate  of  the  advanced 
school  of  musical  art  being  in  a  special  degree  a  champion 
of  -Wagner. 

Daquin  (Dak-kan),  Louis  Claude.  Organist,  composer; 
born  Paris,  Jul.  4,  1694;  died  there,  Jun.  IS,  1772.  Com- 
posed for  harpsichord. 

Dargomiszki  (Dar-go-mish-ky),  Alexander  Sergevitch.  Pi- 
anist, composer;  born  Toula,  Rus.,  Feb.  14,  1813;  died 
Petrograd,  Jan.  29,  1869.  Composed  operas  Esmeralde  and 
Roussalka,  songs,  etc.  His  opera  The  Stone  Guest,  on  the 
same  subject  as  Don  Giovanni,  embodied  Balakireff's  prin- 
ciples so  well  that  he  called  it  "The  Gospel." 

David  (Dah-veed).  (1)  Felicien  Cesar.  Composer;  born 
Cadenet,  France,  Apr.  3,  1810;  died  St.  Germain-en-Laye, 
France,  Aug.  29,  1876.  Traveled  extensively  in  the  East. 
His  principal  work  is  the  remarkable  symphonic  ode 
Le  desert.  (2)  Ferdinand  (Dah-vid).  Violinist,  com- 
poser; born  Hamburg,  Ger.,  Jun.  19,  1810;  died  Klosters, 
Switz.,  Jul.  18,  1873.  Teacher  at  Leipzig  Conservatory 
when  organized.  Wrote  concertos,  caprices,  etudes,  varia- 
tions, etc.,  for  the  violin. 

Davidoff  (Dah-vec-dof),  Karl.  'Cellist,  composer;  born 
Goldingen,  Rus.,  Mar.  17,  1838;  died  Moscow,  Feb.  15, 
1889.  At  Petrograd  he  became  solo  'cellist  in  the  impe- 
rial orchestra,  and  teacher  in  the  Conservatory,  finally 
director  of  it.  Wrote  a  large  number  of  violoncello 
solos  and  concertos,  and  also  some  fine  chamber  music. 

Davies.  (1)  Benjamin  Grey.  Tenor;  born  Pontardawe. 
Wales,  Jan.  6,  1858.  Distinguished  singer  in  opera, 
oratorio,  and  concert.  (2)  Ffrangcon.  Baritone;  born 
Bethesda,  Wales,  Dec.  11,  1860.  Sung  in  opera,  ora- 
torio, and  concert.  Royal  Academy  of  Music,  London. 
(3)  Walford.  Organist,  composer;  born  Oswestry,  Eng., 
Sept.  6,  1869.  Composed  in  large  forms  for  orchestra, 
chamber  music,  church  music,  a  stage  work  Everyman. 
Organist  Temple  Church,  London.  (4)  Fanny.  Pianist; 
born  Island  of  Guernsey,  Eng.,  Jun.  27,  1861.  Distin- 
guished concert  artist.  Lives  London. 

Davison,  James  William.  Music  critic;  born  London,  Oct. 
5,  1813;  died  Margate,  Eng.,  Mar.  24,  1885.  Wrote  ana- 
lytical notes  for  the  Monday  concerts. 

Day,  Dr.  Alfred.  Theorist;  born  London,  Jan,,  1810; 
died  there,  Feb.  11,  1849.  Author  of  work  on  harmony. 

Dayas  (Di-as),  William  Humphries.  Pianist,  organist; 
born  New  York,  Sept.  12,  1864;  died  Manchester,  May 
3,  1903. 

DeBoeck  (De-book),  Auguste.  Organist,  composer;  born 
Merchtem,  Bel.,  May  9,  1865.  Composed  operas,  works 
for  orchestra,  chamber  music,  and  organ.  Antwerp  Con- 
servatory. 

Debussy,  Achille  Claude.  Composer,  pianist;  born  Paris. 
Aug.  22,  1862;  died  there,  Mar.  26,  1918.  Wrote  in.  a 
very  advanced  harmonic  style,  in  a  set  of  detached  chords 
and  fugitive  dissonances  that  has  aptly  been  called  "musical 
stippling."  He  won  the  Prix  de  Rome  with  a  cantata,  The 
Prcdigal  Son,  a  successful  work  in  the  more  conservative 


vein.  The  Blessed  Damozel  was  more  modern  in  style. 
His  orchestral  works  include  "L'apres-midi  d'un  faunc, 
La  mer,  Nocturnes,  Iberia,  Printcmps,  etc.,  all  delicately 
scored,  but  dissonant  to  the  conservatives.  Debussy  wrote 
also  the  opera  I'cllcas  and  Mclisandc,  where  his  shadowy 
style  is  suitable,  and  the  stage  scenes  St.  Scbastien.  In  his 
piano  works  and  songs  Debussy,  even  if  using  unexpected 
chords,  paints  inimitably  successful  tone-pictures — Garden 
in  the  Rain,  Goldfish,  Moonlight,  etc.  Debussy  is  a  pioneer 
in  what  is  now  called  modernism,  which  is  a  style  of  writ- 
ing in  tortuous  harmonies.  Some  say  that  in  this  school 
chords  should  be  enjoyed  separately,  without  the  idea  of 
progression  or  relation. 

De  Haan,  Willem.  Composer;  born  Rotterdam,  Hoi., 
1849.  Wrote  orchestral  cantatas  and  operas. 

De  Koven  (Henry  Louis),  Reginald.  Composer;  born  Mid- 
dletown.  Conn.,  Apr.  3,  1859.  His  light  operas  Robin  Hood, 
The  Highwayman,  The  Three  Dragoons,  etc.,  display  much 
skill  in  melody,  harmony,  and  instrumental  coloring.  His 
other  works  include  the  grand  opera  Trilby,  numerous 
songs  and  incidental  pieces,  and  musical  criticism.  Since 
1900  has  composed  songs,  piano  pieces,  and  the  light  operas 
Maid  Marian,  Red  Feather,  Happyland,  The  Student  King, 
The  Snow  Man,  The  Golden  Butterfly,  The  Beauty  Spot, 
The  Yankee  Mandarin,  and  The  Wedding  Trip.  Died 
Chicago,  Jan.  17,  1920. 

De  Lange,  Samuel.  Organist,  composer ;  born  Rotterdam, 
Hoi.,  1840;  died  Stuttgart,  Ger.,  1911.  Wrote  organ  and 
chamber  music. 

Delamarter,  Eric.  Conductor,  composer;  horn  Kalamazoo, 
Mich.  Assistant  conductor,  Chicago  Symphony  Orchestra, 
1918. 

Deldevez  (Del-de-vay),  Edouard.  Violinist,  composer;  born 
Paris.  1817 ;  died  there,  1897.  Composed  operas,  ballets, 
symphonies,  and  church  music. 

Delibes  (Day-leeb),  Clement  Philibert  Leo.  Composer; 
born  St.  Germain-du-Val,  France,  Feb.  21,  1836;  died  Paris, 
Jan.  16,  1891.  Entered  the  Paris  Conservatory  in  1848.  A 
pupil  of  Adam.  Wrote  some  exquisite  ballet  music — Cop- 
pclia,  Sylvia,  etc.,  and  several  operas,  notably  Lakme. 

Delius  (Day-li-us),  Frederick.  Composer;  born  Bradford, 
Eng.,  Jan.  29,  1863.  Composed  the  operas  Koanga  and  A 
Village  Romeo  and  Juliet,  the  orchestral  works  Appalachia, 
Brigg  Fair,  Norwegian  Suite,  Dance  of  Life,  A  Mass  of 
Life,  Sea  Drift,  The  Song  of  the  High  Hills,  etc.,  some 
with  voices.  Is  modern  in  style,  with  unusual  and  frag- 
mentary harmonies.  Lives  London. 

Dell  Orefice  (Oh-re-fee-che),  Giuseppe.  Composer;  born 
Fara,  Italy,  1848.  Composed  operas  of  modern  character. 

Delune  (Deh-leen),  Louis.  Conductor,  composer;  born  Char- 
leroi,  Bel.,  Mar.  15,  1876.  Cantata  and  song  writer.  Lives 
Brussels. 

Del  Valle  de  Paz,  Edgardo.  Pianist,  composer,  teacher ; 
born  Alexandria,  Egypt,  Oct.  18  (28),  1861.  Royal  Insti- 
tute of  Music,  Florence,  Italy. 

Demol,  Pierre.  'Cellist,  composer ;  born  Brussels,  Bel.,  Nov. 
7.  1825;  died  Alost,  Bel.,  Jul.  2,  1899.  Composed  operas, 
cantatas,  a  mass,  and  chamber  music. 

Demunck,  Ernest.  "Cellist,  composer;  born  Brussels,  Bel.. 
Dec.  21,  1840.  Lives  London.  Married  Carlotta  Patti. 


DENNEE 


610 


DORET 


Deonee  (Den-nay),  Charles  Frederick.  Pianist,  composer; 
born  Oswego,  N.  Y.,  Sept.  1,  1863.  Composed  successful 
songs  and  valuable  piano  music.  New  England  Conserva- 
tory of  Music,  Boston. 

Denza  (Dcn-tsah),  Luigi.  Composer;  born  near  Naples, 
Italy,  Feb.  24,  1846.  Wrote  many  Neapolitan  songs,  in- 
cluding the  famous  Funiculi-funicula.  Lives  London. 

Deppe  (Dep-pch),  Ludwig.  Pianist,  teacher;  born  Alverdis- 
sen,  Ger.,  Nov.  7,  1828;  died  Pynnont,  Sept.  5,  1890. 

De  Reszke  (Rcsh-kch).  (1)  Edouard.  Bass;  born  War- 
saw, Pol.,  Dec.  23,  1855;  died  near  Warsaw,  1917.  Pupil 
of  his  brother  (2)  and  other  teachers.  He  ranked  among 
great  dramatic  bassos,  excelling  equally  as  singer  and 
actor.  (2)  Jean.  Tenor;  born  Warsaw,  Pol.,  Jan.  14, 
1852.  In  Europe  and  America  won  reputation  as  the  great- 
est dramatic  tenor  of  his  time.  Lives  Paris. 

Despres  (Day-pray),  Josquin.  Composer;  born  Hainault, 
about  1450;  died  Conde,  France,  Aug.  27,  1521.  Contrapun- 
tal composer;  the  first  to  bring  real  musical  beauty  into 
counterpoint.  Luther  said  of  him,  "Josquin  rules  the  notes, 
others  are  ruled  by  them." 

Destinn,  Emmy  (really  Kittl).  Soprano;  born  Prague,  Boh., 
Feb.  26,  1878.  Metropolitan  Opera  Company,  New  York. 
Lives  near  Prague. 

Destouches  (Day-toosh).  (1)  Andre  Cardinal.  Composer; 
born  Paris  about  1672;  died  there,  1749.  Wrote  a  number 
of  operas  and  ballets.  (2)  Franz  Seraph.  Composer; 
born  Munich,  Ger.,  Jan.  21,  1772;  died  there,  Dec.  10,  1844. 
Composed  an  opera  and  much  incidental  music. 

Deswert  (Dehs-vair),  Jules.  'Cellist,  composer;  born  Lou- 
vain,  Bel.,  Aug.  15,  1843;  died  Ostend,  Bel.,  Feb.  24,  1891. 

Devrient  (Deh-vrcc-ong),  Eduard  P.  Baritone,  author; 
born  Berlin,  Aug.  11,  1801;  died  Karlsruhe,  Oct.  4,  1877. 
Wrote  a  history  of  German  dramatic  art. 

Dezede  (or  Dezaides).  Composer;  born  Lyons,  Fr.,  abt. 
1740;  died  Paris,  1792.  Composed  many  operas  and  op- 
erettas. 

Diabelli  (Dee-a-bel-lee),  Anton.  Composer;  born  Mattsee, 
Aus.,  Aug.  6,  1781 ;  died  Vienna,  Apr.  7,  1858.  Best  known 
by  his  easy  piano  duets,  and  as  the  composer  of  a  theme 
on  which  Beethoven  wrote  variations. 

Dibdin,  Charles.  Composer,  singer;  born  Southampton, 
Eng.  (baptized  Mar.  4),  1745;  died  London,  Jul.  25,  1814. 
Produced  a  number  of  very  popular  plays  interspersed  with 
music,  such  as  The  Padlock,  The  Waterman,  The  Quaker, 
etc.  In  1789,  Dibdin  commenced  his  celebrated,  and  at  that 
time  novel,  "entertainments."  His  fame,  however,  rests 
upon  his  sea-songs,  lyrics  which  gained  for  him  the  title 
of  the  "Tyrtaeus  of  the  British  Navy."  As  recognition  of 
the  national  importance  of  these  songs,  many  of  which  were 
first  heard  in  connection  with  his  different  plays  and  enter- 
tainments, the  government,  in  1802,  bestowed  upon  him  a 
pension  of  $500  a  year. 

Dickinson,  Edward.  Author,  historian;  born.  Springfield, 
Mass.,  Oct.  10,  1853.  Writer  on  musical  history.  Professor 
at  Oberlin  University,  Oberlin,  O. 

Dickson,  Ellen.     Composer;  born  Woolwich,   Eng.,   1819; 

died    Lyndhurst,    Eng.,    Jul.    4,    1878.      Song   composer, 

pseudonym  "Dolores." 
Diehl    (Deal),   Louis.     Composer;   born    Mannheim,   Ger., 

1838.     Song  and  operetta  composer. 


Diemer  (Dee-ay-mair),  Louis.  Composer,  pianist;  born 
Paris,  Feb.  14,  1843.  Composed  mostly  for  the  piano. 
Paris  Conservatory. 

Diepenbrock  (Deep-en-brock),  Alphonse.  Composer, 
teacher;  born  Amsterdam,  Hoi.,  Sept  2,  1862.  Composed 
orchestral  works,  etc.  Lives  Amsterdam. 

Diet  (Dcct),  Edmond  Marie.  Composer;  born  Paris,  Sept. 
25,  1854.  Pupil  of  Cesar  Franck.  Composed  operas,  bal- 
lets, etc.  Lives  Paris. 

Dippel,  Andreas.  Tenor,  impresario;  born  Kassel,  Ger., 
Nov.  30,  1866.  Wagnerian  opera  singer;  member  Metro- 
politan Opera  Co.,  New  York.  1914  organized  his  own 
company.  Lives  New  York. 

Ditters  (Ditters  von  Dittersdorf),  Karl.  Violinist,  composer; 
born  Vienna,  Nov.  2,  1739;  died  Rothlotta,  Boh.,  Oct.  24, 
1799.  Wrote  comic  operas,  the  best  of  them  Doktor  und 
Apothckcr.  Also  composed  church  music,  symphonies, 
quartets,  sonatas,  songs,  etc.,  and  left  an  autobiography. 

Doehler  (Day-ler),  Theodor.  Pianist,  composer;  born 
Naples,  Italy,  Apr.  20,  1814;  died  Florence,  Italy,  Feb.  21, 
1856.  Composed  salon  music. 

Dohnanyi  (Doh-nahn-yee),  Ernst  von.  Pianist,  composer; 
born  Pressburg,  Hun.,  Jul.  27,  1877.  Composed  a  sym- 
phony, the  pantomime  Pierrette's  Veil,  orchestral  varia- 
tions, and  smaller  works.  Lives  Berlin. 

Donati,  Baldassaro.  Composer;  born  Venice,  Italy,  about 
1530;  died  there,  Jun.,  1603.  Composed  madrigals,  motets, 
etc. 

Doebber  (Deb-ber),  Johannes.  Composer;  born  Berlin, 
Mar.  28,  1866.  Composed  light  operas,  etc.  Lives  Berlin. 

Doering,  Karl.  Pianist,  composer;  born  Dresden,  Ger., 
Jul.  4,  1834.  Best  known  for  his  valuable  technical  studies 
for  piano. 

Doerner  (Dair-ner),  Armin  W.  Pianist,  teacher;  born  Ma- 
rietta, O.,  Jun.  22,  1851.  At  the  Cincinnati  College  of  Music 
for  a  number  of  years.  Lives  Denver,  Col. 

Donizetti  (Don-ee-tset-tce),  Gaetano.  Composer;  born 
Bergamo,  Italy,  Nov.  29,  1797;  died  there,  Apr.  8,  1848. 
One  of  the  bright  stars  of  the  Rossinian,  school  of  Italian 
opera.  Wrote  about  twenty  operas  before  he  met  with 
anything  like  real  success.  Anna  Bolena,  Lucia  di  Lammer- 
moor,  and  Bclisario  brought  him  into  the  front  rank  of 
composers,  and  thereafter  he  turned  out  successful  operas 
with  marvelous  ease  and  rapidity.  His  operas  are  distin- 
guished by  a  wealth  of  fascinating  melody  and  a  ready 
appreciation  of  the  picturesque.  Of  the  seventy  operas 
which  he  wrote,  Don  Pasquale,  L'Elisir  d'Amore,  La  fille 
du  regiment  and  Lucrcsia  Borgia  may  be  instanced  as 
freshest  and  most  original  in  conception  and  execution. 

Doppler.  (1)  Albert  Franz.  Flutist,  composer;  born  Lem- 
berg,  Aus.,  Oct.  16,  1821 ;  died  near  Vienna,  Jul.  27,  1883. 
Opera  composer.  (2)  Karl.  Flutist,  conductor;  born  Lem- 
berg,  Aus.,  1826 ;  died  Stuttgart,  Ger.,  Mar.  10,  1900.  Opera 
composer.  Brother  of  (1).  (3)  Arpad.  Conductor, 
composer,  teacher;  born  Pesth,  Hun.,  Jun.  5,  1857.  Com- 
posed the  opera  Much  Ado  About  Nothing.  Suites,  songs, 
etc.  Son  of  (2).  Lives  Stuttgart,  Ger. 

Doret  (Doh-ray),  Gustave.  Conductor,  composer;  born 
Aigle,  Switz.,  Sept.  20,  1866.  Composed  opera  La  Tisseuse 
d'Ortics.  cantatas,  incidental  music.  Lives  Paris. 


DORN 


611 


EHLERT 


Dorn,    Edouard.     See    Roeckel. 

Dorn,  Heinrich.   Composer,  pianist;  born  Konigsberg,  Ger., 

Xov.  14,  1804;  died  Berlin,  Jan.  10,  1892.     Composed  salon 

music. 
Dowland,  John.   Composer,  lute-player;  born  Westminster. 

Eng.,  1562 ;  died  there,  1626.     Mentioned  by  Shakespeare  in 

one   of   his   poems.     A    celebrated   madrigal    writer. 

Draeseke  (Dray-seck-ch),  Felix  August  Bernhard.  Com- 
poser ;  born  Coburg,  Ger.,  Oct.  7,  1835 ;  died  Dresden,  Ger., 
Feb.  26,  1913.  His  three  symphonies,  overtures  (Das  Lebcn 
ein  Traum)  and  chamber  music  were  successful. 

Dragonetti  (Drah-go-nct-tee),  Domenico.  Double-bass 
player;  born  Venice,  Apr.  7,  1763;  died  London,  Apr.  16, 
1846.  Distinguished  virtuoso  on  the  double-bass. 

Drdla,  Frans.     Violinist,  composer;  born  Saar,  Aus.,  Sept. 

25(28),    1868.      Composed    attractive    violin    pieces.      Lives 

Vienna. 
Dresel   (Drch-zcl),   Otto.     Pianist;   born   Andernach,   Ger., 

1826;  died  Beverly,  Mass.,  Jul.  26,  1890. 

Dressier,  Louis  Raphael.     Organ.ist,  composer;  born  New 

York,  Dec.  8,   1861.     Composed  songs  and  anthems.     Lives 

New  York. 
Dreyschock     (Dry-shock),    Alexander.       Pianist,     teacher; 

born  Zak,  Boh.,  Oct.  15,  1818;  died  Venice,  Italy,  Apr,  1  1869. 

Teacher  of  a  number  of  well-known  Bohemian  musicians. 

Dubois  (Du-bwah),  Clement  Frangois  Theodore.  Cotn- 
poser;  bowi  Rosnay,  France,  Aug.  24,  1837.  Director  of 
the  Paris  Conservatory.  Composed  oratorios  (Paradise 
Lost,  etc.),  operas  (Abcn  Hamct,  Xavicre),  orchestral  works 
(Frith jo f  overture),  and  many  songs,  piano  works,  and 
organ  pieces.  His  music  is  rather  conservative  in  style. 

Ducasse.     See  Roger-Ducasse. 

Dufay,  Guillaume.  Composer;  born  Hainault,  France, 
about  1400;  died  Cambrai,  France,  Nov.  27,  1474.  A  leader 
among  the  early  French  contrapuntists.  Said  to  have  in- 
troduced white  (outlined)  notes. 

Dukas  (Du-kah),  Paul.  Composer;  born  Paris,  Oct.  1, 
1865.  Composed  Apprcnti  Sorcicr  a  successful  symphonic 
poem,  opera  Ariane  ct  Barbe-Bleue,  a  remarkable  piano 
sonata,  variations  for  piano,  and  other  works.  Paris  Con- 
servatory. 

Dulcken  (Dool-ken),  Ferdinand  Q.  Pianist,  organist,  com- 
poser; born  London,  Jun.  1,  1837;  died  New  York,  1902. 


Dunham,  Henry  Morton.  Organist,  teacher;  born  Brock- 
ton, Mass.,  Jul.  27,  1853.  New  England  Conservatory, 
Boston. 

Dunstable,  John.  Famous  English  composer,  fourteenth 
and  early  fifteenth  century. 

Duparc,  Henri.  Composer;  born  Paris,  Jan.  21,  1848. 
Composed  in  large  forms,  but  best  known  by  his  songs. 
Lives  Switzerland. 

Dupont,  Gabriel.  Composer;  born  Caen,  France,  1878. 
Modern  opera  composer,  La  Cabrera,  La  Farce  du  Cuvier, 
etc. 

Dupuis  (Du-pwec).  (1)  Sylvain.  Composer;  born  Liege. 
Bel.,  Nov.  9,  1856.  Composed  operas  Moina.  Cour  d'Og- 
non,  etc. ;  also  cantatas  and  orchestral  works.  Liege  Con- 
servatory. (2)  Albert.  Composer;  born  Verviers,  Bel., 
Mar.  1,  1877.  Composed  operas  L'Idylle,  Bilitis,  etc.  Di- 
rector Verviers  Conservatory. 

Durante  (Doo-ran-tch),  Francesco.  Composer;  born  Frutta 
Maggiore,  Italy,  Mar.  15,  1684;  died  Naples,  Italy,  Aug. 
13,  1755.  Composed  operas  in  the  old  Italian  style. 

Dussek  (Doo-shck).  (1)  Franz.  Composer.  (2)  Johann 
Ladislaus.  Pianist,  composer;  born  Czaslav,  Bohemia, 
Feb.  9,  1761;  died  St.  Germain-en- Laye,  France,  Mar. 
20,  1812.  Held  in  high  estimation  as  a  pianist,  both  in 
Paris  and  in  London.  Wrote  twelve  concertos,  quintets, 
quartets,  trios,  sonatas,  etc.  (3)  Sophia.  Pianist,  singer, 
harpist;  1775-18—.  Wife  of  (2). 

Duverncy  (Du-vairn-zvah) ,  Jean  B.  Pianist,  composer, 
teacher;  born  Paris,  about  1797;  died  Passy,  France,  1880. 
Best  known  by  his  piano  studies. 

Dwight,  John  S.  Writer;  born  Boston,  May  13,  1813;  died 
there,  Sept.,  1893.  The  most  influential  American  music 
critic  of  his  time. 

Dvorak  (Dror-chak),  Antonin.  Composer;  born  Mulh- 
hausen,  Boh.,  Sept.  8,  1841 ;  died  Prague,  Boh.,  May  1,  1904. 
Educated  in  the  music  school  at  Prague.  One  of  the  most 
gifted  composers  of  the  modern  school.  Has  written  sym- 
phonies, cantatas,  some  sacred  compositions,  chamber  music, 
etc.  His  Spectre's  Bride,  the  remarkable  New  World  sym- 
phony, and  the  piano  quintet,  Op.  81,  are  exceptionally  fine 
works 

Dykes,  Rev.  John  Bacchus.  Composer;  born  Kingston- 
upon-Hull,  Eng.,  Mar.  10,  1823 ;  died  St.  Leonards-on-Sea, 
Eng.,  Feb.  22,  1876.  A  celebrated  writer  of  hymn-tunes. 


E 


Eames,  Emma.  Soprano;  born  Shanghai,  China,  Aug.  13, 
1867.  Voice  not  dramatic,  but  very  smooth  and  sweet. 
Lives  Bath,  Me. 

Eberl  (Ay-bcrl),  Anton,  Pianist,  composer;  born  Vienna, 
Jun.  13,  1766;  died  there,  Mar.  15  (11),  1807. 

Ebert  (Ay-bert),  Ludwig  "Cellist,  composer;  born  Klad- 
rau,  Boh.,  1834;  died  Coblenz,  Ger.,  1908.  Composed  for 
'cello. 

Eccarius-Sieber,  Arthur.  Violinist;  born  Gotha,  Ger.,  May 
23,  1864.  Periodical  writer,  teacher ;  published  piano  and 
violin  methods,  sonatas,  etc.  Lives  Diisseldorf,  Ger. 

Eckert,  Karl  Anton  Florian.  Composer;  born  Potsdam. 
Ger.,  Dec.  7,  1820;  died  Berlin,  Oct.  17,  1879.  Best  known 
by  his  songs. 


Eddy,  Hiram  Clarence.  Organist;  born  Greenfield,  Mass., 
Jun.  23,  1851.  Distinguished  concert  organist.  Lives  Oak- 
land, Cal. 

Edwards,  Julian.  Composer;  born  Manchester,  Eng.,  Dec. 
11,  1855;  died  Yonkers,  N.  Y.,  Sept.  15,  1910. 

Eeden  (Ay-den),  Jean  Baptiste  van  den.  Composer;  born 
Ghent,  Bel.,  Dec.  26,  1842.  Works  include  cantatas  and 
oratorios  (Jacqueline  dc  Bavicrc,  Brutus,  Jacob  van  Arte- 
velde,  Judith,  The  Last  Judgment,  De  Wind),  the  opera 
Rhena,  orchestral  works,  etc.  Conservatory  of  Music,  Mons, 
Bel. 

Ehlert  (Ay-lcrt),  Louis.  Composer,  writer;  born  Konigs- 
berg, Ger.,  Jan.  23,  1825 ;  died  Wiesbaden,  Ger.,  Jan.  4,  1884. 


EHRLICH 


612 


KSLAVA 


Ehrlich  (Air-likh),  Alfred  Heinrich.  Pianist,  composer, 
writer;  born  Vienna,  Oct.  5,  1822;  died  Berlin,  Dec.  29, 
1899.  Best  known  by  his  editing  of  Tausig's  Daily  Studies. 

Eichberg,  Julius.  Violinst,  composer;  born  Ditsseldorf, 
Ger.,  Jun.  13,  1824;  died  Boston,  Jan.  18,  1893.  Composer 
of  operettas,  violin  pieces,  and  some  pleasing  songs. 

Eichborn,  Hermann  Ludwig.  Waldhorn  virtuoso,  inventor, 
writer;  born  Breslau,  Ger.,  Oct.  30,  1847.  Composed  songs, 
comic  operas,  and  orchestral  pieces.  Writer  on  instru- 
ments. Lives  in  the  Tyrol,  Ger. 

Eijken  (Eye-ken).  (1)  Jan  Albert  van.  Organist;  born 
Ammersfoort,  Hoi.,  Apr.  26,  1823;  died  Elberfeld,  Ger., 
Sept.  24,  1868.  Organ  composer.  (2)  Gerhard  Isaac. 
Organist;  born  May  5,  1832.  Lives  Utrecht,  Hoi.  Brother 
of  (1).  (3)  Heinrich.  Composer;  born  Elberfeld,  Ger., 
Jul.  19,  1861;  died  Berlin,  Aug.  28,  1908.  Composed 
songs  with  orchestra  and  choruses. 

Eitner,  Robert.  Writer;  born  Breslau,  Ger.,  Oct.  22,  1832; 
died  Templin,  Ger.,  Jan.  22,  1905.  Famous  musical  writer, 
and  careful  editor  of  old  music. 

Elgar,  Sir  Edward  William.  Composer;  born  Broadheath, 
Eng.,  Jun.  2,  1857.  The  leader  of  the  new  school  in  Eng- 
land. Largely  self-taught.  Works  include  oratorios  The 
Dream  of  Gerontius,  The  Apostles,  and  The  Kingdom;  can- 
tatas King  Olaf,  The  Black  Knight,  Caractacus,  etc. ;  over- 
tures Froissart,  Cockaigne,  and  In  the  South;  orchestral, 
Enigma  Variations,  symphonic  poem  Falstaff,  two  sym- 
phonies; also  a  difficult  violin  concerto,  songs,  and  violin 
pieces  with  orchestra,  and  many  lesser  works.  Elgar  shows 
real  inspiration,  though  some  of  his  later  works  are  a 
trifle  fragmentary.  Lives  London. 

Ella,  John.  Violinist,  writer;  born  Thirsk,  Eng.,  Dec.  19, 
1802;  died  London,  Oct.  2,  1888.  Prepared  analytical 
programs. 

Ellicott,  Rosalind  Frances.  Pianist,  composer;  born  Cam- 
bridge, Eng.,  Nov.  14,  1857.  Has  written  some  excellent 
compositions  for  orchestra.  Lives  London. 

Elman,  Mischa.  Violinst;  born  Talnoje,  Rus.,  Jan.  20, 
1891.  Pupil  of  Leopold  Auer.  Distinguished  virtuoso. 
Lives  New  York. 

Elsenheimer,  Nicholas  J.  Composer,  teacher;  born  Wies- 
baden, Ger.,  Jun.  17,  1866.  Teacher  at  Cincinnati  College 
of  Music  for  a  number  of  years.  Composed  cantatas,  part- 
songs,  etc.  Lives  New  York. 

Elson.  (1)  Louis  C.  Writer,  historian;  born  Boston,  Apr. 
17,  1848;  died  Boston,  Feb.  15,  1920.  Teacher  of  theory  at 
New  England  Conservatory  of  Music.  (2)  Arthur.  Writer; 
born  Boston,  Nov.  18,  1873.  Son  of  (1).  Lives  Boston. 

Elterlein  (really  Gottschald),  Ernst.  Writer;  born  Elter- 
lein,  Ger.,  Oct.  19,  .1826;  by  profession  a  jurist.  Analyst 
of  Beethoven's  sonatas. 

Elvey,  Sir  George  Job.  Composer,  organist;  born  Canter- 
bury, Eng.,  Mar.  27,  1816;  died  Windlesham,  Eng.,  Dec. 
9,  1893.  In  1835  appointed  organist  of  St.  George's,  Wind- 
sor. Knighted  in  1871.  Retired  from  St.  George's  in 
1882.  Wrote  principally  church  music. 

Emerson,  Luther  Orlando.  Composer;  born  Parsonfield, 
Me.,  Aug.  3,  1820;  died  Hyde  Park,  Mass.,  Sept.  29,  1915. 
Composer  of  sacred  music;  pioneer  in  musical  work  for 
the  masses. 


Emery,  Stephen  A.  Theorist,  pianist,  teacher;  born  Paris. 
Me.,  Oct.  4,  1841;  died  Boston,  Apr.  15.  1891.  Teacher 
at  the  New  England  Conservatory  of  Music.  Boston,  for 
a  number  of  years. 

Emmerich,  Robert.  Composer;  born  Hanau,  Ger.,  Jul.  23, 
1836;  died  Baden-Baden,  Ger.,  Jul.  17,  1891.  Composed 
symphonies,  a  cantata,  operas,  etc. ;  choral  conductor. 

Enesco,  Georges.  Violinist,  composer;  born  Cordaremi. 
Roumania,  Aug.  7,  1881.  Composed  chamber  works,  a 
Roumanian  Rhapsody,  a  Roumanian  Poem,  etc.  Lives  Paris. 

Engel,  Karl.  Writer,  historian;  born  Thiedenweise,  Ger., 
Jul.  6,  1818;  died  London,  Nov.  17,  1882.  Eminent  writer 
on  music  and  musical  instruments. 

Enna,  August.  Composer;  born  Nakskov,  Den.,  May  13, 
1860.  Self-taught  composer  of  operas;  A  Village  Tale, 
Areta,  Aglaia,  The  Witch  (a  great  success),  Cleopatra. 
Lamia,  Aucassin  and  Nicolettc,  Ib  and  Christina,  and  other 
subjects  from  Hans  Christian  Andersen.  Lives  Copenhagen, 
Den. 

Erard,  Sebastian.  Piano-maker;  born  Strassburg,  Alsace, 
Apr.  5,  1752;  died  Aug.  5,  1831.  Made  notable  improve- 
ments in  the  action  of  the  harp. 

Erb  (Airb) ,  Maria  Josef.  Organist,  composer;  born  Strass- 
burg, Alsace,  Oct.  23,  1860.  Composed  piano  and  orches- 
tral suites,  operas,  a  tone-poem,  the  ballet  Der  Heimwcg, 
etc.  Lives  Strassburg. 

Erben  (Air-ben),  Robert.  Composer;  born  Troppau,  Ger., 
Mar.  9,  1862.  Composed  the  opera  Enoch  Arden,  the  fairy 
play  Die  Heinselmannchen,  etc.  Lives  Berlin. 

Erdmannsdorfer,  Max  von.  Conductor;  born  Nuremberg, 
Ger.,  1848;  died  Munich,  1905.  Works  include  the  can- 
tatas Prinzcssin  Use,  Seelinde,  etc. 

Erkel  (Air-kel).  (1)  Franz  (Ferencz).  Composer;  born 
Gyula,  Hun.,  Nov.  7,  1810;  died  Pesth,  Hun..  Jun.  15. 
1893.  Founder  of  Hungarian  national  opera.  Of  his 
nine  works  Hunyadi  Laszlo  and  Bank  Ban  were  great 
successes.  He  also  wrote  patriotic  songs.  (2)  Alexander. 
Composer;  born  Pesth,  Hun.,  1846;  died  there,  Oct.  14. 
1900.  Composed  opera  Tempcfoi  and  three  others.  Son 
of  (1). 

Erlanger  (Air-lan-zhair).  (1)  Camille.  Composer;  born 
Paris,  May  25,  1863.  Composed  the  dramatic  legend  St. 
Julicn,  operas  Kermaria,  The  Polish  Jew,  The  Son  of  the 
Star,  Aphrodite,  and  Hannele,  a  Requiem,  a  symphonic 
poem,  etc.  Lives  Paris.  (2)  Friedrich,  Baron.  Com- 
poser; born  Paris,  May  29,  1868.  Composed  chamber 
works,  etc.;  pseudonym  F.  Regnal.  Lives  London.  (3) 
Ludwig.  Composer. 

Ernst  (Airnst),  Heinrich  Wilhelm.  Violinist,  composer; 
born  Briinn,  Aus.,  May  6,  1814;  died  Nice.  France,  Oct. 
14,  1865.  Studied  at  the  Vienna  Conservatory;  afterward 
a  pupil  of  De  Beriot.  Traveled  all  over  Europe,  achiev- 
ing great  success  wherever  he  appeared.  As  a  composer 
is  most  widely  known  by  the  celebrated  Elcgie. 

Ertel    (Air-tcl) ,    Jean    Paul.      Pianist,    composer,    writer; 

born  Posen,  Ger.,  Jan.  22,  1865.   Composed  symphony  Harold, 

symphonic   poems   Maria  Stuart,   Belsha::er,   Pompeii,   etc. 

Lives  Berlin. 
Eslava,  Don   Miguel  Hilarion.     Composer;   born   Burlada, 

Spain,   Oct.   21,    1807;   died   Madrid,   Spain,   Sept.   23,   1878. 

Church  and  opera  composer. 


ESPOSITO 


613 


FERNANDEZ-CABALLERO 


Esposito,  Michele.     Pianist,  composer;  born  near  Naples,       EssipofF,  Annette.     Pianist;  born  Petrograd,  Feb.  1,  1851; 


Sept.   29,    1855.     Editor  of   Italian  classical   music.     Lives 
Dublin,  Ire. 


died  Aug.   18,   1914.     A  virtuoso  of  immense  technical  re- 
sources.    Toured   America    with    great    success   in    1876. 

Esser,  Heinrich.     Composer;   born   Mannheim,   Ger.,   Jul.       Eyken-     See  Eijken. 

15,    1818;    died    Salzburg,   Aus.,   Jun.   3,    1872.     Composed       Eymieu  (Eye-myay),  Henri.     Composer,  writer;  born  Sail- 


operas,   orchestral   and  chamucr  works,   and  very  popular 
quartets  and  songs. 


lans,   France,   May  7,   1860.     Composed  an  oratorio,  piano 
pieces,  etc.     Editor  Le  Menestrel,  Paris. 


Faccio,  Franco.  Composer;  born  Verona,  Italy,  1841; 
died  Monza,  Italy,  1691.  Composed  the  successful  opera 
/  Prufughi  Fiamminyhi  and  Amleto. 

Faelten,  Carl.  Pianist,  teacher;  born  Ilmenau,  Ger.,  Dec. 
21,  1846.  Organized  Faelten  Pianoforte  School,  Boston. 

Fahrbach.  (1)  Joseph.  Composer,  flutist;  born  Vienna, 
Aug.  25,  1804;  died  there,  Mar.  31,  1885.  (2)  Philipp. 
Composer,  conductor;  born  Vienna,  Oct.  25,  1815;  died 
there,  Mar.  31,  1885.  (3)  Philipp,  Jr.  Composer,  con- 
ductor; born  Vienna,  1843;  died  there,  Feb.  15,  1894. 
Son  of  (2).  Bandmaster,  dance  and  march  composer. 
(4)  Wilhelm.  Dance  composer;  born  Vienna,  1838;  died 
there,  1866. 

Fairlamb,  James  Remington.  Organist,  composer;  born 
Philadelphia,  Pa.,  Jan.  23,  1837;  died  New  York,  Apr., 
1908.  Composed  sacred  music  and  two  operas. 

Faisst  (Fyst),  Immanuel  Gottlob  Friedrich.  Organist, 
theorist;  born  Esslington,  Ger.,  Oct.  13,  1823;  died  Stutt- 
gart, Ger.,  Jun.  5,  1894.  Composed  cantatas,  motets,  organ 
music,  etc. 

Falcke,  Henri-Oscar.     Pianist;  born  Paris,  Feb.  27,  1866. 

Fall,  Leo.  Composer;  born  Olmiitz,  Aus.,  Feb.  2,  1873. 
Modern  German  light  opera  composer.  Lives  Vienna. 

Faltin,  Richard  Frederick.  Composer,  conductor;  born 
Danzig,  Ger.,  Jan.  5,  1835.  Identified  with  the  Finnish 
school  as  conductor  at  Helsingf ors ;  composed  songs,  organ 
works,  etc.  Lives  Helsingfors,  Fin. 

Faltis,  Emmanuel.  Composer,  conductor;  born  Lanzow, 
Boh.,  May  28,  1847;  died  Breslau,  Ger.,  Aug.  14,  1900. 
Composed  songs,  masses  and  other  church  music. 

Famintzin,  Alexander.  Composer,  critic;  born  Kalouga, 
Rus.,  Oct.  24,  1841;  died  Petrograd,  Jul.  6,  1896.  Com- 
posed operas  Sardanapal  and  Uriel  Acosta,  a  tone-poem,  etc. 

Fanelli,  Ernest.  Composer;  born  Paris,  Jun.  29,  1860. 
Composed  tone-poem  Thebes,  etc.  Lives  Paris. 

Faning,  Joseph  Eaton.  Composer,  conductor;  born  Hels- 
ton,  Eng.,  May  20,  1850.  Composed  a  symphony,  the  Hol- 
iday overture,  songs,  part-songs,  etc.  Lives  London. 

Farinelli,  Carlo  B.  Singer;  born  Naples,  Italy,  Jan.  24, 
1705;  died  Bologna,  Italy,  Jul.  15,  1782.  One  of  the  great- 
est of  the  old  Italian  male  sopranos. 

Farkas,  Edmund.  Composer  teacher;  born  Puszta- 
Monostor,  Hun.,  1852.  Composed  orchestral  works  (Day- 
break, Evening,  a  symphony,  etc.),  string  quartets,  and 
many  national  Hungarian  operas.  Conservatory,  Sieben- 
biirgen,  Aus. 

Farmer.  (1)  John.  English  madrigal  composer,  late  six- 
teenth century.  (2)  Henry.  Violinst,  composer;  born. 
Nottingham,  Eng.,  May  13,  1819;  died  there,  Jun.  25, 
1891.  Composed  a  mass,  violin  concertos,  etc.  (3)  John. 


Organist,  composer;  born  Nottingham,  Eng.,  Aug.  16,  1836; 
died  Oxford,  Eng.,  Jul.  17,  1901.  Composed  an  oratorio, 
the  fairy  opera  Cinderella,  chamber  music,  a  comic  can- 
tata, etc.  Nephew  of  (2). 

Farnaby,  Giles.  English  virginal  composer,  early  seven- 
teenth century. 

Farrant,    Richard.      English    composer,    end    of    sixteenth 

century. 
Farrar,   Geraldine.     Soprano;   born   Melrose,   Mass.,   Feb. 

28,  1882.     Metropolitan  Opera  Co.     Famous  for  intelligent 

acting.     Lives    New   York. 
Farwell,  Arthur.     Composer,  writer;  born  St.  Paul,  Minn., 

Apr.    23,    1872.     Composed   music   on    Indian    themes,   etc. 

Director  Music  School   Settlement,   New  York. 

Faulkes,  William.  Organist,  composer;  born,  Liverpool, 
Eng.,  Nov.  4,  1863.  Composed  organ  and  chamber  music, 
etc.  Blind. 

Faure  (Fo-ray),  Gabriel  Urbain.  Organist,  composer;  born 
Pamiers,  France,  May  12,  1845.  Excels  especially  in  vocal 
and  chamber  music,  but  has  composed  well  in  all  forms. 
His  opera  Penelope  a  success.  Director  Paris  Conservatory. 

Faure  (Fore),  Jean  Baptiste.  Baritone,  composer;  born 
Moulins,  France,  Jan.  15,  1830;  died  Paris,  Nov.  9,  1914. 
After  a  brilliant  success  in  opera  he  became  professor  at 
the  Paris  Conservatory.  He  composed  many  sacred  songs, 
including  Palm  Branches. 

Favarger  (Fah-vahr-zhair),  Rene.  Pianist,  composer;  born 
Paris,  1815;  died  Etretat,  France,  Aug.  3,  1868.  Com- 
posed salon  music. 

Fay,  Amy.  Pianist,  teacher;  born  Bayou  Goula,  Miss., 
May  21,  1844.  Pupil  of  Liszt.  Author  of  the  interesting 
book  Music  Study  in  Germany.  Lives  New  York. 

Fayrfax,   Robert.     Composer;   born   Bayford,   Eng.,   1470; 

died  St.  Albans,  Eng.,  Feb.,   1529. 
Federlein,   Gottfried   H.     Organist,  composer;  borni  New 

York,  Dec.  31,  1883.    Composed  organ  works,  church  music, 

songs.    Lives  New  York. 
Feinhals,   Fritz.     Baritone,   born   Cologne,   Ger.,   Dec.   14, 

1869.     Royal  Opera,  Munich. 

Felix,  Hugo.    Composer;  born  Vienna,  Nov.  19,  1866.    Com- 
posed operettas. 
Fenaroli,  Fedele.    Composer,  teacher;  born  Lanciano,  Italy, 

Apr.  25,  1730;  died  Naples,  Italy,  Jan.  1,  1818.    Teacher  of 

Cimarosa,  Zingarelli,  Mercadante,  etc. 

Feo    (Fa-o),   Francesco.     Composer;   born   Naples,    Italy, 

about   1685 ;   died  after   1740.     Opera  composer    (Zenobia, 

etc.). 
Fernandez-Caballero  (Fair-nan-deth).  Composer;  born  Mur- 

cia,   Sp.,   Mar.    14,   1835;   died   Madrid,   Sp.,  Feb.  20,   1906. 

Composed  zarzuelas. 


FERRABOSCO 


614 


FISSOT 


Ferrabosco.  Name  of  an  Italian  family  of  contrapuntal 
composers,  sixteenth  century.  Alfonso  F.  Composed 
Ayrez  in  London,  published  1609. 

Ferrari.  (1)  Benedetto.  Composer,  poet;  born  Reggio, 
Italy,  1597;  died  Modena,  Italy,  1681.  Opera  composer 
and  theorbo  player.  (2)  Domenico.  Violinist,  com- 
poser; died  Paris,  1780.  Wrote  violin  sonatas.  (3)  Carlo. 
'Cellist,  composer;  died  Parma,  Italy,  1789.  Introduced 
in  Italy  the  high  tliumb  positions;  composed  for  the 
'cello.  Brother  of  (2).  (4)  Giacorno.  Composer;  born 
Roveredo,  Italy,  1759;  died  London,  Dec.,  1842.  Opera 
composer,  accompanist  to  Marie  Antoinette.  (5)  Sera- 
fino.  Organist,  opera  composer.  (6)  Carlotta.  Com- 
poser; born  Lodi,  Italy,  Jan.  27,  1837.  Operas,  (Ugo, 
etc.),  songs,  etc.  (8)  Gabriella.  Pianist,  composer;  born 
Italy,  1851.  Composed  operas,  orchestral  works,  etc. 
Lives  Paris. 

Ferrata,  Giuseppe.  Pianist,  composer ;  born  Gradoli,  Italy, 
Jan.  1,  1865.  Newcomb  College,  Tulane  University,  New 
Orleans,  La. 

Perron,  Adolphe.  Composer;  born  Vienna,  May  21,  1855. 
Operetta  composer. 

Ferroni,  Vincenzo.  Composer,  teacher;  born  Tramutola, 
Italy,  Feb.  17,  1858.  Royal  Conservatory  of  Music, 
Milan,  Italy. 

Fesca,  Alexander  Ernst.  Composer;  born  Carlsruhe,  Ger., 
May  22,  1820;  died  Brunswick,  Ger.,  Feb.  22,  1849. 

Fetis  (Fay-tees),  Frangois  Joseph.  Historian  theorist, 
writer;  born  Mons,  Bel.,  Mar.  25,  1784;  died  Brussels, 
Bel.,  Mar.  26,  1871.  Studied  at  Paris.  In,  1818  appointed 
professor  at  the  Conservatory.  In  1827  started  the  Revue 
Musicalc.  Wrote  many  theoretical  works,  and  also  the 
great  Biographic  univcrsellc  des  musiciens  et  bibliographic 
generate  de  la  musiquc.  For  years  was  conductor  and  di- 
rector of  the  Conservatory  of  Brussels. 

Fevrier  (Fev-ree-ay).  (1)  Henri  Louis.  Eighteenth  cen- 
tury clavecjn  composer.  (2)  Henri.  Composer;  born 
Oct.  2,  1875.  Composed  opera  Manna  Vanna,  etc. 

Fibich,  Zdenko.  Composer;  born  Seborschitz,  Boh.,  Dec. 
21,  1850;  died  Prague,  Boh.,  Oct.  10,  1900.  Composed  the 
operas  Bukovin,  Blanik,  The  Bride  of  Messina.  The  Tem- 
pest, Haidce,  and  the  very  successful  Sarka;  also  symphonic 
poems  (Othello,  etc.),  two  symphonies,  chamber  music, 
piano  music,  songs,  choruses,  etc.  Was  much  devoted  to 
melodrama,  or  music  with  spoken  words,  setting  in  this 
manner  the  dramatic  trilogy  Hippodamia. 

Fiebach  (Fee-bahk),  Otto.  Organist,  composer;  born 
Ohlau,  Ger.,  Feb.  9,  1851.  Opera  composer  (Die  Lorelei, 
etc.).  Professor,  University  Konigsberg,  Ger. 

Fiedler  (Feed-ler),  August  Max.  Pianist,  conductor;  born 
Zittau,  Ger.,  Dec.  31,  1859.  Conductor  Boston  Symphony 
Orchestra,  1908-12.  Composed  chamber  music,  a  symphony, 
an  overture,  etc. 

Field,  John.  Pianist,  composer;  born  Dublin,  Ire.,  Jul.  26, 
1782;  died  Moscow,  Rus.,  Jan.  11,  1837.  A  pupil  of  Clem- 
enti.  Spent  the  greater  part  of  his  life  in  Russia,  where 
he  enjoyed  a  great  reputation  as  performer  and  teacher. 
In  his  compositions,  particularly  in  his  dreamy  and  graceful 
nocturnes,  Field  may  be  considered  the  forerunner  of 
Chopin. 


Fielitz  (Feel-its),  Alexander  von.  Composer,  teacher; 
born  Leipzig,  Ger.,  Dec.  28,  1860.  Stern  Conservatory, 
Berlin. 

Filke  (Fil-kch),  Max.  Composer;  born,  near  Leobschiitz, 
Ger.,  Oct.  5,  1855.  Lives  Berlin. 

Fillmore,  John  C.  Pianist,  teacher,  writer;  born  New 
London,  Conn.,  Feb.  4,  1843;  died  there,  Aug.  15,  1898.  In- 
vestigated Omaha  Indian  music.  Author  of  a  History  of 
Music  and  a  history  of  the  piano  and  its  music. 

Filtz,  Anton.  'Cellist,  composer;  born  Bohemia,  1730; 
died  Mannheim,  Ger.,  1760.  Composed  symphonies,  cham- 
ber music,  etc. 

Finck,  Henry  T.  Writer,  music  critic;  born  Bethel,  Mo., 
Sept.  22,  1854.  Graduated  at  Harvard  in  1876.  Studied 
music  with  J.  K.  Paine.  Attended  the  first  Bayreuth  fes- 
tival, in  1876,  and  became  an  earnest  advocate  of  Wagner. 
In  1881  he  was  made  musical  editor  of  the  New  York  Eve- 
ning Post.  His  writings  include  Wagner  and  His  Works, 
Paderewski  and  His  Art,  Edvard  Grieg,  etc.  Lives  New 
York. 

Findeisen,  Otto.  Composer,  conductor;  born  Briinn,  Aus., 
Dec.  23,  1862.  Operetta  composer.  Lives  Leipzig,  Ger. 

Fioravanti  (Fee-oh-rah-van-tee).  (1)  Valentino.  Composer; 
born  Rome,  Sept.  11,  1764;  died  Capua,  Italy.  Jun.  16, 
1837.  Composed  about  fifty  operas  (La  Cantatrice  Vil- 
lanc,  I  Virtuosi  Ambulanti,  etc.).  (2)  Vincenzo.  1799- 
1877.  Son  of  (1). 

Fiorillo  (Fee-o-ril-lo),  Federigo.  Violinist,  composer;  born 
Brunswick,  Ger.,  1753;  died  Paris  (?)  after  1823.  Wrote 
some  very  fine  etudes  for  the  violin. 

Fique  (Fec-kay),  Karl.  Pianist,  composer,  teacher;  born 
Bremen,  Ger.,  Apr.  17,  1867.  Lives  Brooklyn. 

Fischer.  (1)  Johann  Christian.  Oboist;  born  Freiburg, 
Ger.,  1733;  died  Apr.  29,  1800.  Oboe  composer.  (2) 
Christian  Wilhelm.  1789-1859;  bass  singer,  buffo  roles. 
(3)  Ludwig.  1745-1825;  bass  singer  in.  Mozart's  works, 
etc.  (4)  Michael  Gotthard.  Organist,  composer;  born 
near  Erfurt,  Ger.,  Jun.  3,  1773;  died  there,  Jan.  12,  1829. 
Organ  virtuoso  sacred  composer.  (5)  Gottfried  Emil. 
1791-1841 ;  singing  teacher,  vocal  composer.  (6)  Karl 
Ludwig.  Violinist,  conductor ;  born  Kaiserslautern,  Ger., 
1816;  died  Hanover,  Ger.,  Aug.  15,  1877.  Composed  male 
choruses,  etc.  (7)  Adolf.  Organist;  born  Uckermunde. 
Ger.,  Jun.  23.  1827;  died  Dec.  8,  1893.  Composed  sym- 
phonies, etc.  (8)  Karl  August?  Organist,  composer; 
born  Ebersdorf,  Ger.,  Jul.  25,  1828;  died  Dresden,  Ger., 
Dec.  25,  1892.  Composed  organ  concerto  and  symphonies, 
orchestral  suites,  opera  Lorelei,  etc.  (9)  Paul.  1834-1894: 
Conductor,«song  collector  and  editor.  (10)  Emil.  Bass; 
born  Brunswick,  Ger.,  1840;  died  Hamburg,  Ger.,  Aug. 
11,  1914.  Formerly  with  Metropolitan  Opera  Co.,  New  York. 
(11)  Adolphe.  'Cellist;  born  Brussels,  Bel.,  Nov.  22,  1847; 
died  there,  Mar.  18,  1891. 

Fischhof,  Robert.  Pianist,  composer;  born  Vienna,  1858. 
Composed  opera  Der  Bergkonig.  Vienna  Conservatory. 

Fisher,  William  Arms.  Composer;  born  San  Francisco, 
Cal.,  Apr  27,  1861.  Musical  editor  Oliver  Ditson  Com- 
pany, Boston.  Composed  principally  songs. 

Fissot  (Fees-so),  Alexis  Henri.  Pianist,  composer;  born 
Airanes,  Fr.,  Oct.  24,  1843.  Composed  piano  music. 


FITELBERG 


615 


FRANZ 


Fitelberg    (Feet-el-bairg) ,    George.      Violinist,  composer, 

conductor;   born   Livonia,   Rus.,   Oct.    18,    1879.  Composed 

symphonies,   symphonic  poems,   chamber  music,  etc.     War- 
saw Conservatory. 

Fitzwilliam,  Count  Richard.  Bequeathed  to  Cambridge 
University  a  valuable  collection  of  early  English  virginal 
music. 

Flagler,  Isaac  van  Vleck.  Organist;  born  Albany,  N.  Y., 
May  15,  1844;  died  Mar.  16,  1909.  Composed  for  organ. 

Fleischer.  (1)  Friedrich  Gottlob.  Song  composer;  born 
Kothen,  Ger.,  1722;  died  Brunswick,  Ger.,  1806.  (2) 
Oscar.  Writer;  born  Zorbig,  Ger.,  Nov.  2,  1856.  His- 
torical investigator.  (3)  Reinhold.  Organist,  composer; 
born  Dahsau,  Ger.,  Apr.  12,  1842;  died  1904.  Composed 
organ  works,  songs,  the  cantata  Holda,  etc. 

Flemming,  Friedrich  Ferdinand.  Composer;  born  Neu- 
hausen,  Ger.,  Feb.  28,  1778;  died  Berlin,  May  27;  1813. 
Physician,  composed  Integer  Vita  and  other  popular 
choruses. 

Flesch,  Karl.  Violinist;  born  Wieselburg,  Hun.,  Oct.  29, 
1873.  Editor  of  violin  works ;  distinguished  virtuoso.  Lives 
Berlin. 

Flodin,  Karl.  Composer,  writer;  born  Wasa,  Fin..,  Jul.  10, 
1858.  Writer  on  Finnish  music,  composed  the  scena  Helena, 
incidental  music  to  Hauptmann's  Hannele,  etc.  Lives  *i>uf- 
nos  Ay  res,  Argentina. 

Floersheim  (Flairs-hime) ,  Otto.  Composer,  writer;  born 
Aix,  Ger.,  Mar.  2,  1853.  Composed  piano  pieces  and  small 
orchestral  works.  Lives  Berlin. 

Flondor,  Theodor  Johann  von.  Composer;  born  Rou- 
mania ;  died  near  Berlin,  Jun.  24,  1908.  Composed  opera 
and  operetta. 

Floiidia,  Pietro.  Composer,  conductor;  born  Modena, 
Italy,  Mar.  5,  1860.  Composed  operas,  a  symphony,  etc. 
Lives  New  York. 

Florio,  Caryl  (pseudonym  of  William  James  Robjohn). 
Singer,  organist,  composer;  born  Tavistock,  Eng.,  Nov.  3, 
1843.  Composed  operettas,  cantatas.  Organist  Biltmore, 
N.  C. 

Flotow,  Friedrich  von.  Composer;  born  Teutendorf,  Ger., 
Apr.  27,  1812;  died  Darmstadt,  Ger.,  Jan.  24,  1883.  Com- 
poser of  operas.  Wrote  Alessandro  Stradella  and  Martha, 
the  latter  opera  being  that  by  which  he  is  most  widely 
known. 

Foerster.  (1)  Alban.  Composer;  born  Reichenbach,  Ger., 
Oct.  23,  1849.  Composed  operas,  chamber  music,  etc. 
(2)  Joseph.  Composer,  teacher;  born  Osojnitz,  Boh., 
Feb.  22,  1833;  died  Prague,  Boh.,  Jan.  3,  1907.  Composed 
masses.  (3)  Adolph  Martin.  Composer,  teacher;  born 
Pittsburgh,  Pa.,  Feb.  2,  1854.  Composed  a  Faust  over- 
ture, suites,  a  symphonic  ode,  the  symphonic  poem  Thus- 
nelda,  and  smaller  works.  Lives  Pittsburgh. 

Foley  ("Signor  Foli"),  Allan  James.  Bass;  born  Cahir, 
Ire.,  Sept.  7,  1835;  died  Southport,  Eng.,  Oct.  20,  1899.  Dis- 
tinguished in  opera  and  concert. 

Folville,  Juliette.  Pianist,  violinist,  composer;  born  Liege, 
Bel.,  Jan.  5,  1870.  Composed  the  opera  Atala,  cantatas,  a 
violin  concerto,  suites,  etc.  Liege  Conservatory. 

Foote,  Arthur.  Pianist,  composer;  born  Salem,  Mass., 
Mar.  5,  1853.  Works  include  symphonic  poem  Francesco 


da  Rimini,  cantatas,  etc.,  but  he  is  best  known  by  his  or- 
chestral and  piano  suites,  songs,  and  piano  pieces.  Lives 
Brookline,  Mass. 

Ford,  Thomas.  Composer;  born  England,  about  1580; 
died  London,  Nov.,  1648.  Composed  part-songs,  canons, 
rounds,  instrumental  music. 

Forkel,  Johann  N.  Organist,  writer,  historian;  born  Mee- 
der,  Ger.,  Feb.  22,  1749;  died  Gottingen,  Ger.,  Mar.  17,  1818. 

Formes,  Karl  Joseph.  Bass;  born  Muhlheim-on-the-Rhine, 
Ger.,  Sept.  7,  1816;  died  San  Francisco,  Cal.,  Dec.  15,  1889. 
Distinguished  operatic  singer. 

Forsyth,  Cecil.  Composer,  writer;  born  Greenwich,  Eng.. 
Nov.  30,  1870.  Composed  for  orchestra,  chamber  music, 
two  comic  operas,  songs,  etc. ;  author  of  a  work  on  instu- 
mentation.  Lives  New  York. 

Foster.  (1)  Myles  Birket.  Organist,  composer;  born  Lon- 
don, Nov.  29,  1851.  Composed  cantatas,  much  church 
music.  Lives  London.  (2)  Muriel.  Contralto;  born 
Sunderland,  Eng.,  Nov.  22,  1877.  Distinguished  in,  ora- 
torio and  concert.  (3)  Stephen  Collins.  Composer;  born 
Pittsburgh,  Pa.,  Jul.  4,  1826;  died  New  York,  Jan.  13, 
1864.  Wrote  words  and  music  of  many  popular  songs, 
among  which  may  be  mentioned  Old  Uncle  Ned,  My  Old 
Kentucky  Home,  Old  Folks  at  Home,  and  Alassa's  in  the 
Cold,  Cold  Ground. 

Fourdrain,  Felix.  Composer;  born  France,  1880.  Com- 
posed the  opera  Vcrcingetorix.  Lives  Paris. 

Fox.       (1)     George.       Baritone,    composer,  born     England, 

1854.     Opera  and  cantata  composer.     (2)  Felix.     Pianist, 

teacher;  born  Breslau,  Ger.,  May  25,  1876.  Fox-Buonamici 
School,  Boston. 

Fragerolle  (Frazhe-rol) ,  Georges  Auguste.  Composer; 
born  Paris,  Mar.  11,  1855.  Composed  operettas  and  pa- 
triotic songs. 

Franchetti  (Frang-ket-tee) ,  Baron  Alberto.  Composer; 
born  Turin,  Italy,  Sept.  18,  1860.  Studied  at  Munich  and 
Dresden ;  composed  chamber  music  and  orchestral  works, 
also  the  operas  Asrael,  Cristofore  Colombo,  Fior  d'Alpc, 
Germania,  La  Figlia  di  Jorio,  etc.  Works  strongly  effective. 

Franchomme  (Fran-shorn),  Auguste.  "Cellist;  born  Lille. 
France,  Apr.  10,  1808;  died  Paris,  Jan.  22,  1884.  Remarkable 
command  over  technical  difficulties. 

Franck  (Frahng),  Cesar  Auguste.  Organist,  composer, 
teacher ;  born  Liege,  Bel.,  Dec.  10,  1822 ;  died  Paris,  Nov.  8, 
1890.  Teacher  of  many  eminent  French  musicians.  Wrote 
a  number  of  excellent  sacred  compositions — Ruth,  Redemp- 
tion, Les  Beatitudes,  etc. ;  a  symphony,  chamber  music,  and 
works  for  piano  and  for  organ. 

Franco.     (l)Of  Paris,  chapel-master  and  composer;  about 

1100.     (2)   Of  Cologne,  invented  measured  notes,  about 

1190. 
Frank  (Frahnk),  Ernst.     Organist,  composer;  born  Munich, 

Ger.,  Feb.  7,  1847 ;  died  near  Vienna,  Aug.  17,  1889.    Opera 

composer  (Hero,  etc.). 

Frankenberger,  Heinrich  Friedrich.  Violinist,  composer; 
born  Wiimbach,  Ger.,  Aug.  20,  1824;  died  Sondershausen, 
Ger.,  Nov.  22,  1885.  Composed  operas,  songs,  piano  pieces. 

Franz,  Robert.  Composer;  born  Halle,  Ger.,  Jun.  28, 
1815;  died  there,  Oct.  24,  1892.  A  song-writer  of  great 
genius. 


FRAUENLOB 


616 


GALIN 


Frauenlob     (Frow-cn-Iobc)     (Praise    of    Women).      Name 

given  to  Henry  of  Meissen   ( —  1318),  for  his  Minnesongs 

(lyrics)   in  praise  of  womanhood. 
Frederick  the  Great,  of  Prussia.     Flutist,  patron  of  music, 

composer;    born    Berlin,    1712;    died    Potsdam,    Ger.,    1786. 

Composed  an   opera    (//  Re  Pastore),  an  overture,  music 

for  flute,  etc. 
Fremstad,   Olive.     Soprano;  born  Stockholm,   Swed.,  about 

1870.     Distinguished  opera  singer.     Lives  New  York. 
Frescobaldi,  Girolamo.     Organist,  composer ;  born  Ferrara, 

Italy    (baptized   Sept.  9),   1583;   died   Rome,   Mar.  2,   1644. 

Organist  St.  Peter's,  Rome. 
Freudenberg  (Froy-den-bairg),  Wilhelm.     Composer;  born 

near  Neuwied,  Ger.,  Mar.  11,  1838.     Composed  operas,  an 

overture,  etc.     Lives  Berlin. 

Fried,  Oskar.    Composer;  born  Berlin,  Aug.  10,  1871.    Com- 
posed  choruses  Erntclied,  Das  Trunkcne  Lied,   fugue   for 

string   orchestra,    cantata,    Verklarte   Nacht,   women's    cho- 
ruses, etc.     Lives  Berlin. 
Fricdenthal,   Albert.     Pianist;   born   Bromberg,   Ger.,    Sept. 

25,  1862.     Made  world  tour. 
Friedheim      (Frced-himc),     Arthur.       Pianist,     composer, 

teacher;  born  Petrograd,  Oct.  26,  1859.     Composed  a  piano 

concerto,  the  opera  The  Dancer,  etc.    Pupil  of  Liszt.    Lives 

New  York. 
Friedlander,    Max.     Writer,    historian;    born    Brieg,    Ger., 

Oct.   12,  1852.     An  authority  on  German  folk-song.     Lives 

Berlin. 
Friedmann,  Ignaz.    Pianist,  composer;  born  Cracow,  Aus., 

Feb.   14,   1882.     Composed  songs  and  piano  works.     Lives 

Berlin.  ' 
Fries,   Wulf.      "Cellist,   teacher;    born   Garbeck,    Ger.,   Jan. 

10,  1825;  died  Boston,  Apr.  29,  1902.     Distinguished  artist. 
Friml,    Rudolf.      Pianist,    composer;    born    Prague,    Boh., 

Dec.  7,  1881.    Composed  successful  light  operas,  piano  and 

violin  pieces.     Lives  New  York. 
Frischen,  Josef.     Conductor,  composer;  born  Garzweiler, 

Ger.,  Jul.  6,  1863.    Lives  Hanover,  Ger. 
Fritze,  Wilhelm.     Pianist,  composer;  born  Bremen,  Ger., 

Feb.  17,  1842;  died  Stuttgart,  Ger.,  Oct.  7,  1881.    Composed 

oratorios,  a  symphony,  music  to  Faust,  concertos,  etc. 


Froberger,  Johann  Jacob.  Organist,  composer;  born 
Halle,  Ger.,  1605;  died  Hericourt,  France,  May  7,  1667. 
Distinguished  as  player.  J.  S.  Bach  studied  his  composi- 
tions. 

Frontini,  F.  Paolo.  Composer;  born  Catania,  Italy,  Aug. 
6,  1860.  Director  Conservatory,  Catania. 

Frugatta,  Giuseppe.  Pianist,  composer;  born  Bergamo, 
Italy,  May  26,  1860.  Composed  for  piano,  including  fine 
etudes.  Milan  Conservatory. 

Fry,  William  H.  Composer;  born  Philadelphia,  Pa.,  Sept. 
10,  1813;  died  Santa  Cruz,  Cal.,  Sept.  21,  1864.  Opera  com- 
poser. 

Fuchs  (Fooks).  (1)  Johann  Nepomuk.  Conductor,  com- 
poser; born  Frauenthal,  Aus.,  May  5,  1842;  died  Vienna, 
1899.  (2)  Robert.  Composer,  teacher;  born  Frauen- 
thal, Aus.,  Feb.  15,  1847.  Composed  two  symphonies, 
a  mass,  a  Sea-Overture,  choruses,  two  operas,  etc.  Lives 
Vienna.  (3)  Albert.  Composer;  born  Basel,  Switz., 
1858;  died  Dresden,  Ger.,  1910.  Composed  a  violin  con- 
certo, a  Hungarian  Suite,  choruses,  etc. 

Fiihrer  (Fear-er),  Robert.  Organist;  born  Prague,  Boh, 
Jun.  2,  1807;  died  Vienna,  Nov.  28,  1861.  Composed 
masses,  etc. 

Fuller-Maitland,  John  Alexander.  Writer,  historian;  born 
London,  Apr.  7,  1856.  Editor  second  edition  Grove's  Dic- 
tionary of  Music.  Lives  London. 

Fumagalli  (Foo-ma-gahl-lee),  Luca.  Pianist,  composer; 
born  Inzago,  Italy,  1837;  died  Milan,  Italy,  Jun.,  1908. 

Fumi  (Foo-mee),  Vinceslao.  Conductor,  composer;  born 
Montepulciano,  Italy,  Oct.  20,  1823;  died  Florence,  Nov. 
20,  1880.  Wrote  for  orchestra,  and  an  opera. 

Fursch-Madi  (Foorsh-Mah-dce),  Emmy.  Soprano;  born 
Bayonne,  France,  1847 ;  died  Warrenville,  N.  J.,  Sept.  20, 
1894.  Opera  soprano  with  dramatic  power. 

Fux  (Fooks),  Johann  Joseph.  Theorist;  born  Hirtenfeld, 
Aus.,  1660;  died  Vienna,  Feb.  13,  1741.  Author  of  Gradus 
ad  Parnassum,  a  text-book  on  counterpoint  which  has  re- 
mained the  basis  for  most  works  on  the  same  subject  since 
then. 


G 


Gabriel  (Gah-brce-el),  Richard.  Organist,  conductor;  born 
Zackenzin,  Ger.,  Sept.  3,  1874.  Composed  for  chorus.  Lives 
Sagan,  Ger. 

Gabrieli.  (1)  Andrea.  Organist,  composer;  born  Venice 
about  1510;  died  there,  1586.  Organist  St.  Mark's  Cathe- 
dral. A  famous  early  Italian  composer.  (2)  Giovanni. 
Organist,  composer;  born  Venice,  1557;  died  there,  Aug. 
12,  1612(1613).  Organist  St.  Mark's  Cathedral.  Nephew 
of  (1). 

Gabrilowitsch,  Ossip.  Pianist,  composer,  conductor;  born 
Petrograd,  Feb.  7,  1878.  Pupil  of  Leschetizky  at  Vienna. 
Conductor  Detroit  (Mich.)  Symphony  Orchestra,  1918. 
Distinguished  as  an  interpreter.  Married  the  singer  Clara 
Clemens,  daughter  of  Mark  Twain. 

Cade  (Gah-dc),  Niels  Wilhelm.  Composer;  born  Copen- 
hagen, Den.,  Feb.  22,  1817;  died  there,  Dec.  21,  1890.  Wrote 
symphonies,  overtures,  an  opera,  choral  works,  chamber 


music,  etc.  His  compositions  lean  toward  the  style  of 
Mendelssohn.  His  music  displays  a  strongly  marked  Scan- 
dinavian character. 

Gadsby,  Henry  R.  Organist,  composer;  born  London, 
Dec.  15,  1842;  died  Putney,  Eng.,  Nov.  11,  1907.  Church 
music  composer. 

Gadski,  Johanna.  Soprano;  born  Anclam,  Ger.,  Jun.  15, 
1871.  Eminent  in  Wagnerian  opera. 

Gagliano  (Gal-yah-no) ,  Marco  da.  Composer;  born 
Gagliano,  Italy,  about  1575;  died  there,  Feb.  24,  1642. 

Gail  (Chile),  Edmee  Sophia.  Composer;  born  Paris,  Aug. 
28,  1775;  died  there,  Jul.  24,  1819.  Composed  operas  and 
songs. 

Galin  (Gah-lanfj),  Pierre.  Theorist,  teacher;  born  Sama- 
tan,  France,  1786;  died  Bordeaux,  France,  Aug.  31,  1821. 
Devised  a  system  of  singing  by  numerals  instead  of  the 
syllables  do,  re,  mi,  etc. 


GALITZIN 


617 


GERARDY 


Galitzin,  Prince  George.  Composer;  born  Petrograd, 
1823;  died  Sept.,  1872.  Composed  masses,  orchestral  fan- 
taisies,  choral  works,  etc. 

Galli,  Amintore.  Writer,  music  critic,  composer;  born 
near  Rimini,  Italy,  Oct.  12,  1845.  Composed  operas,  ora- 
torios, etc.  Lives  Milan,  Italy. 

Galli-Curci  (Gahl-lcc-coor-chce),  Amelita.  Soprano;  born 
Milan,  Italy,  Nov.  18,  1890.  Distinguished  coloratura 
singer.  Lives  New  York. 

Gallico,  Paolo.  Pianist,  teacher,  composer;  born  Trieste, 
Italy,  May  13,  1868.  Composed  piano  pieces.  Lives  New 
York. 

Galuppi  (Gah-loop-pee) ,  Baldassaro.  Composer;  born 
Burano,  Italy,  Oct.  18,  1706;  died  Venice,  Italy,  Jan.  3,  1785. 
Composer  in  Italian  classical  style,  toccatas,  etc. 

Gandolfi,  Riccardo.  Composer;  born  Voghera,  Italy,  Feb. 
16,  1839.  Opera  and  orchestral  composer;  devoted  to  his- 
torical studies.  Lives  Florence,  Italy. 

Ganne  (Gahnn),  Louis  Gaston.  Composer;  born  Bruxieres- 
les-Mines,  France.  Apr.  15,  1862.  Composed  light  operas, 
popular  pfano  music,  songs,  etc.  Lives  Paris. 

Gansbacher  (Gehns-bakh-er),  Johann  B.  Composer;  born 
Sterzing,  Aus.,  May  8,  1778;  died  Vienna,  Jul.  13,  1844. 

Gantvoort,   Arnold   J.     Teacher;   born   Amsterdam, 
Dec.  6,  1857.     Director  College  of  Music,  Cincinnati,  O. 

Ganz  (Gahnts).  (1)  Rudolph.  Pianist,  composer;  born 
Zurich.  Switz.,  Feb.  24,  1877.  Composed  songs,  piano 
pieces.  Distinguished  virtuoso.  Lives  New  York.  (2) 
Wilhelm.  Composer,  pianist;  born  Mainz,  Ger.,  Nov. 

6,  1833;  died  London,  1914. 

Garcia  (Gar-thce-a) .  (1)  Manuel.  Teacher  of  singing; 
born  Madrid,  Spain,  Mar.  17,  1805;  died  London,  Jul.  1, 
1906,  For  many  years  lived  at  London,  as  a  teacher 
of  singing.  Invented  the  laryngoscope.  (2)  Manuel  del 
Popolo  Vincente.  Singer,  teacher;  born  Seville,  Spain, 
Jan.  21,  1775;  died  Paris,  Jun.  9,  1832.  Father  of  (1)  and 
of  Viardot-Garcia. 

Garcin  (Gar-sang),  Jules  Auguste.  Violinist,  conductor, 
composer;  born  Bourges,  France,  Jul.  11,  1830;  died  Paris, 
Oct.  10,  1896.  Wrote  violin  music. 

Garden,  Mary.  Soprano;  born  Aberdeen.,  Scot.,  Feb.  20, 
1877.  Brought  up  in  the  United  States.  Famous  opera 
singer.  Chicago  Opera  Company.  Lives  Paris. 

Gardiner,  H.  Balfour.  Composer;  born  London,  Nov.  7, 
15,  1823;  died  Paris,  1906.  Composed  oratorios,  overtures, 
chamber  music,  etc.  Lives  London. 

Garrett,  George  Mursell.  Organist,  composer;  born  Win- 
chester, Eng.,  Jun.  8,  1834;  died  Cambridge,  Eng.,  Apr.  8, 
1897.  Composer  of  oratorios,  cantatas,  and  church  music. 

Gast  (Gahst),  Peter.  Composer;  born  Annaberg,  Ger., 
Jan.  10.  1854.  Composed  operas,  a  symphony,  etc. 

Gastaldon,  Stanislas.     Composer;  born  Turin,  Italy,  Apr. 

7,  1861.    Composed  piano  pieces,  songs,  etc. 

Gastinel,  Leon.  Composer;  born  Cote  d'Or,  France,  Aug. 
15,  1823;  died  Paris,  1906.  Composed  oratorios,  overtures, 
symphonies,  comic  operas,  etc. 

Gatti-Casazza,  Giulio.  Impresario;  born  Udine,  Italy,  Feb. 
5,  1869  Manager  Metropolitan  Opera  Co.,  New  York. 


Gatty.  (1)  Sir  Alfred  Scott.  Composer;  born  Ecclesfield, 
Eng.,  Apr.  25,  1847.  Operetta  and  song  composer;  lives 
London.  (2)  Nicholas  Comyn.  Organist,  composer, 
conductor;  born  Bradfield,  Eng.,  Sept.  13,  1874.  Composed 
variations,  short  operas,  a  piano  concerto,  etc.  Lives 
London. 

Gaul,  Alfred  Robert.  Composer,  organist;  born  Norwich, 
Eng.,  Apr.  30,  1837;  died  Birmingham,  Eng.,  Sept.  13,  1913. 
Well  known  as  the  composer  of  The  Holy  City. 

Gavinies  (Ga-vecn-ycs),  Pierre.  Violinist,  composer;  born 
Bordeaux,  France,  May  11,  1728;  died  Paris,  Sept.  9,  1800. 
Wrote  a  number  of  compositions  for  the  violin,  of  great 
technical  difficulty,  but  extremely  valuable  to  advanced  stu- 
dents. 

Gavronski  (Gah-vron-skee},  Woitech.  Conductor,  com- 
poser; born  near  Vilna,  Pol.,  Jun.  27,  1868.  Composed  a 
symphony,  two  operas,  string  quartets,  piano  pieces  and 
songs.  Lives  Warsaw. 

Gaynor,  Mrs.  Jessie  'L.  Composer;  born  St.  Louis,  Mo., 
Feb.  17,  1863.  Composed  many  excellent  children's  songs, 
an  operetta,  etc.  Lives  Webster  Groves,  Mo. 

Gaztambide  (Gath-tam-bee-deh),  Joaquin.  Composer, 
teacher;  born  Tuleda,  Spain,  Feb.  7,  1823;  died  Madrid, 
Spain,  Mar.  25,  1870.  Composed  forty  very  successful 
zarzuelas. 

Gear,  George  Frederick.  Pianist,  teacher,  composer;  born 
London,  May  21,  1857.  Composed  chamber  music,  op- 
erettas etc.  London  Academy  of  Music. 

Gebhard,  Heinrich.  Pianist,  composer;  born  Sobernheim, 
Ger.,  Jul.  25,  1878.  Composed  piano  pieces.  Lives  Boston. 

Gedalge  (Zhay-dalzh),  Andre.  Teacher,  composer;  born 
Paris,  Dec.  27,  1856.  Composed  symphonies,  operas,  an 
orchestral  suite,  chamber  music,  etc.,  also  Traitc  de  la  Fugue. 
Paris  Conservatory. 

Geibel,  Adam.  Organist,  composer;  born  Neuenheim,  Ger., 
Sept.  15,  1855.  Blind.  Composed  songs,  choruses,  a  can- 
tata, etc.  In  the  United  States  since  1862.  Lives  Phila- 
delphia, Pa. 

Geisler,  Paul.  Composer,  conductor;  born  Stolp,  Ger., 
Aug.  10,  1856.  Composed  many  operas,  a  number  of  sym- 
phonic poems,  etc.  Director  of  Conservatory,  Posen,  Ger. 

Gelink  (Gch-lee-ttek),  Joseph.  Composer;  born  Selcz, 
Boh.,  Dec.  3,  1758;  died  Vienna,  Apr.  13,  1825.  Composed 
principally  variations. 

Geminiani  (Jcm-ec-ncc-ah-nec),  Francesco.  Violinist,  com- 
poser; born  Lucca,  Italy,  about  1680;  died  Dublin,  Ire., 
Sept.  17,  1762.  One  of  the  great  Italian  violin  virtuosi  of 
the  eighteenth  century.  Lived  at  London  for  many  years. 

Genee  (Zheh-neh),  Richard.  Composer;  born  Danzig, 
Ger.,  Feb.  7,  1823;  died  near  Vienna,  Jun.  15,  1895.  Com- 
poser light  operas,  dance  music. 

Genss,  Hermann.  Pianist,  composer;  born  Tilsit,  Ger., 
Jan.  6,  1856.  Composed  orchestral,  choral,  and  chamber 
music.  Lives  San  Francisco,  Cal. 

Georges  (Zhorzh),  Alexandre.  Organist,  composer;  born 
Arras,  France,  Feb.  25,  1850.  Composed  operas,  incidental 
music,  etc.  Niedermeyer  School,  Paris 

Gerardy  (Zhay-rar-dcc),  Jean.  'Cellist;  born  Spa,  Bel.. 
Dec.  7,  1878.  He  made  many  concert  tours,  every- 
where exciting  great  admiration  by  his  wonderful  tone  and 
execution. 


GERICKE 


618 


GLOVER 


Gericke  (Geh-ri-ke),  Wilhclm.  Conductor;  born  Graz, 
Aus.,  Apr.  18,  1845.  For  many  years  he  led  the  Boston 
Symphony  Orchestra,  which  under  him  reached  the  front 
ra/ik  among  such  organizations.  Lives  Vienna. 

Gerlach,  Theodor.  Composer,  conductor;  born.  Dresden, 
Ger.,  Jun.  25,  1861.  Composed  an  Epic  Symphony,  the 
opera  Matteo  Falcone,  and  many  lesser  works.  Lives  Karls- 
ruhe, Ger. 

German,  J.  Edward.  Composer;  born  Whitechurch,  Eng., 
Feb.  17,  1862.  Has  written  a  number  of  extremely  effective 
orchestral  and  choral  compositions.  Lives  London. 

Germer  (Gair-mer),  Heinrich.  Pianist,  teacher;  born  Som- 
mersdorf,  Ger.,  Dec.  30,  1837;  died  Dresden,  Ger.,  Jan. 
4,  1913.  Author  of  valuable  educational  works. 

Gcrnsheim  (Gairns-hime) ,  Friedrich.  Pianist,  composer; 
born  Worms,  Ger.,  Jul.  17,  1839;  died  Berlin,  Nov.,  1916. 
Long  director  of  the  Rotterdam  Conservatory,  and  later  of 
the  Stern  Conservatory  in  Berlin.  Has  written  a  piano 
concerto,  several  quartets,  the  cantata  Salamis,  etc.  Com- 
posed also  four  symphonies  and  an  excellent  Prologue  to  a 
Tragedy. 

Gerster  (Gair-ster),  Etelka.  Soprano;  born  Kaschau,  Hun., 
Jun.  25,  1857.  Conducts  school  for  singers,  Berlin. 

Geselschap,  Marie.  Pianist;  born  Batavia.  Java,  1874. 
Noted  as  an  ensemble  player.  Lives  Munich,  Ger. 

Gevaert  (Geh-vahrt),  Francois  A.  Theorist,  composer; 
born  Huysse,  Bel.,  Jul.  31,  1828;  died  Brussels,  Bel.,  Dec. 
24,  1908.  Author  of  valuable  text-book  on  harmony. 

Ghys,  Joseph.  Violinist,  composer;  born  Ghent,  Bel.,  1801; 
died  Petrograd,  1848. 

Gialdini  (Zhyal-dee-nee),  Gioldino.  Conductor,  composer; 
born  Pescia,  Italy,  Nov.  10,  1843.  Composed  buffo  operas. 

Giardini  (Zhyar-dce-ncc),  Felice  de.  Violinist,  con- 
ductor, composer;  born  Turin,  Italy,  Apr.  12,  1716;  died 
Moscow,  Rus.,  Dec.  17,  1796. 

Gibbons.  (1)  Christopher.  Organist;  born  London  (bap- 
tized Aug.  22),  1615;  died  there  Aug.  20,  1676.  Son  of 
(2)  (2)  Orlando.  Organist,  composer;  born  Cambridge, 
Eng.,  1583;  died  Canterbury,  Eng.,  Jun.  5,  1625.  In  1604 
appointed  organist  of  the  Royal  Chapel,  and  in  1623  or- 
ganist of  Westminster  Abbey.  A  notable  madrigal  writer, 
but  even  more  celebrated  as  a  composer  of  church  music. 

Gibert  (Zhec-bair),  Francisco  Xavier.  Composer;  born 
Granadella,  Spain ;  died  Madrid,  Sp.,  Feb.  27,  1848.  A  priest. 

Gigout  (Zhee-goo),  Eugene.  Organist,  composer;  born 
Nancy,  France,  Mar.  23,  1844.  Organ  composer. 

Gil  (Zhil),  Francisco  Assis.  Teacher,  theorist;  born 
Cadiz,  Spain,  1829.  Professor  of  harmony,  Madrid  Con- 
sevatory. 

Gilbert,  Henry  F.  Composer;  born  Somerville, '  Mass., 
Sept.  26,  1868.  Composed  a  Comedy  Overture  on  negro 
themes,  other  orchestral  works,  ballet,  The  Dance  in  Place 
Congo,  songs,  etc.  Lives  Cambridge,  Mass. 

Gilchrist,  William  Wallace.  Composer,  teacher,  con- 
ductor; born  Jersey  City,  N.  J.,  Jan.  8,  1846;  died  Easton, 
Pa.,  Dec.  20.  1916.  Pupil  of  Hugh  A.  Clarke  at  the  Uni- 
versity of  Pennsylvania.  Organist,  choirmaster,  teacher 
and  conductor  in  Philadelphia.  In  1882  he  won  the  Cin- 
cinnati Festival  prize  with  his  Psalm  XLVI.  Among  his 
other  compositions  are  the  Song  of  Thanksgiving,  for  chorus 
and  orchestra,  a  cantata.  The  Rose,  Ode  to  the  Sun,  songs, 
part-songs,  especially  for  women's  voices,  anthems. 


Gilman,  Lawrence.  Author,  music  critic;  born,  Flushing, 
N.  Y.,  Jul.  5,  1878.  Author  of  a  number  of  fine  critical 
works  on  music.  Member  of  staff  North  American  Review, 
New  York. 

Gilmore,  Patrick  S.  Conductor;  born  near  Dublin,  Ire., 
Dec.  25,  1829;  died  St.  Louis,  Mo.,  Sept.  24,  1892. 

Gilson  (Zhcel-song),  Paul.  Composer,  born  Brussels,  Bel., 
Jun.  15,  1865.  A  leading  Belgian  composer.  Works  include 
the  operas  Alvar,  Lcs  Gens  de  Mer,  Princess  Sunshine, 
incidental  music,  symphonic  sketches,  The  Sea,  Norwegian 
Suite,  Scottish  Rhapsody,  cantatas,  and  many  smaller  works. 
Brussels  Conservatory. 

Giordani  (Zhyor-dah-nec) ,  Tomaso.  Composer,  teacher 
of  singing;  born  Naples,  Italy,  1744;  died  Ferma,  Italy,  Jan. 
4,  1798. 

Giordano  (Zkyor-dah-no) ,  Umberto.  Composer;  born 
Foggia,  Italy,  Aug.  26,  1867.  Composed  the  operas  Mala 
Vita,  Rcgina  Diaz,  Andre  Chenier,  Fedora,  Siberia,  and 
Mme.  Sans-Genc  in  the  crudely  realistic  Verisimo  school. 

Giorzo  (Zhyor-tsa),  Paolo.  Composer;  born  Milan^  Italy, 
1838;  died  Seattle,  Wash.,  May  4,  1914.  Wrote  dances, 
marches,  many  ballets,  and  church  music. 

Giuglini  (Zhyul-y ee-nee),  Antonio.  Tenor;  born  Fano, 
Italy,  1827;  died  Pesaro,  Italy,  Oct.  12,  1865. 

Gladstone,  Francis  E.  Organist,  composer;  born  near 
Oxford,  Eng.,  Mar.  2,  1845.  Professor  of  harmony,  Royal 
College  of  Music,  London. 

Glareanus  (Glah-rch-ah-noos),  Henricus.  Teacher,  theorist; 
born  Glarus,  Switz.,  Jun.,  1488;  died  Freiburg,  Ger.,  Mar. 
28,  1563.  Author  of  valuable  works  on  medieval  music. 

Glazounow  (Glah-coo-nof),  Alexander.  Composer;  born 
Petrograd,  Aug.  10,  1865.  His  works  include  eight  sym- 
phonies, a  number  of  symphonic  poems,  the  ballet  Ray- 
monda,  chamber  music,  a  violin  concerto,  piano  pieces  and 
songs.  Lives  Petrograd. 

Gleason,  Frederick  Grant.  Composer,  teacher;  born  Mid- 
dletown,  Conn.,  Dec.  17,  1848;  died  "Chicago,  Dec.  6,  1903. 
Works  include  operas  Otho  Visconti,  and  Monte suma,  can- 
tata The  Culprit  Fay,  symphonic  poems  Edris  and  The 
Song  of  Life,  and  many  shorter  pieces. 

Gliere,  Reinhold.  Composer;  born  Kiev,  Rus.,  Jan.  11, 
1875.  Composed  symphonies,  chamber  music,  piano  pieces 
and  songs.  Kiev  Conservatory. 

Glinka,  Mikhail  Ivanovitch.  Composer;  born  Novospaskoi, 
Rus.,  Jun.  1,  1804;  died  Berlin,  Feb.  15,  1857.  He  is  par 
excellence  Russia's  most  national  composer.  His  most  suc- 
cessful work  was  the  opera  Life  for  the  Czar,  produced  in 
1836.  Outside  of  Russia,  Glinka  is  perhaps  best  known  by 
his  two  concert  compositions,  La  lota  Aragoncsc,  and 
Kamarinskaja. 

Glover.  (1)  Charles  W.  Composer;  born  London,  Feb., 
1806;  died  there,  Mar.  23,  1863.  Composed  popular  songs 
and  duets.  (2)  Sarah  Ann.  Teacher,  writer ;  born  Nor- 
wich, Eng.,  1785 ;  died  Malvern,  Eng.,  Oct.  20,  1867.  Founder 
of  the  tonic  sol-fa  system.  (3)  Stephen.  Composer, 
born  London,  1812 ;  died  there,  Dec.  7,  1870.  (4)  William  H. 
Violinist,  composer;  born  London,  1819;  died  New  York, 
1875. 


GLUCK 


619 


GOUDIMEL 


Gluck  (Glook).  (1)  Christoph  Willibald.  Composer; 
born  Weidenwang,  Ger.,  Jul.  2,  1714;  died  Vienna,  Kov. 
15,  1787.  Studied  music  in  Prague,  Vienna,  and  Milan. 
Wrote  some  very  successful  operas  in  the  conventional 
Italian  style  of  the  period.  With  the  composition  of 
Orfeo  ed  Eurydicc  (1762)  entered  upon  his  career  as  a 
reformer  of  opera,  which  constitutes  an  important  chapter 
in  the  history  of  musical  development.  Gluck  triumphed 
in  a  memorable  contest  with  Piccinni.  (2)  Alma  (pseudo- 
nym of  Reba  Fierson).  Soprano;  born  Bucharest,  Rou- 
mania,  May  11,  1886.  Opera  and  concert  artist.  Wife  of 
Efrem  Zimbalist,  violinist. 

Gobbaerts,  Jean  Louis.  Composer;  born  Antwerp,  Bel.. 
Sept.  28,  1835;  died  Saint-Gilles,  Bel,  May  5,  1886.  Wrote 
much  light  piano  music  under  the  names  of  "Streabbog," 
"Ludovic"  and  "Levi." 

Godard  (Go-dar),  Benjamin.  Composer;  born  Paris,  Aug. 
18,  1849;  died  Cannes,  France,  Jan.  10,  1895.  Wrote  operas: 
Pedro  de  Zalanwa,  Jocelyn,  and  Dante;  Concerto  roman- 
tique  for  violin ;  Symphonic  legendaire,  chamber  music, 
songs,  piano  pieces,  etc. 

Goddard,  Arabella.  Pianist;  born  Saint-Servan,  France, 
Jan.  12,  1836.  Distinguished  English  concert  artist.  Lives 
Tunbridge  Wells,  Eng. 

Godefroid  (Gode-frwah) ,  Felix.  Harpist,  composer;  born 
Namur,  Bel.,  Jul.  24,  1818;  died  Villers-sur-Mer,  Bel..  Jul. 
8,  1897.  Composed  for  harp  and  piano. 

Godfrey.  (1)  Charles.  Bandmaster;  born  Kingston,  Eng., 
Nov.  22,  1790;  died  London,  Dec.  12,  1863.  Bandmaster 
Coldstream  Guards.  (2)  Charles.  Bandmaster;  born 
London,  Jan.  17,  1839.  Bandmaster  Royal  Horse  Guards. 
Royal  College  of  Music,  London.  (3)  Daniel.  Band- 
master, composer;  born  Westminster,  Eng.,  Sept.  4,  1831; 
died  Beeston,  Eng.,  Jun.  30,  1903.  Famous  for  his  military 
band. 

Godowsky,  Leopold.  Pianist,  composer;  born  Vilna,  Pol., 
Feb.  13,  1870.  A  phenomenal  technician  and  authority  on 
modern  piano  technic.  Lives  New  York. 

Goepp  (Gcpp),  Philip  H.  Writer,  composer;  born  New 
York,  Jun.  23,  1864.  Writer  of  analytical  programs  for 
Philadelphia  Symphony  Orchestra. 

Goetschius,  Percy.  Theorist,  teacher,  composer;  born 
Paterson,  N.  J.,  Aug.  30,  1853.  Author  of  valuable  text- 
books on  harmony,  counterpoint,  composition.  Composed 
overtures,  orchestral  suites,  church  music,  organ  and  piano 
works,  etc.  Institute  of  Musical  Art,  New  York. 

Goetz    (Gets),    Hermann.      Composer;    born    Konigsberg, 

Ger.,  Dec.   17,   1840;   died   Hottingen,   Switz.,  Dec.  3,   1876. 

Wrote   an   opera   on   the   subject   of    The    Taming   of   the 

Shrew,  a  symphony,  etc. 
Goldbeck,  Robert.    Pianist,  composer;  born  Potsdam,  Ger., 

Apr.  19,  1839;  died  St.  Louis,  Mo.,  May  16,  1908. 

Goldmark.  (1)  Karl.  Composer;  born  Keszthely,  Hun., 
May  18,  1830;  died  Vienna,  Jan.  3,  1915.  Composed  operas, 
including  The  Queen  of  Sheba,  Merlin,  The  Cricket  on  the 
Hearth,  Briseis,  and  The  Winter's  Tale;  also  the  Rustic 
Wedding  symphony,  and  other  orchestral  Works.  (2)  Rubin, 
composer,  teacher ;  born  New  York,  Aug.  15,  1872.  Com- 
posed Theme  and  Variations  for  orchestra,  overture  Hia- 
rvatha,  symphonic  poem  Samson  and  Delilah,  a  cantata, 
chamber  music,  etc.  Nephew  of  (1).  Lives  New  York. 


Goldschmidt,  Otto.  Conductor,  composer;  born  Hamburg, 
Ger.,  Aug.  21,  1829.  Husband  of  Jenny  Lind. 

Gollmick,  Adolf.  Pianist,  violinist,  composer;  born  Frank- 
fort, Ger.,  Feb.  5,  1825;  died  London,  Mar.  7,  1883. 

Goltermann,  G.  E.  'Cellist,  composer;  born  Hanover,  Ger., 
Aug.  19,  1824;  died  Frankfort,  Ger.,  Dec.  29,  1898.  Com- 
posed for  the  'cello. 

Gomez  (Go-meth),  Antonio  Carlos.  Composer;  born  Cam- 
pinos,  Brazil,  Jul.  11,  1839;  died  Para,  Brazil,  Sept.  16,  1896. 
Composed  operas  of  various  sorts,  the  best  being  // 

Guarany. 

Goodrich.  (1)  Alfred  John.  Theorist,  author,  teacher; 
born  Chilo,  O.,  May  8,  1847.  Author  of  text-books  on 
music  composition.  Lives  California.  (2)  Wallace.  Or- 
ganist, conductor,  teacher;  born  Newton,  Mass.,  May  27, 
1871.  New  England  Conservatory,  Boston. 

Goodson,  Katherine.  Pianist;  born  Watford,  Eng.,  Jun. 
18,  1872.  Pupil  of  Leschetizky.  A  leader  among  women 
pianists  of  the  twentieth  century.  Married  Arthur  Hinton. 
Lives  London. 

Goodwin,  Amina  Beatrice.  Pianist,  writer;  born  Man- 
chester, Eng.,  Dec.  5,  1867.  Author  of  Hints  on  Technique 
and  Touch  of  Piano  Playing.  Lives  London. 

Goossens,  Eugene.  Violinist,  conductor;  born  London, 
May  26,  1893.  Composed  orchestral  works  and  chamber 
music.  Lives  London. 

Goovaerts,  Alphonse  Jean.  Composer,  historian;  born 
Antwerp,  Bel.,  May  25,  1847.  Author  of  works  on  music 
and  art.  Lives  Brussels. 

Goria,  A.  E.  Pianist,  composer;  born  Paris,  Jan.  21,  1823; 
died  there,  Jul.  6,  1860.  Wrote  salon  music. 

Gorno,  Albino.  Pianist,  composer;  born  near  Cremona, 
Italy.  Composed  piano  works,  some  with  orchestra.  Col- 
lege of  Music,  Cincinnati,  O. 

Gorter,  Albert.  Composer,  conductor;  born  Nuremberg, 
Ger.,  Nov.  23,  1852.  Composed  operas,  orchestral  works, 
etc.  Lives  Mainz,  Ger. 

Goss,  Sir  John.  Organist,  composer;  born  Fareham,  Eng., 
Dec.  27,  1800;  died  London,  May  10,  1880.  Educated  in 
Chapel  Royal.  In  1838  appointed  organist  at  St.  Paul's 
Cathedral.  Knighted  in  1872.  A  prominent  composer  of 
church  music.  Wrote  a  valuable  Introduction  to  Harmony. 

Gossec,  Frangois  Joseph.  Composer;  born  Vergnies,  Bel., 
Jan.  17,  1734  (33)  ;  died  Passy,  France,  Feb.  16,  1829. 
Wrote  many  operas,  symphonies,  and  lesser  compositions, 
of  repute  in  their  day.  During  the  Directory,  G.  received 
the  official  title,  "First  Composer  of  France." 

Gottschalk,  Louis  Moreau.  Pianist,  composer;  born  New 
Orleans,  La.,  May  8,  1829;  died  Rio  de  Janiero,  Brazil, 
Dec.  18,  1869.  American  pianist.  As  composer,  Gottschalk 
produced  music  of  a  unique  style ;  pieces  like  La  Sauanne, 
Banjo,  and  Le  Bananier,  echoed  Southern  life  with  rare 
charm  and  individuality. 

GStze  (Gct-se),  Karl.  Composer;  born  Weimar,  Ger., 
1836;  died  Madgeburg,  Ger.,  Jan.  14,  1877.  Composed  a 
symphonic  poem,  operas  (Die  Korscn,  Gustav  Wasa,  etc.), 
and  smaller  works. 

Goudimel,  Claude.  Composer;  born  Vaison,  France,  about 
1505;  died  Lyons,  France,  Aug.  24,  1572.  Composed  church 
music. 


GOUNOD 


620 


GROVE 


Gounod  (Goo-no),  Charles  Frangois.  Composer;  born 
Paris,  Jun.  17,  1818;  died  there,  Oct.  17,  1893.  Studied  in 
the  Paris  Conservatory,  where  he  obtained  the  first  prize 
for  composition.  Spent  some  time  in  Rome,  Vienna,  and  in 
England.  Up  to  1859  had  composed  many  excellent  works — • 
Sapho,  Ulyssc,  La  nontie  sanglante,  Messc  dc  Stc.  Cecile, 
Le  medccin  malgre  lui,  etc.  In  1859  Faust  was  performed 
for  the  first  time  and  met  with  a  tremendous  success. 
Faust  established  Gounod's  reputation,  and  was  followed 
by  La  Colombe,  La  Rcine  dc  Saba,  Mirfille,  Romeo  ct 
Juliette,  Cinq  Mars,  Polycucte.  Lc  Tribut  dc  Zamora;  the 
sacred  compositions,  La  Redemption,  and  Mors  ct  Vita; 
besides  many  lesser  works,  songs,  etc.  Faust,  however,  over- 
shadows them  all,  although,  from  a  musician's  point  of 
view,  Romeo  et  Juliette  is  almost  finer  than  that  popular 
masterpiece. 

Gouvy  (Goo-vee),  Theodore.  Composer;  born  Goffon- 
taine,  France,  Jul.  21,  1822;  died  Leipzig,  Ger.,  Apr.  21, 
1898. 

Gow.  (1)  Niel.  Violinist;  born  Inver,  Scot.,  Mar.  22, 
1727 ;  died  there,  Mar.  1,  1807.  Noted  for  his  performance 
of  Scottish  dance  tunes.  (2)  George  Coleman.  Organ- 
ist, author,  teacher;  born  Ayer,  Mass.,  Nov.  27,  1860.  Au- 
thor of  text-books.  Professor  of  music  at  Vassar  College. 

Graben-Hoffman,  Gustav.  Composer;  born  Bnin,  Ger., 
Mar.  7,  1820;  died  Potsdam,  Ger.,  May  20,  1900.  Song 
composer. 

Graedener.  (1)  Karl.  Composer;  born  Rostock,  Ger., 
Jan.  14,  1812 ;  died  Hamburg,  Ger.,  Jun.  10,  1883.  Composed 
symphonies,  an  oratorio,  a  concerto,  and  many  smaller 
works.  (2)  Hermann.  Composer,  teacher;  born  Kiel, 
Ger.,  May  8,  1844.  Composed  an  overture,  a  symphonietta, 
chamber  music,  etc.  Son  of  (1).  Lives  Vienna. 

Graham,  George  Farquhar.  Writer;  born  Edinburgh, 
Scot.,  Dec.  29,  1789;  died  there,  Mar.  12,  1867.  An  author- 
ity on  everything  relating  to  Scotch  music. 

Grainger,  Percy.  Pianist,  composer;  born  Brighton,  Vic- 
toria, Australia,  Jul.  8,  1883.  Pupil  of  Busoni.  Pianist 
of  distinction ;  composer  of  originality  and  charm.  Lives 
New  York. 

Grammann,  Karl.  Composer;  born  Liibeck,  Ger.,  Mar.  3, 
1844;  died  Dresden,  Ger.,  Jan.  30,  1897.  Composed  sym- 
phonies, a  cantata,  a  violin  concerto,  and  the  operas  Mclu- 
sine,  Thusnelda,  Ingrid,  etc. 

Granados  y  Campina,  Knrique.  Composer,  pianist;  born 
Lerida,  Sp.,  Jul.  27,  1867 ;  died  Mar.  24,  1916,  when  steamer 
Sussex  was  torpedoed  in  English  Channel. 

Grandval,  Maria  de  Reiset.  Composer;  born  Saint-Remy 
des  Monts,  France,  Jan.  20,  1830 ;  died  Paris,  Jan.  15,  1907. 
Composed  operas,  orchestral  works,  etc. 

Graninger,  Charles  Albert.  Organist,  pianist,  teacher; 
born  Cincinnati,  O.,  Jan.  2,  1861.  College  of  Music,  Cin- 
cinnati. 

Grasse,  Edwin.  Violinist,  composer;  born  New  York, 
Aug.  13,  1884.  Composed  a  symphony,  a  suite,  and  many 
violin  works.  Blind.  Lives  New  York. 

Grau,  Maurice.  Impresario;  born  Briinn,  Aus.,  1849;  died 
Paris,  Mar.  14,  1907.  Directed  Metropolitan  Opera  Co., 
New  York. 


Graun  (Grown).  (1)  J.  G.  Composer;  born  1698;  died 
1771.  Composed  symphonies,  overtures,  concertos  for 
violin,  and  chamber  music.  Brother  of  (2).  (2)  Karl 
Heinrich.  Composer;  born  Wahrenbruck,  Ger.,  May  17, 
1701 ;  died  Berlin,  Aug.  8,  1759.  Wrote  over  fifty  cantatas, 
and  about  thirty  operas.  His  principal  work  is  his  passion 
music  Dcr  Tod  Jcsu,  which  is  still  sometimes  performed. 

Grazzini,  Reginaldo.  Composer;  born  Florence,  Italy,  Oct. 
15,  1848;  died  Venice,  1906.  Composed  cantatas,  masses, 
symphonies,  an  opera,  and  lesser  works. 

Greatorex,  Thomas.  Organist;  born  N.  Wingfield,  Eng.. 
Oct.  5,  1758;  died  Hampton,  Eng.,  Jul.  18,  1831.  Wrote 
hymn  tunes. 

Greene,  Maurice.  Organist,  composer;  born  London, 
1695;  died  there,  1755.  Wrote  church  music.  Projected  the 
great  Cathedral  Music  collection,  afterward  completed  by 
Boyce. 

Gregoir  ( Gre -g^vahr) ,  Edouard.  Composer,  writer,  his- 
torian; born  Turnhout,  Bel.,  Nov.  7,  1822;  died  Wyneghem, 
Bel.,  Jun.  28,  1890.  Composed  an  opera,  etc. 

Gregorovitch,  Charles.  Violinist;  born  Petrograd  Oct 
25,  1867. 

Grellinger,  Charles.  Composer;  born  Holland.  Composed 
a  number  of  operas  produced  in  Holland  and  France. 

Gretry  (Gray-tree),  Andre  Ernest  Modeste.  Composer; 
born  Liege,  Bel.,  Feb.  18,  1741 ;  died  Montmorency,  France, 
Sept.  24,  1813.  A  prolific  and  once  celebrated  writer  of 
France  operas  and  other  works. 

Gretschaninoff,  Alexander.  Composer;  born  Moscow, 
Rus.,  Oct.  25,  1864.  Composed  an  opera,  incidental  music, 
chamber  works,  piano  pieces,  and  songs.  Lives  Moscow, 
Rus. 

Grieg,  Edvard  Hagerup.  Pianist,  composer;  born  Ber- 
gen, Nor.,  Jun.  15,  1843;  died  there,  Sept.  4,  1907.  Studied 
at  Leipzig  Conservatory.  In  Copenhagen  came  under  the 
influence  of  Gade.  Wrote  a  piano  concerto,  orchestral 
works,  songs,  chamber  music,  etc.,  all  with  a  pronounced 
Norwegian  character.  His  Peer  Gynt  suites  are  perhaps 
the  most  widely  known  of  his  larger  works. 

Griepenkerl  (Grcc-pcn-kcrl),  Friedrich  Conrad.  Theorist; 
born  Peine,  Ger.,  1782;  died  Brunswick,  Ger.,  Apr.  6,  1849. 

Grisar  (Grcc-cahr),  Albert.  Composer;  born  Antwerp, 
Bel.,  Dec.  26,  1808;  died  Asnieres,  France,  Jun.  15,  1869. 
Composed  many  operas. 

Grisi  (Grce-zcc),  Giulia.  Soprano;  born  Milan,  Italy,  Jul. 
28,  1811 ;  died  Berlin,  Nov.  29,  1869.  Attained  a  remarkable 
success  in  opera,  through  her  magnificent  voice  and  great 
beauty.  Was  for  fifteen  years  prima  donna  at  Paris  and 
London. 

Grodsky,  Boleslaus.  Composer;  born  Petrograd,  Oct.  13, 
1865.  Composed  piano  works,  etc.  Lives  Petrograd. 

Groningcn,  S.  van.  Pianist;  born  Deventer,  Hoi.,  Jun.  23, 
1851.  Composed  piano  music,  etc.  Lives  Leyden,  Hpl. 

Grove,  Sir  George.  Writer;  born  Clapham,  Eng.,  Aug. 
13,  1820;  died  Sydenham,  Eng.,  May  28,  1900.  Originally 
a  civil  engineer.  For  many  years  connected  with  the  Crystal 
Palace,  and  in  connection  with  the  concerts  there  wrote  a 
long  series  of  analytical  programs.  In  1883  he  was  ap- 
pointed first  principal  of  the  Royal  College  of  Music,  and 
upon  its  inauguration  received  the  honor  of  knighthood. 
As  editor  of  the  Dictionary  of  Music  and  Musicians  be 
rendered  a  lasting  service  to  the  cause  of  musical  art. 


GROVLEZ 


621 


HALE 


Grovlez,  Gabriel.  Pianist,  composer;  born  Lille.  France, 
1879.  Composed  orchestral  works,  ballets,  piano  pieces, 
songs.  Conductor  at  Paris. 

Gruenberg  (Green-bairg),  Eugene  Violinist,  teacher; 
born  Lemberg,  Aus.,  Oct.  30,  1854.  Author  of  valuable 
educational  works  for  the  violin.  New  England  Conserva- 
tory, Boston. 

Gruenberger  (Green-bairg-er) ,  Ludwig.  Composer;  born 
Prague,  Boh.,  Apr.  24,  1839;  died  there,  Dec.  12,  1896.  Com- 
posed incidental  music,  a  Northern  Suite,  a  one-act  opera 
(Heimkehr),  etc. 

Gruenfeld  (Green-felt).  (1)  Alfred.  Pianist,  composer; 
born  Prague,  Boh.,  Jul.  4,  1852.  Distinguished  as  a  Mozart 
player.  Lives  Vienna  (2)  Heinrich.  'Cellist;  born 
Prague,  Apr.  21,  1855.  A  distinguished  virtuoso.  Brother 
of  (1).  Lives  Berlin. 

Griitzmacher  (Greetz-macher),  Friedrich.  'Cellist;  born 
Dessau,  Ger.,  Mar.  1,  1832;  died  Dresden,  Ger.,  Feb.  23, 
1903.  Distinguished  virtuoso. 

Guarnerius,  Giuseppe  (Joseph)  Antonio.  Violin  maker; 
born  Jun.  8,  1683;  died  about  1742.  One  of  the  great  Ital- 
ian makers. 

Gudehus  (Goo-dc-hoos),  Heinrich.  Tenor;  born  Alten- 
hagen,  Ger.,  Mar.  30,  1845;  died  Dresden,  Ger.,  Oct.  9, 

1909.     Eminent  in  Wagnerian  opera  roles. 

v 
Guglielmi   (Gool-yel-mee) ,  Pietro.     Composer;  born  Mmsa 

di    Carrara,    Italy,   May   1727;   died   Rome,   Nov.   19,   1804. 
Composed  operas  and  church  music. 

Guido  d'Arezzo  (Gwcc-do  dar-rct-so).  Theorist,  teacher; 
born  Arezzo,  Italy,  995(?)  ;  died  1050(?).  Improved  music 


notation;  first  used  the  syllables  ut,  re,  ml,  fa,  sol,  la,  for 
singing. 

Guilmant  (Gecl-mong),  Felix  Alexandra.  Organist,  com- 
poser; born  Boulogne,  France,  Mar.  12,  1837;  died  Meudon, 
France,  Mar.  30,  1911.  Distinguished  concert  organist  and 
composer. 

Guiraud  (Gee-ro),  Ernest.  Composer;  born  New  Orleans, 
La.,  Jun.  23,  1837;  died  Paris,  May  6,  1892.  Taught  har- 
mony, Paris  Conservatory. 

Gumbert  (Goom-bairt) ,  Ferdinand.  Composer;  born  Ber- 
lin, Apr.  22,  1818;  died  there,  Apr.  6,  1896.  Composed  songs 
and  operettas. 

Gungl  (Goongl).  (1)  Joseph.  Composer;  born  Zsambek, 
Hun.,  Jan.  1,  1810;  died  Weimar,  Ger.,  Jan.  31,  1889. 
Dance  and  march  composer.  (2)  Johann.  Composer; 
born  Zsambek,  Hun.,  Mar.  5,  1828;  died  Fiinfkirchen,  Hun., 
Nov.  27,  1883.  Dance  composer.  Nephew  of  (1). 

Gura.  (1)  Eugene.  Baritone;  born  Pressern,  Boh.,  Nov. 
8,  1842;  died  near  Munich,  Ger.,  Aug.  26,  1906.  Opera 
and  concert  singer.  (2)  Hermann.  Baritone;  born 
Breslau,  Ger.,  Apr.  5,  1870.  Successful  in  opera  and  con- 
cert. Conducts  opera  in  Berlin. 

Gurlitt  (Goor-lit),  Cornelius.  Composer;  born  Altona, 
Ger.,  Feb.  10,  1820;  died  there,  Tun.  17,  1901.  Best  known 
by  his  teaching  pieces  for  the  piano. 

Gutmann  (Goot-mahn),  Adolphe.  Pianist,  "composer;  born 
1818;  died  1882.  Friend  of  Chopin. 

Gyrowetz  (Gee-ro-vetz),  Adalbert.  Composer;  born  Bud- 
weis,  Boh.,  Feb.  19,  1763 ;  died  Vienna,  Mar.  19,  1850.  Wrote 
symphonies,  operas,  music  plays. 


H 


Habeneck  (Ab-nek),  Fran?ois  Antoine.  Violinist,  con- 
ductor ;  born  Mezieres,  France,  Jan.  23,  1781 ;  died  Paris, 
Feb.  8,  1849.  His  orchestra  was  celebrated. 

Haberbier  (Hah-behr-beer),  Ernst.  Pianist,  composer; 
born  Konigsberg,  Ger.,  Oct.  5,  1813 ;  died  Bergen,  Nor., 
Mar.  12,  1869.  Composed  salon  music  and  useful  etudes. 

Habert,  Johannes  Evangelista.  Organist,  composer;  born 
Oberplan,  Boh.,  Oct.  18,  1833;  died  Gmunden,  Ger.,  Sept. 
1,  1896.  Composer  of  masses,  organ  works,  etc. 

Hackh,  Otto.  Composer;  born  Stuttgart,  Ger.,  Sept.  30, 
1852.  Composed  piano  pieces,  songs,  dance  music. 

Hadley,  Henry  Kimball.  Composer;  born  Somerville, 
Mass.,  Dec.  20,  1871.  A  leader  among  American  composers. 
Works  include  three  symphonies  (1st,  Youth  and  Life; 
2nd,  The  Four  Seasons),  three  overtures,  three  ballet  suites, 
the  cantata  In  Music's  Praise,  a  Symphonic  Fantasia,  the 
tone-poems  Salome  and  The  Culprit  Fay,  the  lyric  drama 
Merlin  and  Vivien,  operas  Safic  and  Bianco,  chamber  works, 
and  many  smaller  pieces  and  songs.  Lives  New  York. 

Haesche.     See   Hasche. 

Hagel  (Hah-gel).  (1)  Karl.  Conductor,  violinist;  born 
Voigstedt,  Ger.,  Dec.  12,  1847.  Composed  orchestral 
and  chamber  works,  etc.  Lives  Munich,  Ger.  (2)  Richard. 
Conductor,  violinist;  born  Erfurt,  Ger.,  Jul.  7,  1872.  Son 
of  (1).  Lives  Brunswick,  Ger. 

Hagemann.  (1)  Francois  Willem.  Organist,  conductor; 
born  Ziitphen,  Hoi.,  Sept.  10,  1827.  Wrote  piano  music. 
(2)  Maurits  Leonard.  Composer,  teacher;  born  Ziitphen, 


Sept.   25,   1829.     Composed   an   oratorio,   a   cantata,   vocal- 
orchestral  works,  etc.     Brother  of   (1). 

Hagen.  (1)  Adolf.  Conductor;  born  Bremen,  Ger.,  Sept. 
4,  1851.  Operetta  composer.  Lives  Dresden,  Ger.  (2) 
Theodor.  Composer,  writer;  born  Hamburg,  Ger.,  Apr. 
15,  1823;  died  New  York,  Dec.  21,  1871.  Composed  songs 
and  piano  works. 

Hager,  Johannes  (really  Hasslinger).  Composer;  born 
Vienna,  Feb.  24,  1822;  died  there,  Jan.  9,  1898.  Pupil  of 
Mendelssohn. 

Hagg  (Hegg).  (1)  Jacob  Adolf.  Born  Gothland,  Nor., 
1850;  died  1902.  Composed  a  Northern  Symphony,  piano 
and  organ  works,  songs,  etc.  (2)  Gustav.  Organist, 
composer ;  born  Wisby,  Swed.,  Noy.  28,  1867.  Composed 
chamber  music,  organ  and  piano  pieces.  A  virtuoso  player. 
Lives  Stockholm,  Swed. 

Hahn.  (1)  Jacob  H.  Pianist,  teacher;  born  Philadelphia, 
Pa.,  Dec.  1,  1847;  died  Detroit,  Mich.,  1902.  Founded 
Detroit  Conservatory.  Composed  piano  works  and 
songs.  (2)  Reynaldo.  Composer;  born  Caracas,  Vene- 
zuela, Aug  9,  1874.  Composed  incidental  music,  a  sym- 
phonic poem,  attractive  piano  works,  the  opera  Nausicaa, 
a  ballet,  etc.  Lives  Paris. 

Hale,  Adam  de  la.     See  Adam  de  la  Hale. 

Hale,  Philip.  Writer,  critic;  born  Norwich,  Vt.,  Mar.  5, 
1854.  Wrote  (with.L.  C.  Elson)  "Famous  Composers,  New 
Series."  Writer  of  program  books  for  Boston  Symphony 
Orchestra.  Lives  Boston. 


HALEVY 


622 


J1ARTOG 


Halevy  (Ah-lch-i'ce),  Jacques  Frangois.  Composer;  born 
Paris,  May  27,  1799;  died  Nice,  France,  Mar.  17,  1862. 
Opera  writer  of  the  French  school.  Principal  work,  La 
Juive. 

Halir  (Hah-lcer),  Karl.  Violinist;  born  Hohenelbe,  Boh., 
Feb.  1,  1859;  died  Berlin,  Dec.  21,  1909.  Member  Joachim 
String  Quartet. 

Hall.  (1)  Charles  King.  Organist,  composer;  born  Lon- 
don, 1845;  died  there,  Sept.  1,  1895.  Composed  church 
music  and  operettas.  (2)  Marie.  Violinist;  born  New- 
castle, Eng.,  Apr.  8,  1884.  Distinguished  woman  violinist. 
Lives  London. 

Halle  (Hal-lch).  (1)  Sir  Charles.  Pianist,  conductor; 
born  Hazen,  Ger.,  Apr.  11,  1819;  died  Manchester,  Eng., 
Oct.  25,  1895.  During  his  career  of  forty-seven  years 
he  rendered  great  service  to  musical  art  as  a  teacher, 
by  his  recitals,  and  by  the  concerts  of  his  famous 
Manchester  orchestra.  (2)  Lady.  See  Neruda. 

Hallen,  Anders.  Composer ;  born  Gothenburg,  Swed.,  Dec. 
22,  1846.  Leader  of  new  Swedish  school.  Composed  the 
operas  Harold,  Hcxfallan,  Waldemar's  Treasure,  Walborgs- 
messa,  two  Swedish  rhapsodies,  many  cantatas,  symphonic 
poems,  a  romance  for  violin  and  orchestra,  and  many  songs. 
Stockholm,  Swed.,  Conservatory. 

Haller,  Michael.  Organist,  teacher;  born  Neusalz,  Ger., 
Jan.  31,  1840;  died  Ratisbon,  Ger.,  Jan.  4,  1915.  Sacred 
composer,  counterpoint  teacher. 

Hallstrom  (Hahl-straym),  Ivar.  Composer;  born  Stock- 
holm, Swed.,  Jun.  5,  1826;  died  there,  Apr.  10,  1901.  Com- 
posed operas  (Viking's  Trip,  Nyaga,  Granada's  Daughter, 
etc.),  cantatas,  operettas,  etc. 

Hallwachs  (Hall-vakhs),  Karl.  Composer,  conductor;  born 
Darmstadt,  Ger.,  Sept.  15,  1870.  Composed  songs,  choruses, 
an  opera.  Lives  Cassel.  Ger. 

Halm  (Hahlin).  Anton.  Composer;  born  Altenmarkt, 
Aus.,  Jun.  4,  1789;  died  Vienna,  Apr.,  1872.  A  friend  of 
Beethoven ;  composed  piano  etudes,  chamber  music,  etc. 

Hambourg,  Mark.  Pianist;  born  Gogutschar-Noronez, 
Rus.,  Jun.  1,  1879.  A  distinguished  virtuoso  and  authorita- 
tive interpreter. 

Hamerik,  Asger.  Pianist,  composer;  born  Copenhagen, 
Den.,  Apr.  8,  1843.  Was  director  Peabody  Conservatory, 
Baltimore,  Md. ;  composed  six  symphonies,  a  Pocme  Tra- 
giquc,  operas,  etc. 

Hamilton,  Clarence  Grant.  Pianist,  writer,  teacher;  born 
Providence,  R.  I.,  Jun.  9,  1865.  Associate  professor  of 
music,  Wellesley  College,  Wellesley,  Mass.  Author  of  edu- 
cational books. 

Hanchett,  Henry  G.  Pianist,  writer,  teacher;  born  Syra- 
cuse, N.  Y.,  Aug.  29,  1853 ;  died  Siasconset,  Mass.,  Aug.  19, 
1918.  Author  of  works  on  piano  study. 

Hand  (Hahnt),  Ferdinand  Gotthelf.  Writer;  born  Plauen, 
Boh.,  Feb.  15,  1786;  died  Jena,  Ger.,  Mar.  14,  1851.  Wrote 
on  musical  esthetics. 

Handel,  George  Frederick.  Composer;  born  Halle,  Ger., 
Feb.  23,  1685 ;  died  London,  Apr.  14,  1759.  Played  both  the 
organ  and  clavier  when  only  seven  years  old.  First  opera, 
Almira,  performed  at  Hamburg  in  1705.  In  1708  went  to 
Italy,  and  four  years  later  settled  in  England.  In  or  about 
1737  turned  his  attention  to  the  oratorio,  after  having  writ- 


ten some  forty-two  operas-  in  accordance  with  the  taste 
of  the  period.  The  approval  which  his  first  oratorios — 
Esther,  Deborah,  Athalia — had  met  with  encouraged  him  to 
new  efforts ;  and  he  produced  in  succession  Saul,  Israel  in 
Egypt,  L 'Allegro,  II  Pcnscroso  .and  The  Messiah  (his  chief 
work,  1741).  The  Messiah  was  not  much  appreciated  at  the 
first  representation,  but  increased  in  reputation  every  year. 
In  1742  Samson  appeared,  in  1746  Judas  Maccabccus,  in  1748 
Solomon,  and  in  1752  Jephthah.  In  1752  Handel  became 
blind,  but  did  not  lose  his  spirits,  continuing  to  perform  in 
public,  and  even  to  compose.  He  was  buried  in  Westmin- 
ster Abbey. 

Hannsens.  (1)  Charles  Louis  (Sr.).  Composer;  born 
Ghent,  Bel.,  May  4,  1777;  died  Brussels,  Bel.,  May  6. 
1852.  Composed  operas,  masses,  etc.  (2)  Charles  Louis 
(Jr.).  Composer;  born  Ghent,  Jul.  12,  1802,  died  Brus- 
sels, Apr.  8,  1871.  Composed  operas,  ballets,  symphonies, 
overtures.  Son  of  (1). 

Hanon  (Hah-nong),  Charles  Louis.  Pianist;  born  Rem- 
sur-1'Aire,  France,  1820;  died  Boulogne-sur-Mer,  1900 
Composed  valuable  studies  for  piano. 

Hanscom,  E.  W.  Organist,  composer;  born  Durham,  Me., 
Dec.  28,  1848.  Composed  songs,  choruses,  etc. 

Hansen,  Emil  Robert.  'Cellist,  composer;  born  Copen- 
hagen, Den.,  Feb.  25,  1860.  Chamber  music  and  orches- 
tral composer.  Lives  Leipzig,  Ger. 

Hanslick,  Eduard.  Writer;  born  Prague,  Boh.,  Sept.  11, 
1825 ;  died  near  Vienna,  Aug.  6,  1904.  Opponent  of  Wag- 
ner's operas. 

Harcourt,  Eugene  d'.  Composer,  writer;  born  Paris,  1855. 
Composed  the  opera  Tasso,  a  mass,  symphonies,  etc.  Lives 
Paris. 

Hardelot  (Ar-de-low),  Guy  d'  (Mrs.  W.  T.  Rhodes).  Com- 
poser ;  born  Hardelot  Castle,  near  Boulogne,  France.  Song 
composer.  Lives  England. 

Harper,  Thomas.  Trumpeter;  born  Worcester,  Eng.,  May 
3,  1787;  died  London,  Jan.  20,  1853.  Famous  virtuoso. 

Harris.  (1)  Clement  Hugh  Gilbert.  Composer;  born 
Wimbledon,  Eng.,  Jul.  8,  1871 ;  died  Pentepigadia,  Greece, 
Apr.  23,  1897.  Composed  for  orchestra  and  chamber 
music,  songs,  etc.  (2)  William  Victor.  Composer, 
teacher  of  singing;  born  New  York,  Apr.  27,  1869.  Com- 
posed many  songs.  Lives  New  York. 

Harriss,  Charles  Albert.  Organist,  composer;  born  LonT 
don,  Dec.  15,  1862.  Composed  an  opera,  a  cantata,  and 
much  church  music.  Lives  Ottawa,  Can. 

Hartmann.  (1)  Johann  Peter  Emil.  Composer;  born 
Copenhagen,  Den.,  May  14,  1805;  died  there,  Mar.  10, 
1900.  Composed  Danish  operas,  symphonies,  overtures, 
cantatas,  etc.  Rather  overshadowed  by  his  son-in-law, 
Gade.  (2)  Emil.  Composer;  born  Copenhagen,  Feb. 
21,  1836;  died  there,  Jul.  19,  1898.  Composed  operas 
(The  Nixie,  The  Corsicans,  etc.),  a  ballet,  a  cantata,  sym- 
phonies, overtures,  concertos,  etc.  Son  of  (1).  (3) 
Arthur.  Violinist,  composer;  born  Mate  Szalka,  Hun., 
Jul.  23,  1881.  Distinguished  violinist;  composed  for  vio- 
lin and  voice.  Lives  New  York. 

Hartog,  Edouard  de.  Composer;  born  Amsterdam,  Hoi., 
Aug.  15,  1828;  died  The  Hague,  Hoi.,  Nov.  1909.  Com- 
posed works  for  orchestra,  chamber  music,  and  the  church. 


HARTVIGSON 


623 


HEGNER 


Hartvigson.  (1)  Anton.  Pianist;  born  Aarhus,  Den.,  Oct. 
16,  1845.  Lives  Copenhagen,  Den.  (2)  Frits.  Pianist; 
horn  Grenae,  Den.,  May  31,  1841.  Royal  College  of  Music, 
London. 

Harty,  Hamilton.  Pianist,  composer;  born  Hillsborough. 
Ire.,  Dec.  4,  1879.  Composed  an  Irish  Symphony,  a  Comedy 
Overture,  the  tone-poem  With  the  Wild  Geese,  the  cantata 
The  Mystic  Trumpeter,  etc.  Lives  London. 

Harwood,  Basil.  Organist,  composer;  born  Olveston, 
Eng.,  Apr.  11,  1859.  Composed  sacred  works,  an  organ 
concerto,  etc.  Lives  Almondsbury,  Eng. 

Hasche  (Heh-sheh),  William  Edward.  Violinist,  pianist, 
composer;  born  New  Haven,  Conn.,  Apr.  11,  1867.  Com- 
posed a  symphony,  symphonic  poems  (W aldidylle ,  Frithjof), 
a  cantata,  etc.  Yale  University,  New  Haven. 

Hasse  (Hahs-seh),  Johann  Adolph.  Composer;  born 
Bergedorf,  Ger.,  (bap.  Mar.  25),  1699;  died  Vienna,  Dec. 
16,  1783.  Opera  composer.  His  wife,  nee  Faustina  Bor- 
doni,  mezzo-soprano ;  born  Venice,  Italy,  1693 ;  died  there, 
Nov.  4,  1783.  Famous  opera  singer. 

Hassler  (Hahss-ler),  Hans  Leo.  Organist,  composer;  born 
Nuremberg,  Ger.,  1564;  died  Frankfort,  Ger.,  Jun.  8,  1612. 
One  of  the  first  German  musicians  to  go  to  Italy  for  study. 
Wrote  sacred  and  secular  works. 

Hastings.  (1)  Thomas.  Writer,  composer;  born  Wash- 
ington, Conn.,  Oct.  15,  1787;  died  New  York,  May  2,  f%72. 
(2)  Frank  Seymour.  Composer;  born  Mendham,  N.  Y., 
May  31,  1853.  Composed  principally  songs. 

Hastreiter,  Helene.  Contralto;  born  Louisville,  Ky.,  Nov. 
14,  1858.  Sung  with  success  in  U.  S.  and  Europe.  Lives 
Genoa,  Italy. 

Hatton,  John  Liptrot.  Composer;  born  Liverpool,  Eng., 
Oct.  12,  1809;  died  Margate,  Eng.,  Sept.  20,  1886.  In  1844 
produced  in  Vienna  his  opera  Pascal  Bruno.  Afterward 
Hatton  brought  out  a  successful  collection  of  songs.  Wrote 
incidental  music  to  many  of  Shakespeare's  plays.  Among 
his  compositions  are  also  an  oratorio,  Hezekiah,  various 
small  operas,  church  music,  etc. 

Hattstaedt  (Haht-stet),  John  L.  Pianist,  teacher;  born 
Monroe,  Mich.,  Dec.  29,  1851.  Director  American  Con- 
servatory, Chicago,  111. 

Hauck  (Howk),  Minnie.  Soprano;  born  New  York,  Nov. 
16,  1852.  Sang  in  U.  S.  and  Europe.  Lives  Lucerne,  Switz. 

Haupt,  Karl.  Organist,  theorist;  born  Kuhnau,  Ger.,  Aug. 
25,  1810;  died  Berlin.  Jul.  4,  1891.  Director  of  Institute 
for  Church  Music,  Berlin. 

Hauptmann,  Moritz.  Theorist;  born  Dresden.,  Ger.,  Oct. 
13,  1792;  died  Leipzig,  Jan.  3,  1868.  Distinguished  teacher 
of  harmony  at  Leipzig  Conservatory. 

Hausegger,  Siegmund  von.  Composer;  born  Graz,  Aus., 
Aug.  16,  1872.  Composed  for  orchestra  the  Dionysiac  Fan- 
taisie,  Barbarossa,  and  Wieland  the  Smith.  Works  richly 
melodious.  Lives  Hamburg,  Ger. 

Hauser  (How-zer),  Miska.  Violinist,  composer;  born 
Pressburg,  Hun.,  1822;  died  Vienna,  Dec.  9,  1887.  Wrote 
excellent  pieces  for  violin. 

Havens,  Charles  Arthur.  Organist,  composer;  born  Es- 
sex, N.  Y..  1842.  Wrote  principally  church  music. 


Hawkins,  Sir  John.  Historian;  born  London,  Mar.  30, 
1719;  died  there,  May  21,  1789.  By  profession  an  attor- 
ney. He  was  an  original  member  of  the  Madrigal  Society, 
also  a  member  of  the  Academy  of  Antient  Music,  and  of 
Dr.  Johnson's  club.  Hawkins's  General  History  of  the 
Science  and  Practice  of  Music  is  a  monument  of  patient 
research,  and  a  great  storehouse  of  out-of-the-way  informa- 
tion. 

Hawley.  (1)  Charles  Beach.  Composer;  born  Brook- 
field,  Conn.,  Feb.  11,  1858;  died  Red  Bank,  N.  J.,  Dec. 
29,  1915.  Successful  writer  of  songs  and  church  music. 
(2)  Stanley.  Composer;  born  llkeston,  Eng.,  May  17, 
1867.  Composed  successful  recitations  with  music.  Lives 
London. 

Haydn.  (1)  Johann  Michael.  Composer;  born  Rohrau, 
Aus.,  Sept.  14,  1737;  died  Salzburg,  Aus.,  Aug.  10,  1806. 
Wrote  church  music.  Brother  of  (2).  (2)  Joseph.  Com- 
poser; born  Rohrau,  Aus.,  Mar.  31,  1732;  died  Vienna,  May 
31,  1809.  The  son  of  a  wheelwright  who  was  a  tenor  singer 
and  also  a  player  on  the  small  harp.  Haydn  was  a  chor- 
ister and  pupil  in  the  choir-school  of  the  Church  of  St. 
Stephen,  at  Vienna,  until  his  seventeenth  year,  when  he  was 
dismissed.  For  some  time  he  struggled  on,  working  indus- 
triously, but  always  on  the  verge  of  the  most  utter  destitu- 
tion, until,  entering  the  service  of  Porpora,  a  renowned 
Italian  composer  of  the  period,  he  was  enabled  to  prosecute 
his  studies  under  more  favorable  surroundings.  When 
twenty-eight  years  of  age  he  was  appointed  kapellmeister 
to  Prince  Esterhazy,  at  Eisenstadt,  Hungary,  in  whose 
service,  and  that  of  his  successor,  he  remained  for  thirty 
years.  He  lived,  for  the  greater  part  of  the  year,  at  the 
country-seat  of  the  Esterhazy's,  discharging  the  various 
duties  of  his  position,  and  writing  an  immense  quantity  of 
music,  including  most  of  his  symphonies,  quartets,  trios, 
fifteen  masses,  an  oratorio,  eighteen  operas,  and  a  great 
body  of  music  of  a  miscellaneous  character.  While  Haydn 
remained  thus,  leading  a  life  of  tranquil  industry,  his  repu- 
tation spread  far  and  wide,  and  his  visits  to  England,  al- 
though undertaken  somewhat  unwillingly,  were  veritable  tri- 
umphs. Seemingly  inspired  by  Handel's  example,  Haydn, 
after  his  return  to  Vienna,  produced  the  oratorios  The 
Creation  (1797),  and  The  Seasons  (1801).  Haydn  was  an 
amazingly  prolific  composer.  Among  his  works  are  148 
symphonies,  83  quartets,  24  trios,  19  operas,  5  oratorios,  24 
concertos,  15  masses,  44  piano  sonatas,  and  many  other 
compositions.  He  created  the  modern  symphony  and  string 
quartet,  and  may  be  said  to  be  the  father  of  the  instru- 
mental music  of  the  present. 

Hayes,  Catherine.  Soprano;  born  Limerick,  Ire.,  Oct.  25, 
1825;  died  Sydenham,  Eng.,  Aug.  11,  1861.  Created  a  tre- 
mendous furore  by  her  exquisite  singing  of  Irish  airs. 

Heap,  Charles  Swinnerton.  Pianist,  composer;  born  Bir- 
mingham, Eng.,  Apr.  10,  1849;  died  there,  Jun.  11,  1900. 
Wrote  cantatas,  an  oratorio  (The  Captivity),  and  various 
instrumental  and  vocal  compositions. 

Heermann,  Hugo.  Violinist;  born  Heilbronn,  Mar.  3, 
1844.  Distinguished  virtuoso.  Stern  Conservatory,  Berlin. 

Hegar  (Hay-gar),  Friedrich.  Conductor,  composer;  born 
Basel,  Switz.,  Oct.  11,  1841.  Composed  oratorios  (Manasse, 
Ahasuerus,  etc.),  a  violin  concerto  and  vocal  works.  School 
of  Music,  Zurich,  Switz. 

Hegner.  (1)  Anton.  'Cellist;  born  Copenhagen,  Den., 
Mar.  2,  1861;  died  New  York,  Dec.  4,  1915.  (2)  Otto. 


HEIDINGSFELD 


624 


HERVEY 


Pianist ;  born  Basel,  Switz.,  1876 ;  died  Hamburg,  Feb. 
22,  1907.  Achieved  a  considerable  reputation  after  his 
early  debut  in  1888. 

Heidingsfeld,  Ludwig.  Conductor,  composer;  born  Jauer, 
Ger.,  Mar.  24,  1854.  Composed  orchestra  pieces  and  op- 
erettas. Director  Danzig  (Ger.)  Conservatory. 

Heifetz,  Jascha.  Violinist ;  born  Vilna,  Lithuania,  1899. 
Pupil  of  Leopold  Auer.  Lives  New  York. 

Heinrich,  Max.  Baritone,  teacher;  born  Chemnitz,  Ger., 
Jun.  14,  1853;  died  New  York,  Aug.  8,  1916.  Eminent  as  a 
lieder  singer. 

Heise,  Peter  Arnold.  Composer;  born  Copenhagen,  Den., 
Feb.  11,  1830;  died  there,  Sept.  12,  1879.  Wrote  songs  and 
two  operas. 

Hekking,  Anton.  "Cellist;  born  The  Hague,  Hoi.,  Sept. 
7,  1856.  Distinguished  as  a  virtuoso. 

Heller,  Stephen.  Pianist,  composer;  born  Pesth,  Hun., 
May  15,  1814;  died  Paris,  Jan.  15,  1888.  Wrote  many 
charming  fantasias,  etudes,  polonaises,  and  drawing-room 
pieces,  for  the  piano. 

Hellmesberger,  Joseph.  Violinist,  conductor;  born  Vienna, 
Apr.  9,  1855;  died  there,  Apr.  26,  1907.  One  of  a  family 
of  violinists ;  composed  operas,  ballets,  etc. 

Helmholtz.  Hermann  Ludwig.  Scientist;  born  Potsdam, 
Ger.,  Aug.  31,  1821 ;  died  Charlottenburg,  Ger.,  Sept.  8,  1894. 
One  of  the  greatest  savants  of  modern  times.  Rendered  a 
valuable  service  to  musical  art  in  the  writing  of  his  great 
work  on  sound  and  acoustics,  The  Sensations  of  Tone. 

Helsted.  (1)  Eduard.  Violinist,  composer;  born  Copen- 
hagen, Den.,  Dec.  8,  1816;  died  there,  1900.  Composed 
ballets.  (2)  Karl  Adolph.  Flutist,  composer;  born  Cop- 
enhagen, Den..,  Jan.  4,  1818;  died  there,  1904.  Composed 
for  orchestra.  (3)  Gustaf.  Composer,  teacher;  born 
Copenhagen,  Den.,  Jan.  30,  1857.  Composed  a  sym- 
phony, a  suite,  songs,  piano  works,  etc.  Royal  Con- 
servatory, Copenhagen. 

Hempel,  Frieda.  Soprano;  born  Leipzig,  Ger.,  Jun.  26, 
1885.  Successful  opera  and  concert  singer.  Metropolitan 
Opera  Co.,  New  York. 

Henderson,  William  J.  Writer,  music  critic;  born  New- 
ark, N.  J.,  Dec.  4,  1855.  Author  of  valuable  books  (Modern 
Musical  Drift,  Forerunners  of  Italian  Opera,  etc.),  critic 
on  New  York  Sun. 

Henkel,  Heinrich.  Pianist,  composer;  born  Fulda,  Ger., 
Feb.  16,  1822;  died  Frankfort,  Ger.,  Apr.  10,  1899.  Com- 
posed technical  exercises  for  piano,  violin  pieces,  etc. 

Hennen.  (1)  Arnold.  Pianist,  composer;  born  Heerlen,  Bel., 
Jan.  25,  1830.  Composed  concertos  and  piano  pieces. 

Hennes,  Aloys.  Pianist,  teacher;  born  Aix,  Ger.,  Sept. 
8,  1827 ;  died  Berlin,  Jun.  8,  1889.  Wrote  piano  pieces  and 
studies. 

Henriques  (H en-re e-kes),  Fini.  Violinist,  composer;  born 
Copenhagen,  Den.,  Dec.  20,  1867.  Composed  incidental 
music,  piano  works,  etc.  Lives  Copenhagen. 

Henschel  (Hen-shel)  Georg.  Baritone,  conductor,  com- 
poser, teacher;  born  Breslau,  Ger.,  Feb.  18,  1850.  In 
1881-1884  he  conducted  the  Boston  Symphony  Orchestra. 
Has  written  operas,  an  oratorio,  a  requiem,  a  Stabat  Mater, 
some  instrumental  music,  and  a  number  of  fine  songs,  in 


which  last  department  of  composition  he  shows  to  most  ad 
vantage.    Henschel  has  lived  long  in  London,  where  he  has 
a  great  reputation  as  a  teacher.    His  wife  Lilian,  nee  Bailey 
(1860-1901),  an  American  soprano,  shared  his  fame  through 
the  recitals,  etc.,  in  which  they  appeared  together. 
Hensel.     (1)   Octavia  (really  Mrs.  G.  A.  Fonda).     Writer. 
(2)   Fanny  Cacilia.     Pianist,  composer;  born   Hamburg, 
Ger.,  Nov.  14,  1805;  died  Berlin,  May  14,  1847.     A  sister  of 
Mendelssohn. 

Henselt,  Adolph  von.  Pianist,  composer;  born  Schwabach, 
Ger.,  May  12,  1814;  died  Warmbrunn,  Ger.,  Oct.  10,  1889. 
Composed  charming  piano  pieces  and  useful  studies. 

Hentschel,  Theodor.  Conductor,  composer;  born  Schir- 
giswalde,  Ger.,  Mar.  28,  1838;  died  Hamburg,  Ger.,  Dec. 
19,  1892.  Composed  operas  (The  King's  Page,  Lancelot, 
etc.),  overtures,  marches,  etc. 

Herbeck,  Johann.  Conductor,  composer;  born  Vienna, 
Dec.  25,  1831 ;  died  there,  Oct.  28,  1877.  Distinguished  con- 
ductor, director  of  the  Royal  Opera.  Composed  symphonies, 
chamber  music,  songs,  etc. 

Herbert,  Victor.  'Cellist,  conductor,  composer;  born  Dub- 
lin, Ire.,  Feb.  1,  1859  Played  in  Metropolitan,  Thomas's, 
and  Seidl's  orchestras.  In  1898  became  conductor  of  the 
Pittsburgh  Orchestra.  His  works  include  an  oratorio  (The 
Captive),  comic  operas,  songs,  etc.  Besides  light  operas 
like  Babes  in  Toyland,  Mile.  Modiste,  etc.,  he  has  composed 
two  'cello  concertos,  a  Suite  Romantique,  an  Irish  Rhapsody, 
symphonic  poems,  etc.,  for  orchestra,  and  the  opera  Natoma. 
Lives  New  York. 

Hering,  Karl  Gottlieb.  Teacher,  composer;  born  Schandau. 
Ger.,  Oct.  25,  1765;  died  Zittau,  Ger.,  Jan.  3,  1853.  Wrote 
instructive  material  for  piano,  violin,  and  singing. 

Heritte-Viardot  (A y-rit-Vce-ar-doe),  Louise.  Teacher  of 
singing,  composer;  born  Paris,  Dec.  14,  1841.  Composed 
operas,  songs,  etc.  Lives  Heidelberg,  Ger. 

Herman,  Reinhold  Ludwig.  Composer,  conductor;  born 
Prenzlau,  Ger.,  Sept.  21,  1849.  Composed  operas,  orches- 
tral works,  songs,  etc.  Lives  New  York.  t  . 

Hermann.  (1)  Friedrich.  Violinist,  composer,  teacher; 
born  Frankfort,  Ger.,  Feb.  1,  1828;  died  Liepzig,  Ger., 
Sept.  27,  1907.  Composed  orchestral  and  chamber  music. 
(2)  Robert.  Composer;  born  Berne,  Switz.,  Apr.  29,  1869; 
died  1912.  Composed  a  symphony,  an  overture,  a  quintet, 
and  smaller  works. 

Hernandez  (Her-nan-deth),  Pablo.  Organist,  composer; 
born  Saragossa,  Spain,  Jan.  25,  1834.  Composed  organ 
works,  a  symphony,  an  overture,  and  zarzuelas.  Lives 
Madrid,  Spain. 

Hernando,  Rafael.  Composer;  born  Madrid,  Spain,  May 
31,  1822.  Composed  zarzuelas,  masses,  etc.  Lives  Madrid. 

Herold,  Louis  Joseph  Ferdinand.  Composer;  born  Paris, 
Jan.  28,  1791;  died  there,  Jan.  19,  1833.  Wrote  Zampa, 
Le  Pre  aux  Clcrcs,  and  other  operas. 

Hertz,  Alfred.  Conductor;  born  Frankfort,  Ger.,  Jul.  15, 
1872.  Conductor  in  Germany,  and  at  Metropolitan  Opera 
House,  N.  Y. ;  San  Francisco  Symphony  Orchestra,  1916 — . 

Herve  (Air-vay),  (really  Florimond  Ronger).  Composer, 
conductor;  born  near  Arras,  France,  Jun.  30,  1825;  died 
Paris,  Nov.  4,  1892.  Operetta  composer. 

Hervey,  Arthur.  Composer,  writer;  born  Paris,  Jan.  26, 
1885.  Composed  operas,  orchestral  works,  songs;  wrote 
books  on  music.  Lives  London. 


HERZ 


625 


HOLST 


Herz  (Hairtz),  Henri.  Pianist,  composer;  born  Vienna, 
Jan.  6,  1806;  died  Paris,  Jan.  5,  1888.  Teacher  at  Paris 
Conservatory. 

Herzogenberg,  Baron  Heinrich  von.  Pianist,  composer; 
born  Graz,  Aus.,  Jun.  10,  1843;  died  Wiesbaden,  Ger.,  Oct. 
9,  1900.  Composed  symphonies,  chamber  music,  large  vocal 
works,  etc.  Married  the  pianist  Elizabeth  Stockhausen. 

Hess.  ,  (1)  Willy.  Violinist;  born  Mannheim,  Ger.,  JuL 
14,  1859.  Royal  High  School  for  Music,  Berlin.  (2) 
Ludwig.  Tenor,  composer;  born  Marburg,  Ger.,  Mar. 
23,  1871.  Composed  a  symphony,  the  epic  Ariadne,  vocal 
works,  etc.  Lives  Berlin. 

Hesse  (Hes-seh),  Adolf  Friedrich.  Organist;  born  Bres- 
lau,  Ger.,  Aug.  30,  1809;  died  there,  Aug.  5,  1863.  Distin- 
guished as  a  player;  wrote  for  the  organ. 

Heuberger  (H oy-bair-gher) ,  Richard.  Composer,  writer; 
born  Graz,  Aus.,  Jun.  18,  1850;  died  Vienna,  Nov.,  1914. 
Composed  operas,  cantatas,  ballets,  orchestral  works,  etc. 

Heubner  (Hoyb-ner),  Konrad.  Composer;  born  Dresden, 
Ger..  1860;  died  Coblenz,  Ger.,  Jun.  7,  1905.  Composed  for 
orchestra  and  chamber  music. 

Heuschkel  (Hoysh-kel),  Johann  Peter.  Oboist,  pianist; 
born  near  Eisfeld,  Ger.,  Jan.  4,  1773 ;  died  Biebich,  Ger., 
1853.  Teacher  of  Weber. 

Hey  (High),  Julius.  Teacher  of  singing;  born  Irnugts- 
hausen,  Ger.,  Apr.  29,  1832;  died  Munich,  Apr.  23,  1909. 
Aimed  to  found  a  German  school  of  singing  on  the  de- 
mands of  Wagner's  music  dramas. 

Heymann  (High-man).  (1)  Karl.  Composer,  pianist;  born. 
Filehne,  Pol.,  Nov.  6,  1854.  (2)  Karl.  Pianist;  teacher; 
born  Filehne,  Pol.,  Oct.  6,  1854.  Composed  for  the  piano. 

Hildach,  Eugen.  Baritone,  composer;  born,  Wittenberg, 
Ger.,  Nov.  20,  1849.  Composed  successful  songs  and  duets. 
Lives  Fronkfort,  Ger. 

Hill.  (1)  Edward  Burlingame.  Composer;  born  Cam- 
bridge, Mass.,  Sept.  9,  1872.  Composed  for  orchestra 
and  stage.  Harvard  University.  (2)  Junius  Welch. 
Pianist,  teacher;  born  Hingham,  Mass.,  Nov.  18,  1840. 
Professor  of  Music  at  Wellesley  College  for  a  number 
of  years.  Lives  Los  Angeles,  Cal.  (3)  Thomas  Henry 
Weist.  Violinist;  born  London,  Jan.  23,  1828;  died  there, 
Dec.  25,  1891. 

Hille  (Hil-le).  Gustav.  Violinist,  composer;  born  Jeri- 
chow,  Ger.,  May  31,  1851.  Composed  for  violin.  Teacher 
in  Philadelphia  for  a  number  of  years.  Lives  Berlin. 

Hillemacher.  (1)  Paul.  Born  Paris,  1852;  and  (2)  Lucien. 
born  Paris,  1860;  died  there,  1909.  Composers.  Two 
brothers  working  together;  composed  several  operas. 

Hiller.  (1)  Ferdinand.  Composer;  born  Frankfort,  Ger., 
Oct.  24,  1811;  died  Cologne,  Ger.,  May  10,  1885.  Founded 
the  Conservatory  at  Cologne.  Wrote  symphonies,  ora- 
torios (Destruction  of  Jerusalem  and  Saul),  six  operas, 
overtures,  sonatas,  songs,  etc.  (2)  Johann  Adam.  Com- 
poser; born  near  Gorlitz,  Ger.,  Dec.  25,  1728;  died  Leipzig, 
Ger.,  Jun.  16,  1804.  Creator  of  the  German  comic  opera. 

Himmel,  Friedrich  Heinrich.  Composer;  born  Treuen- 
brietzen,  Ger.,  Nov.  20,  1765;  died  Berlin,  Jun.  8,  1814. 

Hinckley,  Allen.  Bass;  born  Boston,  Oct.  11,  1877.  Sung 
in  opera  in  Europe  and  U.  S.  Lives  New  York. 


Hinton,  Arthur.  Composer;  born  Beckenham,  Eng.,  Nov. 
20,  1869.  Composed  for  orchestra,  a  symphony,  a  violin 
and  a  piano  concerto,  and  Ccesar's  Triumph,  also  the  opera 
Tamara,  and  chamber  music.  Lives  London. 

Hobrecht  (Obrecht).  Composer;  born  Utrecht,  Hoi.,  about 
1430;  died  Antwerp,  Bel.,  1506.  Famous  contrapuntal  com- 
poser of  masses,  motets,  etc. 

Hodges.  (1)  Edward.  Organist,  born  Bristol,  Eng.,  Jul. 
20,  1796;  died  Clifton,  Eng.,  Sept.  1,  1867.  Organist  of 
Trinity  Church,  New  York.  (2)  Faustina  Hasse.  Or- 
ganist; died  New  York,  1895.  Daughter  of  (1). 

Hoffman.  (1)  Richard.  Pianist,  teacher;  born.  Manches- 
ter, Eng.,  May  24,  1831;  died  New  York,  Aug.  17,  1909. 
Well  known  as  a  pianist  and  a  composer  of  piano  pieces, 
anthems,  songs,  etc.  (2)  Heinrich.  Composer;  born 
Berlin,  Jan.  13,  1842;  died  Gross  Tabartz,  Ger.,  Jul.  16, 
1902.  Composed  operas,  symphonic  works,  songs,  etc. 

Hoffmann,  E.  T.  A.  Composer,  writer;  born  Konigsberg, 
Ger.,  Jan.  24,  1776;  died  Berlin,  Jun.  25,  1822.  Celebrated 
as  author.  Composed  operas,  a  ballet,  a  mass,  a  symphony, 
chamber  works,  etc. 

Hofmann,  Josef.  Pianist;  born  Cracow,  Aus.,  Jan.  20,  1876. 
Like  his  contemporary,  Otto  Hegner,  he  was  a  prominent 
figure  in  the  musical  world  as  a  "child  pianist."  After  his 
first  appearances  as  a  prodigy  he  retired  for  study,  and  re- 
appeared as  a  virtuoso  of  remarkable  powers.  Lives  Aiken, 
S.  C. 

Hogarth,  George.  'Cellist,  writer;  born  Lauderdale,  Scot., 
1783 ;  died  London,  Feb.  12,  1870.  Wrote  a  number  of  in- 
teresting books  on  musical  subjects.  His  eldest  daughter 
married  Charles  Dickens. 

Hoi,  Richard.  Organist,  conductor;  born  Amsterdam,  Hoi., 
Jul.  23,  1825 ;  died  Utrecht,  Hoi.,  May  14,  1904.  Composed 
symphonies,  an  opera,  masses,  etc. 

Holbrooke,  Josef  Charles.  Composer;  born  Croydon,  Eng.. 
Jul.  6,  1878.  Composed  for  orchestra  The  Raven,  The 
Skeleton  in  Armor,  I'lalume,  a  Poe  Symphony,  Queen 
Mab,  and  other  symphonic  poems ;  also  the  opera  The  Chil- 
dren of  Don.  Lives  London. 

Holden,  Oliver.  Composer;  born  Shirley,  Mass.,  Sept.  18, 
1765 ;  died  Charlestown,  Mass.,  Sept.  14,  1844.  Hymn  tune 
composer. 

Hollander.  (1)  Alexis.  Composer,  conductor;  born  Rati- 
bor,  Ger.,  Feb.  25,  1840.  Composed  songs  and  piano 
pieces.  Lives  Berlin.  (2)  Gustav.  Violinist;  born 
Leobschiitz,  Ger.,  Feb.  15,  1855;  died  Berlin,  Dec.  6. 
1915.  Director  Stern  Conservatory  for  a  number  of 
years.  (3)  Victor.  Composer,  conductor;  born  Leob- 
schiitz, Ger.,  Apr.  20,  1866.  Successful  operetta  com- 
poser. Brother  of  (2).  Lives  Berlin.. 

Hollins,  Alfred.  Organist;  born  Hull,  Eng.,  Sept.  11,  1865. 
Composed  for  the  organ.  Lives  London. 

Hollmann,  Joseph.  'Cellist;  born  Maestricht,  Hoi.,  Oct. 
16,  1852.  Distinguished  virtuoso.  Lives  Paris. 

Holmes  (Ol-maze)  (properly  Holmes),  Augusta  Mary 
Anne.  Composer;  born  Paris,  Dec.  16,  1847;  died  there, 
Jan.  28,  1903.  In  childhood  a  brilliant  pianist.  Her  com- 
positions include  symphonies  and  other  orchestral  works, 
two  operas,  and  a  great  number  of  songs. 

Hoist,  Gustav  von.  Composer;  born  Cheltenham,  Eng., 
Sept.  21,  1874.  Composed  operas,  cantatas,  etc.  Lives 
London. 


HOLYOKE 


626 


HYLLESTED 


Holyoke,  Samuel.  Teacher;  born  Boxford,  Mass.,  1771; 
died  Concord,  N.  H.,  1816.  Hymn  composer. 

Homer.  (1)  Louise.  Contralto;  born  Pittsburgh,  Pa., 
1874.  Metropolitan  Opera  Company,  New  York.  (2) 
Sidney.  Composer;  born  Boston,  Sept.  9,  1864.  Com- 
posed remarkable  songs.  Lives  New  York. 

Hood,  Helen.  Composer;  born  Chelsea,  Mass.,  Jun.  28, 
1863.  Song  and  violin  composer.  Lives  New  York. 

Hopekirk,  Helen.  Pianist,  teacher;  born  Edinburgh,  Scot., 
May  20,  18S6.  Composed  a  concerto  and  other  orchestral 
works,  piano  pieces,  etc.  Pupil  of  Leschetizky.  Married 
William  Wilson.  Teacher  in  Boston.  Returned  to  Edin- 
burgh, 1919. 

Hopkins,  Edward  John.  Organist,  composer;  born  West- 
minster, Eng.,  Jun.  30,  1818;  died  London,  Feb.  4,  1901. 

Hopkinson,  Francis.  Composer;  born  Philadelphia,  Sept. 
21,  1737;  died  there,  May  9,  1791.  A  lawyer  by  profession. 

Hornemann,  Johann  Ole  Emil.  Composer;  born  Copen- 
hagen, Den.,  May  13,  1809 ;  died  there,  May  29,  1870.  Song 
composer. 

Horsley.  (1)  Charles  Edward.  Organist,  composer;  born 
London,  Dec.  6,  1822;  died  New  York,  Mar.  4,  1876. 
Composed  orchestral  and  chamber  music.  Son  of  (2). 
(2)  Henry  William.  Organist,  composer;  born  London, 
Nov.  IS,  1774;  died  there,  Jun.  2  (Jul.  12),  18S8.  Com- 
posed sacred  music. 

Horvath,  Geza.  Composer,  pianist,  teacher ;  born  Komaron, 
Hun.,  May  27,  1868.  Composed  fine  teaching  music  for 
piano.  Lives  Vienna. 

Howell,  Edward.  'Cellist;  born  London,  Feb.  5,  1846; 
died  there,  Jan.  30,  1898.  Professor  of  the  'cello  at  the 
Royal  College  of  Music,  London. 

Hrimaly  (Ri-mahl-ee ),  Adalbert.  Violinist,  conductor,  com- 
poser ;  born  Pilsen,  Boh.,  Jul.  30,  1842.  Composed  the 
opera  Die  vcrzaubcrte  Prinz,  violin  works,  etc.  Lives  Mos- 
cow, Rus. 

Hubay  (Hoo-byc),  Jeno.  Violinist,  composer;  born  Buda- 
Pesth,  Hun.,  Sept.  15,  1858.  Composed  an  opera,  violin 
works,  etc.  Lives  Buda^Pesth. 

Huber  (Hoo-bcr).  Hans.  Composer;  born.  Schonewerd, 
Switz.,  Jun.  28,  1852.  Works  include  symphonies,  cantatas, 
concertos,  sonatas,  many  smaller  works,  also  the  operas 
Kudrun  and  Dcr  Simflicius,  and  a  successful  oratorio. 
Lives  Basel,  Switz. 

Hubermann  (Hoo-ber-man),  Bronislaw.  Violinist;  born 
Czenstochowa,  Pol.,  Dec.  19,  1882.  Famous  virtuoso.  Lives 
Vienna. 

Huberti  (Hoo-bair-tee),  Gustave  Leon.  Composer,  teacher; 
born  Brussels,  Bel.,  Apr.  14,  1843;  died  there,  1911.  Com- 
posed oratorios,  symphonies,  concertos. 

Hucbald.     Theorist;  born  Flanders  about  840;  died  930. 

Hue  (Hwec),  C gorges  Adolphe.  Composer;  born  Versailles. 
France,  May  6,  1858.  Composed  operas,  orchestral  works, 
songs.  Lives  Paris. 

Hueffer  (Heef-fcr),  Francis.  Writer;  born  Miinster,  Ger., 
May  22,  1843;  died  London,  Feb.  19,  1889.  Was  critic  of 
the  London  Times  from  1878.  Wrote  several  books — Rich- 
ard Wagner  and  the  Music  of  the  Future,  The  Troubadours, 
Musical  Studies,  etc. 


Hughes,  Rupert.  Writer;  born  Lancaster,  Mo.,  Jan.  31, 
1872.  Author  of  books  on  music  and  musicians.  Lives 
New  York. 

Huhn  (Hunt),  Bruno.  Organist,  pianist,  composer;  born 
London,  1871.  Composed  sacred  and  secular  songs  and 
choral  music.  Lives  New  York. 

Hull,  Arthur  Eaglefield.  Writer,  teacher;  born  Market 
Harborough,  Eng.,  1876.  Author  of  works  on  musical  biog- 
raphy, criticism,  harmony,  etc.  Lives  Huddersfield,  Eng. 

Hullah,  John  Pyke.  Organist,  composer,  teacher;  born 
Worcester,  Eng.,  Jun.  27,  1812;  died  London,  Feb.  21,  1884. 
Wrote  operas,  songs,  etc.,  but  is  better  known  as  a  zealous 
advocate  of  the  Wilhem  method  of  musical  instruction, 
and  of  music  for  the  people. 

Hiillmandel  (Hecl-man-del),  Nicholas-Joseph.  Pianist,  com- 
poser ;  born  Strassburg,  Alsace,  1751 ;  died  London,  Dec. 
19,  1823.  Composed  foi  piano. 

Hulsteyn  (Hool-stein),  Jean  C.  van.  Violinist;  born  Am- 
sterdam, Hoi.,  1869.  Lives  Baltimore,  Md. 

Humfrey,  Pelham.  Composer;  born  London,  1647;  died 
Windsor,  Eng.,  Jul.  14,  1674.  Famous  English  composer, 
time  of  Charles  II. 

Hummel  (Hoom-mel).  (1)  Johann  Nepomuk.  Pianist, 
composer;  born  Pressburg,  Hun.,  Nov.  14,  1778;  died 
Weimar,  Ger.,  Oct.  17,  1837.  A  pupil  of  Mozart  and 
Albrechtsberger.  A  celebrated  virtuoso  in  his  day. 
Wrote  masses,  operas,  cantatas,  chamber  music,  and 
much  piano  music.  (2)  Ferdinand.  Pianist,  composer; 
born  Berlin,  Sept.  6,  1855.  Composed  operas,  chamber 
works,  etc.  Lives  Berlin. 

Humperdinck  (Hoom-pcr-dink) ,  Engelbert.  Composer; 
born  Siegburg,  Ger.,  Sept.  1,  1854.  Has  written  a  Humor- 
esque  for  orchestra,  a  choral  ballad.  Wallfahrt  nach  Keve- 
laar,  and  the  remarkable  opera  Hansel  und  Gretel,  which 
has  made  him  one  of  the  most  conspicuous  composers  of 
the  day,  besides  other  notable  works.  His  Konigskinder  is 
a  later  operatic  success.  Lives  Berlin. 

Huneker,  James  Gibbon.  Writer,  author;  born  Philadel- 
phia, Pa.,  Jan.  1,  1860.  Brilliant  essayist  on  music,  art, 
and  literature.  Critic  on  New  York  Times. 

Hiinten  (Hin-ten) ,  Franz.  Pianist,  composer;  born  Cob- 
blenz,  Ger.,  Dec.  26,  1793;  died  there,  Feb.  22,  1878.  Was 
for  some  years  professor  at  the  Paris  Conservatory.  At 
one  time  a  fashionable  virtuoso  and  composer. 

Huss,  Henry  Holden.  Pianist,  composer;  born  Newark, 
N.  J.,  Jun.  21,  1862.  Composed  songs  with  orchestra,  a 
violin  and  a  piano  concerto,  chamber  works,  etc.  Lives 
New  York. 

Hutcheson,  Ernest.  Pianist;  born  Melbourne,  Australia, 
Tul.  20,  1871.  Composed  the  tone-poem  Merlin  and  Vivien, 
a  piano  concerto,  etc.  Lives  New  York. 

Huttenbrenner  (Hit-ten-bren-ner),  Anselm.  Pianist;  born 
Graz,  Aus.,  Oct.  13,  1794;  died  near  Graz,  Jun.  5,  1868. 
Composed  symphonies,  overtures,  masses,  operas,  chamber 
works,  fugues,  etc. 

Hyatt,  Nathaniel  Irving.  Pianist,  organist,  composer;  born 
Lansingburgh,  N.  Y.,  1865.  Composed  the  overture  Enoch 
Ardcn,  chamber  works,  piano  music,  songs,  etc.  Lives 
Albany,  N.  Y. 

Hyllested,  August.  Pianist,  composer;  born  Stockholm, 
Swed.,  Jun.  17.  1858.  Pupil  of  Liszt.  Composed  piano 
works,  songs,  orchestral  works,  etc.  Lives  Copenhagen,  Den. 


IGUMNOV 


627 


JEHIN 


I 


Igumnov  (I-goom-noff),  Konstantin.  Pianist,  teacher;  born 
Lebcdiana,  Rus.,  May  1,  1873.  Moscow  Conservatory. 

Iliffe,  Frederick.  Organist,  composer;  born  Smeeton- 
Westerby,  Eng.,  Feb.  21,  1847.  Composed  an  oratorio,  sym- 

•  phony,  choruses  with  orchestra,  chamber  works,  etc.  Ox- 
ford, University,  Oxford,  Eng. 

Iljinsky  (Il-yin-ski) ,  Alexander.  Composer;  born  Tsars- 
koe-Selo.  Rus.,  Jan.  24,  1859.  Composed  orchestral  suites, 
a  symphony,  cantatas,  incidental  music,  an  opera,  and 
smaller  works.  Moscow  Conservatory. 

Imbert    (Am-bair),  Hugues.  Writer;   born   Nievre,   France, 
1842;    died   Paris,    1905.      Well   known   Parisian   writer   on 
•music. 

Incledon,  Charles  Benjamin.  Tenor;  born  St.  Kevern, 
Eng.  (baptized  Feb.  5),  1763;  died  Worcester,  Eng.,  Feb. 
11,  1826.  Famous  for  his  ballad  singing.  In  1817  he  vis- 
ited America. 

Indy  (Dandy),  P.  M.  T.  Vincent  d'.  Pianist,  composer; 
born  Paris,  Mar.  27,  1851.  Works  include  the  symphonic 
poems  La  Foret  Enchantee,  Saugefleurie,  Istar,  etc.,  the 
Wallcnstcin  Triptich,  two  important  symphonies  and  the 
earlier  Jean  Hunyadi  symphony,  cantatas,  tl^e  operas  Pcr- 
vaal  (Druidic),  L'Etrangcr  (symbolic),  and  the  ligfttir 
Attcndes-tnoi-  sous  1'orme.  Founder  of  Schola  Cantorum, 
Paris. 


Ingelius,  Axel  Gabriel.     Composer;  born  SakyHiska,  Fin., 

Oct.  26,  1822;  died  Rystad,  Fin.,  Mar.  2,  1868.     Composed 

songs  of  a  national  character. 
Inzenga,  Jose.     Composer;  born  Madrid,  Sp.,  Jun.  4,  1828; 

died  there,  Jul.,  1891.     Composed  zarzuelas. 
Iparraguirre  y  Balerdi,  Jose  Maria.     Bass;  born,  Villareal, 

Sp.,  died  Zozabastro,  Sp.,  Apr.  6,  1881. 
Ippolitov-Ivanov,    Michael.      Conductor,    composer;    born 

Gatschina,  Rus.     Composed  operas    (Ruth,  Asia,  etc.),  or- 
chestral works,  choruses,  etc.     Moscow  Conservatory. 
Irgang.  (Ear-yahng),    Wilhelm.      Organist,    teacher;    born 

Hirschberg,  Ger.,  Feb.  23,  1836.     Wrote  educational  works. 
Isaac   (Ec-sahk),  Heinrich  (Arrigo  Tedesco).     Composer; 

born  about  1450;  died  about  1517.     German  contrapuntal 

school. 
Isouard    (Ee-swar) ,    Nicolo.      Composer;    born    Island    of 

Malta,  Dec.  6,   1775;  died  Paris,  Mar.  23,   1818.     Opera 

composer. 
Istel,  Edgar.     Composer,  author;  born  Mainz,  Ger.,  Feb. 

23,  1880.     Lives  Berlin. 
Ivanoff,   Michael.     Composer;   born   Moscow,   Rus.,   Sept. 

23,  1849.    Composed  four  operas,  orchestral  works,  a  ballet, 

songs,    piano    pieces,    etc.      Lives    Petrograd. 
Ivry    (Eev-ree) ,    Richard,    Marquis    d'.      Composer;    born 

Beaune.  France,  Feb.  4,  1829;  died  Hyeres,  France,  Dec.  18, 

1903.     Opera  composer. 


Jackson,  William.  Organist,  composer;  born  Exeter,  Eng., 
May  28,  1730;  died  there,  Jul.  12,  1803.  Wrote  church 
music. 

Jacobsohn  (Yah-cob-sone),  Simon  E.  Violinist,  teacher; 
born  Mitau,  Rus.,  Dec.  24,  1839;  died  Chicago,  Oct.  3,  1902. 
Teacher  of  eminent  American  violinists. 

Jacoby  (Yah-co-bee) ,  Georges.  Violinist,  composer;  born 
Berlin,  1840;  died  London,  1906.  Composed  operas, 
ballets,  etc. 

Jadassohn  (Vah-das-zon),  Salomon.  Pianist,  teacher,  theo- 
rist; born  Breslau,  Ger.,  Aug.  13,  1831;  died  Leipzig,  Ger., 
Feb.  1,  1902.  Composed  symphonies,  vocal  compositions, 
chamber  music,  etc.,  also  valuable  works  on  harmony  and 
other  subjects.  His  text-books  are  in  world-wide  use. 

Jaell  (Yale),  Alfred.  Pianist,  composer;  bon,  Trieste, 
Italy,  Mar.  5,  1832;  died  Paris,  Feb.  27,  1882.  Brilliant 
player. 

Jaffe  (Yahf-fch),  Moritz.  Violinist,  composer;  born  Posen, 
Ger.,  Jan.  3,  1835.  Composed  operas,  chamber  music. 
Lives  Berlin, 

Jahn  (Yahn),  Otto.  Writer;  born  Kiel,  Ger.,  Jun.  16,  1813; 
died  Gottingen,  Ger.,  Sept.  9,  1869.  Philologist  and  archaeol- 
ogist, composer,  and  writer  on  music.  His  celebrated  Life 
of  Mozart  is  his  chief  contribution  to  musical  literature. 

Janiewicz  (Yah-nc-a-vitch),  Felix.  Violinist;  born  Vilna, 
Lithuania,  1762;  died  Edinburgh,  Scot.,  1848 

Janko  (Yang-ko),  Paul  von.  Inventor;  born  Totis,  Hun., 
Jun.  2,  1856.  Inventor  of  a  new  keyboard  bringing  the 
keys  in  a  smaller  span  than  on  the  present  keyboard,  and 
enabling  all  scales  and  arpeggios  to  be  fingered  alike. 
Lives  Constantinople. 


Jannequin  (Zhan-nch-can),  Clement.  Composer;  French 
contrapuntal  school,  sixteenth  century. 

Janotha  (Yah-no-ta),  Natalie.  Pianist;  born  near  Warsaw, 
Jun.  8,  1856.  Lives  London. 

Jansa  (Yan-sa),  Leopold.  Violinist;  born  Wildenschwert, 
Boh.,  Mar.  23,  1795;  died  Vienna,  Jan.  24,  1875.  Wrote 
etudes  for  violin. 

Janssens,  Jean  Francois.  Composer;  born  Antwerp,  Bel., 
1801;  died  there,  1835.  Composed  operas,  symphonies, 
etc. 

Jaqres-Dalcroze.    See  Dalcroze. 

Jarecki  (Yar-esk-ec),  Heinrich.  Conductor,  composer; 
born  Warsaw,  Pol.,  Dec.  6,  1846.  Composed  operas,  orches- 
tral works,  etc.  Lives  Lemberg,  Aus. 

Jarnefelt  (Yair-neh-fclt),  Armas.  Composer;  born  Viborg, 
Fin.,  Aug.,  1869.  Composed  overtures,  suites,  symphonic 
poems,  etc.,  and  smaller  works.  Royal  Opera,  Stockholm, 
Sweden. 

Jarno  (Yar-no),  Georg.  Composer;  born  Buda-Pesth, 
Hun.,  Jun.  3,  1868.  Opera  composer.  Lives  Vienna. 

Jarvis,  Charles  H.  Pianist,  teacher;  born  Philadelphia, 
Pa..  Dec.  20,  1837;  died  there,  Feb.  25,  1895. 

Jaspar,  Maurice.  Pianist;  born  Liege,  Bel.,  Jun.  20,  1870. 
Composed  piano  music  and  songs.  Liege  Conservatory. 

Jehin  (Zhay-ang).  (1)  Fran?ois.  Violinist;  born  Spa, 
Bel.,  Apr.  18,  1839;  died  Montreal,  France,  May  29,  1899. 
(2)  Leon.  Conductor,  composer;  born  Spa,  Bel.,  Jul.  17, 
1853.  Lives  Monte  Carlo,  Italy. 


JENKINS 


628 


KAJANUS 


Jenkins,  David.  Conductor,  composer;  born  Trecastell, 
Wales,  Jan.  1,  1849.  Composed  oratorios,  cantatas,  etc. 
Lives  Aberystwith,  Wales. 

Jensen  (Yen-sen),  Adolph.  Composer;  born  Konigsberg, 
Ger.,  Jan.  12,  1837;  died  Baden-Baden,  Ger.,  Jan.  23,  1879. 
Notable  as  a  song  writer  as  well  as  a  composer  of  great 
originality  in  many  other  forms. 

Jentsch  (Yentsh),  Max.  Pianist,  composer;  born  Ziesar, 
Ger.,  Aug.  5,  1855.  Composed  orchestral  works,  piano 
compositions,  etc.  Lives  Vienna. 

Jimenez  (Yi-tnay'-neth),  Jeronimo.  Composer;  born  Se- 
ville, Sp.,  Oct.  10,  1854.  Zarzuela  and  orchestral  com- 
poser. 

Jiranek  (Yee-rah-nek).  (1)  Josef.  Pianist;  born  Ledec, 
Boh.,  Mar.  24,  1855.  Composed  valuable  technical  works 
for  the  piano.  Prague,  Boh.,  Conservatory.  (2)  Aloys. 
Composer,  teacher;  born  Ledec,  Boh.,  Sept.  3,  1858. 
Composed  an  opera,  orchestral  works,  chamber  music, 
etc.  Brother  of  (1).  Lives  Kharkov,  Rus. 

Joachim  (Yo-a-khccm),  Joseph.  Violinist;  born  Kittsee, 
Hun.,  Jun.  28,  1831;  died  Berlin,  Aug.  15,  1907.  In  1843 
went  from  the  Vienna  Conservatory  to  that  of  Leipzig.  In 
1850  became  orchestral  leader  at  Weimar,  and  in  1854 
occupied  the  same  position  at  Hanover.  Later  director 
Royal  High  School  for  Music,  Berlin.  The  prince  of 
modern  violinists. 

Johns,  Clayton.  Pianist,  composer;  born  Newcastle,  Del., 
Oct.  24;  1857.  Composed  a  berceuse  and  scherzino  for 
strings,  choruses,  about  one  hundred  piano  pieces,  but  is 
best  known  by  his  charming  songs.  Lives  Boston. 

Johnson,   Herbert.     Tenor,   composer;   born.   Middletown, 

Conn.,  1861;  died  Boston,  Jul.  21,  1904.    Composed  sacred 

songs. 
Jomelli    (Y o-mel-lee) ,  Niccolo.     Composer;   born   Averna, 

Italy,    May    10,    1714;    died    Naples,    Italy,    Aug.    25,    1774. 

Italian   opera  composer. 
Jonas    (Ho-nas),  Alberto.     Pianist,   teacher;   born   Madrid, 

Sp.,   Jun.   8,    1868.     Distinguished  .teacher.     Lives    New 

York. 
Joncieres    (Zhon-sec-ehr) ,   Victorin   de.      Composer;    born 

Paris,  Apr.  12,  1839;  died  there,  Oct.  26,  1903.     Composed 

several  operas ;  championed   Wagner. 
Jones,  Arthur  Barclay.    Teacher,  composer;  born  London, 

Dec.     16.    1869.      Composed    a    symphony,    etc.      Lives 

London. 
Jongen,   Joseph.     Organist,   composer;   born   Liege,    Bel., 

Dec.    14,    1873.     Composed   orchestra   and   chamber   music, 

organ  pieces,  church  music,  etc.     Lives  Brussels,  Bel. 


Jordan-  Jules.  Tenor,  composer;  born  Willimantic,  Conn., 
Nov.  10,  1850.  Has  composed  an  opera,  a  cantata,  etc., 
but  is  best  known  by  his  songs.  Lives  Providence,  R.  I. 

Joseffy  (Yo-scf-fce).  Rafael.  Pianist,  teacher;  born  Hun- 
fain,  Hun.,  Jul.  3,  1853;  died  New  York,  Jun.  24,  1915.  Dis- 
tinguished virtuoso ;  pupil  of  Carl  Tausig  and  of  Liszt.  For 
many  years  he  was  a  member  of  the  faculty  of  the  Na- 
tional Conservatory  of  Music  in  New  York.  His  piano- 
forte compositions  show  much  skill  and  his  playing  ex- 
celled in  taste  and  execution.  Author  of  valuable  technical 
works  for  the  piano. 

Josephson  (Yo-scf-son),  Jacob  Axel.  Composer,  organist; 
born  Stockholm,  Swed.,  Mar.  27,  1818 ;  died  Upsala,  Swed., 
Mar.  29,  1880.  Composed  principally  vocal  works. 

Josquin  Despres.     See  Despres. 

Jouret  (Zhoo-ray),  Leon.  Composer;  born  Asch,  Bel.,  Oct. 
17,  1828;  died  Brussels,  Bel.,  1905.  Composed  operas,  can- 
tatas, etc. 

Journet  (Zhoor-nay),  Marcel.  Bass;  born  Grasse,  France, 
Jul.,  1870.  Sung  with  Chicago  Opera  Company.  Lives 
Paris. 

Juch  (Yookh),  Emma.  Soprano;  born  Vienna,  Jul.  4,  1865 
1861.  Educated  in  \j .  S.  Sang  in  Europe  and  U.  S. 

Jullien  (Zhool-lcang).  (1)  Adolphe.  Born  Paris,  Jun.  1, 
1845.  Eminent  musical  critic.  Lives  Paris.  (2)  Louis 
Antoine.  Conductor;  born  Sisteron,  France,  Apr.  23, 
1812;  died  Paris,  Mar.  14,  1860.  Gained  a  great  reputa- 
tion as  a  conductor  and  composer  of  dance  music,  etc. 
He  was  noted  for  practical  musicianship,  and  with  his 
magnificent  orchestra  he  secured  excellent  performances 
of  classical  works. 

Junck  (Yoongk),  Benedetto.  Composer;  born  Turin,  Italy, 
Aug.  24,  1852.  Composed  chamber  music,  songs,  etc. 
Lives  Milan,  Italy. 

Jungmann  (Yoong-man),  Albert.  Composer;  born  Lang- 
ensalza,  Ger.,  Nov.  14,  1824;  died  near  Vienna,  Nov.  7, 
1892. 

Juon  (Zhoo-on),  Paul.  Composer;  born.  Moscow,  Rus., 
Mar.  8,  1872.  Composed  for  orchestra  a  symphony,  a 
suite,  a  fantaisie,  and  a  serenade;  also  piano  works  and 
chamber  music.  Lives  Berlin. 

Jiittner  (Yitt-ner),  Paul.  Organist,  composer;  born  Grad- 
nitz,  Ger.,  Dec.  11,  1864.  Composed  sacred  works.  Lives 
Berlin. 

Juul  (Yoo-ool),  Asger.  Composer,  critic;  born  Copen- 
hagen, Den.,  May  9,  1874.  Lives  Copenhagen. 


K 


Kaan-Albest,  Heinrich  von.    Pianist;  born  Tarnopol,  Aus., 

May    29,    1852.      Succeeded    Dvorak    as    director    of    the 

Prague  Conservatory.     Composed  orchestral  works,  operas, 

a  ballet,  and  smaller  works. 
Kadletz,   Andreas.     Violinist;   born    Dobusch,    Boh.,   Feb. 

18,  1859.     Composed  ballets,  an  opera,  etc. 
Kaffa,    J.    C.      Violinist;    born    Ratisbon,    Ger.,    1754;    died 

Riga,  Rus.,  Jan.  29,  1815.    Composed  sacred  works. 
Kafka,    J.    N.      Composer;   born    Neustadt,    Boh.,    May    17, 

1819;    died   Vienna,   Oct.  23,    1886.     Wrote   popular   piano 

pieces. 


Kahn,  Robert.  Composer;  born  Mannheim,  Ger.,  Jul.  21, 
1865.  Composed  chamber  music,  songs,  etc.  Lives  Berlin. 

Kaiser  (Ki-zer).  (1)  Emil.  Conductor,  composer;  born 
Coburg,  Ger.,  Feb.  7,  1850.  Wrote  operas.  (2)  Henri 
Alfred.  Composer;  born  Brussels,  Bel.,  Mar.  1,  1872. 
Composed  ballets,  the  opera  Stella  Marts,  etc.  Lives 
London. 

Kajanus  (Kah-yah-noos),  Robert.  Conductor,  composer: 
born  Helsingfors,  Fin.,  Dec.  2,  1856.  Composed  symphonic 
poems,  Finnish  rhapsodies,  an  orchestral  suite,  cantatas,  etc. 
The  University,  Helsingfors. 


KALAFATI 


629 


KETTERER 


Kalafati,  B.  Composer;  born  Eupatoria,  Rus.,  1869.  Com- 
posed songs,  piano  pieces,  etc. 

Kalinnikov,  Vassili.  Composer;  born  Voina,  Rus.,  Jan.  13, 
1866;  died  Yalta,  Rus.,  Jan.  11,  1901.  Composed  sym- 
phonies, symphonic  poems  (The  Nymphs,  etc.),  cantatas, 
and  smaller  works. 

Kalisch,  Taul.  Tenor;  born  Berlin,  May  6,  1855.  Husband 
of  Lilli  Lehman.  Lives  Berlin. 

Kalkbrenner,  Friedrich  Wilhelm  Michael.  Pianist,  com- 
poser; born  near  Berlin,  1788;  died  near  Paris,  Jun.  10, 
1849.  Wrote  an  excellent  School  for  his  instrument,  and 
also  some  fine  etudes. 

Kalliwoda,  Johann  Wenzel.  Violinist,  composer;  born 
Prague,  Boh.,  Mar.  21,  1800;  died  Karlsruhe,  Ger.,  Dec.  3, 
1866.  Wrote  a  great  deal  of  music  for  the  violin,  also 
symphonies,  concert  overtures,  etc. 

Kamienski,  Matthias.  Composer;  born  Oedenburg,  Hun., 
Oct  13,  1734;  died  Warsaw,  Pol.,  Jan.  25,  1821.  Polish 
opera  pioneer. 

Kampf  (Kempf),  Karl.  Composer;  born  Berlin,  Aug.  31, 
1874.  Composed  suites,  a  symphonic  poem,  etc.  Lives 
Berlin. 

Kampfert  (Kemp-fert),  Max.  Violinist,  conductor;  born 
Berlin,  Jan..  3,  1871.  Won  success  as  conductor  at 

Frankfort-on-the-Main. 

v 

Karasowski   (Kar-a-sof-ski) ,  Moritz.     Writer;  born  Wai 
saw,    Pol.,    Sept.   22,    1823;    died   Dresden,    Ger.,   Apr.   30, 
1892.    Polish  musical  historian. 

Karg-Ehlert,  Sigfrid.  Organist,  composer;  born  Obern- 
dorf,  Ger.,  Nov.  21,  1879.  Composed  orchestral  and  cham- 
ber works,  but  best  known  by  his  organ  pieces.  Lives 
Leipzig,  Ger. 

Karganov,  GenarL  Composer;  born  Kvarelia,  Caucasus, 
May  12,  1858;  died  Rostov,  Rus.,  Apr.  12,  1890.  Com- 
posed piano  works. 

Karlowicz,  Miecyslav.  Composer;  born  Wiszniewo,  Lith- 
uania, Dec.  11,  1876;  died  Zakopane,  Galicia,  Feb.  10,  1909. 
Composed  for  orchestra. 

Kasanli,  Nicolai.  Conductor,  composer;  born  Tiraspol, 
Rus.,  Dec.  17,  1869.  Composed  for  orchestra. 

Kasatchenko,  Nicolai.  Conductor,  composer;  born.  Rus., 
May  3,  1858.  Composed  operas,  an  overture,  a  symphony, 
oriental  suites,  a  cantata,  etc.  Lives  Petrograd. 

Kaschkin,  Nicolai.     Writer;  born  Vownesk,  Rus.,  Dec.  9, 

1839.      Russian    musical    writer    and    historian.      Lives 

Moscow. 
Kaschperov,    Vladimir.      Teacher    of    singing,    composer; 

born   Simbirsk,  Rus.,   1827;   died  Romanzevo,  Rus.,  Jul.  8, 

1894.     Opera  composer. 
Kashin,  Daniel  Nikititch.     Composer;  born  Moscow,  Rus., 

1773 ;  died  there,  1844.     Composed  operas,  cantatas,  patriotic 

songs ;   collected   folk-songs. 

Kashinski,  Victor.  Composer;  born  Vilna,  Lithuania, 
Dec.  30,  1812;  died  1870.  Composed  operas,  overtures,  pieces 
for  piano  and  for  violin. 

Kaskel,  Karl,  Freiherr  von.  Composer;  born  Dresden, 
Ger.,  Oct.  10,  1866.  Opera  composer.  Lives  Munich. 

Kastalski,  Alexander.  Composer;  born  Moscow,  Rus., 
1856.  Composed  sacred  and  piano  works. 


Kastner,  Johann  Georg.  Composer;  born  Strassburg,  Al- 
sace, Mar.  9,  1811 ;  died  Paris,  Dec.  19,  1867.  Distinguished 
as  theorist. 

Kate  (Kah-teh),  Andre  ten.  'Cellist,  composer;  born  Am- 
sterdam, Hoi.,  May  22,  1796;  died  Haarlem,  Hoi.,  Jul.  27, 
1858.  Composed  operas,  chamber  music,  part-songs. 

Kauffmann,  Fritz.  Conductor,  composer;  born  Berlin, 
Jun.  17,  1855.  Composed  orchestral  and  chamber  works. 
Lives  Magdeburg,  Ger. 

Kaun  (Koitm),  Hugo.  Composer;  born  Berlin,  Mar.  21, 
1863.  Composed  symphonic  poems  (Minnehaha,  Maria  Mag- 
dalene, etc.),  an  opera  (Dcr  Pietist),  a  Fatherland  sym- 
phony, choral  works  (N ormannen-Abschied) ,  etc.  Taught 
for  some  years  in  Milwaukee,  Wis.  Lives  Berlin. 

Kayser,  Heinrich  Ernst.  Violinist,  teacher;  born  Altona, 
Ger.,  Apr.  16,  1815;  died  Hamburg,  Ger.,  Jan.  17,  1888. 
Wrote  fine  technical  studies  for  the  violin. 

Kazynski,  Victor.  Conductor,  composer;  born  Vilna,  Lith- 
uania, 1812.  Composed  operas. 

Keiser  (Ki-zer),  Reinhard.  Composer;  born  Teuchern, 
Ger.  (baptized  Jan.  12),  1674;  died  Hamburg,  Ger.,  Sept.  12, 
1739.  Wrote  a  large  number  of  operas  (singspielc)  for 
the  Hamburg  Opera,  of  which  he  was  director. 

Keler-Bela  (Albert  von  Keler).  Conductor,  composer; 
born  Bartfeld,  Hun.,  Feb.  13,  1820;  died  Wiesbaden,  Ger., 
Nov.  20,  1881. 

KeHir,  Matthias.  Composer;  born  Ulm,  Ger.,  Mar.  20, 
1818;  died  Boston,  1875.  Composed  the  American  hymn 
set  to  Holmes'  words,  Angel  of  Peace. 

Kelley,  Edgar  Stillman.  Born  Sparta,  Wis.,  Apr.  14,  1857. 
Composed  chamber  music,  songs  (The  Lady  Picking  Mul- 
berries, etc.),  the  light  opera  Puritania,  incidental  music 
to  Macbeth,  Ben  Hur,  etc.,  and  a  New  England  symphony. 
Teacher  Cincinnati  Conservatory.  Lives  Oxford,  O. 

Kellie,  Lawrence.     Tenor,  composer;  born  London,  Apr. 

3,  1862.     Wrote  a  number  of  songs.     Lives  London. 

Kellog,  Clara  Louise.  Soprano;  born  S'umterville,  S.  C, 
Jul.  1,  1842;  died  New  Hartford,  Conn.,  May  13,  1916. 
Sang  in  Europe  and  U.  S. 

Kempter.  (1)  Karl.  Composer;  born  Limbach,  Ger., 
1819;  died  Augsburg,  Ger.,  Mar.  11,  1871.  Oratorio 
composer.  (2)  Lothar.  Composer;  born  Launingen, 
Ger.,  Feb.  5,  1844.  Composed  operas,  choruses  with 
orchestra,  songs,  violin  works,  etc.  Lives  Zurich,  Switz. 

Kennerly-Rumford,  R.  H.  Baritone;  born  London,  Sept. 
2,  1870.  Married  Clara  Butt,  contralto. 

Kerl  (Kairl),  Johann  Kaspar.  Organist,  composer;  born 
Gaimersheim,  Ger.,  1628;  died  Munich,  Ger.,  Feb.  13, 
1693. 

Kern,  Carl  Wilhelm.     Composer;  born  Schlitz,  Ger.,  Jun. 

4,  1874.     Composed    songs   and    piano    works.     Lives    St. 
Louis,  Mo. 

Kes,  Willem.  Conductor,  violinist;  born  Dordrecht,  Hoi., 
Feb.  16,  1856.  Lives  Coblenz,  Ger. 

Ketten,  Henri.  Pianist,  composer;  born  Baja,  Hun.,  Mar. 
25,  1848;  died  Paris,  Apr.  1,  1883.  Composed  salon  music. 

Ketterer,  Eugene.  Pianist,  composer ;  born  Rouen,  France, 
Jul.  7,  1831;  died  Paris,  Dec.  18,  1870.  Composed  salon 


KEURVELS 


630 


KOCZALSKI 


Keurvels,  Edward.  Conductor,  composer;  born  Antwerp, 
Bel.,  1853.  Composed  operas,  cantatas,  etc.  Lives  Antwerp. 

Keussler  (Koyss-ler") ,  Gerhard  von.  Conductor,  composer; 
born  Schwanenburg,  Livonia,  Jul.  6,  1874.  Composed  sym- 
phonic poems.  Lives  Prague,  Boh. 

Kettenus  (Ket-nus),  Aloys.  Violinist,  composer;  born 
Verviers,  Bel.,  Feb.  22,  1823;  died  London,  Oct.  3,  1896. 
Composed  operas  and  violin  music. 

Kidson,  Frank.  Writer;  born  Leeds,  Eng.,  Nov.  IS,  18S5. 
Historian  and  collector  of  folk-songs. 

Kiel  (Keel),  Friedrich.  Composer;  born  Puderbach,  Ger., 
Oct.  7,  1821;  died  Berlin,  Sept.  14,  1885. 


Kienzl   (Keensel),  Wilhelm. 

chen,   Aus.,   Jan.    17,    1857. 

which  Der  Evangclimann  is 

next.     Lives  Graz,  Aus. 
Kiesewetter  (Keese-vet-ter), 

Holleschau,  Aus.,  Aug.  29 

1,  1850. 
Kimball,  Josiah.     Composer 

1761;  died  there,  Feb.  26, 


Composer;  born  Waizenkir- 
Composed   several   operas,   of 
best  known,  and  Die  Kuhreigen 

Raphael  Georg.    Writer;  born 

,  1773;  died  near  Vienna,  Jan. 

;  born  Topsfield,  Mass.,  Feb., 
1826.     Composed  hymn  tunes. 


King,  Julie  Rive.     Pianist;  born   Cincinnati,   O.,   Oct.  31, 

1857.     Pupil  of  Liszt;  distinguished  concert  pianist.     Lives 

Chicago. 
King,   Oliver  A.     Pianist,  composer;  born   London,   1855. 

Composed   a   symphony,   two   overtures,   cantatas,  etc.,   but 

best  known  by  his  song  Israfcl.    Lives  London. 
Kircher,   Athanasius.     Writer;   born   Geisa,   Ger.,   May  2, 

1602;  died  Rome,  Nov.  28,  1680.     His  books  are  filled  with 

curious  information  on  music. 
Kirchner,  Theodor.     Pianist,  composer;  born,  Neukirchen, 

Ger.,   Dec.   10,   1823;   died  Hamburg,   Ger.,   Sept.    18,   1903. 

Prolific  piano  composer. 
Kirnberger,  Johann  Philipp.    Theorist;  born  Saalfeld,  Ger., 

Apr.  24,  1721;  died  Berlin,  Jul.  27,  1783. 
Kistler,    Cyril.      Composer;    born    Gross- Autingen,    Ger., 

Mar.  12,  1848;  died  Kissingen,  Ger.,  Jan.  2,  1907.    Composed 

operas    in    a     rather    heavy    Wagnerian    style     (Kunihild, 

Baldur's  Death,  etc.). 
Kittl,  Johann  Friedrich.     Composer,  teacher;  born  Vor1=k, 

Boh.,   May  8,   1809;   died   Lissa,  Ger.,  Jul.  20,   1868.     Was 

director    Prague   Conservatory.     Opera   composer. 

Kitzler,  Otto.  'Cellist,  composer;  born  Dresden,  Ger., 
Mar.  26,  1834.  Piano  and  orchestral  composer. 

Kjerulf    (Khyair-oolf),   Halfdan.     Composer;   born   Chris- 

tiania,    Nor.,    Sept.    15,    1815;    died    there,    Aug.    11,    1868. 

Originally    a    theological    student ;    afterward    at    Leipzig 

Conservatory.     Wrote   songs,   piano   pieces,   etc.     His   best 

work  is  in  his  songs. 
Klauser  (Klow-scr).     (1)   Karl.     Editor,  teacher;  born  Pet- 

rograd,  Aug.  24,  1823 ;  died  Farmington,  Conn.,  Jan.  4,  1905. 

Edited  Famous  Composers.     (2)  Julius.     Teacher,  writer; 

born  New  York,  Jul.  5,  1854 ;  died  Milwaukee,  Wis.,  Apr. 

23,  1907.    Author  of  works  on  harmony. 

Klauwell,  Otto  Adolf.  Writer,  composer ;  born  Langensalza, 
Ger.,  Apr.  7,  1851.  Wrote  historical  and  critical  works. 
Composed  overtures,  etc. 

Kleeberg  (Klay-bairg),  Clotilde.  Pianist;  born  Paris.  Jun. 
27,  1866;  died  Brussels,  Bel.,  Feb.  7,  1909.  Made  success- 
ful tours. 


Kleefeld  (Klay-fclt),  Wilhelm.  Composer,  teacher;  born 
Mainz,  Ger.,  Apr.  2,  1868.  Edited  German  editions  of 
operas.  Piano  and  song  composer. 

Kleffel,  Arno.  Composer,  born  Possneck,  Ger.,  Sept.  4, 
1840.  Orchestral  composer. 

Klein,  Bruno  Oscar.  Composer,  teacher;  born  Osnabruck, 
Ger.,  Jun.  6,  1858;  died  New  York,  Jun.  22,  1911.  Com- 
posed songs  and  piano  pieces. 

Kleinmichel.  (1)  Nicolai.  Composer.  (2)  Richard.  Pi- 
anist, composer;  born  Posen,  Ger.,  Dec.  31,  1846;  died 
Charlottenburg,  Ger.,  Aug.  18,  1901.  Composed  operas, 
symphonies,  and  smaller  works. 

Klenau  (Klay-now),  Paul  von.  Conductor,  composer;  born 
Copenhagen,  Den.,  Feb.  11,  1883.  Composer  of  the  opera 
Sulamith,  etc.  Lives  Freiburg,  Ger. 

Klengel.  (1)  Paul  K.  Pianist,  violinist,  composer;  born 
Leipzig,  Ger.,  May  13,  1854.  Composed  for  voices  and 
violin.  Lives  Leipzig.  (2)  Julius.  'Cellist,  composer; 
born  Leipzig,  Sept.  24,  1859.  Composed  for  'cello  and 
chamber  music.  Lives  Leipzig. 

Klicka,  Joseph.  Organist;  born  Klattau,  Boh.,  Dec.  15, 
1855.  Organ  and  orchestral  composer. 

Klindworth  (Klint-vort) ,  Karl.  Pianist,  teacher;  born 
Hanover,  Ger.,  Sept.  25,  1830;  died  Jul.,  1916.  Edited 
Chopin's  works. 

Klose,  Friedrich.  Composer;  born  Karlsruhe,  Ger.,  Nov. 
29,  1862.  Composed  a  mass,  an  orchestral  Fcstsug,  the 
symphonic  poem  Das  Leben  ein  Traum,  organ  works, 
the  opera  Ilsebil,  etc.  Lives  Munich,  Ger. 

Klughardt  (Kloog-hart),  August.  Conductor;  born  Kothen, 
Ger.,  Nov.  30,  1847 ;  died  Dessau,  Ger.,  Aug.  3,  1902.  Com- 
posed overtures,  five  symphonies,  suites,  operas,  and  many 
smaller  works. 

Kneisel,  Franz.  Violinist;  born  Bucharest,  Rou.,  Jan.  26, 
1865.  Founder  of  the  famous  Kneisel  Quartet.  Composed 
cadenzas,  etudes,  etc.  Lives  New  York. 

Kniese  (Knee-zeh),  Julius.  Conductor;  born  Roda,  Ger., 
Dec.  21,  1848;  died  Dresden,  Ger.,  Apr.  22,  1905.  Composed 
songs,  a  tone-poem,  etc. 

Knight,  Joseph  Philip.  Composer;  born  Bradford-on- 
Avon,  Eng.,  Jul.  26,  1812;  died  Great  Yarmouth,  Eng., 
Jun.  1,  1887.  Composed  songs  (Rocked  in  the  Cradle  of 
the  Deep,  etc.). 

Knorr,  Ivan.  Composer;  borne  Mewe,  Ger.,  Jan.  3,  1843; 
died  1916.  Composed  chamber  music,  an  opera,  etc. 

Kobbe  (Kob-bay),  Gustav.  Writer,  critic;  born  New  York. 
Mar.  4,  1857;  died  New  York,  Jul.  27,  1918.  Writer  on 
Wagner's  works,  and  various  other  subjects. 

Koch,  Friedrich  E.  Composer;  born  Berlin,  Jul.  3,  1862. 
Composed  two  symphonies,  other  orchestral  works,  an  ora- 
torio, two  operas,  etc.  Lives  Berlin. 

Kochetov  (Kok-e-toff),  Nicolai.  Composer,  critic;  born 
Oranienbaum,  Rus.,  Jul.  8,  1864.  Composed  an  opera,  a 
symphony,  etc. 

Kocian,  Jaroslav.  Violinist;  born  Wildenschwert,  Boh., 
Feb.  22,  1884.  Pupil  of  Sevcik  at  Prague,  Boh. 

Koczalski  (Kot-chall-skcc),  Raoul.  Pianist,  composer; 
born  Warsaw,  Pol.,  Jan.  3,  1885.  Composed  operas,  etc. 


KOEHLER 


631 


KRUG-WALDSEE 


Koehler  (Kay-ler).  (1)  Moritz.  Conductor,  composer; 
born  Altenburg,  Ger.,  Nov.  29,  1855.  Imperial  Opera, 
Petrograd,  for  a  number  of  years.  Composed  orches- 
tral and  chamber  works.  (2)  Wilhelm.  Teacher,  com- 
poser; born  Wumbach,  Ger.,  May  22,  1858.  Composes 
masses,  motets,  etc.  Lives  Hamburg,  Ger  (3)  Louis. 
Teacher,  composer;  born  Brunswick,  Ger.,  Sept.  5,  1820; 
died  Konigsberg,  Ger.,  Feb.  16,  1886.  Best  known  by  his 
works  for  instruction  in  piano  playing. 

Koelling  (Kei-ling),  Carl  W.  P.  Composer;  born  Ham- 
burg, Ger.,  Feb.  28,  1831  ;  died  Chicago,  May  3,  1914.  Com- 
posed an  opera,  piano  pieces,  etc. 

Koenen  (Kay-ncn),  Franz.  Composer;  born  Reinbach, 
Ger.,  Apr.  30,  1829 ;  died  Cologne,  Ger.,  Jul.  6,  1887.  Church 
composer.  A  priest. 

Koennemann,  Arthur.  Composer ;  born  Baden-Baden,  Ger., 
Mar.  12,  1861.  Opera  and  orchestral  composer.  Lives 
Mahrisch-Ostrau,  Aus. 

Koessler,  Hans.  Conductor,  composer;  born  Waldeck, 
Ger.,  Jan.  1,  1853.  Composed  symphonic  and  other  orches- 
tral works,  chamber  music,  choral  works,  etc.  Lives  Buda- 
Pesth,  Hun. 

Kolatchevski  (Koh-laht-chcff-skcc),  Michael.  Composer; 
born  Oct.  2,  1851.  Russian  orchestral  composer. 

Konius,  George.  Composer,  teacher;  born  Moscow,  Rus., 
Sept.  30,  1862.  Orchestral  and  ballet  composer.  Lives 
Moscow. 

Kontski,  Antoine  de.  Pianist,  composer;  born  Cracow, 
Aus.,  Oct.  27,  1817;  died  Ivanitshi,  Rus.,  Dec.  7,  1899. 

Kopecky,  Ottokar.  Violinist;  born  Chotebor,  Boh.,  Apr. 
29,  1850.  Lives  Hamburg,  Ger. 

Koptiaiev  (Kop-tya-yeff),  Alexander.  Composer,  author; 
born  Petrograd,  Oct.  12,  1868.  Composed  for  orchestra 
and  piano ;  author  of  critical  and  biographical  works.  Lives 
Petrograd. 

Kopylov  (Kop-ee-loff),  Alexander.  Composer;  born  Pet- 
rograd, Jul.  14,  1854.  Composed  orchestral  and  chamber 
music. 

Korbay  (Kor-bye) ,  Francis.  Tenor,  composer;  born  Pesth, 
Hun.,  May  8,  1846;  died  London,  Mar.  9,  1913.  Song  and 
orchestral  composer. 

Korestchenko,  Arseni.  Composer;  born  Moscow,  Rus., 
Dec.  18,  1870.  Opera  and  orchestral  composer. 

Korngold,  Erich  Wolfgang.  Composer;  born  Briinn,  Aus., 
May  29,  1897.  Boy  prodigy  as  composer;  works  include 
a  piano  trio,  piano  solos,  the  pantomime  The  Snowman, 
two  piano  sonatas,  and  a  Symphonietta.  His  style  mature 
and  modern.  Lives  Vienna. 

Koschat  (Kosh-at),  Thomas.  Bass,  composer;  born  Vik- 
tring,  Aus.,  Aug.  8,  1845 ;  died  Vienna,  May  19,  1914.  Com- 
posed Corinthian  folk-songs. 

Koss,  Henning  von.  Composer;  born  Lautow,  Ger.,  Dec. 
13,  1855.  Song  composer  and  music  critic  in  Berlin.. 

Kotek,  Joseph.  Violinist,  composer ;  born  Kamenez-Podolsk, 
Rus.,  Oct.  25,  1855 ;  died  Davos,  Swit.,  Jan.  4,  1885.  Com- 
posed for  violin. 

Kotzschmar  (Kotsh-mar),  Hermann.  Organist,  teacher; 
born  Finsterwalde.  Ger.,  Jul.  4,  1829;  died  Portland,  Me., 
Apr.  15,  1908. 

Kotzwara  (Kols-vah-ra),  F.  Violinist;  born  Prague,  Boh., 
1750;  died  London,  Sept.  2.  1791.  Composed  The  Battle 
of  Prague,  a  descriptive  piece. 


Kovafovic  (Ko-var-sho-vic) ,  Karl.  Composer;  born  Prague, 
Boh.,  Dec.  9,  1862.  Successful  opera  composer.  Lives 
Prague. 

Kozeluch  (Kohz-e-lookh),  Johann  Anton.  Composer;  born 
Wellwarn,  Boh.,  Dec.  13,  1738;  died  Prague,  Boh.,  Feb.  3, 
1814.  Wrote  operas,  oratorios,  and  masses.  (2)  Leopold. 
Composer;  born  Wellwarn,  Boh.,  1752;  died  Vienna,  Msy 
7,  1818.  Wrote  operas  and  instrumental  pieces. 

Kramm,  Georg.  Composer;  born  Cassel,  Ger.,  Dec.  21, 
1856 ;  died  Diisseldorf,  Ger.,  Oct.,  1910.  Composed  operas 
and  symphonies. 

Krebs.  (1)  Johann  Ludwig.  Organist,  composer;  born 
Buttelstadt,  Ger.,  Feb.  10,  1713;  died  Altenburg,  Ger., 
Jan.,  1780.  (2)  Marie.  Pianist;  born  Dresden,  Ger., 
Dec.  5,  1861;  died  there,  Jun.  27,  1900.  Made  concert 
tours  in  England,  Germany,  and  America.  (3)  Karl 
August.  Pianist,  conducotr;  born  Nuremburg,  Ger.,  Jan. 
16,  1804;  died  Dresden,  Ger.,  May  16,  1880.  Distin- 
guished conductor. 

Krehbiel,  Henry  Edward.  Auth'or,  critic;  born  Ann  Ar- 
bor, Mich.,  Mar.  10,  1854.  Published  How  to  Listen  to 
Music,  etc.  Has  finished  Thayer's  Beethoven.  Music 
editor  New  York  Tribune. 

Krehl  (Krayl),  Stephan.  Composer,  author;  born  Leipzig, 
Ger.,  May  7,  1864.  Composed  chamber  music.  Lives  Leipzig. 

Kreisler,  Fritz.  Violinist;  born  Vienna,  Feb.  2,  1875. 
Distinguished  virtuoso.  Lives  New  York. 

Kretschmer,  Edmund.  Composer;  born  Ostritz,  Ger.,  Aug. 
31,  1830;  died  Dresden,  Ger.,  Sept.  13,  1908.  Composed 
orchestral  and  vocal  works,  but  best  known  by  his  operas 
(Die  Folkunger,  Henry  the  Lion,  etc.). 

Kreutzer  (Kroy-tser).  (1)  Konradin.  Composer;  born 
Messkirch,  Ger.,  Nov.  22,  1780;  died  Riga,  Rus.,  Dec.  14, 
1849.  Wrote  many  operas,  songs,  etc.  His  opera,  Das 
Nachtlager  von  Granada,  still  survives  in  Germany.  (2) 
Rodolphe.  Violinist,  composer;  born  Versailles,  France, 
Nov.  16,  1766;  died  Geneva,  Switz.,  Jan.  6,  1831.  Pro- 
fessor at  the  Paris  Conservatory.  Court  violinist  to 
Napoleon  and  to  Louis  XVIII.  Beethoven  dedicated  the 
Kreutzer  sonata,  Op.  47,  to  him.  He  wrote  operas,  violin 
concertos,  duets,  and  other  works.  His  Forty-two  Etudes 
or  Caprices  are  the  familiar  companion  of  every  violinist. 

Kroeger  (Kray-ghcr),  Ernest  Richard.  Pianist,  composer; 
born  St.  Louis,  Mo.,  Aug.  10,  1862.  Composed  a  sym- 
phony, the  symphonic  poem  Sardanapalus,  the  Hiawatha 
Overture  (Indian  themes),  the  Thanatopsis  Overture,  cham- 
ber music,  Ten  American  Sketches,  etc.  Lives  St.  Louis. 

Krohn,  Ilmari.  Organist,  composer,  writer;  born  Hel- 
singfors,  Fin.,  Nov.  8,  1867.  Composed  songs,  etc.  Hel- 
singfors  University. 

Kroyer,  Theodor.  Composer,  writer;  born  Munich,  Ger., 
Sept.  9,  1873.  Composed  orchestral  works,  etc.  Univer- 
sity, Munich,  Ger. 

Krug  (Kroog),  Arnold.  Composer;  born  Hamburg,  Ger., 
Oct.  16.  1849;  died  there,  Aug.  4,  1904.  Composed  sym- 
phonies, arranged  opera  melodies  for  piano,  etc. 

Krug-Waldsee  (Kroog-y alt-say) ,  Josef.  Conductor,  com- 
poser ;  born  Waldsee,  Ger.,  Nov.  8,  1858.  Composed  a 
symphony,  a  suite,  operas,  choral  works,  etc.  Lives  Madge- 
burg,  Ger. 


KRUIS 


632 


LAMOND 


Kruis,  M.  H.  van  t'.  Organist,  composer;  born  Oude- 
water.  Hoi.,  Mar.  8,  1861.  Composed  overtures,  symphonies, 
and  the  Dutch  opera  De  Bloem  van  Island.  Lives  Rot- 
terdam, Hoi. 

Krumpholz.  (1)  Johann  Baptist.  Harpist;  born  near 
Prague,  Boh.,  1745;  died  Paris,  Feb.  19,  1790.  Cele- 
brated virtuoso  and  composer  for  harp.  (2)  Wenzel. 
Violinist;  born  1750;  died  Vienna,  May  2,  1817.  Friend 
of  Beethoven. 

Kubelik,  Jan.  Violinist;  born  near  Prague,  Boh.,  Jul.  5, 
1880.  Pupil  of  Sevcik.  Distinguished  virtuoso.  Lives 
Kohn,  Boh. 

Kucken  (Kick-en),  Friedrich  Wilhelm.  Composer;  born 
Bleckede,  Ger.,  Nov.  16,  1810;  died  Schwerin,  Ger.,  Apr. 
3,  1882.  Wrote  operas  and  many  popular  songs. 

Kuczynski  (Koot-chin-skee) ,  Paul.  Composer;  born  Ber- 
lin, Nov.  10,  1846;  died  there,  Oct.  21,  1879.  Composed 
vocal  works.  A  banker. 

Kufferath  (Koof-e-raht),  Hubert  Ferdinand.  Pianist,  com- 
poser; born  Miihlheim,  Ger.,  Jun.  11,  1818;  died  Brussels, 
Bel.,  Jun.  23,  1896. 

Kuhe  (Koo-eh),  Wilhelm.  Pianist,  arranger;  born  Prague, 
Boh.,  Dec.  10,  1823;  died  London,  Oct.  8,  1912. 

Kuhlau,  Friedrich.  Composer;  born  Uelzen,  Ger.,  Sept.  11, 
1786;  died  Copenhagen,  Den.,  Mar.  12,  1832.  Survives  as 
a  writer  of  educational  music  for  the  piano. 

Kuhnau,  Johann.  Organist,  composer;  born  Geising,  Boh., 
1660;  died  Leipzig,  Ger.,  Jun.  5,  1722.  One  of  the  earliest 
German  sonata  composers. 


Kiihner  (Kcc-ncr).  (1)  Vassili.  Composer;  born  Stuttgart, 
Ger.,  Apr.  1,  1840;  died  Vilna,  Lithuania,  Aug.,  1911.  Com- 
posed operas,  symphonies,  and  chamber  music.  (2)  Conrad. 
Teacher,  composer;  born  Markt-Streufdorf,  Ger.,  Mar.  2, 
1851.  Composed  piano  works,  etc.,  but  best  known  as  editor 
of  music.  Lives  Brunswick,  Ger. 

Kulenkampff  (Koo-lcn-kainf),  Gustav.  Composer;  born 
Bremen,  Ger.,  Aug.  11,  1849.  Composer  Der  I'age,  and 
other  operas.  Lives  Berlin. 

Kullak  (Kool-lak).  (1)  Theodor.  Pianist,  composer,  teacher ; 
born  Krotoschin,  Ger.,  Sept.  12,  1818;  died  Berlin,  Mar.  1, 
1882.  He  was  intended  for  the  legal  profession,  but  de- 
voted himself  to  music.  Was  instrumental  in  founding 
two  conservatories  in  Berlin.  In  1861  he  received  the  title 
of  Royal  Professor.  Wrote  many  piano  compositions  of 
an  elegant,  drawing-room  kind.  (2)  Franz.  Pianist, 
teacher;  born  Berlin,  Apr.  12,  1844;  died  Dec.  9,  1913.  Son 
of  (1). 

Kummer  (Koom-mer},  Franz  August.  'Cellist,  composer; 
born  Meiningen,  Ger.,  Aug.  5,  1797 ;  died  Dresden,  Ger., 
May  22,  1879.  .Distinguished  artist. 

Kurth  (Koort),  Otto.  Composer;  born  Triebel,  Ger.,  Nov. 
11,  1846.  Composed  operas,  cantatas,  symphonies,  etc.  Lives 
Liineburg,  Ger. 

Kussewitzki  (Koos-sch-vit-skee),  Sergei.  Contrabass  player, 
conductor;  born  Vyshny  Volotchk,  Rus.,  Jun.  30,  1874. 
Lives  Berlin. 


Labarre  (Lah-bar) .  Theodore.  Harpist,  composer;  born 
Paris,  Mar.  5,  1805;  died  there,  Mar.  9,  1870. 

Labitzky  (La-bit-shki),  Josef.  Composer,  violinist;  born 
Schonfeld,  Boh.,  Jul.  4,  1802;  died  Carlsbad,  Ger.,  Aug. 
18,  1881.  Wrote  a  great  deal  of  highly  artis  ic  dance 
music,  somewhat  in  the  fashion  of  Strauss  and  Lanner. 

Lablache  (La-blash) ,  Luigi.  Bass;  born  Naples,  Italy, 
Dec.  6,  1794;  died  there,  Jan.  23,  1858.  Achieved  a  world- 
wide reputation  as  an  operatic  artist,  both  for  his  acting 
and  singing,  in  serious  and  buffo  parts. 

Lachner  (Lakh-ner).  (1)  Franz.  Composer;  born  Rain, 
Ger.,  Apr.  2,  1803;  died  Munich,  Ger.,  Jan.  20,  1890. 
Wrote  much  in  all  styles  of  musical  composition..  Best 
in  his  orchestral  suites,  showing  great  contrapuntal  skill, 
and  in  his  songs.  (2)  Ignaz.  Composer,  organist,  con- 
ductor; born  Rain,  Ger.,  Sept.  11,  1807;  died  Hanover, 
Ger.,  Feb.  24,  1895.  Brother  of  (1).  (3)  Vincenz.  Com- 
poser, conductor;  born  Rain,  Ger.,  Jul.  19,  1811  ;  died  Carls- 
ruhe,  Ger.,  Jan.  22,  1893.  Brother  of  (1). 

Lack  (Lahk),  Theodore.  Pianist,  composer;  born  Quimper, 
France,  Sept.  13,  1846.  Composed  graceful  piano  pieces. 
Lives  Paris. 

Lacombe  (Lah-com).  (1)  Louis.  Composer;  born  Bourges, 
France,  Nov.  26,  1818;  died  St.  Vaast-la-Hougue,  France, 
Sept.  30,  1884.  Composed  symphonies,  chamber  music, 
operas,  etc.  (2)  Paul.  Composer;  born  Carcassonne, 
France,  Jul.  11,  1837.  Composed  orchestral  and  cham- 
ber works. 

Ladmirault  (Lad-mee-row),  Paul.  Composer;  born  Nantes, 
France,  Dec.  8,  1877.  Composed  orchestral,  choral  works, 
songs,  piano  pieces,  etc. 


La  Forge,  Frank.  Pianist,  composer;  born  Rockford,  111., 
1877.  Composed  successful  songs.  Lives  New  York. 

Lahee.  (1)  Henry.  Organist,  composer;  born  Chelsea, 
Eng.,  Apr.  11,  1826;  died  London,  Apr.  29,  1912.  Composed 
cantatas,  etc.  (2)  Henry  Charles.  Writer;  born  London, 
Jul.  2,  1856.  Author  of  biographical  and  critical  works. 
Lives  Boston. 

Lalo  (Lah-lo),  Edouard  Victor  Antoine.  Composer;  born 
Lille,  France,  Jan.  27,  1823 ;  died  Paris,  Apr.  22,  1892.  Wrote 
operas  Namouna,  Fiesque,  Le  roi  d'Ys,  suites,  and  two 
concertos,  one  of  them  the  remarkable  Symphonic  espagnole. 

Laloy  (Lah-lwah),  Louis.  Writer;  born  Grey,  Haute- 
Saone,  France,  1874.  Prominent  critic  in  Paris. 

Lambert  (Lahm-bair) .  (1)  Lucien.  Pianist,  composer; 
born  Paris,  1861.  Opera  composer.  .(2)  Marius.  Com- 
poser; born  France.  Composed  comic  operas  and  op- 
erettas. (3)  Alexander  (Lam-bert),  Pianist,  teacher; 
born  Warsaw,  Pol.,  Nov.  1,  1862.  Lives  New  York. 

Lambeth,  Henry  Albert.  Organist,  conductor;  born  near 
Gosport,  Eng.,  Jan.  16,  1822;  died  Glasgow,  Scot.,  Jun.  27, 
1895.  Well  known  as  director  of  the  celebrated  Lambeth's 
Choir. 

Lambillote  (Lam-bce-yot) ,  Louis.  Writer,  composer;  born 
Charleroi,  France,  Mar.  27,  1797;  died  Vaugirard,  France, 
Feb.  27,  1855.  Composed  church  music. 

Lambrino,  Telemaque.     Pianist;  born  Odessa,   Rus.,  Oct. 

27,  1878.    Pupil  of  Carreno.    Lives  Leipzig,  Ger. 

Lamond,   Frederic   A.     Pianist ;    born   Glasgow,    Scot.,   Jan. 

28,  1868.     Distinguished   concert  artist. 


LAMOUREUX 


633 


LEMMENS 


Lamoureux  (Lah-moo-ray) ,  Charles.  Conductor;  born 
Bordeaux,  France,  Sept.  21,  1834;  died  Paris,  Dec.  21, 
1899.  Conducted  his  own  orchestra  in  Paris. 

Lampe  (Lahm-pch),  Walther.  Composer;  born  Leipzig, 
Ger.,  Apr.  28,  1872.  Orchestral  and  chamber  music  com- 
poser. Lives  Weimar. 

Lamperti  (Lain-pair-tee),  Francesco.  Teacher  of  singing; 
born  Savona,  Italy,  Mar.  11,  1813;  died  Como,  Italy, 
May  1,  1892. 

Lang.  (1)  Benjamin  J.  Pianist,  teacher;  born  Salem, 
Mass.,  'Dec.  28,  1837;  died  Boston,  Apr.  3,  1909.  (2) 
Margaret  Ruthven.  Composer;  born  Boston,  Nov.  27, 
1867.  Daughter  of  (1).  Composed  overtures,  arias  with 
orchestra,  and  successful  songs  and  piano  pieces.  Lives 
Boston. 

Lange  (Lang-eh),  Gustav.  Composer;  born  Schwerstedt, 
Ger.,  Aug.  13,  1830;  died  Wernigerode,  Ger.,  Sept.  19,  1889. 
Composed  light  piano  pieces. 

Lange-Miiller  (Lang-eh-Mil-ler) ,  Peter  Erasmus.  Com- 
poser; born  Frederiksberg,  Den.,  Dec.  1,  1850.  Composed 
operas,  a  symphony,  etc.  Lives  Copenhagen,  Den. 

Langert  (Lahng-airt) ,  Johann.  Conductor,  composer;  born. 
Coburg,  Ger.,  Nov.  26,  1836.  Opera  composer  (Dornroschen, 
etc.).  Lives  Coburg,  Ger. 

Langhans,  Wilhelm.  Writer;  born  Hamburg,  Ger.,  Septs 
21,  1832;  died  Berlin,  Jun.  9,  1892. 

Lanner,  Josef  F.  K.     Composer;  born  near  Vienna,  Apr. 

12,  1801;  died  Vienna,  Apr.  14,  1843. 

Laparra,  Raoul.     Composer;  born  Bordeaux,  France,  May 

13,  1876.      French   opera    composer    (La   Habanera,   etc.). 
Lives  New  York. 

Lara,  Isidore  de.  Composer;  born.  London,  Aug.  9,  1858. 
Composed  operas  (Mcssalina,  etc.).  Lives  Paris. 

Laska,  Gustav.  Contrabass  player,  composer;  born  Prague, 
Boh.,  Aug.  23,  1847.  Composed  symphonies,  overtures,  a 
concerto,  an  opera,  masses,  and  many  smaller  works.  Lives 
Schwerin,  Ger. 

Lassalle  (Lah-sal),  Jean  Louis.  Bass;  born  Lyons,  France, 
Dec.  14,  1847;  died  Paris,  Sept.  7,  1910.  Distinguished 
opera  singer. 

Lassen  (Lahs-sen),  Eduard.  Composer,  conductor;  born 
Copenhagen,  Den.,  Apr.  13,  1830;  died  Weimar,  Ger.,  Jan. 
15,  1904.. 

Lasso,  Orlando  di  (Orlandus  Lassus).  Composer;  born 
Mons,  Bel.,  1532  (1530?)  ;  died  Munich,  G.er.,  Jun.  14,  1594. 
A  contrapuntal  leader;  best  of  the  Netherfand  composers. 

La  Tombelle  (Lah  Tom-bel),  Fernand.  Composer;  born 
Paris,  Aug.  3,  1854.  Composed  orchestral  suites,  etc. 
Schola  Cantorum,  Paris. 

Lauber  (Lou-ber),  Joseph.  Pianist;  born  Ruswil,  Switz., 
Dec.  25,  1860.  Composed  symphonies,  symphonic  poems, 
cantatas,  and  smaller  vocal  works.  Geneva  Conservatory. 

Lavallee  (Lah-vah-lch) ,  Calixa.  Pianist,  composer;  born 
Vercheres,  Can.,  Dec.  28,  1842;  died  Boston,  Jan.  21,  1891. 
Composed  brilliant  piano  pieces. 

Lavignac  (Lah-veen-yak) ,  Albert.  Writer;  born  Paris, 
Jan.  22,  1846;  died  there,  May  29,  1916.  Teacher  at  Con- 
servatory. 


Lavigne  (Lah-veen) .  Antoine  Joseph.  Oboist ;  born  Besanc.on, 
France,  Apr.  23,  1816;  died  Manchester,  Eng.,  Aug.  1,  1886. 
An  oboe  virtuoso  of  unusual  powers. 

Lazarus,  Kenry.  Clarinetist;  born  London,  1815;  died 
there,  1895.  Distinguished  virtuoso. 

Lazzari  (Lat-sahr-ree),  Silvio.  Composer;  born  Bo^era, 
Aus.,  1860.  Composed  symphonic  poems,  operas,  etc. 
Lives  Paris. 

Lebert  (Lay-bairt),  Siegmund.  Pianist,  teacher;  born  Lud- 
wigsburg,  Ger.,  Dec.  12,  1822;  died  Stuttgart,  Ger.,  Dec.  8, 
1884.  Joint  author  of  Lebert  and  Stark  Method. 

Leborne  (Luh-born),  Fernand.  Composer;  born  Paris, 
Mar.  10,  1862.  Opera  and  orchestral  composer  (Les  Gir- 
ondins,  etc.).  Lives  Paris. 

Lebrun  (Luh-breen),  Paul.  Composer;  born  Ghent  Bel., 
Apr.  21,  1861.  Composed  an  opera,  a  prize  symphony,  etc. 
Lives  Ghent. 

Le  Carpentier  (Le  Car-pong-tee-eh),  Adolphe-Clair.  Com- 
poser, pianist;  born  Paris,  Feb.  17,  1809;  died  there,  Jul.  14, 
1869.  Composed  technical  works  for  piano  and  fantasias 
on  operatic  airs. 

Leclair,  Jean  Marie.  Violinist;  born  Paris,  May  10,  1697; 
died  there,  Oct.  22,  1764.  Sometimes  called  the  "French 
Tartini." 

Lecocq  (Le-kok),  Alexandre  Charles.  Composer;  born 
Psris,  Jun.  3,  1832;  died  Clifton,  Guernsey,  Feb.  15,  1911. 
Comic  opera  composer. 

Lecouppey  (Le-coop-pay) ,  Felix.  Pianist;  born  Paris,  Apr. 
4,  1811;  died  there,  Jul.  5,  1887.  Best  known  for  etudes. 

Le  Due,  Alphonse.  Flutist,  pianist ;  born  1804 ;  died  Paris, 
1868.  Wrote  useful  piano  etudes. 

Lefebure-Wely  (Le-fah-byoor-Va-lee),  Louis  James  Al- 
fred. Organist,  composer;  born  Paris,  Nov.  13,  1817; 
died  there,  Dec.  31,  1869.  Famous  for  his  improvisation  on 
the  organ. 

Lefebvre  (Luh-fay-vr),  Charles  Edouard.  Composer;  born 
Paris,  Jun.  19,  1843.  Composed  operas,  cantatas,  etc.  Paris 
Conservatory. 

Lehmann  (Lay-man).  (1)  George.  Violinist;  born  New 
York,  Jul.  31,  1865.  Writer  on  the  violin,  etc.  Lives 
New  York.  (2)  Lilli.  Soprano;  born  Wiirzburg,  Ger., 
Nov.  24,  1848.  Famous  opera  singer,  particularly  Wag- 
ner operas.  Lives  Berlin..  (3)  Liza.  Soprano,  com- 
poser ;  born  London,  Jul.  11,  1862.  Best  known  for  song 
cycle  In  a  Persian  Garden.  Lives  London. 

Leichtentritt,  Hugo.  Writer;  born  Pleschen,  Ger.,  Jan.  1, 
1874.  Lives  Berlin. 

Lekeu  (Luh-kay),  Guillaume.  Composer;  born  Neusy, 
Bel.,  Jan.  20,  1870;  died  Angers,  Bel.,  Jan.  21,  1894.  Com- 
posed orchestral  suites,  the  lyric  poem  Andromeda,  Angevin 
Fantaisies,  a  violin  sonata,  etc.,  in  the  Franck  school. 

Lemaire,  Jean  Eugene  Gaston.  Composer;  born  France, 
Sept.  9,  1854.  Orchestral  and  ballet  composer. 

Le  aare  (Le-mahr),  Edwin  Henry.  Organist,  composer; 
born  Ventnor,  Eng.,  Sept.  9,  1865.  City  organist,  San 
Francisco,  Cal. 

Lemmens,  Nicholas  Jacques.  Organist,  composer;  born 
Zoerle-Parwys,  Bel.,  Jan.  3,  1823;  died  near  Malines,  Bel., 
Jan.  30,  1881. 


LEMOINE 


634 


LISCHIN 


Lemoine,  Henri.  Pianist,  teacher;  born  Paris,  Oct.  21, 
1786;  died  there,  May  18,  1854.  Composed  excellent 
etudes. 

Lenaerts  (Le-narts),  Constant.  Composer,  conductor;  born 
Antwerp,  Bel.,  Mar.  9,  1852.  Antwerp  Conservatory.  Com- 
posed cantatas,  etc. 

Lendvai  (Lend-vye) ,  Erwin.  Composer;  born  Buda-Pesth, 
Hun.,  Jun.  4,  1882.  Composed  a  symphony,  a  festival 
march,  etc.  Hoch  Conservatory,  Frankfort,  Ger. 

Lenepveu  (Le-nep-vay),  Charles  Ferdinand.  Composer; 
born  Rouen,  France,  Oct  4,  1840;  died  1910.  Composed 
operas  (Velleda,  etc.). 

Leo  (Lay-o),  Leonardo.  Composer;  born  near  Naples, 
Italy,  1694;  died  Naples,  Oct.  31,  1744. 

Leoncavallo  (Lay-on-ka-val-lo) ,  Ruggiero.  Composer;  born 
Naples,  Italy,  Mar.  8,  1858.  His  first  opera,  Tommaso 
Chatterton,  after  failing,  was  revived  with  great  success. 
He  produced  a  great  trilogy,  Crepusculuin,  a  historic  play 
dealing  with  the  Italian  Renaissance.  In  this  task  he  was 
encouraged  by  Wagner,  of  whom  he  was  a  devoted  admirer. 
His  widest  reputation  rests  on  the  two-act  opera  /  Pagliacci, 
produced  in  1892.  His  other  works  include  La  Boheme, 
La  Tosca,  Trilby,  Zaaa,  etc. 

Leroux  (Le-roo),  Xavier.  Composer;  born  Velletri,  Italy, 
Oct.  11,  1863.  Composed  orchestral  works  (overture  Harold, 
etc.),  but  best  known  by  his  operas,  such  as  La  Reine  Fiam- 
mette,  Le  Chemineau.  etc.  Lives  Paris. 

Leschen  (Les-shen),  Christoph  Friedrich.  Composer;  born 
Vienna,  1816;  died  there,  May  4,  1899.  Composed  operas, 
symphonies,  songs. 

Leschetizky  (Lch-she-tit-ski),  Theodor.  Pianist,  composer, 
teacher;  born  Lancut,  Aus.,  Jun.  22,  1830;  died  Dresden, 
Ger.,  Nov.  17,  1915.  Perhaps  the  most  celebrated  piano- 
forte teacher  of  his  time. 

Leslie,  Henry  D.  Conductor;  born  London,  Jun.  18,  1822; 
died  Llansaintfraid,  Wales,  Feb.  4,  1896. 

Lesueur  (Le-swear),  Jean  Francois.  Composer;  born 
Drucat-Plessiel,  France,  Feb.  15,  1760;  died  Paris,  Oct.  6, 
1837.  Taught  at  the  Paris  Conservatory,  composed  operas, 
masses,  oratorios,  etc. 

Leva  (Lay-vah),  Enrico  di.  Pianist,  composer;  born  Na- 
ples, Italy,  Jan.  19,  1867.  Song  and  opera  composer. 

Levi  (Lay-vee),  Hermann.  Conductor;  born  Giessen,  Ger., 
Nov.  7,  1839;  died  Munich,  Ger.,  May  13,  1900.  Friend  of 
Wagner. 

Levy  (Lay-vee),  Alexandre.  Composer;  born  San  Paulo, 
Brazil,  Nov.  10,  1864;  died  there,  Jan.  17,  1892.  Composed 
for  piano  and  chamber  music. 

Leybach  (It-bakh),  Ignace.  Composer,  pianist,  born  Gambs- 
heim,  Alsace,  Jul.  17,  1817;  died  Toulouse,  France,  May 
23,  1891.  Composed  light  piano  music. 

Lhevinne  (Lay-vin),  Josef.  Pianist;  born  Moscow,  Dec. 
14,  1874.  Brilliant  concert  artist.  Lives  Berlin. 

Liadov  (Lya-doff),  Anatole.  Composer;- born  Petrograd, 
May  11,  1855;  died  near  Novgorod,  Rus.,  Aug.  28,  1914. 
Composed  piano  and  orchestral  works. 

Liapounov  (Lya-poo-noff) ,  Sergei.  Composer;  born  Jaro- 
slav,  Rus.,  Nov.  30.  1859.  Orchestral  and  piano  composer. 
Lives  Petrograd. 


Lichey  (Likh-eye),  Reinhold.  Organist,  composer;  born 
near  Liegnitz,  Ger.,  Mar.  26,  1879.  Brilliant  organ  virtuoso; 
composed  organ  pieces.  Lives  Konigsberg,  Ger. 

Lichtenberg  (Likh-tcn-bairg) ,  Leopold.  Violinist,  teacher; 
born  San  Francisco,  Cal.,  Nov.  22,  1861.  Lives  New  York. 

Lie  (Lcc),  Sigurd.  Composer;  born  Norway,  May  23, 
1871;  died  Christiana,  Nor.,  Sept.  30,  1904.  Wrote  for  or- 
chestra, piano,  and  voice. 

Liebling  (Leeb-ling).  (1)  Georg.  Pianist,  composer; 
born  Berlin,  Jan.  22,  1865.  Composed  for  orchestra, 
piano,  etc.  Lives  Munich,  Ger.  (2)  Emil.  Pianist, 
teacher;  born,  Pless,  Ger.,  Apr.  12,  1851;  died  Chicago, 
Jan.  20,  1914.  Eminent  teacher  in  Chicago  for  a  number 
of  years. 

Liliefors  (Lil-yeh-fors),  Ruben.  Conductor,  composer;  born 
Upsala,  Swed.,  Sept.  30,  1871.  Composed  pieces  for  piano, 
violin,  orchestra,  and  voice.  Lives  Gotenburg,  Swed. 

Limbert,  Frank  L.  Conductor,  teacher,  composer;  born 
New  York,  Nov.  15,  1866.  Composed  orchestral  and  cham- 
ber works,  etc.  Lives  Hanau,  Ger. 

Lind,  Jenny.  Soprano;  born  Stockholm,  Swed.,  Oct.  6, 
1820;  died  Malvern,  Eng.,  1887.  Made  many  tours,  every- 
where exciting  enthusiasm  by  her  operatic  impersonations, 
and  still  more  by  her  rendering  of  the  simplest  national 
melodies.  In  1852  she  married  Otto  Goldschmidt,  in  Boston. 

Lindblad,  Adolf.  Composer;  born  Lofvingsborg.  Swed.. 
Feb.  1,  1801;  died  there,  Aug.  23,  1878.  Composed  orches- 
tral and  vocal  works;  called  the  "Swedish  Schubert." 

Lindegren,  Johan.  Composer;  born  Ullared,  Swed.,  Jan.  7, 
1842 ;  died  Stockho'lm,  Swed.,  Jun.  8,  1908.  An  authority  on 
church  music. 

Linden,  Karl  van  der.  Composer;  born  Dordrecht,  Hoi., 
Aug.  24,  1839.  Composed  overtures,  cantatas.  Lives 
Dordrecht. 

Linder,  Gottfried.  Composer;  born  Ehringen,  Ger.,  Jun. 
22,  1842.  Composed  operas  and  chamber  music.  Lives 
Stuttgart,  Ger. 

Lindley.  (1)  Robert.  'Cellist;  born  Rotherham,  Eng., 
1776;  died  London,  1855.  (2)  William.  'Cellist;  born 
London,  1802;  died  Manchester,  En,g.,  Aug.  12,  J869. 
Son  of  (1). 

Lindner,  Eugen.  Composer;  born  Leipzig,  Ger.,  Dec.  11, 
1858.  Composed  operas  and  songs.  Lives  Leipzig. 

Lindpainter  (Lint-pint-ner) ,  Peter  Joseph  von.  Composer; 
born  Coblenz,  Ger.,  Dec.  9,  1791 ;  died  Lake  of  Constance, 
Aug.  21,  1856.  Wrote  operas,  symphonies,  church  music 
etc.  His  mo'st  widely  known  composition  is  the  celebrated 
song  The  Standard  Bearer. 

Liney.  (1)  George.  Composer;  born  Leeds,  Eng.,  1798; 
died  London,  Sept.  10,  1865.  Composed  operas,  and  songs. 
(2)  Thomas.  Composer;  born  Wells,  Eng.,  1732;  died 
London,  Nov.  19,  1795.  Composed  for  the  stage,  also 
many  songs.  (3)  William.  Composer;  born  London. 
1771 ;  died  there,  May  6,  1835.  Wrote  many  glees  and 
songs. 

Lipinski,  Karl  J.  Violinist;  born  Radzyn,  Pol.,  Oct.  30 
(Nov.  4),  1790;  died  near  Lemberg,  Aus.,  Dec.  16,  1861. 

Lischin  (Lish-in),  Gregory.  Composer;  born  1854;  died 
Petrograd,  Jun.  27,  1888.  Composed  operas  (Don  Cesar 
de  Bacan^. 


LISSENKO 


635 


LVOFF 


Lissenko,  Nicolai.  Composer;  born  Grinzkky,  S.  Rus., 
Mar.  22,  1842;  died  Kiev,  Rusl,  Nov.  11,  1912.  Composed 
operas,  cantatas,  choruses,  collected  Ukrainian  folk-songs. 

Listemann,  Bernhard.  Violinist,  teacher;  born  Schlotheim, 
Ger.,  Mar.  25,  1839;  died  Chicago,  Feb.  11,  1917.  Eminent 
teacher  in  Boston  and  Chicago. 

Liszt  (List),  Franz.  Pianist,  composer;  born  Raiding, 
Hun.,  Oct.  22,  1811;  died  Bayreuth,  Ger.,  Jul.  31,  1886.  At 
nine  years  possessed  considerable  skill  as  a  pianist.  Studied 
under  Czerny  and  Salieri  in  Vienna,  and  afterward  in  Paris. 
In  1848  he  went  to  Weimar  as  conductor  of  the  court  or- 
chestra, and  by  his  exertions  and  the  rare  fascination  of 
his  artistic  personality  quickly  made  Weimar  one  of  the  vital 
musical  centers  of  the  Continent.  Marvelous  as  a  pianist. 
Liszt  also  distinguished  himself  greatly  as  a  composer,  and 
a  considerable  body  of  music  in  all  styles  bears  his  name. 
He  was  also  an  author  of  much  merit,  and  made  important 
contributions  to  the  literature  of  music.  As  a  composer  he 
belonged  to  the  modern  Romantic  School,  although  a  man 
of  the  most  catholic  sympathies  in  art ;  and  his  music,  while 
unequal,  contains  many  flashes  of  inspiration,  and  happy 
uses  of  a  wonderfully  complete  technic. 

Litolff,  Henry  Charles.  Pianist,  composer;  born  London, 
Feb.  6,  1818;  died  near  Paris,  Aug.  6,  1891. 

Lloyd.  (1)  Charles  Harford.  Organist,  composer;  born 
Thornbury,  Eng.,  Oct.  16,  1849.  Composed  cantut-.'s 
and  songs.  Eton  College,  Eton,  Eng.  (2)  Edward. 
Tenor;  born  London,  Mar.  7,  184S.  Eminent  oratorio 
singer. 

Lobe  (Lo-beh),  Johann  Christian.  Theorist,  writer,  flutist; 
born  Weimar,  Ger.,  May  30,  1797;  died  Leipzig,  Ger.,  Jul. 
27,  1881.  Author  of  some  excellent  theoretical  treatises. 

Locatelli,  Pietro.  Violinist;  born  Bergamo,  Italy,  1693; 
died  Amsterdam,  Hoi.,  Apr.  1,  1764. 

Loeffler  (Lcf-lcr),  Charles  Martin.  Violinist,  composer; 
born  Miihlhausen,  Alsace,  Jan.  30,  1861.  Composed  (in 
Boston)  suite  for  violin  and  orchestra,  Divertimento,  for 
the  same,  a  'cello  concerto,  chamber  music,  and  the  or- 
chestral works  La  Mart  de  Tintagiles,  La  Bonne  Chanson, 
yillanelle  du  Diablc  and  A  Pagan  Poem.  Writes  in  very 
advanced  style.  Lives  Boston. 

Loeillet  (Loy-ay};  Jean  Baptiste.  Flutist;  born  Ghent, 
Bel,  after  1650;  died  London,  1728.  Composed  chamber 
and  harpsichord  works. 

Loew  (Lave},  Joseph.  Composer,  pianist;  born  Prague, 
Boh.,  Jan.  23,  1834;  died  there,  Oct.  5,  1886.  Composed 
light  piano  music  and  teaching  pieces. 

Logier  (La-jeer),  Johann  Bernhard.  Inventor;  born  Kas- 
sel,  Ger.,  Feb.  9,  1777;  died  Dublin,  Ire.,  Jul.  27,  1846. 

Logroscino  (Log-ro-shee-no),  Nicolo.  Composer;  born 
Naples,  Italy,  about  1700;  died  there,  1763.  A  pioneer  com- 
poser in  opera  buffa. 

Lolli,  Antonio.  Violinist,  composer;  born  Bergamo,  Italy, 
about  1730;  died  Palermo,  Italy,  1802. 

Loomis,  Harvey  Worthington.  Composer;  born  Brook- 
lyn, N.  Y.,  Feb.  5,  1865.  Composed  musical  pantomimes, 
incidental  music,  songs,  a  children's  cantata,  etc.  Lives 
New  York. 

Lorenz,  Karl  Adolf.  Organist,  composer;  born  Koslin, 
Ger.,  Aug.  13,  1837.  Oratorio  and  opera  composer.  Lives 
Stettin,  Ger. 


Lortzing,  Gustav  Albert.  Composer;  born  Berlin,  Oct. 
23,  1801;  died  there,  Jan.  21,  1851.  Wrote  a  number  of 
operas,  including  Die  bciden  Schiitzen  and  Czar  und  Zimr 
mermann,  all  very  melodious. 

Loschhorn  (Lcsh-horn),  Albert.  Pianist,  composer;  born 
Berlin,  Jun.  27,  1819;  died  there,  Jun.  4,  1905.  Best  known 
for  his  useful  piano  studies. 

Lotti,  Antonio.  Organist,  composer;  born  Venice  about 
1667;  died  there,  Jan.  5,  1740.  Composed  operas  and  songs. 
Famous  in  his  time. 

Lover,  Samuel.  Composer;  born  Dublin,  Ire.,  Feb.  24, 
1797;.  died  St.  Heliers,  Island  of  Jersey,  Jul.  6,  1868.  Wrote 
many  well-known  songs. 

Lowe  (Lay-veh),  Johann  Karl  Gottfried.  Organist,  com- 
poser; born  near  Halle,  Ger.,  Nov.  11,  1796;  died  Kiel,  Ger., 
Apr.  20,  1869.  Wrote  oratorios,  operas,  part-songs,  cham- 
ber music,  and,  more  important  than  all,  great  ballads 
which  have  made  his  name  famous. 

Lucas,  Clarence.  Composer,  author;  born  Niagara,  Can., 
Oct.  19,  1866.  Composed  for  stage,  orchestra,  voice.  Lives 
London. 

Lucca  (Look-kah),  Pauline.  Soprano:  born  Vienna,  Apr. 
25,  1841 ;  died  Paris,  Feb.  28,  1908.  Made  a  great  reputa- 
tion in  opera. 

Lugert,  Josef.  Violinist,  teacher,  composer;  born  Frohnau, 
Boh.,  Oct.  30,  1841.  Composed  a  symphony,  chamber  works, 
etc.  Lives  Prague,  Boh. 

Lulli  (Lool-lce),  Jean  Baptiste.  Composer;  born  Florence, 
Italy,  1633 ;  died  Paris,  Mar.  22,  1687.  Brought  to  France 
as  a  boy.  From  being  a  scullion,  rose  to  be  chief  musician 
of  Louis  XIV.  In  1671  appointed  director  of  the  Grand 
Opera  at  Paris.  He  is  regarded  as  the  founder  of  the 
French  opera. 

Lumbye  (Loom-bee),  Hans  C.  Composer;  born  Copen- 
hagen, Den.,  May  2,  1810;  died  there,  Mar.  20,  1874. 

Lunn,  Louisa  Kirkby.  Contralto;  born  Manchester,  Eng., 
Nov.  8,  1873.  Royal  Opera,  London. 

Lussan  (Lis-sang),  Zelie  de.  Soprano;  born  New  York, 
1863.  Opera  and  concert  singer.  Retired  1907. 

Luther,  Martin.  Composer;  born  Eisleben,  Ger.,  Nov.  10, 
1483;  died  there,  Feb.  18,  1546. 

Lutkin,  Peter  Christian.  Organist,  composer,  conductor: 
born  Thompsonville,  Wis.,  Mar.  27,  1858.  Composed  church 
music.  Northwestern  University,  Evanston,  111. 

Lutz,  Wilhelm  Meyer.  Composer;  born  Mannerstadt,  Ger., 
1822;  died  London,  Jan.  31,  1903.  Well  known  as  a  com- 
poser of  comic  opera. 

Lux  (Looks),  Friedrich.  Organist,  composer;  born  Ruhla, 
Ger.,  Nov.  24,  1820;  died  Mainz,  Ger.,  Jul.  9,  1895. 

Luzzi  (Loot-si),  Luigi.  Composer;  born  Olevano  di  Lo- 
mellina,  Italy,  Mar.  28,  1828;  died  Stradella,  Italy,  Feb.  23, 
1876.  Composed  operas,  a  symphony,  songs,  etc. 

Lvoff,  Alexis.  Composer;  born  Reval,  Rus.,  Jun.  6,  1799: 
died  near  Kovno,  Rus.,  Jan.  7,  1871.  Composed  operas  and 
violin  works,  but  best  known  as  composer  of  the  Russian 
National  Hymn. 


LYNE 


636 


MALZEL 


Lyne,  Felice.  Soprano;  born  Kansas  City,  Mo.,  1891. 
Remarkable  coloratura  soprano.  Chicago  Opera  Co. 

Lynes,  Frank.  Organist,  composer;  born  Cambridge, 
Mass.,  May  16,  1858;  died  Bristol,  N.  H.,  Jim.  24, 
1913. 


Lyon,  James.  Early  American  hymn  composer,  publish- 
ing Urania,  etc.,  from  1761  on. 

Lysberg  (really  Bovy),  Charles  Samuel.  Composer;  born 
Lysberg,  Switz.,  Mar.  1,  1821;  died  Geneva,  Switz.,  Feb. 
15,  1873.  Composed  popular  piano  pieces. 


M 


Maas  (Mahs).  (1)  Joseph.  Tenor;  born  Dartford,  Eng., 
Jan.  30,  1847;  died  London,  Jan.  16,  1886.  (2)  Louis 
Philipp  Otto.  Pianist,  teacher;  born  Wiesbaden,  Ger., 
Jun.  21,  1852;  died  Boston,  Sept.  18,  1889.  Composed  over- 
tures, suites,  a  concerto,  a  symphony  (On  the  Prairies), 
etc. 

Mabellini  (Mah-bcl-lee-nee),  Teodulo.  Composer;  '  born 
Pistoja,  Italy,  Apr.  2,  1817;  died  Florence,  Italy,  Mar.  10, 
1897.  Composed  operas,  oratorios,  and  cantatas. 

Macbeth,  Allan.  Organist,  composer;  born  Greenock, 
Scot.,  Mar.  13,  1856.  Composed  cantatas,  chamber  works, 
etc  Lives  Glasgow,  Scot. 

MacCunn,  Hamish.  Composer;  born,  Greenock,  Scot, 
Mar.  22,  1868;  died  London,  Aug.  21,  1916.  Wrote  several 
choral  works  (Kilmeny,  Lord  Ullin's  Daughter,  etc.),  two 
concert  overtures,  operas,  cantatas,  and  many  songs  and  in- 
strumental pieces. 

MacDougall,  Hamilton  C.  Organist,  teacher,  composer; 
born  Warwick.  R.  I.,  Oct.  15,  1858.  Professor  of  Music, 
Wellesley  College. 

MacDowell,  Edward  Alexander.  Pianist,  composer;  born 
New  York,  Dec.  18.  1861 ;  died  there,  Jan.  23,  1908.  Studied 
in  Paris  and  Germany.  In  1881-1882  was  head  teacher  of 
the  piano  department  of  the  Darmstadt,  Ger.,  Conservatory. 
From  1896  to  1904  professor  of  music  in  Columbia  Uni- 
versity. He  achieved  a  world-wide  reputation  as  one  of  the 
most  original  and  vigorous  composers  of  his  time.  His 
works  include  symphonic  poems,  orchestral  suites,  choruses, 
piano  concertos,  suites,  sonatas,  and  etudes,  and  fine  songs. 

Macfarlane,  William  C.  Organist,  composer;  born  Lon- 
don, Eng.,  Oct.  2,  1870.  City  organist,  Portland,  Me.,  1912- 
1919. 

Macfarren.  (1)  Sir  George  Alexander.  Composer,  theo- 
rist; born  London,  Mar.  2,  1813;  died  there,  Oct.  31,  1887. 
Produced  a  great  quantity  of  music — operas,  oratorios, 
cantatas,  church  music,  overtures,  symphonies,  chamber 
music,  songs,  etc.  (2)  Walter  C.  Pianist,  teacher;  born 
London,  Aug.  28,  1826;  died  there,  Sept.  2,  1905.  Brother 
of  (1). 

M'Guckin,  Barton.  Tenor;  born  Dublin,  Ire.,  Jul.  28,  1853. 
Lives  London. 

Machado  (Mah-chah'-do),  Augusto.  Composer;  born  Lis- 
bon, Port.,  Dec.  27,  1845.  Lisbon  Conservatory.  Contem- 
porary Portuguese  opera  composer. 

Mackenzie,  Sir  Alexander  Campbell.  Composer;  born 
Edinburgh,  Scot.,  Aug.  22,  1847.  His  compositions — the 
cantatas  Jason,  Sayid,  etc.,  the  oratorio  The  Rose  of  Sharon, 
perhaps  his  best  work;  the  poetic  Dream  of  Jubal;  his 
operas  Colombo  and  The  Troubadour,  together  with  a  great 
deal  of  orchestral  and  other  music,  have  placed  him  in  the 
front  rank  of  English  musicians.  Director  Royal  Academy 
of  Music,  London. 


Maclean,  Alick.  Composer,  conductor;  born  Eton,  Eng., 
Jul.  20,  1872.  Composed  the  opera  Quentin  Durward,  etc. 
Lives  Scarborough,  Eng. 

Macpherson.  (1)  Charles  Stewart.  Composer,  writer; 
born  Liverpool,  Eng.,  Mar.  29,  1865.  Composed  a  sym- 
phony, overtures,  etc.  Wrote  valuable  text-books  on 
theoretical  subjects.  (2)  Charles.  Organist,  composer; 
born  Edinburgh,  Scot.,  May  10,  1870.  Orchestral  and  cham- 
ber music  composer.  Lives  London. 

Macy,  James  Cartwright.  Composer;  born  New  York, 
Jun.  27,  1845 ;  died  Somerville,  Mass.,  1918.  Composed  can- 
tatas, church  music,  songs,  piano  pieces. 

Maggini  (Mad-jee-nee),  Giovanni  Paolo.  Violin  maker; 
born  Botticino  Marino,  Italy,  Aug.  25,  1580;  died  Brescia, 
Italy,  about  1632.  Work  highly  esteemed. 

Magnard  (Man-yar),  Lucien  Alberic.  Composer;  born 
Paris,  Jun.  9,  1865.  Composed  symphonies,  a  suite,  etc. 

Mahler,  Gustav.  Conductor,  composer;  born  Kalischt, 
Boh.,  Jul.  7,  1860;  died  1911.  Known  by  his  nine  large 
symphonies,  some  of  them  with  solo  voices  and  chorus. 

Maillart  (My-yar),  Louis.  Composer;  born  Montpellier, 
France,  Mar.  24,  1817;  died  Moulins,  France,  May  26,  1871. 
Opera  composer. 

Mailly  (My-yce),  Alphonse.  Organist,  composer;  born 
Brussels,  Bel.,  Nov.  27,  1833.  Organ  and  orchestral  com- 
poser. 

Maitland,  J.  A.  Fuller.     Writer,  historian;   born  London, 

Apr.    7,    1856.     Editor   Grove's   Dictionary    of   Music   and 

Musicians,  2nd  ed. 
Major     (Mah-yor),    Julius    J.       Pianist,     composer;     born 

Kaschau,   Hun.,   Dec.   13,    1859.     Composed   orchestral   and 

chamber   works.     Lives   Buda-Pesth,  Hun. 
Malaschkin,  Leonid.     Composer;  born   Russia,   1842;  died 

Moscow,    Feb.    11,    1902.     Composed   piano   pieces,    church 

music,  and  collected  Ukrainian   folk-songs. 

Malat  (Ufah-lalit),  Jan.  Composer;  born  Alt-Bunzlau, 
Boh.,  Jun.  16,  1843.  Contemporary  Czech  opera  composer. 

Malcolm,  Alexander.  Writer;  born  Edinburgh,  Scot.,  1687; 
died  after  1721.  Author  of  A  Treatise  of  Musick,  pub- 
lished at  Edinburgh  in  1721. 

Malibran  (Mahl-ce-brahn),  Maria  Felicita.  Contralto;  born 
Paris,  Mar.  24,  1808;  died  Manchester,  Eng.,  Sept.  23,  1836. 
A  daughter  of  the  famous  tenor  Garcia,  by  whom  she  was 
trained.  One  of  the  most  gifted  singers  of  modern  times. 
Achieved  a  phenomenal  success  in  opera. 

Mailing.  (1)  Jorgen.  Composer;  born  Copenhagen,  Den., 
Oct.  31,  1836;  died  there,  Jul.,  1905.  Composed  songs, 
piano  works,  and  operas.  (2)  Otto  Waldemar.  Com- 
poser; born  Copenhagen,  Jun.  1,  1848.  Composed  orchestral 
and  chamber  works,  etc.  Brother  of  (1). 

Malzel  (Mayl-tsel),  Johann  Nepomuk.  Inventor;  born 
Ratisbon,  Ger.,  Aug.  15,  1772;  died  at  sea,  Jul.  21,  1838. 
Invented  the  metronome  now  in  common  use. 


MANCINELLI 


637 


MASON 


Mancinelli  (Man-chin-cl-lcc) ,  Luigi.  Composer,  conductor; 
born  Orvieto,  Italy,  Feb.  5,  1848. 

Mandl,   Richard.      Composer;    born    Prossnitz,   Aus.,    May 

9,   1859.     Orchestral   composer    (overtures,   etc.).     Lives 

Vienna. 
Manen,   Joan   de.     Violinist,    composer;    born    Barcelona, 

Spain,  Mar.  14,  1883.     Composed  operas,  a  symphony,  a 

violin  concerto,  etc.     Lives  London. 

Mann,  Johann  Gottfried.  Conductor,  composer;  born 
The  Hague,  Hoi.,  Jul.  IS,  1858;  died  Coudewater,  Hoi, 
Feb.  10,  1904.  Composed  for  stage  and  orchestra. 

Manney,  Charles  Fonteyn.  Composer;  born  Brooklyn, 
N.  Y.,  Feb.  8,  1872.  Composed  cantatas,  songs,  etc. 
Lives  Boston. 

Manns,  Sir  August.  Conductor;  born  Stolzenburg,  Ger., 
Mar.  12,  1825;  died  Norwood,  Eng.,  Mar.  1,  1907.  Di- 
rected at  the  Crystal  Palace,  a  post  which  for  more  than 
half  a  century  he  held  with  benefit  to  the  cause  of  musi- 
cal art. 

Maquarre  (Mah-kar'),  Andre.  Flutist,  composer,  con- 
ductor; born  Molenbeck,  Bel.,  1875.  Flutist  with  Boston 
Symphony  Orchestra.  Composed  the  opera  Dolores,  an 
Indian  Suite,  the  fantaisie  On  the  Sea  Cliffs,  etc.  Lives 
Boston. 

Marcello  (M ahr-chel-lo) ,  Benedetto.  Composer;  born 
Venice,  Italy,  Aug.  8,  1686;  died  Brescia,  Italy,  Jilt  ?.4, 
1739.  His  principal  work  was  the  musical  setting  ot 
the  Psalms. 

Marchant,  Arthur  W.  Organist,  composer;  born  London, 
Oct.  18,  1850.  Composed  church  music,  songs,  etc.  Lives 
Dumfries,  Eng. 

Marches!  (Mahr-kay'-see),  Mathilde  de  C.  Teacher  of 
singing;  born  Frankfort,  Ger.,  Mar.  26,  1826;  died  London, 
Nov.  18,  1913.  Famous  singing  teacher  in  Paris. 

Marchetti  (Mahr-ket'-tee),  Filippo.  Composer;  born  Bo- 
logna, Italy,  Feb.  26,  1831;  died  Rome,  Jan.  18,  1902. 
Opera  composer. 

Marcchal  (Mahr-ay-shal),  Henri.  Composer;  born  Paris, 
Jan.  22,  1842.  Composed  operas,  'sacred  works,  etc. 
Lives  Paris. 

Marenzio  (Mah-ren'-tsee-oh),  Luca.  Composer;  born  Coc- 
caglia,  Italy,  about  1556;  died  Rome,  Aug.  22,  1599. 
Famous  madrigal  writer  of  the  16th  century. 

Maretzek,  Max.  Impresario;  born  Briinn,  Aus.,  Jun.  28, 
1821;  died  Staten  Island,  N.  Y.,  May  14,  1897. 

Mario  (Mah'-ree-o),  Giuseppe.  Tenor;  born  Cagliari,  Italy, 
Oct.  17,  1808;  died  Rome,  Dec.  11,  1883.  Enjoyed  a  tri- 
umphant career  as  an  operatic  artist.  Retired  in  1867. 

Marmontel,  Antoine.  Pianist,  composer,  teacher;  born 
Clermont-Ferrand,  France,  Jul.  18,  1816;  died  Paris,  Jan. 
17,  1898.  Teacher  at  Paris  Conservatory. 

Marpurg  (Mahr-poorkh),  Friedrich  Wilhelm.  Theorist; 
born  near  Seehausen,  Ger.,  Nov.  21,  1718;  died  Berlin, 
May  22,  1795. 

Marques    (Mahr-kes),    Miguel.     Composer;    born.   Isle    of 

Mallorca,  Spain,  May  20,  1843.     Composer  of  zarzuelas. 

Lives  Madrid,  Spain. 
Marschalk   (Mahr-schalk),  Max.     Composer;  born   Berlin. 

Apr.  7,  1863.     Composed  opera  Sceur  Beatrice,  etc.     Lives 

Berlin. 


Marschner  (Marsh-ncr),  Heinrich.  Composer;  born  Zit- 
tau,  Ger.,  Aug.  16,  1795;  died  Hanover,  Ger.,  Dec.  14,  1861. 
Studied  music  in  Vienna.  Wrote  several  operas,  chief  of 
them  being  The  Vampire,  and  Hans  Heiliny.  Also  wrote 
orchestral,  choral,  and  pianoforte  works  of  a  high  order. 

Marsick,  Martin  Pierre.  Violinist,  teacher;  born  near 
Liege,  Bel.,  Mar.  9,  1848.  Paris  Conservatory. 

Marston,  George  W.  Organist,  composer;  born  Sandwich, 
Mass.,  May  23,  1840;  died  there,  Feb.  2,  1901.  Composed 
principally  church  music. 

Marteau  (Mar-toh),  Henri.  Violinist;  born  Rheims, 
France,  Mar.  31,  1874.  Succeeded  Joachim  at  Berlin.  Re- 
signed Oct.,  1915. 

Martini  (Mar-tee-nee),  Giambattista  (called  Padre  Mar- 
tini). Composer,  theorist;  born  Bologna,  Italy,  Apr.  24, 
1706;  died  there,  Oct.  4,  1784.  In  his  day  regarded  as  the 
greatest  living  authority  on  musical  matters. 

Martucci  (Mar-toot-chee),  Giuseppe.  Pianist,  composer; 
born  Capua,  Italy,  Jan.  6,  1856;  died  Jun.  1,  1909. 

Marty,  Georges  Eugene.  Composer;  born  Paris,  May  16, 
1866;  died  there,  Oct.  11,  1908.  Composed  operas  (Daria, 
etc.),  and  several  orchestral  works. 

Marx,  Adolf  Bernhard.  Theorist;  born  Halle,  Ger.,  May 
15,  1795;  died  Berlin,  May  17,  1866.  Originally  a  lawyer, 
but  afterward  devoted  himself  to  music.  As  a  composer 
was  not  successful,  but  wrote  many  very  valuable  theoreti- 
cal ind  critical  works. 

Marzials,  Theophile.  Composer;  born  Brussels,  Bel.,  Dec. 
21,  1850.  Lived  in  England  and  wrote  many  successful 
songs. 

Marzo  (Mahr-tsoh),  Eduardo.  Composer,  teacher;  born 
Naples,  Italy,  Nov.  29,  1852.  Lives  New  York. 

Mascagni  (Mas-kahn'-yee),  Pietro.  Composer;  born  Leg- 
horn, Italy,  Dec.  7,  1863.  Son  of  a  baker,  and  intended  by 
his  father  for  the  legal  profession.  His  chief  success,  the 
opera  Cavalleria  Rusticana.  One  day  he  saw  an  announce- 
ment of  prizes  offered  by  Sonzogno,  the  Italian  music  pub- 
lisher, for  one-act  operas.  He  won  in  the  competition,  com- 
pleting Cavalleria  Rusticana  in  the  nick  of  time.  Has  since 
then  produced  other  operas  and  smaller  compositions. 
Toured  America  in  1902.  Lives  Rome. 

Mason.  (1)  Lowell.  Teacher;  born  Medfield,  Mass.,  Jan. 
8,  1792;  died  Orange,  N.  J.,  Aug.  11,  1872.  A  pioneer 
in  American  musical  development.  Founded  the  Bos- 
ton Academy  of  Music  in  1832.  His  works  include  many 
collections  of  church  music  containing  well-known  hymn- 
tunes,  collections  of  songs,  etc.  (2)  Luther  Whiting. 
Teacher;  born  Turner,  Me.,  Apr.  31,  1828;  died  Buck- 
field,  Me.,  Jul.  14,  1896.  Compiler  of  The  National  Music 
Course.  Settled  in  Boston  in  1865,  and  till  1880  was  musi- 
cal instructor  in  the  public  schools  of  that  city.  He 
worked  in  Japan,  1880-1883,  and  did  much  for  the  advance- 
ment of  school  music  there.  (3)  William.  Pianist,  com- 
poser, teacher;  born  Boston,  Jan.  24,  1829;  died  New 
York,  Jul.  14,  1908.  Studied  at  Leipzig,  and  afterward 
under  Liszt  at  Weimar.  After  concert  tours  he  settled 
in  New  York  in  1855.  Among  his  works  are  many  com- 
positions, but  he  is  best  represented  by  his  text-books. 
Son  of  (1).  (4)  Daniel  Gregory.  Writer,  composer; 
born  Brookline,  Mass.,  Nov.  20,  1873.  Columbia  University, 
New  York.  Nephew  of  (2). 


MASSE 


638 


MENDELSSOHN-BARTHOI.DV 


?;Iasse  (Mahs-say),  Victor  (Felix  Marie).  Composer;  born 
L'Orient,  France,  Mar.  7,  1822;  died  Paris,  Jul.  5,  1884. 
Wrote  Le  fits  du  brigadier,  Les  noces  de  Jeannette,  Galathcc, 
Paul  et  yirginic,  and  other  operas. 

Massenet  (Mas-nay),  Jules  Emile  Frederic.  Composer; 
born  Montaud,  France,  May  12,  1842;  died  Paris,  Aug.  13, 
1912.  Gained  the  Grand  Prix  de  Rome  in  1863  with  his 
cantata  David  Rizzio.  His  principal  works  include  the 
operas  Don  Cesar  de  Bazan,  Le  roi  di  Lahore,  Hcrodiade. 
Manon,  Le  Cid,  Wcrther,  Thais,  Lc  Jongleur  de  Notre- 
Dame,  Roma,  Don  Quixote,  etc. 

Maszynski  (Mahs-chin-skec),  Peter.  Composer;  born  War- 
saw, Pol.,  1855.  Chamber  music  and  orchestral  composer. 
Lives  Warsaw. 

Materna  (Mah-tair-nah),  Amalie.  Soprano;  born  St. 
Georgen,  Aus.,  Jul.  10,  1845.  Celebrated  Wagnerian  operatic 
singer.  Lives  Vienna. 

Mathews,  William  S.  B.  Writer,  teacher;  born  New  Lon- 
don, N.  H.,  May  8,  1837;  died  Denver,  Col.,  Apr.  1,  1912. 
A  strong  educational  influence  in  American  music. 

Mathieu  (Ma-thce-ay),  Emile.  Composer;  born  Lille, 
France;  Oct.  16,  1844.  Composed  operas,  orchestral  works, 
etc.  Conservatory,  Ghent,  Bel. 

I.Iattei  (Mat-tay-ee),  Tito.  Composer;  born  Campobasso, 
Italy,  May  24,  1841 ;  died  London,  Mar.  30,  1914.  Has  writ- 
ten several  operas,  instrumental  music,  and  many  songs. 

Matthay  (Mat-toy),  Tobias  Augustus.  Pianist,  teacher, 
writer;  born  London,  Feb.  19,  1858.  Composed  orchestral 
and  chamber  works ;  famous  as  piano  teacher  and  writer 
on  piano  technic.  Lives  London. 

Mattheson  (Mat-tc-son),  Johann.  Composer,  conductor, 
writer;  born  Hamburg,  Ger.,  Sept.  28,  1681;  died  there, 
Apr.  17,  1764.  Composed  operas,  oratorios,  masses,  can- 
tatas, etc. ;  famous  also  as  writer. 

Mauke  (Mow-keh),  Wilhelm.  Composer,  critic;  born 
Hamburg,  Ger.,  Feb.  25,  1867.  Opera  and  song  composer. 
Lives  Munich,  Ger. 

Maurel  (Mo-rel),  Victor.  Baritone;  born  Marseilles, 
France,  Jun.  17,  1848.  Distinguished  French  opera  singer. 
Acquired  great  fame  in  Europe  and  America.  Created  lago 
in  Verdi's  Otcllo,  and  set  the  standard  of  other  leading 
roles.  Lives  Paris. 

Maurice  (Mo-reece).  (1)  Alphonse.  Composer;  born 
Hamburg,  Ger.,  Apr.  14,  1856;  died  Dresden,  Ger.,  Jan. 
26,  1905.  Chorus  composer.  (2)  Pierre.  Composer; 
born  Geneva,  Switz.,  1868.  Composed  an  orchestral  suite, 
piano  works,  and  several  operas  (Mise  Brun,  etc.). 

Maybrick,  Michael  (pseudonym  Stephen  Adams).  Baritone, 
composer ;  born  Liverpool,  Eng.,  Jan.  31,  1844 ;  died  Buxton, 
Eng.,  Aug.  25(26),  1913.  Composed  popular  English  bal- 
lads (Nancy  Lee,  A  Warrior  Bold,  etc.). 

Mayer  (My-cr).  (1)  Charles.  Pianist,  composer;  born 
Konigsberg,  Ger.,  Mar.  21,  1799;  died  Dresden,  Jul.  2, 
1862.  Brilliant  pianist.  (2)  Wilhelm  (pseudonym  M. 
Remy).  Composer;  born  Prague,  Boh.,  Jun.  10,  1831; 
died  there,  Jan.  22,  1898.  Composed  symphonies,  etc. 
(3)  Joseph  Anton.  Composer,  theorist;  born  Pfullen- 
dorf,  Ger.,  1855.  Composed  operas,  an  oratorio,  etc. 
Lives  Stuttgart,  Ger. 

Mayerhoff  (My-er-hofe),  Franz.  Composer,  conductor; 
born  Chemnitz,  Ger.,  Jan.  17,  1864.  Composed  a  symphony, 
orchestral  works,  cantatas,  songs,  etc.  Lives  Chemnitz. 


Mayseder  (My-say-dfr),  Joseph.  Violinist,  composer; 
born  Vienna,  Oct.  26,  1789;  died  there,  Nov.  21,  1863. 

Mazas  (Mah-zas),  Jacques  Fereol.  Violinist,  composer; 
born  Beziers,  France,  Sept.  23,  1782;  died  there,  1849. 
Wrote  excellent  etudes  for  violin. 

Mazzinghi  (Mat-zin-yhcc),  Joseph.  Composer;  born  Lon- 
don, Dec.  25,  1765;  died  Bath,  Eng.,  Jan.  15,  1844.  Com- 
posed operas,  music  to  plays,  glees,  etc. 

Mead,  Olive.     Violinist;  born  Cambridge,  Mass.,  Nov.  22, 

1874.  Organized  Olive  Mead   String  Quartet.     Lives  New 
York. 

Medtner,  Nicholas.  Composer,  pianist;  born  Moscow, 
Rus.,  Dec.  24,  1879.  Orchestral  and  piano  composer.  Lives 
Moscow. 

Mees,  Arthur.  Conductor;  born  Columbus,  O.,  Feb.  13, 
1850.  Conductor  Worcester,  Mass.,  Festival.  Lives  New 
York. 

Mehlig  (May-lig),  Anna.  Pianist;  born  Stuttgart,  Ger., 
Jul.  11,  1843.  Lives  Antwerp,  Bel. 

Mehul  (May-ill),  Etienne  Nicholas.  Composer;  born 
Givet,  France,  Jun.  22,  1763;  died  Paris,  Oct.  18,  1817.  At 
eleven  years  of  age  was  organist  of  his  native  place.  His 
principal  work  is  his  Joseph.  He  also  wrote,  among  other 
operas,  Le  Jeunc  Henri,  the  clever  overture  of  which  still 
figures  in  concert  programs. 

Meinardus  (My-nar-doos),  Ludwig.  Composer,  writer; 
born  Hooksiel,  Ger.,  Sept.  17,  1827;  died  Bielefeld,  Ger., 
Jul.  10,  1896.  Oratorio  composer. 

Melartin,  Erik.     Composer;  born   Kexholm,   Fin.,  Feb.  7, 

1875.  Composed  symphonies,  chamber  music,  many  songs, 
etc.     Conservatory,  Helsingfors,  Fin. 

Melba  (really  Mitchell;  name  derived  from  Melbourne,  her 
birthplace),  Nellie.  Soprano;  born  Melbourne,  Aus- 
tralia, May  19,  1861  (1859).  Distinguished  opera  singer. 
Lives  Paris. 

Melcer,  Henryk.  Composer;  born  Kalisch,  Pol.,  Sept.  21, 
1869.  Composed  piano  concertos,  chamber  works,  the 
operas  Maria,  Laodamia,  etc.  Warsaw  Conservatory. 

Mellon,  Alfred.  Violinist,  conductor;  born  London,  Apr. 
17,  1821 ;  died  London,  Mar.  27,  1867. 

Meltzer,  Charles  Henry.  Writer;  born  London,  1852. 
Music  critic  and  dramatic  writer,  New  York. 

Mendelssohn,  Arnold.  Composer;  born  Ratibor,  Boh., 
Dec.  26,  1855.  Composed  the  operas  Elsi,  Der  Barcnhduter, 
and  Die  Minneburg,  also  many  cantatas  (Pandora,  etc.). 
Grand-nephew  of  Felix  Mendelssohn. 

Mendelssohn-Bartholdy,  Felix.  Composer;  born  Hamburg, 
Ger.,  Feb.  3,  1809;  died  Leipzig,  Nov.  14,  1847.  Son  of  a 
banker  and  grandson  of  the  Jewish  philosopher,  Moses 
Mendelssohn.  Early  showed  a  great  talent  for  music, 
which  was  carefully  cultivated  from  the  outset.  In  1833, 
already  possessed  of  a  European  reputation,  was  appointed 
musical  director  at  Diisseldorf.  Two  years  later  went  to 
Leipzig  as  conductor  of  the  Gewandhaus  concerts.  Be- 
tween 1835  and  1841  he  produced  his  piano  concerto  in  D 
minor,  the  42nd  and  114th  Psalms,  string  quartet  in  E 
minor,  overture  to  Ruy  Bias,  trio  in  D  minor,  and  the 
Hymn  of  Praise.  Between  1841  and  1847  he  wrote  St. 
Paul,  Walpurgis  Night,  Elijah,  Christus,  the  C  minor  trio, 
and  many  other  works.  Great  as'  are  his  oratorios  St.  Paul 


MENGELBERG 


639 


MONTEVERDE 


and  Elijah,  the  characteristic  genius  of  Mendelssohn  finds 
perhaps  the  most  perfect  expression  in  the  Midsummer 
Night's  Dream  music,  the  concert  overture  The  Hebrides 
and  the  Scotch  Symphony. 

Mengelberg  (Meng-el-bairg),  Josef  Willem.  Conductor; 
born  Utrecht,  Hoi.,  Mar.  28,  1871.  Conductor  Concert- 
gebouw  Orchestra,  Amsterdam,  Hoi. 

Mengewein  (Meng-eh-vine),  Karl.  Composer;  born  Zaun- 
roda,  Ger.,  Sept.  9,  1852;  died  near  Berlin,  Apr.,  1908.  Com- 
posed singspiclc,  cantatas,  etc. 

Menter,  Sophie.  Pianist;  born  Munich,  Ger.,  Jul.  29,  1846. 
Lives  in  the  Tyrol,  Aus. 

Mercadante,  Francesco  Saverio.  Composer;  born  Alta- 
mura,  Italy,  Jul.  17,  1795 ;  died  Naples,  Italy,  Dec.  17,  1870. 
Composed  operas  in  the  Rossiniah  style ;  also  much  church 
music,  several  symphonies,  etc.  In  1840  he  succeeded  Zin- 
garelli  as  director  of  the  Royal  Conservatory  at  Naples. 
In  1862  he  became  totally  blind. 

Merikanto,  Oskar.  Organist,  composer;  born  Helsing- 
fors,  Fin.,  Aug.  5,  1868.  Organ  virtuoso.  Composed  the 
opera  The  Maid  of  Pohja,  etc.  Lives  Helsingfors. 

Merkel  (Mair-kel).  Gustav.  Organist,  composer;  born 
Oberoderwitz,  Ger.,  Nov.  12,  1827;  died  Dresden,  Ger., 
Oct.  30,  1885. 

Mertens,  Joseph.  Composer;  born  Antwerp,  Bel.,  Feb.  17, 
1834;  died  Brussels,  Bel.,  1901.  Composed  several  Flemish 
operas. 

Merulo  (Mer'-oo-lo),  Claudio.  Organist,  composer;  born 
Correggio,  Italy,  Apr.  8,  1533;  died  Parma,  Italy,  May  4, 
1604.  Wrote  madrigals  and  organ  pieces. 

Merz  (Mairts),  Karl.  Teacher;  born  Bensheim,  Ger., 
Sept  10,  1836;  died  Wooster,  O.,  Jan.  30,  1890. 

Messager  (Mes-sah-sha),  Andre.  Conductor,  composer; 
born  Montlu?on,  France,  Dec.  30,  1853.  Conductor  Paris 
Conservatoire  Concerts. 

Mestdagh,  Karel.  Composer;  born  Bruges,  Bel.,  Oct.  22, 
1850.  Composed  orchestral  works. 

Metzdorff,  Richard.  Composer;  born  Danzig,  Ger.,  Jun. 
28,  1844.  Composed  symphonies,  operas,  etc.  Lives  Berlin. 

Meyer,  Leopold  von.  Pianist;  born  near  Vienna,  Dec. 
20,  1816;  died  Dresden,  Ger.,  Mar.  5,  1883. 

Meyerbeer,  Giacomo.  Composer;  born  Berlin,  Sept.  5, 
1791 ;  died  Paris,  May  2,  1864.  Displayed  musical  talent  at 
a  very  early  age,  particularly  as  a  pianist.  His  ruling  am- 
bition, however,  "was  to  become  a  composer.  A  pupil  of 
the  Abbe  Vogler  he  wrote  a  number  of  works  which,  ex- 
cellent in  their  way,  were  marred  by  their  extreme  pedan- 
try. Coming  under  the  influence  of  Rossini  Meyerbeer  for- 
sook the  methods  of  Vogler  for  the  more  attractive  style 
of  the  Italians  and  wrote  several  successful  operas  in  the 
Italian  style.  In  later  years  he  again  changed  his  style 
of  writing,  and  with  Scribe  as  his  librettist  produced  the 
series  of  grand  operas  Robert  le  Diable,  Les  Huguenots, 
Le  Prophete,  L'Etoile  du  Nord,  Dinorah,  and  I'Africaine, 
upon  which  his  fame  as  a  composer  mainly  depend. 

Meyer-Helmund,  Erik.  Composer;  born  Petrograd,  Mar. 
25,  1861.  Composed  operas,  songs,  etc. 

Meyer-Olbersleben,  Max.  Composer,  teacher;  born  Ol- 
bersleben,  Ger.,  Mar.  5,  1850.  Wiirzburg,  Ger.,  Conserva- 
tory. 


Mielck  (Meelk),  Ernest.  Composer;  born  Viborg,  Fui., 
Oct.  24,  1877;  died  Locarno,  Italy,  Oct.  22,  1899.  Composed 
for  orchestra. 

Mignard  (Min-yar),  Alexander.  Composer;  born  War- 
saw, Pol.,  Aug.  13,  1852.  Opera  and  orchestral  composer. 
Lives  Moscow,  Rus. 

Mikorey,  Franz.  Composer;  born  Munich,  Ger.,  Jun.  3, 
1873.  Composed  the  opera  King  of  Samarcand,  a  concerto, 
etc.  Lives  Dessau,  Ger. 

Millard,  Harrison.  Composer ;  born  Boston,  Nov.  27,  1830 ; 
died  Sept.  10,  1895.  Composed  church  music,  etc. 

Millet,  Luis.  Conductor,  composer;  born  Barcelona,  Spain, 
Apr.  18,  1867.  Orchestral  composer.  Lives  Barcelona. 

Milligen,  Simon  van.  Composer,  music  critic;  born  Rot- 
terdam, Hoi.,  1849.  Opera  composer,  Brinio,  etc.  Lives 
Amsterdam,  Hoi. 

Mills,  Sebastian  B.  Pianist,  teacher;  born  Cirencester, 
Eng.,  Mar.  13,  1838;  died  Wiesbaden,  Ger.,  Dec.  21,  1898. 
Active  as  teacher  in  New  York  for  a  number  of  years. 

Mincus,  Ludwig.  Violinist,  composer;  born  Vienna,  1827. 
Ballet  composer,  partly  with  Delibes.  Lived  at  Petrograd. 

Missa,  Edmond  Jean  Louis.  Composer;  born  Rheims, 
France,  Jun.  12,  1861.  Opera  composer.  Lives  Paris. 

Mlynarski  (Mlin-ars-ki),  Emil.  Conductor,  composer; 
born  Wirballen,  Pol.,  Jul.  18,  1870.  Composed  violin  works. 
Lives  Kovno,  Pol. 

Mbhr.  (1)  Hermann.  Composer,  teacher;  born  Nien- 
stadt,  Ger.,  Oct.  9,  1830;  died  Philadelphia,  May  26,  1896. 
Composed  choruses  for  men's  voices,  chamber  works,  etc. 
(2)  Adolf.  Composer;  born,  Munich,  Ger.,  Sept.  23,  1841. 
Composed  operas,  Die  Lorelei,  etc. 

Molique  (Mo-leek),  Wilhelm  Bernhard.  Violinist,  com- 
poser; born  Nuremberg,  Ger.,  Oct.  7,  1802;  died  Kannstatt, 
Ger.,  May  10,  1869.  Wrote  violin  concertos,  string  quar- 
tets, a  symphony,  masses,  and  an  oratorio,  Abraham. 

Mollenhauer,  Emil.  Violinist,  conductor;  born  Brooklyn, 
N.  Y.,  Sept.  4,  1855.  Conductor  Handel  and  Haydn  Society, 
Boston. 

Molloy,  James  Lyman.  Composer;  born  Cornlore,  Ire., 
1837;  died  Wooleys,  Eng.,  Feb.  4,  1909.  A  popular  song 
writer. 

Moniuszko,  Stanislaus.  Composer;  born  Ubil,  Rus.,  May 
5,  1820 ;  died  Warsaw,  Pol.,  Jun.  4,  1872.  Prolific  composer 
of  operas,  cantatas,  etc. 

Monsigny  (Mong-scen-ye),  Pierre  Alexandre.  Composer; 
born  Fauquembergue,  France,  Oct.  17,  1729;  died  Paris,  Jan. 
14,  1817.  Wrote  operas  and  ballets. 

Montemezzi  (Mon-te-met-zee),  Italo.  Composer;  born 
Verona,  Italy,  1875.  Composed  the  operas  Gallurese,  Hel- 
lera,  The  Love  of  Three  Kings,  and  La  Princesse  Lointaine. 

Monteverde  (Mon-tc-vair-de),  Claudio.  Composer;  born 
Cremona,  Italy  (baptized  May  18),  1567;  died  Venice,  Nov. 
29,  1643.  Inventor  of  the  free  style  of  composition  and 
pioneer  in  the  path  that  led  to  the  modern  opera.  He  was 
the  first  to  use  unprepared  dissonances.  His  improvement 
of  the  orchestra  gained  for  him  the  title  of  "the  father  of 
instrumentation."  His  innovations  were  successfully  em- 
ployed in  his  operas  Ariana  and  Orfco  and  in  later  works. 
He  wrote  much  sacred  music  the  greater  part  of  which  is 

.  lost.  His  influence  on  other  composers  of  his  own  day  was 
marked  and  the  results  of  his  work  have  been  lasting. 


MOOR 


640 


NAUMANN 


Moor,  Emanuel.  Composer;  born  Hungary  about  1862. 
Composed  orchestral  and  chamber  music. 

Moore,  Thomas.  Composer;  born  Dublin,  Ire.,  May  28, 
1779;  died  Devizes,  .Eng.,  Feb.  25,  1852.  Wrote  some  of 
the  airs  in  his  Irish  Melodies,  the  Canadian  Boat  Song,  the 
pretty  little  three-part  glee,  The  Watchman,  etc. 

Morales,  Olallo.  Composer,  conductor;  born  Almeria, 
Spain,  Oct.  13,  1874.  Composed  orchestral  works.  Con- 
servatory, Stockholm,  Swed. 

Morgan.  (1)  George  Washbourne.  Organist;  born 
Gloucester,  Eng.,  Apr.  9,  1822;  died  Tacoma,  Wash., 
Jul.,  1892.  Prominent  in  New  York  for  many  years. 
(2)  John  Paul.  Organist;  born,  Oberlin,  O.,  Feb.  13, 
1841;  died  Oakland,  Cal.,  Jan.,  1879.  Composed  sacred 
works.  (3)  Maud.  Harpist;  born  New  York,  Nov.  22, 
1864.  Daughter  of  G.  W.  Lives  New  York. 

Morlacchi  (Mor-lah-kee),  Francesco.  Composer;  born 
Perugia,  Italy,  Jun.  16,  1784;  died  Innsbruck,  Aus.,  Oct.  28, 
1841.  Composed  operas,  oratorios,  etc.,  of  unusual  interest. 

Morley,  Thomas.  Composer;  born  London,  1557  (1558); 
died  there  about  1602.  Did  much  for  the  development  of 
vocal  music  in  England. 

Mornington,  Garret  Wellesley,  Lord.  Composer;  born 
Dangan,  Ire.,  July  19,  1735;  died  London,  May  22,  1781. 
Wrote  church  music,  glees,  madrigals,  etc.  Father  of  the 
Duke  of  Wellington. 

Morse,  Charles  Henry.  Organist,  teacher;  born  Brad- 
ford, Mass.,  Jan.  5,  1853.  Professor  of  Music,  Dartmouth 
College,  for  a  number  of  years. 

Mortelmans,  Lodewik.  Composer;  born.  Antwerp,  Bel., 
Feb.  5,  1868.  Composed  a  Germania  symphony,  etc. 

Moscheles  (Mosh-c-les),  Ignaz.  Pianist,  composer;  born 
Prague,  Boh.,  May  30,  1794;  died  Leipzig,  Ger.,  Mar.  10, 
1870.  A  pupil  of  Albrechtsberger  and  Salieri.  Made  suc- 
cessful tours  on  the  Continent,  and  from  1821  to  1846  lived 
in  London  where  he  won  his  greatest  fame.  His  numerous 
compositions  include  a  variety  of  instrumental  works 
among  which  are  many  valuable  studies. 

Mosenthal  (Mo-sen-tahl),  Joseph.  Organist,  composer; 
born  Kassel,  Ger.,  Nov.  30,  1834;  died  New  York,  Jan.  6, 
1896.  Composed  church  music. 

Moszkowski  (Mosh-kof-ski),  Moritz.  Pianist,  composer; 
born  Breslau,  Ger.,  Aug.  23,  1854.  Among  his  works  are  a 
symphonic  poem  Jeanne  d'Arc,  an  opera  Boabdil,  piano 
compositions,  songs,  etc.  Lives  Paris. 

Mottl,  Felix.     Conductor;  born  Unter-St.  Veit,  Aus.,  Aug. 

24,  1856;  died  Munich,  Ger.,  Jul.  3,  1911. 
Mouton  (Moo-tong),  Jean.     Contrapuntal  composer,  early 

sixteenth   century. 
Mozart    (Mo-tsart).      (1)    Leopold.      Composer,    violinist; 

born    Augsburg,    Aus.,    Nov.    14,    1719;    died    Salzburg, 

Aus.,  May  28,  1787.     Father  of  Wolfgang  Amadeus  Mo- 


zart. Wrote  church  music,  oratorios,  and  operas.  He 
also  wrote  a  Violin  School  which  went  through  many 
editions  in  various  languages.  (2)  Maria  Anna.  Pian- 
ist; born  Salzburg,  Aus.,  Jul.  30,  1751;  died  there,  Oct. 
29,  1829.  Daughter  of  Leopold  Mozart.  With  her 
brother  she  was  taken  on  tour  through  Europe  as  a 
musical  prodigy.  (3)  Wolfgang  Amadeus.  Composer, 
pianist;  born  Salzburg,  Aus.,  Jan.  27,  1756;  died  Vienna, 
Dec.  5,  1791.  In  1768  was  commissioned  by  the  Emperor 
Joseph  II  to  write  a  comic  opera,  La  Finla  Semplice. 
Wrote  Idomeneo  in  1781,  Die  Entfuhrung  aus  dcm  Serai! 
in  1782,  and  in  1786  Figaro,  the  intervening  years  witness- 
ing the  production  of  many  piano  concertos,  sonatas,  quar- 
tets, etc.  During  the  five  years  between  1786  and  his  death 
Mozart  poured  out  a  marvellous  flood  of  masterpieces,  Don 
Giovanni,  Magic  Flute,  Cosi  fan  tuttc,  Clemcnza  di  Tito; 
the  three  great  symphonies  in  E  flat  major,  -G  minor,  and 
C  major  (Jupiter,  the  Requiem'),  and  a  great  body  of  music 
of  all  kinds.  During  his  life  of  thirty-six  years  Mozart  is 
known  to  have  written  at  least  626  works,  among  which  are 
22  masses,  17  organ  sonatas,  40  offertories,  10  cantatas,  23 
operas,  22  sonatas  for  the  piano,  45  sonatas  for  the  piano 
and  violin,  49  symphonies,  and  55  concertos,  besides  quar- 
tets, trios,  songs,  etc.  All  this  was  accomplished  by  a 
busy  teacher  and  virtuoso. 

Mraczek  (Mrat-chck),  Joseph  Gustav.  Composer;  born 
Brunn,  Aus.,  Mar.  12,  1878.  Composed  the  opera  The 
Dream,  the  symphonic  poem  Max  und  Moritz,  etc.  Lives 
Brunn. 

Muck  (Mook),  Karl.  Conductor;  born  Darmstadt.  Ger., 
Oct.  22,  1859.  Conductor  Boston  Symphony  Orchestra  for 
a  number  of  years. 

Mugellini  (Moo-jel-lee-nee),  Bruno.  Pianist,  composer; 
born  Piacenza,  Italy,  Dec.  24,  1871 ;  died  Bologna,  Italy, 
Jan.  15,  1912.  Orchestral  and  chamber  music  composer. 

Mtiller  (Mil-ler).  (1)  Carl  C.  Composer,  teacher;  born 
Meiningen,  Ger.,  Jul.  3,  1831;  died  New  York,  Jun.  4, 
1914.  (2)  Karl  Wilhelm  Ernst.  Organist,  composer; 
born  Leipzig,  Ger.,  Aug.  2,  1866.  Composed  principally 
vocal  works. 

Muris,  Jean  de.  Writer  on  music  in  early  fourteenth 
century.  Lived  in  Paris. 

Murska  (Moorska),  lima  de.  Soprano;  born  Croatia,  Aus., 
1836;  died  Munich,  Ger.,  Jan.  16,  1889.  Opera  singer. 

Mussorgsky  (Moussorgsky),  Modest.  Composer;  born 
Karev,  Rus.,  Mar.  28,  1839;  died  Petrograd,  Mar.  28,  1881. 
Composed  orchestral  works,  piano  pieces,  songs,  the  opera 
Boris  Godunov,  and  Khovantschina,  etc.,  all  marked  by 
crude  strength.  With  Balakirev,  Borodin,  Cui,  and  Rimsky- 
Korsakov  he  helped  to  create  a  national  Russian  school. 

Mysliweczek  (Mis-lfh-vch-chck),  Josef.  Composer;  born 
near  Prague,  Boh.,  Mar.  9,  1737;  died  Rome,  Feb.  4,  1781. 
Wrote  orchestra  and  chamber  music. 


N 


Nachez,  Tivadar.  Composer,  violinist;  born  Pesth,  Hun., 
May  1,  1859.  Lives  London. 

Nageli  (Nay-gel-lee),  Johann  Georg.  Composer,  writer; 
born  near  Zurich,  Switz.,  May  27,  1773 ;  died  there,  Dec.  26, 
1836.  ' 

Nanini  (Na-nee-nee),  Giovanni.  Composer;  born  Val- 
lerano,  Italy,  about  1540;  died  Rome,  Mar.  11,  1607. 


Napravnik,  Eduard.  Composer,  conductor;  born  Bejst, 
Boh.,  Aug.  24,  1839.  Composed  operas,  overtures,  chamber 
works,  etc.  Lives  Petrograd. 

Nardini  (Nar-dec-nee),  Pietro.  Violinist,  composer;  born 
Fibiana,  Italy,  1722;  died  Florence,  Italy,  May  7,  1793.  . 

Naumann  (Nou-man),  Emil.  Writer,  historian;  born  Ber- 
lin, Sept.  8,  1827 ;  died  Dresden,  Ger.,  Jun.  23,  1888.  Wrote 
a  History  of  Music. 


N  AYR  AXIL 


641 


.NORDICA 


Navratil  (Nav-rah-teel).  Karl.  Composer;  born,  Prague, 
Boh.,  Apr.  24,  1867 ;  died  Vienna,  Apr.  6,  1914.  Composed  a 
symphony,  piano  and  violin  concertos,  symphonic  poems,  the 
opera  Salammbo,  etc. 

Nebelong  (Nay-be-long),  Johann  Hendrik.  Organist, 
composer;  born  Copenhagen,  Den.,  Nov.  9,  1847.  Virtuoso 
player.  Lives  Copenhagen. 

Nedbal,  Oskar.  Violinist,  conductor,  composer;  born 
Tabor,  Boh.,  Mar.  26,  1874.  Composed  orchestral  works. 
Lives  Vienna. 

Neefe  (Nay-feh),  Christian  Gottlob.  Organist;  born 
Chemnitz,  Ger.,  Feb.  5,  1748;  died  Dessau,  Ger.,  Jan.  26, 
1798.  Teacher  of  Beethoven. 

Neff,  Fritz.  Composer;  born  Durlach,  Ger.,  Nov.  20,  1873; 
died  Munich,  Oct.  3,  1904.  Composed  for  chorus  and  or- 
chestra. 

Neidlinger  (Nide-ling-er),  William  H.  Organist,  teacher 
of  singing,  composer;  born  Brooklyn,  N.  Y.,  Jul.  20,  1863. 
Composed  songs,  cantatas,  church  music.  Lives  East 
Orange,  N.  J. 

Neitzel  (Nitc-zel),  Otto.  Composer,  author;  born  Falken- 
berg,  Ger.,  July  6,  1852.  Composed  operas  and  instrumental 
pieces.  Lives  Cologne,  Ger. 

Neri  (Nay-rce),  Filippo.  Composer;  born  Florence,  Italy, 
Jul.  21,  1515 ;  died  Rome,  May  26,  1595.  A  priest  in  w^ose 
oratory  the  sacred  music  developed  into  oratorio. 

Neruda,  Wilma,  known  as  Normann-Neruda.  Violinist; 
born  Briinn,  Aus.,  Mar.  29,  1839;  died  Berlin,  Apr.  15,  1911. 
In  1864  married  Ludwig  Normann.  In  1888  married  Sir 
Charles  Halle.  Made  many  concert  tours  throughout 
Europe,  and  visited  Australia  and  the  United  States  (1889). 

Nessler,  Victor.  Composer;  born  Baldenheim,  Alsace, 
Jan.  28,  1841 ;  died  Strassburg,  Alsace,  May  28,  1890.  Among 
his  operas  are  The  Ratcatcher  of  Hameln,  The  Trumpeter 
of  Sakkingen,  the  latter  a  great  favorite. 

Nestler,  Julius.  Composer;  born  Grumbach,  Ger.,  Dec.  3, 
1851.  Composed  sacred  works,  etc.  Lives  Leipzig,  Ger. 

Nesvera,  Joseph.  Composer;  born  Proskoles,  Boh.,  Oct. 
24,  1842.  Composed  symphonies,  suites,  and  many  smaller 
works. 

Neuendorff  (N ' oy-en-dorf) ,  Adolf.  Conductor;  born  Ham- 
burg, Ger.,  Jun.  13,  1843 ;  died  New  York,  Dec.  4,  1897. 

Neukomm  (Noy-kom),  Sigismund.  Composer;  born  Salz- 
burg, Aus.,  Jun.  10,  1778;  died  Paris,  Apr.  3,  1858.  A  pupil 
of  Haydn.  His  compositions  number  several  hundred  and 
include  the  oratorios  Mount  Sinai  and  David. 

Neupert  (Noy-pert),  Edmund.  Pianist,  composer;  born 
Christiania,  Nor.,  Apr.  1,  1842;  died  New  York,  Jun.  22, 
1888.  Wrote  excellent  etudes  and  concert  pieces. 

Neuville  (Nuh-vil),  Valentin.  Composer;  born  Rexpoede, 
Bel.,  1863.  Composed  symphonies,  chamber  music,  and  sev- 
eral operas.  Lives  Lyons,  France. 

Nevada    (really    Wixom),    Emma.      Soprano;    born    near 

Nevada  City,  Cal.,  1862.     Successful  opera  singer  in  U.  S. 

and  Europe. 
Neve   (Na-veh),  Paul  de.     Composer;  born,  Steglitz.  Ger., 

Jan.    24,    1881.      Composed    the    operas    Harold   and   Inge. 

Lives  Berlin. 


Nevin.  (1)  Arthur  Finley.  Composer;  born  Edgewater, 
Pa.,  Apr.  27,  1871.  Composed  the  opera  Po'ia,  on  an  In- 
dian subject,  suites,  etc.  Brother  of  (2).  (2)  Ethelbert. 
Composer;  born  Edgeworth,  Pa.,  Nov.  25,  1862;  died 
New  Haven,  Conn.,  Feb.  17,  1901.  Studied  in  this 
country  and  in  Europe.  His  piano  pieces  and  songs 
show  much  originality  and  fine  artistic  taste.  (3)  George 
Balch.  Composer;  born  Shippensburg,  Pa.,  Mar.  15, 
1859.  Composed  sacred  and  secular  vocal  music.  Lives 
Easton,  Pa. 

Newman,  Ernest.  Writer;  bom  Liverpool,  Eng.,  Nov. 
30,  1869.-  Lives  Birmingham,  Eng. 

Nicholl,  Horace  Wadham.  Organist,  composer;  born  Tip- 
ton,  Eng.,  Mar.  17,  1848.  Composed  symphonies,  a  suite, 
symphonic  poems,  fantasias,  organ  music,  etc. 

Nicode  (Nce-ko-day),  Jean  Louis.  Pianist,  composer; 
born  Jerczik,  Ger.,  Aug.  12,  1853.  Known  by  his  symphonic 
poems,  often  with  voices. 

Nicolai,  Otto.  Composer;  born  Konigsberg,  Ger.,  Jun.  9, 
1810;  died  Berlin,  Apr.  11,  1849.  Wrote  church  music  and 
operas.  Survives  as  the  composer  of  The  Merry  Wives  of 
Windsor. 

Nicolau,  Antonio.  Conductor,  composer;  born  Barcelona, 
Spain,  Jun.  8,  1858.  Opera  and  orchestral  composer.  Bar- 
celona Conservatory. 

Nicole,  Louis.  Composer;  born  Geneva,  Switz.,  Feb.  25, 
1863.  Composed  a  symphonic  poem,  etc.  Lives  London. 

Nicolini  (Nik-o-lee-nee),  Ernest.  Tenor;  born  St.  Malo, 
France,  Feb.  23,  1834;  died  Pau,  France,  Jan.  19,  1898. 

Niecks  (Neeks),  Frederick.  Writer;  born  Diisseldorf, 
Ger.,  Mar.  3,  1845.  Dean  of  the  faculty  of  music  in  Edin- 
burgh University.  His  works  include  a  Dictionary  of  Musi- 
cal Terms,  a  History  of  Programme  Music,  and  Chopin  as 
Man  and  Musician.  Lives  at  Edinburgh. 

Niedermeyer  (Nee-ay-dcr-may-er),  Louis.  Composer, 
teacher;  born  Nyon,  Switz.,  Apr.  27,  1802;  died  Paris,  Mar. 
13,  1861.  Founded  a  school  of  music  at  Paris. 

Nielsen  (N eel-sen).  (1)  Carl.  Composer;  born  Norre- 
Lyndelse,  Den.,  Jun.  9,  1864.  Notable  composer  of 
symphonies.  Lives  Copenhagen,  Den.  (2)  Ludolf. 
Composer ;  born  Norre-Tvede,  Zeeland,  Jan.  29,  1876.  Com- 
posed the  opera  Mascarade.  Lives  Copenhagen,  Den. 

Nikisch,  Arthur.  Conductor;  born  Szent  Miklos,  Hun., 
Oct.  12,  1855.  Lives  Leipzig,  Ger. 

Nilsson,  Christine.  Soprano;  born  near  Wexio,  Swed., 
Aug.  20,  1843.  Played  the  violin  and  the  flute  at  fairs  and 
markets.  'Made  her  first  appearance  in  opera  as  Violetta 
in  Verdi's  Traviata  in  1864.  Her  career  was  highly  suc- 
cessful. Lives  Paris. 

Nodermann,  Presben.  Composer;  born  Hjorring,  Den., 
Jan.  11,  1867.  Composed  the  opera  King  Magnus.  Lives 
Lund,  Swed. 

Nohl,  Karl  F.  L.  Writer;  born  Iserlohn,  Ger.,  Dec.  5, 
1831;  died  Heidelberg,  Ger.,  Dec.  15,  1885.  Wrote  a  his- 
tory of  music  and  biographical  works. 

Nordica,  Lillian.  Soprano;  born  Farmington,  Me.,  May 
12,  1859;  died  Batavia,  Java,  May  10,  1914.  Studied  at  the 
New  England  Conservatory,  Boston.  For  many  years  she 
ranked  among  the  leading  artists  of  the  world,  being  espe- 
cially distinguished  in  Wagnerian  roles. 


NORDQVIST 


642 


OSTRCIL 


Nordqvist,  Johann  Conrad.  Conductor;  born  Venersborg, 
Swed.,  Apr.  11,  1840.  Orchestral  composer. 

Nordraak,  Rikard.  Composer;  born  Christiania,  Nor.,  Jun. 
12,  1842;  died  Berlin,  Mar.  20,  1876.  Influenced  Grieg  to- 
ward nationalism;  composed  songs,  incidental  music,  etc. 

Noren,  Heinrich  Gottlieb.  Violinist,  composer;  born  Graz, 
Aus.,  Jan.  6,  1861.  Orchestral  composer.  Lives  Berlin. 

Norris,  Homer  A.  Organist,  composer,  theorist;  born 
Wayne,  Me.,  Oct.  4,  1860.  Author  of  harmony  text-books. 

Noskowski  (Nos-koff-ski),  Sigismund.  Composer;  born 
Warsaw,  Pol.,  May  2,  1848;  died  Aug.,  1909.  Composed 
operas,  symphonies,  symphonic  poems,  chamber  music,  etc. 

Nottebohm,  Martin  Gustav.  Writer;  born  Liidenscheid, 
Ger.,  Nov.  12,  1817;  died  Graz,  Aus.,  Oct.  29,  1882. 

Nougues  (Noo-ghes),  Jean.  Composer;  born  Bordeaux, 
France,  1876.  Composed  operas,  Thamyris,  Yannha,  Quo 
Vadis,  etc.  Lives  Paris. 


Nourrit  (Noo-rcc),  Adolphe.  Tenor;  born  Paris,  Mar.  3, 
1802;  died  Naples,  Mar.  8,  1839.  Famous  opera  singer. 

Novacek  (No-va-chek),  Ottokar.  Violinist,  composer; 
born  Fehertemplom,  Hun.,  May  13,  1866;  died  New  York. 
Mar.  3,  1900.  Composed  chamber  music,  orchestral  works, 
etc. 

Novak,  Viteslav.  Composer;  born  Kamenitz,  Boh.,  Dec. 
5,  1870.  Orchestral  composer.  Lives  Prague,  Boh. 

Novello.  (1)  Clara  A.  Soprano;  born  London,  Jun.  10, 
1818;  died  Rome,  1908.  (2)  Vincent.  Composer;  born 
London,  Sept.  16,  1781;  died  Nice,  France,  Oct.  9,  1861. 
One  of  the  founders  of  the  London  Philharmonic  Society 
and  of  the  music  publishing  house  of  Novello  &  Co.,  Lon- 
don (1811). 

Novoviejski  (No-vo-vyes-ki),  Felix.  Composer;  born  War- 
tenburg,  Feb.  7,  1877.  Composed  symphonies,  etc.  Lives 
Cracow,  Aus. 


o 


Oakeley,  Sir  Herbert  Stanley.  Composer,  organist;  born 
Haling,  Eng.,  Jul.  20,  1830;  died  Edinburgh,  Scot.,  Oct.  26, 
1903.  Composer  to  Queen  Victoria  who  knighted  him  in 
1876.  Wrote  a  cathedral  service,  anthems,  the  cantata 
Jubilee  Lyric,  songs,  piano  compositions,  an  organ  sonata, 
orchestral  music,  etc. 

Oberleithner  (O-bcr-lite-ner),  Max  von.  Composer;  born 
Mahrisch-Schonberg,  Boh.,  Jul.  11,  1868.  Composed  the 
operas  Released,  Gitana,  Aphrodite,  etc. 

Oberthiir  (O-ber-teer),  Karl.  Harpist;  born  Munich,  Ger., 
Mar.  4,  1819;  died  London,  1905. 

O'Carolan,  Turloch.  Singer;  born  Newtown,  Ire.,  1670; 
died  Alderford,  Ire.,  Mar.  25,  1738.  One  of  the  last  and 
greatest  of  the  Irish  bards.  Composed  songs,  etc. 

Ochs  (Ox).  (1)  Traugott.  Pianist,  composer;  born  Al- 
tenfeld,  Ger.,  Oct.  19,  1854.  Lives  Berlin.  (2)  Siegfried. 
Conductor,  composer ;  born  Frankfort,  Ger.,  Apr.  19,  1858. 
Famous  choral  conductor.  Lives  Berlin. 

Odington,  Walter.  Writer;  born  England,  about  1250; 
died  about  1316.  Inventor  of  measured  notes.  A  monk. 

Oelsner  (Els-ner),  Bruno.  Composer;  born  Neudorf, 
Ger.,  Jul.  29,  1861.  Composed  operas,  cantatas,  songs. 
Lives  Darmstadt,  Ger. 

Oesten  (Ays-ten),  Theodor.  Pianist,  composer;  born  Ber- 
lin, Dec.  31,  1813;  died  there,  Mar.  16,  1870. 

Offenbach,  Jacques.  Composer;  born  Cologne,  Ger.,  Jun. 
21,  1819;  died  Paris,  Oct.  5,  1880.  Wrote  a  number  of  ex- 
ceedingly clever  comic  operas,  La  Fille  du  Tambour-Major, 
Orphee  aux  Enfers,  La  Belle  Hclcne,  etc.,  and  one  fine  opera 
of  serious  type,  Les  Contes  d'Hoffmann. 

Okeghem,  Jean  de.  Composer;  born  Termonde,  Bel., 
about  1430;  died  Tours,  France,  1496.  Contrapuntal  com- 
poser. 

Oldberg,  Arne.  Composer,  pianist;  born  Youngstown,  O., 
Jul.  12,  1874.  Composed  symphonies,  overtures,  and  shorter 
works.  Northwestern  University,  Evanston,  111. 

O'Leary,  Arthur.    Pianist;  born  Tralee,  Ire.,  Mar.  15,  1834. 
Olitzka,  Rosa.     Contralto;  born  Berlin,  Ger.,  Sept.  6,  1873. 
Opera  singer. 


Oliver,  Henry  Kemble.  Composer;  born  Beverly,  Mass., 
Nov.  24,  1800;  died  Boston,  Aug.  10,  1885.  Hymn  com- 
poser. 

Ollone,  Max  d'.  Composer;  born  Besangon,  France,  Jun. 
13,  1875.  Composed  operas,  chamber  music,  etc. 

Olsen,  Ole.  Composer,  conductor;  born  Hammerfest, 
Nor.,  Jul.  5,  1850.  Composed  a  symphony,  symphonic  poems, 
Asgardsreien,  etc.,  the  opera  Stig  Hvide,  an  oratorio,  etc. 
Lives  Stockholm,  Swed. 

Ondricek  (On-dri-chek) ,  Franz.  Violinist;  born  Prague, 
Boh.,  Apr.  29,  1859.  Lives  Vienna. 

O'Neill,  Norman.  Composer;  born  London*  Mar.  14, 
1875.  Orchestral  composer.  Lives  London. 

Onslow,  George.  Composer;  born  Clermont-Ferrand, 
France,  Jul.  27,  1784;  died  there,  Oct.  3,  1852.  Wrote 
operas,  symphonies,  chamber  music,  etc.  His  best  work  is 
in  the  latter  style. 

Opienski,  Heinrich.     Composer;  born   Cracow,  Aus.,  Jam. 

13,  1870.     Composed  the  opera  Maria,  etc.     Lives  Warsaw, 

Pol. 

Orefice.     See   Dell   Orefice. 
Ornstein,   Leo.     Pianist,   composer;   born    Krementchouk, 

Rus.,    Dec.    11,    1895(94).     Composed   orchestral,   chamber, 

and  piano  music   in   advanced   modern   style.     Lives   New 

York. 
Orth    (Ort).      (1)    John.      Pianist,    composer;    born,   near 

Annweiler,  Ger.,   Dec.  2,   1850.     Lived  in  U.   S.  since  a 

child.     Pupil   of  Liszt.     Lives   Boston.      (2)   Lizette  E. 

Composer;   died   Boston,  Aug.   14,   1913.     Composed  many 

teaching   pieces    for   piano,    songs,   operettas    for   childre«. 

Wife  of  (1). 
Osborne,  George  Alexander.     Pianist,  teacher;  born  Lin»- 

erick,  Ire.,  Sept.  24,  1806;  died  London,  Nov.  16,  1893. 

Osgood,    George    L.      Composer,    teacher;    born    Chelsea, 

Mass.,  Apr.  3,  1844.    Composed  songs  and  part-songs.   Lives 

England. 
Osterzee,   Cornelia  van.     Composer;   born   Batavia,  Java, 

Aug.  16,  1863.    Orchestral  composer. 
Ostrcil     (Ostr-chil),    Ottokar.      Composer;    born,    Prague, 

Boh.,  Feb.  25,  1879.    Czech  opera  composer.     Lives  Prague. 


OTTERSTROEM 


643 


PARKER 


Otterstroem  (Ot-ter-straym).  Thorvald.  Composer;  born 
Copenhagen,  Den.,  Jul.  17,  1868.  Composed  chamber  music, 
etc.  Lives  Chicago. 

Otto,  Ernst  Julius.  Composer;  born  Konigstein,  Ger., 
Sept.  1,  1804;  died  Dresden,  Ger.,  Mar.  5,  1877. 


Ouseley,  Sir  Frederick  Arthur  Gore.  Organist,  composer, 
theorist;  born  London,  Aug.  12,  1825;  died  Hereford,  Eng., 
Apr.  6,  1889.  Wrote  a  large  amount  of  church  music,  two 
oratorios,  Hagar  and  St.  Polycarp,  treatises  on  harmony, 
counterpoint  and  other  subjects. 


Pache,  Johannes.  Composer;  born  Bischofswerda,  Ger., 
Dec.  9,  1857 ;  died  Limbach,  Ger.,  Dec.  24,  1897.  Composed 
choruses  for  men's  voices. 

Pachmann,  Vladimir  de.  Pianist;  born  Odessa,  Rus.,  Jul. 
27,  1848.  Great  Chopin  player.  Toured  Europe  and  Amer- 
ica with  great  sucess. 

Pachulski  (Pak-hool-ski) ,  Henry.  Composer;  born  Lasa, 
Rus.,  Oct.  16,  1859.  Orchestral  and  piano  composer.  Lives 
Moscow,  Rus. 

Pacini  (Pah-chec-nee),  Giovanni.  Composer;  born  Catania, 
Italy,  Feb.  17,  1796;  died  Pescia,  Italy,  Dec.  6,  1867. 

Pacius  (Pah-che-oos),  Fredrik.  Violinist,  composer;  born 
Hamburg,  Ger.,  Mar.  19,  1809;  died  Helsingfors,  Fin.,  Jan.  9, 
1891.  Composed  operas,  choruses,  etc. 

Paderewski,  Ignaz  Jan.  Pianist,  composer;  born  Kuri- 
lowka,  Pol.,  Nov.  18,  1860.  One  of  the  greatest  pianists 
that  the  world  has  seen.  His  compositions  are  chiefly  for 
the  piano,  except  his  opera  Manru  and  a  concerto.  FirsV 
prime  minister  of  the  Polish  republic. 

Pae'r  (Pah-air),  Ferdinando.  Composer;  born  Parma, 
Italy,  Jun.  1,  1771;  died  Paris,  May  3,  1839.  Composed 
forty-three  operas.  Was  court  composer  to  Napoleon 
(1807)  and  director  of  the  Italian  opera  in  Paris,  1812-1827. 

Paganini,  Nicolo.  Violinist,  composer;  born  Genoa,  Italy, 
Oct.  27,  1782;  died  Nice,  France,  May  27,  1840.  In  1828 
he  made  a  concert  tour  through  Europe  everywhere  cre- 
ating an  unparalleled  impression.  His  immense  command 
ol  the  resources  of  his  instrument,  combined  with  a  very 
remarkable  appearance  and  manner  and  an  inherent  love 
of  secrecy  and  mystery,  caused  many  to  regard  him  as  a 
species  of  goblin  or  demon,  and  books  might  be  filled  with 
the  uncanny  traditions  which  have  gathered  round  the 
memory  of  this  wonderful  man.  He  left  a  number  of  com- 
positions for  the  violin,  full  of  tremendous  technical  diffi- 
culties. 

Page,  Nathaniel  Clifford.  Composer;  born  San  Francisco, 
Cal.,  Oct.  26,  1866.  Composed  incidental  music,  songs,  etc. 
Lives  New  York. 

Paine,  John  Knowles.  Organist,  composer;  born  Port- 
land, Me.,  Jan.  9,  1839;  died  Cambridge,  Mass.,  Apr.  25, 
1906.  Distinguished  American  musician.  Studied  in  Berlin, 
gave  organ  concerts  there  and  in  American  cities,  and  was 
organist  of  the  West  Church,  Boston.  In  1862  he  became 
teacher  of  music  at  Harvard  and  organist  of  Appleton 
Chapel  there.  Among  his  works  are  the  oratorios  St.  Peter, 
cantatas,  a  mass,  two  symphonies,  two  symphonic  poems, 
overtures,  music  to  Oedipus,  chamber  music,  organ  and 
piano  pieces,  and  songs. 

Paisiello  (Pah-ees-yello) ,  Giovanni.  Composer;  born  Ta- 
ranto,  Italy,  May  9,  1741 ;  died  Naples,  Italy,  Jun.  3,  1816. 
Composed  operas  for  Naples  and  Petrograd. 

Paladilhe  (Pal-a-dee-ye),  Emile.  Composer;  born  Morat- 
pellier,  France,  Jun.  3,  1844.  Composed  operas  and  or- 
chestral works.  Lives  Paris. 


Palestrina  (Pal-es-tree-na),  Giovanni  Pierluigi  da.  Com- 
poser; born  Palestrina,  Italy,  1526;  died  Rome,  Feb.  2, 
1594.  Was  a  singer  in  the  Pontifical  Chapel  in  the  time  of 
Pope  Julius  III  and  afterward  became  composer  to  the 
chapel.  From  1571  until  his  death  he  was  chapel  master 
of  St.  Peter's.  He  is  held  in  reverence  as  one  of  the 
greatest  masters  in  the  old  contrapuntal  style.  He  has 
been  called  "Prince  of  Music."  Many  of  his  severely  grand 
church  compositions  are  still  performed  in  Rome. 

Palmer,  Horatio  R.  Composer,  conductor;  born  Sher- 
burne,  N.  Y.,  Apr.  26,  1834;  died  Nov.,  1907. 

Palmgren,  Selim.  Pianist,  composer;  born  Bjorneborg, 
Fin.,  Feb.  16,  1878.  Piano  and  song  composer.  Lives  Hel- 
singfors, Fin. 

Pals,  Leopold  van  der.  Composer;  born  Petrograd,  Jul.  5, 
1884.  Composed  for  orchestra,  chamber  music,  and  violin. 

Panizza  (Pah-nit-za),  Ettore.  Composer,  conductor;  born 
Buenos  Ayres,  Argen.,  Aug.  12,  1875.  Opera  composer,  Au- 
ivra,  etc.  Lives  London. 

Panofka,  H.  Teacher  of  singing,  composer;  born.  Breslau, 
Ger.,  Oct.  3,  1807 ;  died  Florence,  Italy,  Nov.  18,  1887.  Com- 
posed for  voice  and  violin. 

Panseron,  A.  Teacher  of  singing,  composer;  born  Paris, 
Apr.  26,  1796;  died  there,  Jul.  29,  1859.  Wrote  vocal  studies. 

Panzner,  Karl.  Conductor;  born  Teplitz,  Boh.,  Mar.  2, 
1866.  Lives  Diisseldorf,  Ger. 

Papini,  Guido.  Violinist;  born  Camagiore,  Italy,  Aug.  1, 
1847;  died  London,  Oct.  3,  1912. 

Papperitz,  Benjamin  Robert.  Organist,  composer;  born 
Pirna,  Ger.,  Dec.  4,  1826;  died  Leipzig,  Ger.,  Sept.  29,  1903. 
Composed  for  organ  and  choir. 

Paque  (Pahk),  Desire.  Pianist,  teacher;  born  Liege,  Bel., 
May  21,  1867.  Composed  symphonies,  overtures,  chamber 
music,  the  opera  Vaima,  etc.  Lives  Geneva,  Switz. 

Paradis,  Maria  Teresa  von.  Composer;  born  Vienna,  May 
15,  1759;  died  there,  Feb.  1,  1824.  Pianist  and  opera  com- 
poser, although  blind  from  her  fifth  year. 

Paradisi  (Paradies),  Pietro  Domenico.  Composer;  born 
Naples,  Italy,  1710;  died  Venice,  Italy,  1792. 

Parepa-Rosa,  Euphrosyne.  Soprano;  born  Edinburgh, 
Scot,  May  7,  1836;  died  London,  Jan.  21,  1874.  Her  voice 
was  remarkable  for  strength  and  sympathetic  quality.  Its 
compass  was  two  and  one-half  octaves.  She  married  Carl 
Rosa. 

Parish-Alvars,  Elias.  Harpist,  composer;  born  Teign- 
mouth,  Eng.,  Feb.  28,  1810;  died  Vienna,  Jan.  25,  1849. 

Parker.  (1)  Horatio.  Composer;  born  Aubumdale,  Mass., 
Sept.  15,  1863;  died  Dec.  18,  1919.  Studied  under  Chad- 
wick,  and  afterward  at  Munich.  In  1894  he  became 
professor  of  music  at  Yale  University.  His  works 
include  the  fine  oratorio  Hora  Novissima,  cantatas, 


PARLOW 


644 


PERI 


choruses,  orchestral  music,  anthems,  songs.  His  opera 
Mono,  on  a  poetic  subject  of  early  Britain,  was  pro- 
duced in  New  York.  (2)  James  C.  D.  Organist, 
teacher,  composer;  born  Boston,  Jun.  2,  1828;  died  Brook- 
line,  Mass.,  Nov.  27,  1916.  Wrote  several  cantatas. 

Parlow,  Kathleen.  Violinist;  born  Calgary,  Alberta,  1890. 
Pupil  of  Auer.  Distinguished  virtuoso. 

Parratt,  Sir  Walter.  Organist,  composer;  born  Hudders- 
field,  Eng.,  Feb.  10,  1841.  Chief  professor  of  the  organ  at 
the  Royal  College  of  Music,  London. 

Parry.  (1)  Sir  Charles  Hubert  Hastings.  Composer; 
born  Bournemouth,  Eng.,  Feb.  27,  1848.  His  works 
include  an  overture,  Guillem  de  Cabestanh,  a  piano  con- 
certo, the  choral  works  Judith,  Scenes  from  "Prometheus 
Unbound,"  Blest  Pair  of  Sirens,  etc.;  also  symphonies, 
chamber  music,  songs,  and  piano  pieces.  He  has  also 
made  several  important  contributions  to  musical  lit- 
erature, Evolution  of  the  Art  of  Music,  etc.  Became  di- 
rector of  the  Royal  College  of  Music  in  1894,  and  was 
knighted  in  1898.  Lives  Worthing,  Eng.  (2)  Joseph. 
Composer;  born .  Merthyr-Tydvil,  Wales,  May  21,  1841. 
Son  of  a  laborer.  Won  a  distinguished  place  among  mu- 
sicians by  his  compositions,  operas,  cantatas,  overtures,  etc. 

Parsons,  Albert  Ross.  Teacher,  pianist;  born  Sandusky, 
O.,  Sept.  16,  1847.  Aut'por  of  books  on  piano  playing. 
Lives  New  York. 

Pasch,  Oskar.  Organist,  composer;  born  Frankfort.  Ger., 
Mar.  28,  1844.  Composed  a  symphony,  etc.  Lives  Berlin. 

Pascucci  (Pas-coo-t-chce) ,  Giovanni.  Composer;  born 
Rome,  Feb.  28,  1841.  Operetta  composer.  Lives  Rome. 

Pasdeloup  (Pah-de-loo),  Jules  Etienne.  Conductor;  born 
Paris,  Sept.  15,  1819;  died  Fontainebleau,  France,  Aug.  13, 
1887. 

Pasmore,  Henry  Bickford.  Organist,  composer,  teacher; 
born  Jackson,  Wis.,  Jun.  27,  1857.  Composed  a  march, 
overture,  masses,  songs,  etc.  Lives  San  Francisco,  Cal. 

Pasta,  Giuditta.  Soprano;  born  Saronno,  Italy,  Apr.  9, 
1798;  died  Lake  Como,  Italy,  Apr.  1,  1865. 

Patey,  Janet  Whytock.  Contralto;  born  London,  May  1, 
1842;  died  Sheffield,  Eng.,  Feb.  28,  1894.  Oratorio  and 
concert  singer. 

Paton,  Mary  Anne.  Soprano;  born  Edinburgh,  Scot.,  Oct., 
1802;  died  Chapelthorpe,  Eng.,  Jul.  21,  1864.  Appeared  in 
the  first  productions  of  Weber's  Freischutz  and  Oberon. 
Married  Lord  William  Pitt  Lenox,  and  afterward  Joseph 
Wood,  a  tenor. 

Patti  (Pah-tee).  (1)  Adelina.  Soprano;  born,  Madrid, 
Spain,  Feb.  10,  1843.  Daughter  of  Salvatore  Patti,  an 
Italian  tenor.  When  very  young  came  to  U.  S.  with 
her  parents.  Appeared  in  New  York  in  Lucia  di  Lam- 
mermoor  with  great  success,  and  from  that  time  went  on 
for  many  years  steadily  increasing  her  reputation.  Lives 
Craig-y-Nos,  Wales.  (2)  Carlotta.  Soprano;  born 
Florence,  Italy,  1840 ;  died  Paris,  June  27,  1889.  Coloratura 
virtuoso. 

Pattison,  John  Nelson.  Composer,  pianist;  born  Niagara 
Falls,  N.  Y.,  Oct.  22,  1845;  died  July,  1905.  Composed 
Niagara  symphony  for  orchestra  and  band,  and  many  piano 
pieces. 


Pauer  (Pow-cr).  (\)  Ernst.  Pianist,  teacher,  writer;  born 
Vienna,  Dec.  21,  1826;  died  Jugenheim,  May  9,  1905. 
A  pupil  of  Dirzka  and  W.  A.  Mozart,  Jr.,  for  piano, 
and  of  Lachner  for  composition.  From  1852  resided  in 
London.  Edited  the  works  of  classical  composers,  wrote 
books  on  musical  subjects,  and  composed  operas,  piano 
pieces,  etc.  (2)  Max.  Pianist;  born  London,  Oct.  31, 
1866.  Director  Stuttgart,  Ger.,  Conservatory. 

Paur  (Powr),  Emil.  Conductor;  born  Czernowitz,  Aus., 
Aug.  29,  1855.  Lives  Berlin. 

Peace,  Albert  Lister.  Organist;  born  Huddersfield,  Eng., 
Jan.  26,  1844 ;  died  Mar.  14,  1912.  City  organist,  Liverpool, 
Eng. 

Pearce,  Charles  William.  Organist,  composer;  born  Sal- 
isbury, Eng.,  Dec.  5,  1856.  Lives  London. 

Pearsall,  Robert  Lucas  de.  Composer;  born  Clifton,  Eng., 
Mar.  14,  1795 ;  died  Lake  Constance,  Aug.  5,  1856.  Wrote 
a  number  of  well-known  madrigals  and  part-songs. 

Pease,  Alfred  H.  Pianist,  composer;  born  Cleveland,  O., 
May  6,  1838;  died  St.  Louis,  Mo.,  Jul.  13,  1882.  Wrote  songs 
and  piano  pieces. 

Pedrell,  Felipe.  Composer;  born  Tortosa,  Spain,  Feb.  19, 
1841.  Wrote  a  number  of  historical  works.  Spanish  opera 
and  orchestral  composer.  Royal  Conservatory,  Madrid. 

Pedrotti,  Carlo.  Composer;  born  Verona,  Italy,  Nov.  12, 
1817;  died  there,  Oct.  16,  1893.  Opera  composer. 

Pembaur.  (1)  Joseph.  Composer;  born.  Innsbruck,  Aus., 
May  23,  1848.  Song  and  orchestral  composer.  Lives 
Innsbruck.  (2)  Joseph,  Jr.  Pianist;  born  Innsbruck, 
Aus.,  Apr.  20,  1875.  Lives  Leipzig,  Ger.  (3)  Karl. 
Organist,  conductor;  born  Innsbruck,  Aus.,  Aug.  24,  1876. 
Composed  a  mass.  Lives  Dresden,  Ger. 

Penfield,  Smith  Newell.  Organist,  teacher,  composer; 
born,  Oberlin,  O.,  Apr.  4,  1837;  died  New  York,  Jan.  7, 
1920.  Composed  a  string  quintet,  piano  pieces,  songs. 

Peppercorn,  Gertrude.  Pianist;  born  West  Horsley,  Eng., 
Dec.  1,  1878.  Pupil  of  Matthay 

Pepusch,  Johann  Christoph.  Organist,  composer;  born 
Berlin,  1667;  died  London,  July  20,  1752. 

Perabo,  Ernst.  Pianist,  teacher;  born  Wiesbaden,  Ger., 
Nov.  14,  1845.  Lives  Boston. 

Perfall,  Karl,  Freiherr  von.  Composer;  born  Munich, 
Ger.,  Jan.  29,  1824;  died  there,  Jan.  15,  1907.  Opera  com- 
poser. 

Perger,  Richard  von.  Composer;  born  Vienna,  Jan.  10, 
1854;  died  there.  Jan.  11,  1911.  Composed  operas  and  cham- 
ber music. 

Pergolesi  (Per-go-lay-see),  Giovanni  Battista.  Composer; 
born  Jesi,  Italy,  Jan.  3,  1710;  died  Pozzuoli,  Italy,  Mar.  16, 
1836.  A  student  of  Naples  Conservatory.  Wrote  operas 
and  church  music.  His  best  work  is  a  Stabat  Mater  com- 
pleted a  few  days  before  his  death. 

Peri  (Pay-ree),  Jacopo.  Composer,  singer,  lutenist;  born 
Florence,  Italy,  Aug.  20,  1561;  died  there  about  1630.  Of 
noble  birth.  Composed  Dafne,  the  first  real  opera,  and 
Euridicc,  thereby  furnishing  models  for  a  new  style  of  stage 
composition. 


PERKINS 


645 


POLDINI 


Perkins.  (1)  Charles  C.  Author;  born  Boston,  Mar.  1, 
1823;  died  Windsor,  Vt.,  1886.  First  president  of  the 
Handel  and  Haydn  Society,  Boston.  (2)  Henry  South- 
wick.  Teacher,  composer;  born  Stockbridge,  Vt.,  Mar. 
20,  1833;  died  Chicago,  Jan.  20,  1914.  Wrote  sacred  and 
secular  choruses. 

Perosi  (Pa-ro-see).  (1)  Lorenzo.  Composer;  born  Tor- 
tona,  Italy;-  Dec.  20,  1872.  Composed  many  oratorios 
and  the  opera  Romeo  and  Juliet.  Director  Sistine  Chapel, 
Rome.  (2)  Marziano.  Composer;  born  Italy,  1875. 
Composed  the  opera  Last  Days  of  Pompeii.  Brother  of  (1). 

Perry,  Edward  Baxter.  Pianist;  born  Haverhill,  Mass., 
Feb.  14,  1855.  Specializes  in  lecture  recitals.  Blind. 

Peschka-Leutner      (Loit-ner),      Minna.       Soprano;      born 

Vienna,  Oct.  25,  1839;  died  Wiesbaden,  Ger.,  Jan.  12,  1890. 

Eminent  in  opera  and  concert. 
Pessard    (Pes-sar),   Emile   Louis.     Composer;  born   Paris, 

May  28,    1843.     Composed   operas,   chamber   music,   songs. 

Lives  St.  Denis,  France. 

Peters  (Pay-ters),  Guido.  Pianist,  composer;  born  Graz, 
Aus.,  Nov.  29,  1866.  Lives  Vienna. 

Petersilea  (Pay-ter-sil-e-a),  Carlyle.  Pianist,  teacher;  born 
Boston,  Jan.  18,  1844;  died  Tropico,  Cat,  Jun.  11,  1903. 

Peterson-Berger  (Pay-ter-son  Bair-ger),  Wilhelm.  Com- 
poser, conductor;  born  Ullangar,  Swed.,  Feb.  27,  186t. 
Composed  operas,  Ran,  etc. 

Petrucci  (Pe-troo-chee),  of  Fossombrone.  Invented  print- 
ing music  from  movable  type  in  Italy  about  1500. 

Petschnikov,  Alexander.  Violinist;  born  Jeletz,  Rus.,  Feb. 
8,  1873.  Lives  Munich,  Ger. 

Pfeiffer  (Pfay-fair).  (1)  Georges  Jean.  Pianist;  born 
Versailles,  France,  Dec.  12,  1835;  died  Paris,  Feb.  14,  1908. 
Composed  symphonies,  chamber  music,  etc.  Pfeiffer 
(Pfy-fer).  (2)  Theodor.  Pianist,  teacher;  born  Heidel- 
berg, Ger.,  Oct.  20,  1853.  Author  of  educational  works. 

Pfitzner,  Hans.  Composer;  born  Moscow,  May  5,  1869. 
Opera  composer,  Der  arme  Heinrich,  Die  Rose  vom  Liebes- 
garten,  etc.  Lives  Strassburg,  Alsace. 

Pfohl,  Ferdinand.  Writer,  composer;  born  Elbogen,  Boh., 
Oct.  12,  1863.  Composed  symphonic  poems,  etc.,  wrote 
opera  guides.  Lives  Hamburg,  Ger. 

Phelps,  Ellsworth  C.  Organist,  composer;  born  Middle- 
town,  Conn.,  Aug.  11,  1827.  Composed  a  Hiawatha  sym- 
phony, the  sacred  opera  David,  piano  pieces,  songs,  etc. 
Lives  Brooklyn,  N.  Y. 

Philidor  (really  Danican),  Francois.  Composer;  born 
Dreux,  France,  Sept.  7,  1726;  died  London,  Aug.  31,  1795. 
Composed  many  operas. 

Philipp,  Isidor.  Pianist,  teacher,  composer;  born  Buda- 
Pesth,  Hun.,  Sept.  2,  1863.  Author  of  valuable  technical 
studies  for  the  piano.  Paris  Conservatory. 

Phillips,  Adelaide.  Contralto ;  born  Stratford-on-Avon,  Eng., 
1833;  died  Carlsbad,  Ger.,  Oct.  3,  1882. 

Piatti,  Alfredo.  'Cellist;  born  Bergamo,  Italy,  Jan.  8,  1822; 
died  near  there,  Jul.  19,  1901.  Composed  for  'cello. 

Piccinni  (Pit-chee-nec),  Niccolo.  Composer;  born  Bari, 
Italy,  Jan.  16,  1728;  died  Passy,  France,  May  7,  1800. 
Gluck's  rival  in  Paris.  A  composer  of  recognized  talent, 
but  less  important  on  account  of  his  operas,  of  which  he 


wrote  a  great  number,  than  by  reason  of  the  controversies 
in  which  he  figured — especially  that  in  which  he  was  de- 
feated by  Gluck  whose  methods  triumphed  over  those  of 
his  Italian  rival. 

Pierne  (Pyair-nay),  Henri  Constant  Gabriel.  Composer; 
born  Metz,  Alsace,  Aug.  16,  1863.  Composed  the  oratorios 
St.  Francis  of  Assist,  The  Children's  Crusade,  etc.  Lives 
Paris. 

Pierson,  Henry  Hugo.  Composer;  born  Oxford,  Eng., 
Apr.  12,  1815;  died  Leipzig,  Ger.,  Jan.  28,  1873.  Settled  in 
Germany.  His  principal  work  is  the  oratorio  Jerusalem, 
produced  at  the  Norwich,  Eng.,  Festival  of  1852. 

Pinelli,  Ettore.  Violinist,  conductor;  born  Rome,  Oct.  18, 
1843.  Lives  Rome. 

Pinsuti,  Giro.  Composer,  teacher  of  singing;  born  Sina- 
lunga,  Italy,  May  9,  1829;  died  Florence,  Italy,  Mar.  10, 
1888.  Lived  in  London  many  years,  and  wrote  popular 
songs  in  the  ballad  style. 

Pirani,  Eugenio  di.  Pianist,  composer;  born  Bologna, 
Italy,  Sept.  18,  1852.  Composed  orchestral  suites,  an  opera, 
chamber  music,  etc.,  showing  German  influence.  Lives  New 
York. 

Pitt,  Percy.  Composer,  conductor;  born  London,  Jan.  4, 
1870.  Composed  symphonic  poems,  incidental  music,  an 
Oriental  Rhapsody,  etc.  Royal  Opera,  Convent  Garden, 
London. 

Pittrich,  George  Washington.  Conductor,  composer;  born 
Dresden,  Feb.  22,  1870.  Composed  operas  and  incidental 
music.  Lives  Berlin. 

Piutti,  Karl.  Organist,  composer;  born  Elgersburg,  Ger., 
Apr.  30,  1846;  died  1902.  Composed  organ  works. 

Pizzi  (Pit-see),  Emilio.  Composer;  born  Verona,  Italy, 
Feb.  2,  1862.  Composed  operas,  Gabriella,  etc.  Lives  Ber- 
gamo, Italy. 

Plaidy  (Pli-dy),  Louis.  Pianist,  teacher;  born  Wermsdorf, 
Ger.,  Nov.  28,  1810;  died  Grimma,  Ger.,  Mar.  3,  1874.  Best 
known  for  his  technical  studies  for  the  piano. 

Planquette  (Plang-,ket),  Robert.  Composer;  born  Paris, 
Jul.  31,  1848;  died  there,  Jan.  28,  1903.  Wrote  a  number 
of  comic  operas. 

Platania,  Pietro.  Composer;  born  Catania,  Italy,  1828; 
died  Naples,  1907.  Composed  symphonies,  etc. 

Pleyel  (Pli-el),  Ignaz  Joseph.  Composer  born  Rupperts- 
thal,  near  Vienna,  Jun.  1,  1757;  died  Paris,  Nov.  14,  1831. 
Wrote  symphonies,  chamber  music,  violin,  studies,  etc. 

Podbertsky,  Theodor.    Composer;  born  Munich,  Ger.,  Nov. 

16,  1846;  died  there,  Oct.  5,  1913.    Composed  choruses  for 

men's  voices,  etc. 
Poenitz     (Pay-nits),    Franz.       Harpist,     composer;     born 

Bischofswerda,  Ger.,  Aug.  17,  1850.     Royal  Opera,  Berlin. 

Pohlig,  Karl.  Conductor,  composer;  born  Teplitz,  Boh., 
Feb.  10,  1864.  Lives  Brunswick,  Ger. 

Poise  (Pwahs),  Jean  Ferdinand.  Composer;  born  Nimes, 
France,  Jun.  3,  1828;  died  Paris,  May  13,  1892. 

Polacco,  Giorgio.  Conductor,  composer;  born  Venice, 
Italy,  Apr.  12,  1875.  Metropolitan  Opera  Co.,  New  York. 

Poldini  (Pol-dee -nee),  Eduard.  Composer;  born  Buda- 
Pesth,  Hun.,  Jun.  13,  1869.  Composed  fairy  plays,  the  opera 
Vagabond  and  Princess,  and  many  attractive  piano  pieces. 


POLE 


646 


PVNE 


Pole,  William.  Writer,  theorist;  born.  Birmingham,  Eng., 
Apr.  22,  1814;  died  London,  Dec.  3,  1900.  Wrote  valuable 
works  of  a  scientific  character. 

Polko,  Elise.  Writer;  born  near  Dresden,  Ger.,  Jan.  13, 
1822;  died  Munich,  Ger.,  May  IS,  1899. 

Polleri  (Pol-lay-ree),  Giovanni.  Organist,  composer; 
teacher;  born  Genoa,  Italy,  185S.  Composed  masses,  piano 
pieces,  etc.  Genoa  Conservatory. 

Pollitzer  Adolf.  Violinist;  born  Pesth,  Hun.,  1832;  died 
London,  1900. 

Pomasanski,  Ivan.  Conductor,  composer;  born  Kiev,  Rus., 
Apr.  11,  1848.  Composed  an  overture,  songs,  etc.  Lives 
Petrograd. 

Ponchielli  (Pon-ke-el-lee),  Amilcare.  Composer;  born,  near 
Cremona,  Italy,  Aug.  31,  1834;  died  Milan,  Italy,  Jan.  16, 
1886.  Operas,  La  Gioconda,  etc. 

Poniatowski  (Pon-ya-tof-ski),  Prince  J.  M.  F.  Tenor,  com- 
poser; born  Rome,  Feb.  20,  1816;  died  London,  Jul.  4,  1873. 
Composed  several  Italian  operas,  and  songs  in  English. 

Pontoglio  (Pon-tol-yo),  Cipriano.  Composer;  born  Grum- 
ello  del  Piano,  Italy,  Dec.  25,  1831;  died  Milan,  Italy,  Feb. 
23,  1892.  Composed  a  number  of  successful  operas. 

Popoff,  Ivan.  Composer;  born  Ekaterinodar,  Rus.,  1859. 
Composed  a  symphony,  symphonic  poems,  etc.  Lives  Stav- 
ropol, Rus. 

Popper,  David.  'Cellist;  born  Prague,  Boh.,  Jun.  18,  1846; 
died  Aug.  7,  1913.  In  1868  became  solo  'cellist  at  the  Court 
Opera  in  Vienna.  After  1873  made  many  concert  tours. 
Composed  for  'cello. 

Porpora,  Niccolo  Antonio.  Teacher,  composer;  born  Na- 
ples, Italy,  Aug.  19,  1686;  died  there,  Feb.,  1766.  Eminent 
as  teacher  and  conductor.  Composed  many  operas. 

Por*er,  Frank  Addison.  Pianist,  teacher;  born.  Dixmont, 
Me.,  Sept.  13,  1859.  New  England  Conservatory,  Boston. 

Potter,  Philip  Cipriani.  Pianist,  composer;  born  London, 
Oct.  2,  1792;  died  there,  Sept.  26,  1871.  Became  principal 
of  the  Royal  Academy  of  Music  in  1832. 

Pottgiesser  (Pot-gee-ser),  Karl.  Composer,  writer;  born 
Dortmund,  Ger.,  Aug.  8,  1861.  Opera  and  oratorio  com- 
poser. Lives  Munich,  Ger. 

Pougin  (Poo-zhan),  Arthur.  Writer,  violinist;  born  Cha- 
teauroux,  France,  Aug.  6,  1834.  Wrote  critical,  biographical, 
and  historical  works.  Lives  Paris. 

Powell.  (1)  John.  Composer,  pianist;  born  Richmond, 
Va.,  Sept.  6,  1882.  Composed  for  orchestra,  chamber 
music,  piano.  Lives  Richmond.  (2)  Maud.  Violinist; 
born  Peru,  111.,  Aug.  22,  1868;  died  Jan.  8,  1920.  One  of 
the  foremost  women  violinists  of  her  time.  Married  God- 
frey Turner. 

Praetorius,  Michael.  Writer;  born  Kreuzberg,  Ger.,  Feb. 
15,  1571 ;  died  Wolfenbuttel,  Feb.  15,  1621.  Wrote  the  Syn- 
tagma Musicum. 

Prager  (Prayger),  Ferdinand.  Teacher;  born  Leipzig,  Ger., 
Jan.  22,  1815;  died  London,  Sept.  1,  1891. 

Pratt.  (1)  Silas  Gamaliel.  Pianist,  composer;  born  Addi- 
son, Vt.,  Aug.  4,  1846;  died  Pittsburgh,  Pa.,  Dec.,  1916. 
Composed  symphonies,  cantatas,  suites,  etc.,  and  the 
opera  Zenobia,  (2)  Waldo  Selden.  Organist,  writer; 


born  Philadelphia,  Nov.  10,  1857.  American  musical  his- 
torian. Author  of  a  History  of  Music.  Hartford,  Conn., 
Theological  Seminary. 

Prescott,  Oliveria  Louisa.  Composer,  writer;  born  Lon- 
don, Sept.  3,  1842.  Lives  London. 

Pribik,  Joseph.  Conductor,  composer;  born  Bohemia,  1853. 
Composed  suites,  etc.  Lives  Odessa,  Russia. 

Proch  (Prokh),  Heinrich.  Teacher  of  singing,  composer; 
born  Bohmisch-Leipa,  Boh.,  Jul.  22,  1809;  died  Vienna, 
Dec.  18,  1878.  Composed  effective  songs. 

Prochazka,  Rudolf  Freiherr  von.  Composer;  born  Prague, 
Boh.,  Feb.  23,  1864.  Composed  operas,  songs,  chamber 
music,  etc.  Lives  Prague. 

Proksch,  Josef.  Composer;  born  Reichenberg,  Boh.,  1794; 
died  Prague,  1864. 

Prout,  Ebenezer.  Composer,  theorist;  born  Oundle,  Eng., 
Mar.  1,  1835;  died  London,  Dec.  5,  1909.  Composed  much 
chamber  music,  an  organ  concerto,  dramatic  cantatas,  etc., 
but  best  known  by  his  books  on  harmony,  orchestration,  etc. 

Prudent  (Proo-dong),  Emile.  Pianist,  composer;  born 
Angouleme,  France,  Apr.  3,  1817;  died  Paris,  May  13,  1863. 
Composed  brilliant  salon  pieces. 

Prume,  Francois  Hubert.  Violinist,  composer;  born  Stave- 
lot,  Bel.,  Jun.  3,  1816;  died  Liege,  Bel.,  Jul.  14,  1849. 

Puccini  (Poot-chee-ne),  Giacomo.  Composer;  born  Lucca, 
Italy,  Jun.  22,  1858.  Has  made  many  successes  in  Italian 
opera.  His  operas  include  Le  Villi,  Edgar,  Manon  Lescaut, 
La  Boheme,  Tosca,  Madama  Butterfly,  and  The  Girl  of  the 
Golden  West.  Lives  Torre  del  Lago,  Italy. 

Puchalski  (Pu-khal-ski),  Vladimir.  Composer;  born  Minsk, 
Rus.,  Apr.  2,  1848.  Orchestral  composer.  Kiev,  Rus.,  Con- 
servatory. 

Puchat  (Poo-kat),  Max.  Composer;  born  Breslau,  Ger., 
Jan.  8,  1859.  Composed  symphonic  poems.  Breslau,  Ger.. 
Conservatory. 

Pugnani  (Poon-ya-nee),  Gaetano.  Violinist,  composer;  born 
Turin,  Italy,  Nov.  27,  1731 ;  died  there,  Jun.  IS,  1798.  Pupil 
of  Tartini.  Wrote  operas,  violin  pieces. 

Pugni  (Poon-yec),  Cesare.  Composer;  born  Milan,  Italy, 
1805;  died  Petrograd,  Jan.  26,  1870.  Ballet  composer. 

Pugno  (Poon-yo),  Raoul.  Pianist,  composer;  born  Mon- 
trouge,  France,  Jun.  23,  1852;  died  Moscow,  Rus.,  Jan. 
3,  1914. 

Purcell,  Henry.  Organist,  composer;  born  Westminster, 
Eng.,  1658;  died  there,  Nov.  21,  1695.  One  of  a  family 
of  musicians.  Educated  in  the  Chapel  Royal.  Afterward 
copyist  and  organist  of  Westminster  Abbey.  Wrote  an- 
thems, etc.,  while  still  a  choir-boy.  Wrote  the  opera  Dido 
and  JEneas,  the  music  of  Dryden's  King  Arthur,  the  operas 
Dioclesian,  the  Fairy  Queen,  etc. ;  incidental  music  to  a 
number  of  plays ;  songs,  sonatas,  odes,  and  church  music. 

Pyne.  (1)  James  Kendrick.  Tenor;  born  1785;  died  1857. 
(2)  John  Kendrick.  Organist;  born  London,  Aug.  21, 
1810;  died  there,  Mar.  2(4),  1893.  Son  of  (1).  (3) 
James  Kendrick.  Organist;  born  Bath,  Eng.,  Feb.  5, 
1852.  Eminent  recital  organist.  (4)  Louisa  Fanny. 
Soprano;  born  London,  Aug.  27,  1832;  died  there,  Mar. 
20,  1904. 


QUADFLIEG 


647 


REINECKE 


Quadflieg,  Gerhard.  Organist;  born  near  Aix,  Ger.,  Sept. 
27,  1854.  Composed  masses,  motets,  etc.  Lives  Elber- 
feld,  Ger. 

Quantz,  Johann  Joachim.     Flutist,  composer;  born  Ober- 


scheden,  Ger.,  Jan.  30,  1697;  died  Potsdam,  Ger.,  Jul.  12. 
1773.     Teacher  of  Frederick  the  Great. 

Quilter,  Roger.  Composer;  born  Brighton,  Eng.,  Nov.  1, 
1877.  Composed  an  orchestral  serenade  and  many  poetic 
songs.  Lives  London. 


R 


Rabaud  (Rah-bo),  Henri.  Conductor,  composer;  born 
Paris,  Oct.  10,  1873.  Contemporary  French  opera  com- 
poser. Conductor  Boston  Symphony  Orchestra,  1918. 

Rachmaninoff,  Sergei.  Pianist,  conductor,  composer;  born 
Novgorod,  Rus.,  Apr.  2,  1873.  As  composer  he  has  pro- 
duced some  impressive  piano  preludes — the  one  in  C-sharp 
minor  best  known — also  piano  concertos  and  the  very  strik- 
ing symphonic  poem  The  Isle  of  the  Dead.  Lives  New  York. 

Radecke,  Albert  Martin.  Composer;  born  Dittmarasdorf, 
Ger.,  Oct.  31,  1830;  died  Wernigerode,  Ger.,  Jun.,  1911. 
Composed  symphonies,  chamber  music,  etc. 

Radeglia  (Ra-dcl-ya),  Vittorio.  Composer;  born  Constan- 
tinople, 1863.  Italian  opera  composer. 

Radoux  (Rah-doo).  (1)  Jean  Theodore.  Composer;  born 
Liege,  Bel.,  Nov.  9,  1835;  died  there,  Mar.  20,  1911. 
Composed  operas,  etc.  (2)  Charles.  Composer;  vo:n 
Liege,  Bel.,  Jul.  30,  1877.  Composed  the  opera  OuJi.tte, 
etc.  Son  of  (1).  Lives  Liege. 

Raff,  Joseph  Joachim.  Composer;  born  Lachen,  Ger.,  May 
27,  1822;  died  Frankfort,  Ger.,  Jun.  25,  1882.  Was  for 
some  years  a  schoolmaster  before  devoting  himself  to 
music.  Wrote  five  symphonies,  chief  among  them  the 
Im  Walde  and  Lenore,  operas,  overtures,  chamber  music, 
songs,  etc.  His  works  often  show  great  melodic  beauty 
and  harmonic  richness. 

Raif  (Rife),  Oscar.  Pianist,  teacher;  born  Zwolle,  Hoi., 
Jul.  31,  1847;  died  Berlin,  Jul.  29,  1899.  Eminent  teacher. 
Composed  a  piano  concerto. 

Rameau,  Jean  Philippe.  Theorist,  composer;  born  Dijon., 
France,  Sept.  25,  1683;  died  Paris,  Sept.  12,  1764.  An  emi- 
nent theorist  who  did  much  for  the  science  of  modern 
harmony.  He  composed  many  operas  and  ballets. 

Randegger,  Alberto.  Teacher  of  singing,  composer;  born 
Trieste,  Italy,  Apr.  13,  1832;  died  London,  Dec.  17,  1911. 

Randolph,  Harold.  Pianist,  organist;  born  Richmond, 
Va.,  Oct.  31,  1861.  Director  Peabody  Conservatory, 
Baltimore,  Md. 

Rappoldi,  Edouard.  Violinist,  teacher;  born  Vienna,  Feb. 
21,  1839;  died  Dresden,  Ger.,  May  16,  1903. 

Rasse  (Ross),  Francois.  Composer;  born  Helchin,  Bel., 
1873.  Composed  the  opera  Deidamia,  etc.  Lives  Brussels, 
Bel. 

Ratez,  Emile.  Conductor,  composer;  born  Besanc,on, 
France,  Jan.  5,  1851 ;  died  Lille,  France,  1905.  Composed 
operas,  concertos,  etc. 

Rath  (Raht).  Felix  von.  Composer;  born  Cologne,  Ger., 
Jun.,  17,  1866;  died  Munich,  Ger.,  Aug.  25,  1905.  Com- 
posed a  concerto  and  small  piano  pieces. 

Rauchenecker  (Rouk-en-eck-er) ,  Georg  Wilhelm.  Violin- 
ist, composer;  born  Munich,  Ger.,  Mar.  8,  1844;  died  Jul. 
17,  1906.  Composed  operas  (Don  Quixote),  symphonies, 
chamber  music. 


Ravel,  Maurice.  Pianist,  composer;  born  Ciboure,  France, 
Mar.  7,  1875.  Composed  Scheherezade  overture,  the  suite 
La  Mere  I'Oye,  etc.,  in  modern  radical  style.  Lives  Paris. 

Ravenscroft,  Thomas.  Composer;  born  London,  1593; 
died  there,  1635. 

Ravina  (Rah-vee-na),  Jean  Henri.  Pianist,  composer;  born 
Bordeaux,  France,  May  20,  1818;  died  Paris,  Sept.  30, 
1906.  Wrote  piano  pieces  of  a  refined  musical  character. 

Raway,  Erasme.  Composer;  born  Liege,  Bel.,  1850.  Com- 
posed operas,  symphonic  poems,  etc.  Lives  Brussels, 
Bel. 

Reber  (Ray-bair),  Napoleon  Henri.  Composer,  theorist; 
born  Miihlhausen,  Alsace,  Oct.  21,  1807;  died  Paris,  Nov. 
24,  1880.  Composed  symphonies,  chamber  music,  operas,  etc. 

Rebicek  (Reb-i-chck) ,  Josef.  Violinist,  conductor,  com- 
poser; born  Prague,  Boh.,  Feb.  7,  1844;  died  Berlin,  Mar. 
24,  1904.  Conductor  Berlin  Philharmonic  Orchestra. 

Rebikoff,  Vladimir.  Composer;  born  Krasnojarsk,  Sib., 
Jun.  1,  1866.  Composed  melodramas  and  other  music  in 
modern  style. 

Reed,  William  Henry.  Conductor,  violinist,  teacher;  born 
Frome,  Eng.,  Jul.  29,  1877.  Composed  Suite  Vcneticnne. 
Lives  Croydon,  Eng. 

Reeves,  John  Sims.  Tenor;  born  Woolwich,  Eng.,  Sept. 
26,  1818;  died  Worthing,  Eng.,  Oct.  25,  1900.  Established 
himself  as  a  leading  English  vocalist,  in  opera,  oratorio, 
and  ballad.  In  1896  he  successfully  toured  South  Africa. 

Reger  (Ray-ger),  Max.  Composer;  born  Brand,  Ger.,  Mar. 
19,  1873;  died  Jena,  Ger.,  May  11,  1916.  Composed  many 
organ  and  orchestral  works,  the  best  being  his  orchestral 
Variations  and  Fugue.  Thoroughly  modern  and  somewhat 
complex  and  ascetic  in  style. 

Rehberg  (Ray-bairg),  Willi.  Pianist,  composer;  born 
Merges,  Switz.,  Sept.  2,  1862.  Hoch  Conservatory,  Frank- 
fort, Ger. 

Reicha,  Anton  Joseph.  Theorist,  composer;  born  Prague, 
Boh.,  Feb.  27,  1770;  died  Paris,  May  28,  1836. 

Reichardt  (Rikc-hart).  (1)  Alexander.  Tenor,  composer; 
born  Packs,  Hun.,  Apr.  17,  1825;  died  Boulogne,  France. 
Mar.  14,  1855.  (2)  Johann  F.  Composer,  writer;  born 
Konigsberg,  Ger.,  Nov.  25,  1752;  died  near  Halle,  Ger., 
Jun.  27,  1814.  (3)  Louise.  Composer,  teacher  of  sing- 
ing; born  Berlin,  1778;  died  Hamburg,  Ger.,  Nov.  17, 
1826.  Composed  excellent  songs. 

Reichwein,  Leopold.  Conductor,  composer;  born  Breslau, 
Ger.,  May  16,  1878.  Composed  operas  and  Faustmusik. 
Royal  Opera  House,  Vienna. 

Reinecke,  Carl.  Composer,  conductor;  born  Altona,  Ger.. 
Jun.  23,  1824;  died  Leipzig,  Ger.,  Mar.  10,  1910.  In  1860 
was  appointed  conductor  at  the  Gewandhaus,  Leipzig,  and 
teacher  at  the  Conservatory,  afterward  director. 


REINHOLD 


648 


ROCHLITZ 


Rein  hold,  Hugo.  Composer;  born  Vienna,  Mar.  3,  1854. 
Composed  for  orchestra,  and  many  attractive  piano  pieces. 
Lives  Vienna. 

Reinken,  Johann  Adams.  Organist,  composer ;  born  Wils- 
hausen,  Alsace,  Apr.  27,  1623 ;  died  Hamburg,  Ger.,  Nov. 
24,  1722. 

Reinthaler  (Rine-tahl-er),  Carl  Martin.  Composer,  or- 
ganist; born  Erfurt,  Ger.,  Oct.  13,  1822;  died  Bremen, 
Ger.,  Feb.  13,  1896. 

Reisenauer  (Ryz-en-ow-er) ,  Alfred.  Pianist;  born  Konigs- 
berg,  Ger.,  Nov.  1,  1863;  died  Libau,  Rus.,  Oct.  31,  1907. 

Reissiger,  Karl  Gottlieb.  Composer;  born  near  Witten- 
berg, Ger.,  Jan.  31,  1798;  died  Dresden,  Ger.,  Nov.  7,  1859. 

Reissmann,  August.  Writer,  composer;  born  Franken- 
stein, Ger.,  Nov.  14,  1825;  died  Berlin,  Dec.  1,  1903.  Or- 
chestral composer. 

Reiter  (Ry-ter),  Josef.  Composer;  born  Austrian  Tyrol, 
Jan.  19,  1862.  Composed  symphonies,  overtures,  etc. 

Rellstab,  Heinrich  F.  L.  Writer;  born  Berlin,  Apr.  13, 
1799;  died  there,  Nov.  27,  1860. 

Remenyi,  Eduard.  Violinfst;  born  Miskolc/,  Hun.,  Jul. 
17,  1830;  died  San  Francisco,  Cal.,  May  15,  1898.  One 
of  the  most  noted  artists  of  his  time. 

Renaud.  (1)  Albert.  Composer;  born  Paris,  1855.  Or- 
chestral and  opera  composer.  Lives  Neuilly,  France. 
(2)  Maurice.  Baritone;  born  Bordeaux,  France,  1862. 
Eminent  in  opera,  and  Wagner's  dramas  in.  French. 

Rendano,  Alfonso.  Composer;  born  Carolei,  Italy,  Apr. 
5,  1853.  Composed  operas  and  piano  pieces. 

Reuss  (Royse).  (1)  Eduard.  Pianist;  born  New  York, 
1851;  died  Dresden,  Ger.,  Feb.  18,  1911.  Pupil  of  Liszt, 
and  writer  about  his  works.  (2)  August.  Composer; 
borri  Liliendorf,  Aus.,  Mar.  6,  1871.  Composed  songs, 
chamber  music,  an  opera,  and  orchestral  works,  Judith, 
Der  Tor  und  der  Tod,  etc. 

Reyer  (Ray-er),  Louis  Etienne  Ernest.  Composer;  born. 
Marseilles,  France,  Jan.  1,  1823;  died  Toulon,  France,  Jan. 
15,  1909.  His  works  include  the  operas  Salammbo,  etc. 

Reznicek  (Rczh-ni-chck) ,  Emil  Nikolaus  von.  Composer; 
born  Vienna,  May  4,  1861.  Composed  operas,  Donna  Diana, 
Till  Eulcnspicgcl,  etc.,  overtures,  symphonies,  suites,  and 
the  radical  symphonic  poem,  Schlemihl;  also  chamber  music. 
Lives  Berlin. 

Rheinberger,  Joseph  G.  Organist,  composer;  born  Vaduz, 
Ger.,  Mar.  17,  1839;  died  Munich,  Ger.,  Nov.  25,  1901. 
Eminent  teacher,  with  many  famous  American  pupils. 

Ricci  (Rit-chie).  (1)  Luigi.  Composer;  born  Naples, 
Italy,  Jun.  8,  1805;  died  Prague,  Boh.,  Dec.  31,  1859. 
(2)  Federico.  Composer;  born  Naples,  Italy,  Oct.  22, 
1809;  died  Conegliano,  Italy,  Dec.  10,  1877.  Two  brothers 
who  composed  operas,  separately,  and  together;  their  best 
success  was  Crispino  e  Comare. 

Richards,  Brinley.  Pianist,  composer;  born  Camarthen, 
Wales,  Nov.  13,  1817;  died  London,  May  1,  1885.  Com- 
posed brilliant  salon  music. 

Richter.  (1)  Ernst  Friedrich  Eduard.  Theorist,  com- 
poser; born  Gross  Schonau,  Ger.,  Oct.  24,  1808;  died 
Leipzig,  Ger.,  Apr.  9,  1879.  After  holding  various  other 
appointments  was  made  cantor  of  the  Thomasschule  at 


Leipzig.  Most  widely  known  as  a  theorist.  (2)  Hans. 
Conductor;  born  Raab,  Hun.,  Apr.  4,  1843;  died  Bayreuth, 
Ger.,  Dec.  5,  1916.  Conducted  the  famous  Richter  Concerts 
in  London,  the  Bayreuth  Festivals,  etc. 

Rider-Kelsey,  Corinne.  Soprano;  born  Leroy,  N.  Y., 
1882.  Distinguished  concert  singer.  Lives  New  York. 

Riedel  (Ree-dcl),  Fiirchtegott  Ernst  August.  Conductor, 
composer;  born  Chemnitz,  Ger.,  May  22,  1855.  Cantata 
composer.  Lives  Plauen,  Ger. 

Riemann  (Rec-man),  Hugo.    Writer,  historian;  born  Gross- 
•  mehlra,  Ger.,  Jul.  18,  1849.    Most  prolific  of  German  writers 
on  music.     Lives  Leipzig,  Ger. 

Riemenschneider,  Georg.  Organist,  conductor,  composer; 
born  Stralsund,  Ger.,  Apr.  1,  1848.  Orchestral  composer. 
Lived  in  Breslau,  Ger. 

Ries  (Rees),  Ferdinand.  Pianist,  composer;  born  Bonn, 
Ger.,  Nov.  29,  1784;  died  Frankfort,  Ger.,  Jan.  13,  1838. 
Pupil  of  Beethoven. 

Riga  (Ree-ga),  Francois.  Composer;  born  Liege,  Bel., 
Jan.  21,  1831 ;  died  near  Brussels,  Bel.,  Jan.  18,  1892.  Com- 
posed music  for  men's  voices,  and  other  choral  works. 

Righini  (Re-ghce-nee) ,  Vincenzo.  Composer,  conductor; 
born  Bologna,  Italy,  Jan.  22,  1756;  died  there,  Aug.  19, 
1812.  Wrote  for  the  voice. 

Rille  (Ree-yay),  Laurent  de.  Composer;  born  Orleans, 
France,  1828.  Chorus  and  operetta  composer. 

Rimbault,  Edward  Francis.  Organist,  writer;  born  Lon- 
don, Jun.  13,  1816;  died  there,  Sept.  26,  1876. 

Rimski-Korsakov,  Nicolai  Andreievitch.  Composer;  born 
Tikhvin,  Rus.,  May  21,  1844;  died  Petrograd,  Jun.  21,  1908. 
Leading  recent  Russian  composer.  Famous  for  his  operas 
The  Czar's  Betrothed,  The  Snow  Maiden,  May  Night,  etc., 
and  for  his  suite-symphonies  Antar,  Scheherezade,  etc. 

Rink  (Rinck),  Johann  C.  H.  Organist,  composer;  born 
Elgersburg,  Ger.,  Feb.  18,  1770;  died  Darmstadt,  Ger.,  Aug. 
7,  1846.  Author  of  a  famous  book  of  instruction  in  organ- 
playing. 

Riseley,  George.  Organist,  conductor;  born  Bristol,  Eng., 
Aug.  28,  1844(45).  Conductor  of  orchestral  concerts,  and 
advocate  of  local  orchestras.  Organist  Bristol  Cathedral. 

Risler,  Eduard.  Pianist;  born  Baden-Baden,  Ger.,  Feb. 
23,  1873.  Distinguished  Beethoven  player.  Paris  Con- 
servatory. 

Ritter.  (i)  Alexander.  Violinist;  born  Narva,  Rus.,  Jun. 
27,  1833;  died  Munich,  Ger.,  Apr.  12,  1896.  Composed 
operas  and  symphonic  poems;  influenced  Richard  Strauss 
toward  modernism.  (2)  Frederic  Louis.  Tetacher; 
born  Strassburg,  Alsace,  Jun.  22.  1834;  died  Antwerp. 
Bel.,  Jul.  22.  1891.  Professor  of  Music,  Vassar  College. 
(3)  Theodore.  Pianist;  born  Paris,  Apr.  5,  1841;  died 
there,  Apr.  6,  1886.  Pupil  of  Liszt;  composed  brilliant 
salon  music. 

Rive-King.     See  King. 

Robyn,  Alfred  G.  Organist,  composer;  born.  St.  Louis, 
Mo.,  Jun.  29,  1860.  Composed  light  operas,  songs,  etc. 
Lives  Brooklyn,  N.  Y. 

Rochlitz,  Johann  Friedrich.  Writer;  born  Leipzig,  Ger., 
Feb.  12,  1769;  died  there,  Dec.  16,  1842. 


ROCKSTRO 


649 


RUBINSTEIN 


Rockstro,  William  Smyth.  Writer;  born  North  Cheam, 
Eng.,  Jan.  5,  1823;  died  London,  Jul.  2,  1895.  Taught 
piano  and  singing  and  gave  lectures.  Historian ;  as  author- 
ity on  ecclesiastical  music  had  few  superiors. 

Rode,  Jacques  Pierre  Joseph.  Violinist;  born  Bordeaux, 
France.  Feb.  16,  1774;  died  near  Damazon,  France,  Nov. 
25,  1830.  Known  for  his  fine  etudes  for  the  violin. 

Roeckel,  Joseph  Leopold.  Composer;  born  London,  Apr. 
11,  1838;  died  1908.  Used  pseudonym,  Edward  Dorn.  Com- 
posed songs,  piano  pieces. 

Roeder  (Ray-der),  Martin.  Composer,  teacher  of  singing; 
born  Berlin,  Apr.  7,  1851 ;  died  Cambridge,  Mass.,  Jun.  10, 
1895.  Composed  operas,  Vera,  etc.,  symphonic  poems, 
smaller  works,  and  songs. 

Roentgen  (Rent-ghen),  Julius.  Pianist,  conductor,  com- 
poser ;  born  Leipzig,  Ger.,  May  9,  1855.  Composed  a  sym- 
phony, concertos,  etc.  Amsterdam,  Hoi.,  Conservatory. 

Roesel  (Ray-sel),  Rudolf.  Violinist;  born  Miinchenberns- 
dorf,  Ger.,  Aug.  23,  1859.  Composed  various  concertos. 
Weimar,  Ger.,  Conservatory. 

Rogers.  (1)  James  Hotchkiss.  Organist,  composer;  born 
Fair  Haven,  Conn.,  Feb.  7,  1857.  Composed  cantatas, 
songs,  organ  and  piano  pieces.  Lives  Cleveland,  O. 
(2)  Clara  Kathleen.  Soprano,  writer;  born  Cheltenham, 
Eng.,  Jan.  14,  1844.  Author  of  books  on  the  voice  and  ' 
singing.  Lives  Boston. 

Romaniello,  Luigi.  Pianist;  born  Naples,  1860.  Orches- 
tral composer.  Lives  Buenos  Ayres,  Argen. 

Romberg.  (1)  Andreas.  Violinist,  composer;  born  Vechta, 
Ger.,  Apr.  27,  1767 ;  died  Gotha,  Ger.,  Nov.  10,  1821.  Wrote 
operas,  symphonies,  etc.,  and  won  fame  by  his  choral  and 
solo  works  with  orchestra.  (2)  Bernhard.  'Cellist;  born 
Dincklage,  Ger.,  Nov.  12,  1767;  died  Hamburg,  Ger.,  Aug. 
13,  1841.  Composed  'cello  pieces. 

Ronconi,  Giorgio.  Baritone;  born  Milan,  Italy,  Aug.  6, 
1810;  died  Madrid,  Spain,  Jan.  8,  1890.  Eminent  opera 
singer. 

Root,  George  F.  Composer,  teacher;  born  Sheffield,  Mass., 
1820;  died  Bailey's  Island,  Me.,  Aug.  6,  1895.  Best  known 
for  his  American  Civil  War  songs. 

Ropartz,  J.  Guy.  Composer,  writer;  born  Guingamp, 
France,  Jun.  15,  1864.  Composed  chamber  and  orchestral 
works. 

Rore  (Ro-re),  Cipriano  de.  Composer;  born  Malines,  Bel., 
1516;  died  Parma,  Italy,  Sept.,  1565.  Wrote  madrigals, 
motets,  etc. 

Rosa,  Carl.  Impresario;  born  Hamburg,  Ger.,  Mar.  21, 
1842;  died  Paris,  Apr.  30,  1889.  Appeared  in  public  as 
violinist  when  eight  years  old.  In  1867  married  Euphrosyne 
Parepa,  and  organized  the  Carl  Rosa  Opera  Company,  which 
presented  English  versions  of  foreign  operas. 

Rosellen,  Henri.     Painist,  composer;  born  Paris,  Oct.  13, 

1811;   died   there,   Mar.    18(20),    1876.     Composed   salon 

music. 
Rosenfeld,  Leopold.     Composer;  born  Copenhagen,  Den., 

Jul.  21,  1850;   died  there,  Jul.  19,  1909.     Composed  choral 

works,  pieces  for  piano,  violin  and  songs. 

Rosenhain  (Ro-sen-hine) ,  Jacob.  Pianist;  born  Mannheim, 
Ger.,  Dec.  2,  1813;  died  Baden-Baden,  Ger.,  Mar.  21,  1894. 
Composed  salon  music. 


Rosenthal  (Ro-sen-tahl) ,  Moritz.  Pianist;  born,  Lemberg, 
Aus.,  Dec.  18,  1862.  Celebrated  virtuoso. 

Rossi.  (1)  Carlo.  Pianist,  composer;  born  Lemberg, 
Aus.,  Apr.  4,  1839.  Composed  a  symphony.  Lives 
Venice.  (2)  Cesare.  Conductor,  composer;  born  Na- 
ples, Italy,  Dec.  31,  1842.  Composed  operas,  Nadcva,  etc. 

Rossini  (Ros-sce-nee) ,  Gioachino  Antonio.  Composer; 
born  Pesaro,  Italy,  Feb.  29,  1792;  died  near  Paris,  Nov. 
13,  1868.  Wrote  a  great  number  of  more  or  less  suc- 
cessful operas.  The  production  of  Tancredi  in  1813  marks 
the  beginning  of  Rossini's  European  reputation.  Between 
1813  and  1829  he  wrote  a  succession  of  brilliantly  suc- 
cessful operas,  finishing  his  career  as  an  operatic  composer 
in  the  latter  year  with  William  Tell,  his  best  work.  After 
1829  the  only  composition  he  produced  was  his  Stabat  Mater. 

Rotoli,  Augusto.  Composer,  teacher  of  singing;  born 
Rome,  Jan.  7,  1847;  died  Boston,  Nov.  26,  1904.  Composed 
a  mass,  many  successful  songs. 

Rouget  de  Lisle  (Roo-shay  du  Leel),  Claude  Joseph.  Com- 
poser; born  Lons-le-Saulnier,  France,  May  10,  1760;  died 
Choisy-le-Roi,  France,  Jun.  26,  1836.  An  officer  of  engi- 
neers and  composer  of  songs.  Famous  as  the  author  of 
The  Marseillaise. 

Rousseau  (Roos-soh).  (1)  Jean  Jacques.  Theorist,  writer; 
horn  Geneva,  Switz.,  June  28,  1712;  died  near  Paris, 
Sept.  .3,  1778.  Composed  operas,  songs,  etc.  (2)  Sam- 
uel Alexai.dre.  Composer;  born  Neuve-Maison,  France, 
Jun.  11,  1853;  died  Paris,  Oct.  1,  1904.  Composed  operas, 
masses,  psalms,  etc. 

Roussel  (Roos-sel),  Albert.  Composer,  teacher;  born  Tur- 
coing,  France,  Apr.  5,  1869.  Composed  a  symphony,  etc. 
Schola  Cantorum,  Paris. 

Rowbotham,  John  Frederick.  Writer;  born  Edinburgh, 
Scot.,  Apr.  18,  1854.  Author  of  musical  histories  and  biogra- 
phies. 

Roze,  Marie.  Soprano;  born  Paris,  Mar.  2,  1846.  Made 
successful  tours  in  Europe  and  America.  Settled  in  Eng- 
land. In  1874  she  married  Julius  Parkins,  in  1877  Henry 
Mapleson.  Lives  Bezons,  France. 

Rozkosny,  Joseph  Richard.  Pianist,  composer ;  born  Prague, 
Boh.,  Sept.  22,  1833.  Composed  operas,  piano  pieces,  songs. 
Lives  Prague. 

Rozycki,  Ludomir  von.  Conductor,  teacher,  composer; 
born  Warsaw,  Pol.,  1883.  Composed  operas,  symphonic 
poems.  Lives  Lemberg,  Aus. 

Rubini  (Roo-bee-nee),  Giovanni  Battista.  Tenor;  born 
Romano,  Italy,  Apr.  7,  1795 ;  died  there,  Mar.  2,  1854.  Cele- 
brated opera  singer. 

Rubinstein.  (1)  Anton.  Pianist,  composer;  born  Wech- 
wotynecz,  Rus.,  Nov.  28,  1829;  died  Petrograd,  Nov.  20, 
1894.  Made  a  number  of  highly  successful  concert  tours, 
visiting  the  United  States  in  1872.  Became  Director  of  the 
Conservatory  at  Perograd  which  he  founded  in  1862.  As 
a  pianist  he  can  be  considered  as  second  only  to  Liszt.  He 
wrote  symphonies,  the  Ocean  and  Dramatic,  operas,  cham- 
ber music,  songs,  and  many  piano  pieces.  (2)  Nikolai 
Gregorovitch.  Pianist;  born  Moscow,  Rus.,  Jun.  2,  1835; 
died  Paris,  Mar.  23,  1881.  Director  of  the  Moscow  Con- 
servatory. An  excellent  artist,  but,  owing  to  his  dislike 
to  concert  tours,  little  known  outside  of  Russia. 


RUCKAUF 


650 


SALTER 


jRuckauf  (Rick-ouf),  Anton.  Composer;  born  Prague,  Boh., 
Mar.  13,  1855 ;  died  Schloss  Alt-Erlaa,  Aus.,  Sept.  19,  1903. 
Composed  an  opera,  chamber  works,  etc. 

Rudersdorff,  Hermine.  Soprano,  teacher  of  singing;  born 
Ivanovski,  Rus.,  Dec.  12,  1822;  died  Boston,  Feb.  26,  1882. 

Rudnick,  Wilhelm.  Organist,  composer;  born  Damerkow, 
Ger.,  Dec.  30,  1850.  Composed  oratorios  and  organ  pieces. 

Rudorff,  Ernst  F.  Conductor,  composer;  born  Berlin, 
Jan.  18,  1840.  Composed  for  orchestra  and  piano. 

Ruefer  (Reef-er),  Philippe.  Pianist,  composer;  born  Liege, 
Bel.,  Jun.  7,  1844.  Orchestral  composer.  Lives  Berlin. 

Ruegger  (Ree-ger),  Elsa.  'Cellist;  born  Lucerne,  Switz., 
Dec.  6,  1881.  Successful  concert  tours  in  Europe  and  U.  S. 
Married  violinist  Edmund  Lichtenstein.  Lives  San  Fran- 
cisco. 

Rueter  (Ree-ter),  Hugo.  Composer,  teacher  of  singing; 
born,  Hamburg,  Ger.,  Sept.  7,  1859.  Lives  Wandsbek, 
Ger. 

Ruffo  (Roof-fo),  Titta.  Baritone;  born  Pisa,  Italy,  1878. 
Phenomenally  strong  voice. 

Ruggieri  (Rood-jya-ree),  John  Baptist.  Violin-maker;  born 
Cremona,  Italy,  1700;  died  about  1725. 

Rummel  (Room-met).  (1)  Franz.  Pianist;  born  London, 
Jan.  11,  1853;  died  Berlin,  May  3,  1901.  Toured  America 
three  times.  (2)  Walter  Morse.  Composer;  born  Ber- 
lin, JuL  19,  1887.  Composed  piano  pieces,  chamber  music, 
songs.  Lives  Paris.  Son  of  (1). 


Runciman,  John.  Writer;  born  England,  1866;  died  London, 
Apr.  11,  1916.  English  critic  and  writer  on  music. 

Rung  (Roong),  Frederik.  Composer;  born  Copenhagen, 
Den.,  1854;  died  there,  1915.  Opera  and  orchestral  com- 
poser. 

Russell.  (1)  Ella.  Soprano;  born  Cleveland,  O.,  Mar. 
30,  1864.  Lives  London.  (2)  Henry.  Baritone,  com- 
poser; born  Sheerness,  Eng.,  Dec.  24,  1813;  died  London, 
Dec.  7,  1900.  Composed  A  Life  on  the  Ocean  Wave, 
Woodman,  Spare  that  Tree,  Old  Sexton,  etc.  (3)  Louis 
Arthur.  Writer,  teacher;  born  Newark,  N.  J.,  Feb.  24, 
1854.  Author  of  educational  works  on  piano  playing  and 
singing.  Lives  Newark. 

Rust  (Roost),  Friedrich  Wilhelm.  Violinist,  composer; 
born  near  Dessau,  Ger.,  1739;  died  there,  1796.  Composed 
for  the  violin. 

Ryan,  Thomas.  Clarinet-player;  born  Ireland,  1827;  died 
New  Bedford,  Mass.,  Mar.  5,  1903. 

Rybner  (Reeb-ner),  Cornelius.  Pianist,  composer;  born 
Copenhagen,  Den.,  Oct.  26,  1853.  Composed  chamber  music, 
overture,  symphonic  poem,  etc.  Professor  of  Music,  Colum- 
bia University,  New  York. 

Ryder,  Thomas  P.  Organist,  composer;  born  Cohasset, 
Mass.,  Jun.  29,  1836;  died  Somerville,  Mass.,  Dec.  2,  1887. 
Composed  drawing-room  pieces. 

Ryelandt,  Joseph.  Composer;  born  Bruges,  Bel.,  Apr.  7, 
1870.  Composed  orchestral  and  chamber  music. 


Saar  (Sahr),  Louis  Victor.  Composer,  teacher;  born  Rot- 
terdam, Hoi.,  Dec.  10,  1868.  Composed  for  orchestra,  cham- 
ber music,  voice.  Cincinnati  College  of  Music;  later  Chi- 
cago Musical  College. 

Sacchini  (Sak-kee-ne) ,  Antonio  Maria  Gasparo.  Composer; 
born  near  Naples,  Italy,  Jul.  23,  1734;  died  Paris,  Oct. 
8,  1786. 

Sachs  (Sakhs),  Hans.  Poet,  composer;  born  Nuremberg, 
Ger.,  Nov.  5,  1494;  died  there,  Jan.  19,  1576.  Most  famous 
of  the  Meistersingers. 

Sachsenhauser,  Theodor.  Composer;  born  Germany,  Jul. 
27,  1866;  died  Munich,  Ger.,  Feb.  25,  1904.  Composed 
orchestra,  chamber  music,  piano  pieces  and  songs. 

Safonoff,  Wassili.  Pianist,  conductor;  born  Istchery,  Rus., 
Feb.  6,  1852;  died  Kislovodsk,  Cancausus,  Rus.,  Mar.  13, 
1918.  Director  of  Moscow  Conservatory  for  a  number  of 
years  preceding  the  European  War  of  1914-13. 

Sahla,  Richard.  Violinist,  conductor;  born  Graz,  Aus., 
Sept.  17,  1855.  Composed  violin  concertos,  etc.  Lives 
Biickeburg,  Ger. 

Sahlender,  Emil.  Conductor,  composer;  born  Ibenhain, 
Ger.,  Mar.  12,  1864.  Opera  and  orchestral  composer.  Lives 
Heidelberg,  Ger. 

Sainton  (San-tong),  Prosper  Philippe.  Violinst;  born  Tou- 
louse, France,  Jun.  5,  1813;  died  London,  Oct.  17,  1890. 
Settled  in  England,  and  in  1845  was  made  professor  of  the 
violin  at  the  Royal  Academy  of  Music,  London. 

Sainton-Dolby,  Charlotte  Helen.  Contralto;  born  London, 
May  17,  1821;  died  there,  Feb.  18,  1885.  Celebrated  as 
singer  and  song  composer. 


Saint-Saens   (San-Sah-ohs) ,  Charles   Camille.     Composer; 

born  Paris,  Oct.  9,  1835.    Evinced  promise  of  great  musical 

talent  at  an  early  age,  and  rapidly  acquired  a  reputation 

as  a  clever  pianist  and  organist.     Among  his  operas  are: 

Samson  and  Delilah,  Etienne  Marcel,  Henry  VIII,  Ascanio, 

etc.    His  other  works  include  symphonies,  orchestral  suites, 

symphonic   poems,    concertos,    chamber    music.      Since   the 

death   of    Gounod   Saint-Saens   ranks   as   the   foremost   of 

French  musicians  in  the  conservative  school.     Lives  Paris. 
Salaman,   Charles.     Pianist;   born   London,   Mar.   3,   1814; 

died  there,  Jun.  23,  1901. 
Saldoni,  Don  Baltazar.    Composer,  teacher  of  singing;  born 

Barcelona,  Sp.,  Jan.  4,  1807 ;  died  1890.    Composed  zarzuelas. 
Saleza  (Sa-lay-za) ,  Luc  Albert.    Tenor;  born  Bruges,  Bel., 

Oct.  18,  1867;  died  Paris,  Nov.  26,  1916. 
Salieri  (Sal-ya'-ree),  Antonio.     Composer;  born  Legnano, 

Italy,   Aug.   19,   1750;    died   Vienna,   May  7,   1825.     Wrote 

operas,  church  music,  chamber  music,  etc. 
Salmon,  Alvah  Glover.    Pianist,  composer;  born  Southold, 

N.  Y.,  Sept.  23,  1868;  died  Boston,  Oct.,  1916. 
Salo    (Sah-lo),  Gasparo  da.     Violin-maker;  born   Brescia, 

Italy,  1542;  died  there,  Apr.  14,  1609.    Earliest  of  eminent 

Italian  makers. 
Salomon,  Johann  Peter.    Violinist;  born  Bonn,  Ger.,  Jan., 

1745 ;   died  London,  Nov.  25,   1815.     It  was  Salomon  who 

induced  Haydn  to  visit  England. 
Salter.      (1)     Sumner.      Organist;    born    Burlington,    la., 

Jun.  24,   1856.     Williams   College,  Williamstown,   Mass. 

(2)    Mary  Turner.     Composer;   born   Peoria,    111.,    Mar. 

15,   1856.     Composed  many  acceptable  songs.     Wife  of 

Sumner  Salter. 


SALVAYRE 


651 


SCHJELDERUP 


Salvayre,  Gervais  Bernard  Gaston.  Composer;  born  Tou- 
louse, France,  Jun.  24,  .1847.  Opera  composer.  Lives 
Paris. 

Samara,  Spiro.  Composer;  born  Corfu,  Greece,  Nov.  29, 
1861.  Opera  composer,  Flora  Afirabilis,  La  Martyre,  Mile. 
de  Belle  Isle,  etc.  Lives  Paris. 

Samaroff,  Olga.  Pianist;  born  San  Antonio,  Tex.,  Aug.  8, 
1881.  Distinguished  concert  artist.  Wife  of  Leopold  Sto- 
kovski,  conductor  Philadelphia  Orchestra. 

Samazeuilh  (Sam-as-weeye) ,  Gustave.  Composer;  born 
Bordeaux,  France,  1877.  Composed  for  orchestra  and 
chamber  music. 

Sammarco,  Mario.  Baritone;  born  Palermo,  Italy,  Dec. 
13,  1873.  Opera  singer.  Lives  Milan,  Italy. 

Samuel,  Adolphe  Abraham.  Composer;  born  Liege,  Bel., 
Jul.  11,  1824;  died  Ghent,  Bel.,  Sept.  11,  1898.  Composed 
operas,  symphonies,  a  choral  symphony,  overtures,  and 
smaller  works. 

Sanctis,  Cesare  de.  Composer;  born  Albano,  Italy,  1830. 
Composed  masses,  fugues,  etc.  Lives  Rome. 

Sanderson,  Sibyl.     Soprano;  born  Sacramento,   Cal.,  Dec. 

7,  1865;  died  Paris,  May  16,  1903.    Opera  singer. 

Sankey,  Ira  David.  Composer,  tenor;  born  Edinburgh, 
Pa.,  1840;  died  Brooklyn,  N.  Y.,  1908.  Evangelist,  long  asso- 
ciated with  D.  L.  Moody.  ^ 

Santley,  Charles.  Baritone;  born  Liverpool,  Eng.,  Feb. 
28,  1834.  Eminent  in  opera,  oratorio,  concert.  Lives  London. 

Sapellnikoff,   Wassily.     Pianist,   composer;   born    Odessa, 

Rus.,    Nov.   2,    1868.     Composed   chiefly   for   piano.     Lives 

London. 
Sarasate    (Sah-ra-sah-te) ,  Pablo  de.     Violinist,   composer; 

born  Pamplona,  Spain,  Mar.  10,  1844;  died  Biarritz,  France, 

Sept.  20,   1908. 
Sard  (Sar-tec).  Giuseppe.     Composer;  born  Faenza,  Italy, 

Dec.   28,    1729;    died   Berlin,    Jul.   28,    1802.     Wrote   thirty 

operas   and  much  church  music. 

Satie,  Erik.  Composer;  born  Honfleur,  France,  May  17, 
1866.  Composed  in  the  impressionistic  style  for  orchestra. 
Lives  Paris. 

Satter,  Gustav.  Composer;  born  Vienna,  Feb.  12,  1832. 
composed  an  opera,  overtures,  symphonies,  and  the  tone- 
picture  Washington. 

Sauer   (Sour),  Emil.     Pianist;  born  Hamburg,  Ger.,  Oct. 

8,  1862.    Distinguished  artist;  pupil  of  Liszt.     Lives  Dres- 
den, Ger. 

Sauret  (So-ray),  Emile.  Violinist;  born  Dun-le-Roi, 
France,  May  22,  1852.  Studied  at  the  Paris  Conservatory, 
also  at  Brussels,  under  De  Beriot.  One  of  the  principal 
contemporary  violin  virtuosi.  Lives  London. 

Savart  (Sav-ahr),  Felix.    Scientist;  born  Mezieres,  France, 

1791;  died  Paris,  1841. 
Sax,   Antoine.     Instrument-maker;   born    Dinant,    France, 

Nov.  6,  1814;  died  Paris,  Feb.  4,  1894.     With  his  father 

inventor  of  saxhorns,  saxophones,  etc. 

Sbriglia    (Sbril-ya),  Giovanni.     Teacher  of   singing;   born 

Naples,   1840;   died   Paris,   Feb.  20,   1916.     Prepared   many 

famous  singers  for  public  work. 
Scalchi  (Skahl-kee),  Sofia.     Contralto;  born  Turin,   Italy, 

Nov.  29,   1850.     Celebrated   for  the   remarkable   quality  of 

her  lower  tones. 


Scaria  (Scah-ree-ah) ,  Emil.  Bass;  born  Graz,  Aus.,  Sept. 
18,  1840;  died  Dresden,  Ger.,  Jul.  22,  1886.  Eminent  in 
Wagner  opera. 

Scarlatti.  (1)  Alessandro.  Composer;  born  Trapani, 
Italy,  1659;  died  Naples,  Italy,  Oct.  24,  1725.  A  pioneer 
in  Italian  opera.  (2)  Domenico.  Harpsichordist,  com- 
poser; born  Naples,  Italy,  Oct.  26,  1685;  died  there,  1757. 
Developed  principles  of  piano  technic.  Son  of  (1). 

Schad,  Joseph.  Pianist,  composer;  born  Steinach,  Ger., 
Mar.  6,  1812;  died  Bordeaux,  France,  Jul.  4,  1879. 

Schaefer.  (1)  Alexander.  Conductor,  composer;  borni 
Petrograd,  Sept.  11,  1866.  Composed  operas,  sympho- 
nies, 'suites,  chamber  music,  etc.  Lives  Petrograd.  (2) 
Dirk.  Composer,  teacher;  born  Rotterdam,  Hoi.,  1873. 
Orchestral  composer.  Lives  Amsterdam. 

Schaliapin.     See  Chaliapine. 

Scharfenberg,  William.  Editor,  teacher;  born  Cassel,  Ger., 
Feb.  22,  1819;  died  Quogue,  L.  I..  N.  Y.,  Aug.  8,  1895. 
Musical  editor  for  G.  Schirmer,  New  York. 

Scharrer,  August.  Conductor,  composer;  born  Strassburg, 
Alsace,  Oct.  18,  1866.  Composed  symphony  Per  Aspcra  ad 
Astra,  etc.  Lives  Nuremberg,  Ger. 

Scharwenka  (Shar-vcn-ka).  (1)  Philipp.  Composer;  born 
Samter,  Ger.,  Feb.  16,  1847.  Founder,  with  his  brother 
Xaver,  of  the  Scharwenka  Conservatory,  Berlin.  Wrote 
piano  pieces.  Lives  Berlin.  (2)  Xaver.  Pianist,  com- 
poser; born  Samter,  Ger.,  Jan.  6,  1850.  Toured  Europe  and 
America.  In  1891  came  to  New  York  and  established  con- 
servatory ;  returned  to  Germany  in  1898.  Lives  Berlin. 

Schaub  (Shoub),  Hans.  Composer;  born  Frankfort,  Ger., 
Sept.  22,  1880.  Orchestral  composer.  Lives  Berlin. 

Scheel  (Shale),  Fritz.  Conductor;  born  Liibeck,  Ger., 
Nov.  7,  1852;  died  Philadelphia,  Mar.  12,  1907.  Conductor 
Philadelphia  Orchestra. 

Scheldt  (Shite),  Samuel.  Organist,  composer;  born  Halle, 
Ger.,  1587;  died  there,  Mar.  14,  1654.  The  most  celebrated 
player  of  his  time  and  founder  of  the  new  organ  style. 

Scheinpflug  (Shine-pfloog),  Paul.  Conductor,  composer; 
born  Loschwitz,  Ger.,  Sept.  10,  1875.  Orchestral  composer, 
Spring  symphony,  overture  to  a  drama,  etc.  Lives  Berlin. 

Schelling,  Ernest  Henry.  Pianist;  born  Belvidere,  N.  J., 
Jul.  26,  1876.  Composed  orchestral,  chamber  and  smaller 
works.  Lives  Switzerland. 

Schenk,  Peter.  Pianist,  composer;  born  Petrograd,  Feb. 
23,  1870.  Composed  operas,  Actea,  etc.,  symphonies,  sym- 
phonic poems,  chamber  works,  etc.  Lives  Petrograd. 

Schikaneder  (Shik-a-na-der),  Emanuel.  Bass;  born  Ratis- 
bon,  Ger.,  1751;  died  Vienna,  Sept.  21,  1812.  Friend  of 
Mozart. 

Schillings,  Max.  Composer;  born  Diiren,  Ger.,  Apr.  19, 
1868.  Composed  operas,  Ingwelde,  Der  Pfeifcrtag,  Moloch, 
orchestral  works,  incidental  music,  songs  with  orchestra, 
and  smaller  pieces.  Lives  Stuttgart,  Ger. 

Schindler,  Anton.  Violinist;  born  Medl,  Aus.,  1796;  died 
Bockenheim,  Ger.,  Jan.  16,  1864.  Biographer  of  Bee- 
thoven. 

Schjelderup  (Skyel-der-oop) ,  Gerhard.  Composer;  born 
Christiania,  Nor.,  Nov.  17,  1859.  Composed  music  dramas, 
orchestral  works,  etc.,  in  radical  modern  style.  Lives  Dres- 
den, Ger. 


SCHLAEGER 


652 


SCHUMANN 


Schlaeger  (Shlay-gcr),  Hans.  Conductor,  composer;  born 
Filskirchen,  Aus.,  Dec.  5,  1820;  died  Salzburg,  Aus.,  May 
17,  1885.  Opera  and  orchestral  composer. 

Schlesinger  (SMay-sing-er) ,  Sebastian  B.  Composer;  born 
Hamburg,  Ger.,  Sept.  24,  1837;  died  Nice,  France,  Jan.  8, 
1917.  Composed  songs  and  piano  pieces. 

Schloesser  (Shles-ser),  Adolph.  Pianist,  teacher;  born 
Darmstadt,  Ger.,  Jan.  1,  1830.  Teacher  in  London. 

Schmid,  Joseph.  Organist,  composer;  born  Munich,  Ger., 
Aug.  30,  1868.  Lives  Munich. 

Schmidt.  (1)  Gustav.  Conductor,  composer;  born  Wei- 
mar, Ger.,  Sept.  1,  1816;  died  Darmstadt,  Ger.,  Feb.  11, 
1882.  Opera  composer.  (2)  Friedrich.  Organist;  born 
Hartefeld,  Ger.,  Mar.  5,  1840.  Composed  masses,  mo- 
tets, etc.  Lives  Munster,  Ger.  (3)  Karl.  Writer,  teacher; 
born  Friedberg,  Ger.,  Jul.  IO,  1869.  Writer  on  singing-. 
Lives  Friedberg.  (4)  Aloys.  Pianist,  teacher;  born 
Erlenbach,  Ger.,  Aug.  26,  1788;  died  Frankfort,  Ger.,  Jul. 
25,  1866.  Wrote  valuable  piano  technical  exercises  and 
etudes. 

Schmitt,  Florent.  Composer;  born  Blamont,  France,  Sept. 
28,  1870.  Radical  French  orchestral  composer,  Salome,  etc. 
Lives  Paris. 

Schnecker,  Peter  August.  Organist,  composer;  born  Hesse- 
Darmstadt,  Ger.,  Aug.  26,  1850;  died  New  York,  Oct.  3, 
1903.  Composed  cantatas,  organ  works,  songs,  and  violin 
pieces. 

Schneider.  (1)  Edward  Faber.  Composer;  born  Omaha, 
Neb.,  1872.  Composed  a  music  drama,  an  Autumn  sym- 
phony, etc.  (2)  Johann  Christian  Friedrich.  Composer; 
born  Altwaltersdorf,  Ger.,  Jan.  3,  1786;  died  Dessau, 
Ger.,  Nov.  23,  1853.  Composed  oratorios,  cantatas,  sym- 
phonies, etc.  (3)  Johann  Gottlob.  Organist,  composer; 
born  Altgersdorf,  Ger.,  Oct.  28,  1789;  died  Dresden,  Ger., 
Apr.  13,  1864.  Organ  virtuoso. 

Schnyder  von  Wartensee.  Composer,  teacher;  born  Lu- 
cerne, Switz.,  Apr.  16.  1786;  died  Frankfort,  Ger.,  Apr.  27, 
1868.  Eminent  teacher. 

Schoenberg  (Shain-bcrg),  Arnold.  Composer;  born  Vienna, 
Sept.  13,  1874.  Perhaps  the  most  radical  of  modern  com- 
posers. His  Gurreliedcr,  with  orchestra  and  voices,  a  large 
work  but  conservative.  His  piano  pieces,  however,  and 
the  Five  Orchestral  Pieces  most  advanced  and  unusual  in 
style.  Lives  Berlin. 

Schoenefeld  (Sha-ne-fclt) ,  Henry.  Pianist,  composer;  born 
Milwaukee,  Wis.,  Oct.  4,  1857.  Composed  a  Rural  sym- 
phony, In  the  Sunny  South,  with  negro  tunes,  etc.  Lives 
Los  Angeles,  Cal. 

Schoepf  (Shepf),  Franz.  Composer;  born  Girlan,  Tyrol, 
1836.  Composed  church  music,  operas,  and  operettas. 
Lives  Bozen,  Aus. 

Sqholz,  Bernhard  E.  Composer;  born  Mainz,  Ger.,  Mar. 
30,  1835.  Composed  operas,  orchestral  and  piano  pieces. 
Lives  Florence,  Italy. 

Schradieck  (Shrah-deek) ,  Henry.  Violinist,  teacher;  born 
Hamburg,  Ger.,  Apr.  29,  1846;  died  Brooklyn,  N.  Y., 
Mar.  25,  1918. 

Schreck,  Gustav.  Composer;  born  Zeulenroda,  Ger.,  Sept. 
8,  1849.  Composed  an  oratorio,  orchestral  cantatas,  and 
many  vocal-instrumental  works.  Lives  Leipzig,  Ger. 


Schreker,   Franz.     Composer;    born    Monaco,    Italy,    Mar. 

23,  1878.    Composed  for  orchestra  and  operatic  stage.    Lives 

Vienna. 
Schroeder  (Shra-der).     (1)  Alwin.     'Cellist;  born  Neuhal- 

densleben,  Ger.,  Jun.  15,  1855.     Lives  Boston.     (2)  Karl. 

'Cellist,   composer;  born  Quedlinburg,  Ger.,  Dec.   18,   1848. 

Composed   for  'cello  and   for  orchestra.     Lives   Berlin. 

Schroeder-Devrient  (Shra-der  Dev-ree-ong),  Wilhelmine. 
Soprano;  born  Hamburg,  Ger.,  Dec.  6,  1804;  died  Coburg, 
Ger.,  Jan.  21,  1860.  A  great  artist. 

Schubert,  Franz.  Composer;  born  Vienna,  Jan.  31,  1797; 
died  there,  Nov.  19,  1828.  When  eleven  years  old  entered 
the  Imperial  Convict  (free  school)  at  Vienna  as  a  choir- 
boy, and  also  played  the  violin  in  the  school  orchestra.  In 
1813  he  left  the  school  and  devoted  himself  to  the  study 
of  music  at  home.  Later  he  was  for  two  years  singing  and 
piano  master  in  the  household  of  Count  Esterhazy,  and 
thereafter  spent  the  remainder  of  his  life  principally  in 
Vienna.  One  of  the  greatest  and  most  fertile  of  composers. 
Wrote  fifteen  operas  and  operettas,  five  masses  and  other 
church  music,  nine  symphonies,  fifteen  string  quartets,  be- 
sides other  chamber  music,  piano  pieces  and  songs.  Per- 
haps the  most  lyrical  of  composers  he  lived  almost  wholly 
unappreciated  and  in  considerable  poverty. 

Schuberth  (Shoo-bairt),  Karl.  'Cellist;  born  Wiirzburg, 
Ger.,  Feb.  25,  1811;  died  Zurich,  Switz.,  Jul.  22,  1863.  Com- 
posed for  'cello  and  chamber  music. 

Schuch  (Shookh),  Ernst  von.  Conductor;  born  Graz,  Aus., 
Nov.  23,  1847;  died  Dresden,  Ger.,  May  10,  1914.  Distin- 
guished conductor. 

Schuchardt  (Shookh-art) ,  Friedrich.  Composer;  born 
Gotha,  Ger.,  1876.  Composed  opera,  oratorio,  church  music. 

Schuecker  (Schoo-cck-er).  (1)  Edmund.  Harpist;  born 
Vienna,  1860.  Chicago  Orchestra.  (2)  Heinrich.  Harp- 
ist; born  Vienna,  1868;  died  Boston,  Apr.  17,  1913.  Boston 
Symphony  Orchestra. 

Schuett  (Sheet),  Eduard.  Pianist,  composer;  born  Petro- 
grad,  Oct.  22,  1856.  Composed  orchestral  works,  a  piano 
concerto,  chamber  music,  and  very  melodious  piano  pieces. 
Lives  Vienna. 

Schulhoff  (Shool-hof),  Julius.  Pianist,  composer;  born 
Prague,  Boh.,  Aug.  2,  1825;  died  Berlin,  Mar.  13,  1898. 
Composed  drawing-room  piano  pieces. 

Schulz  (Shoolts).  (1)  Johann  Abraham  Peter.  Composer; 
born  Liineburg,  Ger.,  Mar.  31,  1747;  died  Schwedt,  Ger., 
Jun.  10,  1800.  Developed  the  German  Lied.  (2)  Hein- 
rich. Composer,  teacher;  born  Beuthen,  Ger.,  June  19, 
1838 ;  died  Dresden,  Ger.,  Mar.  12,  1915.  Composed  sym- 
phonies, overtures,  an  opera,  etc.  (3)  Karl.  Pianist,  com- 
poser ;  born  Schwerin,  Ger.,  Jan.  3,  1845 ;  died  Mannheim, 
Ger.,  May  24,  1913.  Composed  orchestral  and  sacred  works. 

Schumann.  (1)  Robert  Alexander.  Composer;  born 
Zwickau,  Ger.,  Jun.  8,  1810;  died  Endenich,  Ger.,  Jul. 
29,  1856.  Originally  a  law  student  but  interested  him- 
self solely  in  music,  and  soon  adopted  it  as  a  profession. 
An  injury  to  one  of  his  fingers,  the  result  of  a  mechan- 
ical device,  obliged  him  to  abandon  the  piano  for  com- 
position, upon  which  he  concentrated  all  his  energy  with 
magnificent  results.  Instituted  the  Neue  Zcitschrift  fur 
Musik  in  1834.  In  1844  went  to  Dresden  as  conductor  of 
the  Choral  Union,  and  in  1850  removed  to  Diisseldorf. 
Here  a  long-standing  affection  of  the  brain  became  rapidly 


SCHUMANN-HEINK 


653 


SGAMBATI 


worse  and  in  1854  Schumann  had  to  be  placed  in  an  asylum 
where  he  died.  Schumann  wrote  choral  works,  Paradise 
and  the  Peri,  Pilgrimage  of  the  Rose,  Faust,  and  the  opera 
Genoveva,  symphonies,  chamber  music,  piano  compositions, 
and  a  large  number  of  vocal  works,  all  marked  by  great 
depth  and  sincerity  of  design  and  a  wonderful  grasp  of  a 
wide  range  of  expression  and  sentiment.  (2)  Clara.  Pi- 
anist; born  Leipzig,  Ger.,  Sept.  13,  1819;  died  Frankfort, 
Gen,  May  20,  18%.  A  pupil  of  her  father,  Friedrich 
Wieck.  Made  a  tour  as  a  piano  virtuoso  in  her  eleventh 
year.  Later  was  the  first  to  introduce  Chopin's  music  to 
the  German  public.  In  1840  married  Robert  Schumann. 
(3)  Georg  Alfred.  Composer;  born  Konigstein,  Ger., 
Oct.  25,  1866.  Composed  the  oratorio  Ruth  and  similar 
works,  a  symphony,  a  suite,  overtures,  etc.,  all  earnest  but 
sometimes  heavy  in  style.  Royal  Academy  of  Music,  Berlin. 

Schumann-Heink,  Ernestine.  Contralto;  born  near  Prague, 
Boh.,  Jun.  15,  1861.  Eminent  in  opera  and  concert.  Lives 
Los  Angeles. 

Schuppanzigh,  Ignaz.  Violinist;  born  Vienna,  1776;  died 
there,  Mar.  2,  1830. 

Schurig  (Shoo-rig),  Volkmar.  Organist, -composer;  born 
Aur,  Ger.,  Mar.  24,  1822;  died  Dresden,  Ger.,  1899.  Com- 
posed organ  works,  songs,  children's  songs,  etc. 

Schuster  (Shoos-ter),  Bernard.  Conductor,  composer;  horn 
Berlin,  Mar.  26,  1870.  Composed  a  symphony,  choral 
works,  an  opera,  songs,  etc.;  publishes  and  edits  Die  Musik, 
Berlin. 

Schiitz  (Sheets),  Heinrich.  Composer;  born  Kostritz,  Ger., 
Oct.  8.  1585;  died  Dresden,  Ger.,  Nov.  6,  1672. 

Schwalm  (Shvalm) ,  Robert.  Conductor,  composer;  born 
Erfurt,  Ger.,  Dec.  6,  1845.  Composed  male  choruses,  an 
opera,  an  oratorio,  chamber  music,  etc.  Lives  Konigsberg, 
Ger. 

Schytte  (Shee-teh),  Ludwig.  Composer;  born  Aarhut, 
Den.,  Apr.  28,  1848;  died  Berlin,  Nov.  10,  1909.  Composed 
excellent  piano  pieces  and  etudes. 

Scontrino  (Scon-tree-no),  Antonio.  Double-bass  player, 
composer ;  born  Trapani,  Italy,  May  17,  1850.  Orchestral 
and  opera  composer.  Royal  Institute  of  Music,  Florence, 
Italy. 

Scott,  Cyril  Meir.  Composer;  born  Oxton,  Eng.,  Sept.  27, 
1879.  Composed  a  symphony,  three  overtures,  chamber 
works,  songs,  piano  pieces,  etc.  His  style  of  blended  and 
blurred  harmonies  is  very  interesting,  his  works  being 
among  the  very  best  of  the  modern  school.  Lives  London. 

Scotti,  Antonio.  Baritone;  born  Naples,  Italy,  Jan.  '25, 
1866.  Metropolitan  Opera  Company,  New  York. 

Scriabin  (Skryah-been) ,  Alexander.    Pianist,  composer;  born 

Moscow,  Rus.,  Jan.  10,  1872;  died  Petrograd,  Apr.  14,  1915. 

Composed   symphonies,  the  orchestral  Poeme  de   I'exstase, 

Prometheus,  etc.,  piano  concertos,  and  many  piano  works. 

His  style  is  novel,  and  the  harmonies  of  Prometheus  very 

radical. 
Sebor   (Say-bor),  Karl.     Composer;  born   Brandeis,   Ger., 

Aug.  13,  1843 ;  died  Prague,  Boh.,  May  17,  1903.    Opera  and 

chamber  music  composer. 

Sechtcr  (Sekh-ter) .  Simon.  Organist,  theorist;  born  Fried- 
berg,  Boh.,  Oct.  11,  1788;  died  Vienna,  Sept.  10,  1867.  Com- 
posed organ  and  church  music;  distinguished  teacher  of 
musical  theory, 


Seeboeck  (Say-beck),  William  C.  E.  Pianist,  composer; 
born  Vienna,  1860;  died  Chicago,  1907.  Opera  and  song 
composer. 

Seeling  (Say-ling),  Hans.  Pianist,  composer;  born  Prague, 
Boh.,  1828;  died  there,  May  26,  1862.  Composed  salon 
piano  music. 

Seguin.  (1)  Arthur  Edward  Shelden.  Bass;  born  London, 
Apr.  7,  1809;  died  New  York,  Dec.  9,  1852.  (2)  Ann 
Childe.  Soprano;  born  London,  1814,  died  New  York, 
Aug.,  1888.  Wife  of  (1).  (3)  William  Henry.  Bass; 
born  London,  1814;  died  Dec.  28,  1850.  Brother  of  (1). 

Seidl  (Sy-dle),  Anton.  Conductor;  born  Pesth,  Hun.,  May 
7,  1850;  died  New  York,  Mar.  28,  1898.  Conductor  Metro- 
politan Opera  Co.,  New  York. 

Seiss  (Syse),  Isidor.  Pianist,  composer;  born  Dresden, 
Ger.,  Dec.  23,  1840;  died  Cologne,  Ger.,  Sept.  25,  1905.  Or- 
chestral and  piano  composer. 

Sekles,  Bernhard.  Composer;  born.  Frankfort,  Ger.,  Jun. 
20,  1872.  Composed  the  symphonic  poem  The  Gardens  of 
Semiramis,  and  many  smaller  works.  Lives  Frankfort. 

Selmer,  Johann.  Composer,  conductor;  born  Christiania, 
Nor.,  Jan.  20,  1844;  died  Venice,  Italy,  Jul.  22,  1910.  Or- 
chestral and  choral  composer. 

Sembrich,  Marcella.  Soprano;  born  Wisniewczyk,  Aus., 
Feb.  15,  1858.  Distinguished  in  opera  and  concert.  Lives 
New  York. 

Semet  (Seh-may),  Theophile.  Composer;  born  Lille,  France, 
Sept.  6,  1824;  died  Corbeil,  France,  Apr.  15,  1888.  Opera 
composer. 

Senkrah  (really  Harkness),  Alma  Loretta.  Violinist;  born 
Williamson,  N.  Y.,  Jun.  16,  1864;  died  Weimar,  Ger.,  Sept., 
1900. 

Serov,  Alexander.  Composer;  born  Petrograd,  Jan.  23, 
1820;  died  there,  Feb.  1,  1871.  Composed  the  operas  Judith, 
Rogneda,  The  Enemy's  Power,  and  youthful  works. 

Serrao  (Scr-rah'-o).  (1)  Paolo.  Composer;  born  Filadel- 
fia,  Italy,  1830;  died  Naples,  Mar.,  1907.  Composed  operas. 
Martuijci  and  Giordano  were  his  pupils.  (2)  Emilio.  Pi- 
anist, composer ;  born  Vittoria,  Spain,  Mar.  13,  1850.  Span- 
ish opera  composer. 

Servais  (Ser-vay).  (1)  Adrien  Frangois.  'Cellist,  com- 
poser; born  Hal,  Bel.,  Jun.  6,  1807;  died  there,  Nov.  26, 
1877.  Wrote  brilliant  pieces  for  the  'cello.  (2)  Joseph. 

'Cellist,  teacher;  born  Hal,  Bel.,  Nov.  23,  1850;  died  there, 

Aug.  29,  1885.     Son  of   (1). 

Sevcik  (Scf-chik),  Ottokar.  Violinist,  teacher;  born  Ho- 
razdowitz,  Boh.,  Mar.  22,  1852.  Composed  valuable  tech- 
nical system ;  eminent  as  teacher. 

Severac,  Deodat  de.  Composer;  born  St.  Felix  de  Cara- 
man,  France,  Jul.  20,  1873.  Composed  the  music  drama 
Le  Cocur  du  Moulin,  the  symphonic,  poem  Nymphs  at  Twi- 
light, etc.  Lives  Paris. 

Seyfardt  (Sy-fardt),  Ernst  Hermann.  Composer;  born 
Crefeld,  Ger.,  May  6,  1858.  Composed  a  symphony,  chamber 
works,  choral  works,  songs,  etc.  Lives  Stuttgart,  Ger. 

Seyfried  (Sy-freed),  J.  X.  Ritter  von.  Composer;  born 
Vienna,  Aug.  15,  1776;  died  there,  Aug.  27,  1841. 

Sgambati,  Giovanni.  Pianist,  composer;  born  Rome,  May 
18,  1843 ;  died  there,  Dec.  15,  1914.  His  works  include  cham- 
ber and  pianoforte  music,  symphonies,  etc. 


SHAKESPEARE 


654 


SMITH 


Shakespeare,  William.  Teacher  of  singing,  composer;  born 
Croydon,  Eng.,  Jun.  16,  1849.  Author  of  a  valuable  text- 
book for  singers.  Eminent  as  teacher  in  London. 

Shelley,  Harry  Rowe.  Organist,  composer;  born  New 
Haven,  Conn.,  Jun.  8,  1858.  Composed  cantatas,  an  opera, 
songs,  organ  music,  etc.  Lives  New  York. 

Shepard.  (1)  Thomas  Griffin.  Organist,  composer;  born 
Madison,  Conn.,  Apr.  23,  1848;  died  Brooklyn,  N.  Y., 
1905.  Composed  cantatas,  anthems,  etc.  (2)  Frank 
Hartson.  Organist,  theorist;  born  Bethel,  Conn., -Sept. 
20,  1863;  died  Orange,  N.  J.,  Feb.  25,  1913.  Author  of 
harmony  text-books. 

Shepherd,  Arthur.  Teacher,  composer;  born  Paris,  Idaho, 
Feb.  19,  1880.  Composed  an  Overture  Joyeuse,  a  cantata, 
songs,  an  admirable  piano  sonata,  etc.  New  England  Con- 
sevatory,  Boston. 

Sherwood,  William  H.  Pianist,  teacher;  born  Lyons,  N. 
Y.,  Jan.  31,  1854;  died  Chicago,  Jan.  7,  1911.  Pupil  of 
Liszt;  distinguished  concert  artist. 

Shield,  William.  Composer;  born  Wickham,  Eng.,  Mar. 
5,  1748;  died  London,  Jan.  25,  1829.  Composed  the  music 
of  a  number  of  of  ballad  operas  once  highly  popular. 

Sibelius  (See-bay-lee-ous) ,  Jean.  Composer;  born  Tavas- 
tehus,  Fin,  Dec.  8,  1865.  His  best  works  are  his  four  sym- 
phonies, the  orchestral  legends  on  Kalevala  subjects,  the 
suites  Carelia,  and  King  Christian  IV.  Lives  Helsingfors, 
Fin. 

Siboni,  Ernst  Anton.  Pianist,  composer;  born  Copen- 
hagen, Den.,  Aug.  26,  1828;  died  there,  Feb.  22,  1892.  Or- 
chestral composer. 

Sicard  (See-car),  Michael.  Violinist,  conductor;  born  Odessa, 
Rus.,  1868.  Composed  for  orchestra  and  chamber  music. 

Sick,  Theodor  Bernhard.  Composer;  born  Copenhagen, 
Den.,  Nov.  7,  1827.  Composed  much  chamber  music. 

Sieber,  Ferdinand.  Teacher  of  singing,  composer;  born 
Vienna,  Dec.  5,  1822;  died  Berlin,  Feb.  19,  1895.  Wrote 
excellent  studies  for  voice  training. 

Sieveking  (Sce'-ve-king),  Martinus.  Pianist;  born  Amster- 
dam, Hoi.,  Mar.  24,  1867.  Artist  of  distinction.  Lives  New 
York. 

Silas  (See-laz),  Eduard.  Pianist,  composer;  born  Amster- 
dam, Hoi.,  Aug.  22,  1827 ;  died  London,  Feb.  8,  1909.  Com- 
posed orchestral  works,  a  piano  concerto,  an  oratorio,  and 
many  piano  pieces. 

Silbermann,  Gottfried.  Piano-maker;  born  Kleinbobritzsch, 
Ger.,  1683;  died  Aug.  4,  1753.  One  of  the  earliest  German 
makers. 

Silcher,  Friedrich.  Composer;  born  Schnaith,  Ger.,  Jun. 
27,  1789;  died  Tubingen,  Ger.,  Aug.  26,  1860. 

Siloti,  Alexander.  Pianist,  conductor ;  born  Kharkov,  Rus., 
Oct.  10,  1863.  Distinguished  virtuoso  and  teacher.  Lives 
Petrograd. 

Silver  (Seel-vair),  Charles.  Composer;  born  Paris,  Feb. 
16,  1868.  Opera  composer,  Le  Clos,  etc.  Lives  Paris. 

Simon  (See-mon),  Anton.  Composer;  born  France,  1851. 
Composed  operas,  ballets,  orchestral  and  chamber  works. 

Simonetti,  Achille.  Violinist,  composer;  born  Turin,  Italy, 
Jun.  12,  1859.  Composed  graceful  piano  pieces. 


Sinding,  Christian.  Composer;  born  Kongsberg,  Nor., 
Jan.  11,  1856.  Composed  orchestral  works,  Episodes  Cheva- 
leresques,  etc.,  an  opera,  The  Holy  Mountain,  and  many 
attractive  piano  pieces. 

Singelee  (Sanj-lay),  Jean  Baptiste.  Violinist,  composer; 
born  Brussels,  Bel.,  Sept.  25,  1812;  died  Ostend,  Bel., 
Sept.  29,  1875.  Composed  melodious  violin  pieces. 

Singer,  Otto.  Violinist;  born  Dresden,  Ger.,  Sept.  14, 
1863.  Transcribed  orchestral  works  for  piano,  four  hands. 

Sinigaglia  (Sin-i-gal-ya) ,  Leone.  Composer;  born  Turin, 
Italy,  Aug.  14,  1868.  Composed  orchestral  works,  violin 
Romance,  overture  Le  Baruffe  Chiozotte,  chamber  music, 
etc.  Lives  Turin. 

Sitt,  Hans.  Violinist,  conductor;  born  Prague,  Boh.,  Sept. 
21,  1850.  Composed  for  orchestra,  chamber  music,  songs, 
etc.  Lives  Leipzig,  Ger. 

Sivori  (See-vo'-ree) ,  Ernesto  Camillo.  Violinist;  born 
Genoa,  Italy,  Oct.  25,  1815;  died  there,  Feb.  18,  1894.  A 
pupil  of  Paganini. 

Sjogren  (Shya-gren) ,  Johann  Gustav  Emil.  Organist,  com- 
poser; born  Stockholm,  Swed.,  Jun.  16,  1853.  Composed  a 
cantata,  orchestral  ballads,  chamber  works,  songs,  Der  Vogt 
von  Tenneberg,  etc.,  and  piano  pieces,  Erotikon,  Novellette, 
Auf  der  Wanderschaft,  etc.  Lives  Stockholm. 

Skroup    (Skroop),    Frantisek.      Composer;    born    Vosicz, 

Boh.,    Jun.   3,    1801;    died    Rotterdam,    Hoi.,   Feb.    7,    1862. 

Pioneer  in  composing  Bohemian  national  operas. 
Skuhersky,     Franz     Zdenko.     Composer      theorist;     born 

Opocno,  Boh.,  Jul.  31,   1830;  died  Budweis,  Aug.  19,  1892. 

Opera  composer. 
Slivinski,  Joseph  von.     Pianist;  born  Warsaw,  Pol.,  Dec. 

15,   1865.     Pupil  of  Leschetizky  and  Rubinstein. 
Sloper,  Lindsay.     Pianist,   composer;   born    London,   Jun. 

14,  1826;  died  there,  Jul.  3,   1887.     Composed  piano  pieces, 

studies,  songs. 

Smareglia  (Smah-rel-ya) ,  Antonio.  Composer;  born  Pola, 
Aus.,  May  5,  1854.  Opera  composer. 

Smart.  (1)  Sir  George  Thomas.  Composer,  conductor; 
born  London,  May  10,  1776;  died  there,  Feb.  23,  1867. 
(2)  Henry.  Organist,  composer;  born  London,  Oct  26, 
1813;  died  there,  Jul.  6,  1879.  Composed  organ  music. 
Brother  of  (1). 

Smetana  (Smc' tah-nah) ,  Friedrich.  Composer;  born 
Leitomischl,  Boh.,  Mar.  2,  1824;  died  Prague,  Boh.,  May 
12,  1884.  Wrote  a  number  of  orchestral  works,  strongly 
reflecting  the  national  suirit  of  the  Bohemians ;  also  operas, 
Die  Brandenburgcr  in  Bohmen,  Dalibor,  Der  Kuss,  and 
Die  verkaufte  Braut. 

Smith.  (1)  Alice  Mary  (Mrs.  Meadows-White).  Com- 
poser; born  London,  May  19,  1839;  died  there,  Dec.  4, 
1884.  Composed  a  symphony,  overtures,  chamber  mu- 
sic, vocal  works,  etc.  (2)  Edward  Sydney.  Composer, 
pianist;  born  Dorchester,  Eng.,  Jul.  14,  1839;  died  Lon- 
don, Mar.  3,  1889.  Composed  brilliant  piano  music.  (3) 
Gerrit.  Organist;  born  Hagerstown,  Md.,  Dec.  11,  1859; 
died  New  York,  July  21,  1912.  Composed  the  cantata 
David,  also  songs  and  piano  pieces.  (4)  Wilson  George. 
Composer;  born  Elyria,  O.,  Aug.  19,  1855.  Composed 
piano  and  vocal  music.  Lives  Cleveland,  O.  (5)  David 
Stanley.  Composer;  born  Toledo,  O.,  July  6,  1877. 
Composed  a  symphony,  the  symphonic  poem  Darkness  and 
Light,  an  overture,  a  cantata,  etc,  Yale  University, 


SMULDERS 


655 


STAMM 


Smulders  (Smool-ders) ,  Karl  Anton.  Composer,  teacher; 
born  Maestricht,  Hoi.,  May  8,  1863.  Composed  a  piano  con- 
certo. Liege  Conservatory. 

Smyth,  Ethel.  Composer;  born  London,  Apr.  23,  1858. 
Composed  a  mass,  an  overture,  chamber  music,  and  the 
operas  Fantasia,  The  Forest,  and  The  Wreckers.  Lives 
Woking,  Eng. 

Sodermann  (Say-dcr-man) ,  August  johan.  Composer; 
born  Stockholm,  Swed.,  Jul.  17,  1832;  died  there,  Feb.  10, 
1876. 

Sokalski.  (1)  Peter.  Writer,  composer;  born,  Kharkov, 
Rus.,  Sept.  26,  1832;  died  Odessa,  Rus.,  Mar.,  1887.  Com- 
posed operas,  Mazcppa,  etc.,  wrote  on  Russian  folk-music. 
(2)  Vladimir.  Composer;  born  Heidelberg,  Ger.,  Apr. 
6,  1863.  Composed  for  orchestra,  chamber  music,  etc.  Lives 
Kharkov,  Rus. 

Sokolov  (Sok-o-loff),  Nikolai.  Composer;  born  Petrograd, 
May  26,  1859.  Composed  chamber  works,  a  ballet,  music  to 
The  Winter's  Tale,  etc.  Petrograd  Conservatory. 

Solomon,  Edward.     Composer;  born   London,  1853;   died 

there,  1895.     Light  opera  composer. 
Soloviev   (So-lo'vycf),  Nicolai.     Composer,   teacher;  born 

Petrosadovsk,    Rus.,    May  9,    1846.     Opera   and   orchestral 

composer.     Lives  Petrograd. 

Soltys,  Miecyslav.  Composer,  teacher;  born  Lemberg, 
Aus.,  Feb.  7,  1863.  Composed  Polish  operas.  Lrfc:s 
Lemberg. 

Somborn,  Theodor  Karl.  Composer,  teacher;  born  Bar- 
men, Ger.,  Nov.  16,  1851.  Composed  operas.  Lives  Munich, 
Ger. 

Somervell,  Arthur.  Composer;  born  Windermere,  Eng., 
Jun.  5,  1863.  Composed  orchestral  works,  effective  cantatas, 
songs,  etc.  Lives  London. 

Sommer,  Hans.  Composer;  born  Brunswick,  Ger.,  Jul. 
20,  1837.  Composed  operas  Lorelei,  St.  Foix,  Der  Meerman, 
Der  Waldschratt,  etc.,  and  songs.  Lives  Brunswick. 

Sonneck,  Oscar  George.  Writer;  born  Jersey  City,  N.  J., 
Oct.  6,  1873.  Librarian  Music  Section,  Library  of  Congress, 
for  a  number  of  years.  Lives  New  York. 

Sonnleithner  (Son-light-ner) ,  Christoph.  Composer;  born 
Szegedin,  Hun.,  May  28,  1734;  died  Vienna,  Dec.  25,  1786. 

Sontag,  Henriette.  Soprano;  born  Coblenz,  Ger.,  Jan.  3, 
1806;  died  Mexico,  Jun.  17,  1854. 

Sormann,  Alfred  Richard  Gotthelf.  Composer,  pianist; 
born  Danzig,  Ger.,  May  16,  1861.  Stern  Conservatory, 
Berlin. 

Sousa,  John  Philip.  Composer;  born  Washington,  D.  C, 
Nov.  6,  1854.  American  bandmaster  and  composer  of  pop- 
ular marches.  Lives  New  York. 

Spagnoletti  (Span-yo-let-tee),  P.  Violinist;  born  Cremona, 
Italy,  1768;  died  London,  Sept.  23,  1834. 

Spalding.  (1)  Albert.  Violinist;  born  Chicago,  Aug.  15, 
1888.  Distinguished  virtuoso.  (2)  Walter  Raymond. 
Organist,  teacher;  born  Northampton,  Mass.,  May  22,  1865. 
Professor  of  Music,  Harvard  University. 

Spangenberg,  Heinrich.  Composer;  born  Darmstadt,  Ger., 
May,  1861.  Organ  and  opera  composer. 

Spanuth  (Spahn-oot),  August.  Composer,  writer;  born 
Hanover,  Ger.,  Mar.  15,  1857.  Composed  songs  and  piano 
works;  edits  The  Signale,  Berlin. 


Speidel  (Spy-del),  Wilhelm.  Pianist;  born  Ulm,  Ger., 
Sept.  3,  1826;  died  Stuttgart,  Ger.,  Oct.  13,  1899. 

Spengel,  Julius  Heinrich.  Organist,  composer;  born  Ham- 
burg, Ger.,  Jun.  12,  1853.  Composed  a  symphony,  etc.  Lives 
Hamburg. 

Spicker,  Max.  Conductor,  teacher;  born  Konigsberg,  Ger., 
Aug.  16,  1858;  died  New  York,  Oct.  15,  1912, 

Spiering,  Theodore.  Violinist,  teacher,  conductor;  born 
St.  Louis,  Mo.,  Sept.  5,  1871.  Composed  studies  for  the 
violin.  Lives  New  York. 

Spindler,  Fritz.  Pianist,  composer;  born  Wiirzbach,  Ger., 
Nov.  24,  1817;  died  near  Dresden,  Ger.,  Dec.  26,  1906.  Com- 
posed brilliant  piano  music. 

Spinelli,  Nicolo.  Composer;  born  Turin,  Italy,  Jul.  29, 
1865 ;  died  Rome,  Oct.  18,  1909.  Composed  operas  A  Basso 
Porto,  etc. 

Spitta  (Shpitta),  Julius  August  Philipp.  Historian;  born 
Wechold,  Ger.,  Dec.  27,  1841;  died  Berlin,  April  13,  1894. 
Best  known  for  his  biography  of  J.  S.  Bach. 

Spofforth,  Reginald.  Composer;  born  Southwell,  Eng., 
1770;  died  London,  Jun.  6,  1864.  Famous  for  his  masterly 
glees. 

Spohr,  Louis.  Violinist,  composer,  conductor;  born  Bruns- 
wick, Ger.,  Apr.  5,  1784;  died  Kassel,  Ger.,  Nov.  22,  1859. 
Made  many  concert  tours,  and  soon  became  recognized  as 
•the  first  of  living  violinists.  After  holding  various  other 
appointments  was  made  court  capellmeister  at  Kassel  in 
1822.  Here  he  wrote  his  best  works,  the  opera  Jessonda, 
and  the  oratorio  The  Last  Judgment.  Spohr  wrote  8 
operas,  5  oratorios,  9  symphonies,  43  quartets,  5  quintets, 
5  double  quartets,  also  the  famous  duets  for  two  violins, 
violin  concertos,  many  songs,  etc.  As  a  composer  his  work 
is  lyrical,  refined,  and  delicate.  Musical  art  is  mostly  deeply 
indebted  to  him  as  the  virtual  founder  of  the  modern  school 
of  violin  playing. 

Spontini  (Sp  on-tee-nee),  Gasparo  Luigi  Pacifico.  Com- 
poser; born  Majolati,  Italy,  Nov.  14,  1774;  died  there,  Jan. 
24,  1851.  Studied  at  Naples.  Wrote  operas  of  a  grandly 
spectacular  kind,  modeled  after  those  of  Gluck.  His  best 
works  are  La  Vestale  and  Ferdinand  Cortes.  Was  for 
some  time  general  music  director  at  Berlin. 

Sporck,  Georges.  Composer;  born  Paris,  Apr.  9,  1870. 
Composed  several  symphonic  poems,  etc. 

Stainer,  Sir  John.  Organist,  composer;  born  London,  Jun. 
6,  1840;  died  Verona,  Italy,  Mar.  31,  1901.  In  1888  he  was 
knighted,  and  in  the  following  year  became  professor  of 
music  at  Oxford  University.  He  wrote  the  sacred  cantatas 
The  Daughter  of  Jairus,  and  St.  Mary  Magdalen,  anthems, 
etc.,  and  numerous  theoretical  text-books  and  treatises. 

Stamaty  (Sta-mah-tee),  Camille  Marie.  Pianist,  composer; 
born  Rome,  Mar.  23,  1811;  died  Paris,  Mar.  19,  1870.  Wrote 
excellent  technical  studies. 

Stamitz,  Johann  Wenzel  Anton.  Violinist;  born  Deutsch- 
brod,  Boh.,  Jun.  19,  1717;  died  Mannheim,  Ger.,  Mar.  27, 
1757.  Composed  symphonies  and  chamber  works ;  a  pioneer 
in  reforming  the  old  instrumental  style  and  using  what 
became  the  classical  orchestra. 

Stamm,  Thomas  Oswald.  Teacher,  composer;  born  Uthle- 
ben,  Ger.,  Apr.  17,  1868.  Lives  Weissenfels,  Ger. 


STANFORD 


056 


STRAKOSCH 


Stanford,  Sir  Charles  Villiers.  Composer;  born  Dublin, 
Ire.,  Sept.  30,  1852.  Studied  music  under  Sir  Robert  Stew- 
art, and  Michael  Quarry,  at  Dublin,  under  Reinecke  at 
Leipzig,  and  Kiel  at  Berlin.  Was  appointed  organist  of 
Trinity  College,  Cambridge,  Eng.,  and  conductor  of  Cam- 
bridge University  Musical  Society  in  1872.  In  1883  he  was 
appointed  professor  of  composition  and  conductor  of  the 
orchestral  class  at  the  Royal  College  of  Music,  London. 
Among  his  works  are  two  operas,  The  Veiled  Prophet,  and 
Savonarola,  symphonies,  cantatas,  Battle  of  the  Baltic,  and 
The  Revenge,  chamber  music  songs,  etc.  Lives  London. 

Stanley,  Albert  Augustus.  Organist,  composer,  conductor; 
born  Manville,  R.  I.,  May  25,  1851.  Composed  symphony, 
The  Soul's  Awakening,  symphonic  poem  Atis,  etc.  Pro- 
fessor of  music,  University  of  Michigan. 

Stark.  (1)  Ludwig.  Pianist,  teacher;  born  Munich,  Ger., 
Jun.  19,  1831;  died  Stuttgart,  Ger.,  Mar.  22,  1884.  Joint 
author  Lebert  and  Stark  Method.  (2)  Robert.  Clarinet- 
ist, composer;  born  Klingenthal,  Ger.,  Sept.  19,  1847. 
Composed  for  clarinet  and  other  wood-wind.  Wurzburg 
Conservatory. 

Stasny.  (1)  Ludwig.  Composer;  born  Prague,  Boh.,  Feb. 
26,  1823;  died  Frankfort,  Ger.,  Oct.  30,  1883.  Opera 
Composer.  (2)  Carl  Richard.  Pianist,  teacher;  born 
Mainz,  Ger.,  Mar.  16,  1855.  New  England  Conservatory, 
Boston. 

Statkovski,  Roman.  Composer;  born  near  Kalisch,  Pol., 
Jan.  5,  1860.  Composed  orchestral  and  chamber  music. 
Lives  Warsaw,  Pol. 

Staudigl.  (1)  Joseph.  Bass;  born  Mollersdorf,  Aus.,  Apr. 
14,  1807;  died  near  Vienna,  Mar.  28,  1861.  (2)  Joseph, 
Jr.  Baritone;  born  Vienna,  Mar.  18,  1854. 

Stavenhagen,  Bernhard.  Pianist,  conductor;  born  Greiz, 
Ger.,  Nov.  25,  1862;  died  Geneva,  Switz.,  Dec.  26,  1914. 
Composed  concertos,  etc. 

Stcherbatchev  (Schair-bah-chef),  Nicolai.  Composer;  born 
Russia,  Aug.  24,  1853.  Orchestral  and  piano  composer. 

Steggall.  (1)  Charles.  Organist;  born  London,  Jun.  3, 
1826;  died  there,  Jun.  7,  1905.  Composed  sacred  works. 
(2)  Reginald.  Composer;  born  London,  Apr.  17,  1867. 
Composed  scenas,  symphony,  etc.  Son  of  (1). 

Stehle  (Shtay-le),  Gustav  Eduard.  Organist,  composer; 
born  Steinhausen,  Ger.,  Feb.  17,  1839.  Composed  sacred 
and  secular  cantatas  with  orchestra. 

Steibelt  (Sty-belt),  Daniel.  Pianist,  composer;  born,  Ber- 
lin, 1765;  died  Petrograd,  Sept.  20,  1823.  Wrote  valuable 
technical  piano  studies. 

Steinbach  (Stine-bak).  (1)  Emil.  Conductor;  born  Len- 
genrieden,  Ger.,  Nov.  14,  1849.  Composed  orchestral 
and  chamber  works.  (2)  Fritz.  Conductor;  born  Griin- 
feld,  Ger.,  Jun.  17,  1855.  Lives  Munich,  Ger. 

Stenhammar,  Wilhelm.  Composer;  born  Stockholm,  Swed., 
Feb.  7,  1871.  Composed  symphonies,  orchestral  ballads, 
cantatas,  and  many  smaller  works.  Lives  Stockholm. 

Stephan,  Rudolf.  Composer;  born  Worms,  Ger.,  Jul.  29, 
1887;  died  in  battle  in  France,  Sept.  29,  1915.  Composed 
an  opera,  orchestral  works  and  chamber  music. 

Stephens,  Catherine.  Soprano;  born  London,  Sept.  18, 
1794;  died  there,  Feb.  22,  1882.  Celebrated  in  opera  and 
oratorio. 


Sterkel  (Stair-kcl),  Johann  Franz  Xaver.  Pianist,  com- 
poser; born  Wurzburg,  Ger.,  Dec.  3,  1750;  died  Mainz,  Ger., 
Oct.  12,  1817. 

Sterling,  Antoinette.  Contralto;  born  Sterlingville,  N.  Y., 
Jan.  23,  1850;  died  London,  Jan.  9,  1904.  Popular  in  ora- 
torio and  as  a  ballad  singer,  leading  composers  writing  for 
her  songs  that  have  become  famous. 

Sternberg,  Constantin  von.  Pianist,  composer;  born  Pet- 
rograd, Jul.  9,  1852.  Pupil  of  Kullak  and  Liszt.  Composed 
for  orchestra  and  piano.  Lives  Philadelphia. 

Stewart.  (l)Sir  Robert  Prescott.  Organist,  teacher;  born 
Dublin,  Ire.,  Dec.  16,  1825;  died  there,  Mar.  24,  1894. 
Professor  of  Music  Trinity  College,  Dublin.  (2)  Hum- 
phrey John.  Organist,  composer;  born  London,  May 
22,  1856.  Composed  comic  operas,  an  orchestral  suite,  Cali- 
fornia Scenes,  etc.  Lives  San  Diego,  Cal. 

Stiehl  (Steel),  Heinrich.  Organist,  composer;  born  Lii- 
beck,  Ger.,  Aug.  5,  1829;  died  Reval,  Rus.,  May  1,  1886. 
Composed  chamber  music,  piano  pieces,  songs,  etc. 

Stierlin  (Steer-lin),  Adolf.  Bass,  composer;  born  Adenau, 
Ger.,  Oct.  14,  1859.  Opera  composer.  Miinsttr,  Ger.,  Con- 
servatory. 

Stirling,  Elizabeth.  Organist,  composer;  born  Greenwich, 
Eng.,  Feb.  26,  1819;  died  London,  1895.  Composed  organ 
works  and  songs. 

Stock,  Frederick.  Conductor,  composer;  born  Jiilich,  Ger., 
Nov.  11,  1872.  Chicago  Symphony  Orchestra. 

Stockhausen,  Julius.  Baritone,  teacher  of  singing;  born 
Paris,  Jul.  22,  1826; 'died  Frankfort,  Ger.,  Sept.  22,  1906. 
Eminent  as  an  oratorio  and  lieder  singer,  and  as  a  teacher. 

Stoeving  (Stay-ving),  Paul.  Violinist,  writer,  teacher; 
born  Leipzig,  Ger.,  May  7,  1861.  Wrote  valuable  technical 
works  on  the  violin  and  violin  playing.  Lives  New  York. 

Stohr  (Stair),  Richard.  Composer;  born  Vienna,  Jun.  11, 
1874.  Composed  symphonies,  concertos,  chamber  music, 
choruses.  Lives  Vienna. 

Stojowski  (Sto-yof-ski) ,  Sigismund.  Pianist,  teacher,  com- 
poser; born  Strelzy,  Pol.,  May  14,  1870.  Pupil  of  Pade- 
rewski.  Composed  for  orchestra  and  piano.  Lives  New 
York. 

Stokowski  (Sto-kof-ski),  Leopold.  Conductor;  born.  Lon- 
don, Apr.  18,  1881.  Philadelphia  Symphony  Orchestra. 

Stopel  (Stay-pel),  Robert  August.  Composer;  born  Ber- 
lin, 1821 ;  died  New  York,  Oct.  1,  1887.  Educated  in  Paris. 
Composed  operas. 

Storace,  Stephen.  Composer;  born  London,  Jan.  4,  1763; 
died  there,  Mar.  19,  1796.  Produced  many  works  for  the 
stage. 

Stradella,  Alessandro.  Composer;  born  Naples,  Italy, 
1645;  died  Genoa,  Italy,  Jun.  6(16),  1681.  Opera  com- 
poser of  eminence  in  the  early  history  of  the  subject. 

Stradivari  (Stradivarius),  Antonio.  Violin-maker;  born 
Cremona,  Italy,  1644;  died  there,  Dec.  18,  1736.  One  of  the 
great  violin  makers  of  Italy. 

Straeser  (Stray-scr),  Ewald.  Composer;  born  Burscheid, 
Ger.,  Jun.  27,  1867.  Composed  for  orchestra  and  chamber 
music.  Cologne,  Ger.,  Conservatory. 

Strakosch  (Strah-kosh).  (1)  Maurice.  Impresario;  born 
Lemberg,  Aus.,  1825;  died  Paris,  Oct.  9,  1887.  Teacher 
of  Adelina  Patti.  (2)  Max.  Born  1834;  died  New  York, 
Mar.  17,  1892.  Managed  operatic  productions  in  U.  S. 


STRANSKY 


657 


TANSUR 


Stransky,  Josef.  Conductor;  born  Humpoltz,  Boh.,  Sept. 
9,  1872.  New  York  Philharmonic  Society. 

Stratton,  Stephen  S.  Writer,  critic;  born  London,  Apr. 
19,  1840.  Author  of  biographical  works. 

Straube,  Karl.  Organist;  born  Berlin,  Jan.  6,  1873.  Dis- 
tinguished virtuoso,  Bach  player,  and  conductor.  Lives 
Leipzig,  Ger. 

Straus  (Straus).  (1)  Ludwig.  Violinist;  born  Presburg, 
Hun.,  Mar.  28,  1835.  Concertmaster,  London  Philhar- 
monic Orchestra.  (2)  Oskar.  Composer;  born  Vienna, 
Apr.  6,  1870.  Composed  light  operas,  operettas,  and  or- 
chestra music.  Lives  Vienna. 

Strauss  (Straus).  (1)  Eduard.  Conductor;  born  Vienna, 
1835;  died  there,  Dec.  29,  1916.  Composer  of  dance 
music.  Son  of  (2).  (2)  Johann.  Composer,  conductor; 
born  Vienna,  Mar.  14,  1804;  died  there,  Sept.  25,  1849. 
The  head  of  the  celebrated  Strauss  family  whose  match- 
less dance  music  has  charmed  the  world.  (3)  Johann. 
Composer,  conductor;  born  Vienna,  Oct.  25,  1825;  died 
there,  June  3,  1899.  Son  of  (2).  (4)  Joseph.  Corv 
ductor;  born  1827;  died  Warsaw,  Pol.,  Jul.  22,  1870. 
Son  of  (2).  (5)  Richard.  Composer;  born  Munich, 
Ger.,  Jun.  11,  1864.  Was  conductor  at  Munich  1886-89; 
1895-98;  Weimar,  1889-95;  and  Berlin,  1898—.  His  later 
works  have  aroused  much  discussion  by  their  innovations. 
His  operas  are  Guntram,  Fcuersnot,  Salome,  Elektrn  and 
a  light  work,  Der  Roscnkavalicr.  His  symphonic  works, 
such  as  Death  and  Transfiguration,  Till  Eulenspiegel,  Don 
Quixote,  Bin  Heldenleben,  are  considered  his  best  works. 
Lives  Berlin. 

Stravinsky,  Igor.  Composer;  born  Oranienburg,  Rus., 
Jun.  5,  1882.  Composed  radical  ballets. The  Bird  of  Fire, 
Le  Sacree  du  Printemps,  etc.,  and  orchestral  works.  Lives 
Switzerland. 

Streabbog.     See  Gobbaerts. 

Strelezki  (Stre-lets-ki) ,  Anton  (pseudonym  of  A.  A.  Bur- 
nand).  Composer;  born  Croydon,  Eng.,  Dec.  5,  1859. 
Lived  in  U.  S.  for  a  number  of  years. 

Strickland,  Lily.  Composer;  born  Anderson,  S.  C,  Jan. 
28,  1887.  Sbng  composer.  Lives  New  York. 

Strong,  George  Templeton.  Composer;  born  New  York, 
1855.  Composed  symphonic  poems,  symphonies,  Sintram, 
No.  2,  well-received,  cantata  The  Haunted  Mill,  etc.  Lives 
in  Switzerland. 

Strube,  Gustav.  Violinist,  conductor,  composer;  born 
Ballenstedt,  Ger.,  Mar.  3,  1867.  Composed  modern  and  in- 


teresting overtures,  symphonies,  symphonic  poems,  Lorelei, 
Echo  et  Narcissc,  etc.  Peabody  Conservatory,  Baltimore, 
Md. 

Strungk  (Stroongk),  Nikolaus  Adam.  Violinist,  composer; 
born  Celle,  Ger.,  about  1640;  died  Dresden,  Ger.,  1700.  Early 
opera  composer. 

Sudds,  William  F.  Composer;  born  London,  Mar.  5,  1843. 
Composed  much  sacred  music  and  many  piano  pieces. 
Lives  Gouverneur,  N.  Y. 

Suk  (Sook),  Josef.  Violinist,  composer;  born  Kfecovic, 
Boh.,  Jan.  4,  1874.  Composed  overtures,  chamber  works, 
The  Fairy  Talc,  suite,  etc.  Lives  Prague,  Boh. 

Sullivan,  Sir  Arthur  Seymour.  Composer;  born  London, 
May  13,  1842;  died  there,  Nov.  22,  1900.  A  choir-boy  at 
the  Chapel  Royal.  When  fourteen  won  the  Mendelssohn 
Scholarship.  Studied  under  Bennett  and  Goss,  and  after- 
ward spent  three  years  at  Leipzig.  Attracted"  great  atten- 
tion shortly  after  his  return  from  Leipzig  by  his  music  to 
The  Tempest.  Achieved  a  world-wide  success  with  his 
comic  operas.  Also  wrote  the  cantata  Kenilworth,  the 
oratorios  The  Prodigal  Son,  The  Martyr  of  Antioch,  and 
The  Golden  Legend;  a  festival  Te  Deum,  overtures,  a  sym- 
phony, songs,  especially  the  well-known  The  Last  Chord. 

Suppe  (Soo-pay),  Franz  von.  Composer;  born  Spalato. 
Aus.,  Apr.  18,  1820;  died  Vienna,  May  22,  1895. 

Surette,  Thomas  Whitney.  Author,  composer;  born  Con- 
cord, Mass.,  Sept.  7,  1862.  Composed  several  operettas. 
Author  of  text-books  on  music  study.  Lives  Concord,  Mass. 

Sussmayer  (Sees-my-cr),  Franz  Xaver.  Composer;  born 
Schwanenstedt,  Aus.,  1766;  died  Vienna,  Sept.  17,  1803. 

Suter,  Hermann.  Composer;  born  Kaiserstuhl,  Switz., 
Apr.  28,  1870.  Composed  for  orchestra,  chamber  music, 
and  for  chorus.  Lives  Basel,  Switz. 

Svendsen,  Johann  Severin.  Composer,  conductor;  born 
Christiania,  Nor.,  Sept.  30,  1840;  died  Copenhagen,  Den., 
Jun.  13,  1911.  Served  for  six  years  in  the  Norwegian  army, 
meanwhile  studying  music.  Joined  a  band  of  itinerant 
musicians  as  violinist.  Entered  Leipzig  Conservatory  where 
he  studied  composition.  His  works  include  a  symphony, 
some  clever  chamber  music,  etc. 

Sweelinck  (Svay-link),  Jan  Pieter.  Organist,  composer; 
born  Amsterdam,  Hoi.,  1562;  died  there.  Oct.  16,  1621.  The 
most  distinguished  organist  of  his  time. 

Szekely  (Shek-e-ly),  Imre.  Pianist;  born  Matyfalva,  Hun., 
May  8,  1825;  died  Pesth,  Hun.,  Apr.  1,  1887. 

Szumowska  (Shoo-mof-ska),  Antoinette.  See  Adamowski, 
Mrs.  Joseph. 


Tadolini,  Giovanni.    Composer;  born  Bologna,  Italy,  1793; 

died    there,    Nov.    19,    1872.    Composed   operas,    canzon- 

ettas,  etc. 
Talexy,  Adrien.    Pianist,  composer;  born  1821;  died  Paris, 

Feb.,  1881.     Composed  operettas  and  salon  music. 
Tallis,  Thomas.     Organist,  composer;  born  between,  1520 

and  1529;  died  London,  Nov.  23,  1585.    Composed  church 

music. 
Tamagno   (Ta-mahn-yo) ,  Francesco.     Tenor;   born  Turin, 

Italy,   1851;  died  Varese,   Italy,  Aug.  31,   1905.     A  power- 
ful dramatic  voice. 


Tamberlik,  Enrico.  Tenor;  born  Rome,  Mar.  16,  1820; 
died  Paris,  Mar.  15,  1889.  Celebrated  opera  singer. 

Tamburini,  Antonio.  Bass;  born,  Faenza,  Italy,  Mar.  28, 
1800;  died  Nice,  France,  Nov.  9,  1876. 

Taneiev  (Tan-e-yef),  Sergei.  Composer;  born  Russia, 
Nov.  13(25),  1856;  died  Moscow,  Rus.,  Jun.  19,  1915.  Com- 
posed four  symphonies,  overtures,  etc. ;  best  known  by  his 
dignified  music  to  the  trilogy  Oresteia. 

Tansur,  William.  Organist,  composer;  born  Dunchurch, 
Eng.,  about  1700;  died  St.  Neots,  Eng.,  Oct.  7,  1783. 


TAPPER 


658 


TINEL 


Tapper,  Thomas.  Writer;  born  Canton,  Mass.,  Jan.  28, 
1864.  Author  of  many  valuable  educational  music  works. 
Institute  of  Musical  Art,  New  York. 

Tartini  (Tar-tee-ne),  Giuseppe.  Violinist,  composer;  born 
Pirano,  Italy,  Apr.  12,  1692;  died  Padua,  Italy,  Feb.  16,  1770. 
In  1728  founded  his  famous  violin  school  at  Padua.  He 
published  various  treatises  as  well  as  numerous  composi- 
tions. 

Tasca,  Baron  Pier  Antonio.  Composer;  born  Noto,  Italy, 
1863.  Opera  composer. 

Taubert  (Tou-bairt),  Karl  Gottfried  Wilhelm.  Pianist, 
composer;  born  Berlin,  Mar.  23,  1811;  died  there,  Jan. 
7,  1891. 

Taubmann  (Toub-mann),  Otto.  Conductor,  composer; 
born  Hamburg,  Ger.,  Mar.  8,  1859.  Orchestral  and  choral 
composer.  Lives  Berlin. 

Tausig  (Tou-sig),  Karl.  Pianist;  born  Warsaw,  Pol.,  Nov. 
4,  1841;  died  Leipzig,  Ger.,  Jul.  17,  1871.  Liszt's  greatest 
pupil.  Composed  technical  studies  of  great  value. 

Taylor,  Franklin.  Pianist,  writer;  born  Birmingham,  Eng., 
Feb.  5,  1843.  Author  of  works  on  piano  playing. 

Telemann,  Georg  Philip.  Organist,  composer;  born  Madge- 
burg,  Ger.,  Mar.  14,  1681 ;  died  Hamburg,  Ger.,  July  25, 
1767. 

Tellefsen,  Thomas  Dyke.  Pianist,  composer;  born  Dront- 
heim,  Nor.,  Nov.  26,  1823;  died  Paris,  Oct.,  1874.  Pupil 
of  Chopin. 

Temple,  Hope  (Mme.  Andre  Messager).  Composer;  bora 
Ireland.  Composed  a  number  of  popular  songs.  Lives 
Paris. 

Templeton,  John.  Tenor;  born  Kilmarnock,  Scot.,  Jul. 
30,  1802;  died  London,  Jul.  2,  1886.  Successful  in  opera 
and  concert,  especially  in  Scottish  songs. 

Ternina  (Ter-nee-na) ,  Milka.  Soprano;  born  Vezisce,  Aus., 
Dec.  19,  1864.  Eminent  Wagnerian  singer. 

Terschak,  Adolf.  Flutist,  composer;  born  Hermannstadt, 
Aus.,  1832;  died  Breslau,  Ger.,  1901. 

Tessarin,  Francesco.  Composer;  born  Venice,  Dec.  3, 
1820.  Opera  composer;  friend  of  Wagner. 

Tetrazzini  (Tet-ra-tsee-ne-),  Luisa.  Soprano;  born  Flor- 
ence, Italy,  1874.  Famous  coloratura  singer. 

Thalberg  (Tahl-bcrg),  Sigismund.  Pianist,  composer; 
born  Geneva,  Switz.,  Jan.  7,  1812;  died  Naples,  Italy,  Apr. 
27,  1871.  Pupil  of  Hummel.  Famous  for  his  mastery  of 
the  singing  tone  and  legato  effects  on  the  piano. 

Thayer.  (1)  Alexander  Wheelock.  Writer;  born  South 
Natick,  Mass.,  Oct.  22,  1817;  died  Trieste,  Italy,  July  15, 
1897.  Published  a  famous  biography  of  Beethoven.  (2) 
Arthur  Wilder.  Composer,  conductor;  born  Dedham, 
Mass.,  Aug.  26,  1857.  Composed  sacred  and  secular 
vocal  music.  Lives  Boston.  (3)  Whitney  Eugene. 
Organist;  born  Mendon,  Mass.,  Dec.  11,  1838;  died  Bur- 
lington, Vt.,  Jan.  27,  1889.  Composed  studies  and  pieces 
for  organ. 

Theile  (Ty-leh),  Johann.  Composer;  born  Naumberg, 
Ger.,  Jul.  29,  1646 ;  died  there,  Jun.  24,  1724.  Eminent  con- 
trapuntal composer. 


Them  (Tairn),  Karl.  Composer;  born  Iglo,  Hun.,  Aug. 
18,  1817;  died  Vienna,  Apr.  13,  1886.  Composed  operas, 
songs,  etc. 

Thibaud  (Tee-bo),  Jacques.  Violinist;  born  Bordeaux, 
France,  Jul.  27,  1880.  With  Ysaye  and  Kreisler  a  leader 
of  the  world's  violinists. 

Thiebaut  (Tec-bo),  Henri.  Composer,  teacher;  born 
Schaerbeck,  Bel.,  Feb.  4,  1865.  Orchestral  composer  and 
writer.  Lives  Brussels. 

Thierf elder  (Teer-fel-der),  Albert.  Composer;  born  Muhl- 
hausen,  Alsace,  Apr.  30,  1846.  Opera  and  symphony  com- 
poser. Lives  Rostock,  Ger. 

Thieriot  (Tee-air-yo) ,  Ferdinand.  Conductor,  composer; 
born  Hamburg,  Ger.,  Apr.  7,  1838.  Orchestral  and  chamber 
music  composer.  Lives  Hamburg. 

Thoma  (To-mah),  Rudolf.  Composer,  teacher;  born  Loh- 
sewitz,  Ger.,  Feb.  22,  1829;  died  Breslau,  Ger.,  Oct.  21,  1908. 
Oratorio  and  opera  composer. 

Thomas  (To-mah),  Charles  Ambroise.  Composer;  born 
Metz,  Alsace,  Aug.  5,  1811;  died  Paris,  Feb.  12,  1896.  Stud- 
ied at  the  Paris  Conservatoire.  Wrote  operas,  Mignon, 
Hamlet,  etc.,  church  music,  chamber  music,  piano  pieces, 
and  other  works. 

Thomas.  (1)  Arthur  Goring.  Composer;  born  Ralton 
Park,  Eng.,  Nov.  21,  1851;  died  London,  Mar.  20,  1892. 
Composed  operas,  cantatas,  songs,  etc.  (2)  Theodore. 
Conductor;  born  Esens,  Ger.,  Oct.  11,  1835;  died  Chicago, 
Jan.  4,  1905.  A  strong  influence  in  developing  American 
love  for  orchestral  music.  Founded  Chicago  Orchestra. 

Thome  (To-may),  Francis.  Composer;  born  Port  Louis, 
Mauritius,  Oct.  18,  1850;  died  Paris,  Nov.  16,  1909.  Com- 
posed attractive  piano  music  and  songs. 

Thomson,  Cesar.  Violinist,  teacher;  born  Liege,  Bel., 
Mar.  17,  1857.  Teacher  of  well-known  violinists.  Removed 
from  Brussels -to  Rome  in  1914. 

Thuille  (Too-il-leh),  Ludwig.  Composer;  born  Bozen, 
Ger.,  Nov.  30,  1861 ;  died  Munich,  Ger.,  Feb.  5,  1907.  Com- 
posed chamber  music,  orchestral  works,  Romantic  over- 
ture, etc.,  and  the  operas  Theuerdank,  Gugeline,  and  Lobe- 
tans. 

Thursby,  Emma.  Soprano;  born  Brooklyn,  N.  Y.,  Feb. 
21,  1857.  Distinguished  concert  singer.  Lives  New  York. 

Tichatschek  (Tik-a-chek),  Joseph  Aloys.  Tenor;  born 
Ober-Weckelsdorf,  Boh.,  Jul.  11,  1807;  died  near  Dresden, 
Ger.,  Jan.  18,  1886. 

Tiersot  (Tyair-so),  Julien.  Writer,  composer;  born  Bourg, 
France,  Jul.  5,  1857.  Composed  symphonic  poem.  Sire 
Halcwyn,  choral-orchestral  works,  wrote  books  and  articles 
on  music  and  musicians.  Librarian  Paris  Conservatory. 

Tietjens  (Teet-ycns),  Teresa.  Soprano;  born  Hamburg, 
Ger.,  July  17,  1831;  died  London,  Oct.  3,  1877.  Opera 
singer. 

Tilman,  Alfred.  Composer;  born  Brussels,  Bel.,  Feb.  3, 
1848;  died  there,  1895.  Composed  cantatas,  etc. 

Tinctoris,  Johannes.  Writer;  born  Poperinghe,  Bel.,  about 
1446;  died  Nivelles,  France,  1511. 

Tinel,  Edgar.  Composer;  born  Sinay,  Bel.,  Mar.  27,  1854; 
died  Brussels,  Bel.,  Oct.  28,  1912.  Composed  vocal-orches- 
tral works.  Best  known  by  his  oratorios,  Franciscus,  etc. 


TIRINDELLI 


659 


URSPRUCH 


Tirindelli,  Pietro  Adolf o.  Violinist;  born  Conegliano, 
Italy,  May  5,  1858.  Opera  and  song  composer.  Cincinnati 
Conservatory  of  Music. 

Tofft,  Alfred.  Composer;  born  Copenhagen,  Den.,  Jan.  2, 
1865.  Composed  opera,  piano  and  violin  pieces,  songs. 

Tomaschek,  Wenzel.  Pianist,  teacher;  born  Skutsch,  Boh., 
Apr.  17,  1774;  died  Prague,  Boh.,  Apr.  3,  1850. 

Tonassi,  Pietro.  Composer ;  born  Venice,  Italy,  Sept.,  1801 ; 
died  there,  Nov.  4,  1S77.  Composed  church  music. 

Torchi  (Tor-kee),  Luigi.  Writer,  teacher;  born  Mordano, 
Italy,  Nov.  7,  1858.  Composed  an  overture,  a  symphony, 
operas,  La  Tempestaria,  etc.  Lives  Bologna,  Italy. 

Torrance,  Rev.  George  William.  Composer;  born  Rath- 
mines,  Ire.,  1835.  Oratorio  composer.  Lives  Australia. 

Toscanini,  Arturo.  Conductor;  born  Parma,  Italy,  Mar.  25, 
1867.  Metropolitan  Opera  Company,  New  York,  1908-15. 

Tosti,  Francesco  Paolo.  Composer,  teacher  of  singing; 
born  Ortona,  Italy,  Apr.  9,  1846;  died  Rome,  Dec.  2,  1916. 
Famous  song  composer. 

Tourjee  (Toor-zhay),  Eben.  Teacher;  born  Warwick,  R.  I., 
Jun.  1,  1834;  died  Boston,  Apr.  12,  1891.  Founder  of  New 
England  Conservatory,  Boston.  v 

Tournemire  (Toorn-mere),  Charles.  Organist,  composer; 
born  Bordeaux,  France,  Jan.  22,-1870.  Symphony  and  cham- 
ber music  composer.  Lives  Paris. 

Tours,  Berthold.  Violinist,  composer;  born  Rotterdam, 
Hoi.,  Dec.  17,  1838;  died  London,  Mar.  11,  1897.  Wrote 
church  music,  piano  pieces,  songs,  and  a  violin  Method. 

Tourte  (Toort),  Frangois.  Violin  bow-maker;  born  Paris, 
1747;  died  there,  Apr.,  1835.  Most  celebrated  of  bow- 
makers. 

Tovey,  Donald  Francis.  Pianist,  composer;  born  Eton, 
Eng.,  Jul.  17,  1875.  Composed  a  piano  concerto,  etc. 

Trebelli,  Zelia.  Mezzo-soprano;  born  Paris,  Nov.  12,  1838; 
died  Etretat,  France,  Aug.  18,  1892.  Opera  singer. 


Treville  (Tray-ville) ,  Yvonne  de.  Soprano;  born  Galves- 
ton,  Tex.,  Aug.  25,  1881.  Concert  soprano.  Lives  New 
York. 

Trnecek  (Trne-chek),  Hans.  Composer;  born  Prague, 
Boh.,  May  16,  1858;  died  there,  Mar.  28,  1914.  Composed 
operas  and  works  for  orchestra. 

Truette,  Everett  E.  Organist,  teacher,  composer;  born 
Rockland,  Mass.,  Mar.  14,  1861.  Concert  organist;  com- 
posed church  music  and  organ  pieces.  Lives  Boston. 

Tschaikowsky  (Chy-kof-sky) ,  Peter  Ilyitch.  Composer; 
born  Wotkinsk,  Rus.,  May  7,  1840;  died  Petrograd,  Nov.  6, 
1893.  'Studied  at  the  Petrograd  Conservatory  and  also  in 
Germany.  Was  for  twelve  years  a  teacher  in  Moscow  Con- 
servatory. Wrote  famous  symphonies,  operas,  orchestral 
music,  songs,  etc. 

Tscherepnin  (Cher-ep-nin),  Nicolai.  Composer;  born  Rus- 
sia, 1873.  Orchestral  and  choral  composer.  Lives  Pet- 
rograd. 

Tua  (Too-ah),  Teresina.  Violinist;  born  Turin,  Italy,  May 
22,  1867.  Distinguished  virtuoso.  Lives  Rome. 

Tuckerman,  Samuel  Parkman.  Organist;  born  Boston, 
Feb.  11,  1819;  died  Newport,  R.  I.,  June  30,  1890. 

Turner,  Alfred  Dudley.  Pianist,  teacher;  born  St.  Albans, 
Vt.,  Aug.  24,  1854;  died  there,  May  7,  1888.  Teacher  at 
New  England  Conservatory,  Boston. 

Turpin,  Edmund  Hart.  Organist,  composer;  born  Not- 
tingham, Eng.,  May  4,  1835;  died  London,  Oct.  25,  1907. 
Wrote  church  music. 

Tutkovski,  Nicolai.  Pianist;  born  Lipowetz,  Rus.,  Feb. 
17,  1857.  Orchestral  composer,  symphony,  etc. 

Tye,  Christopher.  Organist,  composer;  born  Westminster, 
Eng.,  about  1508;  died  Mar.,  1572.  Wrote  church  music. 

Tyndall,  John.  Scientist;  born  near  Carlow,  Ire.,  Aug.  2, 
1820;  died  Dec.  4,  1893.  Eminent  as  an  acoustician  and 
author  of  Sound, 


u 


Udbye,  Martin  Andreas.  Composer;  born  Trondhjem. 
Nor.,  1820;  died  (?).  Composed  operettas,  cantatas,  cho- 
ruses, songs. 

Ueberlee  (Ee-ber-lay),  Adalbert.  Organist,  composer; 
born  Berlin,  Jun.  27,  1837;  died  there,  Mar.  15,  1897.  Opera 
and  oratorio  composer. 

Ugalde  (Oo-gahl-deh),  Delphine.  Soprano;  born  Paris, 
Dec.  3,  1829;  died  there,  Jul.  19,  1910.  Opera  singer;  com- 
posed an  opera. 

Uhl  (Oot),  Edmund.  Composer,  teacher;  born  Prague, 
Boh.,  Oct.  25,  1853.  Orchestral,  chamber  music,  and  opera 
composer.  Lives  Wiesbaden,  Ger. 

Ulibishev  (Oo-lib-i-sheff),  Alexander  von.  Writer;  born 
Dresden,  Ger.,  1795;  died  Nijni-Novgorod,  Rus.,  Jan.  24, 
1858.  Wrote  a  biography  of  Mozart. 


Ulrich  (Ool-rik),  Hugo.  Composer;  bom  Oppeln,  Ger., 
Nov.  26,  1827;  died  Berlin,  May  23,  1872.  Wrote  orches- 
tral and  chamber  music  and  arranged  orchestral  works  for 
the  piano. 

Upton,  George  Putnam.  Writer,  critic;  born  Boston,  Oct. 
25,  1834.  Author  of  valuable  critical  books  on  music.  Lives 
Chicago. 

Urban    (Oor-bahn),  Heinrich.     Violinist,   composer;   born 

Berlin,  Aug.  27,  1837 ;  died  there,  Nov.  24,  1901.    Orchestral 

composer. 
Urso   (Oor-so),  Camilla.     Violinist;  born  Nantes,  France, 

Jun.  13,  1842;  died  New  York,  Jan.  20,  1902.     Celebrated 

concert  artist. 
Urspruch   (Oor-sprukh),  Anton.     Pianist,  composer;  born 

Frankfort,   Ger.,   Feb.   17,   1850;   died  there,  Jan.   11,   1907. 

Pupil  of  Liszt.    Composed  piano  music  and  two  operas. 


VACCAI 


660 


VOLBACH 


V 


Vaccai  (Vak-kah-cc ),  Niccolo.  Composer;  born  Tolentino, 
Italy,  Mar.  IS,  1790;  died  Pesaro,  Italy,  Aug.  5,  1848.  Cele- 
brated singing  teacher  and  composer  of  technical  works 
for  the  voice. 

Valle  de  Paz,  Edgar  del.  Composer;  born  Alexandria, 
Egypt,  Oct.  18,  1861.  Orchestral  composer.  Lives  Flor- 
ence, Italy. 

Van  Cleve,  John  Smith.  Pianist,  teacher;  born  Maysville, 
Ky.,  Oct.  30,  1851;  died  New  York,  1918. 

Van    der    Stucken,    Frank.      Composer,    conductor;    born 

Fredericksburg,  Tex.,  Oct.  IS,  1858.   Composed  for  orchestra. 

Lives  New  York. 
Van   Dyck,   Ernst   Hubert.     Tenor;   born   Antwerp,   Bel., 

Apr.   2,   1861.     Eminent  in  Wagner  music  dramas.     Lives 

near  Antwerp. 
Van  Rooy,  Anton.     Baritone;  born  Rotterdam,  Hoi.,  Jan. 

12,  1870.    Frankfort  Opera. 

Van  Zandte,  Marie.  Soprano;  born  New  York,  Oct.  8,  1861. 
Opera  Comique,  Paris,  for  a  number  of  years.  Lives  Mos- 
cow, Rus. 

Vassilenko.    See  Wassilenko. 

Vavrinecz  (Vav-ri-netch) ,  Mauritius.  Composer;  born 
Czegled,  Hun.,  Jul.  18,  1858.  Composed  masses,  an  over- 
ture, a  symphony,  other  orchestral  works,  and  two  operas. 
Lives  Buda-Pesth,  Hun. 

Vecsey  (Vesh-ey),  Franz  von.    Violinist;  born  Buda-Pesth, 

Hun.,    Mar.    23,    1893.      Distinguished    virtuoso.      Lives 

Berlin. 
Veracini    (Veh-ra-chce-nee~),    Francesco.      Violinist;    born 

Florence,    Italy,   about    1685;    died    near    Pisa,    Italy,    1750. 

Eminent  in  the  Italian  classical  school. 

Verdi  (V air-dee),  Giuseppe.  Composer;  born  Le  Roncole, 
Italy,  Oct.  10,  1813;  died  Milan,  Italy,  Jan.  27,  1901.  Studied 
at  Milan.  Gained  a  great  reputation  by  his  operas  Ernani, 
Rigoletto,  Trovatore,  Traviata,  Aida,  Otello,  Falstaff,  etc., 
which  have  enjoyed  an  immense  vogue  all  over  the  world. 
Verdi  ranks  as  the  greatest  modern  Italian  composer,  and 
one  of  the  most  prominent  musicians  of  the  last  century. 

Verhey,  F.  H.  Composer,  teacher;  born  Rotterdam,  Hoi., 
1848.  Composed  operas,  chamber  music,  etc.  Lives 
Rotterdam. 

Vesque  von  Piittlingen,  Johann.  Composer;  born  Opole, 
Pol.,  July  23,  1803;  died  Vienna,  Oct.  30,  1883.  Com- 
posed operas  and  songs. 

Viadana,  Louovico.  Composer;  born  Viadana,  Italy,  1564: 
died  Gualtieri,  Italy,  May  2,  1645.  Wrote  for  voice  and  in- 
struments. 

Vianesi  (Vec-a-nay-zee),  Auguste  Charles.  Conductor; 
born  Legnano,  Italy,  1837;  died  New  York,  1908. 

Viardot-Garcia,  Pauline.  Mezzo-soprano;  born  Paris,  Jul. 
18,  1821 :  died  there,  May  18,  1910.  Studied  the  piano  under 
Liszt,  but  afterward  devoted  herself  to  singing.  Achieved 
a  brilliant  success  at  the  Italian  opera  at  London  and  Paris, 
made  many  tours,  retired  in  1863,  and  lived  at  Paris  as  a 
teacher. 

Vidal  (Vee-dahl),  Paul  Antonin.  Composer;  born  Tou- 
louse, France,  Jun.  16,  1863.  Opera  and  ballet  com- 
poser. Lives  Paris. 


Vierling  (Vecrling),  Georg.  Composer;  born  Franken- 
thal,  Ger.,  Sept.  5,  1820;  died  Wiesbaden,  Ger.,  Jun.  1, 
1901. 

Vieuxtemps  (Vyu-ton),  Henri.  Violinist;  born  Ver- 
viers,  Bel,  Feb.  20,  1820;  died  Mustapha,  Algiers,  Jun.  6, 
1881.  A  pupil  of  De  Beriot.  Made  extensive  tours.  From 
1846  to  1852  lived  at  Petrograd  as  court  violinist.  Made 
successful  tours  in  Europe  and  America.  Wrote  four  violin 
concertos,  also  a  number  of  smaller  compositions  of  a 
brilliant  and  highly  effective  kind. 

Vilbac,  Alphonce  C.  R.  de.  Pianist,  organist;  born.  Mont- 
pellier,  France,  Jun.  3,  1829;  died  Brussels,  Bel.,  Mar.  19, 
1884.  Composed  operas  and  piano  pieces. 

Villebois  (Veel-bwah),  Constantin.  Composer;  born  Pet- 
rograd, May  17,  1817;  died  Warsaw,  Pol.,  Jun.  30,  1882. 
Song  and  opera  composer. 

Villoing,  Vassili.  Composer,  writer;  born  Moscow,  Rus., 
Oct.  28,  1850.  Author  of  text-books.  Lives  Nijni-Nov- 
gorod,  Rus. 

Vinee  (Vec-nay),  Anselme.  Composer;  born  Loudun, 
France.  Orchestral  composer.  Lives  Paris. 

Viotta,  Henri.  Conductor,  writer;  born  Amsterdam,  Hoi., 
Jul.  16,  1848.  Orchestral  composer.  Lives  The  Hague, 
Hoi. 

Viotti,  Giovanni  Battista.  Violinist,  composer;  born  Fon- 
tanetto  da  P6,  Italy,  May  23,  1753;  died  London,  Mar.  3, 
1824.  The  son  of  a  blacksmith.  Studied  at  Turin.  Made 
many  concert  tours.  Wrote  twenty-nine  concertos,  also 
duets,  quartets,  sonatas,  etc.  Spent  the  latter  part  of  his 
life  at  London. 

Vitali,  Giovanni.  Composer;  born  Cremona,  Italy,  about 
1644;  died  Modena,  Italy,  Oct.  12,  1692.  Composed  sonatas 
and  other  instrumental  works. 

Vivaldi,  Antonio.  Violinist,  composer;  born  Venice,  Italy, 
about  1680;  died  there,  1743.  Composed  for  the  violin  in- 
cluding a  famous'  Chaconne. 

Vleeshouwer,  Albert.  Composer;  born  Antwerp,  Bel., 
Jun.  8,  1863.  Opera  and  orchestral  composer. 

Vogel.  (1)  Friedrich  Wilhelm.  Organist;  born  Havel- 
berg,  Nor.,  Sept.  9,  1807;  died  Bergen,  Nor.  (2)  Charles 
Louis  Adolphe.  Composer;  born  Lille,  France,  May  17, 
1808;  died  Paris,  1892.  Opera  composer. 

Vogl,  Heinrich.  Tenor;  born  Munich,  Ger.,  Jan.  15,  1845: 
died  there,  Apr.  20,  1900.  Eminent  Wagner  opera  singer. 

Vogler,  Abbe  G.  J.  Organist,  composer;  born  Wurzburg, 
Ger.,  Jun.  15,  1749;  died  Darmstadt,  Ger.,  May  6,  1814. 
Celebrated  for  his  improvising  on  the  organ. 

Vogrich,  Max.  Composer;  born  Hermannstadt,  Aus.,  Jan. 
24,  1852;  died  New  York,  Jun.  10,  1916.  Composed  opera 
Buddha,  etc. 

Vogt,  Jean.  Pianist,  composer;  born,  near  Liegnitz,  Ger., 
Jan.  17,  1823;  died  Eberswalde,  Ger.,  Jul.  31,  1888.  Com- 
posed piano  studies  and  pieces. 

Volbach,  Fritz.  Conductor;  born  Wipperfiirth,  Ger.,  Dec. 
17,  1861.  Composed  choral-orchestral  works,  a  symphony, 
operas,  The  Art  of  Love,  etc.,  and  smaller  works.  Lives 
Tubingen,  Ger. 


VOLBORTH 


661 


WATSON 


Volborth,  Eugen  von.  Composer;  born  Petrograd,  1854. 
Opera  composer.  Lives  Baden-Baden,  Ger. 

Volckmar,  Wilhelm.  Organist,  composer;  born  Hersfeld, 
Ger.,  Dec.  26,  1812;  died  Homberg,  Ger.,  Aug.  29,  1887. 
Organ  virtuoso. 

Volkmann,  Friedrich  Robert.  Composer;  born  Lorn- 
matzsch.  Ger.,  Apr.  6,  1815;  died  Pesth,  Hun.,  Oct.  30,  18*3. 
Composed  for  orchestra. 

Vos,  Eduard  de.  Conductor,  composer;  born  Ghent,  Be!.. 
Jan.  19,  1833. 


Voss,  Charles.  Composer,  pianist;  born  Selmarsow,  Ger., 
Sept.  20,  1815;  died  Verona,  Italy,  Aug.  28,  1882.  Wrote 
piano  music. 

Vreuls,  Victor.  Composer;  born  Verviers,  Bel.,  Feb.  4, 
1876.  Orchestral  composer,  symphonies,  etc.  Schola 
Cantorum,  Paris. 

Vuillaume     (Vwee-yome),    Jean    Baptiste.  Violin-maker; 

born  Mirecourt,  France,  Oct.  7,   1798;  died  Paris,  Mar.  19, 

1879.      Eminent   French   maker   and   expert  on   old   Italian 

violins. 


w 


Wachs  (Vaks),  Etienne  Victor  Paul.  Pianist,  composer; 
born  Paris,  Sept.  19,  1851.  Composed  attractive  light  piano 
music.  Lives  Paris. 

Wachtel,  Theodor.  Tenor;  born  Hamburg,  Ger.,  Mar.  10, 
1823;  died  Frankfort,  Ger.,  Nov.  14,  1893.  Celebrated 
opera  tenor. 

Waelput  (Vahl-poot),  Hendrik.  Conductor,  composer; 
born  Ghent,  Bel.,  Oct.  26,  1845;  died  there,  Jul.  8,  1885. 
Composed  symphonies,  cantatas,  etc. 

Waelrant,  Hubert.  Composer,  teacher;  born  Tingerloo, 
Bel.,  about  1517;  died  Antwerp,  Bel.,  Nov.  19,  1595.  Emi- 
nent musician  of  the  Netherlands  contrapuntal  school. 

Wagenaer  (Vah-gc-nahr),  Johann.  Organist,  composer; 
born  Utrecht,  Hoi.,  Nov.  1,  1862.  Composed  cantatas,  cham- 
ber music,  etc.  Lives  Utrecht. 

Wagenseil  ( Vah-gen-sile) ,  Georg  Christian.  Composer; 
born  Vienna,  Jan.  15,  1715;  died  there,  Mar.  1,  1777. 

Waghalter,  Ignaz.  Conductor,  composer;  born  Germany. 
Composed  operas,  Mandragola,  etc.  Lives  Berlin. 

Wagner  (Vahg-ner).  (1)  Richard.  Composer;  born  Leip- 
zig, Ger.,  May  22,  1813 ;  died  Venice,  Feb.  13,  1883.  While 
studying  at  the  University  of  Leipzig  also  worked  at  music. 
After  producing  an  overture  and  a  symphony  which  were 
successfully  performed  at  the  Gewandhaus,  he  wrote  an 
opera,  Die  Fecn.  In  1836  he  conducted  a  performance  of 
his  next  opera,  Das  Liebesverbot,  at  Magdeburg,  where  he 
was  musical  director  of  the  theatre.  After  a  short  time 
spent  at  Kcinigsberg  and  Riga  Wagner  went  to  Paris  in 
the  hope  that  he  might  get  an  opera  produced  there.  In 
Paris  he  completed  Rien=i  and  The  Flying  Dutchman.  Al- 
though unsuccessful  in  Paris  he  met  with  good  fortune  in 
Dresden  where  a  performance  of  Ricnsi,  in  1842,  resulted 
in  his  appointment  as  capellr-eister.  In  1845  he  produced 
Tannhauscr  and  also  wrote  Lohengrin.  Becoming  involved 
in  the  Revolution  at  Dresden  in  1849  he  was  obliged  to  take 
refuge  at  Weimar  and  afterward  at  Paris  whence  he  went 
to  Zurich,  in  Switzerland.  At  Zurich  he  projected  the  great 
Nibelungen  cycle  of  operas,  and  also  Tristan  und  Isolde. 
Amnestied,  and  after  an  extensive  musical  tour,  Wagner 
went  to  Munich  where  Tristan  und  Isolde  and  Die  Meis- 
tersingcr  were  produced  in  1868.  The  crowning  point  in 
Wagner's  life,  however,  was  the  performance  of  the  Nibe- 
lungen cycle  at  Bayreuth,  in  1876.  Parsifal  appeared  in 
1882.  No  musical  genius  has  ever  achieved  greater  fame, 
and  none,  perhaps,  has  exerted  a  greater  influence  upon  the 
development  of  music  than  Wagner.  (2)  Siegfried.  Com- 
poser, conductor;  born  Triebschen,  Switz.,  Jun.  6.  1869. 
Has  composed  operas.  Lives  Bayreuth,  Ger,  Son  of  (1). 


Waldteufel  (Vahlt-toy-fcl),  Emile.  Composer;  born  Slrass- 
burg,  Alsace,  Dec.  9,  1837 ;  died  Paris,  Feb.  16,  1915.  Waltz 
composer. 

Walker.  (1)  Ernest.  Organist,  writer;  born  Bombay, 
India,  Jul.  15,  1870.  Composed  songs,  etc.  Lives  Ox- 
ford, Eng.  (2)  Edyth.  Contralto;  born  Hope  well,  N. 
Y.,  1870.  Lives  London. 

Wallace.  (1)  William  Vincent.  Composer,  pianist;  born 
Waterford,  Ire.,  Jun.  1,  1814;  died  Chateau  de  Bages, 
France,  Oct.  12,  1865.  Traveled  all  over  the  world  giving 
concerts.  In  1845  returned  to  England  and  produced  his 
famous  opera  Maritana,  following  it  with  Lurline,  The 
Amber  Witch,  The  Desert  Flower,  etc.  (2)  William. 
Composer ;  born  Greenock,  Scot.,  1860.  Composed  a  Crea- 
tion symphony,  a  choral  symphony,  six  symphonic  poems, 
overtures,  suites,  the  opera  Brassolis,  etc.  Lives  London. 

Wallaschek,  Richard.  Writer ;  born  Briinn,  Aus.,  Nov.  16, 
1860.  Author  of  works  on  early  music,  rhythms,  etc.  Vienna 
Conservatory. 

Wallnoefer  (Val-nay-fer),  Adolf.  Composer,  singer;  born 
Vienna,  Apr.  24,  1854.  Composed  songs,  choral  works,  etc. 
Lives  Rostock,  Ger. 

Wambach,  Emile  Xaver.  Violinist,  composer;  born  Arlon, 
Luxembourg,  Nov.  26,  1854.  Composer  of  orchestral  fan- 
tasias, choral-orchestral  works,  an  opera,  two  oratorios, 
etc.  Lives  Antwerp,  Bel. 

Ware,  Harriet.  Composer;  born  Waupun,  Wis.,  Sept.  26, 
1877.  Composed  the  cantata  Sir  Olaf,  songs,  etc.  Lives 
New  York. 

Warlamov,  Alexander.  Composer;  born  Russia,  1801;  died 
Moscow,  Rus.,  1851.  Composed  piano  works  and  songs, 
including  the  very  popular  Red  Sarafan. 

Warnots  (Far-H0),-Elly.  Soprano;  born  Liege,  Bel.,  1857. 
Distinguished  operatic  artist. 

Warren.  (1)  Richard  Henry.  Conductor,  organist,  com- 
poser; born  Albany,  N.  Y.,  Sept.  17,  1859.  Composed 
operettats,  a  cantata,  orchestral  works,  a  string  quartet, 
etc.  Lives  New  Haven,  Conn.  (2)  Samuel  Prowse.  Or- 
ganist ;  born  Montreal,  Can.,  Feb.  18,  1841 ;  died  New  York, 
Oct.  7,  1915.  Composed  songs,  anthems,  organ  music,  etc. 

Wassilenko  (Vas-si-len-ko) ,  Sergei.  Composer;  born  Mos- 
cow, Rus.,  1872.  Orchestral  and  cantata  composer.  Lives 
Moscow. 

Watson,  Michael  William.  Composer;  born  Newcastle- 
on-Tyne,  Eng.,  Jul.  31.  1840;  died  near  London,  Oct.  3,  1889. 
Composed  popular  ballads. 


WEBBE 


662 


WILD 


Webbe.  (1)  Samuel.  Composer;  born  Minorca,  1740; 
died  London,  May  25,  1816.  Organist  in  London.  (2) 
Samuel.  Composer,  organist;  born  London,  1770;  died 
Liverpool,  1843.  Son  of  (1). 

Weber  (Vay-ber).  (1)  Carl  Maria  von.  Composer;  born 
Eutin,  Ger.,  Dec.  18,  1786;  died  London,  Jun.  5,  1826. 
In  1800  his  first  opera,  Das  Waldmodchcn,  was  performed 
at  Chemnitz,  Ger.  In  1804  he  went  to  'Breslau  where  he 
commenced  an  opera  entitled  Riibesahl,  the  overture  to 
which  figures  in  programs  as  Ruler  of  the  Spirits.  After 
a  very  unsettled  life  he  achieved  a  decided  success  at  Leip- 
zig as  pianist  and  composer,  and  was  made  conductor  of 
the  opera  at  Prague.  Later  he  settled  in  Dresden,  Ger. 
Here  he  wrote  the  operas  Preciosa,  Freischuts  (1821) 
Euryanthe,  and  Oberon,  which  have  made  him  famous. 
He  also  wrote  church  and  chamber  music.  Shortly  before 
his  death  he  went  to  London  to  supervise  the  production 
of  Oberon.  (2)  Gottfried.  Theorist,  writer;  born  Freins- 
heim,  Ger.,  Mar.  1,  1779;  died  Kreuznach,  Ger.,  Sept.  21, 
1839.  Autor  of  text-books. 

Weckerlin  (Veck-er-lan),  Jean  Baptiste  Theodore.  Com- 
poser; born  Gebweiler,  Alsace,  Sept.  (Nov.)  9,  1821;  died 
Trottberg,  Alsace,  May  20,  1910.  Composed  small  operas, 
choral  works,  etc. ;  authority  on  folk-music. 

Wegelius  (Vay-gay-H-us),  Martin.  Composer,  conductor; 
born  Helsingfors,  Fin.,  Nov.  10,  1846;  died  there,  Mar.  22, 
1906.  Orchestral  composer. 

Wehle  (Vay-leh),  Karl.  Pianist;  born  Prague,  Boh.,  Mar. 
17,  1825 ;  died  Paris,  Jun.  3,  1883.  Composed  brilliant  piano 
pieces. 

Weidig  (Vy-dig),  Adolf.  Composer,  teacher;  born  Ham- 
burg, Ger.,  Nov.  28,  1867.  Orchestral  composer.  American 
Conservatory,  Chicago. 

Weidt    (Vite),  Heinrich.     Composer;   born   Coburg,   Ger., 

1828;  died  Graz,  Aus.,  Sept.  16,  1910.     Opera  and  operetta 

composer. 
Weigl    (Vy-gel).      (1)    Joseph.      Composer;    born    Eisen- 

stadt,   Hun.,   Mar.   28,   1766;   died  Vienna,   Feb.   3,    1846. 

Composed   operas,   melodramas,   masses.      (2)   Taddaus. 

composer,   librarian ;   born   about   1774 ;    died   Vienna,   Feb. 

10,  1844. 
Weil,  Oscar.    Pianist,  composer;  born  Columbia  Co.,  N.  Y., 

1839.    Wrote  songs  and  piano  pieces.    Lives  San  Francisco. 

Weingartner  (Vine-gart-ner),  Paul  Felix.  Composer,  con- 
ductor ;  born  Zarra,  Aus.,  Jun.  2,  1863.  A  leading  conductor ; 
composed  symphonies,  symphonic  poems  (King  Lear,  etc.), 
the  operas  Sakuntala,  Malawika,  and  Genesius,  as  well  as 
smaller  works.  Lives  Darmstadt,  Ger. 

Weis  (Vise),  Karel.  Composer;  born  Prague,  Boh.,  Feb. 
13,  1862.  Composed  operas  and  operettas.  Lives  Prague. 

Weissheimer  (Vtse-himc-er),  Wendelin.  Conductor;  born 
Osthofen,  Ger.,  1836;  died  Nuremberg,  Jun.  16,  1910.  Or- 
chestral and  opera  composer. 

Weitzmann  (Vites-man),  Karl  Friedrich.    Teacher,  writer; 

born  Berlin,  Aug.  10,  1808 ;  died  there,  Nov.  7,  1880.    Wrote 

a  history  of  the  piano  and  piano-playing. 
Wendland,   Waldemar.      Composer;    born    Liegnitz,    Ger., 

May  10,  1873.     Composed   (1912)   the  opera  The  Tailor  of 

Malta.    Lives  Berlin. 
Wennerberg,  Gunnar.     Composer;  born  Lidkoping,  Swed., 

Oct.  2,  1817;  died  Lecko,  Swed.,  Aug.  22,  1901.     Composed 

oratorios,  settings  of  the  Psalms,  songs. 


Wermann  (V air-man),  Friedrich  Oskar.  Organist,  com- 
poser; born  Neichen,  Ger.,  1849;  died  near  Dresden,  Ger., 
1906.  Composed  cantatas  with  orchestra,  etc. 

Wesley,  Samuel  Sebastian.  Organist,  composer;  born  Lon- 
don, Aug.  14,  1810;  died  Gloucester,  Eng.,  Apr.  19,  1876. 
Eminent  organist  and  Bach  player. 

Westmeyer,  Wilhelm.     Composer;  born  Iburg,  Ger.,  Feb. 

11,  1827;   died  Bonn,   Ger.,   Sept.   3,   1880.     Symphony  and 
opera  composer. 

Wetz  (Vetz),  Richard.  Pianist,  conductor;  born  Gleiwitz, 
Ger.,  1875.  Orchestral,  opera,  and  song  composer.  Lives 
Leipzig,  Ger. 

Wetzler,  Hermann  Hans.  Conductor,  composer;  born 
Frankfort,  Ger.,  Sept.  8,  1870.  Composed  for  orchestra  and 
piano.  Organist  in  New  York  for  several  years.  Lives 
Liibeck,  Ger. 

Whelpley,  Benjamin  Lincoln.  Organist,  composer;  born 
Eastport,  Me.,  Oct.  23,  1864.  Composed  songs,  piano  pieces, 
and  violin  works.  Lives  Boston. 

White,  Maude  Valerie.  Composer;  born  Dieppe,  France, 
Jun.  23,  1855.  Song  composer. 

Whiting.  (1)  Arthur  Battelle.  Pianist;  born  Cambridge, 
Mass.,  Jun.  20,  1861.  Composed  an  overture,  chamber 
music,  song  cycles  (Floriana),  etc.  Lives  New  York. 
(2)  George  Elbridge.  Organist,  composer;  born  Hol- 

'  liston,  Mass.,  Sept.  14,  1842.  Known  by  his  cantatas  such  as 
Henry  of  Navarre,  The  March  of  the  Monks  of  Bangor, 
etc.,  which  are  very  strong.  Lives  Boston. 

Whitney.  (1)  Myron  William.  Bass;  born  Ashby,  Mass., 
Sept.  5,  1836;  died  Sandwich,  Mass.,  Sept.  19,  1910.  Dis- 
tinguished opera  and  oratorio  singer.  (2)  Samuel  Bren- 
ton.  Organist,  composer;  born  Woodstock,  Vt.,  Jun.  4, 
1842;  died  there,  Aug.  3,  1914.  Organist  in  Boston.  Com- 
posed church  music. 

Wickede  (Vee-kay-dch),  Friedrich  von.  Composer;  born 
Domitz,  Ger.,  Jul.  28,  1834;  died  Schwerin,  Ger.,  Sept.  11, 
1904.  Orchestral,  opera,  and  piano  composer. 

Wickenhausser,     Richard.       Composer,     conductor;     born 

Briinn,  Aus.,  Feb.  7,   1867.     Composed  vocal  and  chamber 

works.     Lives  Vienna. 
Widor    (Vec-dor),    Charles    Marie.      Organist,    composer; 

born  Lyons,  France,  Feb.  21,  1844.    Composed  for  orchestra, 

organ,  and  voice.    Lives  Paris. 
Wieck  (l/eek),  Friedrich.    Pianist,  teacher;  born  Pretzsch, 

Ger.,  Aug.  18,  1785 ;  died  near  Dresden,  Ger.,  Oct.  6,  1873. 

Wiedermann,  Karl  Friedrich.  Organist,  composer,  born 
Gorisseiffen,  Ger.,  Dec.  25,  1856.  Composed  an  overture, 
chamber  works,  songs,  etc.  Lives  Berlin. 

Wiemann  (Vee-mun),  Robert.  Conductor,  composer; 
born  Frankenhausen,  Ger.,  Nov.  4,  1870.  Composed  or- 
chestral, choral,  and  chamber  works.  Lives  Stettin,  Ger. 

Wieniawski  (Vyen-yof-ski),  Henri.  Violinist,  composer; 
born  Lublin,  Pol.,  Jul.  10,  1835 ;  died  Moscow,  Rus.,  Apr. 

12,  1880.     Studied  at  the   Paris   Conservatory.     Made   fre- 
quent concert  tours  in  Europe  and  America. 

Wihtol  (Vec-tol).  Joseph.  Composer;  born  Wolmar,  Rus., 
Jul.  26,  1863.  Composed  orchestral  'vorks,  etc.  Lives  Pet- 
rograd. 

Wild,  Harrison  M.  Organist,  conductor;  born  Hoboken, 
N.  J.,  Mar.  6,  1861.  Lives  Chicago. 


WILHAR 


663 


WYMAN 


Wilh'ar  (Vil-har),  Franz  S.  Conductor,  composer;  born 
Senoschetsche,  Boh.,  1852.  Composed  operas,  masses,  piano 
pieces,  songs.  Lives  Agram,  Aus. 

Wilhelmj  (Vil-hel-my),  August.  Violinist;  born  Usingen, 
Ger.,  Sept.  21,  1845;  died  London,  Jan.  22,  1908.  Studied 
at  Leipzig  under  Ferdinand  David.  His  work  in  the  de- 
velopment of  orchestral  music  and  the  management  of  con- 
certs entitles  him  to  much  credit.  His  tours  brought  him 
success. 

Wilke  (Vil-ke),  Franz.  Composer,  conductor;  born  Cal- 
lies,  Ger.,  Sept.  3,  1861.  Orchestral  composer.  Lives  Greiz, 
Ger. 

Willaert  (Vil-lart),  Adrian.  Composer;  born  Bruges,  Bel., 
about  1480;  died  Venice,  Italy,  Dec.  7,  1562. 

Willis,  Richard  Storrs.  Composer,  organist;  born  Bos- 
ton, Feb.  10,  1819;  died  Detroit,  Mich.,  May  7,  1900.  Song 
composer. 

Willmers  (Vil-mers),  Heinrich  Rudolf.  Pianist,  composer; 
born  Berlin,  Oct.  31,-  1821;  died  Vienna,  Aug.  24,  1878. 
Composed  brilliant  piano  music. 

Wilm  (Vilm),  Nicolai  von.  Composer;  born.  Riga,  Rus., 
Mar.  4,  1834;  died  Wiesbaden,  Ger.,  Feb.  20,  1911.  Com- 
posed chamber  music  and  many  fine  teaching  pieces  for 
piano. 

Wilson.  (1)  Grenville  Dean.  Composer,  teacher;  ^orn 
Plymouth,  Conn.,  Jan.  26,  1833;  died  Nyack,  N  \., 
Sept.  20,  1897.  Composed  light  piano  music.  (2)  Mor- 
timer. Composer,  conductor;  born  Iowa,  1876.  Amer- 
ican orchestral  composer.  Lives  New  York. 

Wiltberger,  August.  Composer,  teacher;  born  Sobern- 
heim,  Ger.,  Apr.  17,  1850.  Composed  oratorios,  etc. 

Winderstein  (Vin-der-stine ),  Hans.  Composer,  conductor; 
born  Liineburg,  Ger.,  Oct.  29,  1856.  Lives  Leipzig,  Ger. 

Winding  (Vin-ding),  August  Hendrik.  Pianist,  composer; 
born  Taars,  Den.,  Mar.  24,  1835;  died  Copenhagen,  Den., 
Jun.  16,  1899.  Composed  orchestral  and  chamber  music,  etc. 

Winkler  (Vink-ler),  Alexander.  Pianist,  composer;  born 
Kharkov,  Rus.,  Mar.  3,  1865.  Lives  Petrograd. 

Winter  (Vin-ter),  Peter  von.  Composer,  conductor;  born 
Mannheim,  Ger.,  1754;  died  Munich,  Ger.,  Oct.  17,  1825. 
Composed  operas,  operettas,  oratorios,  and  masses. 

Winter-Hjelm  (Vin-tcr-hyelm),  Otto.  Organist,  composer; 
born  Christiania,  Nor.,  Oct.  8,  1837.  Composed  symphonies, 
piano  works,  songs.  Lives  Christiania. 

Wirtz  (Veerts),  Charles  Louis.  Pianist,  composer;  born 
The  Hague,  Hoi.,  Sept.  1,  1841.  Composed  a  Te  Deum, 
etc.  Lives  The  Hague. 

Witek  (Vit-ek),  Anton.  Violinist;  born  Saaz,  Boh.,  Jan. 
7,  1872.  Concertmaster,  Boston  Symphony  Orchestra,  1909-. 
Lives  Boston. 

Witherspoon,  Herbert.  Bass,  teacher  of  singing;  born 
Buffalo,  N.  Y.,  Jul.  21,  1873.  Metropolitan  Opera  Co. 
Lives  New  York. 

Witkowsky  (Vit-kof-sky),  Georges  Martin.  Composer ;  born 
Montagneux,  Algiers.  Jan.  6,  1867.  A  French  officer.  Com- 
posed symphonies.  Schola  Cantorum,  Lyons,  France. 

Woelfl  (Velfl),  Joseph.  Composer;  born  Salzburg,  Aus., 
1772;  died  London,  May  21,  1812.  Distinguished  pianist; 
pupil  of  Leopold  Mozart. 


Woikowsky-Biedau  (Voi-koff-sky  Bee-dow),  Victor  Hugo 
von.  Composer ;  born  Nieder-Arnsdorf ,  Ger.,  Sept.  2, 
1866.  Opera  and  song  composer.  Lives  Berlin. 

Wolf  (Voolf),  Hugo.  Composer;  born  Windischgraz,  Aus., 
Mar.  13,  1860;  died  Vienna,  Feb.  22,  1903.  Composed  an 
opera  Dcr  Corregidor,  the  incomplete  Manuel  Venegas, 
chamber  works,  the  symphonic  poem  Pcnthesilea,  etc.,  but 
is  best  known  by  his  many  and  remarkably  artistic  songs. 

Wolf-Ferrari,  Ermanno.  Composer;  born  Venice,  Italy, 
Jan.  12,  1876.  Composed  the  orchestral  cantata  Vita  Nuova 
and  the  operas  La  Sulainite,  Lc  Donne  Curiosc,  Die  Vier 
Grobiane,  The  Secret  of  Suzanne,  The  Jewels  of  the  Ma- 
donna, and  L'Amore  Medico.  The  Jewels  of  the  Madonna 
is  a  strong  tragedy ;  the  other  works  are  dainty  light  operas. 

Wolle,  John  Frederick.  Organist,  conductor;  born  Bethle- 
hem, Pa.,  Apr.  4,  1863.  Organized  Bach  Festival,  Bethle- 
hem. Lives  Bethlehem. 

Wollenhaupt,  H.  A.  Pianist,  composer;  born  Schkeuditz, 
Ger.,  Sept.  27,  1827;  died  New  York,  Sept.  18,  1863.  Com- 
posed brilliant  piano  music. 

Wolstenholme,  William.  Organist,  composer;  born  Black- 
burn, Eng.,  Feb.  24,  1865.  Eminent  recitalist;  composed  for 
organ ;  blind.  Lives  London. 

Wood.  (1)  Sir  Henry  Joseph.  Conductor;  born  London, 
Mar.  3,  1870.  Conductor  Queen's  Hall  Concerts,  London. 
(2)  Mary  Knight.  Composer;  born  Easthampton,  Mass., 
Apr.  7,  1857.  Composed  attractive  songs,  a  piano  trio,  etc. 
Lives  New  York. 

Woodman,  Raymond  Huntington.  Organist,  composer ; 
born  Brooklyn,  N.  Y.,  Jan.  18,  1861.  Composed  piano,  or- 
gan, and  vocal  works.  Columbia  University,  New  York. 

Work,  Henry  Clay.  Composer;  born  Middletown,  Conn., 
Oct.  1,  1832;  died  Hartford,  Conn.,  Jun.  8,  1884.  Composed 
popular  and  Civil  War  songs  (Marching  through  Georgia, 
etc.). 

Wormser  (Vorm-ser),  Andre  Alphonse.  Composer;  born 
Paris,  Nov.  1,  1851.  Composed  overtures,  pantomimes 
(L'Enfant  prodigue),  etc. 

Worrell,  Lola  Carrier.  Pianist,  composer;  born  Michigan. 
Composed  excellent  songs.  Lives  New  York. 

Wouters  (Voo-tare),  Francois  Adolphe.  Composer;  born 
Brussels,  Bel.,  May  28,  1849.  Composed  sacred  works,  an 
overture,  etc.  Lives  Brussels. 

Woyrsch,  Felix.  Composer;  born  Troppau,  Ger.,  Oct.  8, 
1860.  Composed  a  symphony,  operas,  cantatas,  piano  works, 
etc.  Lives  Altona,  Ger. 

Wranitzky  (Vran-its-ky) ,  Paul.  Violinist,  composer;  born 
Neureisch,  Aus.,  Dec.  30,  1756;  died  Vienna,  Sept.  28,  1808. 
Conductor  Royal  Opera  Orchestra. 

Wullner  (Vil-ner}.  (1)  Franz.  Conductor,  composer;  born 
Miinster,  Ger.,  Jan.  28,  1832;  died  Braunfels,  Ger.,  Sept.  7, 
1902.  Composed  choral-orchestral  works,  masses,  chamber 
music,  etc.  (2)  Ludwig.  Baritone;  born  Miinster,  Ger., 
Aug.  19,  1858.  Famous  Lieder  singer.  Son  of  (1). 

Wurm  (Voorm),  Marie.  Pianist;  born  Southampton,  Eng., 
May  18,  1860.  Noted  as  improvisator;  composed  a  con- 
certo, etc. 

Wyman,  Addison  P.  Pianist,  composer ;  born  Cornish,  N.  H., 
Jun.  23,  1832;  died  Washington,  Pa.,  Apr.  15,  1872.  Com- 
posed popular  piano  pieces  in  salon  style. 


YAW 


664 


ZWEERS 


Yaw,  Ellen  Beach.  Soprano;  born  Boston  (New  York), 
Sept.  18,  1868.  Phenomenally  high  voice.  Married  Vere 
Goldthwaite.  Lives  Covina,  Cal. 

Yradier  (Ee-rah-di-cr) ,  Sebastian.  Composer;  died  Vittoria, 
Brazil,  186S.  Spanish  song  composer  (La  Paloma,  etc.). 


Ysaye  (Ee-zi~ek),  Eugene.  Violinist,  conductor;  born 
Liege,  Bel.,  Jul.  16,  1858.  His  tours  in  Europe 
and  America  established  his  rank  among  the  fore- 
most violinists.  Conductor  Cincinnati,  O.,  Symphony 
Orchestra,  1918, 


Zach,  Max.  Violinist,  conductor;  born  Lemberg,  Aus.,  Aug. 
31,  1864.  Conductor  St.  Louis,  Mo.,  Symphony  Orchestra. 

Zachau  (Zakh-ow),  Friedrich  Wilhelm.  Organist,  com- 
poser; born  Leipzig,  Ger.,  Nov.  19,  1663;  died  Halle,  Ger., 
Aug.  14,  1721.  Teacher  of  Handel. 

Zajicek  (Zah-yi-chek) ,  Julius.  Composer;  born  Vienna, 
Nov.  2,  1877.  Opera  composer. 

Zandonai,  Riccardo.  Composer;  born  Sacco,  Italy,  May  28, 
1883.  Composed  the  operas  Conchita,  Francesco  and 
Melenis,  a  symphonic  poem  with  voices,  etc. 

Zanella,  Amilcare.  Pianist,  composer;  born  Monticelli 
d'Ongnia,  Italy,  Sept.  26,  1873.  Composed  a  symphony, 
piano  works  with  orchestra,  chamber  music,  two  operas, 
etc.  Lives  Pesaro,  Italy. 

Zaremba.  (1)  Nicolai.  Theorist;  born  Vityebsk,  Rus., 
1824;  died  Petrograd,  Apr.  8,  1879.  Director  Petrograd 
Conservatory.  Oratorio  composer.  (2)  Vladislav.  Teacher, 
composer;  born  Podolia,  Rus.,  Jun.  15,  1833.  Composed 
piano  pieces  and  songs.  Lives  Kiev,  Rus. 

Zarembski,  Jules  de.  Pianist;  born  Schitomir,  Pol.,  Feb. 
28,  1854;  died  there,  Sept.  15,  1885.  Pupil  of  Liszt; 
teacher  at  Brussels  Conservatory.  Composed  piano 
etudes. 

Zarlino,  Giuseppe.  Theorist ;  born  Chioggia,  Italy,  Mar. 
22,  1517;  died  Venice,  Italy,  Feb.  14,  1590. 

Zarzycki    (Tsar-tsits-ky) ,   Alexander.      Pianist,    composer; 

born  Lemberg,  Aus.,  Feb.  21,  1831;  died  Warsaw,  Pol., 

Nov.  1,  1895.     Composed  songs. 
Zelenski,  Ladislaus.     Composer;  born.  Gowdkowizy,   Pol., 

Jul.  6,  1837.     Composed  operas,  chamber  music,  masses, 

cantatas,  etc.     Lives  Cracow,  Aus. 
Zelter,  Karl  Friedrich.     Composer,  teacher;   born   Berlin, 

Dec.    11,    1758;   died   there,    May    15,    1832.     Teacher   of 

Mendelssohn. 

Zemlinsky,   Alexander   von.     Composer,   conductor;   born 

Vienna,    Oct.    14,    1872.     Composed   a    suite,   the   opera 

Zarcma,  etc.     Lives  Prague,  Boh. 
Zerrahn,  Carl.     Conductor;   born   Malchow,   Ger..  Jul.  28. 

1826;    died    Milton,    Mass.,    Dec.    29,    1909.      Conductor 

Handel  and  Haydn  Society,  Boston. 
Zichy,  Count  Geza.     Pianist;   born  Sztara,   Hun.,  Jul.  23, 

1849.     Composed  several  operas,  including  the  Rakoczy 

Trilogy,  and  other  works,  but  best  known  as  a  one-armed 

pianist  owing  to  his"  having  lost  his  right  arm  in  a  hunting 

accident. 
Ziehn,   Bernhard.     Theorist;   born    Erfurt,    Ger.,   Jan.   20, 

1845;  died  Chicago,  Sept.  8,  1912.    Author  of  text-books 

on  harmony  and  composition. 


Zielinski,  Jaroslav  de.  Pianist,  composer;  born  Galicia, 
Aus.,  Mar.  31,  1847.  Orchestral  and  piano  composer. 
Lives  Los  Angeles,  Cal. 

Zientarski.  (1)  Romualdo.  Composer;  born  Plozk,  Pol., 
1831;  died  Warsaw,  Pol.,  1874.  Prolific  orchestral  and 
oratorio  composer.  (2)  Victor.  Composer;  born  War- 
saw, Pol.,  1854.  Composed  piano  works  and  songs. 

Zilcher,  Hermann.  Pianist,  composer;  born  Frankfort, 
Ger.,  Aug.  18,  1881.  Composed  violin  and  piano  pieces. 
Lives  Munich,  Ger. 

Zimbalist,  Efrem.  Violinist,  composer;  born  Rostov,  Rus., 
Apr.  9,  1889.  Pupil  of  Auer.  Lives  New  York. 

Zimmerman,  Agnes.  Pianist;  born  Cologne,  Ger.,  Jul.  5, 
1845.  Composed  chamber  music,  piano  pieces.  Lives 
London. 

Zingarelli,  Niccolo  Antonio.  Composer ;  born  Naples,  Italy, 
Apr.  4,  1752;  died  near  Naples,  May  5,  1837.  Composed 
many  operas,  church  music,  etc.,  and  was  famous  as  a 
teacher. 

Zingel,  Rudolf  Ewald.  Conductor,  composer;  born  Lieg- 
nitz,  Ger.,  Sept.  15,  1876.  Composed  three  operas.  Lives 
Greifswald,  Ger. 

Zoellner  (Tsell-ner),  Heinrich.  Composer;  born  Leipzig, 
Ger.,  Jul.  4,  1854.  Composed  several  operas  (Frithjof,  Der 
Ueberfall,  Die  Versunkene  Glocke,  etc.),  choral-orchestral 
works  (Die  Hunnenschlacht,  Columbus,  and  many  others), 
several  symphonies,  and  many  smaller  works.  Lives  Ant- 
werp, Bel. 

Zois  (Tso-is) ,  Hans.  Composer;  born  Graz,  Aus.,  Nov. 
14,  1861.  Opera  and  operetta  composer. 

Zolotarev,  Vassilly  Andreievitch.  Composer;  born  Tagan- 
rog, Rus.,  Feb.  23,  1879.  Composed  for  orchestra,  cham- 
ber music,  and  piano.  Moscow,  Rus.,  Conservatory. 

Zumpe,  Hermann.  Conductor;  born  Taubenheim,  Ger., 
Apr.  9,  1850;  died  Munich,  Ger.,  Sept.  3,  1903.  Composed 
operas,  operettas,  a  Wallcnstc'm  overture,  etc. 

Zumsteeg,  Johann  Rudolf.  'Cellist,  composer;  born  Sach- 
senflur,  Ger.,  Jan.  10,  1760;  died  Stuttgart,  Ger.,  Jan.  27, 
1802.  Composed  operas,  church  music,  and  ballads. 

Zuschneid,  Karl.  Conductor,  composer;  born  Oberglogau, 
Ger.,  May  29,  1856.  Composed  choruses  with  orchestra, 
etc.  Lives  Mannheim,  Ger. 

Zweers  (Tsvairs) .  Bernard.  Composer;  born  Amsterdam, 
Hoi.,  May  18,  1854.  Composed  symphonies,  masses, 
cantatas,  songs,  etc.  Lives  Amsterdam. 


•  .— *.   - 


!  !     ' ""• 


ML 
390 
W67 
v.2 


Music 


The  Worldls  best  music 
International  ed. 


PLEASE  DO  NOT  REMOVE 
CARDS  OR  SLIPS  FROM  THIS  POCKET 

UNIVERSITY  OF  TORONTO  LIBRARY 


^•»